by Mina Kang (33847161)

In Theorizing the Nonlinear Distinction of Internet-Distributed Television (2017), Amanda Lotz argues that platforms like Netflix represent a fundamental shift in how television is produced, distributed, and experienced. Internet-distributed television is defined not by schedules and flows, but by nonlinearity the removal of time-specific viewing and the replacement of linear scheduling with on-demand access and curation. One of the most visible outcomes of this shift is binge-watching, a viewing practice that is not simply a matter of audience self-control, but a structural effect of nonlinear television.

Emily in Paris offers a clear example of how Lotz’s theory operates in practice. The series is designed for a nonlinear environment in which viewers encounter an entire season at once rather than week by week. In traditional broadcast television, audiences were required to wait, remember, and return. In contrast, Netflix eliminates waiting altogether. As Lotz explains, once time specificity is removed, continuing to watch becomes the most logical choice. Binge-watching is therefore not an aberration but a rational response to the conditions of internet-distributed television.

The role of the platform is crucial here. Netflix does not simply host content; it actively structures how content is consumed. Features such as automatic episode playback, full-season releases, and personalized recommendations subtly guide viewers toward continuous viewing. In Lotz’s terms, Netflix replaces the broadcaster’s schedule with algorithmic curation. Rather than deciding what should be “on” at a given time, the platform decides what should come next for each individual viewer.

Emily in Paris is particularly well suited to this mode of consumption. Its short episodes, light narrative complexity, and consistent tone reduce the cognitive effort required to continue watching. The series does not rely on intense cliffhangers; instead, it creates a sense that there is no strong reason to stop. This aligns with Netflix’s subscription-based business model, in which success is measured less by immediate audience size and more by retention how long viewers remain engaged with the platform.

Binge-watching is therefore central to Netflix’s value proposition. Unlike linear television, where success was defined by ratings at a specific moment, nonlinear platforms benefit from prolonged engagement over time. Binge-watching strengthens the perception that a subscription is “worth it,” even if individual programs are not universally acclaimed. In this sense, Emily in Paris does not need to appeal to everyone. It only needs to satisfy a specific audience deeply enough to keep them watching and subscribing.

Ultimately, Lotz’s framework helps us understand binge-watching not as a cultural excess, but as a defining feature of nonlinear television. Emily in Paris demonstrates how Netflix leverages nonlinearity to reshape viewing habits, turning television from a scheduled flow into a personalized, continuous experience.

Bibliography:
Amanda Lotz (2017), ‘Theorizing the Nonlinear Distinction of Internet-Distributed Television’, Portals: A Treatise on Internet Distributed Television, https://quod.lib.umich.edu/m/maize/mpub9699689/