It is no surprise that the cruel April fool's joke with Joss Whedon's Firefly relaunching for a 2nd season via NetFlix, for a moment, was mentally acceptable. With creative minds conducting some shows on NetFlix such as Orange is the New Black and -- if anyone could do it, NetFlix would be the creative flow that would make it happen. The construction of TV-programming and how people choose to consume what they like has completely turned on it's head. The content outside of "film and television" (whether on the big screen or at home) allows for a huge variety of creativity and interactivity that is unprecedented from what was seen 10-20 years ago. The way in which Hollywood traditionally implemented broadcast TV is becoming a thing of the past. What used to be 'programming' in regard to home entertainment is now play and go on the go. This includes play and go for YouTube, Netflix, and a plethora of new things on the horizon. The 'on-demand' aspect now satisfies the prime time hour, and what's appropriate for all ages is converging. It is always the time of youth, and the youth generation through ages 20 have made it clear: This change is due to the livelihood of the DVR, the monopolization of Netflix + YouTube—i.e., the quick fix(es) to decipher what they are most likely watching in their leisure time.
The business model for TV is going through one of it's toughest transitions. Netflix is responsible for how future generations will interpret film. NetFlix's goals of becoming a cultural phenomenon have hit a point. The secret is so simple; it is knowing what the subscribers want.
Netflix began in 1997 as a DVD-only rental mailing service (which, NetFlix was already showing early on that it make's viewing content convenient for users to not go outside their homes). Since kickoff, Netflix has won over 33 million subscribers. With having all-click-access, with only certain titles available in DvD form, it is no surprise the results are demanding. With two original series under its belt for ease of access to its users, House of Cards and Orange is the New Black, it's no wonder the results are through the roof. It works. Paying direct service provides direct results. NetFlix, no doubt, was sensitive to this fact.
Throughout this article I've include examples as to why this is changing how the media is perceived. The entire idea is changing from the business model of programming from the beginning, where we are headed with binge programming, and more importantly, where it will go. Kafka points out in his article, “Youtube is Going Mobile,” that YouTube's usage is defined by 40% of mobile users. This means one can be in the car and quickly singe and binge a favorite clip of Orange is the New Black instead of WAITING to sit next to someone at the right time in familiar environment watching TV-programming, and awaiting that next episode. TV-binging is the here and now of control, the new “newer” black.
NetFlix is genius. NetFlix caters their marketing to the privacy of one's own comfort space and time, working better in a “choose the time you want” manner versus “be here at this specific time to catch your favorite show” manner. NetFlix is the red flag supporting individual choice over control, and getting away with “we own NetFlix” as opposed to the idea of NetFlix owning the subscribers in reality. Theoretically, one could auto-play forever with no commercials, ever. It is so varied across times, as compared to Amazon, where you can still stream similarly, but it's limited to newer/popular titles. This is why NetFlix's clever game is selling, working, and beating the tar out of the cable companies.
Not only are shows going mobile, but radio is a thing of the past. Say hello to the Podcast and user control, the new non-linear expectation of digesting media. The quick fix for the radio is now Pandora, and now people lag behind days on the news, even though they are constantly plugged in. News used to be what was on the pavement at 7a.m., and now news, unlike one's favorite TV shows, are all centered around the reality of in-the-now and what is creatively and intuitively important to the individual user. The rising generation is so stuck on the idea of in-the-now that what is clearly happening 'in-the-now' is slipping into the cracks and becoming abstract forms of media in the privacy of living rooms, homes, and audibly in our own fantasy realms. Subjectively choosing what we watch, as opposed to enriching exposure from what is currently going on, is completely a reflection on the user in charge of what they perceive.
"But, just like everywhere else, 'mobile' also means 'less ad money" This could be pose changes for TV programming in the future. Although there are no ads during a NetFlix stream, NetFlix dumps everything at once. Supporting titles such as Orange is The New Black, place more user-friendly control versus giving a percentage to the advertisements for televisual flow. It's simply not needed and necessary for people to choose what they want to watch. What can be stated from this knowledge is the more and more NetFlix and with neighbors such as YouTube the less TV package subscribers. The competition is on, but the results are clear: As Kevin Spacey put it, 'the people want to have control', and want to keep it that way.
Consider the broadband diet- Kafka states the prime time hours are now dedicated to NetFlix, HBO or YouTube instead of the local TV programming. NetFlix accounts for a third of web traffic, leaving Amazon and Hulu behind in this race (although still occupied by their own multitude of viewers). Amazon is a high spender but people pay low for the products, which is simultaneously competing with NetFlix, Walmart, Ebay and all of the above. The Kindle and other devices are to keep people plugged into their shopping screens. The huge push of influence that NetFlix has is the freedom of creativity running the show with little to no interference, the only exception(s) being internet connection and potty breaks. Televisual flow has been a concern of this for a long time, but NetFlix, along with others, is defeating this continuous cycle with new flow.
Flow is the unseen golden tape that seamlessly holds TV programming (and the way people experience televisual contexts) together. Because of how TV programs are programmed / experienced, it is easy to see why people started using DVR, the hopper, and even at it's earliest, the TV-remote and VCR. Control and flow go hand in hand. “Seen on a global level, such patterns of flow were anything but free or reciprocal”. It is clear why the BBC pays their programming tax, and there are no breaks in hour long programming, whilst compared to the US we have advertising breaks, and even the usage of overlap advertising on the end of an episode to keep you on the same channel to lead into something else. It's discursive, but it works. YouTube is clued in to the bandwagon of flow through its playlists and loop settings -- it contributes to flow in in being a multi-categorical perspective of the way we experience televisual-texts, NetFlix is giving the user free-flowing continual episodes and the process of binging.
NetFlix supports the binge ideal—people know what they want and they want this NOW. This is due to cultural implications, continuity, and demand. The implications demonstrate how the viewers perceive/ binge TV viewing or the “free-flowing” goods. Flow is important in understanding how the TV medium works, and when done right its seamless and holds attention. On-Demand is without FLOW-so does that mean that the concept of FLOW is changing? For TV previously, if not for FLOW, people everywhere would not have an understanding of why it's useful to holding a captive audience. Flow has had a stable climb in attempts to re-consctuct the model of advertising in the continuation of seamlessly holding programming from show to show on any given channel, but this could prove interesting as well as updating the current model. Without flow, TV might have been previously okay wthout advertisements and twitter commentary, but what research shows is it's not absolutely necessary and the need for advertisements may deplete.
House of Cards started it's episodic reign without a pilot and for a little under 100 million, Kevin Spacey declared he felt it was all going to DVD—at the time, that's what NetFlix was the -- happy little red envelopes. According to Spacey's interview, the UK model does not use the pilot model, which obviously works better in United States, but does it really? NetFlix latched onto this idea that characters needed more growing room, and why give such huge exposition in a pilot when these ideas can be explored elsewhere. NetFlix carefully monitors data and the viewers needs.
"The Audience wants the Control" says Spacey. It's true. Why not give people what they want at a reasonable price? He believes it can help with minimizing piracy. He also mentions the device and medium in which we view film versus TV-shows is no different-and that finding the pursuit of meaning is still inherent, despite if the story is an hour long or 22 episodes. It's all only narrative, and audiences are hungry for it. Now, it is a thrust of power. Because of this power streak, it is making HBO look silly. HBO's not alone-NetFlix has won in being different without pilots, and making TV-viewers and producers all over re-think the programming system entirely. NetFlix peak subscribers are at 31 million, while HBO lags with 29 million.
What HBO does have comparatively, is a share with profits of Time Warner compared to NetFlix, which has only licensed their few shows. HBO owns the majority of its shows, so it has money coming from show memorabilia to other networks, and beyond. NetFlix does not have quite that grasp...yet. It's becoming clear that NetFlix is like a job-if you want it, you have to be as clever as NetFlix.
NetFlix got it's red fire start via Reed Hastings, the philanthropist who pays close attention to detail and how things work in the industry. NetFlix's followed some of the intrinsic Hollywood ideals of 'hire big names, pay big bucks'. NetFlix, unfortunately, 'does not have a small equity piece of content' which means they are spending for content what they ultimately do not gain back otherwise. In the end, this isn't the best idea for NetFlix, although it equals more subscribers as compared to making money of the shows they own. A similar business model may be pictured much like Amazon in retail. Picture that for a moment. The other downsides connected to NetFlix is now people are starting to copy what makes it continually successful -- so NetFlix has to constantly stay on top-or-change the game, much like halftime at a football game. NetFlix has a quick turn around, but others, much like FX throwing 750 million for the rights to air the 550 episodes of The Simpsons, takes a sharp stab at NetFlix.
Another point of view on binge watching, according to James Poniwozik of the Times is that there are still ways in which TV-binging should not be taken for granted—his individual take on binging is that people as whole need to slow down. He claims, “Marathon viewing destroys much of what is best about TV: episodes have their own integrity, which is blurred by watching several in a row. Cliffhangers and suspense need time to breathe...3. Episode recaps and online communities provide key analysis and insight...4. TV characters should be a regular part of our lives, not someone we hang out with 24/7 for a few days and then never see again....5. Taking breaks maintains the timeline of the TV universe.” Although Poniwozik may be onto distinct some points here, it is not a damaging argument that it's still okay to binge, with respect to the information overload aspect. Marathon viewing (in excess) is detrimental in the same way anything over-stocked or overloaded with information could be; that everything should be in a order and given space is necessary and still takes time to process. With dumps like a whole season of Orange is the New Black, there is minimal time for the in depth character recaps and analysis as it's all upgraded and downloaded daily. Who needs to look up these things that offer insight when they are all in one red, cover coated package?
In another extremist side of the spectrum interpretation, John Eperjesi of The Huffington Post, states that based on a sketch between 2 people that involved them originally going out to catch up with their chums, but instead watch 'just one more' episode of Battlestar Galactica. The couple end up days later still fixed on their couch, drooling and hooked into it, still described a drug-induced on still binge watching their favorite show. This is obviously ostracizing the chances of people getting too closely involved from their natural world into the fantasy realm. Shows are not made with the grandiose ideal of being the ultimate life cure or hangover cure as described in this heavily biased view—where apparently, the writer himself watched 12 straight hours—signifying he is speaking from a personal space, this does not grand factual evidence to the outside realm of happy tv-bingers, and that does not result in NetFlix to blame for these ease of use; although a raw perspective, certainly not a correct one. NetFlix is not the same for everyone—but one thing stays—it's still want people want, and it's wonderful entertainment.
Trending currently on popular sites such as Buzzfeed, is that people are well-acknowledged that they are binge-watching in the media. Recently, a article on the “7 steps of binging” whooped social networks, being shared cross-culturally on the most popular sites such as Facebook, Tumblr, Twitter and the like. Some of the most interesting steps of the 7 included bargaining. “#4 Barganining – A little tiny voice from within starts to whisper. “Wha are you doing? You're throwing your life away.” But you tell it to SHUT UP because you're BUSY right now. But ever so slowly, you start to feel like maybe it's been a long time since you've interacted with another human being or breathed the outside air... “ Although comical, there are psychological implications of this for some of NetFlix audience members as indicated above. Rationalizations of sleep and the daily grind may flow from consciousness when something as new and tantalizing as stream-binging is not just available for one certain series, but it's inevitable to hop to another that you can finish in record time before the next season is released. This is how NetFlix maintains popularity and holds it's continual grasp as the ultimate binge and future business model of programming for audiences everywhere, prime time hour or not.