Deep-running continuity is both a blessing and a curse in television. It rewards long-time viewers with a satisfying story and the feeling that somebody really is paying attention. However, a series that weaves itself together too intricately risks making itself inaccessible to new viewers
because "you really have to see it from start to finish."
Fear of being dropped into the middle of a plotline they'll never understand without information that's already been given
, or fear of investing their time in a series they'll have to get through hundreds of episodes to get a satisfying ending from
(assuming it'll actually have one
), can keep even the most interested hanger-on from tuning in, a risk that can keep a series with borderline ratings
from reaching its full potential. Less common now in the days of DVD and Internet file sharing (and trade paperbacks
), where back episodes are available to anyone with the time, money and/or bandwidth. Many networks are also making back episodes of their more popular shows available for viewing online. Commitment Anxiety
can occur as a result of Continuity Lockout
and Continuity Snarls
within the work; even with the ease of availability of this material, if the writers make the continuity too impenetrable or convoluted, it can cause people to give up in frustration.
Networks frequently try to draw new viewers despite this anxiety by using a Recap Episode
See also Ending Aversion
and Archive Panic
. For reluctance to commit to a new show lest it be Screwed by the Network
, see The Firefly Effect
Not to be confused with Commitment Issues
which is about a character's fear of committing to a significant other.
- Pretty much most Anime series that aren't kinda short. Many Shōnen shows are notorious for this.
- Especially One Piece. Seriously, you'll likely end up debating with yourself whether the sheer amount of time you'll have to wait for the end of the story (which is less than two thirds of the way done) and the time it takes to tie up loose ends is worth the emotional investment.
- Naruto is a funny instance. Sure, the series pre-timeskip is about 200 episodes long... but barely over half of them are actually canon. This is an example where it's faster to just read the manga to get caught up on the main plot. And there's a good reason many fans referred to the second half of the first series as the Filler Hell.
- This is a complaint frequently brought against mainstream superhero comics, especially the X-Titles. How bad is it? Let's put it this way: It's perfectly reasonable for a comic book fan to say to somebody trying to understand the latest issue of Uncanny X-Men, "Okay, so you've read every issue that's ever been published, and you remember them all perfectly. It's not like that means you'll understand what's going on." The tendency towards Continuity Snarls does not help. Marvel produces special "Point One" (the number of the previous issue, with .1 added to the number) issues to address this problem. However, feelings are mixed. While some do a good job of introducing readers to a series, most fare far worse. Most of them occur right in the middle of a story arc, completely contradicting the point of the issue, are completely irrelevent, or just plain bad.
- Twin Peaks, as it's the usual David Lynch insanity spread across various episodes to improve the anxiety.
- Lost, with many Foreshadowing elements, and an ever-complicating plot.
- The X-Files. The series is nine seasons long plus two movies, and the "arc episodes" are spread along Monster of the Week ones.
- Babylon 5, less because of length than because of very tight continuity that makes it inadvisable to skip the weak first season.
- The Wire HBO series, notorious for being nigh-impossible to follow if you didn't start from the beginning.
- Game of Thrones: A complex plot and Loads and Loads of Characters means that you've at least got to read some summaries of the earlier seasons if you start watching the show at a later date. It's based on A Song of Ice and Fire, so reading the books also works - though each book ranges from 800-1000 pages long.
- Heroes, with its Loads and Loads of Characters and an infamous Seasonal Rot reputation.
- Ron Moore has cited fear of this syndrome as being behind the Breather Episodes on the new Battlestar Galactica.
- Star Trek: Deep Space Nine for most of its run. Seasons one and two were rather diligent about sticking to Star Trek: The Next Generation's Monster of the Week Formula with the Gamma-quadrant and Bajor-Cardassia back stories being secondary to what ever conflict came through the wormhole that week. Once The Dominion was introduced, every episode had to start with a recap.
- Terminator: The Sarah Connor Chronicles was doomed after two seasons by its interesting but "narratively inhospitable" (to new viewers) tight story arc.
- Veronica Mars, which abandoned the season-long mystery arc in season three, but never made it to season four.
- FlashForward (2009), which avoided this by inserting a special episode just before it came back from its mid-season hiatus. That's one whole hour for just thirteen episodes.
- Arrested Development was a rare Sitcom example for the time.
- The prospect of watching Doctor Who in its entirety is terrifying if you're a completist. note (This is mostly an irrational phobia, though. The pre-1989 show very rarely did long-term plot arcs, and they lasted a season at most. Even the post-2005 show tends to wrap up all its arcs and start completely new ones whenever there's a change of showrunner.)
- Breaking Bad, given its five seasons long and deals with really dark themes.
- Night and Day may well have suffered from this. Unusual for soap in that it demanded not only that viewers turn on each week, but that they pay reasonably close attention, especially in order to follow the central plot surrounding Jane Harper's disappearance. Character motivations and plot points are often glossed over or otherwise obscure - sometimes seemingly for stylistic reasons, and other times as a result of the condensed night-time omnibus, which would often by necessity do away with scenes from the daytime version that provided helpful, if not crucial, context.