What’s on TV This Week: ‘The Anonymous’ and the Democratic National Convention

For those who still enjoy a cable subscription, here is a selection of cable and network TV shows, movies and specials that broadcast this week, Aug. 19-25. Details and times are subject to change.

Monday

THE DEMOCRATIC NATIONAL CONVENTION starting at 6:30 p.m. on various networks. On July 21, President Joe Biden dropped out of the presidential race. By Aug. 6, Vice President Kamala Harris secured the Democratic Party’s nomination, making her the first woman of color to win a major party’s nomination. Through Thursday, the Democratic National Convention will take place in Chicago, culminating in Harris becoming the party’s official nominee — just in time for the first debate between her and former President Donald J. Trump on Sept. 10.

THE ANONYMOUS 11 p.m. on Bravo, USA and Syfy. This new competition show involves two universes — the real world and an anonymous one. In the anonymous world, players say and do what they think will get them farther in the game, but under a cloak of anonymity. Each week, players try to guess who each person is in the real world, all in an attempt to win the $100,000 prize.

Tuesday

THE SHAWSHANK REDEMPTION (1994) 8 p.m. on AMC. Based on a Stephen King novella, this movie stars Tim Robbins as Andy Dufresne, a man sent to prison after the murder of his wife and her lover. Dufresne maintains his innocence and forms a bond with Morgan Freeman’s character, Red. “Without a single riot scene or horrific effect, it tells a slow, gentle story of camaraderie and growth, with an ending that abruptly finds poetic justice in what has come before,” Janet Maslin wrote in her review for The New York Times.

Wednesday

MOULIN ROUGE (1952) 8 p.m. on TCM. These days, when “Moulin Rouge” comes to mind, you likely think of the flashy Baz Luhrmann remake with Nicole Kidman’s gaudy elephant suite. But before that, there was this version, which is more of a biopic of the artist Henri de Toulouse-Lautrec, who painted the famous scenes from the Moulin Rouge in Paris. “From the fairly intoxicating opening, with dancers swirling in the smoky haze and the overcrowded climate of the wine-colored Moulin Rouge, to the last poignant sequence wherein Lautrec sees these same dancers ghosting through the rooms of his family’s château near Albi as he lies on his painful deathbed, the exquisiteness of the illustration is superlative and complete,” Bosley Crowther wrote in his review for The Times.