So I’ve edited the announcement to reflect that. We are now going with [*New Blog Name To Be Determined], which is a lovely placeholder.

The name I had intended to use (the midnight cartographer) is now apparently a new series of middle-grade fantasy books, and that’s on top of a pre-existing YouTube channel, a “cinematic alternative rock” artist on Bandcamp, and the other series of middle-grade fantasy books that was self published a couple of years ago. The space is getting a little crowded. So far I’m only out around $15 for the domain name registration, which I’ll just not renew at this point, and we’ll go for an easy re-brand.

When? And with a new blog, does that mean no more updates to the venerable RocketBomber? I guess we will see…

The last post to this site was on 31 October 2023, and that means I’ve paid my web host for two solid years and haven’t bothered to blog anything. Just keeping the lights on. And for a couple of email addresses, along with the domain registrations…

OK fine, the monthly “hosting” bill is about more than just this one blog. But it is criminal how long I’ve neglected it.

I have a longer list of things to do for 2026. There are a couple of static pages that I need to set up, landing pages for both my professional site and another for the business site, after I file for the DBA and pay appropriate local registration and administrative fees. In parallel, I need to get the Itch site up and running so that when I hit my publishing deadlines for 2026, those pdfs have a place to live and maybe even sell (priced pay-what-you-want for this first year). Once I convince myself I can hit multiple publishing deadlines in a single year, for 2027 there might be a Patreon or some other way to subscribe, and we’ll do it all again.

And while I also want to blog more, in 2026, it’ll be at a new URL. RocketBomber was and is my personal site, it was about bookselling when I was a bookseller, and about feeling lost in the wilderness and casting about a bit when I more suddenly wasn’t a bookseller, a decade ago and more. RocketBomber has been a solid “brand” but it was never the perfect fit; like a lot of domains I’ve collected since 2000, it was for a project that never quite launched. When you start planning, you buy a dot com (like a normal person) because you don’t want to be in the situation where you have a great name but someone else has the website.

This year, when I write, I want it to be on a topic I am enthusiastic about, a hobby I actively enjoy, projects I’m doing on my own time because I can’t help but work on them. I want to be inspired, I want to share the joy, I want to have fun and hopefully I can communicate all that. So I’ll be diving into RPGs, fantasy maps, fantasy fiction, and table top games as [*New Blog Name To Be Determined], and producing my own game-related stuff on Itch, as Interpunct Games (and also under the Fantasy Mile brand).

This isn’t a goodbye. I’ll likely still need a personal blog for personal things, especially since the new site will be narrower, topic-focused. But the energy and activity will be over there, and RocketBomber will only get its [typical?] once-a-year-or-so updates.

Anyway, both of those and the main account deleted.

Like everyone else, I am waiting to see what comes next. Mastodon is probably the technical (and tech) leader in this race but has a horrible brand, a fractured user base, and something of a reputation among the folks who haven’t used it yet. The ActivityPub protocol is the key jewel in Mastodon’s potential social media crown, but we’re still waiting for another major player to implement it [Tumblr, maybe?] or for someone to build a new app and website from scratch that will federate with Masto and the rest using ActivityPub, while also resonating enough with users that it gains traction.

The other ‘open’ option that is 1. not open, 2. wholly owned by a private company, and 3. actually gaining some mindshare out there is Bluesky. Bluesky, or bsky.app, is using the AT Protocol (yes, they capitalize it even though you’re supposed to say “at protocol”, not sound out “A. T.”) which is similar to ActivityPub in that it will allow different platforms to cross post and ‘federate’ and let you take your online social presence with you to whichever platform you’d prefer (that uses the AT Protocol). Except that the AT doesn’t connect to anything and no one else is using it. Bluesky is succeeding where a number of other platforms ain’t by basically looking like and acting almost exactly like twitter from, say, 2017 while also restricting access behind invite codes while they go through their “Beta”. The first batch of invites went out to journalists and a few other heavy hitters so they’ve managed to make a site that you’d want to read with accounts that you’d probably like to follow and then immediately closed the door to everyone, only opening it a crack.

It was just six weeks ago that Bluesky hit a million users, despite technically being around since 2019. It could probably grow to ten times that size in another six weeks if they opened the door to everyone, but the folks that run Bluesky are being very careful. Users are great but users are also the worst thing about a lot of social media.

If you go to the bottom of this web page you’ll find links to my accounts on both of these new platforms¹. I’m spending more time right now on Bluesky and will probably be active there for the foreseeable. Though the social media I probably have more fun using is Tumblr, which is kind of hilarious since I was on Tumblr even before making a twitter account in 2010. Everything old is new again.

Twitter-that-was: You were awful, and then somehow over the past year you got worse. You will not be missed; mourned a little, maybe, because you were a part of our lives for quite a long time, but not missed.

There’s not a replacement yet. Like everyone else, I’m still waiting to see where we all land.

¹ The Links section is baked into the CMS and almost trivial to update, when I remember to update, so if you are reading this in 2 or 3 years time and we’re all on some new second-life VR/AR social media platform called StupidGoggles or TormentNexus or whatever, my account for the latest-greatest social media platform should be down there too.

I do have plans. I also need to file a DBA with my local county and get a business license from the local city and some other odds and ends (including actually making a separate web site) and I don’t currently have the luxury of gobs and gobs of free time given the 40 hours a week I spend in other gainful employment.

The non-existence of that separate site seemed like something worth noting, though, so I’ve noted it.

Plans (for 2024)¹ including getting on a regular publishing schedule and providing actual downloads (free on itch.io) on my way toward longer-format products and uniting some of the currently unrelated bits-and-thoughts I have floating inside my head into something larger and more coherent.

More information, or at least some hints, about the 2024 schedule and the over-all plan behind it will be coming later this fall². If you can recall some of my sporadic blog posts from earlier this year I’m working on fantasy maps, among other things, and trying to figure out appropriate map scales and templates. That’s part of it, and will probably be the bigger part, but hopefully I can also drag my undiagnosed lump of brain matter away from hyperfocusing on just that and can also move along other, currently slower moving parts of the project too.

Thanks for reading, and for not kicking me out of your RSS feeds.³

In other housekeeping here on the blog: I’m not sure if this means more regular updates here as well as on the new site. I certainly enjoy sharing my progress and process, and I could certainly be a lot more systematic in how (and how often) I share. We shall see. Watch this space, I guess.

¹ I had similar plans for 2023. and 2022. and, um… yeah ok fine it’s been a while.

² Just a reminder that we just started fall/autumn and ‘later this fall’ is technically any time before 21 December.

³ should I not have mention that? no… wait… don’t do it now…

Binges are fine³ but they are maybe not the best way to watch a show?

Before I tell you the best way to watch a show & justify that with some statements that are mostly just my opinion, it might help to consider a few different ways TV shows were typically presented in the past and talk about an aspect of TV production that maybe is just as important as things like scripts, acting, and budgets: release cadence.

Back in the before times, when there were only four networks⁴, every show had the same release: weekly. Shows ran in a time slot, a particular half-hour or hour of a given weekday, with a new episode each week — for as long as there were new episodes — and then a re-run of the season during the Spring and Summer before the next season (or replacement show) began in the Fall. A season of US TV was as long as 39 episodes in the 1960s but had settled into 22-26 ep seasons by the time most of us would have been alive to remember. This worked well for networks and, since they were the only market, this is how studios and production companies made TV. For decades.

There are exceptions: Columbo springs immediately to mind, which was one of several ‘rotating’ shows that were broadcast as The NBC Mystery Movie — The Mystery Movie was weekly, but if you had a favorite detective you might have to wait a few weeks before they’d show up again. Each episode of Columbo (and others in the rotation) was 90 or so minutes, to fill the two hour time slot.

There were also the “miniseries”, which had their heyday from the mid-1970s [1976 or so] to the mid-to-late 80s [1988’s War and Rememberance being a bit of a capstone]. Not that the format went away⁵ — arguably everything on cable and streaming these days are just miniseries, with ‘seasons’ as short as six episodes and nothing capping out past 13. Broadcasts of miniseries varied, from one or occasionally two hours presented in the same timeslot weekly over the course of six to eight weeks; or nightly, with episodes airing mostly daily (occasional skips for things like football) over just two weeks. Shōgun, 1980, broadcast on NBC in a single week, Monday to Friday, two or three hours every evening — 12 hours total, with the commercial breaks.

Miniseries were an attempt to ‘break through’ what was otherwise a monotonous and kinda-boring wall of pre-1990s network TV offerings. With bigger stars and bigger budgets than most TV dramas, and a lot of hype on the network before the big premiere, miniseries typically crashed through the usual programming blocks to get record ratings — and emmy nominations. Miniseries were the Prestige Television Events of their day, you know, before HBO and other premium cable channels started doing the same thing but better.

Of course, ‘regular’ television series could also have their own events: Who Shot J.R.?, 1980, as one prominent example — or the Series Finale for M*A*S*H, 1983, which is still the most watched⁶ TV episode of all time.

‘Event’ television aside, and separate from the motivations of the broadcast networks, the goal of most producers was to get their show on a network and keep going until at least season five. The magic number was 100 episodes. An older tv show could certainly be sold into syndication with fewer episodes, and were⁷, but 100 was considered optimal⁸. Unless your production is basically live — like news programs, late-night variety/interview shows, and broadcast sports — racking up production and episodes for literal years is just about the only way you’ll be able to maintain a daily Monday-to-Friday broadcast. There are a lot of programming hours to fill.

##

Once the thing is made and in the can, how you release it will depend on whether or not you run Netflix (”Just drop the whole damn thing at once, they’ll figure it out”) and with that one qualifier out of the way — how you release the show depends on how you want it to hit your audience and what you want your audience to do with it.

The default is one episode a week, typically released to a US viewing audience during their evening hours, on whatever night of the week you think the show will have either the most impact or the least competition. This is what everyone expects and is the way shows have aired for decades. Ideally you want everyone to watch at the same time⁹, and you want each episode to hit like a truck. Leave the audience reeling, and buzzing. Have everyone talking about it, setting up subreddits to endlessly discuss show lore and mysteries, making meme gifs in a scarily rapid fashion, and to trend on twitter or whatever the post-x equivalent of that is going to be. The long term goal is to build an audience over 8 to 10 episodes and have folks picking up subscriptions just to watch and see what that buzz is about. Event Television. The ‘watercooler discussion’ show.

If you want to be the ‘watercooler discussion’ show (and everyone does) you pick a weeknight and you own it. Maybe just for as long as your show runs — maybe — but we’ve identified a goal and all you corporate types need to wake up, ignore shareholders for just a second, and recognize you make a fan-oriented media product and good business practice means you should probably at least pretend to care about the fans. Or even think like them. Briefly. I know this isn’t your wheelhouse but this is expertise you can hire¹⁷.

One limit we might run into is the calendar: only so many time slots, only so many days in a week. With a big budget show (or just very high expectations), the broadcaster is definitely going to want to “own” the night, be the only thing people are talking about. There isn’t a big, blockbuster movie release every weekend but when there is, that kind of takes out Friday night (& occasionally Thursday). There used to be a Summer Movie Season¹⁰, but going to see movies in the theater is another thing maimed and left limping by the double hit of Covid and streaming. After Summer you run into sports; during the big sports-ball season, you’re competing against 16 different NFL match-ups, at least one of which is probably going to be good (and moved to a prime-time evening broadcast slot) so there goes your Sunday. College ball (football and later basketball, especially in March) will take care of Saturdays six months out of the year.

You don’t have to restrict yourself — counter-programming is always a thing, they didn’t invent it for Barbenheimer — but it feels like the streamers do? HBO did Game of Thrones on Sundays [9pm Eastern], but Disney+ seems to like Wednesdays (now rolled back to Tuesday evenings), and Paramount likes Thursdays for their Star Treks¹¹. Netflix used to drop everything on a Friday [at midnight pacific time], presumably because their own metrics show most folks stream on the weekend¹², but more recently you’re about as likely to have a Tuesday, Wednesday, or Thursday release on a Netflix Original.

How much room is there for Big Event Programming? We’re going to have to wait at least 18 months now to find out, I think, given that the strikers are [rightly!] halting TV production at nearly every level this Summer [and Fall? we’ll see]. Releases are going to be thin on the ground for a bit. It also felt like the big streaming services were pulling back anyway, quite a bit even before the strike, not spending as freely as they were when everyone was chasing new subscribers in the 2020 streaming landrush.

With only 6-10 episodes of most things and only seven[?] “major” streaming services competing, alongside four-and-a-half legacy broadcast networks still doing the legacy broadcast thing, the field isn’t necessarily over-crowded. As a fan/consumer, the ‘field’ seems ‘under-crowded’ if that’s a thing. While there is still way too much TV for any one person to possibly watch, each service is (mostly) behind a paywall and those paywalls keep everyone ‘in their lane’. Sure they compete but there isn’t any oldschool-NASCAR-style bumpin’-n-grindin’ going on.

So the job that used to be a programming director¹³ in charge of the network lineup¹⁴, now that we’ve moved over to a streaming TV model, just has to figure out how their 10-15 Big Pieces fit into the calendar, in and around holidays and big sports events and Summer movie premieres. They might have less, depends on the network and on the strategy. Netflix has something like 135 new seasons dropping in 2023, a mix of foreign and licensed and Originals, but I couldn’t tell you what any of them are or what the hits are expected to be¹⁵.

Netflix isn’t the only company that is seemingly bad at this. Warner Bros. Discovery has “Max” now [RIP HBO] and the biggest headlines are usually generated by what they’re *not* showing, whether that’s stuff canceled in 2022 for tax breaks or old HBO shows leaving their platform for greener, ad-supported pastures.

Not every show is going to be a viral hit or suddenly taken up by a vociferous online fanbase but that seems to be the plan? Just put it out there and hope?

Hope for a Stranger Things or Ted Lasso or The Bear. [Or Poker Face or The Witcher or Encanto or Yellowstone is that one for everybody yet don’t want to leave a streamer out].

I don’t know what the solution is¹⁶. Actually I might know what the solution is, more in that footnote, but even without a ready-to-implement plan that someone is just going to hand over to you¹⁷, I would hope most executives are aware they have a problem.

##

Back to topic. TL;DR -

The best way to release a show is in weekly chunks. Pick a night, pick your release window [say, 6 weeks in summer], do at least some modest build-up, and go. I said “chunks” and not episodes, because the best amount of show to give the fans isn’t exactly one 44 minute episode each week and a lot is going to depend on your story and where those breaks/hooks/cliffhangers fall within the story but that’s a different conversation to have with the script supervisor and showrunner. If you aren’t having those conversations, well, start. (You get that bit of advice for free)

The best way to run your business¹⁷ is to then have another show ready to go as soon as this one wraps. Pick your night, pick your time, and own it. Have 52 chunks of TV ready to air and train a fan base (or multiple fan bases) to tune in every week, “Same Bat time, same Bat channel”. Make it a habit. Build the brand. Own a niche¹⁷. But keep that ball rolling. You can try to come up with a brand or framework but it is even easier than that: Just send it. However you want to define it or market it or target it, keep releasing every week at the same time. Every time you take a break you’re basically telling viewers that it’s now OK to unsubscribe for 4 months and go watch something else¹⁸. This is going to mean having 8 shows in your production pipeline, two every quarter, and another 8 shows in the pipeline for next year — but this is your business? I mean… I shouldn’t have to tell you that?¹⁸ You could get really ambitious and start making [*gasp*] 26 episode seasons of TV again, then you’d only need two shows a year to fill this hypothetical time slot — how you actually schedule the shows is still up to someone who has a good feeling for the release cadence¹⁷ — say, scheduling alternate blocks of 13 — or splitting a show into chunks of 6 and 7 to sprinkle throughout the year or even over 18 to 24 months… but that’s a different different conversation to have with your script supervisors and showrunners

There are better ways to really push a show as an Event¹⁷, but weekly chunks on a weekly schedule is just the basics of the basics.

Streamers are really missing out though by not following through though. You want to release stuff on Tuesdays? Own that. Own Tuesdays. There should be memes about Disney Tuesdays¹⁷.

..

¹ ok. fine. Binge watching is like the least disruptive thing hitting TV, movie production, distributing and selling media, and our pre- and post-Covid consumption habits but the damn blog post has to start somewhere and we’re starting with binge watching.

² Expensive box sets. Like, $99 each – at least to start. And not every studio was good about releasing their TV products on disc, so your favorites weren’t guaranteed to be released in a timely manner, or at all.

³ context probably matters quite a bit here.

⁴ Before 1987, there were only three broadcast networks, a discovery made by deciphering the cuneiform clay tablets of TV Guide from that epoch.

⁵ Personally, I remember a string of Stephen King adaptations on ABC in the 1990s, including It and The Stand

⁶ ‘TV Ratings’ are a different thing, especially as network TV viewership has declined so it takes fewer eyeballs to make up a larger percentage of the audience, but at 105 Million or so people watching, Goodbye, Farewell and Amen is still the most watched piece of US TV that wasn’t a Superbowl (there are 10 Superbowls that rank above it) or a piece of live and breaking news — those being the Moon Landing, still no. 1 overall with at least 120 Million viewers, and Nixon’s resignation speech, no. 10 and with 110 Million.

⁷ perhaps most notably, Star Trek’s original run, at just 79 episodes. Some shows started syndication with as few as 35 episodes, while the original show was still airing. Occasionally a successful show that started on a network did well enough in syndication even with a very small ep count to prompt the production of new seasons of original episodes that go out on a first-to-syndication model but look I don’t know if I *want* to link to Mama’s Family even if it’s a really good example of syndicated sitcom television. There are also some really good sci-fi/fantasy examples of first-to-syndication but at least three are Sorbo or Sorbo adjacent (so yeah, no links) (Xena gets a pass) and the other one is the one you all know about: Star Trek TNG. TNG was so successful it tricked Paramount into thinking they could launch their own network. At least twice.

⁸ 100 eps fill 20 weeks with daily M-F airings and so long as the kids keep watching Gilligan or Batman or The Munsters for a half hour every afternoon, you might as well keep re-running the same 20 weeks for years at a time. Syndication was how the show made money; all the production costs are covered by the initial airing (ideally) so everything else is gravy. Cable didn’t change this landscape so much as cable channels greatly expanded it, especially ‘general audience’ basic cable staples like USA, TBS, TNT, A&E, & Lifetime along with genre/niche networks like Comedy Central, SyFy, TV Land, and the whole Family/Disney/Kids constellations.

⁹ VCRs allowed limited timeshifting but that was on your audience to figure out. DVRs came later and made parts of that timeshifting easier but due to costs of hardware and limited uptake, still wasn’t that big of a step past VHS tapes. Now, of course, TV via internet streaming services means you can watch a show whenever you’d like… if you’re fine with dodging spoilers on social media & in entertainment news headlines for a day or a week at a time. So we’re not stuck with watching the same show as everyone else at the exact same time, but optimally, a lot of us might want to — either to follow along with the live tweets & reactions as other fans watch, or just to keep from having big reveals spoiled. Anecdotally I think the new way to watch new shows is still to catch them on your own schedule, but as much as possible to watch the same evening as everyone else, at the very least, if not at the exact same time.

¹⁰ The Demand is Still There for summer movies. We might need to re-think or renegotiate the logistics but I don’t think the 1980s were a statistical fluke. Smart studios can bring that kind of movie ecosystem back.

¹¹ Or is the plural Stars Trek?

¹² and Netflix was run by the techs who coded the UI/browser video player/back-end & they didn’t care. Drop 52 episodes on Friday? yes, click box, schedule, make visible to users, clear ticket, go home it’s the weekend.

¹³ Do we call this executive a Content Release Cadence Manager now?

¹⁴ and in charge of filling at least 10 hours a day, every day, at the network level. At the local station level you have to add another 6 or so with afternoon programming and local news, or the whole day if you run a UHF/independent without a network to affiliate with (or the CW affiliate who is only getting 2-4 hours of ‘network’ prime-time).

¹⁵ did they fire their marketing department? I’m guessing no, they probably still spend between 4% and 6% to advertise their shows, I’m just really good at ignoring online ads & may not be in a demographic they’re currently targeting so it just seems like they’re super quiet about running a TV business.

¹⁶ YOU AREN’T GETTING IT FOR FREE anyway, NOT THIS TIME. I have plenty of ideas as is perhaps demonstrated by the fact I’m writing a blog post practically no one will read just to organize thoughts and get a few of the more naggy ones out of my head but if any corporate-type is reading this hoping to find the easy answer, you can hire me. I’m super cheap, in as much as I’ll take just about any salary offered (even lowball ones) commensurate with the duties involved, but you’ll have to put me on the payroll before I solve this for you.

¹⁷ See the note above

¹⁸ I am definitely giving away too much for free. Seems obvious but obviously isn’t and damn it why are y’all so bad at this?

¹⁹ Hell I can add footnotes on these even without a link above. Here’s an extra, etymology related: TV shows are Aired, as in broadcast ‘over the air’, originally using electromagnetic radiation at specific frequencies and even if the show was on tape, that broadcast was live, real-time, one time. In this new streaming TV age, this is still the model, and we still use these terms from the vacuum-tube, audio-only radio era.

²⁰ Thank you for reading to the end. +1, gold star.