Visual podcasts: the changing nature of a traditional medium
Watching podcasts rather than listening to them has become the norm, presenting new challenges for traditional audiences. I found myself cleaning my home while listening to a favourite podcast episode when suddenly, one of the hosts remarked, “If you’re listening to this then you won’t get the joke.” This assumption— that I was expected to be watching— highlights a significant shift in how we consume this medium, reports BritPanorama.
The concept of video podcasts, or “visual podcasts” as they are increasingly termed, is not new. The genre can trace its origins back to the 2003 series, Dead End Days, but the recent surge in popularity has captured widespread attention. Notably, Netflix has now entered the arena.
Last week, the streaming giant revealed its first original video podcast, The Pete Davidson Show, which will feature conversations with the comedian’s celebrity friends in a casual setting—his garage. In addition, Alison Hammond will host a companion podcast to the hit period drama Bridgerton, offering insights on the series.
Netflix’s investment in the podcast space encompasses not just original content but also the acquisition of rights to popular shows such as My Favourite Murder, The Breakfast Club, and Pardon My Take. The motivations for this strategic shift are clear, combining cost efficiency with the intention of directing viewers away from platforms like YouTube. However, the implications of shifting a traditionally audio medium to a video format raises questions about the essence of what a podcast represents.
The defining advantage of podcasts lies in their versatility—listeners can engage with content while performing daily tasks such as cleaning, cooking, or exercising without the distraction of video. Engaging with hosts like Ed Gamble and James Acaster enriches daily routines, allowing for the information and entertainment to accompany listeners without demanding their full visual attention.
Moreover, podcasts create a sense of intimacy between hosts and audiences. The unstructured format allows guests to share more candid stories, fostering a relaxed atmosphere. In contrast, introducing cameras and studio settings undermines this personal connection, pushing speakers into a more performative mode.
Despite the growing trend for podcasts to include a visual component, it raises the question of whether such formats truly qualify as podcasts. Recent programs such as The Pete Davidson Show and Good Hang with Amy Poehler, which won the inaugural Golden Globe for Best Podcast, resemble chat shows more than traditional audio offerings. They are defined by structured segments, guest appearances, and specific settings, contrasting sharply with the spontaneity that characterizes audio podcasts.
As visual podcasts become commonplace, the clarity of purpose regarding what defines a podcast blurs. I would rather watch a well-crafted chat show like The Graham Norton Show, which is designed for a visual medium, rather than sit through an hour-long conversation where the visual elements do not add significant value.
Ultimately, the prevalence of visual elements in podcasts prompts a broader discussion about the essence of the medium itself. If a podcast requires visual engagement, one could argue it has transitioned into something altogether different.
