The New Yorkerのインスタグラム(newyorkermag) - 11月3日 01時46分

David Chase’s drama “The Sopranos” ushered in a serialized format that prized moral ambiguity and rewarded patient viewing—a narrative model that defined HBO’s golden age.

After the show ended, in 2007, HBO had a lack of juggernauts, and rivals like Showtime, FX, and AMC tried to fill the void. Netflix’s “House of Cards” premièred in 2013 and established the streamer as a purveyor of original series to rival HBO’s. Big Tech names like Amazon and Apple got in the game and, soon, legacy studios did too, with Disney+, Paramount+, and Peacock.

Now streamers, hungry for subscribers, are leaning harder on preëxisting I.P., movie stars, and comfort viewing. But was prestige TV all that it was made out to be? At the link in our bio, @michaelschulman explores the phenomenon and reviews two new books on the entertainment industry. Illustration by @bmwiseman.

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