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      How to Watch the Oscars 2023: Date, Time and Streaming

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      A guide to everything you need to know for the 95th annual Academy Awards on Sunday night.It’s looking like the year of “Everything Everywhere All at Once.”The sci-fi smash from the directing duo Daniel Kwan and Daniel Scheinert has already swept the top prizes at the four major Hollywood guild awards, and the only other films to ever do that — “Argo,” “No Country for Old Men,” “Slumdog Millionaire” and “American Beauty” — all went on to win the best picture Oscar.But! It’s the academy, and there’s always at least one surprise. Will Steven Spielberg spoil the Daniels’ bid for best director with his semi-autobiographical tale, “The Fabelmans”? Will Michelle Yeoh beat Cate Blanchett for best actress? Will Angela Bassett, who’s nominated for best supporting actress for her performance in “Black Panther: Wakanda Forever,” bring home the Marvel Cinematic Universe’s first acting Oscar? There’s sure to be drama.Among about 50 stars lined up to present trophies are Ariana DeBose, Florence Pugh and Jonathan Majors. (Another key question: Will DeBose reprise her viral BAFTAs musical rap?)Here’s what you need to know:What time do the festivities start?The ceremony begins at 8 p.m. Eastern, 5 p.m. Pacific. On television, ABC is the official broadcaster. Online, if you have a cable login, you can watch via abc.com/watch-live/abc, or if you’re an ABC subscriber, via the ABC app. For cord-cutters, there’s also Hulu + Live TV, Sling TV, YouTube TV or Fubo, all of which require subscriptions, though many are offering free trials.Is there a red carpet?Well, there will be star arrivals, but they will be treading a champagne-colored carpet. To watch, head to the E! network beginning at 1 p.m. Eastern, 10 a.m. Pacific if you’re in the mood for some preshow celebrity spotting. (ABC will also have champagne-carpet coverage beginning at 1 p.m. Eastern, which you can watch live on its website, with no sign-in required.)Is there a preshow?The official Academy Awards preshow, “On the Red Carpet Live: Countdown to Oscars 95,” airs on ABC from 1 to 4 p.m. Eastern, 10 a.m.-1 p.m. Pacific (and will be available to stream on the ABC News Live website beginning at 1:30 p.m. Eastern, 10:30 a.m. Pacific until the start of the Oscars).Then, also on ABC, Ashley Graham, Vanessa Hudgens and Lilly Singh will host the “Countdown to the Oscars” lead-in show, which will offer a behind-the-scenes look at the big night, beginning at 6:30 p.m. Eastern, 3:30 p.m. Pacific.The Run-Up to the 2023 OscarsThe 95th Academy Awards will be presented on March 12 in Los Angeles.Trying to Fix the Oscars: Acceptance speeches on TikTok? They’re part of an urgent effort to win back viewers.Oscars Fashion: A Versace runway show was a fitting start to the series of extravagant days that represent the unholy marriage between Hollywood and fashion: Oscars weekend.Inside the Oscars Campaigns: Despite the big show of sealed envelopes, Oscars voting is a highly contingent, political process. Here’s how the quest for awards-season glory got so cutthroat.Reading Suggestion: A new book that tracks the history of moviedom’s biggest night examines the glamour, societal changes and bloopers embodied in 95 years of step-and-repeat.Who will be hosting?Jimmy Kimmel will return for his third round as M.C. after previously guiding the ceremonies in 2017 (the “Moonlight”-“La La Land” mix-up year) and 2018.Who will be presenting?Three of last year’s acting winners — Jessica Chastain, DeBose and Troy Kotsur — as well as Riz Ahmed, Halle Bailey, Samuel L. Jackson, Dwayne Johnson, Michael B. Jordan, Majors, Janelle Monáe, Deepika Padukone, Pugh and Questlove.Will Will Smith be there?Smith, who took home last year’s best actor statuette for his performance as the father of Venus and Serena Williams in the biopic “King Richard,” was barred from the Oscars and other academy events for 10 years after he slapped the comedian Chris Rock at the 2022 ceremony. (Rock recently joked about the explosive moment on a live Netflix show.)Will Jennifer Coolidge be there?It feels like she should be, right? But alas, no. (Or, at least, not that we know of!)What should you watch for?After considerable backlash from industry professionals following last year’s decision to pretape eight of the competitive categories, all 23 categories will be awarded live this year.And there are a number of milestones to keep an eye out for: Yeoh could become the first Asian star to win best actress for her performance as the multiverse-surfing mother in “Everything Everywhere All at Once,” if she can hold off Blanchett’s ambitious conductor in “Tár.” If Spielberg, 76, wins best director for “The Fabelmans,” he would become the oldest winner in the category. And if John Williams, 91, wins best original score for “The Fabelmans,” he would become the oldest person to win a competitive Oscar.Is anyone close to an EGOT?Viola Davis became the 18th member of the club of overachievers who have an Emmy, a Grammy, an Oscar and a Tony Award after she won a Grammy for the audiobook of her memoir, “Finding Me.” But sadly, none of the nominees have the chance to join her on Sunday.Who do we think will win?“Everything Everywhere All at Once” received the most nominations — 11, including best picture, actress (Yeoh), supporting actor (Ke Huy Quan) and supporting actress (Jamie Lee Curtis and Stephanie Hsu) — and there’s a very real possibility that it could win, well, everything everywhere all at once. The odds-making site Vegas Insider currently has it as the runaway favorite, distantly trailed by Martin McDonagh’s drama “The Banshees of Inisherin” and the German war film “All Quiet on the Western Front,” each of which earned nine nominations.Our Projectionist columnist, Kyle Buchanan, thinks Yeoh has the edge over Blanchett, and that Brendan Fraser, who underwent a full-body transformation to play an obese professor in “The Whale,” will triumph over the “Elvis” star Austin Butler.In the supporting categories, Quan is a virtual lock for supporting actor, but Buchanan is predicting Kerry Condon of “Banshees” for supporting actress. See his complete list of predictions here.What’s this I’ve heard about Andrea Riseborough?Ah, yes, the tale of this year’s surprise (understatement) best actress nominee involved a social media blitz on her behalf by a cadre of movie stars, snubs of Danielle Deadwyler in “Till” and Viola Davis in “The Woman King,” and an academy review of the campaign on her behalf. (The verdict? She’s clear — for now.) Here’s an explainer.I only have time to watch one film before ceremony. Which one should I choose?To get the most bang for your buck, we’d recommend “Everything Everywhere All at Once.” (Or just hop into the multiverse and watch all of the nominees simultaneously.) If you’re short on time, Sarah Polley’s female-focused drama “Women Talking” is the shortest of the best picture nominees, at 1 hour 44 minutes. Of course, “The Banshees of Inisherin” and “Triangle of Sadness” have an X factor in their favor: the donkey quotient. If you face a time crunch, you’ll want to save “Avatar: The Way of Water,” which stretches past the three-hour mark, for another day; you’re already committed to watching a three-hour-plus broadcast on Sunday night! (Then again, what better day than Oscars Sunday to devote more than a third of your waking hours to film?)OK, I watched “Everything Everywhere All at Once” — and wait, what was that ending?Here’s an explainer.Who is that Oscar statuette supposed to be a likeness of?It’s said to be modeled after the Mexican filmmaker and actor Emilio Fernández (who, the story goes, posed in the buff).Why are they called the Oscars, again?It’s said that when the longtime academy employee Margaret Herrick first saw the statuette in the 1930s, she remarked that it reminded her of her Uncle Oscar — a nickname for her second cousin Oscar Pierce.I’m hosting an Oscars party this year. What delicious food should I make?You can’t go wrong with loaded nachos, cheese straws or dipped chocolate anything. Feeling fancy? Try our caviar potato chips and lemon cream recipe.I need some joy in my life. What’s the quickest way to get it?Follow Ke Huy Quan on Instagram. More

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      With Its Future at Stake, the Academy Tries to Fix the Oscars (Again)

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      The awards telecast has been losing viewers for years. New leadership wants to reverse that starting Sunday, and ensure the financial well-being of the organization.The stage design for the 95th Academy Awards on Sunday is more Doctor Strange modern and less Dowager Countess musty. That means plentiful video screens, including ones that cover the sides of the theater, with nary a Swarovski crystal curtain — the old standby — to be seen.Unlike last year, when eight categories were awarded during a nontelevised portion, all of the Oscars will be handed out live on air. To make the telecast interactive and help viewers better understand crafts categories, such as sound mixing and art direction, QR codes will appear before commercial breaks to direct viewers to internet vignettes about the nominees and behind-the-scenes footage and photos.To reinvigorate the red carpet preshow, Oscars organizers hired members of the Met Gala creative team. Expect much more star power, specialized lighting (to make a process that happens in daylight seem more like evening) and better integration with the theater’s entrance.But some of the most important changes — part of an urgent effort to help make the Academy Awards more relevant to young people and draw a broader international audience — involve things that most viewers won’t notice. The Academy of Motion Picture Arts and Sciences will post video of acceptance speeches in the six biggest categories in near real-time on TikTok and Facebook, and all speeches will quickly be posted on Twitter. In a first, Disney+ will stream the Oscars show live in parts of Europe. The academy has also sought out new marketing partners like Letterboxd, a social media site for movie fans (8.4 million members, most of them are ages 18 to 34), in a sad-but-true admission that it must convince people that they should care about the Oscars.“We didn’t have to before,” Janet Yang, the academy’s president, said in an interview at the organization’s Beverly Hills offices. “We could rest on our laurels and just let it carry itself.”Last year’s telecast drew 16.6 million viewers, with a spike in ratings coming after Will Smith slapped Chris Rock onstage.Ruth Fremson/The New York TimesOne might respond with exasperation: You’re only now figuring that out? Perhaps the time to pull out all the stops to keep the Oscars vibrant was five years ago, when the telecast, for the first time, attracted less than 30 million people, a 20 percent decline from the previous year. Since then, the number of viewers for the Academy Awards has dropped another 37 percent, according to Nielsen’s data. About 16.6 million people watched “CODA” win the Oscar for best picture at the most recent ceremony, with viewership swelling after Will Smith slapped Chris Rock onstage late in the show.The Run-Up to the 2023 OscarsThe 95th Academy Awards will be presented on March 12 in Los Angeles.Asian Actors: A record number of actors of Asian ancestry were recognized with Oscar nominations this year. But historically, Asian stars have rarely been part of the awards.Hong Chau Interview: In a conversation with The Times, the actress, who is nominated for her supporting role in “The Whale,” says she still feels like an underdog.Andrea Riseborough Controversy: Confused about the brouhaha surrounding the best actress nominee? We explain why the “To Leslie” star’s nod was controversial.The Making of ‘Naatu Naatu’: The composers and choreographer from the Indian blockbuster “RRR” explain how they created the propulsive sequence that is nominated for best song.But Ms. Yang can’t be held responsible. She was elected president only in August. The academy also has a new chief executive for the first time in 11 years; Bill Kramer, the former director of the Academy Museum of Motion Pictures, was appointed to that role in June. Together, Ms. Yang and Mr. Kramer have brought a blast of fresh air to the stuffy organization, working to improve transparency, calm a membership revolt over last year’s removal of several categories from the live Oscars telecast and shore up the academy’s wobbly finances.In the past, Ms. Yang said, “a lot of cultural institutions felt like they should be sitting on a hill, a little bit more protected, almost untouchable.” She added that the academy itself felt “ivory tower-ish,” but that it was now “a different time” and “a different culture.”ABC has exclusive rights to broadcast the Oscars ceremony until 2028 and provides the academy with about 80 percent of its annual revenue. Last year, Oscar-related revenue was $137.1 million, according to financial disclosures. Awards-related expenses totaled $56.8 million.The TV network generated an estimated $139 million across 70 commercials during last year’s show, according to Vivvix, which tracks ad spending. (To compare, ABC pulled in about $129 million across 56 ads in 2020.) A red-carpet preshow brought in an additional $16 million in advertising revenue.From left, Michelle Williams, Hong Chau, Steven Spielberg, Jamie Lee Curtis and Tom Cruise are among this year’s nominees.Sinna Nasseri for The New York TimesTo secure a distribution contract of similar value when its deal with ABC expires, the academy must reverse viewership declines. A less lucrative deal could imperil some of the organization’s year-round activities, including film restoration. “This is so important to the livelihood and future of the organization that we better confront it,” Ms. Yang said.In many ways, however, the academy is hamstrung when it comes to reinventing the Oscars telecast.ABC and other traditional television networks are shadows of their former selves, with younger audiences in particular decamping en masse to streaming services. Some other awards shows are following them, notably the Screen Actors Guild Awards, which will stream live on Netflix starting next year. After an ethics, finance and diversity scandal, the Golden Globe Awards, long broadcast on NBC, are also looking for a new distribution partner.Many viewers have long complained that the Oscars ceremony is overlong, with groan-inducing banter between presenters adding to a feeling of bloat. Last year’s Academy Awards was three and a half hours, despite moving eight of the 23 awards off the live broadcast. (The offscreen acceptance speeches were recorded, edited and incorporated into the live show.) In the past, the Oscars telecast has run as long as four hours and 23 minutes. Jimmy Kimmel will return as the host on Sunday, having previously served as M.C. in 2017 and 2018, and he has been planning a traditional monologue.“We are working very hard to deliver the show on time with all disciplines honored,” Mr. Kramer said.Ariana DeBose won best supporting actress during last year’s Academy Awards, which was three and a half hours.Ruth Fremson/The New York TimesLinda Ong, the chief executive of Cultique, a consulting firm in Los Angeles that advises companies on changing cultural norms, said that people were still interested in the award show’s winners and the things they had to say. The problem for the academy, she said, is that “people don’t feel the need to watch the show to be part of the conversation.”“They just watch some clips on social,” she added.Ms. Ong noted that, in a once-unthinkable move that speaks to the Oscars’ fading relevancy, the season finale of HBO’s hugely popular post-apocalyptic drama, “The Last of Us,” will broadcast head-to-head against the ceremony. “That’s a big cultural tell,” she said.The academy is hopeful that Nielsen’s ratings meters for the Oscars will tick upward on Sunday. Big musical stars, including Rihanna, are scheduled to perform their nominated songs; Lenny Kravitz will perform during the “In Memoriam” segment. Lady Gaga will be absent, though, with Oscars producers saying on Wednesday that she was too busy filming a movie to perform her nominated song from “Top Gun: Maverick.”The nominee pool for best picture has never before included more than one billion-dollar ticket seller, according to box office databases, and this year there are two. “Top Gun: Maverick” collected $1.5 billion, and “Avatar: The Way of Water” took in $2.3 billion. The front-runner for best picture, “Everything Everywhere All at Once,” generated $104 million in ticket sales. (Viewership tends to increase when popular films are nominated.)But the academy says it’s not just about TV anymore — that relying on Nielsen’s numbers alone to assess relevancy is outdated, and that online chatter and streaming-service viewing should also be taken into account. “We have to rethink our success metrics,” Mr. Kramer said, noting that the Oscars will be available for viewing on Hulu the next day.Conversations on social media during and after award shows can be significant. Last month’s Grammy Awards, for instance, attracted about 12.6 million viewers. On the day of the ceremony and the next day, the Grammys generated about seven million mentions on Twitter, according to ListenFirst, an analytics company.If nothing else, the academy is hoping for a smooth show on Sunday. In the past, the academy started to plan for the Oscars as late as November. This time, planning started in June.“It should be about unity and celebrating this industry,” Mr. Kramer said. “People are still consuming movies. People love movies. Perhaps they’re doing it on streaming more than they did a few years ago. But our art form is as relevant as ever.” More

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      Milo Ventimiglia on the ‘Honest Deception’ of ‘The Company You Keep’

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      In his first regular TV role since the hit series “This is Us,” the actor plays a character who is himself a kind of actor: a charming con man.Milo Ventimiglia reached television stardom during the age of cable and streaming dominance. But his signature shows, including “Heroes,” “Gilmore Girls” and “This Is Us,” have all aired free of charge on network TV.And that’s just the way he likes it.“I’m a product of broadcast television,” Ventimiglia said in a recent video call. “I like the idea that anyone can turn their TV on and watch the show.”“People want to give exclusivity,” he added. “I prefer inclusivity.”Ventimiglia’s newest venture, “The Company You Keep,” based on the Korean series “My Fellow Citizens!,” follows suit, but with a twist on his usual handsome charmer persona. Premiering Sunday on ABC, the series tells the story of Charlie Nicoletti, the main talent in a family of Baltimore con artists that also includes his sister, Birdie (Sarah Wayne Callies); his dad, Leo (William Fichtner); and his mom, Fran (Polly Draper). It’s Ventimiglia’s first starring vehicle since the hugely popular “This is Us” ended its six-year run last year. (He is also an executive producer.)A smooth operator and skilled thief, Charlie finds himself facing changes bad and good as the series opens. The family, which owns a neighborhood bar as a front for their capers, has just been burned on a job, owing mostly to Charlie’s carelessness. The consequences are dire. Reeling from his mistake, Charlie falls into the arms and bed of Emma (Catherine Haena Kim). They’re a very secretive couple, especially with each other. She is a C.I.A. agent. He’s a con man.Unbeknown to them, their jobs are about to converge. It’s love, and lust, at first sight. Trust, however, is another matter.“It’s a different kind of communication when you are playing two people that are fundamentally in love, but there are a lot of obstacles to their being together,” he said. “I think it mostly comes down to communicating vulnerability.”Reeling from a mistake, Ventimiglia’s character, Charlie, falls into the arms and bed of Emma (Catherine Haena Kim), a C.I.A. agent.Eric McCandless/ABCVentimiglia, 45, was drawn to Charlie’s duality. “As a barkeep, he’s unremarkable, a simple neighborhood guy,” he said. “But as a con artist, he has to adapt and change shape and become somebody else believably, as a real human being, not a caricature.”Ventimiglia discussed the art of the con, moving on from “This Is Us” and why he looks to help military veterans however he can. These are edited excerpts from the conversation.What was the transition from “This Is Us” like?I brought over about 90 percent of the “This Is Us” crew. For me, it was always them that made the show. It wasn’t just the subject matter. It wasn’t just those beautiful Dan Fogelman scripts that he and the writers crafted. It was the different departments, everything from camera to grips, electric, art departments, transportation, craft services, the folks that were feeding us. There was a lot of magic in that show, and I loved bringing that team over. I miss Fogelman, and I miss aspects of production. But because of the crew, there was no real loss.That was such a beloved show. Why do you think it struck a nerve in so many viewers?I think it had a commonality. Viewers were able to see themselves inside of a lot of the characters. It wasn’t built for one lane. It didn’t fall under any particular genre. It was just a show about everyone.The original title was “36,” which was the birthday that Jack and the three kids were celebrating. But Dan Fogelman kept toying with this idea: This is us and us and us. And it just makes sense. That’s what the show was about. It was about all of us, every single one of us. That always felt like the appeal: Everybody could relate to the life that was lived in those characters.I Imagine people often identify you with Jack.I remember once I was getting off a plane and a guy stopped me and said, “Hey, you’re that guy from that show.” I said: “Yes, sir, I am. Nice to meet you.” And he goes, “Man, you’re my Tuesday night.” I thought, wow. Every Tuesday, this guy sits down and he hangs out with me and my co-stars on the show. There’s something really rewarding about that when you know an audience member is giving you time.How do you approach playing a con man? It’s interesting that the word “con” comes from “confidence,” which Charlie definitely has.To be an actor, you’ve got to be confident in what you do, but you can’t cross that line and be cocky because you get knocked right down. And you’ve got to be confident as a con man to get people to do what you want need.With the cons that we’ve been setting up, and the characters that Charlie plays within those cons, it’s exciting and it’s fun. It’s given me an opportunity to stretch, not just playing one part, but playing several parts through a season.“At 45 years old, I feel like I’m just getting started,” Ventimiglia said. “That’s a good feeling.”Carlos Jaramillo for The New York TimesCharlie is kind of an actor in that sense.Totally. Either that or I’m realizing that acting is absolutely a con. When I was a little younger, I used to joke and say, “I lie for a living.” Then it turned into, “I wear makeup and read lines for a living.” Now, in a way, I’m back to what feels like an honest deception.How do you think the secrecy of the characters translates to the performances?It’s funny, in real life, romantic partners tend to under-talk things until they realize they need therapy. On set, we’re over-talking things for absolute transparency and communication to find the best possible solution that works for [Kim’s] character, my character, and then ultimately the show.You have worked with and supported several veterans organizations, including the U.S.O., Team Rubicon and America’s Gold Star Families. What is the source of that passion?My dad was a Vietnam War veteran, so I think I always had this understanding of the community from that point of view, and from studying the war. But having never served in uniform, I asked myself how I could serve the community. The work is never done. But I think it’s a community to which we owe a lot of gratitude. I nearly went into the Navy when I was 18. I had this grand idea that I was going to be flying jets because I grew up on “Top Gun.” But then I took a different path.When did you know that you wanted to be an actor?I’d always put on plays and stuff when I was a little kid. And I remember when award shows still felt glamorous, and I would hear Whoopi Goldberg talk to the camera at the end of the Oscars, when she was hosting, saying, “Maybe one day you’ll be on this stage.” That inspired me. I’d see an actor putting on a character, and then I’d see him putting on a different character. You’d see Michael Keaton as Mr. Mom. Then you’d see Michael Keaton as Batman. You’re like, Oh, it’s Batman. But no, it’s Mr. Mom.It was all an understanding that these people are playing different roles, and that is the profession of acting. How do you do that? How do you make those roles so convincing that you get to do the next one? It’s weird. At 45 years old, I feel like I’m just getting started. That’s a good feeling. More

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      Ryan Seacrest Is Leaving ‘Live with Kelly and Ryan’

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      The Hollywood multitasker provided a steady hand at a somewhat tumultuous time for the talk show. He will be replaced by Mark Consuelos, the husband of “Live” co-host Kelly Ripa.Ryan Seacrest announced on Thursday that he was leaving “Live With Kelly and Ryan,” the syndicated morning talk show mainstay that he has hosted with Kelly Ripa since 2017.Ms. Ripa said Thursday on the show that a familiar face, and frequent guest host — her husband, Mark Consuelos — would assume co-hosting duties. The show will now be known as “Live With Kelly and Mark.”“I’m so grateful to have spent the last six years beside my dear friend of too many decades to count and will miss starting my days with Ryan,” Ms. Ripa said in a statement. “Ryan’s energy, passion and love for entertainment is one of a kind.”Mr. Seacrest, a Hollywood multitasker, arrived at “Live” after a one-year search, and provided a steady hand at a somewhat tumultuous time for the show. In 2016, when Mr. Seacrest’s predecessor, Michael Strahan, announced that he was leaving the show for “Good Morning America,” Ms. Ripa felt blindsided and that the Walt Disney Company — which syndicates the show — was favoring its morning show franchise over her longtime talk show, which she has co-hosted since 2001. She walked off the show, setting off a tabloid feeding frenzy.Mr. Seacrest’s arrival nearly coincided with what seemed at the time to be a formidable rival: NBC was giving Megyn Kelly a 9 a.m. talk show, and investing tens of millions of dollars in it.Although Ms. Kelly’s morning show could veer dark — “Megyn Kelly Today” often ran segments on topics like revenge porn and sexual harassment — Ms. Ripa and Mr. Seacrest kept it light, providing a soothing antidote to the divisive Trump years. Ms. Kelly’s show was trounced by “Live” in the ratings and was canceled roughly a year after it started.“Live,” which started in the 1980s as a New York talk show co-hosted by Regis Philbin and Kathie Lee Gifford, has long centered on a simple concept: two hosts chatting about their lives, and bringing in celebrities for breezy interviews.“The hosts have changed, but the overall concept continues on: two people, a man and a woman, and enjoying the chemistry between them,” said Michael Gelman, the longtime executive producer, in a 2017 interview.“Live” has been the top-rated daytime talk show among women ages 25 to 54, a demographic important to advertisers, for more than a year.Mr. Seacrest will continue hosting the show until the spring, and will also continue hosting “American Idol,” ABC said. He said in a statement that working with Ms. Ripa for the last six years had been a “dream job.”“It’s been a memorable ride, and now I’m excited to pass the baton to Kelly’s ‘real’ husband, Mark,” he said. More

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      ‘Schoolhouse Rock!’ at 50: Those Are Magic Numbers

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      The educational snippets are the ultimate font of Gen X nostalgia. But what is it we’re nostalgic for?When I was in second grade, my teacher held a contest: The first students to memorize their multiplication tables would get dinner at McDonald’s. I was one of them. I’d like to credit hard work or the motivation of those golden fries, but in truth it was easy. I learned it from “Schoolhouse Rock.”It was not the last time that watching too much TV would pay off for me, but it was perhaps the sweetest.If you were an American kid around when I was (nineteen-seventy-cough), you probably have “Schoolhouse Rock” hard-wired into your brain too. The musical shorts, which began airing on ABC in 1973, taught Generation X multiplication, grammar, history and, eventually, nostalgia.That last lesson stuck best. Winona Ryder and company crooned “Conjunction Junction” and “I’m Just a Bill” in the 1994 generational-statement film “Reality Bites.” De La Soul borrowed “Three Is a Magic Number” as the backbone for their buoyant self-introduction, “The Magic Number,” in 1989. Nostalgia for “Schoolhouse Rock” is now itself old enough to be nostalgic for.On Wednesday, ABC will tap into that spirit with a prime time “50th Anniversary Singalong,” in which the Black Eyed Peas, the Muppets, Shaquille O’Neal and others will hook up the words, phrases and clauses of the Saturday-morning favorites.The Muppets are among the many guest stars who will appear in the ABC special “Schoolhouse Rock! 50th Anniversary Singalong.”Christopher Willard/ABCThe special promises wholesome family fun, and I can think of worse things to do on a weeknight than musically unpacking my adjectives in the judgment-free zone of my living room. But nostalgia is not just a fun emotion. Like some of the best “Schoolhouse Rock” songs, it carries a note of wistfulness.More on U.S. Schools and EducationHeavy Losses: A new global analysis suggests that children experienced learning deficits during the Covid-19 pandemic that amounted to about one-third of a school year’s worth of knowledge and skills.Police in Schools: Footage of a student’s violent arrest by a school resource officer has raised questions about the role of armed officers on campuses.Transgender Youth: Educators are facing new tensions over whether they should tell parents when students change their name, pronouns or gender expression at school.In Florida: The state will not allow a new Advanced Placement course on African American studies to be offered in its high schools, citing examples of what it calls “woke indoctrination.”In this case, it’s a reminder of a time when network TV gave us a common culture, language and lyrics, before we were sliced into subcultures and demographics. Pre-internet, pre-cable, pre-DVD — pre-VHS, even — “Schoolhouse Rock” convened a classroom of millions for three-minute servings of revolutionary art alongside installments of “The Great Grape Ape Show.”Like much classic kids’ TV, “Schoolhouse Rock” was brought to you by Madison Avenue. The ad executive David McCall, who noticed that his son could memorize pop songs but struggled with arithmetic, suggested to George Newall, a creative director, and Thomas Yohe, an art director, that they figure out how to set math to music.As Newell told the Times in 1994, they pitched the idea to Michael Eisner, then the director of children’s programming at ABC, who happened to be meeting with the legendary Looney Tunes animator Chuck Jones. “I think you should buy it right away,” Jones said.Unlike the dutiful news interstitials that vitamin-fortified other Saturday-morning cartoon lineups, “Schoolhouse Rock” harnessed the power of comedy and ear worms. The facts and figures made it educational. But they weren’t what made it art.That was the animation, psychedelically colorful and chock-full of rapid-fire slapstick gags. Above all, there was the sophisticated music. The jazz composer Bob Dorough wrote the banger-filled first season, “Multiplication Rock,” surveying a range of styles from the duodecimal prog-rock of “Little Twelvetoes” to the spiraling lullaby of “Figure Eight.”The lyrics were sly and funny but could also detour, like a fidgety schoolkid sitting by the window, into daydreams. The blissful “Three Is a Magic Number” isn’t just a primer on multiples; it’s a rumination on the triad foundations of the universe, from geometry to love. (If your voice does not break singing, “A man and a woman had a little baby,” you’re doing something wrong.)The following seasons, about grammar, American history and science, added other contributors, including Lynn Ahrens, the future Broadway songwriter thanks to whom an entire generation cannot recite the preamble to the Constitution without breaking into song.The short “Conjunction Junction” was referenced in the 1994 film “Reality Bites,” a sign that nostalgia for “Schoolhouse Rock” is now itself old enough to be nostalgic for.ABC, via Everett CollectionThe words and numbers in “Schoolhouse Rock” were never just words and numbers. Like the early years of “Sesame Street,” the shorts had an anarchic spirit and a pluralistic sensibility. “I Got Six” is a funk explosion whose Afrocentric animation includes a dashiki-ed African prince with six rings on all 10 fingers. “Verb: That’s What’s Happening” — imagine if Curtis Mayfield taught your English class — depicts a Black superhero long before Black Panther made it to the movie screen.When my kids were school-aged, I got the full “Schoolhouse Rock” DVD set for them, which is to say, I got it for me. (You can now stream the ’70s seasons, plus a brief 1980s series about computers and a clunky 1990s revival, “Money Rock,” through Disney+.)Rewatching the series taught me about a new subject: Time.The songs are as catchy as ever. But to screen “Schoolhouse Rock” as an adult is to visit a different period in cultural history, and not just because of the bell-bottoms. The America of “Schoolhouse Rock” was divided by Vietnam and Watergate, but it could at least subscribe to basic common facts and civic principles.Consider Bill, the underdog paper hero of “I’m Just a Bill,” longing to become a law that would keep that cartoon school bus safe at railroad crossings. Now he’s a time traveler, from a pre-Reagan age when government activism, however imperfect, was considered a force for good.Today, with culture-warring politicians like the governor of Florida, Ron DeSantis, red-penciling school curriculums, weaponizing pronouns and hammering history teachers for “indoctrination,” the potential land mines add up. “The Great American Melting Pot” did not imagine a future president telling asylum seekers, “Our country is full.” When “Interjections” depicted a doctor giving a child a shot, it did not anticipate legislators denouncing Big Bird for advocating childhood vaccination.A scene from the anniversary special. Whatever its flaws, “Schoolhouse Rock” told children that they counted with the same numbers and were entitled to the same rights.Christopher Willard/ABC(Likewise, when “Elementary, My Dear” taught counting by twos with a gospel-style Noah’s Ark song, it didn’t fear repercussions for bringing religion into kids’ TV.)And that’s before you even get to “Science Rock.” “The Energy Blues” makes a matter-of-fact pitch for conservation that would cause smoke eruptions today. (In 2009, a climate-focused season, “Earth Rock” went straight to DVD.) When “Schoolhouse Rock” showed kids a three-minute video on how the body worked, there was no internet algorithm to suggest a rebuttal by someone who “did his own research.”That said, I wouldn’t romanticize the “Schoolhouse Rock” era as a paradise of educational consensus. In 1974, the year before the “America Rock” season began, protesters against desegregation in Boston threw rocks at buses carrying Black students. And the series had its own blind spots, which historians and educators have since pointed out.In particular, “America Rock,” an upbeat celebration of the bicentennial, covers the American Revolution and women’s suffrage but skips over the Civil War and slavery. (The Roots filled in this hole in a 2017 episode of “black-ish” with “I Am a Slave,” about Juneteenth.) “Elbow Room” is a jaunty story of westward expansion from the point of view of white settlers, with little note of who got elbowed out. (One scene shows a settler taking a toy arrow through his hat.) America’s unflattering history didn’t make the cut because mass broadcasting meant not alienating the masses.But whatever its limits, “Schoolhouse Rock” at least told us we were equal: We counted with the same numbers, our hearts pumped the same blood, we were entitled to the same inalienable rights.And it operated in a period when people saw the same media and accepted the same facts. Months after its premiere, the Watergate hearings also aired on national TV. They were able eventually to turn even many Republicans against President Nixon, in part because Americans watched the same story together, without a partisan cable and internet ecosystem to spin the investigation as a witch hunt.It’s tempting to say that you couldn’t make “Schoolhouse Rock” again today. But I’m sure you could, even if it would be slightly different. Current kids’ shows like Netflix’s “We the People” are in a way exactly that. What you couldn’t create again today is the mass audience, or the context in which we assembled, one nation, sitting cross-legged in front of our cathode-ray teacher.Instead, we have “Schoolhouse Rock” binge-watches and sing-alongs, which, like all exercises in nostalgia, offer the tantalizing pleasure of stretching to touch yesterday, though we know we can’t. The past is like infinity, a concept that “Schoolhouse Rock” also introduced to my generation. “No one ever gets there,” as “My Hero, Zero” taught us. “But you could try.” More

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      Sonya Eddy, ‘General Hospital’ Actress, Dies at 55

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      Ms. Eddy played Epiphany Johnson, the head nurse on the long-running ABC daytime series, for 16 years.Sonya Eddy, who played the no-nonsense head nurse Epiphany Johnson in more than 500 episodes of the enduring ABC soap opera “General Hospital,” died on Monday at a hospital in Burbank, Calif. She was 55.The cause was an infection following nonemergency surgery, said Tyler Ford, her producing partner.Ms. Eddy joined the cast of “General Hospital” in 2006 and quickly established herself as a fan favorite as the head nurse of the hospital where much of the show is set. “General Hospital,” a fixture of ABC’s daytime lineup for nearly six decades, follows the adventures of characters who live in the fictional town of Port Charles, N.Y.Ms. Eddy, right, as the head nurse Epiphany Johnson with the actors Jason Thompson and Kimberly McCullough in a scene from “General Hospital.”Ron Tom/ABC, via Associated PressFrank Valentini, the executive producer of “General Hospital,” said in a statement, “The lights in the hub of the nurse’s station will now be a little dimmer, but her spirit and light will live on in both the show and our set.”Ms. Eddy appeared in 543 episodes in 16 years on the show, the most recent of which aired on Oct. 20. She also played Epiphany in 25 episodes in the spinoff “General Hospital: Night Shift” in 2007 and 2008. The character was the mother of Stan Johnson, who was killed in a mob hit.Sonya Eddy was born on June 17, 1967, in Concord, Calif. She was a theater and dance major at the University of California, Davis, where she received her bachelor’s degree in 1992, according to IMDb.com. While she was a student there, she made her acting debut onstage in a production of “Zora Is My Name!”Ms. Eddy recalled the experience in an interview with the website stonecoldandthejackal.com. “I loved the sense of being able to influence the audience, to open a door in their mind that they otherwise may not have opened,” she said.She later performed in stage productions of “Comedy of Errors,” “The Crucible,” “Into the Woods” and “South Pacific.”Ms. Eddy’s is survived by her mother, Robbie Jean Eddy, and a brother, Lee Eddy.Ms. Eddy made her first television appearance, as “Woman No. 2,” in an episode of “The Drew Carey Show” in 1995, and went on to find steady work with roles on “ER,” “Seinfeld,” “Glee” and other hit programs. Her film credits include “Barbershop,” “Coach Carter” and “Matchstick Men.”But her most enduring role was as Epiphany on “General Hospital.” She must have appeared credible as a nurse because she played one several times throughout her career, including in the film “Seven Pounds,” from 2008, starring Will Smith, and “Year of the Dog,” from 2007. She also appeared as a nurse in the thriller “Frank and Penelope,” which was released this year.She was a supporter of real-life nurses, and led a campaign this year to raise money for scholarships for nursing students.Ms. Eddy was also a singer. On “General Hospital,” she showcased her singing skills during memorial services and nurses’ balls. On Tuesday, the “General Hospital” Instagram account shared a clip of Ms. Eddy’s character leading other nurses on the show as they sang “Hallelujah” in a 2017 episode.Sheelagh McNeill More

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      ‘Succession’ Wins Best Drama at Emmys as HBO Triumphs Again

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      “Succession,” HBO’s portrait of a dysfunctional media dynasty, won best drama at the 74th Emmy Awards on Monday night, the second time the series has taken the prize.Jesse Armstrong, the show’s creator, also took home the Emmy for best writing, the third time he’s won in that category. And Matthew Macfadyen won best supporting actor in a drama for the first time for his performance on the show.It was the sixth time in eight years that HBO has taken the television industry’s biggest prize for a recurring series, making it yet another triumphant night for the cable network. HBO, as well as its streaming service, HBO Max, won more Emmys (38) than any other outlet, besting its chief rival, Netflix (26).“The White Lotus,” the cable network’s beloved upstairs-downstairs dramedy that took place at a Hawaiian resort, won best limited series, and tore through several other categories. The show won 10 Emmys altogether, more than any other series. Mike White, the show’s creator and director, won a pair of Emmys for best directing and writing. And performers from the show, Murray Bartlett and Jennifer Coolidge, both received acting Emmys.“Mike White, my God, thank you for giving me one of the best experiences of my life,” Bartlett, who played an off-the-wagon hotel manager, said from the Emmys stage.But HBO’s chronicles of the rich were not the only winners on Monday night.“Ted Lasso,” the Apple TV+ sports series, won best comedy for a second consecutive year, as the tech giant continues on an awards show tear. Apple TV+, which had its debut in November 2019, won best picture at the Oscars (“CODA”) earlier this year. And Jason Sudeikis repeated as best actor in a comedy as the fish-out-of-water soccer coach in “Ted Lasso.”There were other big moments in the comedy awards. Quinta Brunson, the creator of the good-natured ABC workplace sitcom, “Abbott Elementary,” about a group of elementary schoolteachers at an underfunded Philadelphia public school, won for best writing in a comedy. It was only the second time a Black woman won the award (Lena Waithe was the first, in 2017, for “Master of None”).In one of the night’s most electric moments, Sheryl Lee Ralph won best supporting actress in a comedy for her role on “Abbott Elementary” as a veteran teacher at the school. Ralph began her Emmys speech by singing “Endangered Species” by Dianne Reeves, and received a standing ovation from the room full of nominees. Her victory was also historic: It was only the second time a Black woman won the award. The last time was in 1987, when Jackée Harry won for her role in the NBC sitcom “227.”This has been the most competitive Emmys season ever: Submissions for all the categories surged, and 2022 is very likely to set yet another record for the highest number of scripted television series.But there was also a sense of concern among the executives, producers and agents in attendance at Monday night’s Emmy Awards, that 2022 represents the pinnacle of the so-called Peak TV era, which has produced the highest number of scripted television series, nearly every year, for more than a decade.Netflix, which lost subscribers this year for the first time in a decade, has laid off hundreds of staffers and is reining in its spending. HBO’s parent company, Warner Bros. Discovery, has shelved projects and is about to lay off a significant number of employees. NBC executives are considering ending its prime-time lineup at 10 p.m., and handing the hour over to local stations.Business challenges aside, the night was mostly a feel-good celebration. Zendaya won her second Emmy by taking best actress in a drama for her role as a troubled teen in HBO’s “Euphoria.” Jean Smart repeated as the best actress in a comedy for her role as a Joan Rivers-like comedian in HBO Max’s “Hacks.”“Squid Game,” the blood-splattered, South Korean Netflix series, won a pair of awards: Lee Jung-jae for best actor in a drama, and Hwang Dong-hyuk for directing. Those wins represented a major breakthrough for a foreign language show as television becomes more global, and as American audiences are increasingly receptive to series with subtitles.Michael Keaton, who played a small town doctor in “Dopesick,” took the best actor award in a limited series. And Amanda Seyfried won best actress in a limited series for her well-received performance as Elizabeth Holmes in “The Dropout.”Emmy voters often have a habit of finding a winner, and sticking with it, and this year was no different. John Oliver’s “Last Week Tonight” won the best talk show category for a seventh consecutive year, and “Saturday Night Live” took the best variety sketch series for a sixth straight year.This year’s ceremony was the first return to the Microsoft Theater since the pandemic. Producers for the Emmys incorporated an element that it experimented with at last year’s ceremony, which took place inside a tent: Instead of theater-style seating, nominees were gathered around tables with bottles of champagne and wine around them.This year’s host, Kenan Thompson, the “Saturday Night Live” veteran, opened the ceremony in a top hat and led a group of dancers in a bizarre interpretive dance to theme songs of famous TV series like “Law & Order,” “The Brady Bunch” and “Game of Thrones.”During his monologue, Thompson took a dig at Netflix’s recent woes.“If you don’t know what ‘Squid Game’ is, it is the contest you enter when you’re in massive debt and desperate for money,” the host said. “Joining the cast next season? Netflix.” More

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      41 TV Shows to Watch This Fall

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      Noteworthy premieres include new seasons of buzzy hits (“Abbott Elementary,” “The Handmaid’s Tale”), reboots and revivals (“Quantum Leap,” “Willow”) and more.The fall television season got off to an early start this year with the arrival of the dueling franchise extensions and hopeful blockbusters, “House of the Dragon” on HBO and “The Lord of the Rings: The Rings of Power” on Amazon Prime Video. But TV’s vast landscape offers a lot more than expensively produced, effects-laden fantasy. From the relatable delights of “Abbott Elementary” to the highly specific hilarity of “Documentary Now!,” here are some noteworthy fall premieres, arranged in chronological order.All dates are subject to change.THE SERPENT QUEEN The story of Catherine de’ Medici, the 16th-century queen of France, in a satirical, talking-to-the-camera 21st-century telling, with Samantha Morton and Liv Hill as Catherine and a large cast, including Charles Dance, Colm Meaney and Ludivine Sagnier, as the clerics and aristocrats who underestimate her at their peril. Starz, Sept. 11.THE JENNIFER HUDSON SHOW The success of daytime talk-show hosts is notoriously hard to predict, and whether Hudson will have the right skill set and personality for the role is about to be seen. But she immediately becomes the most talented singer and actress in the field, for what that’s worth. Syndicated, Sept. 12.THE HANDMAID’S TALE This bleak allegory and nonlinear-TV pioneer — the first streaming show to win an Emmy for outstanding drama series — soldiers into its fifth season, with June (Elisabeth Moss) quickly coming down from the cathartic high of Season 4’s bloody conclusion. Hulu, Sept. 14.Elisabeth Moss in “The Handmaid’s Tale,” returning for its fifth season on Sept. 14.HuluATLANTA After a third season, ending in May, that was quietly received — and that dropped more than half of the show’s previous broadcast audience — Donald Glover’s prickly comedy quickly returns for a fourth and final go-round. FX, Sept. 15.THE U.S. AND THE HOLOCAUST Ken Burns, directing with Lynn Novick and Sarah Botstein, devotes six hours to an uncomfortable chapter of American history with an alarmingly familiar backdrop of racism and xenophobia. PBS, Sept. 18.QUANTUM LEAP Raymond Lee (the sympathetic diner owner in “Kevin Can F**k Himself”) plays a new time-jumping do-gooder in this reboot of the early-90s sci-fi series. The Quantum Leap project is restarted and the original hero, Sam Beckett, is still missing, so a Scott Bakula guest appearance seems pretty much preordained. NBC, Sept. 19.PARIS POLICE 1900 In the spirit of “Babylon Berlin,” this period policier sets standard crime drama against a vivid historical backdrop: the Dreyfus affair, organized and violent antisemitism, the rise of the pioneering lawyer Jeanne Chauvin (Eugenie Derouand) and the sometimes deadly career of the Parisian courtesan Marguerite Steinheil (Evelyne Brochu). MHz Choice, Sept. 20.REBOOT Steven Levitan, who grabbed the network-sitcom brass ring with “Just Shoot Me!” and “Modern Family,” indulges in some gentle self-parody. Judy Greer, Keegan-Michael Key and Johnny Knoxville play the cast of a hacky early-aughts family comedy who reunite for a new version written by a young woman (Rachel Bloom of “Crazy Ex-Girlfriend”) who is strangely obsessed with the original show. Hulu, Sept. 20.ABBOTT ELEMENTARY Quinta Brunson’s sitcom about struggling teachers at a Philadelphia elementary school, a breakout hit in the spring and an Emmy nominee for best comedy series, embarks on its second season. ABC, Sept. 21.Lisa Ann Walter, left, and Sheryl Lee Ralph in “Abbott Elementary,” returning for its second season on Sept. 21, on ABC.Scott Everett White/ABCANDOR Tony Gilroy has more on his résumé than a writing credit for “Rogue One,” and it looks as if his new “Star Wars” series might incorporate some of the real-world grit he displayed a feel for in the Bourne movies. That would be a good thing, though don’t tell it to your friend with the lightsaber collection. Disney+, Sept. 21.REASONABLE DOUBT Kerry Washington is an executive producer and a director of this legal melodrama created by Raamla Mohamed, who was a writer and producer on Washington’s breakthrough series, “Scandal.” Emayatzy Corinealdi plays a high-rent, high-stress Los Angeles lawyer whose conscience begins to bite her in the first scripted series from Disney’s Onyx Collective brand for creators of color. Hulu, Sept. 27.THE DARK HEART Gustav Möller, director of the Swedish film “The Guilty” (remade in America starring Jake Gyllenhaal), oversaw this five-part thriller inspired by real events. A woman who manages a civilian search team for missing persons takes on the case of a landowner and lumber baron who alienated a lot of people, including his ambitious daughter, before he disappeared. Topic, Sept. 29.SO HELP ME TODD A quirky-funny mystery series — in the long lineage of “Monk” — starring Marcia Gay Harden as a Type-A lawyer and Skylar Astin as her son, who’s better at investigating than he is at adulting. CBS, Sept. 29.Marcia Gay Harden stars in “So Help Me Todd,” premiering Sept. 29 on CBS.Michael Courtney/CBSANNE RICE’S INTERVIEW WITH THE VAMPIRE AMC takes its first step toward an Anne Rice universe, under the aegis of the veteran producer Mark Johnson (“Better Call Saul”). Jacob Anderson, the eunuch warrior Grey Worm in “Game of Thrones,” plays Louis, the Brad Pitt role from the movie version; Sam Reid steps in for Tom Cruise as Lestat; and the newcomer Bailey Bass, soon to be seen in several “Avatar” sequels, replaces Kirsten Dunst as the child vampire, Claudia. AMC, Oct. 2.EAST NEW YORK William Finkelstein, a creator of this cop drama, spent the 1990s and early 2000s writing and producing for a good roster of shows: “L.A. Law,” “Murder One,” “Brooklyn South,” “Law & Order” and “NYPD Blue.” On the other hand, he also created “Cop Rock” with Steven Bochco. Amanda Warren (the mayor in “The Leftovers”) plays a new precinct boss in the Brooklyn neighborhood of the title, heading a cast that includes Jimmy Smits, Richard Kind and Ruben Santiago-Hudson. CBS, Oct. 2.THE WALKING DEAD There was a time — and it was only six years ago — when “The Walking Dead” was drawing more than 12 million viewers an episode and the death of a major character was Monday morning news. Now more important as intellectual property than as weekly storytelling, the original series shuffles to the finish line with its final eight episodes. AMC, Oct. 2.Norman Reedus in AMC’s “The Walking Dead,” returning for its final season on Oct. 2.Jace Downs/AMCMAKING BLACK AMERICA: THROUGH THE GRAPEVINE Henry Louis Gates Jr. explores the codes, networks and private societies that Black Americans have created “behind the veil” of the color line in a four-part documentary series. PBS, Oct. 4.ALASKA DAILY Tom McCarthy, who made one of the best newspaper dramas of our time in the film “Spotlight,” created this series about an abrasive reporter (Hilary Swank) who gets canceled in New York and takes a job in Anchorage, lured by a story about the deaths of Indigenous women. The presence of Jeff Perry as her new boss probably isn’t the only thing that will remind you of the shows of the ABC stalwart Shonda Rhimes. ABC, Oct. 6.A FRIEND OF THE FAMILY Anna Paquin and Colin Hanks star in this true-crime mini-series as the parents of the actress Jan Broberg, who was kidnapped when she was 12 and again when she was 14 by the same family friend (played by Jake Lacy). The bizarre story has also been told in the 2017 feature documentary “Abducted in Plain Sight.” Peacock, Oct. 6.Jake Lacy and Anna Paquin in the Peacock mini-series “A Friend of the Family.”PeacockPENNYWORTH: THE ORIGIN OF BATMAN’S BUTLER This stylish “Batman” prequel series, about the former special-forces soldier who will one day be Bruce Wayne’s butler (as the show’s awkward new title makes clear), leaves Epix for a platform closer to its DC Comics roots. Season 3 also mostly leaves behind the alt-history British civil war that occupied the first two installments, jumping ahead five years and introducing superheroes. HBO Max, Oct. 6.LET THE RIGHT ONE IN John Ajvide Lindqvist’s ultra-bleak 2004 novel about a child vampire keeps circulating through the culture: It has inspired films, plays, a comic book and a TV pilot, with Thomas Kretschmann, that wasn’t picked up. Now the story makes it to TV with Demián Bichir as the father of the girl vampire (Madison Taylor Baez) who’s forever 12. Showtime, online Oct. 7, cable Oct. 9.THE MIDNIGHT CLUB The latest from Mike Flanagan, whose atmospheric horror series (“The Haunting of Hill House,” “Midnight Mass”) have won a following on Netflix. Heather Langenkamp plays the doctor at a hospice where the patients like to tell one another scary stories. Netflix, Oct. 7.BECOMING FREDERICK DOUGLASS The documentarian Stanley Nelson (“Attica,” “Freedom Riders”) fills in some important chapters in his epic yet quotidian history of Black life in America with this film and with “Harriet Tubman: Visions of Freedom” (Oct. 4), both directed by Nelson and Nicole London. PBS, Oct. 11.CHAINSAW MAN Anticipation is running high in the anime world for the MAPPA animation studio’s adaptation of “Chainsaw Man,” a dark-comic, body-horror manga about a young devil hunter with a deadly appendage. Crunchyroll, Oct. 11.SHERWOOD The cast of this BBC mystery series is a lengthy British-TV who’s who: David Morrissey, Lesley Manville, Claire Rushbrook, Philip Jackson, Joanne Froggatt, Terence Maynard, Kevin Doyle, Robert Glenister, Clare Holman, Lorraine Ashbourne, Adeel Akhtar, Pip Torrens and Mark Addy, among others. Morrissey is the detective investigating a bow-and-arrow murder in Robin Hood’s old Nottinghamshire haunts that brings up hatreds from a 1980s miners’ strike. BritBox, Oct. 11.THE WINCHESTERS Jensen Ackles returns to the “Supernatural” universe, reassuming his role as the monster hunter Dean Winchester in this prequel series. This time Dean, in a supporting role, is tracking down the real story of the younger days of his mother and father (Meg Donnelly and Drake Rodger), which sounds like a good strategy for avoiding pesky continuity questions. CW, Oct. 11Drake Rodger and Meg Donnelly in “The Winchesters,” premiering Oct. 11 on the CW.Matt Miller/CWDOCUMENTARY NOW! One of TV’s greatest pleasures returns after a more than three-year hiatus. The fourth season, hosted, as always, by Dame Helen Mirren, will include sendups of “My Octopus Teacher,” “The September Issue,” “When We Were Kings” and Werner Herzog’s “Burden of Dreams.” IFC, Oct. 19.FROM SCRATCH Zoe Saldana stars in a mini-series that crosses cultures — a Black American woman falls in love with a Sicilian chef during her Wanderjahr in Italy — and genres, mixing picturesque Euroromance and sorrowful survivor’s tale. Netflix, Oct. 21.THE PERIPHERAL Scott B. Smith, who wrote the screenplay (based on his own novel) of the excellent 1998 thriller “A Simple Plan,” is the creator and showrunner of this series based on a dystopian, alternate-futures mystery by William Gibson; Chloë Grace Moretz stars; and Lisa Joy and Jonathan Nolan are among the executive producers. That’s an awful lot of bleak-noir experience. Amazon Prime Video, Oct. 21.GUILLERMO DEL TORO’S CABINET OF CURIOSITIES Del Toro takes on the Alfred Hitchcock role, playing master of ceremonies for an eight-episode horror anthology. (A previous title included the words “Guillermo del Toro Presents.”) The first season’s directors include Jennifer Kent (“The Babadook”), Catherine Hardwicke (“Twilight”) and Ana Lily Amirpour (“A Girl Walks Home Alone at Night”). Netflix, Oct. 25.SHERMAN’S SHOWCASE Diallo Riddle and Bashir Salahuddin’s consistently clever, stealthily sophisticated, unabashedly nostalgic sendup of old-school variety shows finally returns for a second season. IFC, Oct. 26.Bashir Salahuddin, foreground, in “Sherman’s Showcase,” returning for its second season on Oct. 26, on IFC.Michael Moriatis/IFCTRUE CRIME STORY: INDEFENSIBLE Back for a second season, the comedian Jena Friedman applies the adversarial techniques of topical late-night humor to the true-crime genre, in 20-minute episodes that are less investigations — the facts of the cases are generally pretty plain, at least in Friedman’s eyes — than expressions of darkly comic outrage. SundanceTV, Oct. 27.BIG MOUTH Since Nick Kroll broke the third-dimensional wall in the Season 5 finale and had a heart-to-heart with his animated character, Nick Birch, will any of his castmates get to follow suit in the sixth season of this raunchy paean to puberty? The real-life John Mulaney would probably have some interesting things to say to his animated counterpart, randy Andy Glouberman. Netflix, Oct. 28.MANIFEST A hit in reruns on Netflix after being canceled by NBC, this paranormal mystery-melodrama gets a fourth and final season at its streaming home. Netflix, Nov. 4.DANGEROUS LIAISONS This new adaptation of the Choderlos de Laclos novel was announced nearly a decade ago, with Christopher Hampton, who had already based a play and a film on the novel, attached as writer once again. Hampton didn’t remain as the writer — he gets an executive producer credit — but the mini-series has arrived billed as the “origin story” of the Marquise de Merteuil and the Vicomte de Valmont. Apparently they weren’t always jaded monsters. Starz, Nov. 6.MOOD Like Phoebe Waller-Bridge (“Fleabag”) and Michaela Coel (“Chewing Gum”) before her, Nicole Lecky turns a hit one-woman play into a buzzy British TV series. She plays Sasha, a broke and unemployed young Londoner who finds herself in the potentially lucrative and liberating — and also potentially exploitative and dangerous — world of the influencer economy. BBC America, Nov. 6.Nicole Lecky in “Mood,” premiering Nov. 6 on BBC America.Natalie Seery/BBC Studios, via Bonafide FilmsTULSA KING On the same night that Tyler Sheridan’s flagship show, “Yellowstone,” begins its fifth season, his portfolio of manly genre dramas grows with the addition of this mash-up of gangster story and neo-western. It’s also Sheridan’s latest action-hero reclamation project: Sylvester Stallone stars as a Mafia capo sent to oversee operations in the foreign territory of Tulsa, Okla. Paramount+, Nov. 13.LIMITLESS WITH CHRIS HEMSWORTH Deploying the charm he brings to his depiction of the Norse god Thor for Marvel, Hemsworth headlines a wellness-and-longevity documentary series for Marvel’s corporate parent, Disney. (The sound of his unadulterated Australian accent makes him even more charming, if that’s possible.) Subjects like how to deal with stress and the value of fasting are addressed with superheroic energy. Disney+, Nov. 16.WELCOME TO CHIPPENDALES Robert Siegel, fresh off “Pam & Tommy,” and Jenni Konner of “Girls” are the showrunners of a mini-series starring Kumail Nanjiani as Steve Banerjee, the unlikely and eventually ill-fated founder of a male-stripping colossus. Hulu, Nov. 22.WILLOW Ron Howard’s 1988 fantasy film “Willow” is not the first piece of intellectual property anyone would have predicted for a reboot, but when George Lucas is involved — he received “story by” credit on the film — anything can happen. Lucasfilm and Howard’s Imagine Entertainment are producing this sequel series; Warwick Davis, now 52, returns as the title character. Maybe Willow will be a more consistent spell caster than he was as a teenager. Disney+, Nov. 30.Warwick Davis in “Willow,” premiering Nov. 30 on Disney+.Lucasfilm/Disney+THE ADVENTURES OF SAUL BELLOW Asaf Galay’s documentary, an “American Masters” offering, recruits wives, children and innocent bystanders to talk about being the real-life sources of Bellow’s books. Meanwhile, fellow novelists and critics like Charles Johnson, Salman Rushdie, Stanley Crouch and, in what may have been his last interview, a captivating Philip Roth certify or question Bellow’s place in the American pantheon. PBS, Dec. 12.And if all that isn’t enough for you, these new and returning shows are also coming this fall (new shows in bold):Sept. 11: “Monarch,” Fox; Sept. 12: “War of the Worlds,” Epix; Sept. 13: “The Come Up,” Freeform; Sept. 15: “La Otra Mirada,” PBS; “Vampire Academy,” Peacock; “The Light in the Hall,” Sundance Now; Sept. 16: “Los Espookys,” HBO; Sept. 18: “60 Minutes,” CBS; “SEAL Team,” Paramount+; Sept. 19: “Bob Hearts Abishola,” “NCIS,” “NCIS: Hawai’i,” “The Neighborhood,” CBS; “9-1-1,” “The Cleaning Lady,” Fox; Sept. 20: “FBI,” “FBI: International,” “FBI: Most Wanted,” CBS; “The Resident,” Fox; “New Amsterdam,” NBC; Sept. 21: “The Conners,” “The Goldbergs,” “Home Economics,” “Big Sky,” ABC; “Survivor,” “The Amazing Race,” CBS; “Chicago Fire,” “Chicago Med,” “Chicago P.D.,” NBC; Sept. 22: “The Kardashians,” Hulu; “Law & Order,” “Law & Order: Organized Crime,” “Law & Order: SVU,” NBC; “Thai Cave Rescue,” Netflix; Sept. 23: “Who’s Talking to Chris Wallace,” HBO Max; Sept. 24: “Finding Happy,” Bounce; Sept. 25: “The Rookie,” ABC; “The Simpsons,” “The Great North,” “Bob’s Burgers,” “Family Guy,” Fox; “Van der Valk,” PBS; Sept. 27: “The Rookie: Feds,” ABC; “La Brea,” NBC; “Mighty Ducks: Game Changers,” Disney+; Sept. 28: “The D’Amelio Show,” Hulu; Sept. 29: “Young Sheldon,” “Ghosts,” “CSI: Vegas,” CBS; “Welcome to Flatch,” “Call Me Kat,” Fox; “Dragons Rescue Riders: Heroes of the Sky,” Peacock; Sept. 30: “Ramy,” Hulu; Oct. 2: “The Equalizer,” CBS: “Family Law,” “The Coroner,” CW: Oct. 3: “The Good Doctor,” ABC: Oct. 5: “Kung Fu,” CW: “Reginald the Vampire,” Syfy; “Chucky,” Syfy/USA; Oct. 6: “Grey’s Anatomy,” “Station 19,” ABC; “Walker, Independence,” “Walker” CW; Oct. 7: “The Problem With Jon Stewart,” Apple TV+; “Fire Country,” “Blue Bloods,” “SWAT,” CBS; Oct. 9: “NCIS: Los Angeles,” CBS; “Secrets of the Dead,” PBS; Oct. 10: “All American,” “All American: Homecoming,” CW; Oct. 11: “Professionals,” CW; Oct. 14: “Shantaram,” Apple TV+; Oct. 16: “Magpie Murders,” “Miss Scarlet and the Duke,” PBS; Oct. 20: “One of Us Is Lying,” Peacock; Oct. 21: “Acapulco,” Apple TV+; Oct. 26: “Mysterious Benedict Society” Disney+; Nov. 3: “Blockbuster,” Netflix; “The Capture,” Peacock; “The Suspect,” Sundance Now; “Kold x Windy,” WE; Nov. 4: “Lopez vs. Lopez,” “Young Rock,” NBC; Nov. 9: “Zootopia+,” Disney+; Nov. 10: “The Calling,” Peacock; Nov. 11: “The English,” Amazon Prime Video; Nov. 13: “Yellowstone,” Paramount; Nov. 18: “The L Word: Generation Q,” Showtime; “Planet Sex With Clara Delevingne,” Hulu; Nov. 23: “Pitch Perfect: Bumper in Berlin,” Peacock; Nov. 30: “Irreverent,” Peacock; Dec. 1: “Wicked City,” “Hush,” AllBlk; Dec. 22: “The Best Man: The Final Chapters,” Peacock. 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