How long is too long for a television series, a film or a performance?

As a long-time television enthusiast who has witnessed the rise and fall of many beloved series, I wholeheartedly agree that three to four seasons seem to strike the perfect balance between storytelling and creative integrity.

I watched several episodes of an unnamed TV series, and although I can’t recall its title, it left a strong impression on me that if it were merely half its length, it would have been twice as effective. The storyline and acting were overshadowed by the requirement to stretch 10 hours of streaming content, which seemed unnecessary.

This observation isn’t exclusive to that particular series; it’s a common critique among TV critics today. In many favorable reviews, they often find themselves commenting on shows being overly extended, even in the streaming era. The term “Netflix bloat” was used to describe a trend where the number of episodes in a show is not dictated by the quality of the content but rather by some predetermined calculation that benefits the network or creators financially, or gives viewers the impression they’re getting good value for their subscription. However, when a series attempts to stretch its story over eight to ten episodes just to fill the available space, it may veer off course with unnecessary subplots, flashbacks, or lackluster pacing. Sometimes, more doesn’t necessarily mean better.

It’s worth noting that according to recent reports, “Ted Lasso” seems to be preparing for a fourth season, despite tidily wrapping up its storyline in the third.

This all got me thinking about the long and short of television and other things.

Time, as Einstein showed us, can be subjective. It can seem to drag on or race by. All forms of art take place within time, and they have the ability to elongate or shorten it. Chopin composed a “Minute Waltz”; meanwhile, John Cage’s “ORGAN2/ASLSP (As Slow as Possible)” started playing on an organ in Halberstad, Germany in 2001 and is predicted to end in 2640. Although sandbags keep the organ pedals stationary, humans have performed the piece for durations varying from 12 to 24 hours.

Lengthy things that some might deem too prolonged can be valuable investments of time when the message is distinct. Regardless of whether you fully immerse yourself in it or simply admire its concept, length is an integral aspect of its artistic expression. For instance, Andy Warhol’s “Empire” is an eight-hour film capturing the Empire State Building, intended to portray the passage of time. Similarly, Christian Marclay’s “Clock,” a 24-hour compilation of clocks and watches from TV shows and movies, displayed at LACMA, mirrors real-time. In theater, you can find the Royal Shakespeare Company’s eight-hour adaptation of “The Life and Adventures of Nicholas Nickleby” and Peter Brook’s nine-hour production of “The Mahabharata.” This year’s Olympics opening and closing ceremonies, directed by Thomas Jolly, featured a 24-hour performance of Shakespeare’s “Henry VI” and “Richard III” plays (comfortable cushions were provided for those needing to rest).

The pieces created by Robert Wilson are meant to be experienced as much as they are to be enjoyed. Known for his unique, time-extending stillness, Wilson excels in long-form productions. For instance, “Einstein on the Beach,” a non-narrative opera co-created with Philip Glass, spans five hours. In 1972, his work titled “KA MOUNTAIN AND GUARDenia TERRACE: A Family and People’s Transformation” ran for seven consecutive days. Wilson described it as a performance that could be seen at 8 a.m., 3 p.m., or midnight, and the experience would always remain consistent. It was like visiting a park where you could daydream, watch the sky change, observe people, read a book, and then suddenly encounter a stage work blending reality with surrealism.

Art is influenced by the technology through which it’s presented. For instance, the duration of a pop song was limited due to the time available on a 78 or 45 rpm record, making it a standard length for radio play. But when Bob Dylan’s “Like a Rolling Stone” managed to break through onto AM radio, it marked a significant shift. Long-play records (LPs) provided artists with more space to experiment and expand, such as the Grateful Dead’s 23-minute track “Dark Star,” where its grandeur was partially attributed to its length. When Dylan released the 16-minute “Highlands” in 1997, it was seen as a symbol of his creative resurgence.

Upon their introduction, CDs offered storage space for approximately 74 minutes of music, nearly double that of a standard vinyl LP. This excess capacity initially led some artists to believe they were shortchanging their fans if they didn’t maximize the disc’s space. Consequently, songs that might have been omitted previously, not necessarily inferior in quality, were included instead. The art of sequencing, or carefully arranging tracks on a disc, became less important as tracks at the end of a CD were often overlooked. However, most artists eventually abandoned this trend, even before CDs lost their popularity and vinyl LPs experienced a resurgence.

Traditionally, feature films usually span between 90 minutes and 2 hours, as film production is costly and theater owners based their earnings on the number of screenings per day. However, there have been exceptions – lengthy movies that emphasized their significance, dating back to D.W. Griffith’s 3½-hour “Intolerance.” Films like “Gone With the Wind,” “Lawrence of Arabia,” and “It’s a Mad, Mad, Mad, Mad World” also ran close to four hours, with an intermission. Martin Scorsese has only made films lasting less than three hours since “Hugo,” except for “The Silence,” which is 2 hours and 41 minutes long. While longer movies can be excellent, as shown by “Seven Samurai” and “Children of Paradise,” they are often not as good in modern superhero films. Cinephiles would give anything to see Erich Von Stroheim’s original, lost nine-hour cut of “Greed.” We may never know if it was too long or just right; it seems unlikely that it was too short.

On the left, Omar Sharif and Peter O’Toole starred in David Lean’s extended movie “Lawrence of Arabia,” produced by Columbia Pictures.

From a passionate viewer’s perspective, delving back into my favorite topic: Traditional TV series are structured in 30-minute blocks, neatly arranged like Tetris pieces within prime-time slots and sometimes spanning up to 22 episodes per season. On the other hand, streaming series, which can have anywhere from six to ten episodes per season, offer more flexibility in terms of length.

How long does a series typically run? For ad-supported linear television, the duration depends on how appealing it remains to advertisers based on viewership ratings; for premium cable networks, the longevity hinges on maintaining subscriber interest. Streaming platforms are tight-lipped about their decision-making processes, but they seem to consider a blend of both factors. Some shows extend past their peak value, often referred to as “jumping the shark.” Regrettably, some exceptional series have been canceled after just one season: “Freaks and Geeks,” “Wonderfalls,” “The Middleman,” and “Frank’s Place” are among those that left too soon. Despite their untimely endings, the work they produced during their run was nearly flawless and, in its own unique way, concluded satisfactorily.

The series “Atlanta,” created by Donald Glover, concluded after four successful seasons (Rob Youngson / FX).

In my opinion, I find that around three or four seasons is often perfect for streaming series, as it allows creators to establish a setting, delve into various aspects, and work towards a resolution without becoming overly prolonged. Shows like “Reservation Dogs” and “Atlanta,” which are considered among the best of this century, chose to conclude after their third and fourth seasons respectively, demonstrating this trend. I anticipate that “The Bear,” following its relatively plot-light third season, may follow suit. These decisions appear to be more about creativity rather than commercial concerns. Noteworthy examples include Dick Van Dyke deciding to end “The Dick Van Dyke Show” after five successful years, stating in Life magazine, “We wanted to quit while we were still proud of it,” and Jerry Seinfeld ending “Seinfeld” after nine seasons, even though the show was still thriving commercially and he was offered $5 million per episode for a tenth.

From my perspective, if time is relative, so is personal preference, much like how a moving train seems stationary to someone on another platform. Something you might find too lengthy could feel just right for me, while I may find something perfectly satisfying leaving you wanting more. For instance, a four-hour Frederick Wiseman documentary like “Menus-Plaisirs — Les Troisgros” is an engaging experience for me, but a six-hour documentary like “Zach Snyder’s Justice League” might feel tedious. In comparison, I find Peter Jackson’s six-hour “Get Back” series informative, yet Michael Lindsay-Hogg’s 80-minute “Let It Be” offers a more aesthetically pleasing experience for me.

There could potentially be more “Ted Lasso” ahead, not just because of financial reasons, but also due to the strong camaraderie that develops among cast members while playing their roles. It’s like Mick and Keith still wanting to perform together at 80 or Oasis continuing in their 50s – they simply enjoy it too much! In the end, there are no rules about whether or not this will happen; it all depends on if everyone involved wants to continue the collaboration. And who’s to argue when the response could just as easily be affirmative?

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2024-09-07 14:18