Though there are some who would still embrace the rhetoric of the “Golden Age of Television” for marketing purposes, we all know that that storied era is over. If there was any question about it, the conclusion of Mad Men — part of the undisputedly canonical Big Three that also includes The Sopranos and The Wire — dispels any ambiguity. While we might dispute whether a particular show belonged to the classic “high-quality cable drama” genre as established by The Sopranos, no currently running show belongs in that category.
And you know what? That’s okay. The final season of Mad Men reminds us how exhausting the “high-quality cable drama” can be — how much pressure there is to watch, to have an opinion, to be up to date on the online dialogue. You probably felt many things when that Coke commercial came to an end, but the emotion you should have been feeling is captured in a timeless Don Draper line: “That’s relief.” Freed from the burden of High Art Television, we can finally get back to enjoying Good Enough Television — a genre that is truly entering into its own golden age.
It was High Art Television that made the blossoming of Good Enough Television possible. First, there were the aesthetic innovations — the greater artistic ambition on the level of the visual experience (more creative shots, lighting, experimental dream and hallucination sequences, etc.), the greater range of acceptable subject matter (including but not limited to supposedly “edgy” themes), the focus on very specific geographical regions (New Jersey, Baltimore) or milieux (the culture of advertising) as opposed to the generic “suburbs or New York City” format of most previous TV. All of those experiments have born their fruit in the Good Enough Television of today, and the result is more visually interesting television that has more room to explore. Second, there are the commercial innovations, above all the explosion in competition to produce original dramatic content among cable networks. Even AMC may never be able to recapture the cachet AMC once enjoyed, but it has given birth to a number of “middle-brow” cable networks (FX) as well as more mass-produced content (USA).
Against all odds, some of these benefits have even accrued to the traditional networks. For me, The Good Wife is the ultimate Good Enough show — attractive people in an attractive setting, with a plot that (with rare missteps, like Khalinda’s husband) keeps moving you along and sometimes even manages to trick you into thinking that you’re pondering an actual idea. There’s a reason we all marathoned the whole thing when it was first released on Hulu, and that’s because it gives us all the beautifully packaged #pureideology we crave from television at its best.