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"content": "\u003cp>It’s an old tradition that endures, even amid the year-round deluge of programming brought to us by the age of streaming. It is the fall TV preview.\u003c/p>\n\u003cp>Turns out fall is the perfect time to refocus on television after a summer filled with vacations and outdoor distractions. So our pop culture team collected the coolest TV shows coming your way over the next few months as a guide through the madness. We haven’t seen all of these programs yet, but we’ve learned enough to know they’re worth checking out.\u003c/p>\n\u003cp>Whether you’re excited by an updated Jim Henson classic, the backstory behind a legendary rap group or a continuation of the most beloved graphic novel in comics history, there’s something here for you. Here’s our list of the most interesting shows coming this fall.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dark Crystal: Age of Resistance\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Friday, Aug. 30\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSV42j8lccg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps the most notable thing about this 10-episode series, a prequel to Jim Henson and Frank Oz’s 1982 fantasy film, is what it isn’t. It isn’t a digitally animated CGI spectacular; it relies instead on practical, painstakingly constructed animatronics and old-school hand-puppetry. (Director Louis Leterrier notes that there will be some green-screen work, but the series aesthetic is definitively one of puppets over pixels.) Artist Brian Froud is once again on the production design, so the Skeksis species, and its scuttling crablike enforcers, will be back to supply a new generation with the same nightmare-fuel mixture that kept their parents and grandparents up. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Wu-Tang: An American Saga\u003c/strong>\u003c/em>\u003cstrong> (Hulu) \u003c/strong>Wednesday, Sept. 4\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w37TQZwnjXY\u003c/p>\n\u003cp>This 10-episode limited series unfolds as a taut, suspenseful take on the formation of the legendary rap group Wu-Tang Clan, as the members choose music over a life in competing drug gangs in New York during the 1990s crack epidemic. One reason it’s so dramatic: The story is fictionalized for maximum effect. Viewers see The RZA (aka Bobby Diggs, played by \u003cem>Moonlight\u003c/em>‘s Ashton Sanders), inspired by the murder of a friend, gathering compatriots like Method Man, Ol’ Dirty Bastard, GZA and Ghostface Killah into a group that stacks beats instead of bodies—revolutionizing the rap world in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Undone \u003c/strong>\u003c/em>\u003cstrong>(Amazon)\u003c/strong> Friday, Sept. 13\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6uWCNHQgfnc\u003c/p>\n\u003cp>\u003cem>BoJack Horseman\u003c/em> alums Kate Purdy and Raphael Bob-Waksberg have created one of the most ambitious new series on TV, exploring the thin line between mental illness and mysticism in a visually stunning story. Using rotoscope animation, filmed performances by flesh-and-blood actors are traced over and transformed into textured visuals. (Think movies like \u003cem>A Scanner Darkly\u003c/em> or \u003cem>Tower\u003c/em>.) Rosa Salazar shines as Alma, a depressed, sardonic 20-something who begins seeing visions of her late father (\u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk) after a near-fatal car accident. Purdy says she based Alma’s circumstances on her own struggles with mental illness; her series explores race, culture, gender, family and sanity in a singular way. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Country Music \u003c/strong>\u003c/em>\u003cstrong>(PBS) \u003c/strong>Sunday, Sept. 15\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5fZ_S_wlx0Q\u003c/p>\n\u003cp>It’s surprising that Ken Burns—a master of the authoritative American documentary—has taken this long to chronicle the rise of country music, after shaking the world with gigantic projects on jazz, baseball and the Vietnam War. But now he’s on the case with a 16-hour opus, weaving talks with 80 musicians into a surprisingly emotional and myth-busting look at a core American art form. Sure, you’ll see Dolly and Merle and Willie. But you’ll also hear about the music’s early days in southern Appalachia, its life in the honky-tonks of California and why Nashville became the industry’s epicenter. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>American Horror Story: 1984 \u003c/strong>\u003c/em>\u003cstrong>(FX) \u003c/strong>Wednesday, Sept. 18\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9wcEiFIM3mM\u003c/p>\n\u003cp>Anthology series are by nature uneven, season to season, and Ryan Murphy’s \u003cem>American Horror Story\u003c/em> is no exception. Frankly, even individual \u003cem>AHS\u003c/em> seasons have a tendency to fly off the rails in their back halves, but for some of us, that’s a feature, not a bug. This time out, the setting/genre is 1980s slasher flick, as teen summer campers are terrorized physically by a knife-wielding maniac and aesthetically by headbands and hair volumizer. \u003cem>AHS\u003c/em> alums Billie Lourd, Emma Roberts, Cody Fern and John Carroll Lynch will be joined by fresh blood in the form of freestyle skier Gus Kenworthy, \u003cem>Glee\u003c/em>‘s Matthew Morrison and \u003cem>Pose\u003c/em>‘s Angelica Ross. This season, camp isn’t just the show’s sensibility: It’s the setting. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Between Two Ferns: The Movie \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong> Friday, Sept. 20\u003c/p>\n\u003cp>Not a lot of details have been forthcoming about this feature-length adaptation of\u003ca href=\"https://www.funnyordie.com/between-two-ferns\"> a Web series\u003c/a> that features a tetchy, bored Zach Galifianakis interviewing A-list celebrities on a D-list talk show set. But that’s fine. The formula is simple, and the reported guests—including Keanu Reeves, Peter Dinklage and David Letterman—are solid. Plus, the film will be written and directed (with Galifianakis) by Scott Aukerman, who co-created the viral Web series. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mixed-ish\u003c/strong>\u003c/em>\u003cstrong> (ABC)\u003c/strong> Tuesday, Sept. 24\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tv0C2yWFcWM\u003c/p>\n\u003cp>Kudos to \u003cem>Black-ish\u003c/em> creator Kenya Barris and star Tracee Ellis Ross for finally realizing there is a sitcom’s worth of entertainment in the backstory of Ross’ character, matriarch Rainbow Johnson. \u003cem>Mixed-ish\u003c/em> picks up in the 1980s, when ‘Bow was a tween and federal authorities shut down the commune where she, her siblings, her white father and her black mother were living. The result is a sidesplitting fish-out-of-water story narrated by Ross, \u003cem>Wonder Years\u003c/em>-style—a look back at her struggle to fit into a mainstream school at a time when biracial children weren’t particularly common or understood. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Emergence \u003c/strong>\u003c/em>\u003cstrong>(ABC)\u003c/strong> Tuesday, Sept. 24\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aAD2deAqxCE\u003c/p>\n\u003cp>\u003cem>Fargo\u003c/em> TV series alum Allison Tolman shines as another plucky police officer; this time, she’s Jo Evans, a recently-divorced police chief who shelters a mysterious young girl who survives a plane crash without injury. As a succession of strange types show up trying to grab the kid (who can’t remember her past or the accident, of course), I’m more interested in Clancy Brown, who plays Evans’ crusty dad, and \u003cem>Scrubs\u003c/em> alum Donald Faison, who impresses as her sympathetic ex-husband. Can this ragtag group figure out what’s going on before it’s too late? — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carol’s Second Act\u003c/strong>\u003c/em>\u003cstrong> (CBS)\u003c/strong> Thursday, Sept. 26\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6oy1USJR348\u003c/p>\n\u003cp>Patricia Heaton (\u003cem>The Middle\u003c/em>) stars as Carol, a woman who decides to become a doctor after she has raised her kids. Heaton is a sitcom staple, but what will also sell the show to keen-eyed comedy enthusiasts is that it comes from creators Sarah Haskins and Emily Halpern, who also made the wonderful short-lived series \u003cem>Trophy Wife \u003c/em>and co-wrote the film \u003cem>Booksmart\u003c/em>. They’re about as good as it gets at writing warm, funny, unusual comedy about women, and seeing them with a show on-air again is a heartening sign. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Perfect Harmony\u003c/strong>\u003c/em>\u003cstrong> (NBC)\u003c/strong> Thursday, Sept. 26\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YV7ezBolDug\u003c/p>\n\u003cp>By now, TV fans are used to seeing \u003cem>West Wing\u003c/em> alum Bradley Whitford play smart, self-involved know-it-alls with hearts of gold. But he’s still affecting here as Arthur Cochran, a former Princeton University music professor who decides to help a small-town choir pull together more than their vocal harmonies. Think \u003cem>Pitch Perfect\u003c/em> meets Mr. Chips, as Cochran impatiently coaches these singers—including \u003cem>Pitch Perfect\u003c/em> alum Anna Camp—to better performances onstage and in life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Politician\u003c/strong>\u003c/em>\u003cstrong> (Netflix) \u003c/strong>Friday, Sept. 27\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6-kdBlzCG7w\u003c/p>\n\u003cp>The first series to emerge from superstar executive producer Ryan Murphy’s megadeal with Netflix centers on a high school kid who is pathologically focused on getting elected class president—because he sees it as the first step in getting elected president of the United States. Along the way, he joins forces with a sickly kid who may not be what she seems and has a secret affair with a hunky, popular guy—who is running against him for class president. Murphy sets this all in an opulent, upper-middle-class environment that feels less like a typical high schooler’s world and more like the setting of a high-end soap opera. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Godfather of Harlem \u003c/strong>\u003c/em>\u003cstrong>(Epix)\u003c/strong> Sunday, Sept. 29\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FV5BNaUZyqA\u003c/p>\n\u003cp>Forest Whitaker is alternatingly empathetic and super-scary as New York gangster Bumpy Johnson, who was determined to free his operations from domination by the Italian mob after he returned from a stint in prison. This is basically an old-fashioned organized crime story but told from the perspective of black gangsters—with the added appeal of Vincent D’Onofrio as Italian boss Vincent Gigante and Nigel Thatch’s spot-on performance as Malcolm X. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watchmen \u003c/strong>\u003c/em>\u003cstrong>(HBO)\u003c/strong> October TBA\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zymgtV99Rko\u003c/p>\n\u003cp>The latest from Damon Lindelof, co-creator of \u003cem>Lost \u003c/em>and \u003cem>The Leftovers\u003c/em>, is a visually stunning show based on the legendary 1986-87 comic books about borderline psychotics in superhero garb, \u003cem>Watchmen\u003c/em>. (This show isn’t related to the 2009 movie adaptation, which had a different ending.) HBO’s show picks up in an alternate 2019; liberal President Robert Redford has been in office since the 1990s, prompting a group of white supremacists to target police in Tulsa, Okla., in the same way\u003ca href=\"https://www.npr.org/sections/codeswitch/2018/05/31/615546965/meet-the-last-surviving-witness-to-the-tulsa-race-riot-of-1921\"> black people were victimized in 1921\u003c/a>. To troll earnest liberalism in today’s Trumpian times, while also continuing one of the most beloved stories in comics history, is a serious gamble. But if anyone can carve out a new story while confusing culture warriors and avoiding the ire of fanboys (and girls), my money’s on Lindelof. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Batwoman \u003c/strong>\u003c/em>\u003cstrong>(The CW)\u003c/strong> Sunday, Oct. 6\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vrIiPcv4_iY\u003c/p>\n\u003cp>With \u003cem>Arrow\u003c/em> wrapping up with a brief eighth and final season this fall, a dark and broody space will open up in The CW’s superhero schedule. Enter: Ruby Rose’s Batwoman, who first burst into the network’s so-called Arrowverse in a series of crossover episodes in 2018. The premise: Batman has abandoned Gotham, leaving Rose’s Kate Kane to protect its people as Batwoman. The fact that Rose identifies as gender fluid, and the character of Kate Kane is a lesbian, seems a significant step forward in making the various Arrowverse Earths look a bit more like our own. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Back to Life \u003c/strong>\u003c/em>\u003cstrong>(Showtime)\u003c/strong> Sunday, Oct. 6\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2wqrIhZVYSE\u003c/p>\n\u003cp>Got a \u003cem>Fleabag\u003c/em>-shaped hole in your heart? Find yourself hankering for a funny/uncomfortable/quietly devastating tale of a woman attempting to get her life together and failing consistently, albeit with verve and elan? In \u003cem>Back to Life\u003c/em>, Daisy Haggard plays a middle-aged, middle-class woman who returns to her sleepy English coastal town after 18 years in prison for—well, that’s something the series doles out gradually. Her parents put on a brave face, but the local townsfolk aren’t the forgive-and-forget types. Haggard sparkles as a woman striving to ensure that her past choices can be put behind her for good, even as she struggles with how much everything she knew has changed. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Nancy Drew\u003c/strong>\u003c/em>\u003cstrong> (The CW)\u003c/strong> Wednesday, Oct. 9\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qgfNOKoykL4\u003c/p>\n\u003cp>The network that brought back the Archie comics as the moody, soapy teen drama \u003cem>Riverdale \u003c/em>does the most logical thing imaginable, turning next to that most famous literary girl detective, Nancy Drew. Creator Josh Schwartz has a long pedigree in angsty teen TV, going all the way back to his creation of \u003cem>The O.C.\u003c/em> in 2003. And in Nancy Drew, he has an iconic character who solves mysteries and whose streak of independence and sharp mind have always been part of her appeal. It’s a natural fit for TV—you could say she was Veronica Mars before Veronica Mars was. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Modern Love\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\u003c/strong> Friday, Oct. 18\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ROkHJnBOSIs\u003c/p>\n\u003cp>This anthology adaptation of \u003cem>The New York Times \u003c/em>column that often inspires both swooning sighs and exasperated ones boasts an enormously impressive cast: Anne Hathaway, Cristin Milioti, Brandon Victor Dixon, John Slattery, Tina Fey, Dev Patel … it’s a stacked show on-screen. It’s got a solid pedigree off-screen, too: It’s led by John Carney, who made \u003cem>Once \u003c/em>and \u003cem>Sing Street\u003c/em>, both of which are fine examples of translating joy and love to film without shutting out melancholy. Almost all anthology series are uneven, but that means they almost always have high points worth seeking out. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sid & Judy\u003c/strong>\u003c/em>\u003cstrong> (Showtime) \u003c/strong>Friday, Oct. 18\u003c/p>\n\u003cp>The biopic \u003cem>Judy\u003c/em>, which stars Renée Zellweger as legendary performer Judy Garland, hits theaters three weeks before this documentary airs on Showtime. But where the Zellweger film focuses on the last year of the singer’s life, Stephen Kijak’s documentary examines Garland’s turbulent relationship with her third husband, Sid Luft, who helped engineer the comeback that led to \u003cem>A Star Is Born\u003c/em>. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Slow Burn\u003c/strong>\u003c/em>\u003cstrong> (Epix) \u003c/strong>Sunday, Nov. 24\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Slate’s \u003cem>Slow Burn\u003c/em> is by no means the first podcast to get turned into a television series, and it won’t be the last. But this six-episode TV adaptation of\u003ca href=\"https://slate.com/slow-burn\"> an eight-episode podcast series\u003c/a> will document something specific that we tend to collectively forget about historical events: namely, how haltingly, slowly and frustratingly they play out. This season will tackle the Watergate scandal, which stretched on for two years, only very, very gradually building up enough momentum to topple a president. The best parts of the podcast series focused on colorful if too-little-remembered figures like Martha Mitchell and Sam Ervin; here’s hoping there’s room to squeeze them in. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Fall+TV+Preview%3A+19+Shows+To+Watch+Out+For&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an old tradition that endures, even amid the year-round deluge of programming brought to us by the age of streaming. It is the fall TV preview.\u003c/p>\n\u003cp>Turns out fall is the perfect time to refocus on television after a summer filled with vacations and outdoor distractions. So our pop culture team collected the coolest TV shows coming your way over the next few months as a guide through the madness. We haven’t seen all of these programs yet, but we’ve learned enough to know they’re worth checking out.\u003c/p>\n\u003cp>Whether you’re excited by an updated Jim Henson classic, the backstory behind a legendary rap group or a continuation of the most beloved graphic novel in comics history, there’s something here for you. Here’s our list of the most interesting shows coming this fall.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Dark Crystal: Age of Resistance\u003c/strong>\u003c/em>\u003cstrong> (Netflix)\u003c/strong> Friday, Aug. 30\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zSV42j8lccg'\n title='//www.youtube.com/embed/zSV42j8lccg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps the most notable thing about this 10-episode series, a prequel to Jim Henson and Frank Oz’s 1982 fantasy film, is what it isn’t. It isn’t a digitally animated CGI spectacular; it relies instead on practical, painstakingly constructed animatronics and old-school hand-puppetry. (Director Louis Leterrier notes that there will be some green-screen work, but the series aesthetic is definitively one of puppets over pixels.) Artist Brian Froud is once again on the production design, so the Skeksis species, and its scuttling crablike enforcers, will be back to supply a new generation with the same nightmare-fuel mixture that kept their parents and grandparents up. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Wu-Tang: An American Saga\u003c/strong>\u003c/em>\u003cstrong> (Hulu) \u003c/strong>Wednesday, Sept. 4\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w37TQZwnjXY'\n title='//www.youtube.com/embed/w37TQZwnjXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This 10-episode limited series unfolds as a taut, suspenseful take on the formation of the legendary rap group Wu-Tang Clan, as the members choose music over a life in competing drug gangs in New York during the 1990s crack epidemic. One reason it’s so dramatic: The story is fictionalized for maximum effect. Viewers see The RZA (aka Bobby Diggs, played by \u003cem>Moonlight\u003c/em>‘s Ashton Sanders), inspired by the murder of a friend, gathering compatriots like Method Man, Ol’ Dirty Bastard, GZA and Ghostface Killah into a group that stacks beats instead of bodies—revolutionizing the rap world in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Undone \u003c/strong>\u003c/em>\u003cstrong>(Amazon)\u003c/strong> Friday, Sept. 13\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6uWCNHQgfnc'\n title='//www.youtube.com/embed/6uWCNHQgfnc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>BoJack Horseman\u003c/em> alums Kate Purdy and Raphael Bob-Waksberg have created one of the most ambitious new series on TV, exploring the thin line between mental illness and mysticism in a visually stunning story. Using rotoscope animation, filmed performances by flesh-and-blood actors are traced over and transformed into textured visuals. (Think movies like \u003cem>A Scanner Darkly\u003c/em> or \u003cem>Tower\u003c/em>.) Rosa Salazar shines as Alma, a depressed, sardonic 20-something who begins seeing visions of her late father (\u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk) after a near-fatal car accident. Purdy says she based Alma’s circumstances on her own struggles with mental illness; her series explores race, culture, gender, family and sanity in a singular way. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Country Music \u003c/strong>\u003c/em>\u003cstrong>(PBS) \u003c/strong>Sunday, Sept. 15\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5fZ_S_wlx0Q'\n title='//www.youtube.com/embed/5fZ_S_wlx0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s surprising that Ken Burns—a master of the authoritative American documentary—has taken this long to chronicle the rise of country music, after shaking the world with gigantic projects on jazz, baseball and the Vietnam War. But now he’s on the case with a 16-hour opus, weaving talks with 80 musicians into a surprisingly emotional and myth-busting look at a core American art form. Sure, you’ll see Dolly and Merle and Willie. But you’ll also hear about the music’s early days in southern Appalachia, its life in the honky-tonks of California and why Nashville became the industry’s epicenter. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>American Horror Story: 1984 \u003c/strong>\u003c/em>\u003cstrong>(FX) \u003c/strong>Wednesday, Sept. 18\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9wcEiFIM3mM'\n title='//www.youtube.com/embed/9wcEiFIM3mM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anthology series are by nature uneven, season to season, and Ryan Murphy’s \u003cem>American Horror Story\u003c/em> is no exception. Frankly, even individual \u003cem>AHS\u003c/em> seasons have a tendency to fly off the rails in their back halves, but for some of us, that’s a feature, not a bug. This time out, the setting/genre is 1980s slasher flick, as teen summer campers are terrorized physically by a knife-wielding maniac and aesthetically by headbands and hair volumizer. \u003cem>AHS\u003c/em> alums Billie Lourd, Emma Roberts, Cody Fern and John Carroll Lynch will be joined by fresh blood in the form of freestyle skier Gus Kenworthy, \u003cem>Glee\u003c/em>‘s Matthew Morrison and \u003cem>Pose\u003c/em>‘s Angelica Ross. This season, camp isn’t just the show’s sensibility: It’s the setting. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Between Two Ferns: The Movie \u003c/strong>\u003c/em>\u003cstrong>(Netflix)\u003c/strong> Friday, Sept. 20\u003c/p>\n\u003cp>Not a lot of details have been forthcoming about this feature-length adaptation of\u003ca href=\"https://www.funnyordie.com/between-two-ferns\"> a Web series\u003c/a> that features a tetchy, bored Zach Galifianakis interviewing A-list celebrities on a D-list talk show set. But that’s fine. The formula is simple, and the reported guests—including Keanu Reeves, Peter Dinklage and David Letterman—are solid. Plus, the film will be written and directed (with Galifianakis) by Scott Aukerman, who co-created the viral Web series. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mixed-ish\u003c/strong>\u003c/em>\u003cstrong> (ABC)\u003c/strong> Tuesday, Sept. 24\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Tv0C2yWFcWM'\n title='//www.youtube.com/embed/Tv0C2yWFcWM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kudos to \u003cem>Black-ish\u003c/em> creator Kenya Barris and star Tracee Ellis Ross for finally realizing there is a sitcom’s worth of entertainment in the backstory of Ross’ character, matriarch Rainbow Johnson. \u003cem>Mixed-ish\u003c/em> picks up in the 1980s, when ‘Bow was a tween and federal authorities shut down the commune where she, her siblings, her white father and her black mother were living. The result is a sidesplitting fish-out-of-water story narrated by Ross, \u003cem>Wonder Years\u003c/em>-style—a look back at her struggle to fit into a mainstream school at a time when biracial children weren’t particularly common or understood. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Emergence \u003c/strong>\u003c/em>\u003cstrong>(ABC)\u003c/strong> Tuesday, Sept. 24\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aAD2deAqxCE'\n title='//www.youtube.com/embed/aAD2deAqxCE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Fargo\u003c/em> TV series alum Allison Tolman shines as another plucky police officer; this time, she’s Jo Evans, a recently-divorced police chief who shelters a mysterious young girl who survives a plane crash without injury. As a succession of strange types show up trying to grab the kid (who can’t remember her past or the accident, of course), I’m more interested in Clancy Brown, who plays Evans’ crusty dad, and \u003cem>Scrubs\u003c/em> alum Donald Faison, who impresses as her sympathetic ex-husband. Can this ragtag group figure out what’s going on before it’s too late? — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carol’s Second Act\u003c/strong>\u003c/em>\u003cstrong> (CBS)\u003c/strong> Thursday, Sept. 26\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6oy1USJR348'\n title='//www.youtube.com/embed/6oy1USJR348'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Patricia Heaton (\u003cem>The Middle\u003c/em>) stars as Carol, a woman who decides to become a doctor after she has raised her kids. Heaton is a sitcom staple, but what will also sell the show to keen-eyed comedy enthusiasts is that it comes from creators Sarah Haskins and Emily Halpern, who also made the wonderful short-lived series \u003cem>Trophy Wife \u003c/em>and co-wrote the film \u003cem>Booksmart\u003c/em>. They’re about as good as it gets at writing warm, funny, unusual comedy about women, and seeing them with a show on-air again is a heartening sign. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Perfect Harmony\u003c/strong>\u003c/em>\u003cstrong> (NBC)\u003c/strong> Thursday, Sept. 26\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YV7ezBolDug'\n title='//www.youtube.com/embed/YV7ezBolDug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By now, TV fans are used to seeing \u003cem>West Wing\u003c/em> alum Bradley Whitford play smart, self-involved know-it-alls with hearts of gold. But he’s still affecting here as Arthur Cochran, a former Princeton University music professor who decides to help a small-town choir pull together more than their vocal harmonies. Think \u003cem>Pitch Perfect\u003c/em> meets Mr. Chips, as Cochran impatiently coaches these singers—including \u003cem>Pitch Perfect\u003c/em> alum Anna Camp—to better performances onstage and in life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Politician\u003c/strong>\u003c/em>\u003cstrong> (Netflix) \u003c/strong>Friday, Sept. 27\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6-kdBlzCG7w'\n title='//www.youtube.com/embed/6-kdBlzCG7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first series to emerge from superstar executive producer Ryan Murphy’s megadeal with Netflix centers on a high school kid who is pathologically focused on getting elected class president—because he sees it as the first step in getting elected president of the United States. Along the way, he joins forces with a sickly kid who may not be what she seems and has a secret affair with a hunky, popular guy—who is running against him for class president. Murphy sets this all in an opulent, upper-middle-class environment that feels less like a typical high schooler’s world and more like the setting of a high-end soap opera. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Godfather of Harlem \u003c/strong>\u003c/em>\u003cstrong>(Epix)\u003c/strong> Sunday, Sept. 29\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FV5BNaUZyqA'\n title='//www.youtube.com/embed/FV5BNaUZyqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Forest Whitaker is alternatingly empathetic and super-scary as New York gangster Bumpy Johnson, who was determined to free his operations from domination by the Italian mob after he returned from a stint in prison. This is basically an old-fashioned organized crime story but told from the perspective of black gangsters—with the added appeal of Vincent D’Onofrio as Italian boss Vincent Gigante and Nigel Thatch’s spot-on performance as Malcolm X. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watchmen \u003c/strong>\u003c/em>\u003cstrong>(HBO)\u003c/strong> October TBA\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zymgtV99Rko'\n title='//www.youtube.com/embed/zymgtV99Rko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The latest from Damon Lindelof, co-creator of \u003cem>Lost \u003c/em>and \u003cem>The Leftovers\u003c/em>, is a visually stunning show based on the legendary 1986-87 comic books about borderline psychotics in superhero garb, \u003cem>Watchmen\u003c/em>. (This show isn’t related to the 2009 movie adaptation, which had a different ending.) HBO’s show picks up in an alternate 2019; liberal President Robert Redford has been in office since the 1990s, prompting a group of white supremacists to target police in Tulsa, Okla., in the same way\u003ca href=\"https://www.npr.org/sections/codeswitch/2018/05/31/615546965/meet-the-last-surviving-witness-to-the-tulsa-race-riot-of-1921\"> black people were victimized in 1921\u003c/a>. To troll earnest liberalism in today’s Trumpian times, while also continuing one of the most beloved stories in comics history, is a serious gamble. But if anyone can carve out a new story while confusing culture warriors and avoiding the ire of fanboys (and girls), my money’s on Lindelof. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Batwoman \u003c/strong>\u003c/em>\u003cstrong>(The CW)\u003c/strong> Sunday, Oct. 6\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vrIiPcv4_iY'\n title='//www.youtube.com/embed/vrIiPcv4_iY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With \u003cem>Arrow\u003c/em> wrapping up with a brief eighth and final season this fall, a dark and broody space will open up in The CW’s superhero schedule. Enter: Ruby Rose’s Batwoman, who first burst into the network’s so-called Arrowverse in a series of crossover episodes in 2018. The premise: Batman has abandoned Gotham, leaving Rose’s Kate Kane to protect its people as Batwoman. The fact that Rose identifies as gender fluid, and the character of Kate Kane is a lesbian, seems a significant step forward in making the various Arrowverse Earths look a bit more like our own. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Back to Life \u003c/strong>\u003c/em>\u003cstrong>(Showtime)\u003c/strong> Sunday, Oct. 6\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2wqrIhZVYSE'\n title='//www.youtube.com/embed/2wqrIhZVYSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Got a \u003cem>Fleabag\u003c/em>-shaped hole in your heart? Find yourself hankering for a funny/uncomfortable/quietly devastating tale of a woman attempting to get her life together and failing consistently, albeit with verve and elan? In \u003cem>Back to Life\u003c/em>, Daisy Haggard plays a middle-aged, middle-class woman who returns to her sleepy English coastal town after 18 years in prison for—well, that’s something the series doles out gradually. Her parents put on a brave face, but the local townsfolk aren’t the forgive-and-forget types. Haggard sparkles as a woman striving to ensure that her past choices can be put behind her for good, even as she struggles with how much everything she knew has changed. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Nancy Drew\u003c/strong>\u003c/em>\u003cstrong> (The CW)\u003c/strong> Wednesday, Oct. 9\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qgfNOKoykL4'\n title='//www.youtube.com/embed/qgfNOKoykL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The network that brought back the Archie comics as the moody, soapy teen drama \u003cem>Riverdale \u003c/em>does the most logical thing imaginable, turning next to that most famous literary girl detective, Nancy Drew. Creator Josh Schwartz has a long pedigree in angsty teen TV, going all the way back to his creation of \u003cem>The O.C.\u003c/em> in 2003. And in Nancy Drew, he has an iconic character who solves mysteries and whose streak of independence and sharp mind have always been part of her appeal. It’s a natural fit for TV—you could say she was Veronica Mars before Veronica Mars was. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Modern Love\u003c/strong>\u003c/em>\u003cstrong> (Amazon)\u003c/strong> Friday, Oct. 18\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ROkHJnBOSIs'\n title='//www.youtube.com/embed/ROkHJnBOSIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This anthology adaptation of \u003cem>The New York Times \u003c/em>column that often inspires both swooning sighs and exasperated ones boasts an enormously impressive cast: Anne Hathaway, Cristin Milioti, Brandon Victor Dixon, John Slattery, Tina Fey, Dev Patel … it’s a stacked show on-screen. It’s got a solid pedigree off-screen, too: It’s led by John Carney, who made \u003cem>Once \u003c/em>and \u003cem>Sing Street\u003c/em>, both of which are fine examples of translating joy and love to film without shutting out melancholy. Almost all anthology series are uneven, but that means they almost always have high points worth seeking out. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sid & Judy\u003c/strong>\u003c/em>\u003cstrong> (Showtime) \u003c/strong>Friday, Oct. 18\u003c/p>\n\u003cp>The biopic \u003cem>Judy\u003c/em>, which stars Renée Zellweger as legendary performer Judy Garland, hits theaters three weeks before this documentary airs on Showtime. But where the Zellweger film focuses on the last year of the singer’s life, Stephen Kijak’s documentary examines Garland’s turbulent relationship with her third husband, Sid Luft, who helped engineer the comeback that led to \u003cem>A Star Is Born\u003c/em>. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Slow Burn\u003c/strong>\u003c/em>\u003cstrong> (Epix) \u003c/strong>Sunday, Nov. 24\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Slate’s \u003cem>Slow Burn\u003c/em> is by no means the first podcast to get turned into a television series, and it won’t be the last. But this six-episode TV adaptation of\u003ca href=\"https://slate.com/slow-burn\"> an eight-episode podcast series\u003c/a> will document something specific that we tend to collectively forget about historical events: namely, how haltingly, slowly and frustratingly they play out. This season will tackle the Watergate scandal, which stretched on for two years, only very, very gradually building up enough momentum to topple a president. The best parts of the podcast series focused on colorful if too-little-remembered figures like Martha Mitchell and Sam Ervin; here’s hoping there’s room to squeeze them in. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+Fall+TV+Preview%3A+19+Shows+To+Watch+Out+For&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hulu's 'Four Weddings and a Funeral' Can't Live Up to the Classic Romcom",
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"content": "\u003cp>The idea of an anthology TV series inspired by \u003cem>Four Weddings and a Funeral\u003c/em>, the 1994 film that established Flopsy-Haired Hugh Grant as a romantic comedy staple, is a solid one. I wish I were here with better news about how it turned out. I hung in with it as long as I could; there are ten episodes, and I watched all seven that they’ve made available to critics. I really wanted to like it.\u003c/p>\n\u003cp>Hulu’s \u003cem>Four Weddings and a Funeral \u003c/em>was created by Mindy Kaling and Matt Warburton, both of \u003cem>The Mindy Project—\u003c/em>so far, so good. While \u003cem>Mindy \u003c/em>was inconsistent, it did some smart things with romantic comedy tropes. Its star is Nathalie Emmanuel, who recently wrapped up her run as Missandei on \u003cem>Game of Thrones\u003c/em>, and she’s entirely up to the challenge of playing Maya, a charming young American working for a politician she’s also having an affair with. When the affair goes bad, she heads to London to get away and to attend the first of the weddings, between her best friend Ainsley (Rebecca Rittenhouse) and the charming but flaky Kash (Nikesh Patel). Once that wedding is over, she decides to stay. Thus does the real story begin.\u003c/p>\n\u003cp>Also in London are more of Maya’s friends: Craig (Brandon Mychal Smith), who’s keeping a secret from his girlfriend Zara (Sophia La Porta); Duffy (John Reynolds), who’s been secretly pining for Maya for years in the way people used to think was cute; and Ainsley’s British bestie, Gemma (Zoe Boyle), who isn’t happy about Maya showing up to nudge her aside in Ainsley’s life.\u003c/p>\n\u003cp>The good news comes from the natural charms of Emmanuel, as well as from some very pretty settings and shots. There’s also a woman named Fatima (Rakhee Thakrar) who appears after a few episodes, and who brings a sparkle to her story. The bad news is the writing—just about all of the writing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=604JeF9RNu8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’re going to write romantic comedy, it’s important to understand what things are romantic. Duffy’s charmless, sad-sack act in the early going, which presumes but does not establish some rooting interest in Maya’s one day returning his feelings, is not romantic. (If I may throw in a reference: It’s harder to do what Mary Stuart Masterson does in \u003cem>Some Kind Of Wonderful \u003c/em>than it looks.) There’s a moment when it seems like Duffy’s arc is getting better, then it gets worse again.\u003c/p>\n\u003cp>Craig’s story with Zara begins as a reasonably grounded tale about the effects of secrets on couples, but it turns into an absolutely bizarre reality-show plot that is never once welcome when it shows up in a scene. It never earns a moment of the screen time it receives, and it’s not as funny as a send-up of such shows as I think the writers who created it meant for it to be.\u003c/p>\n\u003cp>Ainsley is stranded in a bunch of strange anecdotes about the store she owns, and despite efforts to zazz her up a little by adding a short appearance by Andie MacDowell as her mother and even romcom VIP Dermot Mulroney as a rich guy who drops in late in the proceedings, she’s never interesting. Never. And it’s not the actress’ fault. It’s the writing. There’s just not enough reason to care about her.\u003c/p>\n\u003cp>The most promising romantic chemistry in the series is between Maya and Kash, who meet by chance early on when she’s on the way to his wedding—without, of course, each of them knowing who the other is. But they spend very little time in each other’s company for several episodes after that, which saps the show of the energy of the connection. To stretch an individual story of two people over 10 episodes of TV is really hard, and there are two ways to try to do it: You write a story between them that’s 10 episodes long, or you tease it once and then take a long break. The first one is better; the second is easier. This show does it the second way. And without spoiling things too much, by the time they get back to it, it’s not as appealing a direction as it once was.\u003c/p>\n\u003cp>There are things here that work nicely—Kash’s interactions with his dad and his little brother are charming and sweet. An unexpected lunch Maya has with her ex’s wife provides some surprising wisdom. But on the whole, these stories aren’t comedic or romantic, particularly. Some of the pieces are there, but the satisfaction of seeing them click into place is missing. Characters meant to seem charming seem creepy, and decisions meant to seem whimsical seem destructive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Presumably by the end, there actually will have been four weddings and one funeral. But that’s regrettably just about the only way the show lives up to the billing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Four+Weddings+And+A+Funeral%27+On+TV+Can%27t+Live+Up+To+A+Classic+Romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The idea of an anthology TV series inspired by \u003cem>Four Weddings and a Funeral\u003c/em>, the 1994 film that established Flopsy-Haired Hugh Grant as a romantic comedy staple, is a solid one. I wish I were here with better news about how it turned out. I hung in with it as long as I could; there are ten episodes, and I watched all seven that they’ve made available to critics. I really wanted to like it.\u003c/p>\n\u003cp>Hulu’s \u003cem>Four Weddings and a Funeral \u003c/em>was created by Mindy Kaling and Matt Warburton, both of \u003cem>The Mindy Project—\u003c/em>so far, so good. While \u003cem>Mindy \u003c/em>was inconsistent, it did some smart things with romantic comedy tropes. Its star is Nathalie Emmanuel, who recently wrapped up her run as Missandei on \u003cem>Game of Thrones\u003c/em>, and she’s entirely up to the challenge of playing Maya, a charming young American working for a politician she’s also having an affair with. When the affair goes bad, she heads to London to get away and to attend the first of the weddings, between her best friend Ainsley (Rebecca Rittenhouse) and the charming but flaky Kash (Nikesh Patel). Once that wedding is over, she decides to stay. Thus does the real story begin.\u003c/p>\n\u003cp>Also in London are more of Maya’s friends: Craig (Brandon Mychal Smith), who’s keeping a secret from his girlfriend Zara (Sophia La Porta); Duffy (John Reynolds), who’s been secretly pining for Maya for years in the way people used to think was cute; and Ainsley’s British bestie, Gemma (Zoe Boyle), who isn’t happy about Maya showing up to nudge her aside in Ainsley’s life.\u003c/p>\n\u003cp>The good news comes from the natural charms of Emmanuel, as well as from some very pretty settings and shots. There’s also a woman named Fatima (Rakhee Thakrar) who appears after a few episodes, and who brings a sparkle to her story. The bad news is the writing—just about all of the writing.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/604JeF9RNu8'\n title='//www.youtube.com/embed/604JeF9RNu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’re going to write romantic comedy, it’s important to understand what things are romantic. Duffy’s charmless, sad-sack act in the early going, which presumes but does not establish some rooting interest in Maya’s one day returning his feelings, is not romantic. (If I may throw in a reference: It’s harder to do what Mary Stuart Masterson does in \u003cem>Some Kind Of Wonderful \u003c/em>than it looks.) There’s a moment when it seems like Duffy’s arc is getting better, then it gets worse again.\u003c/p>\n\u003cp>Craig’s story with Zara begins as a reasonably grounded tale about the effects of secrets on couples, but it turns into an absolutely bizarre reality-show plot that is never once welcome when it shows up in a scene. It never earns a moment of the screen time it receives, and it’s not as funny as a send-up of such shows as I think the writers who created it meant for it to be.\u003c/p>\n\u003cp>Ainsley is stranded in a bunch of strange anecdotes about the store she owns, and despite efforts to zazz her up a little by adding a short appearance by Andie MacDowell as her mother and even romcom VIP Dermot Mulroney as a rich guy who drops in late in the proceedings, she’s never interesting. Never. And it’s not the actress’ fault. It’s the writing. There’s just not enough reason to care about her.\u003c/p>\n\u003cp>The most promising romantic chemistry in the series is between Maya and Kash, who meet by chance early on when she’s on the way to his wedding—without, of course, each of them knowing who the other is. But they spend very little time in each other’s company for several episodes after that, which saps the show of the energy of the connection. To stretch an individual story of two people over 10 episodes of TV is really hard, and there are two ways to try to do it: You write a story between them that’s 10 episodes long, or you tease it once and then take a long break. The first one is better; the second is easier. This show does it the second way. And without spoiling things too much, by the time they get back to it, it’s not as appealing a direction as it once was.\u003c/p>\n\u003cp>There are things here that work nicely—Kash’s interactions with his dad and his little brother are charming and sweet. An unexpected lunch Maya has with her ex’s wife provides some surprising wisdom. But on the whole, these stories aren’t comedic or romantic, particularly. Some of the pieces are there, but the satisfaction of seeing them click into place is missing. Characters meant to seem charming seem creepy, and decisions meant to seem whimsical seem destructive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Presumably by the end, there actually will have been four weddings and one funeral. But that’s regrettably just about the only way the show lives up to the billing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Four+Weddings+And+A+Funeral%27+On+TV+Can%27t+Live+Up+To+A+Classic+Romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”[youtube https://www.youtube.com/watch?v=hQ1dkl1ul-s]No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:[youtube https://www.youtube.com/watch?v=tYHGj19RrF0]Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Well, do we?\u003c/p>\n\n",
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"excerpt": "Video streaming sites have no incentive to maintain archives of our collective filmic history. But that doesn't mean it's not a thing we should have.",
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"title": "The Eradication of Memory on Netflix, Amazon and Other Streaming Video Sites | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you can’t find something you want to watch online these days, there is something seriously wrong with you. Giants like Netflix, Amazon and Hulu are spending gazillions buying the rights to popular film and TV series—and gazillions more funding original content.\u003c/p>\n\u003cp>But with all this focus on the new, new, new, what happens to all the old, “classic” stuff? A lot of it falls off the menu. It may be there as available option, but you have to know what you’re looking for. Let me give you an example.\u003c/p>\n\u003cp>Toshiro Mifune was one of the most famous Japanese actors of all time, and not just in Japan. In this 2015 documentary about the actor, narrator Keanu Reeves tells us that without Mifune’s commanding macho swagger, world-weary eyes and gonzo sense of humor, “There would have been no \u003cem>Magnificent Seven\u003c/em>, Clint Eastwood wouldn’t have a \u003cem>Fistful of Dollars\u003c/em>, and Darth Vader wouldn’t be a samurai.”\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hQ1dkl1ul-s'\n title='//www.youtube.com/embed/hQ1dkl1ul-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>No wonder Berkeley-based documentary filmmaker \u003ca href=\"https://www.imdb.com/name/nm0645574/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Okazaki\u003c/a> wanted to profile Mifune. His movies helped lead the young Okazaki into filmmaking in the first place. “The films are so great. I mean, you do have to slow your brain down a little bit, and I think it’s hard to watch films with subtitles, but God, the films are so rich,” Okazaki says with a sparkle in his eyes.\u003c/p>\n\u003cp>The Japanese-American director grew up in the 1970s, when art house movies were still a thing, and that’s how he was first exposed to all sorts of films that were considered old or classic even then. Today? “Now, you are dependent on these streaming services and hardly anything’s there,” Okazaki says.\u003c/p>\n\u003cp>Okazaki says he was “saddened to note how few young people in Japan had seen any of [Mifune’s] films with [the great Japanese director] Akira Kurosawa. Likewise, American kids don’t know who John Ford or John Wayne are. And forget about Satyajit Ray, Eric Rohmer, Jean Renoir or Yasujiro Ozu.”\u003c/p>\n\u003ch2>It Can’t Be That Bad—Can It?\u003c/h2>\n\u003cp>Check this out. Let’s say I just streamed Okazai’s \u003cem>\u003ca href=\"https://www.netflix.com/watch/80148921?trackId=13752289&tctx=0%2C0%2Ccea993fe7379e9455329dac3156e1bc8ca5b00ec%3A75e278ffa7bdc0b62cf12edd643bb6b81b444646%2C%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Mifune: The Last Samurai\u003c/a>\u003c/em> on Netflix, and now I want to watch some of Mifune’s original feature films. Mifune made more than 170, but I’d be happy with a handful of his greatest hits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I type “Toshiro Mifune” in the search box for streaming: nothing. In the search box for DVD: I get films inspired by him, sure, but not starring him (see screenshot above). By film title: \u003cem>Seven Samurai\u003c/em>. Yes! \u003cem>Rashomon\u003c/em>, \u003cem>Yojimbo\u003c/em>, \u003cem>Throne of Blood\u003c/em>. Yes! But only on DVD.\u003c/p>\n\u003cp>As anybody with a \u003ca href=\"https://www.wnycstudios.org/story/punks/\" target=\"_blank\" rel=\"noopener noreferrer\">yen for a rare title\u003c/a> learns, it’s \u003ca href=\"http://collider.com/why-you-should-keep-buying-blu-rays-and-dvds/\" target=\"_blank\" rel=\"noopener noreferrer\">not a given\u003c/a> that the film you want was released on DVD, or VHS, or even film stock. Also, most distribution deals are for a limited time only. We’ve all gotten used to those articles with headlines like, “The Best Movies and TV Shows to Stream on Netflix\u003ca href=\"https://slate.com/culture/2018/03/the-best-movies-tv-shows-expiring-from-netflix-in-april.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Before They Expire\u003c/a>.”\u003c/p>\n\u003cp>Netflix gives you the option to “save” the movie down at the bottom of your queue. But you know what that button means.\u003c/p>\n\u003ch2>Availability: Unknown\u003c/h2>\n\u003cp>Seriously, try searching for the very first movie you rented on Netflix. The older you are, the more likely it is you can’t stream it today. Now, you can \u003ca href=\"https://help.netflix.com/en/titlerequest\" target=\"_blank\" rel=\"noopener noreferrer\">request a title\u003c/a> and hope the company responds, but you have to know what you’re looking for.\u003c/p>\n\u003cp>What if I’m eight years old, or 18, and I don’t know about Mifune or anybody else famous in the 20th century?\u003cspan class=\"Apple-converted-space\"> \u003c/span>Netflix isn’t going to serve up the ancient past, not to me or any of its other 125 million subscribers worldwide. You can stream a wider selection of titles on Netflix rivals like Apple and Amazon Prime, but you have to search. The platforms won’t suggest what’s old in a bid to help you educate yourself.\u003c/p>\n\u003cp>“I just don’t think it’s much of a business for a Netflix or a Hulu,” says Rick Prelinger, Professor of Film and Digital Media at \u003ca href=\"http://film.ucsc.edu/faculty/rick_prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">UC Santa Cruz\u003c/a> and a board member of the \u003ca href=\"https://archive.org\" target=\"_blank\" rel=\"noopener noreferrer\">Internet Archive\u003c/a>, a free-to-the-public digital library based in San Francisco.\u003c/p>\n\u003cp>He points out something else: a surprising amount of famous footage we think of as part of our collective history is locked away from the public, journalists and documentary filmmakers. “The body of moving images that has been created is owned by so many different companies and so many different people and it’s fragmented,” Prelinger says. That makes it hard for archivists and librarians, he adds, but what makes them different is they’re not serving shareholders. They’re serving the public.\u003c/p>\n\u003cp>Imagine if it wasn’t \u003ca href=\"https://archive.org/details/prelinger\" target=\"_blank\" rel=\"noopener noreferrer\">Prelinger Archives\u003c/a> that owned the famous \u003ca href=\"https://archive.org/details/TripDownMarketStreetrBeforeTheFire\" target=\"_blank\" rel=\"noopener noreferrer\">footage of Market Street\u003c/a> days before the great earthquake and fire of 1906 in San Francisco, and that owner wasn’t willing to share the footage without being paid a lot of money?\u003c/p>\n\u003cp>You wouldn’t see thoughtful news stories like this one:\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tYHGj19RrF0'\n title='//www.youtube.com/embed/tYHGj19RrF0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Many copyright owners charge cheaper “rental rates,” if you will, for nonprofits wanting to use historically valuable footage. Other copyright owners don’t care who you are or what noble cause you serve.\u003c/p>\n\u003cp>That makes building and maintaining a comprehensive collection of feature films and documentaries an expensive proposition.\u003c/p>\n\u003cp>“Nobody’s going to take a risk on archives,” Prelinger says. No privately funded company, he means.\u003c/p>\n\u003cp>Prelinger says entertainment companies naturally want us looking at what they’re \u003ca href=\"https://variety.com/2018/digital/news/netflix-original-spending-85-percent-1202809623/\" target=\"_blank\" rel=\"noopener noreferrer\">spending money on now\u003c/a>. If you want a comprehensive set of foreign, classic, or independently produced films, you have to subscribe to a streaming service like \u003ca href=\"https://www.fandor.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fandor\u003c/a>, \u003ca href=\"https://mubi.com\" target=\"_blank\" rel=\"noopener noreferrer\">MUBI\u003c/a> or \u003ca href=\"https://www.filmstruck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FilmStruck\u003c/a>.\u003c/p>\n\u003cp>That suits \u003ca href=\"http://mybutch.blogspot.com\" target=\"_blank\" rel=\"noopener noreferrer\">Jenni Olson\u003c/a> just fine. “People want to spend $10 a month and get everything,” says the co-founder of PlanetOut, a public media and entertainment company that focused exclusively on the lesbian, gay, bisexual and transgender demographic. Today, Olson writes about queer films, and also creates, collects and curates them.\u003c/p>\n\u003cp>“Silicon Valley has created outsized, irrational consumer expectations,” Olson says. “We used to have almost zero access,” especially to more obscure film titles. “We just have to accept the reality of the world we live in, and put our money where our mouth is.”\u003c/p>\n\u003cfigure id=\"attachment_13836650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg\" alt=\"For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn't see a dime.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31732_Screen-Shot-2018-07-06-at-12.34.10-PM-qut.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For Sam Green, who made the documentary The Weather Underground, it matters that the trailer is available for free for the foreseeable future to anyone who searches for it on YouTube. Even if he doesn’t see a dime. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or you could watch dubious bootleg copies uploaded to YouTube or torrent sites, as many of us—cough—do.\u003cspan class=\"Apple-converted-space\"> Not that the prospect troubles every filmmaker. “YouTube is fantastic, and I happily refuse to complain that my film is on there,” says Sam Green about his Academy Award-nominated documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0343168/\" target=\"_blank\" rel=\"noopener noreferrer\">The Weather Underground\u003c/a>\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Green adds, “If you just look at the new, you get such a limited and skewed view of what the world is. To me, YouTube is one of the great cultural and educational institutions we have. It’s a way for things in [copyright] limbo to be available.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">For now.\u003c/span>\u003c/p>\n\u003cp>I’ll leave you with this thought from Prelinger: “We shouldn’t rely too much on either the entertainment business or the for-profit tech sector to preserve our history for us.\u003cspan class=\"Apple-converted-space\"> \u003c/span>Yes, there’s a lot of product available if you really really look hard, but we’re avoiding the question: do we as audiences, and do we as citizens, deserve access to our moving image heritage?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Well, do we?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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