Binge or watch live? Viewing habits change as pandemic recedes


The success of weekly episodic shows such as Mare of Easttown and Wandavision are leading to shifting viewing habits as streamers shift from bingeing to weekly releases.

Whether it's bingeing or the weekly release strategy, Disney's Loki, HBO's Mare of Easttown and Netflix's Bridgerton each are offering viewers different ways to stay tuned.(Marvel Studios, HBO, Liam Daniel/Netflix)

Adjust your calendars accordingly, Wednesday is the new Friday.

According to Disney.

The studio recently announced that it will begin releasing all its original series on Wednesdays.

Home to many popular Marvel and Star Wars episodic series, Disney+ kicked off the move with the recent launch of the god of mischief's own series, Previously fans of and had gotten accustomed to ending the work week with a fresh episode. And while the shift to Wednesdays may seem a little mischievous itself, IGN senior streaming editor Julia Alexander says it demonstrates how much Disney has to offer.

"I think it shows how powerful their arsenal of content has become, where they can go, 'We don't necessarily need to designate one day as our go-to day for new content.'"

Owen Wilson, left, and Tom Hiddleston star in the new streaming series Loki, the first orginal series on Disney+ to debut new episodes on Wednesdays. (Chuck Zlotnick/Marvel Studios)

When the pandemic began, viewers were waiting for seasons, not single episodes. Locked down and hungry for distraction, Netflix shows such as and offered a convenient way to consume entire seasons.

Now, with fans speculating over the next reveal in or the twisted timelines of audiences are rediscovering the pleasures of weekly episodic television.

Kate Winslet in a scene from HBO's Mare of Easttown. (HBO/AP)

Michelle Lovretta — creator of the Canadian shows and and a consultant on sees the return to the weekly viewing model as another phase of our pandemic-coping strategies.

"I think a bunch of people definitely started craving the anticipation of appointment viewing again, like a weekly serotonin hit," she said. "We didn't have much to look forward to, but we could look forward tothat."

Pros and cons

Screenwriter and producer Elan Mastai (, says bingeing also offers writers more control — they can work without fear of being cancelled mid-season. But he says that model might not be sustainable.

"It's very expensive for Netflix to do what they do," she said. While the streaming giant has so much content it can afford to drop entire seasons of multiple series in a single month, she says: "Profit-and-loss wise, that is an expensive, not cost-effective strategy to compete with Disney."

Both Alexander and Mastai agree streamers such as Netflix might begin adopting the weekly episodic model for certain premium titles. Netflix has already started releasing the reality shows andon a weekly basis.

Lost Girls and Killjoys creator Michelle Lovretta sees the return to the weekly viewing model as another phase of our pandemic-coping strategies.(Michelle Lovretta)

Perhaps more importantly, weekly releases help with the holy grail of streaming video, subscriber retention.

"If you drop all at once," said Mastai, "you only have to sign up to Netflix for a week to watch. Whereas if a show is being delivered over the course of four or five months, you're subscribed for months, spending time sampling and getting hooked on other shows."

Lot of debate over weekly release vs binge when the answer is a little from Column A, little from Column B. (We know this but nuance is lost on Twitter)<br><br>A show like Loki or Stranger Things? Benefits from weekly. <br><br>The iCarly reboot? Drop it all at once. Why is it weekly at all?


But Alexander says there are certain snackable comedies that lend themselves to bingeing. Sitcoms such as or have deep catalogs, so viewers can keep coming back to watch multiple episodes.

What bingeing lacks is the social aspect of being able to react in real time with other fans.

Lovretta says one of her favourite things about "live" television — in this sense, watching an episode as soon as it drops — is having a group watch a program together, even if they're gathering virtually on Twitter. She says she doesn't miss sitting in movie theatres — overhearing some guy talking to his friend about the flick — but says she'll "talk to them for fricking hours online about a single episode of ."

Me waiting for HBO Max to work so I can watch the finale of <a href=";ref_src=twsrc%5Etfw">#MareOfEasttown</a>. <a href=""></a>


The pleasure is the waiting

For Mastai, part of the pleasure of television is the waiting. "That little bit of patience, a little bit of suspense." He says, in the writing room for they try lean into that.

"You drop an episode and there's a gigantic twist at the end and you can't find out so you just have to sit and wait," he said.

Sometimes I miss the conversations that flowed in real time from appointment television. Binging is great, but our viewing is so fractured that small-scale conversations can occur but not sweep through the entire culture.<a href=";ref_src=twsrc%5Etfw">#StrangerThings2</a>


He says because they know viewers are dissecting and rewatching episodes, they add extra content. "We packed little clues. We packed all the nuance and detail that you might not have caught the first time," he said.

For Mastai that's what makes serialized stories satisfying. For the streamers, it's an economical way to retain subscribers as competition increases. A newly released report from the research film OMDIA found for the first time in the United States the average number of video streaming services used by consumers dropped from 7.23 in November to 7.06 in April.

Alexander also says customers are reaching a limit of how many services they'll subscribe to. She predicts an upcoming "period of mass consolidation" will leave a final three — Disney+, HBO and Netflix; and that weekly releases could keep viewers tuning in.

For producers such as Lovretta, it comes down to quality. Whether you click play or wait to watch it live, she says giving audiences amazing worlds and characters they want to spend time with is the key.

As for how to watch, she wants both.

"My ideal format currently is probably streaming, because I love that the audience can choose," she said. "But ideally I'd still have a weekly viewing party component. I guess I'm greedy, I kinda want it all."

Canadian screenwriter Elan Mastai is a supervising producer and writer on NBC's This is Us. (David Leyes, Ron Batzdorff/NBC)

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