Some cases of recent successful series in which a more than proven trend is detected: ‘Stranger Things’ took more than three years to launch its fifth season. ‘Separation’, almost the same time for his second. ‘Wednesday’ was not the fastest series either. The pattern is so clear that they have even given it a name. And for once we can’t put all the blame on the pandemic or the writers’ strikes (although they played a role in getting us to this point). The figures. Ten years ago, the average wait between seasons of original series on the main streaming platforms was 10 months. In 2025, this figure reached 21 months, according to a Ampere Analysis report published in May 2026. This analysis covers 1,611 original series on very diverse platforms, such as Netflix, Prime Video, Apple TV+, Disney+, HBO Max, Hulu, Paramount+ and Peacock. The firm has dubbed the phenomenon “the Stranger Things effect.” It was seen coming. But although the pandemic is not the final cause of this phenomenon, its impact is indisputable in the paradigm shift. The gap between seasons was already growing slowly until the 2020 pandemic he shot her 12 to 16 months in a single year. After that, the data relatively stabilized until the strikes of writers and actors 2023 caused the second big jump: from 17 to 21 months between 2023 and 2024. In 2025 the trend stabilized, for now definitively. But you have to understand the context beyond “the industry was paralyzed by the pandemic.” For example, in 2022 we were at the height of the “streaming war”, and the large platforms published 599 seasons of original series, that is, more material than in the entire period 2015-2019. Granted, the pandemic had devastated more than one economy in the industry, but that volume of production also exhausted human resources, studies and calendars. When the forced shutdowns came, first due to the pandemic and then due to strikes, the bottleneck was inevitable. The counterpart: it works. The point is that contrary to what common sense might dictate, the report detects that the series that returned after more than thirty months of hiatus (that is, two and a half years) registered the highest search activity on the internet in the month of release. For example, ‘Stranger Things’ accumulated a 300% increase in views during the second half of 2025, before the premiere of its final season, with an especially strong rebound from the first season: it was new viewers discovering the series and fans reviewing previous episodes. ‘Wednesday’ and ‘Separación’ almost doubled the average engagement on their platforms. Movies on television. There is a possible reading of this data: the model of the blockbusters cinematographic films has migrated to television. If a highly anticipated movie in a franchise generates expectations months before its release, a highly anticipated season of a series does too, in a way that a routine annual release does not. Which is combined with another reason: sometimes highly complex series (effects, script, post-production, cast, as is the case with the three mentioned) require more time. The case of the second season of ‘Separation’ and its multiple rewrites It is significant. That is to say, just like blockbusters, there are series that require more filming time than average. Because of this, they take longer to see the light, but they also generate more expectation because the public expects the wait to be compensated with more spectacle. The risk. This practice can generate anticipation, yes, but there is a danger for the platforms that Ampere specifies: “Streamers need to balance production deadlines for big titles with a constant flow of content. Long gaps can generate anticipation around star titles, but they can also encourage audiences to cancel subscriptions and return only when their favorite series are back.” It is the phenomenon of churn and returnthat is, canceling a subscription and renewing it when the series returns, something that from the point of view of monthly income, is basically the same as not being subscribed. Generate excessive expectation or ensure a loyal and expectant audience, accustomed to an almost continuous supply of episodes, as is happening, for example, with ‘The Pitt’? Virtue lies in the middle ground, possibly: neither stretching the rope until it breaks nor suffocating the viewer with excess content. Late for that last one, on the other hand. In Xataka | 29 years later, Netflix has become the television it promised to replace. That’s why Wall Street has punished her Ampere analyst Christen Tamisin put it this way in the report: “Streamers need to balance the production timelines of big titles with a constant flow of content. Long gaps can generate anticipation around flagship titles, but they can also encourage audiences to cancel subscriptions and return only when their favorite series are back.” The paradox does not have a simple solution: reducing the wait can mean compromising the quality that, precisely, turns these series into events.
