Ever since the inception of both TV and film, there has been a distinct gulf between what could be achieved in one compared to the other. Undoubtedly, the production quality of the standard network drama /comedy episode has gradually improved, but the distinct classification between the two forms of entertainment still existed as recently as the mid-2010s. Before the age of streaming, many shows were still focused on pumping out 22 episodes a year; there was a focus on distinct structure and formula. Some of these programs were (and still are) hugely successful -NCIS for instance still has multiple shows on air after 18 years. However, the backbone of this piece is about something different: a creative and structural choice that has exploded in the age of streaming.

Some observers have argued that the arrival of Netflix as a juggernaut within the dawn of on-demand content was instantaneous and immediate. This is only partially correct. Netflix was a pioneer in popularizing the binge-watching model in which whole seasons of shows dropped at once. This allowed viewers to watch episodes at any pace desired. As the age of episodic streaming shows went on, those invested in any caliber of ongoing narrative would typically be in a race with one another to finish the new content as fast as possible to avoid spoilers. In 2016, something was released that would change the cultural landscape. It would herald the dawn of the age in which cinematic TV could truly compete with the best of blockbuster movies.

It may be hard to think about it now due to its current presence in the pop culture scene, but there was once a time when Stranger Things was an unknown franchise. Remarkably, before the release of the first season, there wasn't a great deal of promotion for the show beyond trailers. Winona Ryder and some kids in a random tribute to the 80s? Whatever. However, after watching the opening scenes of the premiere episode, it became very apparent that this show was something different. All the creative choices didn't suggest the creative team wanted to make a standard big-budget episodic TV show. Instead, they wanted to make a six-hour, 40 minutes and 80 second (?) movie using 2016 techniques.

There is one distinct advantage the cinematic televisual structure has over any individual number of two-hour films: It offers more time for those behind the scenes to flesh out their characters and storylines. Across its three seasons, Stranger Things remains one of the best in the business at implementing this structure effectively - each Season could easily be cut down into a 2 1/2-hour narrative. By doing so, the series became an instant hit. It takes time to build such a large ensemble and give each character time in a way that feels satisfying. It simply couldn't be done with a standard single movie structure. Stranger Things may still have been successful as a series of films, however, there's no guarantee that it would have immediately catapulted the child stars into immediate mega-stardom in the same way.

Notably, the one major time the series creators, The Duffer Brothers, have tried to deviate from this structure viewers got season two's misfire: The Lost Sister. The Lost Sister was a complete diversion that breaks the flow of that season for no other reason than to introduce side characters who are never returned to. It's the only episode out of the show's 25 total that feels like a conventional TV effort. Stranger Things can be argued as a pioneer for the trend of cinematic TV. However, that's not where the trend has been most evident.

This comes across directly in the trend of single-season prestige narratives. Often (but not always) with huge Hollywood stars attached. There is a reason Hollywood figures are attracted to projects like this. For one, they are effectively shot and produced as a long-form film. Although, it should be noted that single-season narratives can vary in quality.

When they do hit it out of the park, however, there is no better medium for experiencing truly great stories. Director Mike Flanigan's stunning interpretation of Shirley Jackson's The Haunting of Hill House springs to mind. The program perfectly blended a slightly more episodic structure with a long-form singular cinematic narrative. The best episodes (five and six) could be treated as fantastic singular dramas regardless of their wider narrative context.

Beyond this example, a Netflix director named Scott Frank has succeeded in creating two exceptionally crafted examples of cinematic mini-series. Frank was mainly known as a screenwriter for several Hollywood productions before his time at Netflix, his credits including Minority Report, Marley and Me, and Logan. His first foray into the new age of cinematic TV came when he wrote and directed the Netflix mini-series, Godless. From a storytelling perspective, this mini-series does not have an original bone in its body - It's an incredibly straightforward contemporary take on a neo-traditional western. However, it's the pure cinematic level of craftsmanship on display that elevates this seven-hour and 30-minute experience to display some of the best cinematography available on TV. The series won a multitude of awards, including Emmys for co-stars Michelle Dockery and Jeff Daniels. The final product did so well that Frank could deliver another project in this vein

This new project was the monumentally successful chess mini-series, The Queens Gambit. Beyond being the cultural touchstone that catapulted its central game back into the cultural conversation, it also appeared to win every eligible award going in 2020. This included Critics Choice Awards, Golden Globes, and an AFI award for Outstanding Limited Series – all despite the production design and sense of the scale being noticeably hemmed in comparison to other shows. However, the season is such an effective blend of reality and fiction, examining the themes of teen stardom and pressures of fame, that it captured the hearts of many. All of this is helped thanks to a star-making performance from Anya Taylor-Joy as the central character.

The public is in the next phase of the evolution of long-form movies as cinematic mini-series as we speak, thanks to the arrival of Disney + on the streaming scene. The initial flagship show, The Mandalorian, does have elements of both seasons being chopped up films (especially in season one). It also embraces a more distinctly episodic structure. We also saw the arrival and continuing rollout of the Marvel Cinematic Universe mini-series /TV projects currently available on Disney +. Likewise, Falcon and Winter Soldier were effectively 6-hour prologues - enabling Anthony Mackie's Sam Wilson to finally take up the Central shield after Chris Evans departed from the main timeline. The story will continue in movie form with showrunner Malcolm Spellman currently in the process of writing the fourth installment. This trend is set to continue with the franchise's upcoming slate of streaming series and interconnected film entries.

We are living in a truly golden age of cinematic TV, which has been brought about by the age of streaming. Some may argue that the limited series that fall into this category are nothing more than repurposed films. However, this is not the case when the format is done well. When successful, it allows for much deeper characters, themes, and emotional resonance. Arguably the best of this subgenre and technique can achieve a much more lasting impact than even the best two-hour movies. Long may it continue.

Cinematic TV. An Evolution.