Lee Anderson: new deputy Tory party chair who backs the death ...

We will use the details you have shared to manage your registration. You agree to the processing, storage, sharing and use of this information for the purpose of managing your registration as described in our Privacy Policy.

Would you like to receive The WeekDay newsletter ?

The WeekDay newsletter provides you with a daily digest of news and analysis.

We will use the details you have shared to manage your newsletter subscription. You agree to the processing, storage, sharing and use of this information for the purpose of managing your subscription as described in our Privacy Policy.

We will use the information you have shared for carefully considered and specific purposes, where we believe we have a legitimate case to do so, for example to send you communications about similar products and services we offer. You can find out more about our legitimate interest activity in our Privacy Policy.

If you wish to object to the use of your data in this way, please tick here.

'We' includes The Week and other Future Publishing Limited brands as detailed here.

Who are the Tory Net Zero Scrutiny Group? | The Week UK

Registration now open for Oregon Wine Symposium

Victor Panichkul

Statesman Journal

Registration is now open for the largest annual wine industry educational event in the Pacific Northwest.

The Oregon Wine Symposium is scheduled for Feb. 24-25 at the Oregon Convention Center in Portland.

In addition to speakers and seminars, there will be more than 145 trade show exhibitors showcasing a wide range of products.

Keynote speaker Michael Dorf, founder and CEO of City Winery, a unique urban wine venue that combines live music with winemaker tastings and talks, will share his story of growing his innovative wine business from scratch. With City Winery venues now in New York, Chicago, Nashville and Napa, Dorf is redefining the experience of wine and culture across generations, according to Michelle Kaufmann, communications manager at the Oregon Wine Board.

A variety of other sessions will give attendees advice on a variety of topics including: drivers of profitability in the wine industry, differentiating your brand through storytelling and choosing a fermentation vessel.

Also open for registration is the annual Oregon Wine Symposium Awards dinner, held at the Doubletree Portland on Feb. 24.

The fee for the symposium is $175 for single or $140 for multiple attendees for Oregon Wine Association members, $210 for single and $175 for multiple attendees for non-OWA members, and $75 for students. Tickets for the awards dinner are $125 each. For information or to register, go to symposium.oregonwine.org.

NY to spend $6M to promote wine, beer

Ashley Hupfl

Albany Bureau

ALBANY – Gov. Andrew Cuomo said Tuesday the state will spend $6 million to market New York's wine and beer industry and seek to reform laws to expand distilleries in the state.

Cuomo held the second Beer, Wine, Spirits and Cider summit near the Capitol to tout the booming industry and hear recommendations on how to add new businesses.

He said he will introduce the Craft New York Act to simplify distilling manufacturing licenses and lower fees, expand marketing opportunities and modernize shipping laws. It would have to be approved by the Legislature.

Distillers have been on the rise in New York after laws were loosened in 2012 — when the first summit was held.

"We are fully cognizant we have further to go, because we want this to work better." Cuomo said. "We're taking liquor producers and we're making them marketers, restaurateurs, tourism destinations — these are not normal connections and it's not normally what [the State Liquor Authority] does."

He said the State Liquor Authority would be issuing advisories to clarify some laws and regulations that date back to the Prohibition era and have caused confusion in the beverage industry.

The $6 million will go to a promotional campaign to boost the state's beverage producers, he said. It's the latest investment in the state's marketing of the industry.

Cuomo in 2011 launched a $60 million tourism campaign to publicize food and beverage products made-in-state called "Taste NY." Cuomo contended that the initial $60 million investment has yielded $4 billion in economic activity.

"Your industry, we believed in from the get-go. It had tremendous potential for growth. It is a magnificent industry, not only in terms of potential, but also it complements the rest of the state economy overall," Cuomo said at the summit.

After reforming New York's laws, the number of farm-based beverage licenses for distilleries, wineries, breweries and cideries has risen 72 percent since 2011, Cuomo announced late last year.

New York is home to nearly 500 wineries, breweries, distilleries, and cideries, and the state ranks third in the nation in wine production. New York has the second-most distilleries in the country, and three of the top-producing 20 brewers are in New York.

The state has issued 32 farm-brewery licenses since January 2013.

Bill Barton, owner of Bellwether Hard Cider in Tompkins County, which opened in 1999, lauded the Taste NY program and the positive impact it has had on his business.

"Cider had a huge growth area from a very tiny start, but there's still tremendous potential and the beverage summit, the regulatory changes and everything that's gone on recently really has been crucial for this industry to get off the ground," Barton said at the event.

State Liquor Association president Tom Edwards said the group will host its trade show at the Rochester Riverside Convention Center for the first time this August. The association is donating half of the 50,000 square feet convention center space to small Taste NY upstarts who help promote their products.

The president of the state Brewers Association, Dave Katleski, who owns Empire Brewing in Syracuse, said the industry would like to see a change in state law to make it easier for breweries to direct ship to their customers and allow them to sell pints to customers on taste tours. Other wine and spirit owners brought up similar concerns.

"Right now, unless you are a 'farm' brewery, you cannot sell a pint of beer to someone who comes to your tasting room. Well you can, but have to have a restaurant," Katleski said at the summit. "If there were a change to adjust the law to allow them to sell pints of beer, that would have a huge economic impact to breweries."

AHUPFL@Gannett.com

Twitter.com/ashleyhupfl

Arizona winemaker who quit board didn't disclose violations

The Arizona winemaker who resigned his seat on the state liquor board was appointed to that body based on an application that didn’t disclose his past history of liquor law breaches, the Governor’s Office said Wednesday night.

John McLoughlin, who sells wine under various labels, including Arizona Angel, Sultry Cellars and Jerome Winery, resigned from the board last week following a conversation with a member of the governor’s staff about that missing information, a spokesman for the governor said.

“After discussing that, discussing those omissions, he made his decision to resign,” said Patrick Ptak, the governor's spokesman. Ptak would not disclose who had the conversation with McLoughlin.

McLoughlin’s decision ended a tenure that lasted two meetings and marked the first time an Arizona winemaker had been appointed to the board.

Reached by phone Thursday morning, McLoughlin declined to comment further about his liquor board appointment.

"I took my licks like a responsible person," he said.

He urged The Republic to go after people currently violating liquor laws whom he suggested The Republic was protecting or "possibly being paid by." He then hung up.

In a previous interview, on the day he submitted his resignation, McLoughlin refused to explain why he resigned, saying he only wanted positive stories about the Arizona wine industry.

McLoughlin, in 2005, paid a $10,000 fine and surrendered his liquor license for 90 days after inspectors found, among other violations, he illegally imported California wine into the state and sold it to consumers in a Jerome business designed to give the illusion of a winery tasting room.

McLoughlin since has operated the largest vineyard in the state, Dragoon Mountain, in the Willcox area. He also has become an advocate for Arizona-made wines, and takes veiled public shots at unnamed winemakers he thinks are trying to pass off out-of-state wine as Arizona-made.

Reports reveal infractions

His infractions, which dated back to 2005, came to the attention of the Governor’s Office after The Republic asked the Liquor Department for information about them. A listing of the statutes and rules McLoughlin violated was found on the department’s website. The Republic, in September, asked for the reports that detailed those five violations from 12 years ago.

Upon fulfilling that records request, the department shared the information with members of the Governor’s Office.

In doing so, the Liquor Department director, John Cocca, tried to defend McLoughlin’s actions. “Our position is what better board member than one who had administrative violations and took responsibility for his mistakes,” Cocca wrote.

Ptak said on Wednesday that the idea to appoint McLoughlin to the board came after he asked for a proclamation from Gov. Doug Ducey to declare October as Arizona Winegrowers Month.

Such proclamations, given enough notice, are routinely fulfilled, said Ptak, the Ducey spokesman. “I don’t think we ever really denied one,” he said.

But the request brought McLoughlin to the attention of Tim Roemer, deputy director of the state’s homeland security office, Ptak said. Roemer knew the state liquor board had vacancies and, by statute, needed a certain number of members who lived outside Maricopa County.

McLoughlin, who listed his residence as his vineyard in Willcox, seemed a good fit, Ptak said.

On April 4, Roemer sent McLoughlin an email that included a link to an online application to be on a state board or commission. The email, a copy of which was released to The Republic under a public records request, also told McLoughlin to contact him with any concerns or questions.

On April 18, Roemer sent a follow-up email regarding the application. McLoughlin’s wife, Brighid, responded saying she had already filled out the application for her husband.

The brief form contains a section labeled: “Affirmation of Eligibility.”

The section asks a series of questions regarding criminal history, substance abuse or conflicts of interests and an opportunity to explain any events. On McLoughlin’s application, the question asking about “Professional Misconduct” was answered, “No.”

Questions at a tasting room

In September 2004, a liquor inspector, with his wife, entered the Jerome Winery. Though the inspector was off duty, according to his report, elements of the business raised his professional suspicion.

The business gave off the air of being a winery tasting room, but the inspector noticed the liquor license said it was a beer and wine bar. He also noted there was beer for sale in a refrigerator, something unusual for a tasting room. Additionally, his report noted, behind the bar were unlabeled bottles of wine — “shiners” in the industry parlance.

The employee behind the bar told the inspector and his wife that the wine was made from grapes grown in Willcox and produced a book of photos of the vineyard. She said, according to the report, that the barrels in the room held wine that was either fermenting or being aged for later bottling.

The inspector came back a month later for an official inspection.

As that visit began, the inspector wrote that he saw an employee label a “shiner” bottle right before selling it to a customer.

While looking behind the scenes, the inspector found boxes of mostly-unlabeled bottles of wine, in some rooms stacked floor-to-ceiling.

Decision to resign was his

McLoughlin, in an interview with investigators, said his business was designed to produce the illusion of a tasting room to provide an entertainment experience for customers.

McLoughlin said, according to the report, that he intended to eventually open his own winery and was operating the business in this manner to raise funds.

He told inspectors the bottles he sold were clearly labeled as containing California wine and that he was doing nothing wrong.

The beer, he additionally explained, was purchased from Costco.

At this time, Brighid McLoughlin was not married to John McLoughlin, nor associated with his business. It was not clear whether she knew of the 12-year-old violations when she filled out the application for her husband.

She did not return a request for comment.

Ptak said that the decision to resign was McLoughlin’s.

“He stepped forward to resign,” Ptak said.

In his letter, sent to the Liquor Department on Nov. 2, McLoughlin said he did so “regretfully,” citing only “extenuating circumstances.”


Kimmel spurs 'All in the Family,' 'The Jeffersons' all-star revival

Archie Bunker and George Jefferson are getting a casting makeover, but they’ll be saying the same things that entertained (and outraged) millions when first uttered in the 1970s.

Late-night host Jimmy Kimmel and groundbreaking TV producer Norman Lear are reviving the two classic characters Wednesday, with Woody Harrelson as Archie and Jamie Foxx as George, in ABC’s “Live in Front of a Studio Audience: Norman Lear’s ‘All in the Family’ and ‘The Jeffersons’” (8 EDT/PDT). Kimmel and Lear will host the 90-minute special, which will feature an episode of each series from the original script.

The star-studded cast also includes Marisa Tomei, Wanda Sykes, Kerry Washington, Will Ferrell, Anthony Anderson, Ellie Kemper, Sean Hayes and Justina Machado, who starred in Netflix’s recently canceled adaptation of another Lear classic, “One Day at a Time.”

More:Jimmy Kimmel, Norman Lear to re-create 'All in the Family,' 'Jeffersons' episodes in live special

More:TV legend Norman Lear isn't resting on laurels

“Woody and Jamie were the first people we asked, and they both agreed immediately," Kimmel says. "I texted them, and within a minute, I got a text back saying, ‘Yes, I’m in. I want to do this."

Scheduling issues were the only consideration, he says, joking: "It just shows that when they say no to me for other things, they’re saying no because they don’t like me.”

Kimmel, a TV fan and the host of ABC's "Jimmy Kimmel Live!," hopes the special reintroduces comedies that entertained as they dealt with serious and controversial issues, including race, prejudice, sexual assault and social inequality, that are still debated today.

More:Jimmy Kimmel mocks Constance Wu for emotional reaction to 'Fresh Off the Boat' renewal

“For me, the inspiration is the work of Norman Lear and the great television shows that I want to make sure are not forgotten by a new generation,” he says. “They’re important shows, just as important as anything in our culture. I think television is seen as less than that sometimes, but to me and my family, these are shows we love and learned from.”

Kimmel, Lear and ABC won’t say which episodes of “All in the Family,” which featured Carroll O'Connor as Archie and aired on CBS from 1971-79, and spinoff “The Jeffersons (1975-85) will be staged, but they're expected to be “Henry’s Farewell,” a 1973 “Family” episode that includes the first appearance of Sherman Hemsley as George Jefferson, and “A Friend in Need,” the 1975 “Jeffersons” premiere.

More:Norman Lear among those receiving Kennedy Center Honors on tonight's TV broadcast

Kimmel and Lear plan no changes in the original scripts, which included bigoted and sexist language and may still draw opposition today, making ABC censors nervous.

How does Lear respond to critics who say his hot-button shows couldn’t be revived as series today?

“You're wrong," he says. "There may be some segments of the culture that will have a different reaction than we experienced in the ‘70s, but that wants to be discussed also. Let’s learn more about them,” Lear says.

Kimmel and Lear, who will introduce the special and talk afterward, acknowledge they can't top the original actors, but they're proud to have a top-notch cast and director: James Burrows, the preeminent sitcom master known for his work on "Cheers," "Will & Grace," "Frasier" and "Friends."

More:Norman Lear's hits gain new relevance in era of TV remakes

Lear also is a fan of the studio-audience sitcom, a venerable format sometimes criticized as stale but one that still attracts large audiences, as “The Big Bang Theory” proved.

“There is nothing like a live audience and actors who live off the reaction to the last thing they said,” he says. “It’s a chemistry that one can’t find any other way.”

How did it all come about?

"I was thinking about these live (TV) musicals and whether there were other ways you could do the same thing. And then I started thinking about television shows," Kimmel says. "Doing it live makes it appointment television and adds a level of excitement (for) the actors and director that you might not have if you know (there's) a safety net. I think it will be more of a must-watch moment."

Besides his production and hosting duties, Kimmel is enjoying the project simply as a TV fan.

"For me to be able to work with Norman and this unbelievable cast he has attracted is something that is very exciting," he says. "And also just fun."

Bernard Cribbins, British 'Doctor Who' actor, dies at 93: 'A legend ...

Jill Lawless

The Associated Press

LONDON — Bernard Cribbins, a beloved British entertainer whose seven-decade career ranged from the bawdy “Carry On” comedies to children’s television and “Doctor Who,” has died. He was 93.

Agent Gavin Barker Associates announced Cribbins’ death on Thursday.

“Bernard’s contribution to British entertainment is without question,” it said. “He was unique, typifying the best of his generation, and will be greatly missed by all who had the pleasure of knowing and working with him.”

'Deeply honored, beyond excited':Ncuti Gatwa revealed as the new 'Doctor Who'

A warm, avuncular character actor, Cribbins was a childhood presence for several generations of Britons. He played station porter Albert Perks in the 1970 movie classic “The Railway Children” and voiced all the characters in “The Wombles,” a 1970s animated series about a family of burrowing creatures living under London’s Wimbledon Common.

Cribbins also was the voice of road-safety squirrel Tufty Fluffytail in a series of public information films, and held the record for the most appearances — more than 100 — on children’s storytelling TV series “Jackanory.”

Born into a poor family in Oldham, northwest England, in 1928, Cribbins left school in his early teens and got his start as a stage manager and bit player in regional repertory theater.

He moved on to West End productions before appearing in a dizzying range of British films, including 1960 comedy “Two-Way Stretch” alongside Peter Sellers; 1966 “Doctor Who” spinoff “Daleks’ Invasion Earth 2150 AD”; the 1967 James Bond spoof “Casino Royale”; and one of Alfred Hitchcock’s final thrillers, “Frenzy” in 1972.

Tony Dow obituary:'Leave It to Beaver' actor dies at 77 after entering hospice

He appeared in several movies in the “Carry On” series, was a memorable guest star on classic sitcom “Fawlty Towers” and had top 10 hits with comedy songs “Hole in the Ground” and “Right Said Fred.”

A younger generation knew Cribbins as Wilfred Mott, a companion to David Tennant’s titular Doctor, when ”Doctor Who” was revived in the early 21st century. He appeared in another BBC children’s series, “Old Jack’s Boat,” between 2013 and 2015, and filmed scenes earlier this year for an upcoming “Doctor Who” 60th-anniversary special.

David Warner obituary:British actor who starred in 'Titanic,' 'The Omen' and 'Tron,' dies at 80

“Doctor Who” showrunner Russell T. Davies remembered Cribbins as “a wonderful actor.”

“I’m so lucky to have known him,” Davies said. “Thanks for everything, my old soldier. A legend has left the world.”

Cribbins’ wife of 66 years, Gill, died last year.

tv-best-bets-tue-june-14

8 p.m., ABC: To Tell the Truth — One of several classic game shows being revived by ABC this summer begins its run, with Anthony Anderson spending his hiatus from "black-ish" as both the host and an executive producer here. The format still has several people claiming to be the individual in question, with a panel having to determine who indeed is telling the truth. Notable among the guessers — tireless genre veteran Betty White.

Anthony Anderson hosts "To Tell the Truth," 8 p.m., ABC.

8 p.m., FOX: Hotel Hell — A new episode set in Harper's Ferry, W. Va., continues in "Town's Inn, Part 2" — and the fact that there is a second part indicates how big a challenge Gordon Ramsay faces in upgrading the site in question. The biggest hurdle is the owner's resistance to modernization, so Ramsay tries to find a balance between improving the place and retaining a substantial percentage of its history.

9 p.m., TNT: Animal Kingdom — Adapted from a critically acclaimed 2010 Australian feature film, this edgy new drama revolves around a spectacularly dysfunctional Southern California crime family headed by tough-as-nails grandmother Janine "Smurf" Cody (Ellen Barkin). Into this world moves a teenage grandson, Joshua (Finn Cole), after his mother dies of a heroin overdose.

10 p.m., TBS: Wrecked — While this new comedy series isn't officially a send-up of "Lost," it could be, with its central premise of a bunch of strangers stranded together on a deserted island after their plane crashes. In the series premiere, a British ex-special forces agent leads a rescue mission, while the survivors make a discovery that could change everything.

NBC gambles on 'Maya & Marty' to revive variety format

Patrick Ryan

USA TODAY

NEW YORK — "If at first you don't succeed, try, try again."

An NBC executive uses that familiar mantra when asked about Maya & Marty (Tuesdays, 10 p.m. ET/PT), the network's latest attempt at reinventing old-school variety series. Starring Saturday Night Live alums Maya Rudolph and Martin Short, the show will feature a mix of comedy sketches, song-and-dance numbers, and pre-taped segments, with guests including Miley Cyrus, Jimmy Fallon, Tom Hanks, Kelly Ripa, Larry David and Paul Rudd.

"It's very much got traditional variety flavor, and that's not something anyone here is frightened of," says Paul Telegdy, NBC's president of alternative and late-night programming. "We completely embrace it."

Maya & Marty is the byproduct of The Maya Rudolph Show, an hour-long variety special that pulled in nearly 7 million viewers when it aired on NBC in May 2014. Short, 66, came aboard after he appeared with Rudolph on last year's Saturday Night Live 40th-anniversary special and found they had palpable chemistry.

Having known each other for about 10 years, Short says, they "have a lot of shared takes on life, that often creates a good combination. We're both parents. We both have an attitude of, 'This is just showbiz, it should be fun.' We both work and thrive in a loose, happy atmosphere."

Maya & Marty's initial six-episode order will be similarly free. Each episode will tape in front of a studio audience Thursday nights at 30 Rockefeller Plaza, right across the hall from The Tonight Show Starring Jimmy Fallon. They will then have five days to edit the show before it airs Tuesdays: determining what works and what doesn't, and adding in pre-taped material (which they estimate will account for about 30% of each episode).

"We want this to have the best possible things in it," says Rudolph, 43. Coming from SNL, "there is a sensibility that it's not done until it's done. So if something comes up after the dress rehearsal and (we) go, 'That didn't work, let's trim that' or 'Let's add this,' then we will."

But what will prevent Maya & Marty from suffering the same fate as NBC's other attempts at variety programming? Rosie O'Donnell's critically panned special, Rosie Live, bombed in 2008. Neil Patrick Harris' Best Time Ever, an ambitious (and expensive) game-and-variety show hybrid, was nixed after one season last fall.

Although Rosie Live predates Telegdy's time at NBC, he says "the Rosie O'Donnell debacle, as I can only describe it creatively and from a ratings point of view, may have felt like a bold swing." Best Time Ever, meanwhile, "was a bold swing of a different kind of show to Maya & Marty," which, if successful, would likely return next year.

Of the recent additions to the variety genre, which was pioneered by Ed Sullivan, Carol Burnett and Johnny Carson in the 1950s and '60s, TV historian Tim Brooks says that Harris' was probably the most innovative, different take, but it wasn't enough to carry it, for whatever reasons." The format can be a tough sell to advertisers, who crave younger viewers. "The traditional variety shows skew old," Brooks adds. "You have to do something like In Living Color (which aired on Fox in the early '90s) to make it seem hip and contemporary."

Asked what Maya & Marty will do differently from O'Donnell's and Harris' endeavors, and whether there's an appetite for variety in 2016, the co-hosts turned testy.

"That's such a loaded question, that has this expectation that it's going to be like those shows," Rudolph says. "It's not like those shows, it's its own show."

Short adds: "Isn't that like saying to Bill Cosby in 1981, 'Why would there be an appetite for a sitcom?' "

When it comes down to it, "I want to do this show and you want to do this show, so that's the show we're creating," Rudolph says. "If people aren't into that, they don't want to watch us, but I do not base my career choices off other people's successes and failures."

The 35 best TV shows to watch on Peacock in July: 'Top Chef ...

There's more than you think going on with the bird: Peacock, that is.

The streaming service from NBCUniversal, the latest entrant into the streaming wars, may seem like an unnecessary add-on to Netflix, Hulu, Amazon Prime, Apple TV+, Disney+, Paramount+ and HBO Max. But with both paid and free ad-supported tiers, a handful of originals and a deep library that includes exclusive access to some of the best TV shows of all time, Peacock is worth a look.

The library of series (some non-exclusive) is deep, including beloved sitcoms ("Parks and Recreation," "The Office"), classics ("Murder, She Wrote," "Alfred Hitchcock Presents"), recent cable series ("Psych," "Suits") and originals ("Girls5Eva"). We've rounded up the 35 best shows available to stream on Peacock as of July 2022 (in alphabetical order). (Asterisks denote shows that are only available with a premium subscription.)

Don't have Peacock?:50 best TV shows to watch on Netflix right now

1. “30 Rock”

Alec Baldwin, Tina Fey and Tracy Morgan make an endlessly appealing trio in NBC's award-winning series about a "Saturday Night Live"-style sketch comedy series. One can’t help but wonder what fake sketch show “TGS with Tracy Morgan” might have to say about the 2020s (ignore the terrible recent infomercial the cast did for this streaming service; it was beneath them).

2.“Alfred Hitchcock Presents”

If you’re looking for thrills, look no further than this series, created and hosted by the master of suspense, director Alfred Hitchcock. This superb 1955-62 anthology series, which originally aired on CBS and NBC, has “Twilight Zone” vibes but features murder mysteries, thrillers and dramas rather than science fiction.

3. “The Affair”*

Showtime’s dark relationship drama is scintillating and twisty: a grown-up soap opera. Starring Dominic West, Maura Tierney and Ruth Wilson, the chemistry and frequent fights on the 2014-19 series radiate off the screen.

4. "Baking It"

Primetime Emmy winners Maya Rudolph and Andy Samberg come together to host this festive baking competition, in which eight duos of home bakers compete in a series of culinary challenges, concocting a variety of holiday desserts to vie for a grand cash prize. A judges' panel of blunt grandmas appears to gives the show an endearing homey feel, as well ascomplementing Rudolph and Samberg's quirky banter.

5. “Battlestar Galactica”

Starring Edward James Olmos, Mary McDonnell and Katee Sackhoff, this bold, breathtaking space opera from Syfy perfectly captures the anxiety, fear and uncertainty of post-9/11 America, even with its fantastical sci-fi concept. You won't be able to stop hitting "next episode."

6. “Brooklyn Nine-Nine”*

From Dan Goor and Michael Schur, producers of "Parks and Recreation,” the former Fox (and now NBC) workplace comedy, set in a New York police precinct, also masters fast-paced humor and an upbeat tone.

7. “The Carol Burnett Show”

There are a multitude of series from the mid-20th century available to stream, many of which have a classically upbeat energy. One of the best is the timeless CBS sketch comedy of Burnett, an American treasure.

8. “Charmed”

There is no better late '90s/early 2000s nostalgia trip than “Charmed,” with its crop tops, butterfly clips and combat boots. While it has its flaws (particularly in the later seasons) it is still a gripping, complex fantasy series.

9. “Cheers”*

With a magnetic cast – including Ted Danson, Rhea Perlman, Shelley Long, Woody Harrelson and Kelsey Grammer – reliable jokes and comforting setting, the classic Boston sitcom set in a bar "where everybody knows your name" holds up after all these years. (*Season 1 is available to all users, but Seasons 2-11 require a premium subscription.)

10. “Downton Abbey”

What makes the PBS period drama about an aristocratic British family in the early 20th century and its household staff so riveting is the way it dresses up soapy drama in high-class clothes: a little trashy, a little classy and a lot of Maggie Smith asking what a "weekend" is.

11. “Eureka”

This delightful Syfy series creates a world in which the greatest minds on Earth are gathered in one small Pacific Northwest town to work their scientific miracles, turning the little hamlet of Eureka into a futuristic enclave. The town sheriff (Colin Ferguson), who's merely average on the IQ scale, is tasked with cleaning up all the messes caused by out-of-control experiments.

12. “Everybody Hates Chris”

Based loosely on Chris Rock’s young life in the 1980s (and nodding to the next show on this list in its title), this UPN (and later CW) series toyed with the tropes of the family sitcom. The great performances, including Tyler James Williams as Chris and Terry Crews and Tichina Arnold as his aggrieved parents, are the bow on top of the irreverent humor.

13. “Everybody Loves Raymond”*

If you want guaranteed laughs and guaranteed comfort, look no further than CBS' touchstone sitcom, which remains one of the greatest entries in the genre. For nine seasons, Ray (Ray Romano), Debra (Patricia Heaton), Robert (Brad Garrett), Marie (Doris Roberts) and Frank (Peter Boyle) were like a second family. Even 16 years after it signed off, “Raymond” is hilarious and vital.

14. “Frasier”*

If “Cheers” isn’t enough Kelsey Grammer for you, try this slightly more cynical and mature NBC spin-off centered on the delightfully uppity Frasier Crane (Grammer), one of the most successful of all time. (*Season 1 is available to all users, but Seasons 2-11 require a premium subscription.)

15. “Friday Night Lights”

The drama on NBC's acclaimed high school football series, based on a book and movie, undeniably makes it one of the best shows to binge-watch, equally entertaining fo6 teens and adults. They don’t make teen dramas like this anymore.

15. "Girls5Eva"

Peacock's first great original series, “Girls5Eva” is a sweetly funny sitcom created by Meredith Scardino and executive-produced by the “30 Rock” team of Tina Fey and Robert Carlock. “Girls” is about a has-been 1990s girl pop group – played by Sara Bareilles, Renée Elise Goldsberry, Busy Philipps and Paula Pell – that tries to make it again in middle age. Season 2 brings back their riffing, rapping glory on May 5 (episodes stream weekly). (Some episodes are available to all viewers, some require a premium membership.)

17. "Good Times"*

This Norman Lear series from the 1970s about the Evans family, a Black family getting by in Chicago, is a television classic and a welcome addition to the streaming landscape. John Amos, Esther Rolle and Janet Jackson are among the wonderful cast of the "Maude" spin-off (which itself was an "All in the Family" spin-off) that aired for six seasons on CBS.

18. “House”*

Hugh Laurie’s turn as the misanthropic, wisecracking doctor struggling with addiction has become an iconic TV role. Combining the relationship drama and life-and-death stakes of the medical procedural with the mysteries of a cop show, “House” was a huge hit for Fox and remains a one-of-a-kind show.

18. “Law & Order: SVU”*

There's a comforting sameness to the nearly 500 (and counting) "SVU" episodes: Detective Olivia Benson (Mariska Hargitay) investigates the crime, finds her perp and justice is served. (Seasons 1 and 2 are available to all users, but Seasons 3-22 require a premium subscription.)

19. “Making It”

Amy Poehler and Nick Offerman host this NBC crafting reality competition, which is the closest thing the U.S. has to its own version of "The Great British Baking Show." While it swaps delicious cakes for stunning handmade crafts, it retains the sweetness and kindness that sets “Baking” apart from catty, hyper-competitive reality TV. Poehler also shows off an incredible collection of overalls.

20. "Modern Family"*

"Family" ran for 11 acclaimed seasons, following the antics of the large and blended Dunphy and Pritchett families. The series' long popularity stemmed from its talented cast (including Julie Bowen, Ty Burrell, Sofía Vergara and Ed O'Neill) and relatable laughs for families and married couples. (*Season 1 is available to all users, but Seasons 2-11 require a premium subscription.)

21. “Monk”

For those who like to mix slapstick comedy with murder-of-the-week police drama, “Monk” is a touchstone series. Tony Shalhoub's Emmy-winning performance as a genius detective with obsessive-compulsive disorder makes this 2002-09 USA Network comedy a true classic.

22. “Mr. Mercedes”*

Based on Stephen King’s recent book series, "Mercedes" is a detective mystery with flavors of the author’s signature horror. Brendan Gleeson plays retired detective Bill Hodges, who hunts for a sociopath who drove a stolen Mercedes through a crowd, killing 16 people. (*Season 1 is available to all users, but Season 2 requires a premium subscription)

23. “Murder, She Wrote”

Jessica Fletcher (the absolutely wondrous Angela Lansbury) is a joy to watch in all 12 seasons of this classic detective series, which aired from 1984-96 on CBS.

24. "The Office"*

The long-running NBC sitcom is Peacock's biggest get to date. Consistently one of the most-watched shows on Netflix, the new streamer hopes to lure new subscribers with the beloved workplace comedy. And it might just work. There is just no getting sick of the hilarious series, no matter how many times you watch Michael Scott (Steve Carell) burn his foot on a George Foreman grill. (*The first two seasons are available to all users, but Seasons 3-9 require a premium subscription.)

25. “Parenthood”

Messy, tear-jerking, angering and melodramatic, NBC’s 2010-15 family drama is far superior to that other NBC family drama everyone talks about ("This Is Us"). Lauren Graham, Peter Krause, Dax Shepard, Craig T. Nelson, Monica Potter, Mae Whitman and more make the Braverman family achingly relatable.

26. “Parks and Recreation”*

Peacock is now the only place to stream this beloved NBC sitcom about a hardworking city employee (Amy Poehler) and her work family. Although its rosy view of politics and government bureaucracy may feel a bit dated, it is still one of the best sitcoms NBC ever made. (*The first two seasons are available to all users, but Seasons 3-7 require a premium subscription.)

More:'Edgy' 'Saved by the Bell' reboot to debut on Peacock just in time for Thanksgiving

27. “Psych”

A faux-psychic (James Roday Rodriguez) is really a hyper-observational investigator, but he prefers to make jokes and have fake visions with the help of his best friend (Dule Hill). Although originally a crime-of-the-week procedural, later seasons of the series focused more on its pop-culture parodies (“Clue” and “Twin Peaks” are among the best) and goofball comedy. Although the series and revival movie are also available to stream on Amazon Prime, Peacock is the exclusive home of the sequels “Psych 2: Lassie Come Home” and "Psych 3: This is Gus."

28. “Royal Pains”

Mark Feuerstein plays a very chill, very charming “concierge doctor” in this 2009-16 USA series. The whole doctor thing was mostly an excuse for his disaffected protagonist to bum around the Hamptons on the periphery of the rich and famous, which made for a perfectly pleasant, beachy series.

29. “Saturday Night Live”

While you're waiting for new episodes from Season 47, you can dive into the 46 previous seasons of NBC's late-night institution for some quick laughs and topical (well, at the time) parodies.

30. “Suits”

An underachiever with a photographic memory (Patrick J. Adams) poses as a lawyer at a high-powered New York firm and wins big cases in this snappy USA legal drama. Once you get over seeing the former Meghan Markle without Prince Harry – and the show's admittedly absurd premise – enjoy the soapy drama.

31. “Superstore”*

NBC's series about employees at a big-box store is something like a modern-day "Cheers," a workplace comedy set outside a traditional white-collar office in a place we all have wandered into at some point. (The blue vests of the fictional Cloud 9 store might remind you of a certain retail chain.)

32. “Top Chef”*

There are dozens of food shows and chef competitions, but this Bravo staple remains the best, pitting a group of chefs in a series of grueling competitions. Peacock already has the entirety of the recent Season 19, set in Houston, streaming.

33.“Will & Grace”

“Will & Grace” broke new ground on NBC from 1998-2006 and was halfway decent in a recent revival. In either run, this must-see-TV sitcom was a fount of fast-paced dialogue, frequent pop-culture references and easy cast chemistry.

34. "We Are Lady Parts"

"Lady Parts" is a smart, snappy ensemble comedy about an amateur British punk rock band, whose members are all women of Muslim faith. The series kicks off with the band's search for a lead guitarist, which leads to the discovery of Amina (Anjana Vasan), a shy player with stage fright who's unlucky in love. The young cast has wonderful chemistry, the music is lively and the writing feels utterly unique.

35. “Zoey’s Extraordinary Playlist”

NBC’s musical comedy (and two-time USA TODAY Save Our Shows winner) about a San Francisco coder (Jane Levy), who hears other people's thoughts through music after an MRI mishap, is ambitious and fun. The upbeat series (at least in rhythm and emotion, if not plot) has a talented cast of singers belting their hearts out.

Have a different streaming service? Here are the shows worth checking out:

Contributing: Edward Segarra

Netflix gambles big on 'House of Cards'

Gary Levin, USA TODAY

%27A new paradigm%2C%27 says star Kevin Spacey

The actor sees similarities to Shakespeare%27s %27Richard III%27 in unbridled ambition

Writer Beau Willimon is %27fascinated by the paradoxical nature%27 of politics

Netflix is playing politics with television.

The online streaming service barges into big-budget original series with House of Cards, starring Kevin Spacey as conniving congressman Francis Underwood. The first 13-episode season is available as of Friday — all at once — in 40 countries to Netflix's 30 million subscribers, and a second season is already promised for early next year.

This month only, the first episode can also be watched free by non-subscribers at netflix.com/houseofcards.

Netflix has built a business streaming movies and TV repeats for $8 a month. Now it's hoping to rival pay-cable channels HBO, Showtime and Starz by offering up exclusive programming as a lure to keep customers paying those monthly fees. Cards alone marks a high-end, $100 million-plus investment, topping rival bids by HBO and AMC; Netflix is also reviving Fox's canceled cult comedy Arrested Development with 14 new episodes in May.

Spacey calls it "a new paradigm," noting he expects "other companies that have done very well as portals for content start to make their own content and want to compete. Whether or not we're a big splash or we're at the beginning of something, I do think that's where things are headed."

And Modi Wiczyk, co-CEO of producing studio Media Rights Capital, says he chose Netflix because of its offer of complete creative control, the unprecedented 26-episode commitment before a single frame had been shot, and for the show's role as trailblazer: "It gave us the opportunity to be the anchor, the defining show," he says, the way The Shield, Mad Men or The Sopranos were for their cable networks. "It was really kind of rare air."

Borrowed from the BBC

Cards was adapted from a novel by Michael Dobbs (a former adviser to Margaret Thatcher) and a subsequent 1990 BBC miniseries. David Fincher (The Social Network, The Girl With the Dragon Tattoo) shepherded the project, directing the first two episodes and creating sprawling film-style sets in Baltimore and on location in Washington. Fittingly, production wrapped on Election Day.

It borrows the British setup, with American tweaks: As a new president takes office, Francis Underwood (Spacey), a South Carolina Democrat and House majority whip who has paid his political dues, is in line for a coveted post as secretary of State (consider him John Kerry). When he's suddenly denied the job, he looks for payback and another ladder to climb, aided by his equally ruthless wife, Claire (Robin Wright). Among his pawns are a naïve but ambitious reporter (Kate Mara) and a misbehaving congressman (Corey Stoll).

The setting of this series is the corridors of Capitol Hill, but "the show isn't about politics; it's about power," insists the show's head writer and executive producer, Beau Willimon (Farragut North,The Ides of March). "Politics just allows us to see master power players at work: people who are experts at manipulation, intimidation, persuasion, seduction and deception. It's like watching grand-master chess players at a game."

STORY:Netflix makes shows of its own

Though the initial premise implies a revenge fantasy, "what will be clear to people in the first several minutes of the show is this is a story about ascendancy," Willimon says. "This is a man, really a couple, that is interested in power for power's sake. They are unabashedly self interested, they are remorseless in their self-interest. When you're already in a fairly high office and you want more, and up, where do you go, and how do you get there, and what's the highest you can go?"

Like Scottish actor Ian Richardson, who starred in the original Cards, Spacey has portrayed Shakespeare's Richard III on stage, and he sees similarities in both roles. Each addresses the viewer directly at times, in soliloquy fashion. And each has the unbridled "ambition, politically, although I don't think there'll be as big a body count at the end" of Cards, Spacey says.

Essentially, Underwood has one goal, says Wright: "If you're thinking about dealing with the rules of war, what are those laws? To be feared. (And) if you need to be feared, you have to annihilate everyone else in some sense." Which she does, as a tyrannical boss at a charity and a fiercely protective wife, in a role that Spacey likens to Lady Macbeth.

"But I also think what's quite different about Richard and this show is Richard doesn't have a relationship with a wife he trusts implicitly and whose character is as formidable as he is," he says.

But modern political cynicism may resonate more deeply. "I'm endlessly fascinated by the paradoxical nature of our political systems," Willimon says. "We expect our leaders to be bastions of moral integrity, and then we expect them to be effective. And those things do not mix well in the martini glass. To be an effective leader, you have to be willing to do things that most people would find morally abhorrent. And at the same time (people) want them to be saints."

Spacey finds further parallels in recent reassessments of politicians such as Lyndon B. Johnson. "Yeah, he was ruthless, he was a bastard, he was a manipulator, but he got three civil-rights bills passed," he says.

"We have seen over the last four years the most ineffectual congress in the history of the United States," says Spacey. So "it will be very interesting for an audience to observe a character who gets (stuff) done. For them, the question will be, do the ends justify the means?"

What has changed since the four-hour British miniseries first aired, spawning two sequels?

"Certainly starting from 2000 on, people have been a lot more politically conscious," Willimon says. "It doesn't mean they are more politically sophisticated, but they're more engaged. There are moments veering (between) consensus and deep polarization; they see the virtues of political system, but more often its flaws."

And perhaps a bigger change is in the media's coverage of politics as a 24/7 sport, "and not even just the media; everyone has a phone, everyone is a journalist," Willimon says.

Unlike her British counterpart, Mara's Zoe Barnes is "working at a time when print journalism is very much up in the air, and struggling with how it will be as relevant as it once was. She's naïve, but she's savvy, and she's taking chances. She throws her journalistic ethics out the window, and it works. Some people lose their careers as a result of that. Others are where they are because they're doing things they're not supposed to do."

Another first for Spacey

Cards marks Spacey's first lead TV role, though he grew up watching the tube, back when standalone episodic television was designed for viewers with "short attention spans." (The Wild Wild West was a favorite, he says.)

But since a string of movie hits that included L.A. Confidential, The Usual Suspects and American Beauty, he has been drawn to the theater, running London's Old Vic, and now television. "As studios moved further and further away from making movies I was involved with in the '90s," he says, TV become a more hospitable home "if you want to explore complexity and you want to have really interesting characters to play and plot lines to go off in different directions."

Cards' choice of a non-traditional TV home prompted changes in the usual marketing model. Instead of a blanket ad campaign that began weeks before its debut, Cards has been recommended to Netflix's subscribers who've watched similar types of movies and TV shows, and is being promoted with a more traditional campaign that starts today, including the free episode for non-subscribers.

And Netflix doesn't care whether viewers flock in droves to the show right away, as a commercial TV network must. The company only hopes that they show up in sufficient numbers over the long haul. Other networks "have a lot of pressure to get people to watch in a narrow time frame," says chief content officer Ted Sarandos. "We don't think that's conducive to making great television."

At Wednesday's New York premiere, he called Cards "the first series created for the on-demand generation." But the risk in the all-at-once strategy is that viewers can sign up for a free month-long trial at netflix.com, watch all 13 episodes and then quit without paying a penny.

And the Netflix model caters to the binge viewing that TV fans crave: "We want people immediately when they finish a chapter to want to go to the next one," Willimon says.

"It seems that's the way people are consuming their entertainment these days, in big blocks. So it shows you audiences do have a long attention span," adds Spacey.

Whether it's long enough to sustain Cards beyond two seasons is a question only Netflix can answer: Unlike other TV shows, the streaming service does not use Nielsen ratings as a report card. Instead, it can easily (and privately) track what, when and how each of its subscribers watches.

"We've known for a long time where we want Hour 26 to be," Willimon says. "Whether or not we have privilege of going to a third season, or fourth or fifth, there will be a certain completeness to our story … and a door open should we have the opportunity to walk through it."

'A Man's a Man': A rollicking, but sobering, ride

Elysa Gardner

@elysagardner, USA TODAY

Classic Stage Company%27s superb cast thrives under Brian Kulick%27s stinging direction

Duncan Sheik wrote new melodies for stark%2C lyrical musical numbers

USA TODAY rating%3A three and a half out of four stars

NEW YORK — Today's reality TV producers have nothing on Bertolt Brecht.

Back in the 1920s, the epic theater pioneer had the wacky idea that an audience might enjoy watching a man be stripped of his identity entirely and provided a new one, as others describe the process in all its ludicrous, wrenching detail.

That Brecht had a higher purpose in mind than public humiliation in no way diminishes the entertainment provided by the resulting dark comedy, A Man's a Man. And in Classic Stage Company's robust new revival (three and a half out of four stars), which opened off-Broadway Thursday, the work proves as deliciously farcical — and sobering — as ever.

Man's much put-upon protagonist, Galy Gay, is an Irish dockworker described by another character, in Gerhard Nellhaus's accessibly witty translation, as "a solid citizen" whose "head was rather thick." While trying to procure fish for the dinner his wife is making, Gay comes across a group of British soldiers stationed in colonial India, who decide to have a little fun with him — in part to save their own hides.

One of their troop members has gone AWOL at a rather inconvenient time, it seems, and the boys need to find a stand-in, fast. So after earning Gay's trust, they set about using increasingly callous methods of deception and disorientation to convince him that he is, in fact, their old comrade, Jeraiah Jip — and manage to enlist his help in burying, quite literally, this other fellow named Gay.

In the process, Gay — that is, Jip — becomes a more efficient and brutal fighter than the man born Jip ever was. And Brecht, while making us laugh at everyone's ridiculous behavior, also chillingly reinforces our own potential for psychological and moral malleability — and that this aptitude, however disturbing, can enhance our prospects for survival.

The all-male cast, under Brian Kulick's brisk, stinging direction, proves both adept at broad humor and capable of stunning us into thoughtfulness, as Brecht would have intended. Gibson Frazier's transformation as Gay is at once obvious and jarring, as will Stephen Spinella's artfully exaggerated menace as the sadistic sergeant known, for good reason, as Bloody Five.

Jason Babinsky, Martin Moran and Steven Skybell are all superb as the alternately jocular and savage soldiers, and the noted transgender performer Justin Vivian Bond is winningly cast as the worldly, pragmatic Widow Begbick. Bond's lusty but vaguely rueful woman of a certain age is prominent in several starkly lyrical musical numbers scored by Duncan Sheik, who is shaping up to be the most consistently engaging musical-theater melodist of his generation.

Sheik has a worthy collaborator here in scenic designer Paul Steinberg, an opera veteran who has furnished CSC's intimate venue with a minimalist but brightly imaginative set, dominated by green wood — the color of the jungle, and of money — and bright orange barrels that serve as multi-functional props, with actors rolling them and, to simulate gunfire, banging on them.

The most elaborate feature is an enormous, whimsical representation of Ganesha, a Hindu deity with the head of an elephant. That animal ends up playing a key role in the plot, which, we are assured early on, is "incomprehensible." No matter: however bizarre or surreal the journey, A Man's a Man will leave you shaken, and invigorated.

Disney+ to Apple TV+ to Netflix: The major streaming services, ranked

Welcome to the era of the Streaming Wars.

Hollywood is getting more crowded than ever as two new online streaming services, HBO Max and Peacock, prepare to join the digital fight for your eyeballs and money in 2020.

The new TV landscape can be a daunting avalanche of choices, and subscribing to every new service can easily end up costing more than that cable bill you already cut. Netflix, Hulu and Amazon still dominate the streaming world, but Disney+ and Apple TV+ jumped into the fray last fall. And don't forget smaller services like CBS All Access, Shudder and Acorn TV trying to find their place in the mix.

But not all streaming services are created equal. Before you subscribe to the latest, consider our list of the major services, ranked from best to worst. We've included only services not available as a cable channel (sorry, HBO Now), and those streaming in 2020.

1. Hulu

Cost: $5.99/month with ads; $11.99/month commercial-free

Originals: A mix of award-winning high profile dramas (“The Handmaid’s Tale,” “The Act”), tiny, quirky and acclaimed comedies (“PEN15,” “Shrill”), several prestige-chasing "FX on Hulu" originals ("Devs," "Mrs. America" with Cate Blanchett) and occasional theatrical or streaming-only films (“Little Monsters,” “Fyre Fraud”).

Library: Includes currently airing TV shows on ABC, NBC and Fox (“The Masked Singer,” “Stumptown”) paired with archival series (“Buffy the Vampire Slayer,” “Designing Women,” “Seinfeld,” everything that ever aired on FX) and films (“Boyz n the Hood”).

Kid-friendly? A robust kids' section has mostly older shows (“Sailor Moon,” “Doug”) but a few originals like “The Bravest Knight.”

Hulu tops our list because it's a broadly appealing service that offers plenty of genres and styles without scraping the bottom of the barrel for new content. The ability to watch current broadcast shows in-season is a huge advantage. And Hulu has the best selection of archival TV series with a solid showing of films, too (it recently acquired streaming rights to this year's best picture winner "Parasite," debuting on Hulu April 8). Its originals could be better (although it has a great 2020 with "High Fidelity" and "Little Fires Everywhere"), but the service has wisely chosen not to overload us with shoddy new programming, a mistake its biggest competitor, Netflix, has unfortunately made.

In the past few months, Hulu’s value has grown now that Disney effectively owns the service. A new "FX on Hulu" hub now offers in-season streaming of FX series (don't sleep on "Breeders") and the premiere of "FX on Hulu" originals like "Devs," which won't air on cable. More adult Marvel content will likely gravitate here as Disney+ hones its "family friendly" brand.

2. Netflix

Cost: $8.99/month to watch on one screen at once, $12.99/month to watch on two screens or $15.99/month to watch on four screens in Ultra HD.

Originals: Has the largest crop of originals, which means the biggest mix in quality as well. Notables include “Stranger Things,” “The Witcher” and “The Crown,” in addition to Oscar-bait movies like Martin Scorsese's “The Irishman.” Recently trash-reality TV shows like "Love is Blind" and "The Circle" have become prominent on the service.

Library: Shrinking every year. Although some stalwarts remain (“Breaking Bad,” “Dexter,” “Supernatural”), Netflix is investing in originals, not in holding onto the rights for legacy series and films. ("Friends" is already gone, and "The Office" and "Parks and Recreation" will shift to Comcast's Peacock by 2021 for U.S. subscribers).

Kid-friendly? Netflix’s kids’ section is massive, populated mostly with dozens of originals (A “Boss Baby” series, a “Green Eggs and Ham” adaptation) and some library content (“Pokemon").

Netflix is synonymous with the idea of streaming content, but while it pioneered the format, it hasn’t perfected it. The service has a huge number of films and TV shows to choose from, but that library isn’t as good as it once was. Netflix’s biggest flaw is that it is abandoning archival content in favor of an ever-more-mediocre slate of originals across all genres of TV and film.

A handful of these series are brilliant (“The Crown,” “BoJack Horseman”); others are decent (“Queer Eye”); but most are poor facsimiles of better TV (“Ozark,” “Fuller House”). In the past few months it has better commanded the zeitgeist with buzzy series like "Witcher" and "Love is Blind" (despite questionable quality). Original movies have a distinct “TV movie” vibe. Still, Netflix is a really valuable service and the biggest name in the game, only slightly edged out by Hulu.

3. Amazon Prime Video

Cost: $12.99/month, but comes with free two-day shipping

Originals: "Jack Ryan," "Bosch," "The Marvelous Mrs. Maisel" and lots of small, awards-friendly fare, a lineup that's changing rapidly as the company embraces genre shows like an upcoming “Lord of the Rings” series.

Library: A wide assortment that most notably includes Masterpiece dramas(“Downton Abbey”), mid-2000s procedurals (“The Closer,” “Bones”), USA Network shows (“Mr. Robot,” “Suits") and some older HBO programming.

Kid-friendly? Yes, Amazon includes originals like “Kung Fu Panda” and Nickelodeon series like “SpongeBob SquarePants” and “Dora the Explorer.”

Amazon’s TV output is perfectly acceptable, especially if you like quaint British television and series your grandparents will enjoy. The streamer excels at comedies (Emmy-winning “The Marvelous Mrs. Maisel” and “Fleabag”) and dad shows ("Jack Ryan," "Bosch," "Patriot") and has an impressive selection of British TV (“Downton Abbey,” "Grantchester"). Its library of old series and originals is not as big as Hulu and Netflix, but it does have Oscar-nominated and acclaimed films ("The Big Sick" and "Midsommar").

Your money goes further here than with any other service, because it pays for two-day shipping with all the TV as a bonus, but it still offers a higher proportion of niche programming than its rivals. Unlike Netflix or Hulu, it can’t replace your cable subscription all on its own, but its lineup is greatly expanding. Adaptations of big books like "The Power," "Wheel of Time" and a very expensive version of “Rings" are all in the works.

3. Disney+

Cost: $6.99/month or $69.99/year (available Nov. 12)

Originals: The first Star Wars live-action series (“The Mandalorian”), teen comedy “High School Musical: The Musical: The Series,” “Toy Story” spinoff “Forky Asks a Question” and a slew of nonfiction series. More Star Wars and Marvel series are promised this year and beyond.

Library: The Disney Vault has opened, and classics (“Snow White and the Seven Dwarfs") and duds (“The Shaggy D.A.”) alike will flood the service, along with recent blockbusters (“Avengers: Endgame”) from the studio. Some titles inherited from the merger with 20th Century Fox (“The Simpsons”) also are available.

Kid-friendly? Extremely. All content on the service is family friendly to some degree, to fit with the Disney brand.

The biggest threat to existing services comes from the biggest conglomerate in Hollywood. Disney is flexing its considerable muscle by offering its classic films paired with original series from its biggest brands: Star Wars, Pixar and Marvel. Its huge library is its biggest advantage, as is the ability to reboot and revive. But the biggest disadvantage is the lack of diversity in programming.

After "Mandalorian," most of the original series that have premiered so far have been for kids or wholesome reality (or both). The service has no plans for mature programming or mindless reality TV, both of which have their time and place. If you have kids, the value of the service goes up exponentially, but for those of us not trying to entertain tykes, other streamers have more to choose from.

5. CBS All Access

Cost: $5.99/month with commercials, $9.99/month without

Originals: “Star Trek: Discovery,” “The Good Fight,” “The Twilight Zone,” “Why Women Kill,” "Star Trek: Picard"

Library: Current (and recent) CBS series, classics (“I Love Lucy”) and movies (“Rocky”).

Kid-friendly? Some library content like “Sabrina the Teenage Witch” and “Everybody Hates Chris,” but nothing for preschoolers and no originals.

Don’t knock the Eye’s streaming service until you’ve tried it. It's a little on the expensive side for the number of originals, but its streaming shows have a better batting average when it comes to quality (“The Good Fight” is one of the best shows on TV, and "Picard" is the rare nostalgia play that is more than just fan service). In addition to CBS shows, its library includes a treasure trove of classic films and TV, such as “Happy Days” and “The Brady Bunch.” Parent ViacomCBS has announced plans to eventually combine All Access with programming from its cable channels (MTV, Nickelodeon, Comedy Central) and Paramount film library. But for the moment, it's still limited in scope, so seeing some episodes of a “Trek” series a few times a year may not be worth the expense.

6. Apple TV+

Cost: $4.99/month; free for one year with purchase of an Apple product (available Nov. 1)

Originals: “The Morning Show,” “See,” “For All Mankind,” “Dickinson,” “Little America,” "Mythic Quest: Raven's Banquet," an "Amazing Stories" remake and festival-style films like "Hala."

Library: None

Kid friendly? Some kids's shows including "Snoopy in Space" and "Sesame Street"-like "Helpsters."

Despite its low price tag, Apple has a distinct disadvantage in value because it has no back library of classic shows or films. You could burn through their entire new catalog in a few weeks, even thought it is slowly building. Its highest profile series, like Jennifer Aniston and Reese Witherspoon soap “The Morning Show,” have been its most mediocre. It has a few standouts, like "Little America" from Kumail Nanjiani and Emily V. Gordon and "Mythic Quest: Raven's Banquet" from the "It's Always Sunny in Philadelphia" guys. But is it worth subscribing for just two or three guaranteed-good shows? Probably not.

Ranking soon: HBO Max and Peacock

Although we haven't been able to get hands (or, rather, remotes) on 2020's two big streaming service upstarts yet, both companies have made several announcements about what kind of programming to expect.

Here are the basics on each:

HBO Max: Set for a debut in May, the streaming service from WarnerMedia is more than just the home of "Friends" and a "Friends" reunion (although they certainly aren't shy about promoting that). The service will include HBO content, sitcom reruns like "The Big Bang Theory" and "South Park," dramas like modern "Doctor Who" and originals that include new DC Comics superhero series and an "Apprentice"-like reality series starring Bethenny Frankel. So far it has the highest monthly price: $14.99, roughly the same as HBO's cable subscribers now pay..

Peacock: Launching in Comcast homes April 15 (and nationally July 15), NBCUniversal's service will include three price tiers, "Law & Order: SVU" and "Saturday Night Live," and "The Tonight Show Starring Jimmy Fallon" and "Late Night with Seth Meyers" a few hours before the late-night talk shows air on NBC. Originals include remakes of "Battlestar Galactica," from producer Sam Esmail ("Mr. Robot"), teen series "Saved By the Bell" and "Punky Brewster;" and an adaptation of Aldous Huxley's "Brave New World," starring Demi Moore. Universal Studios' film classics also will become part of the service.

Honorable mentions: AcornTV, Britbox, Shudder, YouTube and Facebook Watch

A few other, much smaller streaming services are vying for your wallet. AcornTV and BritBox are for serious Anglophiles (Acorn has more mysteries, Britbox has all of classic "Doctor Who"). Shudder is devoted to horror. Facebook Watch and YouTube are a mix of user-created and professional content. Facebook Watch has one good original series ("Sorry for Your Loss" starring Elisabeth Olsen, which they canceled); so does YouTube ("Karate Kid" sequel "Cobra Kai"). Facebook Watch is free if you have time for it, and YouTube also has a free tier, with ads.

Contributing: Gary Levin and Bill Keveney

Passages in 2012: Notable deaths in entertainment

USA TODAY

Bob Anderson, 89, Olympic fencer and movie sword master who appeared in some of film's most famous dueling scenes — though few viewers knew it. His first film work was coaching Errol Flynn on The Master of Ballantrae in 1952. Anderson later donned Darth Vader's black helmet and fought lightsaber battles in two of the three original Star Wars films. Few knew until Mark Hamill, who played Luke Skywalker, spilled the beans in 1983. "It was always supposed to be a secret," Hamill said, "but I finally told (director) George (Lucas) I didn't think it was fair." Anderson was one of the industry's most sought-after stunt performers, working in From Russia With Love, The Princess Bride, The Mask of Zorro, the Lord of the Rings trilogy and more. Cause not given, Jan. 1.

GerryAnderson, 83, creator of kids' action shows Thunderbirds, Supercar and Fireball XL5, all featuring marionettes in the 1960s. "Thunderbirds are Go!" became something of a catchphrase. Later, he produced the live-action Space 1999. In his sleep, Dec. 26.

Bill Asher, 90, director and producer behind the TV classics I Love Lucy and Bewitched. He directed Lucille Ball and Desi Arnaz for 100 of the show's 181 episodes. He also produced and directed The Patty Duke Show and Bewitched, which starred his then-wife, Elizabeth Montgomery. Montgomery and Asher had three children together. Complications from Alzheimer's disease, July 16.

Robert Temple Ayres, 98, set illustrator who created the map that went up in flames during the opening of Bonanza. Officially called "Map to Illustrate the Ponderosa in Nevada," it was conjured up just so it could burst into flames on television screens while the theme music played. Heart failure, Feb. 25.

Ernest Borgnine, 95, the beefy, gap-toothed McHale's Navy star who had an Oscar-winning résumé and 200 film credits but seemed more of an Everyman. During a 60-year career, he worked with Helen Hayes on Broadway, with Gary Cooper and Spencer Tracy in film, and, for a much younger generation, as a voice actor in SpongeBob SquarePants on TV. Natural causes, July 8.

Dick Clark, 82: With his toothpaste-ad smile and a microphone ready, Clark was a pop culture fixture for decades. From American Bandstand host to New Year's Eve stalwart, Clark was an irrepressible entrepreneur who built an empire for himself in the entertainment industry. Heart attack, April 18.

Don Cornelius, 75: Armed with sharp suits and a mesmerizing voice, in 1970 he launched the song-and-dance TV show Soul Train. With his smooth baritone, Cornelius introduced hundreds of stars to the nation's TV audience, including James Brown, Marvin Gaye, The O'Jays and Barry White. Suicide, Feb. 1.

Richard Dawson, 79, British-born actor familiar to millions of Americans through such TV sitcoms as Hogan's Heroes and the game show Family Feud. Esophageal cancer, June 2.

Phyllis Diller, 95, comedian who crashed the male stand-up comedy circuit to become an icon in the field. She didn't begin her comedy career until she was 37, but quickly made her mark and became a mainstay on television and in nightclubs with her wild wigs and cackling laugh. In her sleep, Aug. 20

Michael Clarke Duncan, 54, imposing 6-foot-5, 315-pound, bass-voiced actor who shot to fame for playing a death row inmate opposite guard Tom Hanks in the 1999 drama The Green Mile. The murder of rapper Notorious B.I.G., whom Duncan had been hired to protect, led him to pursue acting full time in his 30s. Complications from a heart attack, Sept. 3.

Charles Durning, 89, familiar character actor who played cops and politicians and lusted after a cross-dressing Dustin Hoffman in Tootsie. Survived D-Day with a Purple Heart and Silver Star. No cause given, Dec. 24.

Jake Eberts, 71, Canadian independent producer and founder of Britain's Goldcrest Films, which revived the British cinema industry in the 1980s with a string of Oscar-winning movies, including Gandhi and Chariots of Fire. Eberts financed or produced more than 50 films, which also included Driving Miss Daisy, Dances With Wolves and The Killing Fields. Uveal melanoma, Sept. 6.

Nora Ephron, 71, one of cinema's most successful female filmmakers, she reinvented the banter-rich romantic comedies of the '30s and '40s for the modern era with hits as 1993's Sleepless in Seattle and 1998's You've Got Mail. Ephron also leaves behind a legacy of novels, plays and collections of humorous essays that drew upon her own experience. Acute myeloid leukemia, June 26.

Chad Everett, 76, blue-eyed star of the 1970s TV series Medical Center who went on to appear in films and TV shows such as Mulholland Drive and Melrose Place. Everett played sensitive doctor Joe Gannon on Medical Center. The role earned him two Golden Globes and an Emmy nomination. He also guest-starred on The Love Boat, Without a Trace and Murder, She Wrote. Lung cancer, July 24.

James Farentino, 73, actor who appeared in dozens of movies and television shows. Farentino starred alongside Kirk Douglas in 1980's The Final Countdown. He also starred opposite Patty Duke in 1969's Me, Natalie. Farentino had recurring roles on Dynasty, Melrose Place, The Bold Ones: The Lawyers and ER, playing the estranged father of George Clooney's character. Heart failure, Jan. 24.

Jonathan Frid, 87, Canadian-born actor best known for playing Barnabas Collins in the 1960s original vampire soap opera Dark Shadows. The role made him a commercial success and kept him busy throughout his career with reunions, fan events and dramatic readings. Natural causes, April 14.

Ben Gazzara, 81, who starred in films, on TV and on Broadway in the original Cat on a Hot Tin Roof and A Hatful of Rain, which earned him his first of three Tony Award nominations. He earned TV stardom in Run for Your Life and was twice nominated for Emmysduring the show's three-year run. Cancer, Feb. 3.

Andy Griffith, 86: The country boy a country came to love in his role as small-town Southern sheriff Andy Taylor on The Andy Griffith Show. Griffith embodied one of America's favorite archetypes: the seeming country bumpkin who's actually smarter than anyone around. He got his big break in 1955 in No Time for Sergeants, a TV play that became a Broadway hit. His big-screen debut came in 1957 in Elia Kazan's A Face in the Crowd. He later starred in the TV courtroom drama Matlock. Heart attack, July 3.

Larry Hagman, 81: Actor forever remembered as the gleefully conniving J.R. Ewing from the 1980s TV series Dallas. When Dallas ended in 1991 after 13 years, J.R. lived on, associated forever in popular imagination with Hagman. And when TNT said it was reviving the series last year, Hagman agreed to reprise his role. His mother was stage legend Mary Martin, and his role as an astronaut in the Sixties' I Dream of Jeannie first made him a household name. Cancer, Nov. 23.

Sherman Hemsley, 74: In 1973, All in the Family patriarch Archie Bunker met his match in George Jefferson, every bit his equal when it came to being bigoted, rude and utterly entertaining. That was thanks to the deft comic touch of Broadway and TV veteran Hemsley. In 1975, Jefferson and his wife "Weezy" (Isabel Sanford) "moved on up to the East Side" in their spinoff, The Jeffersons. The show ran for 11 seasons and garnered Hemsley an Emmy nomination for lead actor in a comedy. Complications from lung cancer, July 24.

Celeste Holm, 95, bright-eyed blonde who soared to Broadway fame as Ado Annie in Oklahoma! and won a supporting actress Oscar for Gentlemen's Agreement. She also played Bette Davis' best friend in All About Eve. Natural causes, July 15.

David Kelly, 82, Irish character actor who played Grandpa Joe in Charlie and the Chocolate Factory and motorcycled naked in Waking Ned Devine. Short illness, Feb. 12.

Jack Klugman, 90, the guy-next-door actor who played a meek juror in 12 Angry Men, an idealistic medical examiner in Quincy, M.E., and, most unforgettably, the sloppy Oscar to Tony Randall's Felix in The Odd Couple. No cause given, Dec. 24.

George Lindsey, 83, most widely known for playing Goober Pyle on the iconic television series The Andy Griffith Show, also had parts in numerous films, judged the Miss USA pageant for years and was a Hee Haw cast member for years. Brief illness, May 6.

Herbert Lom, 95, Czech-born actor best known as Inspector Clouseau's long-suffering boss in the comic Pink Panther movies. Lom appeared in more than 100 films, including Spartacus and El Cid. But he was most famous for playing Charles Dreyfus, the increasingly unhinged boss to Peter Sellers' befuddled detective Clouseau. The two actors starred together starting in A Shot in the Dark in 1964 until Sellers' death in 1980, and Lom continued in the series until Son of the Pink Panther in 1993. In his sleep, Sept. 27.

Chris Marker, 91, influential French filmmaker whose career spanned six decades. Marker's large body of work includes the 1962 classic La Jetée (The Jetty), an award-winning post-apocalyptic movie often ranked among the best time-travel films ever made. Marker was also known for the documentary style seen in his other famous work, 1983's experimental essay-film, Sunless. Cause not given, July 29.

Ralph McQuarrie, 82, artist who developed the look of the first Star Wars trilogy's signature characters, sets and spaceships. McQuarrie's original concepts included Darth Vader, C-3P0 and R2-D2. He also created the look of the Stormtroopers and the lightsaber. Parkinson's disease, March 3.

Jerry Nelson, 78, puppeteer best known for giving voice to Count von Count, the silly but instructional vampire mathematician on Sesame Street. After joining Sesame Street during its second season in 1970, Nelson brought to life such characters as Mr. Snuffleupagus and detective Sherlock Hemlock. Nelson retired from physical puppeteering in 2004 but continued to voice Muppets. Emphysema, Aug. 23.

Mark O'Donnell, 58, who won a Tony Award in 2003 as co-author of the book for the Broadway musical Hairspray and was nominated for another in 2008 for Cry-Baby. His other plays include That's It, Folks!, Fables for Friends and Tots in Tinseltown. Cause not given, Aug. 6.

Ron Palillo, 63, actor who played class clown Arnold Horshack on the 1970s television comedy Welcome Back, Kotter. Palillo's "Oooh! Oooh!'' appeals for attention became his character's catchphrase. Heart attack, Aug. 14.

Frank Pierson, 87, Oscar-winning screenwriter of Dog Day Afternoon and Cool Hand Luke. Perhaps Pierson's most famous line was for Cool Hand Luke: "What we've got here is failure to communicate." He also wrote and directed 1976's A Star Is Born. Pierson served as president of the Academy of Motion Picture Arts and Sciences from 2001 to 2005 and served as governor of its writers branch for 17 years. Natural causes, July 22.

Ann Rutherford, 94, demure brunet actress who played the sweetheart in the Andy Hardy series and Scarlett O'Hara's youngest sister in Gone With the Wind. It was said she won the part of Carreen in Gone With the Wind because Judy Garland was filming The Wizard of Oz. Among her other films: Whistling in the Dark and its two sequels, Orchestra Wives and The Secret Life of Walter Mitty. Rutherford concurred with other GWTW stars that no matter what else they had done, "our obituary will say we were in Gone With the Wind, and we'll be proud of it." Heart problems, June 11.

Vidal Sassoon, 84, arguably the world's first celebrity snipper, his name became synonymous with cutting-edge cuts — wash-and-go wedges, bobs and other crops — and, later, slapped on shampoo bottles, a staple of suburban women's grooming regimens. Natural causes, May 9.

Pierre Schoendoerffer, 83, Oscar-winning French filmmaker who was held prisoner in Indochina and chronicled the pain of war on-screen and on the page. He won an Academy Award in 1968 for his documentary The Anderson Platoon, which was filmed in Vietnam. Cause not given, March 14.

Tony Scott, 68, British-born director and producer who lived his professional life in the fast lane, directing heart-pounding hits such as Top Gun,Days of Thunder and Unstoppable. Scott, known for his trademark red baseball cap, was one of the most sought-after directors in Hollywood because of his repeated success at the box office. Suicide, Aug. 19.

Bob Stewart, 91, television producer who created such popular game shows as To Tell the Truth, The $10,000 Pyramid and The Price Is Right. In 1956, Stewart met with Mark Goodson of Goodson-Todman Productions, the company that came up with the prototype for the TV game show. Goodson initially rejected Stewart's first idea, Three of a Kind, which he described as a show featuring three contestants claiming to be the same person and a panel trying to ferret out the truth. When Goodson asked if he had anything else, Stewart mentioned The Auctioneer, which was based on guessing the cost of consumer products. On the spot, Goodson green-lighted the second pitch, which became The Price Is Right. It made its debut on NBC in 1956. Three of a Kind became To Tell the Truth, which also premiered in 1956, on CBS. Around 1960, Stewart helped create a third hit for Goodson-Todman, Password. But in 1964, Stewart formed his own production company and had his greatest success with The $10,000 Pyramid. It first appeared in 1973. The Pyramid productions received nine Emmy Awards as best game show. Natural causes, May 4.

Jenny Tomasin, 73, British actress known as the clumsy, disheveled, Valentino-obsessed kitchen maid Ruby Finch in Upstairs, Downstairs. Hypertensive heart disease, Jan. 3.

Ginny Tyler, 86, former Disney head Mouseketeer and voice actress. When episodes of television's The Mickey Mouse Club were repackaged for syndication in 1963, Tyler became the head Mouseketeer, who hosted new segments of the TV show that were woven around the old. Tyler was also the voice on the records Bambi and Babes in Toyland and the voice of Polynesia the Parrot in Dr. Dolittle. She sang the parts of barnyard animals in Mary Poppins. Natural causes, July 13.

William Windom, 88, who won an Emmy Award for his role as John Monroe in the 1969 TV comedy series My World and Welcome to It. He went on to score guest appearances on several popular shows, including Twilight Zone and Star Trek, and appeared on more than 50 segments of Murder, She Wrote. He also played the part of the prosecuting attorney in the movie To Kill a Mockingbird. Congestive heart failure, Aug. 16.

Isuzu Yamada, 95, one of Japan's most formidable and revered actresses who is perhaps best remembered as the treacherous wife of a warlord in Throne of Blood. Yamada appeared in more than 120 film and television roles, in addition to her extensive theater career. She rose to movie stardom in the mid-1930s playing a series of "fallen women" under the director Kenji Mizoguchi, whose films explored societal hypocrisies toward women. Multiple organ failure, July 9.

Richard Zanuck, 77, film producer who won the best-picture Oscar for Driving Miss Daisy and was involved in such blockbuster films as Jaws and The Sting after his father, Hollywood mogul Darryl Zanuck, fired him from 20th Century Fox. Heart attack, July 13.

Summer 2019 TV winners ('Bachelorette') and losers ('Big Little Lies')

August is coming to a sad, humid close, which means it's almost time to say hello to shiny new fall TV series and returning favorites and goodbye to the oddballs that populate our screens in summer.

Summer TV is always a mixed bag of great series and truly terrible ones. Especially on broadcast TV, where viewers usually see experimental or light programming that can either be adorably amusing or truly idiotic. This year was no exception, and there were some distinct hits – both in ratings and quality – and some true misses.

We break down the shows and personalities that came out on top, and those who would rather forget summer 2019 ever happened.

Winner: 'The Bachelorette'

Adding intrigue and relevance to a franchise as old as "The Bachelor" is nearly impossible, but the allure of Hannah Brown (who will soon take her talents to "Dancing with the Stars"), helped ABC make the 15th season of "Bachelorette" vital viewing. Not only did the series manage to beat out summer juggernaut "America's Got Talent" among young adults to rank as summer's No. 1 show, it also delivered great reality television and managed to reclaim its status as a buzzy, zeitgeist hit. After Tyler, Jed and all the deep talks and drama, can anyone even remember why fans wanted Hannah G. to be the Bachelorette?

Loser: 'Love Island' and 'Paradise Hotel'

There was less love for CBS's version of British import "Love Island" and Fox's revival of "Paradise Hotel." Although it was a compelling remake of the U.K. sensation, "Island" had meager viewership for its nightly episodes (CBS still renewed it). "Hotel" was an exploitative bore upon arrival and didn't fare much better.

Winner: Nostalgia done right

Pop culture's obsession with nostalgia shows no signs of fading, but bringing back beloved TV shows has to be done in the right manner to satisfy fans and newcomers alike. With three very different story approaches, Hulu's "Veronica Mars," Fox's "BH90210" and Netflix's "Stranger Things" capitalized on our cravings for the familiar, but didn't pander or talk down to viewers. "Mars" had a good story to tell about its protagonist (Kristen Bell) as an adult, "BH" went for a cute, meta and self-effacing concept and "Stranger" changed its winning formula and slid a few new 1980s references into the mix.

Loser: Pointless second seasons

Although revivals of "Mars" and "90210" worked, that doesn't mean every successful or beloved show needs a comeback. The second season of HBO's Emmy-winning "Big Little Lies," which was initially planned as a one-time miniseries, proved a near-total failure. Despite adding Meryl Streep, the new chapter couldn't find a story that matched the incisive and beautiful first series. Worse, its disastrous finale episode finished on an incredibly sour note.

Winner: Depressing miniseries about Russian politics

Who knew that a low-profile miniseries about the world's worst nuclear disaster would become such a breakout hit? "Chernobyl," HBO's dramatization of the nuclear power station meltdown in Soviet Ukraine in the 1980s, turned dry scientific discussions into riveting TV, and powerfully gave voice to victims of a terrible tragedy. The series was beloved by critics, scored 19 Emmy nominations and ranked as the most beloved show on the popular film and TV site IMDb.

Loser: Depressing miniseries about American politics

Despite its inflammatory subject matter and A-list cast (including Russell Crowe, Sienna Miller, Seth MacFarlane and Naomi Watts), Showtime's Roger Ailes miniseries "The Loudest Voice" failed to connect. The series kicked off with soft ratings on Showtime, and the Fox News founder's origin story never sparked nearly as much conversation as the cable news network itself could.

Winner: Weird reality shows you can understand

Who knew mini-golf could be so entertaining, even when you're not putting? ABC's Stephen Curry-produced "Holey Moley" was a delightful surprise this summer. It was big, weird and self-aware, with enough comedy and "Wipeout"-style mini-golf antics to be just the kind of summer fun viewers want. ABC also had good luck with its revival of the classic game show "Press Your Luck," hosted by Elizabeth Banks, which had the gloriously cheesy set and animated "Whammy" of the 1970s original, making it a quirky, nostalgic treat.

Loser: Weird reality shows you can't understand

What just happened on "What Just Happened?!!"? Fox's gamble on a fake after-show for a fake genre series certainly didn't work out. Despite Fred Savage's best comedic efforts, the series bombed.

Winner and loser: 'Veep'

HBO's political comedy garnered nine Emmy nominations for its final season, and it will probably walk away with (at least) one last win for star Julia Louis-Dreyfus. Despite the love from the TV Academy, the last season of the series was disappointing. Perhaps because American politics are stranger than the antics "Veep" portrays, Selina Meyer (Louis-Dreyfus) and the rest didn't pack the same satirical punch in their last outing.

Winner (and probable gracious loser): Phoebe Waller-Bridge

The star, writer and creator of Amazon's "Fleabag" and creator of BBC America's "Killing Eve" was relatively unknown in Hollywood a few years ago, but now Phoebe Waller-Bridge is a multiple Emmy nominee working on the new James Bond film. Her fantastic summer included the exquisite second (and sadly final, for now) season of "Fleabag" in May and Emmy nominations for acting, writing and producing the series, and producing "Eve." In a crowded Emmy field, the nominations might have to suffice, but the future looks bright for Waller-Bridge, and that's a good thing for those of us who love TV.