Why You’re Addicted to TVThe Revolution is being televised. Anyone who enjoys even the most casual relationship with a television set is probably aware that How We Watch TV has been changing in recent years. Binge watching,” as scores of breathless critics have christened it, is increasingly common, especially among younger viewers who’d rather screen their favorite shows online, on demand, or on DVR than wait around for them to air once a week on old- fashioned TV. First you fall for a show, and then you watch it endlessly. Because you can. But that’s only half of the equation. Take a look at today’s best, most buzzed- about series.

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The ones that receive the highest ratings from critics. The ones you talk about at work. The ones that seem likeliest to define this particular moment in television history, ages and ages hence: Keep up with this story and more by subscribing now "Arrested Development" is set to rewrite the rules for TV storytelling. Michael Yarish for Netflix Game of Thrones, which is in the midst of its swashbuckling third season on HBO. Breaking Bad, which is set to return for its final, brutal run of episodes on August 1. True Blood. The Walking Dead.

Homeland. House of Cards. Scandal. The Americans. And then there are the shows we’ve yet to see, like Believe, the hotly anticipated new NBC series from Star Trek director J. J. Abrams about a telekinetic orphan, which was previewed for the first time during this week’s network upfronts in New York City. The HBO pipeline is packed with rip- roaring narratives as well: an adaptation of Stephen King’s fantasy opus, The Dark Tower; a series about two detectives on the hunt for a serial killer in Louisiana (True Detective); and the story of a group of magicians and con men attempting to bring down Adolf Hitler during World War II (Hobgoblin). We’re not only bingeing on shows like these—an adrenalinized meth saga, a pulpy vampire romp, a paranoid terrorism drama, a seedy political thriller—because we can.

There’s more to it than that. Talk to the people behind Breaking Bad, Game of Thrones, and so on, and it soon becomes clear that they’ve designed these shows to be more bingeable—more propulsive and page- turning—than anything the networks ever pushed on us in the past.

How We Watch may be changing. But it’s changing What We Watch as well.

Bingeing, it turns out, is how our brains want to watch television.“I’ve always said that I don’t see my show as serialized so much as hyperserialized,” explains Vince Gilligan, creator of AMC’s Breaking Bad. That is something that, honestly, I wouldn’t have been allowed to do 1. We’re living, it seems, in a new age of television: the Age of the Hyperserial. Serialized storytelling looms larger than it did in 2. D. B. Weiss, one of the head writers on Game of Thrones.

If you look at the Emmy nominees of 2. The Sopranos, Six Feet Under, The West Wing, CSI, and 2. Whereas Game of Thrones, Breaking Bad, Homeland—they all qualify. As bingeing becomes possible and commonplace, it’s only natural that shows should start to take it into account.”The bottom line is that binge watching is more than just a business story—more than just a story about new technologies and new modes of distribution. It’s really a story about the science of storytelling itself. Bingeing, it turns out, is how our brains want to watch television. And the best storytellers on TV are beginning to figure this out.

In its eighty years, Newsweek has had many covers on the changes of television. What to watch now? Newsweek's 2. 01. Picks of the Most Addictive Shows: The Walking Dead; Homeland; House of Cards; Danish Favs: Borgen, The Bridge, and The Killing; Scandal; Breaking Bad; Sons of Anarchy; The Americans; Nashville; and The New Girl For most of television history, network executives were allergic to serialized shows. Sequential, weekly series didn’t “strip,” or work, when shown out of order, so they tended to tank in syndication. Which means they didn’t make any money. When I started doing TV almost 2.

TV show probably saw one in four episodes on average,” Gilligan recalls. So of course you can imagine: with a serial like Breaking Bad, someone watching one episode out of four would be pretty lost as far as what the hell is going on.” That’s why the vast majority of 2. Cheers, dramas like Law & Order. Shows that could air one installment at a time, in no particular sequence, without losing viewers. In the late 1. 99. Step Up 2: The Streets Full Movie Online Free. HBO upended that conventional wisdom, producing one stunning serialized drama after another: Oz, The Sopranos, Six Feet Under, The Wire, Deadwood.

Then came FX (The Shield, Rescue Me) and AMC (Mad Men, Breaking Bad). Pretty soon, everyone was in agreement: a new Golden Age of Television was upon us. The ambition and achievement of these shows went beyond the simple notion of ‘television getting good,’” Brett Martin writes in Difficult Men, his forthcoming book about the cable revolution of the early aughts. The open- ended, twelve- or thirteen- episode serialized drama ..

American art form of the first decade of the twenty- first century.”Except that the first decade of the 2. We may have been fans. But we weren’t addicts. Today’s Hyperserials resemble their Golden Age predecessors in some ways: the adult themes, the infatuation with antiheroes, the cinematic art direction. But the Golden Age shows were concerned, above all else, with the intersections of character and society; plot twists always came second. That’s why, in retrospect, it’s very hard to recall what actually “happened” from season to season.

Mostly we remember the characters—Deadwood’s swaggering Al Swearengen, The Wire’s charismatic Omar Little—that it all happened to. As a result, the key dramas of the Golden Age often didn’t grip viewers until the third or fourth episode; it took a while to get to know and care about their protagonists. The Hyperserials are less patient.

The suspenseful opening scene of Game of Thrones unfolds in an ominous wintry netherland and features a vanishing cluster of undead bodies, a horde of shadowy stalkers, and a deadpan decapitation. I couldn’t wait to find out more about the mysterious new world I’d entered. The opening scene of The Wire, meanwhile, consists of a white cop having a slangy, somewhat inscrutable conversation with a black Baltimorean about a dead thief named Snot Boogie.

It’s more about introducing the show’s central themes—the dysfunction of Baltimore, the humanity of both cops and criminals—than keeping you glued to your set. And that’s ultimately the biggest difference between the Hyperserials and the legendary shows that spawned them: a purer, more intense focus on one linear, series- long plotline. Hyperserials tend to do away with recaps, teasers, and exposition of any kind. They make even less sense when viewed out of order. And they always pose a clear question designed to propel the story forward. Who will rule the Seven Kingdoms?

Game of Thrones.) Will Walter White live or die? Breaking Bad.) Will Carrie catch Brody? Homeland.) It’s not that Hyperserials don’t delve into the complexities of character. Watch Time Warrior HD 1080P. They do. It’s just that, unlike their predecessors, they place equal emphasis on What Happens Next.(There are exceptions to the Hyperserial rule, of course—chief among them Mad Men, which was conceived in 2. Matthew Weiner, a future Sopranos alumnus. Its plotlines are almost entirely beside the point.

But otherwise, the vast majority of newer shows by graduates of the Golden Age—David Milch’s John From Cincinnati and Luck; David Simon’s Treme—haven’t quite connected with today’s audience. Things, in short, have changed.) In the last five years, the number of households that don't fall under Nielsen's traditional definition of a TV household—for example, where TV is viewed on the Internet or on computers, tablets, or smartphones—has more than doubled. Nielsen Among TV- watching households, video- on- demand is the fastest- growing way people watching non- real- time TV.

Source: NPD Market Research.