A Man on the Inside: Decoding the ‘Mid TV’ Trend in Modern Streaming
In today’s ever-expanding streaming landscape, a new category of television has emerged: the ‘mid TV’ phenomenon. These are shows that are perfectly agreeable, competently produced, and often star beloved actors, yet somehow manage to feel less like compelling narratives and more like comforting background noise. One recent example drawing attention to this trend is Netflix’s A Man on the Inside, starring the venerable Ted Danson and co-created by the acclaimed Michael Schur.
While the series offers a lighthearted, cozy whodunnit, its very inoffensiveness has sparked a larger conversation about the state of modern streaming content. Is A Man on the Inside merely another enjoyable, albeit forgettable, entry, or does it perfectly encapsulate the qualities that define ‘mid TV’?
Welcome to the Era of ‘Mid TV’
The term ‘mid TV’ was coined by New York Times critic James Poniewozik to describe the current “profusion of well-cast, sleekly produced competence” that dominates our screens. It’s not a scathing critique, but rather a shrug at the blandness that often accompanies the sheer volume of content. This isn’t necessarily bad TV; it’s simply… okay TV. It’s entertainment designed to be consumed passively, allowing viewers to scroll on another device without missing critical plot points.
A Man on the Inside, with its gentle pace and predictable charm, fits this description almost too perfectly. It’s the kind of show you can leave on while doing chores, providing a pleasant hum of activity without demanding your full attention. This strategy, whether intentional or not, has become a hallmark of how major tech platforms engage viewers, siphoning off time with content that is just good enough to keep you subscribed.
The Premise: Cozy Mystery Meets Streaming Formula
The series introduces us to Charles, a retired professor who, after the loss of his wife, finds a new purpose as a private eye. His first undercover assignment takes him to a San Francisco retirement community, tasked with solving a jewellery theft. Along the way, he heartwarming rediscovers friendship and connection.
From Documentary Depth to Gentle Whodunnit
Interestingly, the first season of A Man on the Inside draws inspiration from the 2020 documentary The Mole Agent, which followed a man infiltrating a care home to investigate accusations of abuse. The Netflix series, however, opts for a far more anodyne approach, transforming a potentially serious premise into a low-stakes caper. This shift from probing social commentary to a comfortable, risk-averse mystery is emblematic of ‘mid TV’s’ tendency to smooth over any potential edges.
While charming, the show’s lightheartedness often feels schmaltzy and a little too pleased with its own cleverness. The pacing can be glacial, and the plot, stretched thin across eight 30-minute episodes, is often spoon-fed to the audience, making it prime for second-screening.
Season Two: Expanding the Universe (and the Ambience)
Following the resolution of the first season’s central mystery, Season Two sees Charles craving another challenge. His new quest involves a stolen laptop and a protest at a college, forcing him to pose as a visiting professor. This expansion, however, comes with its own set of ‘mid TV’ tropes.
To capitalize on audience investment from the first season, characters from the retirement community are shoehorned into the new narrative, despite having tenuous connections to the plot. While Charles’s daughter and her family return more plausibly, the introduction of new quirky characters, like Julie’s estranged ex-con mother and her eccentric boyfriend (played by Michael Schur favourite Jason Mantzoukas, who often delivers the season’s only truly funny moments), feels more like a checklist item than organic development. Ted Danson’s real-life wife, Mary Steenburgen, also joins for a romantic subplot, adding another layer of familiar comfort.
A Comparison: When Risk-Averse Meets Quirky
A Man on the Inside frequently invites comparisons to other citizen detective series, notably Disney+’s critically acclaimed Only Murders in the Building. Both feature older male leads (or two) and a deadpan younger woman. However, their approaches to comedy and weighty themes diverge significantly.
Only Murders in the Building bombards viewers with jokes—some old-school, some ingeniously clever, some thrillingly edgy—and genuinely probes themes of isolation and connection. In contrast, A Man on the Inside limits itself to risk-averse humour, touching on themes like old age and isolation but rarely delving into them with any real depth or subversion. The mystery, much like the comedy, is resolved in an utterly predictable fashion.
The Verdict: More Background Hum Than Binge-Worthy Gem?
Ultimately, A Man on the Inside is unlikely to be watched for its groundbreaking mystery or its riotous comedy. Its true purpose, and perhaps its greatest success, lies in its ability to serve as ambient entertainment. It’s a show designed to fill the silence, a gentle hum in the background while viewers engage with something more captivating on their phones or tablets. This makes it a perfect example of the ‘mid TV’ phenomenon, a testament to how streaming giants prioritize agreeable, unobtrusive content designed for passive consumption. For a deeper dive into the ‘mid TV’ concept, you can read the original New York Times article.
So, if you’re looking for something pleasant, undemanding, and utterly inoffensive to keep you company, A Man on the Inside is waiting for you to press play on Netflix Canada.
