There have been suggestions floating around in comment sections that the Netflix model—the decision to release every episode all at once—eliminates the function of traditional episodic television criticism. With viewers now able to choose the pace at which they watch episodes, potentially watching an entire season of Arrested Development in one session if they’re so inclined, the need for critics to evaluate individual episodes is no longer present. This is doubly the case, some would argue, with the puzzle-like structure of Arrested Development’s fourth season, which further confounds episodic analysis through its choice to emphasize each episode’s connection to a larger story arc one can’t truly appreciate until you’ve seen all fifteen episodes.
We’ve been talking about the former ever since Netflix released all of House of Cards at once in February, and there has been further conversation in the buildup to Arrested Development’s this weekend (including the ridiculous theory that critics are biased against Netflix for destroying their cultural purpose, a claim I responded to here). However, I have to admit that I’m not sure Netflix’s paradigm shift is actually anything close to a paradigm shift. Putting aside the fact that Netflix’s claim we will in the future move to a completely mass-release system of television distribution—which I talked about in a CBC Web Chat last week—ignores a lot of functional realities of the television industry which have permeated even webseries distribution patterns, I still feel like episodic and other forms of television criticism are useful and productive within the space of binge viewing habits.
Any suggestion to the contrary seems to be operating with a very limited conception of how and why episodic criticism is written, which functions in opposition to the ways in which binge viewing can allow us to expand—rather than contract—forms of television criticism in the wake of the binge viewing moment.