The "Mad Men" in 4K on HBO Max Debacle

Immediate issue and reactions

• Commenters are stunned that the 4K “Mad Men” release shipped with visible effects rigs (e.g., the vomit hose) and unfinished shots, despite HBO promoting it as a prestige remaster.
• Several note that the show was always 16:9; the problem isn’t reframing but that 4K scans seem to have been used without re‑applying the original digital cleanup.
• People are especially critical that the release apparently went live without anyone watching it end‑to‑end.

Quality control, responsibility, and business logic

• HBO and Lionsgate are reported as blaming each other for “wrong files” being delivered; commenters see this as evidence of a broken pipeline and minimal QC.
• Multiple comments argue that, financially, it makes sense to do the cheapest acceptable job: 4K as a marketing hook, minimal effects work, rely on fans to surface issues.
• Others counter that brand and reputation do matter long‑term, especially for a company like HBO that historically sold itself on quality.

Aspect ratios, cropping, and composition

• The thread frequently compares this case to past debacles: cropped “Simpsons,” “Friends” and “Seinfeld” in 16:9, “Buffy” HD, and mangled framing on catalog TV shows.
• Many argue strongly for preserving original 4:3 framing and composition, criticizing automatic 16:9 crops that reveal sets, booms, or hide jokes and plot points.
• Some note good counterexamples (X‑Files, Babylon 5, The Wire) where creators anticipated new formats or invested heavily in careful reframing.

Restoration tools and craft

• Several posts dive into restoration workflows: dust‑busting and paint‑out tools (e.g., DaVinci Resolve), time‑base correction for VHS, and software like PF Clean.
• Analogies are drawn to audio remastering and color timing: bad “remasters” of Pixar films or music catalogs where original creative intent was lost.

Audience behavior and perception

• A recurring theme: most viewers multitask, don’t notice technical details, and often actively dislike black bars, which incentivizes sloppy widescreen conversions.
• Others insist there’s a niche but passionate audience that does notice — and is exactly who seeks out 4K “definitive” editions.

Enjoying the mistakes

• A minority say they actually enjoy seeing the raw edges: exposed rigs, crew in frame, workprints and behind‑the‑scenes elements, turning the show into a de facto making‑of.