In this and other recent programming, Netflix is pioneering a genre that I’ve come to think of as ambient television. It’s “as ignorable as it is interesting,” as the musician Brian Eno wrote, when he coined the term “ambient music” in the liner notes to his 1978 album “Ambient 1: Music for Airports,” a wash of slow melodic synth compositions.

The ambience of ambient TV is often predicated on homogeneity; any diversity or discordance would disrupt the smooth, lulling surface.

Ambient denotes something that you don’t have to pay attention to in order to enjoy but which is still seductive enough to be compelling if you choose to do so momentarily.

Netflix is pioneering a genre that I’ve come to think of as ambient television. It’s “as ignorable as it is interesting,” as the musician Brian Eno wrote, when he coined the term “ambient music” in the liner notes to his 1978 album “Ambient 1: Music for Airports,” a wash of slow melodic synth compositions. Ambient denotes something that you don’t... See more

The ambience of ambient TV is often predicated on homogeneity; any diversity or discordance would disrupt the smooth, lulling surface. (“Emily in Paris” almost entirely stars white actors, too.) The lurking subtext of “Dream Home Makeover,” a kind of soft-white capitalist nationalism cloaked in throw pillows, brought to mind for me the architect... See more

Whereas the Internet once promised to provide on-demand access to limitless information and media to anyone willing to make use of a Google search, lately it has encouraged a more passive kind of engagement, a state of slack-jawed consumption only intensified by this past year’s quarantine ennui. 

The advent of streaming, and cord-cutting, allowed viewers a more intentional relationship to TV, at least in theory. When Netflix and other platforms began dumping entire seasons of shows at once, binging became a byword for paying deep attention, as viewers gave themselves over to intricate drama or quirky comedy. But now we’re learning to stream... See more

There’s a danger that, through algorithmic digital platforms, we can stay ensconced in our soothing aesthetic bubbles.

In the two-thousand-tens, there was a brief vogue for “slow TV,” reality television of unedited reality, such as a more than seven-hour real-time video of a train ride from Bergen to Oslo, shot in 2009, and a Norwegian production, in 2016, showing twelve hours of the extreme tidal current in the strait of Saltstraumen. The durational videos inspire... See more