Less is more? The debate over the modern television series

TV has undoubtedly changed in format and technique over the years, with dramatically changing lengths in seasons. But does this align with consumer viewing trends, or is it simply an easier job for the directors? It is difficult to find a definite answer as to which viewers prefer, and why this change has become so apparent in our regular TV viewing.

Shorter seasons tend to be associated with improved prestige television, but not without a cost. With around 8-10 episodes per season, writers are forced to cut filler episodes and focus primarily on narrative momentum. TV programmes such as Stranger Things, one of Netflix’s most popular shows, has 8-9 episodes per season, reflecting this modern streaming trend. It could be argued that, because of this format, every episode feels significant and engages the viewer. The plot moves quickly and we find there is no wasted moment throughout. As well as this, shorter seasons mean they have a higher budget for the episodes. Stranger Things is a primary example of this because it allows them to include more impressive visual effects, and production techniques, which are needed for the supernatural elements of the show. Due to these impressive and engaging episodes, the story is designed for binge-watching rather than weekly viewing, as we are constantly wondering what happens next. Therefore, it is evident that this format is relevant and suitable for certain TV programmes, but it is dependent on the storyline and how the show is intended to be perceived.

In contrast, longer seasons certainly have their advantages. It can be argued that shorter seasons mean that TV is losing what made it stand out from film. When TV was first introduced, its unique strength was its duration, something that films could not compete with. For example, Friends gained a huge fanbase with a variety of viewers, with 20-24 episodes. These long seasons allow viewers to live alongside characters for months. The show’s appeal came largely from the audience’s relationship with Ross, Rachel, Monica, Chandler, Joey, and Phoebe. Despite the fact that many episodes contributed little to the overall narrative, it allowed viewers to get to know the characters on a deeper level. There are many episodes of holiday specials and dating disasters that have no lasting impact on the plot, yet are crucial because they develop the characters’ personalities and friendships. This supports the argument that television’s unique strength is time. Viewers become attached to characters because they spend hundreds of episodes with them.

While there remains a debate between the different lengths of TV programmes, I strongly believe that the problem simply comes down to the fact that different genres benefit from different lengths. Short seasons work well for thrillers, crime dramas and mystery series, as the viewers are dying to know what happens next and more episodes would simply blur the plot. In comparison, long seasons work well for sitcoms, where the aim is for the viewers to get to know the characters, and feel familiar with them when they are watching.

The contrast between Friends and Stranger Things, alongside many other TV programmes highlights an evolution in television. It has changed from a medium centred on engaging with the characters, to one increasingly focused on cinematic storytelling. The future of TV is uncertain, and whether this shift is signalling progress in the TV industry is similarly unknown, and will likely be a debate which influences the medium for many years to come.