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    ‘Fall TV’ Is Dead. But Buzz Will Always Be With Us.

    Two television critics ponder what fall TV even means in the streaming era and discuss the series they’re most looking forward to this season.Each fall brings an onslaught of new television shows, but now so does every other season of the year. As another autumn approaches, James Poniewozik and Margaret Lyons, television critics at The New York Times, discussed what “fall TV” even means in the streaming era, along with the new and returning series they’re most looking forward to.JAMES PONIEWOZIK Remember fall TV? I do!I am old enough to remember when there was not just fall TV season, but fall-TV-season season. Come summer’s end, the big networks would roll out splashy prime-time TV preview specials that had the fresh, promising smell of new school supplies. My pop-cultural Christmas was the Saturday-morning preview special, when Kristy McNichol or Kaptain Kool and the Kongs would unveil the latest junk food for preteen eyeballs.Now, what even is fall? This year, big premieres like HBO’s “House of the Dragon” and “The Lord of the Rings: The Rings of Power,” on Amazon, will have landed before Labor Day. I’m not even talking about the eternal “death of broadcast TV” here — it’s still around and even has a few decent shows — but just the general shift in how and when people watch new TV. In the streaming era, premiere season (which really is all year round) is less about what you’re going to watch immediately, and more about adding to your to-do list of shows to watch eventually.I mean, it still feels like fall, by the rhythm of the sidereal calendar I had imprinted in me by Sid and Marty Krofft. But if fall falls in a forest of year-round content, does it make a sound?Sheryl Lee Ralph, left, and Janelle James in “Abbot Elementary.” The acclaimed ABC sitcom returns in September for its second season.Gilles Mingasson/ABCMARGARET LYONS In addition to the year-round scheduling and overall increase in the number of new shows each year, new series aren’t just competing against one another — they’re up against the entire streaming catalog. The buffet has gotten bigger and more elaborate, but also the kitchen is open and the pantry is stocked, and you know how to cook.Do we lose anything when we “lose” “fall TV”? Pour one out for the people who for some reason relish being marketed to en masse, but from where I sit (on the couch), year-round scheduling is good! I want to be delighted by a show that comes out the week between Christmas and New Year’s Day; I want intense summer fare for muggy nights. Buzz knows no season, and schedule diffusion enables smaller shows that might have been buried during glut times to break through during more fallow weeks.Reboot culture has given us the end of endings. I wonder if streaming and year-round scheduling contribute to the end of beginnings.PONIEWOZIK Yes, chef! (Sorry. Kitchen metaphor = obligatory “The Bear” reference. I don’t make the rules.)The networks’ traditional approach of premiering dang near everything on TV the week after the Emmys was not great either for TV watchers or TV makers. So much material at once! So many cancellations! And then vast periods of nothing. Now there is always TV. But also, There. Is. Always. TV. If I’m nostalgic for anything, it’s that rare seasonal sugar rush of “My shows are coming back!”Yet I still feel a tiny bit of that. “Abbott Elementary” — a straight-up, joke-packed broadcast sitcom that makes a bunch of episodes a year and is actually good — is coming back on ABC in September, just as the framers of the Constitution intended. I’m glad we now have cable and streaming shows of all lengths and styles (again, I watched “The Bear”), but it’s nice to see the old machine can still occasionally work.Anything you’re looking forward to? Or is “forward” meaningless in the eternal present of streaming?A new season of “The White Lotus,” premiering in October, is set in Italy. With, from left, Michael Imperioli, Adam DiMarco and F. Murray Abraham.Fabio Lovino/HBOLYONS I think “Abbott Elementary” is a good example of an ambiguous beginning: ABC aired a preview of “Abbott Elementary” in December, after which the episode was available on Hulu, and then the pilot re-aired in January — a one-off on a Monday before the show moved to its Tuesday time slot for the remainder of its run. Now it’s getting a well-deserved fancier rollout, segueing from sleeper hit to crown jewel; a reintroduction of sorts.In terms of looking forward, I’m counting the days for the returns of Apple TV+’s “Mythic Quest,” IFC’s “Sherman’s Showcase” and “Los Espookys” on HBO. The final seasons of “Atlanta” on FX and “The Good Fight” on Paramount+ are nigh.I’m also wondering if we’re about to go through another vampire moment, with “Anne Rice’s Interview With the Vampire,” on AMC, and Showtime’s series adaptation of “Let the Right One In” both coming out this fall. And I am curious about Susan Sarandon and Hilary Swank both starring in network dramas, of all things (Fox’s “Monarch” and ABC’s “Alaska Daily,” respectively). My guess is our tastes overlap pretty heavily here.PONIEWOZIK Indeed, “Atlanta” and “The Good Fight” are two of the shows I’m most anticipating this season. Both captured, in very different ways, the surrealness of life in America this past six years or so.I’m hoping “The White Lotus,” on HBO, can be as strong as an ongoing anthology as it was when I thought it would be a one-off limited series. And as a former ’80s fantasy nerd, I’m at least … curious about the Disney+ series version of “Willow.” The Ron Howard movie, which opened in theaters in 1988, was not the blockbuster its producers hoped it would be. (Its current TV legacy is lending a name to a character, Elora Danan, on FX’s “Reservation Dogs.”) Now that fantasy is almost as ubiquitous a genre as cop shows, maybe its time has finally come.As always, I also just want to laugh. So I agree about “Sherman’s Showcase” — welcome back, it has been too long!Warwick Davis returns for a series version of “Willow,” premiering in November on Disney+. (With Graham Hughes, right.)Lucasfilm/Disney+LYONS Yes, “Willow” is very high on my “hmmm” list, as well. Is this a title people have been clamoring for? Perhaps!Another thing I wonder about is whether the diminished primacy of the fall season is part of television becoming less standardized in general. How many episodes are in a “season”? How long do shows go between seasons? How many seasons do we consider a good run? Are there still prestigious time slots or needle-moving lead-ins? What are the rules?PONIEWOZIK Things were simpler when the rule was, “You make TV from September to May, and you keep doing it until the ratings give out.” It’s better, in theory, that shows can now be the length that a story requires. In practice, TV isn’t always sure what size it should be anymore.Some invisible standards committee recently decided that eight to 10 episodes is the optimal length for a streaming series. Often, it is! (I was one of those critics who used to praise British TV for making two six-episode, no-filler seasons and calling it a day.) But sometimes a show feels compressed. I really liked Jason Katims’s “As We See It” for eight episodes on Amazon, but it felt like it once would have been a 22-episode Jason Katims dramedy on NBC.On the more-is-not-always-more front, this fall we’ll get the finale of AMC’s “The Walking Dead,” which began in the first Obama administration, when Netflix was somewhere you watched old movies. I don’t know how many marathon runs like that we’ll see again.Christine Baranski in “The Good Fight,” back for its final season in September.Elizabeth Fisher/Paramount+LYONS And of course “The Walking Dead” can’t actually die: There are already two current spinoffs and a few more in the works.I doubt we will see another show with that kind of ratings success. But I think the long-running series is a hallmark of network and cable now, which both sometimes feel like they’re mostly forever shows. “The Simpsons” is going into its 34th season, “Law & Order: SVU” into its 24th, “NCIS” into its 20th and “Grey’s Anatomy” into its 19th. “The Challenge” debuted in 1998 and was recently renewed for a 38th and 39th season.“South Park” is in its 25th season. “Bob’s Burgers” is going into its 13th and “The Goldbergs” into its 10th. “Curb Your Enthusiasm” has been airing on and off since 2000. “It’s Always Sunny in Philadelphia” started in 2005. “The Real Housewives of Orange County” started in 2006 and “Diners, Drive-Ins and Dives” in 2007. These are all still prime-time mainstays!Streaming platforms haven’t been around long enough to have any truly long-running shows, but I wonder if their models are designed to ever generate or support one. Is “Love Is Blind” going to follow a “Bachelor”/“Bachelorette” model and outlive us all? Stranger things have happened … but also, “Stranger Things” has happened, and it’s hard to picture that show running for 10 seasons.PONIEWOZIK I don’t know, those last “Stranger Things” episodes sure felt 10 seasons long.But yeah, there’s a divide between your deathless animated sitcoms, procedurals and game/reality shows — I’ll be there for “Survivor” Season 43 — and highly serial shows, which have started to tend toward shorter runs or one-season limited series. Maybe “L.O.T.R.” could bring back the long-running serial. Elves are immortal!And then there’s … well, whatever Disney’s Marvel and “Star Wars” shows are. They’re sort of anthological, often running a single season each. But they’re also chapters in these interconnected, multiplatform, decades-spanning intellectual-property blobs, which are both sprawling and static. You know what to expect from the brand, and that’s what they give you. I had hoped these mega franchises might be freer to be weird and experimental on TV, but now “WandaVision” seems like the exception.Film critics wonder whether movies in the streaming era are becoming TV. Maybe — at least when it comes to recycling big-ticket I.P. — TV is becoming the movies. More

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    How TV Shows Are Moving Past the Coronavirus Pandemic

    Remember the coronavirus pandemic? Some shows, faced with an unpredictable reality, prefer to put it safely in the past.“Sex and the City” always existed in a fantasy version of New York City, but in its HBO Max sequel, “And Just Like That,” there’s a different sort of illusion at work. In the opening scene, Carrie (Sarah Jessica Parker), Charlotte (Kristin Davis) and Miranda (Cynthia Nixon) are waiting for a table at a very crowded, very indoor restaurant.“Remember when we legally had to stand six feet apart from one another?” Carrie quips.And just like that … Covid is over. At least it is in this show’s Manhattan, as well as in a cohort of other series that try, wishfully, to press the epidemiological fast-forward button.In the real world, the Omicron variant may be driving case counts into the stratosphere, but on TV, the pandemic is playing dead. In the Season 11 premiere of “Curb Your Enthusiasm,” Larry David’s HBO comedy of ill manners, chaos breaks out during a party (specifically, a premature funeral) at Albert Brooks’s house when Larry finds a closet stuffed with Purell, toilet paper and KN95 masks, exposing the “Lost in America” director as having been a “Covid hoarder.”You know — during the pandemic. The one that is definitely over.For nearly two years now, representing (or avoiding) Covid on TV has been a choice among bad options. Most shows ignored it altogether. A few, like “Social Distance” on Netflix, made the pandemic a direct subject, earnestly if clunkily.But maybe most awkward have been the series that acknowledged Covid existed but declared or implied it was over long before Covid decided it was over. NBC’s time-skipping “This Is Us” played the pandemic’s greatest hits throughout Season 5 — quarantine, video calls, pandemic unemployment — but this week’s Season 6 premiere suggests that the show has moved on. Season 2 of HBO Max’s “Love Life,” a story that spans several years, includes one pandemic episode, then begins the next in a version of 2021 where an audience is sitting unmasked in New York’s La MaMa theater.Some prime-time series about doctors, police and other emergency workers made fitful efforts to depict Covid, but their mask discipline sagged over time. “Grey’s Anatomy,” for instance, brought the pandemic full-on to Seattle Grace hospital in fall 2020. By fall 2021, it opened with the disclaimer that it now “portrays a fictional, post-pandemic world which represents our hopes for the future.”In the most recent season of “Curb Your Enthusiasm,” Larry David, right, outed Albert Brooks as a “Covid hoarder.”John P. Johnson/HBOThese are all understandable choices, and maybe the only creatively practical ones. But they make for some potent cognitive dissonance. When I watched a “post-pandemic” “Grey’s” episode recently on Hulu, it opened with a pre-roll ad urging me to get a booster shot.For programs that simply try to show how people live daily life, the pandemic’s challenges are both subtler and more pervasive than those presented by past catastrophes. After 9/11, there was no need for homeland-security alerts to impinge on “Friends,” and the subsequent fixation on terrorism was even a natural driver of plot for action thrillers.The pandemic, on the other hand, quelled action. Covid touched every aspect of mundane life. Masks limited facial expression. Real-life distancing practices meant that the basic engine of sitcoms — people in a room or a bar or an office, talking — was now fraught with angst.Very occasionally, series have managed to capture this reality, as in the second and final season of HBO’s naturalistic comedy “Betty,” whose young characters skateboarded through pandemic-era New York in various states of matter-of-fact maskedness.The remake of “Scenes From a Marriage” split the difference oddly, opening with the fourth-wall-breaking image of the cast and crew working under Covid protocols, then letting its domestic dissolution play out sans masks. More often, TV has breezed past the situation, or wished it away. As long as a year ago, series were declaring early victory over Covid. NBC’s “Mr. Mayor,” which premiered last January, starred Ted Danson as the mayor of Los Angeles, a job in which managing public health is not a small detail. The pilot yada-yadas the pandemic away by having him mention that “Dolly Parton bought everyone the vaccine.” (A later episode does involve a lice outbreak.)To its credit, a series like “And Just Like That” is at least trying to acknowledge the pandemic, rather than shunt it offscreen. It just does so in the past tense.The Peloton on which Mr. Big (Chris Noth) takes his fateful last ride was a habit many other shut-ins of a certain income acquired during lockdown, which was also when he and Carrie began their evening ritual of listening to vinyl LPs. Anthony (Mario Cantone) runs a bakery, the offshoot of one more Covid-acquired sourdough hobby. And when Carrie calls Miranda out for her drinking in a recent episode, Miranda shoots back: “I am drinking too much. Yes. We all were in the pandemic, and I guess I just kept going.” Make mine a double.There’s a note of wistful, wishful thinking in all this retconning of reality — would that we could write a time jump into our own scripts! But there’s also the simple matter of timing. TV generally works on a faster schedule than movies or books, but it’s not instantaneous (and shooting during Covid tends to take longer).So TV creators — suddenly conscripted, like educators and restaurant managers, into making public-health decisions they never expected to be part of the job description — have been left to guess at Covid’s future like a hapless pop culture C.D.C.In some cases, what’s onscreen now is a time capsule from the heady early days of vaccine optimism. The post-Covid “Curb” season wrapped production a few mutations ago, in May, when the virus seemed to be fizzling into oblivion. (The executive producer Jeff Schaffer told The Hollywood Reporter that the season takes place “Right now, if everyone had the brains to get vaccinated.”) A “comfy chic” challenge in the newest “Project Runway” season, produced in spring, had contestants adapt “those awful couch clothes that we’ve all been living in for over a year,” presumably for a post-Covid future.This week’s season premiere of “This Is Us” suggests that the show has moved past the pandemic.Ron Batzdorff/NBC“South Park,” which released a two-movie “Post Covid” special on Paramount+ in November and December, has one of the quickest turnaround times in TV — the first installment was released just as Omicron was discovered and the second worked in a reference to the variant. But it put the “post” in its “Post Covid” premise by using time travel and alternate reality to depict a future in which humanity had — well, almost — beaten the virus. (Maybe the most far-fetched twist is its resolution, in which, with the series’s frustrating both-sidesing, vaxxers and antivaxxers shower each other with apologies for getting so worked up during the plague years.)Still, it’s striking that TV, whose strength is the ability to stay on top of the moment, has generally worked so hard to avoid the biggest thing to happen to its collective audience in the past two years. You could easily imagine face masks becoming a staple, even a cliché, of period dramas some day — a visual shorthand for “the turbulent days of 2020” the way a shot of the corner of Haight and Ashbury says “the ’60s” — even as future rerun-watchers puzzle at why they’re nowhere to be found in the TV of our own time.Maybe it’s only fitting that TV producers should muddle through this garbage storm like everyone else, unsure what the rules will be by airtime, wishing they knew where the pandemic fell on the spectrum between temporary emergency and permanent way of life. And I’m sure plenty of viewers would rather be reminded of anything else.But you’re reminded anyway, if only by the twinge of uncanniness from seeing TV characters act as if the pandemic were history, even as you’re still trying to get your hands on rapid antigen tests. I bet Albert Brooks has a ton of them. More