Michelle Wu / Daily Nexus

Leading up to its release on June 26, 2024, season three of FX and Hulu’s “The Bear” was at the forefront of almost every conversation. The most recent season, which focused on the show’s fictional Chicago restaurant struggling to stay afloat, took over the minds of critics and viewers alike. 

One month later, “The Bear” experienced a rapid decline in popularity. It faced relatively lackluster reviews upon its release, with many critics claiming that the third season simply did not live up to the hype of its predecessors. Viewers were also disappointed — the season received a shockingly low 53% audience score on Rotten Tomatoes (in comparison, seasons one and two received a 91% and 93%, respectively).

Despite the mass amounts of hype surrounding the show, season three of “The Bear” has faded into obscurity. And in today’s television industry, obscurity is the worst fate for a show of its caliber.

The shortfalls of “The Bear” go beyond just thematic analysis and critique. Opposed to a weekly format, Hulu decided to release all 10 episodes of “The Bear” at once. This decision arguably turned out to be more damaging than beneficial to the show’s success, as evidenced by the season’s short-lived time in the spotlight. 

Hulu’s mishandling of the show’s release provides an interesting look into the current state of the television world, specifically the uncharted territory of the industry as streaming approaches its 20th anniversary. It raises the questions: Should streaming platforms stick to the binge-watching model? Or is it time to return to the traditional weekly release format?

Rise of the “streaming wars”

Introduced as an alternative to network and cable programming, streaming was a revolutionary approach to media consumption. What started as Netflix switching from mail-home DVDs to videos on-demand in 2007 has turned into an entirely new industry within the television world — a report published by Forbes found that as of July 2024, 99% of U.S. households subscribe to at least one streaming service, paying an average of $46 a month just for streaming services.

The rapid growth of streaming has led to what television experts call the “streaming wars,” referring to the constant competition between the mass amount of providers. Users are now tasked with choosing whether to subscribe to Netflix, who was named the “subscription video king” by the LA times in March 2024 (an accurate title at the moment, albeit subject to change as streaming continues to evolve), Hulu, Disney, Apple, Max, the list goes on. The battle has even led to the creation of discounted streaming bundles in an attempt to stay on top — for $14.99 a month, viewers can access Disney+, Hulu and ESPN (Disney also recently announced a new bundle with Disney+, Hulu and Max for $16.99 a month). 

Binge vs. weekly model

To the consumer, the binge-watching streaming model is supposedly a dream come true. It’s convenient, accessible and, most notably, instant. No longer confined to TV programming or weekly release schedules, streaming services are able to capitalize off of instant gratification through the binge-watching model. That is the entire purpose of streaming — making a large library of media accessible without the structure of traditional cable or network scheduling.

In simpler terms: the binge-watching model of streaming allows content to be available to a wide variety of audiences. Viewers do not have to organize their schedules around television programming anymore, television consumption is now customizable to the viewer.

The weekly release format goes back to the days of traditional programming. Like cable and network television, streaming shows following this format drop once a week on a set date. This release format takes away the instant gratification benefit of the binge model, yet succeeds in building anticipation week-by-week, maintaining a more stable form of attention and hype that the binge model struggles to capture. 

While seemingly appetizing, inconsistencies in the streaming industry can be overwhelming to the consumer. (Michelle Wu / Daily Nexus)

Inconsistent approaches

As the streaming war rages on and platforms struggle to stay on top, streaming services have been grappling with the decision of release format. This decision is inconsistent across providers. 

Hulu’s decision to release “The Bear” through the binge-watching model was well-intentioned. “The Bear” was arguably at the height of its fame, and was considered to be the biggest and boldest show at the moment. By dropping it all at once, Hulu automatically catered to consumers, allowing them to access the newest season of its hottest, most popular show in its entirety. If they wanted, viewers could sit down and watch all 10 episodes at once. A daunting task, but very possible.

However, the binge model had an adverse effect on the show’s success. Instant gratification led to watchers quickly growing bored of the lackluster season, underwhelmed by the slow-paced plot and overwhelmed by the sheer amount of episodes released at once. 

In efforts to increase the marketability and hype surrounding streaming originals, many services have opted for a more traditional week-by-week release schedule. Disney+’s “The Mandalorian” was one of the first streaming service shows to follow a weekly release model. The series experienced mass success, largely due to the fan theories and discourse that developed during the week-long gaps between episodes. Despite its diversion from the typical binge-watching model, “The Mandalorian” was the first non-Netflix show that reached number one on Nielsen’s streaming ranker.

Some platforms have opted for a hybrid-style release. While season one was released all at once, Amazon Prime Video fused both models for the release of “The Summer I Turned Pretty” season two. The first three episodes of their hit YA series were released simultaneously, while the following five episodes were released on a weekly basis. This format has become popular across platforms, as it instantly captures the attention of dedicated viewers and allows for growth during the season’s run.

Which model is better?

While “The Bear” season three represents the negative impact that the binge-watching model can have, it would be incorrect to say the binge model is entirely unsuccessful. The show’s first two seasons followed that format and were met with critical acclaim. Netflix maintains its prominence in the streaming industry and only follows a binge or two-part release model. Binge-watching was originally the entire appeal of streaming services to begin with, and the binge model is conducive to the industry’s original intent.

In a world of mass consumerism, it is imperative that artistry remains intact and is properly highlighted.

Yet, the long-term impacts that binge-watching will have on the television industry are something to consider. The binge model is successful because it follows through on its goal: instant gratification and a viewer-based watching schedule. Ironically, these benefits are exactly why the binge-watch model is struggling in today’s state of media consumption. It’s easy to get immersed in a television series — it is a medium designed to draw people in through an episodic, single- or multi-season story. However, as viewers are able to access that captivating quality in its entirety immediately upon release, binge model shows can suffer due to consumers’ short-term attention spans and instant gratification.

On the other hand, weekly release schedules allow for full appreciation of the craft that is television. It operates on anticipation, building hype and fostering discourse among viewers that directly benefit the success of the show. And in a world of mass consumerism, it is imperative that artistry remains intact and is properly highlighted.

The binge model seems appetizing. Streaming services can offer entire seasons on a platter, ready for immediate consumption. However, like the struggles of a fictional restaurant in Chicago, the binge-watch model of the streaming industry exposes the future of television to the risk of obscurity. Viewers will get way too full, way too fast.