Sitting with my people just watching some Netflix. It’s one we have seen before. Actually watching the first episode of Wednesday today because it was a Wednesday. I am sat there and thinking, wow a lot people are dying here. In the first few minutes, there is a pool of piranhas and blood, testicles become fish snacks, an agenda and ideology of the show is sketched out in a few violent scenes and the intrigue built upon the deaths of no fewer than at least three people plus numerous chase scenes and fight sequences. It struck me just how much more action and murder they crammed into the opener compared to the rest of the series. Having seen it a few times now as a recent family favourite, the first episode now feels a little jarring and exhausting, with characters acting almost out of character. Yeah, I know I am overthinking it.

Guess what, that’s all I do. It got me thinking about this trend and why it exists. Spoiler alert: it’s all part of a grand strategy in the attention economy, where platforms like Netflix are in a “war on sleep.” And some people would tell you that is why nobody reads anymore but I am not that bitter or petty to say that just yet.

The Hook and the Inciting Incident

In the realm of narrative theory, the opening episode of a series often serves as a hook. This technique is crucial for grabbing the audience’s attention from the get-go. The first episode usually introduces an inciting incident — a pivotal event that propels the main plot. For instance, in Stranger Things, Will Byers’ mysterious disappearance in the pilot sets the entire series in motion. Similarly, The Umbrella Academy kicks off with the return of Number Five from the future, bringing with him dire warnings of an impending apocalypse.

Freytag’s Pyramid and the Three-Act Structure

Freytag’s Pyramid, or the dramatic structure, explains this pacing well. The exposition phase (the first episode) introduces characters, settings, and conflicts. The rising action (subsequent episodes) builds on this foundation, developing the plot and characters more gradually. The three-act structure of storytelling — setup, confrontation, and resolution — also plays a role. The first episode is the setup, packed with action to draw viewers in, followed by the confrontation phase where the story deepens and characters evolve.

Netflix and the Attention Economy

Netflix operates within the attention economy, a concept where various companies vie for the limited attention of consumers. Netflix’s business model hinges on keeping viewers engaged for as long as possible. This is why the first episode is often more intense — to hook viewers and make them want to continue watching. This strategy is part of a broader attempt to dominate your time, a battle described by Matthew Walker in his book Why We Sleep: Unlocking the Power of Sleep and Dreams. Walker highlights how modern technology, including platforms like Netflix, contributes to widespread sleep deprivation, emphasizing the extent to which entertainment companies seek to maximize viewer engagement​ (YouTube)​​ (SuperSummary)​.

Why was I suddenly talking about sleep? I am in my 40s and I remember reading Lord of the Rings when there was no viable film and no Amazon Prime serious to watch. The books kept me up all night reading. But, everyone knows that LOTR is slow to get going.

Pacing in “The Lord of the Rings” Novels vs. Films

Comparing the pacing of J.R.R. Tolkien’s The Lord of the Rings novels to Peter Jackson’s film adaptations illustrates a shift in storytelling techniques between written and visual media. I remember being thrilled in the cinema when the opening scene really hooked you in, unlike the novel (I am so sorry, JRR). The novels have a deliberate, slower pace with extensive world-building and character development. This pacing allows readers to immerse themselves deeply in Middle-earth, savoring the rich detail and lore.

In contrast, the films adapt these books with a faster pace, incorporating numerous action sequences and dramatic moments to maintain viewer engagement in a visual format. The films condense and often re-order events to fit the cinematic structure, which requires a balance of action, drama, and narrative development to keep audiences invested across multiple hours of viewing.

Competing with “Passive Escapism Binge Bait”

Books and other written media now face competition from what you aptly call “passive escapism binge bait,” a term reflecting content designed to be easily consumed in large quantities without much effort. In the attention economy, written media must adapt by either embracing shorter, more engaging formats or enhancing their appeal through deeper, more meaningful content that offers a unique value proposition compared to visual media.

This competitive landscape pushes authors and publishers to innovate in how they capture and retain reader interest, potentially incorporating elements from serial storytelling, interactive content, or cross-media tie-ins to compete with the immediacy and accessibility of bingeable visual content.

Analysis of Various Shows

To illustrate this trend further, here’s a look at a few series and their first episodes that an AI chose for me an summarised, even though I only saw one of them:

Stranger Things

• Season 1, Episode 1: Will Byers disappears, chased by a mysterious creature; Eleven escapes from a laboratory; a frantic search begins.
• Season 1, Episode 2: Eleven is discovered by Mike and his friends; the search for Will intensifies; some mysterious events but fewer direct action scenes.

The Umbrella Academy

• Season 1, Episode 1: The dysfunctional family reunites; Number Five returns from the future with a warning; initial fights and powers displayed.
• Season 1, Episode 2: Number Five reveals more about the apocalypse; characters explore their powers; fewer direct action scenes compared to the pilot.

Locke & Key

• Season 1, Episode 1: The Locke family moves to Keyhouse; Bode discovers magical keys; introduction of the villain Dodge.
• Season 1, Episode 2: The family continues to explore the keys; more character development; fewer intense action scenes than the first episode.

Riverdale

• Season 1, Episode 1: The body of Jason Blossom is discovered; introduction of the main characters and their relationships; mystery begins.
• Season 1, Episode 2: The investigation into Jason’s death starts; character relationships develop; less action compared to the pilot.

From this analysis, it is evident that the initial episodes are designed to hook viewers with intense action and drama, which then gives way to slower, more character-driven storytelling in subsequent episodes.

Conclusion

In summary, Netflix’s strategy within the attention economy, as highlighted by Matthew Walker, and the differences in pacing between novels and films reflect broader trends in how media compete for our time. Written media must continuously adapt to stand out amidst the lure of easily consumable binge content.

By understanding these narrative techniques and the broader context of the attention economy, we can better appreciate the storytelling strategies that keep us hooked — and awake — night after night.