They’ve made a huge mistake...

...by making Arrested Development online only.

Unlike most people blogging about Arrested Development, I won’t be offering any opinions as to whether the show’s fourth season managed to live up to the astronomical expectations built up by fans after its previous incarnation was cancelled seven years ago.

That’s because it’s currently only viewable (legally at least) on Netflix, and I really don’t fancy watching it on a tiny laptop, with lines of dialogue served like amuse-bouche in between marathon bouts of buffering.

So as not to cast aspersions on Netflix’s service, I’ll admit it’s the same across the board: my wife bought the new Batman on Tesco’s Blinkbox service last night, but after it took us three minutes to slog through the Warner Brothers logo, we gave up and resolved to postpone watching Citizen Bane until we next saw the DVD on sale.

Yes, I am unfortunate in that, for whatever reason, the electric string that carries internet TV into my house does so at a painfully slow rate (although I’ll blame Virgin Media anyway). But my options still remain limited, and streaming-only launches such as Arrested Development’s leave me lukewarm as a consequence.  

It is not just me and a tiny minority of electrically-challenged cavemen that feel slighted, either. Just look at the grumble-tsunami generated recently at the suggestion that Microsoft’s upcoming Xbox One console would require a constant internet connection even to play single player games.

For those living in new premises and waiting out the epochs mandated by providers before broadband services can be activated, those living in areas with poor provision, and even those who (dare I say it) just don’t much like doing things on computers, it’s frustrating indeed when companies decide we are ready to move our entire lifestyles online.

Of course, the argument in the case of Arrested Development is slightly redundant in that, even were it being broadcast conventionally, I would have to arrange access to an American network to view it.

Nevertheless, it does strike me as unusual that, with all the fourth season’s episodes being released onto Netflix simultaneously anyway, there is no concurrent DVD release. Well, not that unusual – there are clear branding and competitive advantages to Netflix being the only place people can go for their hit of Gob, Buster and the rest.

But even so, if Netflix had made a plastic circle available with the series on it, they would have my money by now. It’s the same argument that gets trotted out every time the Death of Print discussion takes place – people like to possess objects.

Whenever I am implored by the producers of a piece of media to “own it on digital”, an internal pedant seethes; I would not own a house if it was passed to me, brick by brick, by a surly foreman in between long slurps of tea. Nor can I own a TV show when it is delivered via sporadic squirts of electrons. Extend my metaphor and prove me wrong by all means; I’ll still be a lost customer for Netflix.

Photograph: Getty Images

By day, Fred Crawley is editor of Credit Today and Insolvency Today. By night, he reviews graphic novels for the New Statesman.

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The NS Podcast #150: Englishness, X-men and Equality

The New Statesman podcast.

This week, Helen and Stephen try their best not to talk about the EU. Instead they turn to Boris Johnson’s media strategy, MP’s expenses, and Labour and the idea of Englishness. They go down-the-line to the Lobby with George Eaton. Then Henry Zeffman joins to discuss the politics of the new X-men movie. You also ask us: what does the future hold for the Women’s Equality Party? (Helen Lewis, Stephen Bush, George Eaton, Henry Zeffman)

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