Binge watching seems like fun, as any overeater will attest, but it's unhealthy and rarely feels good when it's over.
Binge watching seems like fun, as any overeater will attest, but it’s unhealthy and rarely feels good when it’s over.

Binge watching makes an unhealthy TV diet

In 2019, I resolve to cut back on bingeing. Not at the dinner table, although that would be wise, but at the TV.

I believe TV programmers and viewers will come to regret serving up a show’s entire season at once, enabling viewers to binge watch it as if it were a half gallon of mocha-almond chip.

Binge watching seems like fun, as any overeater will attest, but it rarely feels good when it’s over.

Which brings me to a TV series that has prompted epic binge watching recently — myself included among the over-indulgers. It’s Amazon’s delightful “The Marvelous Mrs. Maisel,” in which Rachel Brosnahan plays a 1950s housewife who finds herself attempting a career in stand-up comedy.

After waiting for a full year for the second season to arrive, I gobbled it up in a day and a half. Frustration grew as I realized  that it will be as long as 12 months until I find out more about Midge’s career, the two men in her life, and the antics of her overly typed yet beautifully played Jewish parents.

Binge watching first-run TV shows wasn’t possible until early 2013, when Netflix released an entire season of the political drama “House of Cards.” For Netflix, the move represented a strategic breakthrough; for competitors, such as Amazon, it forced an immediate shift to emulate this new type of scheduling.

I’ve heard some producers compare the new system to reading a book: one consumes as many pages or chapters as he wants, setting his own pace. And many TV viewers say they welcome the freedom and convenience of self-scheduling — which, of course, need not result in binge watching unless that is one’s inclination.

I’m not sold. Series television is a distinct form that establishes a bond with viewers and nurtures it over the course of a season. Often, a producer is able to adjust after the first few episodes to make improvements with casting or plot. Publicity and word-of-mouth build over time. Water-cooler conversation for a hit show makes every installment an event, rather than having it meld into a season-long arc.

Watching a series for two days a year, as I’ve done with “Mrs. Maisel,” is like visiting a summer cottage briefly and then boarding it up for many months. Things become musty. Series TV is at its best when viewers form a love, or hate, relationship with key characters. What will Midge do next week? That intrigues me. Twelve months from now? Meh.

If you binged “Mrs. Maisel,” contrast the experience, and buzz, with Showtime’s “Escape at Dennemora,” the recent prison drama released in conventional weekly form. Despite being based on a true story with the outcome well publicized, “Dennemora” built audience and enthusiasm week to week during its run.

To be clear, there is a distinction between binge watching a new series and exploring the library of an old one. “Friends,” the ensemble comedy that ran on NBC for 10 years beginning in 1994, remains one of Netflix’s top binge-watched properties. Viewers are less likely to overdose with an old favorite, but if they do it’s not as problematic as with an ongoing series.

A few years back, I sought to remedy the fact that I had somehow missed all of Vince Gilligan’s quirky AMC drama about a teacher turned meth maker, “Breaking Bad.” I binged my way through all five seasons in the course of a few weeks.

Soon after, Gilligan’s companion series — actually, a prequel — “Better Call Saul,” had its debut on AMC, and I have faithfully watched every episode since. For me, the anticipation of each weekly installment, followed by the chance to digest it and chat about it with friends, is far more enjoyable than consuming it all in a short time.

So Midge, I envision you at a comedy club somewhere in your party dress and pearls, knocking them dead with one-liners. I trust you’ll still be at it 12 months from now. I’m just not sure how I’ll feel by then about another half-gallon of mocha-almond chip.

The viewpoints expressed above are those of the author and do not necessarily reflect those of The Independent.

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Peter Funt
In print and on television, Peter Funt continues the Funt Family tradition of making people smile – while examining the human condition. After 15 years hosting the landmark TV series “Candid Camera,” Peter writes frequent op-eds for The Boston Globe and The Wall Street Journal as well as his weekly column distributed by the Cagle Cartoon Syndicate. His writing contains the same pointed social observations that have made “Candid Camera” so popular since its invention by Peter’s dad, Allen, back in 1947. His new book, "Cautiously Optimistic," takes America's temperature in six-dozen essays, guaranteed to make readers think and smile. It's available at Amazon.com and through CandidCamera.com. Peter is a frequent speaker before business groups and on college campuses, using the vast “Candid Camera” library to bring his points to life. His newest presentation for corporate audiences, “The Candid You,” draws upon decades of people-watching to identify factors that promote better communication and productivity. Details about Peter Funt’s speaking engagements are available at: www.CandidCamera.com. See http://www.youtube.com/watch?v=naYXOGIktsw for video. Peter hosted the newest versions of “Candid Camera” in recent years with Suzanne Somers and Dina Eastwood, with complete collections now available on DVD. Peter Funt actually made his first appearance on “Candid Camera” when he and the legendary series were each just three years old. Peter posed as a shoeshine boy who charged $10 per shoe! Since that time he has appeared in hundreds of “Candid Camera” sequences, hosted over 200 network episodes. In addition to his hidden-camera work, Peter Funt has produced and hosted TV specials on the Arts & Entertainment and Lifetime cable networks. He also spent five years as an editor and reporter with ABC News in New York. Earlier in his career, Peter wrote dozens of articles for The New York Times and TV Guide about television and film. He was editor and publisher of the television magazine On Cable. And he authored the book "Gotcha!" for Grosset & Dunlap on the lost art of practical joking. Peter’s essay on the evolution of television is included in “The Story of American Business,” published in 2009 by Harvard Business Press. Peter also follows in his father's footsteps as President of Laughter Therapy Foundation, a non-profit organization started by Allen Funt in 1982. Drawing from the Candid Camera library, Laughter Therapy sends special videos, at no charge, to critically ill people throughout the U.S. When Peter took over as host of the CBS specials, "Variety" wrote: "The latest new 'Candid Camera' specials seem to be getting funnier. Peter Funt is as personable as his dad..." Following Candid Camera's Battle of the Sexes special, "The Hollywood Reporter" observed: "This show is great fun. Peter Funt has a remarkably effective presence." Peter Funt received his degree in journalism from the University of Denver. In 2010 he returned to the Denver campus to be honored as a Master Scholar in Arts and Humanities. He is a past winner of the annual Silurian's Award for radio news reporting, for his ABC News coverage of racial disturbances in Asbury Park, NJ. Peter is founder of the Monterey County Young Journalists program in California, which provides hands-on training for high school students pursuing careers in news. He also inaugurated the Courtroom Journalism competition in Monterey County in conjunction with the Lyceum Organization, and conducts a similar statewide event for the Constitutional Rights Foundation in Los Angeles, as part of its Mock Trial program. Peter resides in Central California with his wife, Amy, and two children, Stephanie and Danny. His favorite pastimes are golf, baseball, tennis and people-watching.

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