The Observer.

Passing on "Squid Game," diving deep into reader recs ("Kingdom," "ZeroZeroZero"; returning to "Sherwood" and realizing there's always good television.

It’s a strange sensation to understand all too well that the American television industry is contracting (some might suggest borderline collapsing) while also still feeling buoyed up and certain that there will always be good television.

In a few previous posts I’ve suggested that we’ll definitely see more international series continue to land on streaming platforms and that’s a good trend to monitor as the world makes better content seemingly every year. But that sentiment isn’t tied to some decline on the American end.

For example, after watching the first episode of the pointless second season of “Squid Game,” the Korean series that was an international sensation, it was pretty easy to bow out. If you read my year-end best list from 2024 you’ll know it’s filled with Asian series and especially those from Korea.

The Best Of What I Watched This Year.

But I don’t need another “Squid Game,” knowing how it all came together (money, then money, then some more money) in an attempt to milk the concept one more time. I don’t need a seven-episode truncated season, then a long wait for the second half.

Knowing when to give up and get out is an art, as I wrote about here:

Better Mid Than Meh.

The decision on “Squid Game” was easier than “The Madness” because I had already learned the lesson of the former’s limitations by having my senses dulled by it.

Which is a long way of saying, just because I’m on a terrifically rewarding tear of international series doesn’t mean I’ll watch just annoying. Nor does it mean we’re not getting unique content done here.

Compare my “Squid Game” reaction to a recent consulting side gig where I watched 10 episodes of a looming comedy that, I feared in advance, would likely be an amateurish slog with maybe a few glimpses of potential. Instead, it turned out to be fresh, funny and extremely assured, delivering the goods on every episode.

Completely, delightfully, unexpected.

(When it premieres, I’ll let you know).

The point is, even in turmoil, the TV industry is still producing quality content. It’s simple: internal troubles be damned (and external ones like the L.A. fires are certainly not helping), really good television will always exist.

Truly great fare is more rare, but that’s kind of the whole concept of true greatness.

And this truism always remains: Years of Peak TV produced more television than you were ever able to watch, so nothing is old anymore. It’s just unseen until it’s discovered, which is why I’m here.

Recently, based on endless reader recommendations from our engaged community, I found myself deep into the sampling mix.