My Sense of Humor, Part 1

I love to laugh.

Accordingly, there is really nothing better than finding a good comedy.  Something that really makes you laugh heartily, from the depths of your soul.  

They are getting harder to find now.  More diffused among the myriad of streaming platforms and litany of films released each year.  So much harder to find, that the moments that really make you bust a gut stand out so starkly among your other experiences.  I can point to one specifically last year in getting to binge Only Murders in the Building.

In that spirit, I thought I would share my sense of humor.  The comedies that formed my humor, for good and bad.  Given the scope of the assignment, I've split it into two parts, with today focusing on the television comedies that have shaped my personality and the films to come later.

With that in mind, in no particular order, here are the top ten television series that have truly informed my sense of humor and continue to tickle my funny bone.

• Coupling (The Original British Version) - I still say this is hands down the funniest show that I have ever seen.  Before I even knew the series name, I searched for this show.  When I first went to London and Scotland, I remember watching the episode The Girl with Two Breasts with Dad the night before we returned home and laughing harder than ever before for a television show.  The title is a reference to a misstep in translation and the episode was split into two versions, one showing the events from the English cast and then one showing the same events from the Israeli girl who was the object of Jeff's affection.  For the longest, I could never find the name of the show, but thankfully stumbled across it again on BBC America.  A bit bluer in discussion than American television, but otherwise similar to an American sitcom.  I also highly recommend the episode The Man with Two Legs.
• Spaced - This is nerd humor.  Humor steeped in the fandoms that I love, performed by actors whose work I greatly appreciate.  I love the Cornetto trilogy that grew from this and this show is a great entry point to that.  Deeply British, but wonderfully done. Two seasons is too short.
• Pushing Daisies - This shows off my love of puns and whimsy.  While this show is not laugh out loud funny, it never fails to leave me with a smile  I love what Bryan Fuller does on television.  His vision for set design and color and how that all contributes to the mood is incredible.  And it was all incorporated so well into Pushing Daisies.  Such a unique concept, a forensic fairytale about a piemaker who can touch the dead and wake them for a minute.  Gone far too soon.
• Freaks and Geeks - Speaking of gone too soon, a one season show that really launched so many careers.  For all the shows that have mined the 1980s for nostalgia, this one got it so right.  For anyone who was not in a popular clique at the time, this really resonated and its comedy was so genuine.  It felt like that type of comedy you developed as a defense mechanism if you didn't fit in.  Or just the general reminders of parents in the 80s.  "And you know what happened to him - he died."
• Frasier - To me, Fraiser is the perfect definition of a situation comedy, in that the enjoyment of the show comes from identifying the situation that Fraiser gets himself into and then seeing the hi-jinks that will ensue as he tries to get out of them.  There are so many tropes that are done so well here.  A Servant of Two Masters, Upstairs/Downstairs, mistaken identities, overlapping promises.  When it works, it works so well.  Amazing for a spinoff from another classic sitcom.
• Seinfeld - The show about nothing.  In many ways, the opposite of a situation comedy.  This is humor derived from character.  Put a character in an environment and the humor comes from how they would interact.  Plus, it helps show the humor in everyday situations.  Waiting at a Chinese restaurant for a table.  Getting a smell out of your car.  The characters might not be the most likable people in the world, but they are certainly funny.
• The Muppet Show - This is a current rewatch, going through all five seasons on Disney+.   It's part parody, part variety show, part Goes Wrong Show, and sometimes just weird.  The key is, it's all done with heart.  It's the earnestness the modern versions of the Muppets are missing, but it shines through in these episodes.  Plus its fun to watch the kids crack up at a gag, like when the characters get turned into a chicken or fall off the mountain singing The Happy Wanderer.
• The Good Place - One of the smartest shows that I've seen in a long time and the definition of a smart comedy.  It deals with heady topics, but does so in a thoroughly entertaining way.  It does take getting through the first season to get to the twist for it really to take off, but it's worth it.  While not the best on theology, the exploration of morality and philosophy is excellent and the premise and show is genuinely funny.  Great characters and truly charming.
• Arrested Development (The Early Seasons) - One of my favorite comedic tropes - the straight-man surrounded by the absurd.  Told in such an inventive way, the trials of Michael trying to deal with his crazy family are consistently entertaining.  This so way ahead of its time and struggled to find an audience on network because of it.  As a plus, in our current environment, it really does benefit from binging.
• Golden Girls - I've said it before and I don't care.  This show still holds up and if I'm feeling down, there is nothing else I'd rather watch.  I want to picture Sicily in 19-whatever, be regaled with stories of Saint Olaf, and do thank you for being a friend.   The comedy is in the mix of personalities. There are Saint Olaf stories I still laugh at, like the tiny little ginsu knives.  Bea Arthur's snark continues to impress.  And Estelle Getty steals the show. I'll claim this one for a lifetime.

   

If I Were Disney CEO Part 39 - Streaming

"If consumers want sports, they can subscribe to ESPN+.  If they want adult content, they can subscribe to Hulu, and if they want family, there's Disney+."

Bob Iger on streaming options

"We're designing a product that we want to be accessible to as many consumers as possible.  We just feel that Disney is loved by so many millions and millions of people around the world."

on streaming as a global offering

"What we are putting forward is an aggressive strategy.  We feel that if we're going to implement it, we've got to be very, very serious and be all in on it."

on Disney+ strategy

"We both probably share a bullish outlook on Hulu, but we can't do it on our own."

on Hulu

Disney is about to get into streaming in a big way.  On April 12, 2018, Disney launched its first streaming service, ESPN+ its direct streaming service for original ESPN programming and documentaries, as well as sports rights beyond the NFL, NBA, and MLB.  By February 2019, the service already had 2 million subscribers.

In its acquisition of 20th Century Fox, Disney increased its ownership in Hulu, from 30% to 60%, making it a controlling majority owner.  Hulu started as a collaboration between major networks to provide a streaming source for day after viewing of broadcast programs and classic libraries in an effort to combat piracy on YouTube and other sources.  Since then, Hulu has morphed into a subscription service, offering live TV options, premium subscriptions access like Showtime, and original programming.  The original programming in particular has become acclaimed with shows like Man in the High Castle and The Handmaid's Tale.  As of May 14, 2019, Disney worked out a deal with Comcast to take full control of Hulu.  This will be a major part of Disney's streaming offerings.

Disney+ is Disney's own streaming service to be rolled out later this year.  It will be Disney's family offering focusing on the Disney animated and live action libraries, the Pixar library, Lucasfilm, Marvel, Muppets, the 20th Century Fox family films, and National Geographic.  Disney is being aggressive with their streaming package with a $6.99 a month subscription, a potential for savings with bundling Hulu, Disney+, and ESPN+, and a lot of high quality original programming coming its way.  Disney is essentially viewing Disney+  as just another venue for its programming to go.  The company can just look at any particular project and decide is this theatrical, television, or streaming for its initial release, knowing it will end up in streaming eventually.

Because this will be an important part of Disney's offerings going forward, I wanted to put forward a few recommendations on this particular division.  I'll be focusing on Hulu and Disney+, as ESPN+ was touched on in the ESPN entry.

Primary Goals for this Division:

• Broadcast feeds streaming, which feeds broadcast - This is probably the most important component of success for the division.  The connectivity between studios, broadcast, and streaming will be key, or no one platform will be used to its fullest.  Just as theatrical, home entertainment, premium cable, cable, and broadcast used to represent stratified options for monetization of film assets, a similar strategy could be used to maximize the viewership and full monetization of film and television programming.  Could a season premier on Disney+ and then be aired weekly on ABC six months later?  Maybe a shorter gap, perhaps a longer one?  I've repeated this with every studio in television, but this will be of vital importance to master.
• Reach deep into the library -Disney and its film and television studios have extensive libraries that can be accessed to find programming to revive.  And with Disney+ and Hulu available, there are places for everything in those libraries.  For the services to feel worth their cost, the history of these networks and the libraries Disney owns should not be ignored.
• Open the Vault - Disney has been promoting Disney+ as including the entire Disney library.  One question in this regard has been Song of the South, Disney's movie about the Uncle Remus stories set in the Reconstruction era south, which has been in the vault since 1986.  Disney has indicated Song of the South will not be part of the Disney+ offering and rumors have even indicated scenes like the Jim Crow "When I See An Elephant Fly" segment from Dumbo will not be a part of Disney+.    This seems like a missed opportunity.  I would recommend a From the Vault segment where "problematic" material could be contextualized.  This is how the materials were presented on the Disney Treasures DVD line and very similar to the Treasures from the Disney Vault segments on TCM.  Leonard Maltin could explain the material before the short or movie and provide context for the time, the jokes, the actors playing the parts or providing the voices, and in general present the material in a way that made it more clinical.  It would preserve the material for history and allow it to be viewed and critiqued, instead of pretending like it did not happen.  This would be a great section for Disney+ or even Hulu if Disney decided it was too "adult" for Disney+.
• Don't be afraid of some duplication between services - While the goal should be to entice people to have both or all streaming services through bundling packages, a little overlap in the catalogs should be embraced.  For example, Agents of S.H.I.E.L.D. is a Hulu staple after airing on ABC.  It should also definitely be a part of the Marvel Hub on Disney+.  Likewise, could the Cloak & Dagger and Runaways original programming on Hulu move to Disney+ Marvel section after an exclusive period, or even premier on both?  Or will this mean an end to Marvel content on Hulu?
• Continue to utilize key talent in streaming - Disney+'s initial line up presents a lot of impressive talent.  There are four Marvel series that will premier on Disney+ using the talent from the movies.  Likewise, the Lucasfilm section will be starting with two series utilizing talent from the Star Wars movies, continuing that universe.  It even extends behind the camera as well.  Jon Faverau, who played an instrumental role in the early Marvel Universe films will is directing the initial Star Wars series for Disney+, The Mandalorian.  Particularly for these large universes, the streaming programming should be viewed as an extension of the films and part of the negotiation process.
• Let the format fit the story, and not the other way around - With the streaming platform, there are no restrictions on length of an individual offering, number of episodes, etc.  The length of the original programming for Disney+ and Hulu should be tailored to the story.  I think this is understood, as the Marvel programs are starting with 6 episode arcs, but it should be reiterated.
• Don't go too edgy on Hulu just because it is "adult" - While Hulu will be the place for the adult and mature content in the Disney libraries, and it's original programming can be adult, there should never be gratuitous content.  There is the famous story of the HBO executive on Game of Thrones who existed simply to give notes to please the perv audience.  That is the exact opposite of a voice that should be listened to.  Just because you can is never a good motto for storytelling.  Ground the story first and focus on that.  If program should be on Hulu because it will only appeal to adults, but does not include any objectionable content, that's fine.  There is no need to add it.  Likewise, if a program uses language and violence and sex to tell its story, then it should be on Hulu.  Just don't add it where it's not needed.
• Experiment - The greatest thing Disney can do with both platforms is experiment.  This is the place to try new things creatively.  To try out new talent.  To take a chance on oddball content.  Both platforms will need lots of programming to keep people subscribing. And with a built in subscriber base, there is a guaranteed revenue stream to help offset costs.   Disney just needs to be willing to try bold new things here.

I'm looking forward to seeing what the future brings for Hulu under Disney's leadership and I'm very excited to see Disney+ when it is finally rolled out later this year.  This division will be one of the ones to watch in the years to come, as it has the potential to change both film and television in ways we could not imagine now.

Next up in the series - jumping to a new division - Disney Theatrical Group

A Comedian's Comedian

I hadn't intended for the blog to turn into back to back remembrances.  Tim Conway passed away today at the age of 85.   Known for his role on the Carol Burnett Show and the Dorf videos, Conway was perhaps one of the funniest people in America.  He was a comedian's comedian, able to crack eve the most polished professionals.  His commitment to a bit and his ability to elicit a laugh through silence and facial expressions was unparalleled.  And while it is generally not encouraged to make your partners in a scene break character and laugh, he had a knack for making Harvey Korman laugh.  And Carol Burnett.  And Vicki Lawrence.  And Lyle Waggoner.  The audiences ate it up.

If you haven't seen any of his bits, I've included a few of my favorites from the Carol Burnett show below.

The Dentist Sketch:

The Elephant Story:

The Interrogator and the Puppet:


If you have any favorite sketches, I'd love to hear and discover them.

If I Were Disney CEO Part 38 - National Geographic Television

"We are perfectly positioned to be part of that portfolio and connect with this curious tribe of people around the world, which is what National Geographic has been all about for about 130 years."

Gary Knell, Nat Geo Partners Chairman

On being part of Disney's Kingdom - "Nobody manages brands better than they do."

The National Geographic Channel launched on Jaunary 12, 2001 as a joint venture of National Geographic Television & Film and Fox Cable Networks.  National Geographic provided programming expertise and the Fox Networks Group provided its expertise on distribution, marketing, and advertising.  The group launched an HD simulcast in January 2006 and a Spanish Channel, Nat Geo Mundo, in 2011. Other sister networks include Nat Geo Wild, launched on March 29, 2010, focusing primarily on wildlife and natural history programming, and Nat Geo People, a rebranded Adventure One (A1), rebranded in 2007, focused on a younger demographic and based around outdoor adventure and travel.

The network dropped the word "Channel" in 2016 to focus just on the very clean branding National Geographic.  As part of the 21st Century Fox acquisition, National Geographic is now part of the Disney family of channels and has been folded in to Walt Disney Television.

Disney has recognized the strength of the National Geographic brand and its natural fit with the Disney company, particularly given Disney's history and Walt's early interests.  National Geographic is being positioned as an initial pillar of Disney+, Disney's streaming service.  And it's from that history and the current plans that my recommendations for this network start.

Primary Goals for the Division:

• Integrate Disneynature - As with the film division, television will need to integrate with Disneynature, Disney's current nature programming division.  Offerings have been films so far, but they must have hours of additional footage.  Current films should be rebranded under National Geographic and all assets of the division should be folded into this brand.
• Promote the Disney Worldwide Conservation Fund - Established by Walt Disney Attractions in 1995 to promote and enable global wildlife conservation through relationships with scientists, educators, and organizations committed to preserving the earth's biodiversity.  It has been a cornerstone of Disney's Animal Kingdom resort.  Annual cash awards are distributed to nonprofit organizations to protect and study endangered and threatened animals and their habitats.  The National Geographic channel would provide a home to continue to promote this worthwhile organization.
• Look Deep into the Libraries - National Geographic, by virtue of being part of the Disney family has access to the Disney and 21st Century Fox libraries.  The network should be looking deep into these libraries.  Should Biography be resurrected?  Or the Disneyland/Wonderful World of Color Adventureland material?  Everything should be on the table.
• Resurrect the True-Life Adventures banner - Disney's True- Life Adventures were Disney's classic nature documentaries.  A little controversial (the lemming film in particular), but those lessons have definitely been learned.  A continuing True Life Adventure program would be a great way of showing the integration.
• Consider offloading one or both of the sister channels - I'm all for focusing on what works and not overwhelming and already crowded market.  If there is a way to streamline and have just the National Geographic channel and the streaming portal on Disney+ that would strengthen both, I'm all for it.  Otherwise, I would look for a way to see if the two sister networks could be combined into one National Geographic, Jr. to continue to branding Disney uses on its channels.
• Broadcast from Disney Animal Kingdom - Disney on its Disney Now app has already been showing Disney animals and streaming bits from the animal care portions of Disney Animal Kingdom.  Again, this would seem a great place to continue that programming, particularly if a National Geographic, Jr. was implemented.
• Broadcast feeds streaming, which feeds broadcast - This has been mentioned before, but it bears repeating.  This is probably the most important component of success for the any television channel going forward.  The connectivity between broadcast and streaming will be key, or broadcast will be replaced by streaming.  National Geographic is already positioned to be a pillar of Disney+.  Presumably there will be a place for unique, premier content on Disney+.  Could a season premier on Disney+ and then be aired on National Geographic at some point later later?  

The above reflects just a few initial thoughts on this new important brand in the Disney portfolio.  I foresee nothing but success with this integration.

Up next in the series - Streaming - Disney+ and Hulu

25 Years of TCM

Today marks the 25th anniversary of the first broadcast of TCM, on April 14, 1994.   The channel was launched in the heart of Times square, with the launch commemorating the exact centennial date of the first public presentation of movies in North America.  The network's first feature presentation was a world television premiere of the uninterrupted and commercial free road-show version of Gone with The Wind.

Over the subsequent years, TCM has remained the most consistently well-curated, well-preserved, and well-programmed television station.  Thanks to the Turner library containing the best of Warner Bros. and MGM, as well as United Artists, RKO, and Fleichser Studios, the network is never at a loss for quality programming.  With original host Robert Osborne and the new stable of hosts led by Ben Mankiewicz, the films have always been in good hands.  The information that the hosts provide is insightful and informative and succeeds in making you feel like you are part of that club.

The network has expanded their focus, creating excellent documentary programming like Moguls and Movie Stars, outlining the early history of Hollywood.  They have further expanded their product to include restorations of classic films from the Turner Library, excellent books on all aspects of classic filmmaking, and one of the best film festivals you can attend.

Jamie and I have attended two of the TCM Classic Film Festivals and cannot wait to go back.  The opportunity to see these films on the big screen as they were intended, with hosts and guests that are tied to the presentation is an experience like no other.  How fitting that the 10th Annual Festival is wrapping up this weekend as TCM celebrates 25 years.

Tonight, TCM is programming with The Sweet Smell of Success, It Happened One Night, The Petrified Forest, and Cat People.

Why not make it a classic film night and settle in for your favorite great classic movie?

I think we will be.

If I Were Disney CEO Part 37 - ESPN

"I think that there's way too much pessimism about ESPN because ESPN is still in demand from three constituents you want to be in demand the most from.  One - distributors.  Two, consumers and three, advertisers.  And the reason it's in demand is the brand is still strong, the product is still good, and we're invested nicely to keep that product as high quality as possible."

Bob Iger, CEO the Walt Disney Company, February 7, 2017

The concept of ESPN was conceived in late May 1978 by Bill Rasmussen after he was fired from his job with the World Hockey Association's New England Whalers.  With land in Bristol, Connecticut and funding from Getty Oil, ESPN launched on September 7, 1979, beginning with the first telecast of SportsCenter.   From that first broadcast to 1.4 million cable subscribers, the channel has continued to grow and grow.

In 1984, the channel was purchase by ABC, greatly increasing the networks ability to compete for major sports contracts and increasing its credibility.  By 1992 and 1993, ESPN had expanded into radio and a second channel, respectively, helping it become the fastest growing cable channel in the 1990s, expanding its national reach to 75 million subscribers.

In 1996, The Walt Disney Company acquired ESPN as part of its acquisition of Capital Cities/ABC.  Over the following years, though ESPN would face challenges in waning cable subscribers, it remained a cornerstone of the Walt Disney Company.

In April 12, 2018, the networks launched ESPN+, a standalone, over-the-top streaming service, which currently has over 2 million paying subscribers.

ESPN's largest challenge relate to the changing form of media consumption and a bit of its overgrowth.  The steps into ESPN+ and direct streaming are a start, but the interplay between streaming, network, and cable is something that is going to need to be further explored.  ESPN should be the name in sports and the movement of the company should keep it in that place.

And it's that space that drives my recommendations for the network.

Primary Goals for the Division:

• Streamline and Differentiate - ESPN currently offers 8 channels and other services.  I would seek to pare the list down to four. 
• ESPN - the flagship channel. 
• ESPNEWS - Just news and commentary.  Heavier on the news with the ticker at the bottom.
• ESPNLive - A re-branded, ESPN2 focusing solely on live sports broadcasting.  
• ESPN Deportes - ESPN in Spanish, with its own unique programming.  Recognizing the global reach of the brand.  
• Each of these channels has a specific niche and reach.  The rest of the content that was previously generated should be pushed to the streaming platform.  This includes pushing classic sports content to the streaming platform. 
• Coordinate Between the Different Channels - i.e. the Megacast approach.  For the most important, the most watched programs, why not offer a variety of ways and commentary to experience them.  In 2018, ESPN offered viewers 20 different ways, across 11 different platforms, to enjoy Alabama's 26-23 overtime win over Georgia in the title game.  There was the traditional game coverage on ESPN.  There was also the "Homers" telecast on ESPN2.  There was the "Coaches Film Room" on ESPNEWS.  And the "Finebaum Film Room" on SEC Network.  It could have been a mess, but instead it worked wonders as viewers jumped around networks and media platforms and sampled different announcers.  ESPN has a virtual army of announcers, analysts, insiders, and ex-players and coaches.  Why not put them all to use to keep up this kind of MegaCast approach?
• Focus on Strengths - It's fairly simple.  Live sports programming, sports news, commentary, and documentary.  Work out from these cornerstones and build out each channel from these.
• Lean Into Streaming - ESPN+, ESPN's streaming offering, has proven to be a great boon to the network.  As of February 2019, the service has over 2 million paying subscribers.  As with the other channels, streaming provides the perfect opportunity to be fed by the network and to feed the network.  It's another opportunity for differentiated coverage, another avenue for original programming like documentary and scripted programming.  
• Move the Specific University Channels to Streaming - The Longhorn Network and the SEC Network have been more controversial additions to the ESPN roster.  And while they are drawing a large number of subscribers, those numbers are limited by regional limitations, including in streaming options due to proof of cable subscription for streaming access. Were the programming moved to streaming subscription only, this could open these options up to a much larger subscription base.  For example, Patrick Ryan, Policy Counsel, Open Internet at Google pointed out that the reach of the Longhorn Network as of September 2012 was about 10 million potential viewers, whereas if it were online and open, it could reach 230 million viewers in the United States, or as many as 2 billion viewers.
• Simulcast "Monday Night Football" and potentially other options on ABC - "Monday Night Football" drew the smallest average viewership among the league's five main NFL TV packages in 2017.  The league is already simulcasting most "Thursday Night Football" games on Fox and the NFL network.  Why can't ESPN and ABC take a similar approach?  Yes, simulcasting could play into the problem that ESPN has been facing with regard to subscribers being down, but if played right, it could be a form of brand expansion.  The focus should be on different announcing teams on the simulcast, providing a variety of coverage, leading the truest fans to flip through them all.
• Flex Scheduling on "Monday Night Football" - Sunday night football on the NFL is able to move games from Sunday afternoon to Sunday night with twelve days notice.  This process is used to ensure that Sunday night provides exciting football with surprise teams getting to play their way onto the prime-time slot.  ESPN, on the other hand, has a fixed Monday night schedule, which can make for uneven prime-time play.  Some sort of arrangement should be sought with the NFL for a certain number of flexible schedule games for Monday Night Football.
• Resurrect the Wide World of Sports brand - ABC's Wide World of Sports programming disappeared as ESPN branding took over.  The program was one of the longest running television programs and was listed in Time's top 100 television programs of all time.  It was unnecessary to discard the program and should have been worked into ESPN's programming.  It remains a great way to program beyond the NFL, NBA, MLB, etc.  And the "thrill of victory...agony of defeat" byline needs to come back as well.

ESPN can and should remain a vital part of the Disney company.  Like everything else in the company, how it adapts to the changing media landscape will determine how vital it will be.  Hopefully, these suggestions could provide a successful start forward.

Up next in the series: National Geographic.

If I Were Disney CEO Part 36 - FX

FX is an American basic cable and satellite television channel created by 20th Century Fox Television to provide a foray into large-scale interactive television.  While the channel originally centered on original live programming and rebroadcasts of classic television, the network quickly developed into a home for hard hitting original scripted programming with mature themes and content, as well as high-quality writing, directing, and acting.  A basic cable channel following the model fo premium cable channels like HBO, Showtime, and Starz.  FX also carries rebroadcasts of theatrical films and broadcast-network sitcoms, and has spun out two sister channels in FXX, focusing on comedic programming, and FXM, or FX Movies.  FX is a leader in adults 25-54, and male viewers in particular.

FX was acquired by the Disney company as part of its acquisition of 20th Century Fox, and with the acquisition, Disney can use this channel to round out its portfolio.  If the Disney channels speak to children and families and ABC represents the general public, FX is then the channel for the discerning adult viewer.  It is the sophisticate brand, the Criterion collection if you will.

And it's that space that drives my recommendations for the channel.

Primary Goals for the Division:

• Focus on Quality - If FX is going to stake its brand on filling a niche similar to AMC or HBO, the programs have to be quality offerings.  The last thing Disney needs is another channel filled with fluff or to return to the perceived cheapquel era.  
• Be Daring - This is something FX is already doing with programming ranging from niche comedy to historical dramas, but it should be continued and a trademark of the brand.  The current tag line is Fearless and the channel should reflect it, with programming across genres, across formats, and across ratings.
• Don't Be Afraid of All Ages Programming - I know FX has traditionally relied on programming that pushed the edges of television ratings.  However, focusing solely on this aspect would have the network over look programming like the new Twilight Zone revamp, Downtown Abbey, etc.  The focus should be on quality, compelling storytelling, regardless of rating.
• FX Feeds Hulu, Feeds FX - FX is probably the channel within Disney's stable that has the most to gain from the majority ownership of Hulu.  The obvious benefit is FX programming going directly to Hulu, but the reverse would also seem to be beneficial.  Why not air 11.22.63 on FX, now that it has had a full run on Hulu?  Or the Man in the High Castle?  This is a variation of the old movie release strategy previously discussed in the ABC post, but it still applies here.  Content should be able to move from streaming to basic cable in order to reach the broadest audiences.
• Hello Defenders - FX is a natural home for Marvel's edgier Defenders content, previously aired on Netflix.  The material could easily fit within the ratings restrictions, would be a natural later prime time program, and would boost brand recognition of the two.  Once the cooling period has ended, this is where future Defenders programming should air.
• Consider Rebranding to Searchlight - I'm all for consistency in branding.  Disney has Disney movies, Disney+ streaming, and Disney Channels.  The same would be apparent under ESPN and National Geographic.  While FX is related to Fox, it is separate enough to be confused with the "New Fox" that remains.  Just as I would recommend Disney rebrand the film divisions as 20th Century Pictures and Searchlight Pictures, rebranding FX as Searchlight TV would signal the commitment to quality and niche fair, while removing the connection to Fox.
• Reconsider FXX and FXM - The market may be there for these channels, but I'm wary of over-extension in Disney's offerings.  These may be two prime candidates for paring down.

FX can be a wonderful and important addition to the Disney family, if it is fully utilized.  I believe the goals above will help in that regard.

Next in the series, ESPN.

If I Were Disney CEO Part 35B - The Wonderful Worlds of Disney

A bit of a bonus, as I wanted to dive a bit more into a program that I consider to be a lynch pin of the plans for ABC.  The Wonderful Worlds of Disney.

As discussed yesterday, Disney and ABC's history goes back fairly far.  When Walt Disney and his brother Roy were looking to finance Disneyland, they reached out to ABC, which agreed to finance part of the project in exchange for producing a television program for the network.  From there, the Disneyland anthology program debuted on October 27, 1954, airing weekly on Wednesday nights.

The Disneyland anthology program existed in some form from 1954 through 1983.  From Disneyland to Walt Disney Presents to Walt Disney's Wonderful World of Color to The Wonderful World of Disney (and Disney's Wonderful World and Walt Disney).  Following a short gap, the block came back more as a movie program entitled The Disney Sunday Movie.  This time slot still exists as The Wonderful World of Disney, an umbrella title for Disney specials on ABC as well as a home for network broadcasts of Disney films.

I want to get back to the original format.  The one that was part behind the scenes, part testing ground for new material, part showcase of existing material, and all advertisement.

The original Disneyland made use of the four lands of Disneyland to serve as an indicator for the content for the particular show.  Davy Crockett and other programs on American History would appear in Frontier Land.  20,000 Leagues Under The Sea or True-Life Adventures would air under the Adventure Land banner.  Cartoons, Ink and Paint documentaries, and the like would be in Fantasyland.  Cutting edge science presentations like Magic Highway and Werner Von Brauns' Man in Space would fall under Tomorrow Land.

This same model would serve well for an expanded Worlds of Disney, and many of the same categories would apply.  I would propose an expanded list, making use of other Disney themed lands to serve as banners for the content.  The categories would include:

• Adventureland - A place for True Life Adventure documentaries, National Geographic programs, stories from the animal kingdom, and pulp adventures.  A combination of Adventureland in the parks and Animal Kingdom.  Would have a Tree of Life title card.
• Frontierland - A place for programming related to American history and expansion. Documentaries and historical fiction programming.  The return of the western or Zorro.  Would have a Big Thunder Mountain title card.
• Fantasyland - A place for cartoons, fairy tales, and magic.  A place for Disney cartoons, previews of Disney theatrical releases, and theme park specials.  Would have the traditional Sleeping Beauty Castle title card (or if park specials, a title card for each specific park).
• Tomorrowland - A place for scientific discoveries and science fiction.  For new developments in Imagineering.  What shows us how things work.  For Cosmos and the like. Would have a Spaceship Earth title card.
• World Showcase - A place for programming related to world history and culture, both fiction and non-fiction.  To preview work in international theme parks and for international audiences.  To explore the cultural heritage behind film releases like Coco or Mulan.  Would have a globe title card (or perhaps an it's a small world title card).
• Hollywood Studios - A place for programming related to behind the scenes documentaries at the Disney lot or from Disney's other film brands.  Marvel, Lucasfilm, PIXAR, 20th Century Films, or Muppets could go here.  This could likewise host an ABC season preview.  Would have a Grauman's Chinese Theater title card (or perhaps a Carthay Circle Theater card if necessary for brand identification).
• Wide World of Sports - A place for programming on sports related entertainment and documentaries.  ESPN documentaries, sports films and the like.  Would have a ESPN Wide World of Sports title card.

This would give a greatly expanded framework that could contain the breadth of the current Disney company.  It allows for existing programming and content to fit into the show and provides guidelines for the creation of new content.

All new programming should seek to mimic the magic of those initial Disneyland episodes with Walt.  There will need to be a charismatic host or team of hosts.  Someone preferably with an affinity for the company, like a John Stamos or Neil Patrick Harris.  Beyond that, each of the brand representatives like Kevin Fiege, Pete Docter, and Brian Henson have proved themselves to be capable personalities on camera as well. Disney itself would just need a better spokesperson than Iger.  Of course, if I'm CEO, I'm making myself the host.

I primarily want to capture the club feel that Disneyland provided.  Walt was everyone's favorite uncle.  He brought you behind the curtain. Like Stan Lee at Marvel.  Like Jim Henson with the Muppets.  

If it could nail that, it would provide a strong identity for ABC programming and set the week off right.

If I Were Disney CEO Part 35 - ABC

"These are the two premier family entertainment companies."

"Exporting American entertainment is one of the things we do very well.  The key is to create it first."

"I feel more comfortable with the two companies together."

Michael Eisner, Former Disney CEO on the Capital Cities/ABC acquisition

ABC began in 1927 as the NBC Blue Radio network.  It was created for the primary purpose of testing new programs on markets of lesser importance and to test drama series.  Following lawsuits and an FCC report, RCA sold NBC Blue in 1941 to Mark Woods who converted the network into just the Blue Network.  By 1944, the network became known as the American Broadcasting Company.  Though the company struggled early on to gain ground, by the 1970s, it began to pass CBS and NBC in ratings.  Today, ABC is third in the ratings, trailing both NBC and CBS by a significant amount.

Capital Cities/ABC merged with The Walt Disney company on January 5, 1996.  At the time, the second-largest merger in U.S. history, after the $25-billion acquisition of RJR Nabisco Inc. by Kohlberg Kravis Roberts & Co. in 1989.

The acquisition, in many ways, was a fairly natural fit.  When Walt Disney and his brother Roy were looking to finance Disneyland, they reached out to ABC, which agreed to finance part of the project in exchange for producing a television program for the network.  From there, the Disneyland anthology program debuted on October 27, 1954, airing weekly on Wednesday nights.  When Disneyland opened, ABC aired a special live broadcast commemorating the park's first day of operation, Dateline: Disneyland.  The Mickey Mouse Club also debuted on the networks.  The two Disney programs made 1955 the year that the network was first profitable.

The current state of ABC and its relationship with Disney also affords it many opportunities to experiment and to seek new ground in the ratings.  With the changing nature of television, many of my recommendations will represent potentially radical changes to the current broadcast model, in both large and small ways.

Ultimately, ABC's future, to me, seems to be tied to its integration with Disney and the various brands under its umbrella.

Primary Goals for the Division:

• Move to four distinct television seasons - Viewing habits are clearly changing and the traditional television seasons need to adapt as well.  There's no need for the fall premier, winter hiatus, spring finale, and off summer pattern any more.  Networks are learning that premiers can happen in any season.  And the growth of the streaming platforms shows that dropping a new season is a welcome event throughout the year.  I would propose moving to four 13-week seasons across the year.  Fall, winter, spring, and summer, each of which can be viewed as distinct units and should be programmed accordingly.
• 13 episode pickups maximum for non-staple programs - With the four 13 week seasons to plan for, programs pickups should match accordingly.  13 episode pickups would be the maximum for a season then, with many ranging in the 8-10 episode blocks to work around known event programming (State of the Union, Superbowl, Oscars, etc.).  If a program is particularly popular, it could be picked up for two 13 episode orders for the year.  For fall and then spring for example.  This also allows for alternating programming throughout the seasons, important with the brand synergy point.
• Let the whole season run - With pickups limited to thirteen episodes maximum, and combined with the goal of feeding streaming, the full pickup should be honored.  No more airing two or three episodes and then dropping it.  Air the season out and just decline to renew.  The thirteen weeks will pass and then the program will be rotated out regardless.  This can let slow programs pick up viewership and can help keep a consistency and continuity in the broadcast schedule.  A bonus benefit for this strategy is the elimination of the need for re-runs.
• Increased in-house production - I understand the benefit of airing productions from other studios.  But, with the variety of production companies that Disney houses, I would prefer to see Disney be able to fully monetize, fully control the programs that air on ABC.  Particularly such that Disney retains the streaming rights, the theme park rights, the home media rights, etc.  Disney is nearly fully integrated and it should be able to make use of the properties on its networks.
• Experiment, experiment, experiment - With ABC in third place, it's time to throw everything at the wall and see what sticks.  It's time to throw out the rule book and see what the new rules are.  
• Experiment with sponsorship options.  Is it time to go back with a single sponsor for a program with extended breaks at the beginning and end, but not throughout?
• Experiment with format.  Does a sitcom need to be 30 minutes, such that a night of sitcoms would be four different shows?  Or could you have three 40 minute sitcoms? This one is particularly important as streaming platforms are truly innovative here.
• Experiment with show length.  Perhaps it's time to bring back the mini-series.  Could one programming block for a season have two four episode miniseries?  Or perhaps it would have just one twelve episode maxi-series that has no intention of continuing in future season?
• Experiment with genre.  ABC practically defined the western on television. Perhaps it's time to bring it back.
• Don't break what's working - there's no need to shake up current staples of the ABC broadcast.  AFHV, Dancing with the Stars, the Bachelor/ette, 20/20, Jimmy Kimmel Live!, Nightline, and Good Morning America all should be maintained.  There's no need to move them or to change them up unnecessarily.
• Reach deep into the libray - ABC and now 20th Century Fox Television have extensive television libraries that can be accessed to find programming to revive.  Is it time for a new Fall Guy, Outer Limits, or Planet of the Apes? Could All My Children and One Life to Live be reworked into alternating prime-time dramas?  Should Disney bring back The Mickey Mouse Club for afternoons?  I'd argue Disney should get the rights back to Zorro and reimagine it into a new hour-long show.  Disney could even look at the previous Swiss Family Robinson show to adapt its own movie into a television series.  The history of this network and the television libraries Disney owns should not be ignored.
• Synergize with the other Disney brands - ABC as the free over-the-air broadcast network should be Disney's champion for its other brands.  Put another way, I would always have a Lucasfilm program on the network, whether it be a continuation of Young Indiana Jones or a Star Wars television program.  Marvel should always have a program on the network, like Agents of S.H.I.E.L.D. or Agent Carter and beyond.  Sports on ABC should continue to be labeled with the dual ESPN on ABC branding.  Disney should have a presence.  The Saturday morning block should be changed from the Litton Weekend Adventure to utilize EPCOT, Imagineering, and National Geographic brands.  Even Schoolhouse Rock!
• Broadcast feeds streaming, which feeds broadcast - This is probably the most important component of success for the network.  The connectivity between broadcast and streaming will be key, or broadcast will be replaced by streaming.  ABC is uniquely positioned where it can premier broadcasts of programs that will eventually populate both Hulu and Disney+, based on the branding and content of the particular program.  Likewise, the fact that ABC is free, over-the-air necessarily means that there will be viewers who watch the content on ABC that will not have access to the streaming platform.  Just as theatrical, home entertainment, premium cable, cable, and broadcast used to represent stratified options for monetization of film assets, a similar strategy could be used to maximize the viewership and monetization of television programming.  Could a season premier on Disney+ and then be aired weekly on ABC six months later?  Maybe a shorter gap, perhaps a longer one?  This will be of vital importance to master.
• Resurrect effective brands of the past - It's time to bring back TGIF for Friday comedy programming.  Perhaps even resurrecting Disney's One Saturday Morning, now used to represent a block across the various brands.  If it has nostalgia, it's worth exploring.
• Resist the impulse to spin out a 24-hour news network - There is no need for another 24 hour news network.  Keep ABC News focused and on the current ABC channel.
• Disneyland - A linchpin for programming will be a revitalized Disneyland, now called the Wonderful Worlds of Disney.  Airing at the prime hour of 8:00 pm ET/7:00 pm CT, the Wonderful Worlds of Disney will be exactly like Disneyland was - an anthology program that is part testing ground for new material, part shameless plug, part DVD making of extra.  It's an opportunity for Disney to showcase its parks, its studios, its live events, etc.  It can air programming for Lucasfilm, 20th Century Pictures, The Muppets, PIXAR, Marvel, ESPN, and National Geographic.  It's a place to try new concepts in a hour long format.  It can air company films in an extended block.  

Now, a few ideas as to suggested programming, particularly for primetime.

You'll note the staple programs remain.

On Sunday, The Wonderful Worlds of Disney anchors a night of fantasy and science fiction.

Monday generally has reality programming.

Tuesday is an action block, with a Disney action hour, a Lucas action hour, and a Marvel action hour.  Each hour rotates through programs each season, such that the Disney hour could have a Pirates of the Caribbean program one season with a Big Thunder Mountain western program the next, and a Medfield College mad science comedy the next (combining all the Absent Minded Professor, Honey I Shrunk the Kids, Now You See Him, Computer Wore Tennis Shoes events into one college campus).  These blocks in particular would be good feeders and receptacles for streaming programming. 

Wednesday would be a combination sitcom and drama/dramedy night, with a potential for primetime animation.

Thursday would be all dramas.  Shondaland programming has been especially effective here.

Friday brings back TGIF with family friendly sitcoms and 20/20 to close out the night.

Saturday morning would have a Disney's One Saturday Morning with EPCOT and National Geographic programming.  Primetime would be ESPN on ABC for sports programming.  Alternate seasons would focus on reality and game show programming.  In the 10:30 slot, I would love to see ABC create a variety show counter to Saturday Night Live using The Muppet Show.  Bringing the Muppets back into edgier programming for a little more risque humor, though still in a PG-13 manner and playing up their strength in song, dance, and skit based humor.  It's a bit of counter-programming that I think could be very effective.

I feel that creates a very solid basis from the network to grow from.  With the right amount of experimentation and risk, I think it could recapture a lot of lost ground.

Up next in the series, the new recruit and Disney's home for more "adult" fare - FX.

If I Were Disney CEO Part 34 - The Disney Channels

Disney has always had a unique connection to television.  From Walt's days with the Disneyland program used to promote his new theme park to the upcoming streaming service, television has played an integral part in Disney's business model.

In 1983, Disney launched it's premier cable channel The Disney Channel, aimed at the whole family.  Over the subsequent years, Disney has gone through several permutations in in its cable channel offerings.  Currently, Disney's cable offerings include Disney, aimed at kids ages 9-16, Disney Jr., aimed at preschool aged children, Disney XD, aimed at children ages 6-15, and Freeform, aimed at teenagers and young adults (primarily females ages 14-34).

The cable offering represents a good start to coverage across the demographics, with an opportunity to improve.

Primary Goals for the Division:

• Give each channel a niche - Each channel in the lineup should have a specific unique focus that appeals to a broad enough segment, but works in concert with the greater whole.
• Be brand appropriate - Disney has enough brands to reach each market demographic, but it should be done in a brand appropriate fashion.  Put another way, there is no desire to have a channel with adult themes and content with the Disney brand.  FX can cover that niche.  Further, there is no need for a Disney Sports Channel.  ESPN is the stronger brand.
• Reach deep into the library - With the combined libraries of Disney, Pixar, the Muppets, Marvel, Lucasfilm, ABC, and now Fox, Disney has a deep well of material for programming, including television programs.  I understand the impulse to focus on the new, but there are ways of presenting the library that make it relevant and fill time slots.   Plus, there is an audience for this material that will never go to streaming.  
• Take advantage of the changes in viewing habits - since these are cable channels, there is a lot more flexibility with regard to scheduling.  Programs can be scheduled to take advantage of binging, released over a series of consecutive days or taking up a full days worth of programming. There is no need to stick to a conventional seasonal schedule.

With that in mind, here are a few notes for the specific Disney cable channels.

The Disney Channel - I would bring back the full name for this channel, with Disney being an acceptable shorthand.  This is the channel that I would propose the most changes, as I believe it needs to get back to a full family demographic focus and not the kids age 9-16 demographic. In many ways historically, this was supposed to be girls age 9-16, as Disney XD was focused at boys.  With the changes in the other channels, that age range is currently overlapped with Disney XD and Freeform.  Accordingly, I would look to allow those two channels to have a greater focus on the kids, teens, and young adults.  The Disney Channel should be a place for full families to enjoy content together.  Family oriented sitcoms (ala TGIF), family dramas (in the vein of 7th Heaven), and family focused films.  The latter should include the Disney film catalog as well as Pixar, Muppets, and classic Fox properties.  Shirley Temple, Blue Sky, etc.  To me, this channel would be a lot like the Disney Vault nights on TCM, a Disney Classic if you will, taking the best of the movie, short, and television library, as well as new programs that fit the style (like the new Ducktales).

• Example programs I would add - Country Bear Jamboree, Disneyland

Disney, Jr. - Disney, Jr. is probably the channel I would change the least.  With two toddlers, we watch a lot of Disney, Jr. and I am a fan of their current offerings, in particular the way they tie into Disney franchises, but in a very specific way and with a learning focus.  Each show teaches a message.  I would recommend a little more consistency in the schedule.  Currently it's a mystery as to when new episodes air.  There will be a few weeks of new shows, then six weeks of reruns, and then a new episode.  I know they think it does not matter to preschoolers as they will watch reruns just as well as new episodes, but it makes a difference for the parents.  It helps us keep our sanity.

• Example programs I would add - Journey into Imagination with Figment, It's a Small World, Ewoks or Droids Cartoon

Disney XD - With Disney XD, I would look to cement the demographic of the channel as children (boys and girls) ages 6 to 15.  This is a little more action based, a little more comedy based, but it should not be seen as skewing to boys only (as it has in the past).  This is for everyone who likes that kind of programming.  On this channel, beyond Disney and Pixar programming, Marvel and Lucasfilm programming would also be very appropriate.  Some Fox content could even fit into the channel, as I could see the Simpsons airing later in the night on this channel, if Disney retains the Simpsons.

• Example programs I would add - Marvel's Power Pack, Zootopia series, 

Freeform - Freeform should continue to focus on teenagers and young adults (16-34).  In many ways, this is Disney's CW. It should offer original programming leaning into soap opera and sitcoms.  Marvel, Lucasfilm, and Fox library would all be appropriate here, particularly the ones that focus on teen and young adult protagonists, such as Marvel's Cloak and Dagger or cable airings of Marvel's Runaways off Hulu.  The most successful blocks of this channel are the 31 Nights of Halloween and 25 Days of Christmas and those should be maintained and reworked to focus on brand appropriate offerings (i.e. not promoting other studios material).  I would also explore whether the name could be changed to Oh My Disney! to bring it in line with the internet brand or something like DisneyLife, to further tie this to the Disney brand.

• Example programs I would add - Marvel's New Warriors, Fairest of Them All

This would give the Disney cable channels coverage of all children and young adult demographics, as well as a full family channel (which is most in line with the overall company target).  Combined with the other channels in the portfolio, this represents a great place to start from.

As always, thank you for reading.  Next in the series is ABC.

If I Were Disney CEO Part 33 - Television and Streaming Overview

As I transition between corporate units, from Studio Entertainment to Television, I wanted to preface the change with an overview post, similar to how I started the the previous divisions.  The goal for this post is to outline overarching ideas and goals for the television division as a whole and how that will impact decisions for the individual channels and offerings.

Television and home entertainment represent an exciting opportunity for Disney to be at the forefront of a massive shift in the way media is presented.  With the increase in "cable-cutting" and streaming options, the change in the form of television consumption should lead to requisite changes in the form of television presentation. This opens big opportunities for experimentation and innovation.

Further, the structure of Disney's television offerings should allow for complete coverage of all demographics as well as increased synergy with the other content generating departments, particularly Studio Entertainment.  The overall strategy then will be similar to Studio Entertainment, focusing on redevelopment and rebranding to fully flesh out the television and streaming slate.

As before, there are a few goals that will carry through this division:

• The primary goal is to cement each offerings unique identity.  To identify why each television channel and streaming option exists.  This also plays into identifying what demographic the offering serves.
• This applies across non-Disney network offerings as well.  What does ABC represent compared to NBC, CBS or Fox?
• The individual channels within Disney's offerings must likewise be unique among themselves.  The Disney Channel should be a unique offering from Freeform.
• A secondary goal will be to identify gaps in the current television offerings and fill those with appropriate content.
• For example, in comparison to other media conglomerates, one offering that Disney does not offer is a 24-hour news network.  Should an ABC News channel be offered?  Does this fit a core competency of the network and the company?
• Further, you could compare The Disney Channel as it currently exists and Disney XD as appealing to the same age bracket, but one focused on tween girls and the other on tween boys.  Is there a need for gender-specific networks anymore?  Or would should they be offered to reach different age brackets with offerings for both girls and boys?
• A further goal will be to coordinate between broadcast and streaming options such that each fill a purpose, recognizing the both division and overlap between the audiences.  
• For example, content could flow both directions from broadcast to streaming and from streaming to broadcast and reach additional viewers in each direction.  This can even be expanded to cover broadcast and cable.
• A final goal will be to leverage synergies with the Studio Entertainment brands in the appropriate channels.
• ESPN Studios films would be natural fits for ESPN and so on.
• Further, Studio Entertainment offerings may cut across various television offerings.  Spider-man may be appropriate for Freeform, whereas the Defenders and the Punisher may be better suited for FX.

With that framework, the following television and streaming options will be discussed over the coming weeks:

• The Disney Channels (The Disney Channel, Disney Jr., Disney XD, Freeform)
• ABC (and bonus)
• FX (FXX and FXM)
• ESPN
• National Geographic
• Streaming (Disney+ and Hulu)

*Please note, while Disney has participation in A&E, History, and Lifetime, I've decided not to focus on those networks and would even recommend them for divestiture.

This should give a little bit of a preview for some of the changes that I would implement and will serve as a continuing guidepost for the entries over the coming weeks.

As always, thank you for reading and continuing through this journey with me.

Top Ten Favorite Televisions Shows

Coming back again to a Top 10 list.  A bit of insight into my likes and my personality.  And as a child of the 1980s, television was and is a huge interest.  I've seen a lot of great television and I've seen a lot of bad television.

What follows is a list of my ten favorite television shows.  Some shows that I feel represent the best that television has to offer, and some shows that simply represent my guilty pleasures.  And I fortunately have a knack for picking brilliant but cancelled shows, so several of these did not get the full release that they should have.

So in no particular order...

• The Twilight Zone - I'll start with what I feel is one of the best examples of television ever aired.  Serling used the Twilight Zone as a morality play for the masses.  To take science fiction and address the biggest social issues of the time.  The show is a masterclass in short fiction and storytelling with some of the greatest writers ever assembled.
• Buffy the Vampire Slayer - One of the first shows I followed with dedication.  Every episode, as it aired.  Again, a use of genre to address much larger topics.  And several episodes that break so many conventions.  Hush, The Body, and Once More With Feeling.  It gets a little weird toward the end with the switch to UPN, but a great show with a lasting impact.
• Pushing Daisies - I love what Bryan Fuller does on television.  His vision for set design and color and how that all contributes to the mood is incredible.  And it was all incorporated so well into Pushing Daisies.  Such a unique concept, a forensic fairytale about a piemaker who can touch the dead and wake them for a minute.  Charming and whimsical, gone far too soon.
• Freaks and Geeks - Speaking of gone too soon, a one season show that really launched so many careers.  For all the shows that have mined the 1980s for nostalgia, this one got it so right.  For anyone who was not in a popular clique at the time, this really resonated.
• The Good Place - One of two current shows on the list and one of the smartest shows that I've seen in a long time.  While not the best on theology, the exploration of morality and philosophy is excellent and the premise and show is genuinely funny.  Great characters and truly charming.
• Agent Carter - While Daredevil is arguably a better Marvel show, this remains my favorite of the Marvel offerings.  A great setting for both seasons in 1940s New York and Los Angeles, and a great British Avengers set up with Jarvis and Agent Carter.  Hayley Atwell is a great lead, and again, its a shame the show did not last longer.
• Coupling - Before I knew the series name, I searched for this show.  When I first went to London and Scotland, I remember watching the episode The Girl with Two Breasts with Dad the night before we returned home and laughing harder than ever before for a television show.  The title is a reference to a misstep in translation and the episode was split into two versions, one showing the events from the English cast and then one showing the same events from the Israeli girl who was the object of Jeff's affection.  For the longest, I could never find the name of the show, but thankfully stumbled across it again on BBC America.  After watching every episode of the series and seeing such other great episodes as The Man With Two Legs, I still say, this is the funniest show I have ever seen.   A bit bluer in discussion than American television, but otherwise similar to an American sitcom.
• Sherlock - Brilliantly cast, excellently adapted to modern times, great writing by Moffat, Gattis, and Thompson.  Each episode is really a new movie.  And the fourth season really better be the last, because it ended in such a perfect way.
• Stranger Things - the first show that we had to binge the whole season once we started.  Excellent cast and another great nostalgia trip.  It captured the feel of those great "kids on a mission movies" from the 1980s.  While there are bits that feel stretched in the second season, it's still a nail-biter and we are still anxiously waiting for season three next year.

and finally...

• The Golden Girls - I don't care.  It still holds up and if I'm feeling down, there is nothing else I'd rather watch.  I want to picture Sicily in 19-whatever, be regaled with stories of Saint Olaf, and do thank you for being a friend.   I'll claim this one for a lifetime.

That's my list.  A weird and eclectic mix.  I'd love to hear some of your favorites.