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We spoke to television scholars and media psychologists on whether marathon viewing is really enhancing our experience, beyond the buffet. If we can have everything, does everything mean anything?

"Even a single episode has so many highs and lows that by the end of it you're so beaten up, you're less receptive to the emotional and intellectual ideas being put forth. Yet still we click and watch another one."

Netflix says it's more organic that way – it also means that if you don't do anything the episodes will just keep on coming.

With more traditional distribution models there is arguably more of an opportunity to let the experience sink in, find an appreciation and look forward to the next part of the journey.

"Breaking Bad has become the greatest example of the perfect show for binge viewing, he tells us. "Not only is it okay to binge view a series like that, but it is a better way to watch it.

you can understand the inner workings of these stories if you view them in more concentrated chunks

binge watching is the antithesis to how TV traditionally works.

Now, thanks to the advent of high-speed internet and the connected services they've enabled, technology has surpassed the content.

Ironically enough, the week-to-week format we enjoyed/endured during our last hours with Jesse and Walt proved to be an anomaly for millions who latched on to the growing buzz and raced through the previous five-and-half-seasons during the 12-month pre-climax hiatus – the binge before the episodic storm.

"I think Breaking Bad is probably as close as we're going to come to such a universal, cultural televisual event again," said film and television historian and associate professor at UCLA Jonathan Kuntz.

Breaking Bad, as it turned out, bridged the two eras perfectly, offering a stunning paradox of each distribution model's merits.

"The generation coming up now, all they're going to know is on demand. What pleasure they derive from anything will come from that,"

Another factor to consider in the great binge debate is that feeling of withdrawal when we run out of new episodes.

"The [binge viewing] experience is so good that you feel physically sad that it's over. That sense you had is more attached to it being a great artistic experience,"

The strength of our desire for gratification plays into a debate the psychologists call Connoisseur vs Addict. The former loves to be present in the moment, can savour the engagement and sees how everything ties into a beautiful package. The latter just needs a fix.

"An addict is working on a two-pronged schema, which is aspiration and completion. Aspiration is thedopamine-fuelled desire to recapture a feeling," he told TechRadar."When you get the completion, it's not about the rush, but ultimately about achieving the aspiration of the completion. When things are that accessible, what happens to the value of the product?"

The study also found that 21% of binge viewers say they remember the ads, compared to 10% of non-binge viewers.

Research shows that 80% of Generation Y, 68% generation X and 49% of baby boomers are likely to be binge viewers. In a survey, 826 out of 1,307 respondents above the age of 18, who watch televised content for more than five hours a week, were also binge viewers.

Research also shows that there is an opportunity for companies like Netflix, which can transcend the subscription-based model and incorporate advertisements in their sources of revenue. They can also come up with new pricing models and offer subscriptions with ads at lower rates.

“This year, we found that consumers want their entertainment ‘selfie-style’ – content centred on them, immediately gratifying, engaging and shareable across their social networks. Brands that can successfully deliver or enhance compelling entertainment to consumers stand to gain through positive word-of-mouth and association,” said Gail Becker, president, strategic partnerships and global integrations, Edelman.

Netflix is like an indulgent parent – offering unlimited sweets without any responsibility on the child’s behalf. Subscribers are spoiled with the model, gratifying themselves on a whim by binging new releases without regard for any psychological implications that may take place. American culture now expects instant gratification: fast food, instant messaging, instant streaming. There is virtue in patience, a virtue Netflix disregards in the name of better serving the consumer. Unfortunately, faster service does not always equal better service.

When network shows are stripped of commercials and sent to Netflix, the viewing experience is somewhat hollowed. Audiences have grown more used to this with TV on DVD and the restructuring of story beats on premium cable channels, but many comedies still require room to laugh and dramas room to breathe. Binging on Netflix turns distinct three-act episodes into an elongated 13th-act behemoth.

Conversation becomes stunted or clandestine, which eliminates much of the buzz that builds pre-season – buzz that is necessary come June when Emmy voters fill out their ballots.

Television executives have a right to be both frustrated with and terrified by the advent of the Netflix model.

Original shows ushered in using the Netflix model, like House of Cards and Hemlock Grove, have cut out the advertisers. Netflix functions as the network, and if the company decides to evolve from simply licensing original programming to actually producing, they’ll be the studio, too. Netflix is making all the money, monopolizing our attention and making poor consumers out of its subscribers. If this model becomes the norm, the producer/advertiser relationship will be pushed to the breaking point.

The folks at Netflix have little to fear. House of Cards executive producer Beau Willimon, in a recent Q&A for Vulture, responded to a question regarding the Netflix model and said, “Our show simply gave people the experience they had already grown accustomed to on Netflix — viewer empowerment. People like being able to decide for themselves when, where, and in what quantities they will watch their content.”

We’ve seen how this user-driven, consumerist approach has transformed the music industry into a shell of its former self.

What is the informed television devotee to do? Netflix is not inherently evil, and at only $8 a month, the access to vast libraries of programming is an invaluable asset. The answer doesn’t lie in unsubscribing from Netflix, but rather in promoting the traditional broadcast model. By watching live, conversing with friends, coworkers and strangers on Twitter, and even purchasing overpriced merchandise from beloved shows, TV buffs everywhere can help keep the industry afloat. In the hands of the responsible, Netflix is a mighty tool for good. In the hands of the ignorant, it’s a weapon that could destroy all television.

But what happens once Netflix reaches the point where profiting only on its own original programming makes more sense than continuing to pay licensing fees, which will skyrocket as the studios jack up prices due to diminished on-air returns? Netflix is positioning itself as its own network, assembling a lineup of programming that will survive the inevitable scripted network TV apocalypse. And once the people lose instant access to former network favorites like How I Met Your Mother and The Office, they’ll rebel by cancelling their subscriptions, the fees will also increase as competition is defeated. But by that point the damage will be irreparable – both television and Netflix will be dismantled by the impatient viewer.

“This also explains how you can sit in front of the TV and binge for hours and hours at a time and not feel a loss of entertainment,” he says. “You brain doesn’t have much time to grow bored.”


Studies show that, by this point, most of your brain activity has shifted from the left hemisphere to the right, or from the areas involved with logical thought to those involved with emotion. There has also been a release of natural, relaxing opiates called endorphins, research indicates.

You’re noodle isn’t really analyzing or picking apart the data it’s receiving. It’s basically just absorbing. Potter calls this “automatic attention.” He says, “The television is just washing over you and your brain is marinating in the changes of sensory stimuli.”

At the same time, the content of your television show is lighting up your brain’s approach and avoid systems, Potter says. Put simply, your brain is pre-programmed for both attraction and disgust, and both grab and hold your attention in similar ways. Characters you hate keep you engaged just as much (and sometimes more) than characters you love.


Like any addictive drug, cutting off your supply triggers a sudden drop in the release of those feel-good brain chemicals, which can leave you with a sense of sadness and a lack of energy, research shows. Experiments from the 1970s found that asking people to give up TV for a month actually triggered depression and the sense that the participants had “lost a friend.”