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Already picked up for a second season, viewers can either binge- watch the full season online or watch as the episodes air weekly. While at the Free. Form portion of the TCA Press Tour, executive producers David Eick (Battlestar Galactica) and Tim Kring (Heroes) spoke to Collider for this interview, in which they talked about what it’s been like to have this series available for binge viewing, how this process has affected the storytelling, how they’ll be approaching Season 2, how much they’ve departed from what they thought this show might be, and how their background with visual effects- heavy TV shows has helped with this one. Be aware that there are some spoilers discussed. Collider: Congrats on Season 2!

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How has all of this progressed for you guys, with the full season being available online while episodes air weekly on Free. Form? Image via Freeform. TIM KRING: To be honest, for me, having done some serialized shows in a time when this wasn’t the way they were aired, we always felt like we were airing our show with one hand tied behind our back.

The week- to- week airing of a show, especially one that has cliffhanger endings and a lot of suspense between the episodes, sometimes would be very detrimental to the show. What ended up happening was that your audience was always angry at something.

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You’d leave a cliffhanger that would be somebody getting killed or some big plot twist, and then that entire week, the fans are whipped into a frenzy with one another. They’re usually angry, frustrated, don’t know the answer to something, or are confused, and that whole week that people have to talk about it can be really destructive to the show. Now, with the ability to just click on another episode and get the answers immediately, it’s an acknowledgment that this is how people are watching shows. Whether anyone wants to admit it or not, it’s a superior experience to waiting. DAVID EICK: We didn’t know the show was going to be binge- able while we were writing it and making it.

But the real estate necessary to reacclimate an audience to the episode they may or may not have seen from the previous week, you’re really talking about three to six pages of material that are dedicated just to that. We now have 4. 2 minutes to tell a story because they keep shrinking the amount of real estate. When you know that the audience watching Episode 5, just saw Episode 4 and you don’t have to walk them through the week that they’ve been waiting for Episode 5, it does allow you to tell the story better because you’ve got more pages with which to do it. KRING: The truth is that you used to have to treat your audience with not quite as much intelligence because you didn’t know whether new people were watching, so you wanted to make sure that everybody understood things.

Now, the relationship the storyteller has with the audience is a much higher quality relationship. You treat them with a lot more intelligence because the truth is that it’s not my fault if you don’t know what’s going on. There are plenty of ways for you to find out. You can talk to all kinds of people, and you’ve got access to all this information.

The onus is no longer on us, as a storyteller, to tell you. You can go out and find out yourself. So, every episode can start where it’s supposed to start.

Having that knowledge, will that change how you approach things with Season 2? Image via Freeform. EICK: I think so. Because we had the sense that there was the possibility of the show being binged and that adjusted some of our storytelling, knowing that it’s going to be a binge- able show will help us capitalize on it.

We really will be able to maximize story value in every page vs. You get a lot of notes, from any network and not just Free. Form, about clarity, about stating purpose, about character objective, about consistency, and about continuity of previous episodes.

Many of those notes become unnecessary, only because we can now say to the audience, “If you’re not entirely clear on this, we know you’ve got it DVRed and we know you’ve got the internet. We may, in fact, deliberately withhold something from you because we know you can go do a little digging and figure it out for yourself.” It’s a different style of storytelling than if you’re doing Law & Order. KRING: It allows the audience to participate a little bit more.

They play a much more important role in the storytelling because you don’t have to spoon feed things to them. They have to work at things.

Oftentimes, with binge- able stuff, second and third viewings are really important because you see, “Oh, that character I didn’t like, that was supposed to be that way because, in Episode 9, he turned out to be a turncoat. Now, I’m going to go back and watch all those moments that I felt that way about him.” That’s what’s fun about it. When you’re working on the first season of a show, you have to also think a little bit ahead because a network likes to know that you’re headed somewhere. How close are you going to be sticking to what you thought might be next for this show, and how much did doing a season of this show affect where you’ll go next? EICK: I would say the direction the show has gone is a significant departure from anything anyone was expecting, only in good ways. It harnesses this individual, personal, adolescent story and turns it into this visual effects adventure. It all began with this young point of view. That was intact. The construct of the family was intact.

But the ideas that involve different dimensions, and the nexus that surrounds life and the afterlife, are pretty wacky ideas that involved a great deal of research into everything from Ayahuasca to brain disease. Part of the joy of a series pick- up is that it gives you a green light to dive into a lot of that stuff. When you don’t know whether the end of the season is the end of the series, do you worry about how much you leave open, at the end of it?

EICK: Never, honestly. I don’t. I really believe you have to make television with the belief that you’re going to continue on. If you hedge bets and you catch yourself being measured, I usually find that’s a bad sign. Maybe you know something that you don’t want to know. KRING: In the shows I’ve done serialized storytelling with, there are big open questions, but you like every episode to be identifiable as what it is.

It’s also very important that each season is identifiable. There’s usually some big thing that you’re trying to wrap up.

There are big bows that you’re trying to tie, by the end of the season, that you would do anyway because it’s just good storytelling to tie those things up. You have these long periods of time now, between seasons, and it’s a time where you can find a show and binge watch. You can very often start a new season with a lot more viewers than you had, leaving off the season before. It’s a chance to pull the show into a train station, stop the train, and let all these new viewers on, so you can tell a new story. In some ways, a second season is a chance to tell a brand new story that you can wrap up, at the end of it. Image via Freeform. EICK: I’m the last guy on Earth to watch Breaking Bad.

If you look at the ratings, the first two seasons were doing one to one- and- a- half million. The third season was doing two million. The fourth season was doing four million. The fifth season was doing five and six million. It’s like a snowball rolling down hill. Once you know you’ve got that momentum, it completely frees you from a storytelling perspective.

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