Has Streaming Killed the Slow Burn?

By Jordan DelFiugo

In recent years, Netflix has become notorious for canceling shows with great potential after just one or two seasons. In 2024 alone, the streaming platform reportedly discontinued 11 series. Past cancellations like I Am Not Okay With This (2020), a supernatural dark comedy, and the nail-biting mystery The Society (2019), were especially hard to swallow. While these shows weren’t perfect, they offered something new. By canceling them after only a handful of episodes, Netflix denied them the time they needed to develop characters and storylines, or truly find their audience.

But Netflix is only part of the issue. Hulu, Max, and other streaming platforms are equally guilty of not giving their shows a fair chance to succeed. With hundreds of series always available, and a growing demand for instant gratification, has streaming killed the television slow burn?

In 2021, Hulu canceled High Fidelity, a gender-bent take on Nick Hornby’s 1995 novel, after just 10 episodes. The series, starring Zoë Kravitz as Rob, a jaded but lovable record store owner, followed her journey of self-discovery after a painful breakup. It was funny, touching, and deeply relatable, with perfectly timed fourth-wall breaks and an eclectic, effortlessly cool soundtrack.

In response to the cancellation, Kravitz posted a statement on Instagram: “It’s cool. At least Hulu has a ton of other shows starring women of color we can watch. Oh wait.” High Fidelity offered something fresh and diverse, a queer, Black, female lead who was allowed to be complex and imperfect. In today’s streaming era, it often feels as though showrunners are penalized for that kind of originality.

Stefan Lederer, CEO of Bitmovin, which provides video streaming infrastructure to various companies, told Newsweek that Netflix’s general rule is “If 50% of the show’s audience doesn’t complete the season, it is unlikely to be renewed.”

This model is flawed and risks stifling original storytelling. Not every show is going to be an instant hit. For sitcoms, slow burns, or shows with a unique tone (like High Fidelity or I Am Not Okay With This) it may take time for creators to find their rhythm and develop their voice.

In 2024’s media landscape, it’s hard to imagine shows that are now considered classics— The Office, Friends, or Sex and the City—finding success had they been released today. The first six episodes of The Office were awkward and borderline cringeworthy, with many characters feeling underdeveloped. But by seasons two and three, the show’s awkwardness became a part of its charm, and the characters began to feel like real people. The Jim-and-Pam slow burn is the heart of The Office, but had it aired today, it's doubtful viewers would have the patience to sit through so many seasons of quiet yearning and tension building before seeing the romantic payoff. 

Similarly, since Sex and the City was added to Netflix in April, many first-time viewers have gone online to voice their disdain for the series' lead, Carrie Bradshaw, calling her selfish and even the show’s "true villain," especially when discussing her complicated relationship with the often problematic Mr. Big.

Carrie’s self-destructive and often questionable behavior is what makes her an interesting and relatable protagonist. If she never made bad decisions, she wouldn’t grow, and frankly, she wouldn’t be worth watching.

Still, hope is not entirely lost. There are some standout series that prove modern television isn’t beyond saving. Quinta Brunson’s Abbott Elementary, a mockumentary-style sitcom about teachers at an elementary school, balances wit with warmth and even features a slow burn romantic storyline between teachers Janine and Gregory. However, in 2024, shows like Abbott Elementary are becoming increasingly rare.

In an era dominated by binge-watching and streaming, we risk losing great content if we let immediate ratings and short-term views dictate a show’s fate. Streaming platforms, which were meant to revolutionize how we consume entertainment, have instead created new challenges, making traditional television increasingly appealing.