As the years go by, the world of entertainment evolves and it seems that in recent times this changes much faster and filmmakers have to adapt to new formulas, formats and strategies. Sometimes it seems that certain novelties overshadow those that are left in the past and that is why rumors arise that the old forms (or the traditional ones) are dying, but this is not always the case.
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For example, one of the oldest formats is theater, live staging, and despite progress in so many ways, the public continues to consume it with considerable respect. Then came the cinema, something that seemed unattractive when the first tests were done and later became one of the most prestigious art forms. Television followed and there was no lack of comments about the supposed death of the cinema now that people no longer need to leave the house to see a show.
We now know that cinema never died and the closest it came to danger was with the recent COVID-19 pandemic, however, it has already shown a remarkable recovery. Now, the arrival of streaming has grown exponentially and many filmmakers and writers have had to adapt to its new formats, which generated a fusion between film and television as stories are told episodically.
The initial objective of the series was to narrate a story divided into parts either daily or weekly, but each chapter would not last more than 40 minutes. With streaming, this has changed, because at least in the last year long-running series have emerged in each episode, such as the last season broadcast of Stranger Things (98%) which was around an hour and fifteen minutes, not forgetting his last episode of almost two and a half hours.
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Regarding it Eric Kripke shared his opinion during an interview with Vulture making it quite clear that he did not agree with that. the creator of The Boys (85%)television adaptation of the comic, has a long history on television, especially with a program that kept audiences on the edge of their seats with the successful series Supernatural from The CW. He explained that it’s a disadvantage to have filmmakers working on streaming services because they don’t really understand the format.
His biggest mistake, according to the words of the also screenwriter of The House with a Clock on its Walls (67%), is that they have a habit of leaving the most interesting for the end, something functional for a movie that lasts about an hour and a half, but not for an eight-episode series because it makes no sense to wait until the final chapter for something to happen. He made it clear that he does not agree with them having the luxury of “making a ten-hour movie” because a TV show works differently.
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The writer pointed out that, according to his own experience, series both in streaming and on television have greater logistical benefits in that you can have your scripts ready and some of the chapters already filmed, and there is still the opportunity to move the pieces to that everything together works coherently, leaving something exciting for the audience in each transmission, as well as leaving a narrative door open.
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