Today, with 30 teams, 750 players can make it to a team. Fifth-rate pitchers can be starters, and a ,240 batting average is acceptable.That means 350 players on rosters today could not have been on a team 56 years ago. Netflix has watered down stardom and given opportunity to the hush leaguer by not being particular enough.
The nearest is “Hamilton’s America,” a documentary appearing as part of PBS’s “Great Performances” that chronicles the development and production of Broadway’s you-can’t-get-a-ticket hit, “Hamilton.” (Even I can’t get a ticket and for decades, because I write extensively about theater, I could always arrange to buy a house seat from a producer or press agent if box offices did not have seats. 21, contains several excerpts from the show, so television audiences will be able to get their best sense of date of what makes “Hamilton” great. (I don’t believe anything until I see it.) Being PBS (Channel 12 locally), history and the way it is told is the subject of the show.“Hamilton’s” composer, lyricist, and original star, Lin-Manuel Miranda will be interviews about how he took Ron Chernow’s wonderful book, one that established Alexander Hamilton is his rightful place as the person who did so much to craft the United States in ways that continue today.(Chernow also has a marvelous biography of the only person, to my mind, played a more critical role in making America, George Washington).Television Academy Chairman and CEO Bruce Rosenblum, from left, host Jimmy Kimmel, producer Don Mischer and Guillermo Rodriguez roll out the red carpet at the 2016 Primetime Emmy Awards Press Preview Day at the Microsoft Theater on Wednesday, Sept. As the television season begins, the shows that excite me most are in the near and distant future.Most fare on the grandfathered networks seems same-old, same-old, with different faces mouthing the same lines and doing the same takes that have been televisions staples for years. HBO, which provided a summer blockbuster is veering toward new comedies for the fall, and while Sarah Jessica Parker’s new show, “Divorce,” looks as if has potential as jaunty entertainment, and Issa Rae looks as if she might be better than her material in “Insecure,” neither show seems compelling enough to make an appointment to watch.
I could never get into the other summer hit, “Stranger Things.” The children, except for the two leads, Finn Wolfhard as Mike and Millie Bobby Brown as the androgynous El – I didn’t know in the first episode how the people at the backroad café know El is a girl.
– were annoying to the point you wouldn’t mind if most of them were taken, and Winona Ryder, once an actress I liked a lot, proved she might be more suited to retirement.
Especially if you compare her role to Kirsten Dunst’s in last year’s “Fargo.” Netflix has reached a pass at which it needs to reconsider it program policy. Now they’re inconsistent and border on the mediocre.
Once a great upstart because it presented shows such as “House of Cards” and “Orange is the New Black” on a non-cable, non-broadcast format that would be cheaper, more accessible, and equally capable of competing with cable and entertainment networks for content, Netflix has become too prolific and too allowing. There are fewer true grabber, and it seems as if anyone who has eight shows ready can get Netlfix to present his or her stuff.
It doesn’t have to draw an audience to it every week, so it posts a whole series of programs at once, leaving viewers to spend a day or four just taking in the latest product. The effect is the same as when professional sports leagues expanded.
In 1960, before the Los Angeles Angels and Washington Senators turned 16 baseball teams to 18, only 400 people could make a major league roster. In 1962, when the New York Mets and Houston Colt .45s began playing, 500 could.