How technology shapes TV shows’ narrative arcs

de la reine Élisabeth” , starring Sarah Bernhardt, had four acts. So do many dramas—but in this case the narrative arc was partly dictated by pedestrian concerns. When the film opened in New York’s Lyceum theatre in 1912 it came in four reels. Projector operators needed intervals to switch from one to the next. In the past century technology and business models have helped shape the message in moving pictures—nowhere more so than in television. Online streaming is no different.

The medium also determines the structure and number of shows’ seasons. As the number of American commercialstations increased from fewer than 600 in 1965 to 1,600 in 2000, they needed more shows to fill schedules. Since new ones are risky bets, broadcasters preferred to stick to existing programmes.

Streaming services like Netflix take the opposite tack to syndication, luring viewers with fresh content that cannot be found elsewhere . Many of the 10m people who signed up for Disney’s new streaming platform by its first day last November probably did so to watch “The Mandalorian”, a Star Wars spin-off. In the first nine months of 2019 seven of Netflix’s ten most-watched original shows were in their debut season.

The upshot of the shift away from syndication and towards streaming has been a decline in the average number of episodes per season. Based on figures for 34,000, a website, this fell from over 20 to under 11 . The number of seasons per series dropped, too, by nearly 70%. Many actors, producers and writers love these abridged runs because they give them the flexibility to take other jobs. Creators also no longer need to worry that their shows will one day be aired sporadically through syndication, so are free to let plots unspool over multiple episodes. Sitcom episodes remain mostly self-contained but serialised drama is “uniquely suited” for streaming, says Sandra Stern of Lionsgate, a production company.

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It’s great when the endings greatly underperform. Game of Thrones vs Lost

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