Are You Happy With How You Watch TV?

Recently, we found ourselves pondering over the viewing habits of contemporary TV viewers. This reflection was sparked by the passage of a decade since Netflix introduced its binge-drop series, House of Cards, revolutionizing television consumption. We also considered shows like Shogun and Hacks, which are released weekly. Our question: Is there a shift in preference towards on-demand streaming releases or is the traditional weekly rollout making a comeback? Are we alone in our curiosity about these trends, given that New York coined the term “couch potato”?

In order to satiate our curiosity, we collaborated with the Vox Media Insights and Research team, who in turn collaborated with analytics firm Two Cent Insights. This collaboration enabled us to survey over 2,000 U.S. adults who watch TV content at least three times a week on streaming platforms. Our questions aimed to understand their connection with TV: What are the current sentiments towards binge-watching shows? (They’re varied.) Do younger viewers (ages 18 to 27, or ‘zoomers’) have different feelings about shows and streaming services compared to millennials (28 to 44), Gen-Xers (45 to 58), or boomers (59 to 77)? (Yes.) Furthermore, we explored how the success of the binge model has impacted the content produced by these services. The results? It’s a complex story.

We facilitated a discussion among our critics Nick Quah, Kathryn VanArendonk (TV critic), and Josef Adalian (streaming columnist) to analyze the significant outcomes of the survey. They delved into these findings, shedding light on our connection with the primary method of TV consumption in the 21st century.

Nick Quah: One key finding from the survey is that most people switch between watching shows in chunks and following a regular broadcast schedule. Nowadays, this behavior seems commonplace, but the concept of “binge-watching,” largely promoted by Netflix, has only been around for about a decade. Given your extensive experience with television, I’m curious to learn more about what watching TV was like before Netflix. Could you share some insights into that era?

Joe Adalian: Firstly, it’s important to clarify that Netflix didn’t originate the concept of binge-watching. In fact, the earliest instances of binge-viewing can be traced back to marathons on traditional television. For instance, independent stations used to air New Year’s Day marathons of shows like The Twilight Zone. Cable networks, with their extensive programming hours, also contributed to the popularity of binge-watching over time.

Media in a physical form also influenced behavior significantly. VHS tapes played a part, but they were costly; it was DVD boxed sets that truly made bingeing more commonplace. TiVo and DVRs further facilitated this, yet one’s enjoyment was still subject to the network schedules and limited hard-drive storage. However, Netflix and streaming services revolutionized the experience by making it effortless and efficient. The release of “House of Cards” in 2013 signified the debut of a binge-released show, marking a new era for TV viewing habits.

Kathryn VanArendonk admits to an act of unlawfulness: During my college years, I frequently engaged in streaming content that was illegally downloaded. Many others were doing the same thing back then, driven by the popularity of DVD boxed-sets during that period. The TV industry was shifting towards providing content for viewers who could watch shows at their convenience rather than adhering to a fixed schedule. Shows like Lost and The Sopranos, which were highly serialized, benefited from being watched in order, and the emergence of DVRs and DVD boxed-sets made it much more convenient to do so.

Netflix’s introduction significantly shifted the perception, making it commonplace for viewers to enjoy ‘on-demand’ content rather than the exception. Before Netflix, if you wanted to watch ‘Grey’s Anatomy’, you had to wait until 9 PM on Thursdays. However, with each episode of every season of ‘Grey’s Anatomy’ available on Netflix, the show’s scheduled airtime seems almost irrelevant to its existence.

K.V.A.: What specific updates or changes has Netflix made that allow us to watch a TV show at our own convenience, thus providing a more personalized viewing experience?

On the weekend when House of Cards debuted in 2013, it was thought that releasing all episodes at once was insane. The idea back then was to encourage people to subscribe to Netflix for three months instead. They argued, “No, it’s convenient.” We assumed it was a trick, but they designed this show to be highly addictive. I ended up watching it all in just 72 hours. This shift marked a change in the way shows were created. Previously, we would binge-watch to catch up or re-live experiences. However, now, the initial viewing period for a project became the binge session itself.

⛓️‍💥 churn is generational 🗑️

I find this discovery fascinating as it highlights how audience behavior varies across generations. For instance, Gen-Z and millennials tend to categorize themselves as binge-watchers more often than boomers do, and they adjust their viewing habits accordingly. Kathryn, has this realization influenced your perception of what a TV show truly is?
K.V.A.: Initially, we had many discussions about the definition of a streaming television episode. Was it fundamentally different from linear or cable shows? It took approximately two years for the norms to evolve so much that I can now analyze a Netflix series and confidently state, “This has a distinct structure and demands unique considerations compared to a network series, a premium cable series, or an HBO series.

In simpler terms, Netflix shows tend to have episodes that lack a strong, self-contained narrative structure, instead presenting a series of events or plot points (often referred to as “story beats”) and character developments (arc). Additionally, the cliffhangers between episodes are not as impactful or substantial as those in other storytelling models. This style differs from more traditional methods of storytelling.

A Linear Show and a Streaming Show in 2025: A Comparative Analysis
K.V.A.: In essence, a linear show is designed to deliver a self-contained story within each episode, providing enjoyment for the viewer on an individual basis without necessarily following an episodic plot structure. The thematic unity of an episode, like in Mad Men, adds depth to this experience. On the other hand, a streaming show may not have thematically cohesive units but often incorporates a dramatic structure, as exemplified by HBO’s The Last of Us, which can feature departure or flashback episodes.

Over the past decade, these definitions have evolved, with the rise of streaming services allowing for more experimentation in storytelling formats. This shift has led to a greater emphasis on binge-watching and non-linear narratives, shaping the modern concept of what constitutes an archetypal streaming show.

Historically, TV series seasons have followed similar patterns, with few exceptions like “The Pitt“. These shows often blend together due to their consistent cast, lack of diverse guest stars, similar directing styles, and predictable storylines such as episodes set at the beach. However, “The Pitt” breaks this mold by presenting a single, continuous narrative from the first episode to the season finale, creating a cohesive, interwoven movement throughout.

J.A. believes that streaming has expanded significantly and taken on various shapes, even Netflix offers shows with an episodic structure. In his view, the defining characteristic of a typical streaming show is one that feels like it could be divided into eight full-length movies and numerous miniseries with follow-up sequels. He also points out that the concept of six-hour films – which streaming services pioneered and some critics criticize as not being television – represents a unique blend of TV and movie formats.

In the realm of conventional television programming, there’s diversity as well. For instance, shows like Matlock or Elsbeth follow ongoing storylines, yet they also have individual episodes that can stand alone. On the other extreme, series such as Law & Order and sitcoms consist of self-contained episodes where each installment tells a complete story on its own. Even before streaming platforms emerged, TV was progressing towards greater complexity in this aspect, as exemplified by Alias. With this show, you could start watching at any point and still grasp the individual episode, but if you tune in weekly, your understanding deepens because you’ll catch more of the overall narrative.

Yes, but I’d like to add some nuance to that. Linear TV networks don’t necessarily rely on everyone watching a show immediately upon its premiere, unlike movies. Successful TV shows do indeed need to engage viewers from the start, which is why marketing efforts are focused there. However, if a show doesn’t resonate with audiences right away, linear networks can adjust by moving it to a different time slot or providing better lead-ins. Linear TV serves as a marketing tool in some ways, helping connect audiences with projects. But it’s not always about immediate viewership; there’s an element of nurturing shows over time if the network has confidence in the project and sees signs that viewers are responding positively.

Establishing a routine with shows such as weekly episodes, designated viewing times, and appointment television helps foster a habit of returning to that show for several months. Essentially, it reinforces the idea, “I enjoy this program, so I’ll keep coming back.” Interestingly, streaming services rely more on immediate viewing, as if you don’t instantly connect with an episode, there’s a risk you might forget about it and move on, leaving it in your queue.

K.V.A.: The trend of younger viewers binge-watching shows raises an intriguing point: how should we approach creating, promoting, and marketing TV content when the audience isn’t engaged in a shared, week-by-week experience? This business model may prove more difficult if it relies on large backlogs rather than consistent moments to market.

I don’t believe the preference for simultaneous viewing among Gen-Z viewers is set in stone for their entire lives. There are methods, such as algorithmic behavior and new platforms, allowing shows to have peak moments. For instance, audiences watch clips of “The Good Doctor” on TikTok. However, they aren’t watching together in a way that conventional ratings systems like Nielsen recognize.

Even though shows like “The Pitt” and “The White Lotus” are connected to modern release schedules and traditional TV programming, they can still create an atmosphere reminiscent of monoculture due to the diverse platforms where shared experiences can emerge. For example, there’s a lot of discussion about “The Pitt” on TikTok, indicating that even those who typically avoid such gatherings might be drawn in if the event is large enough and trending.

As a passionate film enthusiast, I’ve noticed an intelligent shift in streaming platforms’ strategies lately. They’re learning to cater to both binge-watchers and those who prefer a weekly release schedule, rather than strictly adhering to the Netflix model, which can be quite rigid.

While there are indeed many viewers who enjoy consuming all episodes at once, shows like “The Pitt” have demonstrated that a weekly rollout strategy combined with traditional scheduling can be successful. For instance, Max released one episode every week after the initial two, and instead of dropping new episodes at inconvenient hours like 3 a.m., they chose to release them at 9 p.m. ET on Thursdays – a more common and viewer-friendly time slot.

This approach differs from Netflix’s strategy, which often releases shows late at night for maximum internal data collection. However, Casey Bloys, the head of Max content, questioned this practice, saying, “Why are we doing that? That’s dumb.” In essence, he recognized the value in accommodating viewers’ preferences and schedules over prioritizing raw data numbers.

By scheduling releases, a significant number of viewers may not tune in immediately, but you essentially receive multiple weeks of free promotion from those who do watch. Social media buzzes with episode snippets, leading to increased viewership that doesn’t occur during the initial broadcast period. This marketing strategy is effective because it doesn’t cost any additional money for the production team to release episodes over a four-month span compared to all at once. Essentially, the internet acts as their advertising platform, capturing viewers’ attention and contributing to higher ratings. The impressive viewer numbers for shows like “The Last of Us” or “House of the Dragon” are not just from Sunday night viewers – they come from adding up the people who watch over a 40-day span, potentially reaching as many as 30 million viewers in total.

Netflix has persistently maintained a strategy that initially proved effective in launching its service and setting it apart from others, however, this approach may not be ideal for keeping its content top-of-mind among the public.

In what stage are we with the project of merging the advantages of traditional linear TV and the benefits from streaming?

K.V.A.: Right now, you can watch many different shows: there’s Elsbeth, Matlock, High Potential, all these network-style programs, plus everything available on Netflix. Having so much TV to choose from is great. The problem is that we haven’t yet found a model for combining the hybridization you mentioned. However, I remain optimistic that shows like The Pitt may lead us in the right direction for more streaming content.

J.A.: Many platforms are trying out new approaches, such as airing blocks of streaming series during their peak broadcast hours. Shows like “Paradise” are now being aired linearly on ABC following their weekly release on Hulu. Initially, “Paradise” could have been a binge-watch show, and perhaps would have been more effective in that format given its design. However, it’s essential to create diverse types of shows for various audiences. It’s all about finding the right balance.

I want to run these two lists in the findings by both of you:

As a dedicated cinephile in 2024, it turns out that some of the most-watched series among my peers included Yellowstone, The Boys, House of the Dragon, Stranger Things, Bridgerton, Grey’s Anatomy, Criminal Minds, The Office, Ted Lasso, and even a revisit to Game of Thrones. Quite an eclectic mix, isn’t it?

In 2024, the television shows that attracted the most viewers each week were 90 Day Fiance, Big Brother, Survivor, Love Island, The Bachelorette, The Masked Singer, The Boys, House of the Dragon, and surprisingly, Evil.

It’s clear that the main themes that catch my attention are quite substantial. The weekly series have a significant connection to reality. I find it intriguing that there aren’t many traditional comedies on the binge list. Additionally, shows like Game of Thrones and The Boys, which have become major cultural phenomena, especially among men, can thrive in both types of release schedules.

It’s no wonder that reality takes a front seat in the weekly lineup. “Survivor” consistently outperforms other shows across all age groups, boasting twice as many adult viewers under 50 as any other television program on Wednesday nights based on Nielsen’s same-day ratings. While shows like “Chicago” on NBC have a larger overall audience, they trail significantly behind in the key demographic of adults under 50. The appeal for younger viewers lies in watching “Survivor” live to avoid spoilers.

The reason for the success of something similar to House of the Dragon lies in the fact that audiences are drawn to unexpected plot developments. These shows offer shared experiences, making them more engaging. Therefore, the key question becomes: How can you structure your series to provide these twists? How do you turn them into events people crave to watch as soon as they become available rather than whenever they find the time?

J.A.: Indeed, unscripted programming plays a crucial role in the survival of linear television. Firstly, it’s less costly to produce than sports and scripted shows, making it more common. Secondly, while it may not have as large an audience as these other genres, it often attracts younger viewers, which advertisers value highly. Lastly, shows like The Voice and American Idol, once thought to be fading based on their declining ratings a few years ago, are still going strong because they have dedicated viewership that tunes in week after week.

Netflix is venturing into this as well: They’re moving the popular YouTube series “Pop the Balloon” to a live reality TV show, marking their first weekly live reality program. Additionally, they have secured John Mulaney’s show. This move is strategic because these shows are relatively inexpensive compared to productions like “Stranger Things,” and they encourage viewers to schedule their viewing times with Netflix.

For quite some time, Netflix didn’t face issues with users opening its application, but as other streaming platforms grow and audiences perceive Netflix as less valuable, leading to cancellations, it becomes necessary for them to offer compelling content to draw viewers back. I suspect they might introduce a live talk show airing episodes on Tuesdays, Wednesdays, and Thursdays, followed by a major event on Fridays. While they may not openly acknowledge it, there seems to be a slight challenge in encouraging users to reopen the app, and they are actively seeking solutions for this issue.

As a film enthusiast, I’ve noticed Netflix has been experimenting with their release strategy for shows like “Love Is Blind,” opting for chunked episode drops instead of all episodes at once. This approach seems to strike a balance, allowing viewers to savor multiple episodes over the weekend while still providing cliffhangers and long-term marketing benefits. Whether this weekly format will prove successful remains to be seen, but John Mulaney’s latest show serves as an intriguing, albeit not universally appealing, test case due to its specificity and relatively small scale. It’s not the kind of show you’d release expecting it to appeal to all four quadrants of the audience.

⏱️ time runs out ⏱️

As a movie enthusiast, I’ve noticed that there seems to be a common issue across various streaming platforms: choice overload. A recent survey revealed that around 41% of users spend between five to ten minutes browsing before losing interest, with Gen Z and millennials taking slightly longer. The process of finding something to watch feels more like a chore than an enjoyable experience. Could it be the design of home pages that’s causing this?

J.A.: Alleged top ten.

I’m interested to know, even if the information isn’t precise, what content is most popular among users on this application?

The issue I encounter with Netflix, which is similar to other streaming platforms, is that it often does not alert me when there’s a new episode or season of something I have previously watched. Despite the claim that algorithms can predict viewing habits based on data, it seems to be poor at recommending content that truly interests me. It could be due to my broad range of viewing preferences as a critic, making it difficult for the algorithm to discern patterns from my extensive watching. My kids also have their own profiles, and I find they frequently browse around aimlessly on the platform.

J.A.’s Description: I have two versions of my home page – the practical and my dream one. My preferred choice is the interface of my Apple TV device. It gathers content from all your subscriptions into a single stream. Upon opening, you’ll see a flow of everything available on Apple, followed by “Continue Watching.” This section highlights any new episodes of shows I’m currently following. The platform intelligently monitors my progress across the leading services (except for Netflix, which doesn’t cooperate with Apple). It’s beneficial since users seek a seamless experience where they can easily keep up with all the latest content in one place.

In a nutshell, I’d recommend streamers to establish distinct sections within their apps, allowing diverse experiences on the main page. Back in Netflix’s story eight years ago, I talked about their multiple channels, or “themes.” For instance, you could have a channel dedicated to fans of “Virgin River,” another for “Hot Frosty” enthusiasts, and so on. There could even be one that focuses on reality shows. While some platforms already offer such hub experiences, they often lack proper organization. What’s needed is better curation. Service providers should take on the role of programmers, carefully selecting and arranging content to enhance user experience.

It would be beneficial if they had a clear understanding of the bigger picture of their own coding, which doesn’t always seem apparent to me.

decision fatigue 🤝 nostalgia watches

This finding suggests to me that the allure of familiarity might be undervalued, given our tendency to prioritize novelty in what we perceive as exciting. Additionally, it seems that there’s a lack of effective strategies for bringing older content to light and presenting it to audiences who are already consuming similar new content. This opens up a significant opportunity for exploration.

When you consider this information, what insights do you draw?

Nostalgia, with its strong influence, hasn’t always been fully utilized by streamers. However, it wasn’t really shocking when shows like Suits drew attention at Netflix, as revisiting old series is quite common. In the golden age of syndication, some of the most-watched TV shows were actually ones from a decade earlier, broadcast late at night. Reruns of Friends and Seinfeld were highly successful, and The Big Bang Theory has been dominating cable for around 15 years now.

The reason for this is that traditional TV stations scheduled specific time slots for their shows, which made it easy for viewers to know where and when they could watch them. However, streamers have removed this structure, leaving us without a defined time slot or the sense of “this is the time of day when I get what I want.” If we were to modify our home page layout according to the time, there might be ways to reintroduce some semblance of this structured viewing experience.

People appreciate the ease of sitting back and enjoying television, but streaming services require more active engagement. FAST (Free Ad-Supported Streaming Television) aims to address this issue, however, many FAST platforms are lacking – they’re essentially just a mix of random content without any thoughtful organization. The art of television programming lies in curation, which includes scheduling and programming. If these aspects return, it could alleviate some viewer frustration from not being able to find content easily. There’s no reason why Netflix can’t adapt to this approach.

🐣 binging up baby 👩‍🍼

It makes sense to me. Parenting in the early stages can be isolating, and often, one seeks television as a means to share in a collective cultural experience. This is similar to attending a preschool party and discussing shows with fellow parents, as it’s something you can connect over. You might find that new parents are more likely to engage with TV recommendations online, binge-watch shows, and discuss them with others, since they crave these shared experiences.

In certain instances of your life, you may find yourself craving appointment-style television, as your time to watch TV becomes more constrained. At the same time, you might be scrutinizing your finances and deciding that spending on Netflix this month isn’t feasible because you’ve chosen to pay for Peacock instead. The reason being, only Love Island USA from Peacock can help you endure this phase of your child’s teething.

If we only surveyed Disney+ users, I think we’d find lower subscription cancellation rates. This platform, being the pioneer among legacy companies to seriously compete with Netflix, and backed by strong Disney marketing, has become a must-have for many parents. With a vast library at its disposal, much of its viewing time comes from revisiting old content, which seems to be quite effective.

K.V.A.: Bluey’s on Disney+. That’s all I need.

🫶 a messy relationship 👎

It appears that there’s still some controversy surrounding the act of binge-watching. Could it be possible that this perceived negativity influences how streaming platforms approach their engagement with viewers?
K.V.A.: The discourse about this behavior has been somewhat judgmental, like “Oh my goodness, people are binging,” which brings up negative connotations such as a lack of self-restraint or social interaction. It’s almost like everyone is holed up in their own Wall-E pod on the spaceship. These perceptions are misguided and fail to consider what binge-watching truly represents.

The act of binge-watching is often connected to broader discussions on the downsides of excessive screen time. However, we seldom ponder the distinction between saying “I binged something” and “I spent 20 hours looking at my phone,” both carrying positive and negative connotations. It’s crucial that we shift our focus beyond this terminology. As for my children, I prioritize considering what they’re consuming rather than merely focusing on the amount of time they spend watching.

In simpler terms, is spending an entire weekend watching all eight episodes of a Netflix series equivalent to consistently watching a show for days on end without taking breaks? While we didn’t clarify this in our survey, it seems that some might argue that the latter instance constitutes “super-bingeing.” This term wasn’t explicitly defined in our study, but it generally refers to an extended period of uninterrupted viewing, as opposed to a more casual binge. Some people might consider watching older shows like ER or Grey’s Anatomy for several weeks while neglecting current content as an example of super-bingeing. This behavior could potentially be influenced by Netflix’s strategy, which aims to keep viewers engaged and away from other programs for extended periods.

In tandem, networks and streaming platforms recognize the necessity to develop extended binge-worthy experiences for viewers. These platforms are indeed pondering over future viewing habits. One explanation behind Casey Bloys’ decision to produce 15 episodes per season of The Pitt is his observation of the fate of Suits. He aspires to create a series with around 120 episodes, which can’t be achieved if only eight episodes are produced in three or four seasons. It’s understood that they need to produce shows with extensive episode libraries to cater to the next wave of binge-watching sessions.

Appreciate the valuable insights from Two Cents Insights, a niche research firm that collaborates with businesses and digital platforms to convert research findings into practical strategies. They excel at bridging the gap between consumer requirements and corporate objectives, leading to unique marketing approaches and customer-focused product innovations.

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2025-04-18 19:57