Hulu probably didn't have enough eggplant on hand for the star people, which is a dumb mistake to make when you know full-well the star people can show up at any time but totally typical for Hulu.
Alan, I've always enjoyed your work and you remain my go to on any new series but I have to say that your championing of Reservation Dogs has been so wonderful. Obviously I agree with you that it's a great show. As you have noted, it is important on another level - that it has given a tremendous platform for Indigenous storytellers. And what a story they've told. The much welcomed whimsical nature only enhances how real and how powerful their story is. The four main characters are so incredibly real to me - I know people like that whether they be siblings, cousins or the amazing youth I worked with in a past job. The other people in the community/show are just as real. And for me, William Knifeman is kind of real too. Anyways, all of this to say thank you for spreading the word about this show. I hope to see more like it and more facea like mine, telling our stories.
Speaking of pre-2000s shows that hopefully more people will discover on streaming, I’d also include Taxi, albeit it’s a little butchered due to music rights.
Haven't checked recently but Taxi streaming is also missing certain episodes. Have not found one of my favorites - "Elegant Iggy" - in any of the streaming collections. Hard to believe the Chopin estate is holding up the music rights (though there might be a Mary Had a Little Lamb issue as well.
Paramount+ now has the whole series, including the episodes with music issues like that, the Vienna episode, and the one where Jim plays a Stevie Wonder recording while talking to his late father.
Thanks so much for this. Just enjoyed the episode for the first time in a long while (and they've done a wonderful job of spiffing up the video and audio including the whisper of a party guest (Nina Van Pallant) that was inaudible in the YouTube clips of yore). I guess at some point I had just given up checking. Had forgotten how strong the show was and how much the theme song struck a Thursday night, one more night to the weekend chord for me. Thanks again.
Should the Moonlighting news give us hope that Homicide and Frank's Place might find a streaming home? My guess would be no since they are merely good shows rather than star vehicles for names that will draw views. (No slight to Moonlighting which in its day was appointment TV for me unless the show's erratic schedule postponed the appointment. One of my favorite bits was the Dr. Seuss riff between Bruce Willis and a security guard.) I have Homicide DVD's that I pull out about once a year to revisit the back-to-back episodes Crosetti and The Last of the Oystermen (my favorite episode and a great showcase for Melissa Leo))
Oh and as to Gambon, maybe the brit-centric Acorn-TV or Britbox will bring back the Singing Detective. While waiting you could make due with Gambon turn in the early 90s as Maigret on BritBox.
Nobody can agree on who owns Homicide, so I would not hold my breath on a streaming deal. (The same is true of Ed.) it’s frankly a miracle those DVDs exist. And franks place basically only exists at the Paley Center and in a few low quality episodes on YouTube.
When TV Line posted an article about shows not on streaming during the summer, I mentioned in the comments section that production rights are likely holding back streaming for H:LotS but Matt Mitovich & co. quickly replied "A very well-placed source told us recenty that music is the primary hang-up."
That contradicts what Joe Adalian at Vulture has reported regarding the messy ownership issues. The TV Line piece is newer, so maybe the situation has changed. Regardless, I'm glad I own the box sets.
I was surprised how relieved I felt that the writers got a deal. Hopefully the actors will get a good deal soon as well. I am just a TV viewer but I think the quality of television we see was at stake in this strike. I certainly don’t want AI writing scripts and it struck me as cutting corners to have so few writers involved making a show. I am really hoping this deal bodes well for the future of TV.
I still have more reading to do on Reservation Dogs but I can’t help but agree with your assessment that it’s an all time great show.
I’m so happy the WGA got such a strong deal! Kind of amazed honestly. What do you think it means for writers like Craig Mazin and TBA who wrote their (very wonderful) shows without a writer’s room?
There's a carveout in the deal for that. Showrunners who want to write every episode can petition the WGA to allow them to continue doing that. As Chris Keyser (showrunner of Julia, and a member of the WGA negotiating team) told the TV's Top 5 hosts on today's show, the concern is much less about the Taylor Sheridan or David E. Kelley types than it is about the studios and streamers pressuring showrunners to not hire other writers.
Enjoyed your list of shows to stream, which includes some old favorites of mine (Halt and Catch Fire, Terriers), some ones I've been meaning to watch (The Knick, The Leftovers), and some I've never heard of. Crazy Ex-Girlfriend is an interesting one; there's a lot of things I really loved about that show (particularly Rachel Bloom), and a lot of things I couldn't stand (particularly Paula, maybe my least favorite featured character on a show I like). We've talked about watching that with our teen, but I wonder if I could get through it again.
"Is it that they’re afraid that people — investors in particular — will find out just how small the audience is for many of these shows, and what a lousy business model streaming has turned out to be? I don’t know, but as more and more streamers introduce ad-supported subscription tiers, it feels like those numbers will have to start coming out, anyway."
I think so—and I'm not as certain the numbers will come out even with the introduction of ad-supported tiers, because people who have analyzed accessible data on digital advertising think it's replete with fraud and gamed numbers and headed for a pop of a bubble (someday). Former Google employee Tim Hwang has been sounding the alarm on it:
Estimates for how much of advertising money spent is wasted due to fraudulent or fake adviews hover between 25-50% or higher. So my expectation is that even as ad tiers proliferate, we won't get *real* numbers until the whole house of cards that is digital advertising collapses.
I'm pumped to finally see MOONLIGHTING! During undergrad we watched a couple of episodes, but we only had access to those because my prof owned the series DVD set which was already out of print by that time.
I think that the way things ended up with AMPTP, and the fact that we already know that on Oct. 2nd companies leaderships will also be in the room with SAG, we can finally admit the AMPTP is becoming obsolete. Even the people they represent don't trust them. It'll benefit EVERYONE if they break apart. Unions, obviously, as we can finally divide and conquer, but the studios, too, as each can take care of their own interest instead of depending on a group.
I am curious about the AI achievements as I already seen some voices out there saying "we're doomed" and that the "WGA sold out its members." I also thought the streaming numbers transparency was a good get, but I only read the summary. Interested to hear more as to why it's not enough.
Happy to report that I've watched and loved some of your suggestions on that list you published. I'd love to add High School. It frankly was my entry point to Tegan and Sara after years of knowing OF them but not really diving in. It was a great entry point, and I really hope it gets a second season. There are so many good things about it.
Didn't really watch the first two. I thought Murder One started off really well, then lost the thread by the end of its first season. (Even some of the writers I've met from the show are very candid that they fumbled the whodunnit.) Season two was... a different show.
Hulu probably didn't have enough eggplant on hand for the star people, which is a dumb mistake to make when you know full-well the star people can show up at any time but totally typical for Hulu.
Alan, I've always enjoyed your work and you remain my go to on any new series but I have to say that your championing of Reservation Dogs has been so wonderful. Obviously I agree with you that it's a great show. As you have noted, it is important on another level - that it has given a tremendous platform for Indigenous storytellers. And what a story they've told. The much welcomed whimsical nature only enhances how real and how powerful their story is. The four main characters are so incredibly real to me - I know people like that whether they be siblings, cousins or the amazing youth I worked with in a past job. The other people in the community/show are just as real. And for me, William Knifeman is kind of real too. Anyways, all of this to say thank you for spreading the word about this show. I hope to see more like it and more facea like mine, telling our stories.
Speaking of pre-2000s shows that hopefully more people will discover on streaming, I’d also include Taxi, albeit it’s a little butchered due to music rights.
Haven't checked recently but Taxi streaming is also missing certain episodes. Have not found one of my favorites - "Elegant Iggy" - in any of the streaming collections. Hard to believe the Chopin estate is holding up the music rights (though there might be a Mary Had a Little Lamb issue as well.
Paramount+ now has the whole series, including the episodes with music issues like that, the Vienna episode, and the one where Jim plays a Stevie Wonder recording while talking to his late father.
Thanks so much for this. Just enjoyed the episode for the first time in a long while (and they've done a wonderful job of spiffing up the video and audio including the whisper of a party guest (Nina Van Pallant) that was inaudible in the YouTube clips of yore). I guess at some point I had just given up checking. Had forgotten how strong the show was and how much the theme song struck a Thursday night, one more night to the weekend chord for me. Thanks again.
Should the Moonlighting news give us hope that Homicide and Frank's Place might find a streaming home? My guess would be no since they are merely good shows rather than star vehicles for names that will draw views. (No slight to Moonlighting which in its day was appointment TV for me unless the show's erratic schedule postponed the appointment. One of my favorite bits was the Dr. Seuss riff between Bruce Willis and a security guard.) I have Homicide DVD's that I pull out about once a year to revisit the back-to-back episodes Crosetti and The Last of the Oystermen (my favorite episode and a great showcase for Melissa Leo))
Oh and as to Gambon, maybe the brit-centric Acorn-TV or Britbox will bring back the Singing Detective. While waiting you could make due with Gambon turn in the early 90s as Maigret on BritBox.
Nobody can agree on who owns Homicide, so I would not hold my breath on a streaming deal. (The same is true of Ed.) it’s frankly a miracle those DVDs exist. And franks place basically only exists at the Paley Center and in a few low quality episodes on YouTube.
When TV Line posted an article about shows not on streaming during the summer, I mentioned in the comments section that production rights are likely holding back streaming for H:LotS but Matt Mitovich & co. quickly replied "A very well-placed source told us recenty that music is the primary hang-up."
That contradicts what Joe Adalian at Vulture has reported regarding the messy ownership issues. The TV Line piece is newer, so maybe the situation has changed. Regardless, I'm glad I own the box sets.
I believe the issue with Frank's Place is the music rights. Sadly, unlikely to be sorted anytime soon :-(
Homicide AND Frank's Place--yes, please!
Under the radar show I never hear about is Masters of Sex - funny and sad, brilliant cast and writing.
Truly great performance by Lizzie Caplan and really wonderful supporting cast as well. I loved Caitlin Fitzgerald’s arc.
I think that The Days and Nights of Molly Dodd would appeal to a lot of people.
I was surprised how relieved I felt that the writers got a deal. Hopefully the actors will get a good deal soon as well. I am just a TV viewer but I think the quality of television we see was at stake in this strike. I certainly don’t want AI writing scripts and it struck me as cutting corners to have so few writers involved making a show. I am really hoping this deal bodes well for the future of TV.
I still have more reading to do on Reservation Dogs but I can’t help but agree with your assessment that it’s an all time great show.
I’m so happy the WGA got such a strong deal! Kind of amazed honestly. What do you think it means for writers like Craig Mazin and TBA who wrote their (very wonderful) shows without a writer’s room?
There's a carveout in the deal for that. Showrunners who want to write every episode can petition the WGA to allow them to continue doing that. As Chris Keyser (showrunner of Julia, and a member of the WGA negotiating team) told the TV's Top 5 hosts on today's show, the concern is much less about the Taylor Sheridan or David E. Kelley types than it is about the studios and streamers pressuring showrunners to not hire other writers.
China Beach and Northern Exposure are the big two for me. Though I'm happy that they're available on DVD.
Also I'd like Once & Again, Relativity, The Chris Isaak Show, and Family Law to be on streaming.
I loved Relativity, but few people watched it and now it has completely disappeared down the memory hole.
The china beach box set is great.
Glad to have had Rez Dogs. Looking forward to reading your Harjo interview!
Oh, Seth Cohen and his one-liners.
Enjoyed your list of shows to stream, which includes some old favorites of mine (Halt and Catch Fire, Terriers), some ones I've been meaning to watch (The Knick, The Leftovers), and some I've never heard of. Crazy Ex-Girlfriend is an interesting one; there's a lot of things I really loved about that show (particularly Rachel Bloom), and a lot of things I couldn't stand (particularly Paula, maybe my least favorite featured character on a show I like). We've talked about watching that with our teen, but I wonder if I could get through it again.
"Is it that they’re afraid that people — investors in particular — will find out just how small the audience is for many of these shows, and what a lousy business model streaming has turned out to be? I don’t know, but as more and more streamers introduce ad-supported subscription tiers, it feels like those numbers will have to start coming out, anyway."
I think so—and I'm not as certain the numbers will come out even with the introduction of ad-supported tiers, because people who have analyzed accessible data on digital advertising think it's replete with fraud and gamed numbers and headed for a pop of a bubble (someday). Former Google employee Tim Hwang has been sounding the alarm on it:
https://www.wired.com/story/ad-tech-could-be-the-next-internet-bubble/
Estimates for how much of advertising money spent is wasted due to fraudulent or fake adviews hover between 25-50% or higher. So my expectation is that even as ad tiers proliferate, we won't get *real* numbers until the whole house of cards that is digital advertising collapses.
I'm pumped to finally see MOONLIGHTING! During undergrad we watched a couple of episodes, but we only had access to those because my prof owned the series DVD set which was already out of print by that time.
I think that the way things ended up with AMPTP, and the fact that we already know that on Oct. 2nd companies leaderships will also be in the room with SAG, we can finally admit the AMPTP is becoming obsolete. Even the people they represent don't trust them. It'll benefit EVERYONE if they break apart. Unions, obviously, as we can finally divide and conquer, but the studios, too, as each can take care of their own interest instead of depending on a group.
I am curious about the AI achievements as I already seen some voices out there saying "we're doomed" and that the "WGA sold out its members." I also thought the streaming numbers transparency was a good get, but I only read the summary. Interested to hear more as to why it's not enough.
Happy to report that I've watched and loved some of your suggestions on that list you published. I'd love to add High School. It frankly was my entry point to Tegan and Sara after years of knowing OF them but not really diving in. It was a great entry point, and I really hope it gets a second season. There are so many good things about it.
As a lot on your list consists of two-season wonders, I was wondering what you thought about this trio of dramas back in the '90s:
- Homefront
- I'll Fly Away
- Murder One
Didn't really watch the first two. I thought Murder One started off really well, then lost the thread by the end of its first season. (Even some of the writers I've met from the show are very candid that they fumbled the whodunnit.) Season two was... a different show.
Ah, interesting. Pressuring them not to hire other writers because it saves the studios money to just have the showrunners do everything?
yes
Thanks for responding. Listening to Top 5. (In mourning about the end of Rez Dogs, too. 😔)