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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New Digital Editor: Serena Kutchinsky

The New Statesman appoints Serena Kutchinsky as Digital Editor.

Serena Kutchinsky is to join the New Statesman as digital editor in September. She will lead the expansion of the New Statesman across a variety of digital platforms.

Serena has over a decade of experience working in digital media and is currently the digital editor of Newsweek Europe. Since she joined the title, traffic to the website has increased by almost 250 per cent. Previously, Serena was the digital editor of Prospect magazine and also the assistant digital editor of the Sunday Times - part of the team which launched the Sunday Times website and tablet editions.

Jason Cowley, New Statesman editor, said: “Serena joins us at a great time for the New Statesman, and, building on the excellent work of recent years, she has just the skills and experience we need to help lead the next stage of our expansion as a print-digital hybrid.”

Serena Kutchinsky said: “I am delighted to be joining the New Statesman team and to have the opportunity to drive forward its digital strategy. The website is already established as the home of free-thinking journalism online in the UK and I look forward to leading our expansion and growing the global readership of this historic title.

In June, the New Statesman website recorded record traffic figures when more than four million unique users read more than 27 million pages. The circulation of the weekly magazine is growing steadily and now stands at 33,400, the highest it has been since the early 1980s.