Jon Stewart and John Mulaney.

Ryan West/Netflix

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Ryan West/Netflix

Jon Stewart and John Mulaney.

Ryan West/Netflix

A week’s work of live programming on Netflix wraps up this evening with the final episode of comic John Mulaney’s twisted talk show re-invention, Everybody’s in L.A.

So it’s worth a moment to consider the double-edged results in the streamer’s attempt to create an avalanche of appointment television in just seven days.

On one hand, you’ve got the juggernauts of Katt Williams’ Woke Foke live standup comedy special last Saturday, plus the roast last Sunday of champion quarterback Tom Brady – humbly billed as the Greatest Roast of All Time.

Both specials dominated Netflix’s viewership charts this week, as Williams’ viral trash talking and a procession of boldfaced names cracking tasteless jokes on Brady’s wealth, good looks and failed marriages kept the country buzzing. (See below how Nikki Glaser stole the show with her barbed cracks on host Kevin Hart.)

And then there’s John Mulaney.

Building an anti-talk show

In truth, my heart is completely with Mulaney’s defiantly oddball project, which turns its back on many of the reasons you would do a show like this live in the first place. He kicks off every episode reminding viewers it is live with no delay, citing the time and temperature.

But he doesn’t really provide much of a reason why he’s delivering that information and he doesn’t reference the day’s news or current events – stuff which can distinguish a live TV event. He takes calls with questions from viewers – which makes sense for a live show – but often ends the conversation by asking what car they drive. When they answer, he hangs up; no punchline or indication why he asked the question.

Everybody’s in L.A. actually feels like Mulaney’s attempt at an anti-talk show, in the same way David Letterman and Conan O’Brien deconstructed and lampooned basic tenets of television. It is often a delicious dance between truly funny surprises and awkward moments, with experts on subjects like palm trees and the paranormal sitting alongside comics like Jerry Seinfeld, Jon Stewart and Sarah Silverman.

Announcer/sidekick Richard Kind and a food delivery robot named Saymo.

Ryan West/Netflix

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Announcer/sidekick Richard Kind and a food delivery robot named Saymo.

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But Mulaney’s show has run out of gas over time, slowly becoming less entertaining each night. Mulaney has also discovered a painful truth about standup comics who become TV hosts; it’s tough to ask questions of guests while making them look entertaining.

A flex that hints at the future of live streaming

Mulaney’s fading experiment, along with the Brady roast and Williams special, are part of the Netflix is a Joke Festival, which features hundreds of comedy performances across Los Angeles – a gigantic flex aimed at showing how the streamer has become the go-to destination for veteran and emerging comics.

But these projects also felt like a test of Netflix’s ability to offer live programming without glitches, which would also rack up lots of viewing time.

It’s obvious that there are two types of TV programming where streamers are still struggling to match the success of traditional platforms like broadcast networks and cable channels: live spectacles, including sporting events, and topical news and talk shows. So it means something to see streaming’s most successful service try to present several days of live programming with a similar energy.

Netflix probably sees this week as a roaring success. People are still talking about the Brady roast in other corners of media, as participants pop up on assorted TV shows and podcasts. And they have more live content coming, including a boxing match in July between 27-year-old Jake Paul and 57-year-old former heavyweight champ Mike Tyson, and WWE professional wrestling shows next year.

There’s even rumblings that Netflix may work out a way to get an NFL pro football game or two.

Indeed, even as Netflix has pioneered the idea of binge watching TV on the viewer’s schedule, it’s also plain that fans want appointment television. These are shows so special, you have to watch them as they are happening – either because you can’t wait, or to avoid spoilers, or to have a communal experience.

The Williams, Brady and Mulaney shows prove Netflix can offer more of these moments. Charting what form that takes — and how their competitors react – will probably be one of the most important media stories of the next year.

Nemo of Switzerland, who performed the song “The Code,” celebrates after winning the grand final of the Eurovision Song Contest in Malmo, Sweden, on Saturday.

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Nemo of Switzerland, who performed the song “The Code,” celebrates after winning the grand final of the Eurovision Song Contest in Malmo, Sweden, on Saturday.

Martin Meissner/AP

Switzerland has won this year’s Eurovision Song Contest. Swiss rapper and singer Nemo’s song “The Code” impressed both the jury and the public at the popular annual event, held Saturday in Malmö, Sweden.

“It is the most insane thing that has ever happened to me,” the 24-year-old vocalist said at the post-event press conference.

“The Code” explores the artist’s nonbinary identity in a flamboyant mashup of opera, rap, drum-and-bass and electronic dance music.

Nemo was one one of two nonbinary singers to compete in the Eurovision Grand Finals this year, along with Ireland’s Bambie Thug.

Switzerland narrowly beat pre-competition favorite Croatia — earning 591 votes compared with the runner-up’s 547 — in an event that was not without controversy.

Security was tight for Israel’s entrant, Eden Golan. She received some boos and turned backs during her performance but placed high at the event, coming in 5th with 375 votes.

Thousands of protesters opposed to Israel’s war in Gaza rallied outside the Malmö Arena in the days leading up to the finals, calling for Israel’s disqualification.

Meanwhile, Dutch contestant Joost Klein was disqualified just hours before the finals began over a complaint lodged by a female production team member. Police said they are investigating.

Switzerland took first place at the very first Eurovision Song Contest in 1956. Until now, the country has only won one other time — in 1988. The top entry that year, “Ne Partez Pas Sans Moi,” was performed by a then-little-known (and non-Swiss) singer who would go on to become one of the most successful vocalists of all time: Céline Dion.