Where You Can Watch The Dukes Of Hazzard – And Why You Should

hiNothing makes me want to do something more than somebody telling me I can’t. And apparently I’m not alone in that sentiment.

After my reporting of TV Land’s cancellation of The Dukes of Hazzard Tuesday sparked a national media frenzy a day later, the suddenly-controversial TV series has jumped to the top of the Amazon sales charts. DVDs of the 1979-85 CBS series now occupy the six top slots on the DVD Best Sellers list, with a collection of two reunion movies charting at number 12.

For fans who disagree with TV Land’s decision to pull the show – and, based on the traffic this site has gotten in the last few days, there’s a lot of them – this is great news. Now for the bad news: season 1 and season 4 are already out of stock, and you’ll have to wait as long as two weeks for the e-tailer to ship the other five.

Perhaps sensing an opportunity, Amazon is streaming the 1979 Dukes pilot episode free of charge. You’ll have to endure some commercials in return for a free lunch at the Boar’s Nest, but the episode is uncut and in its original 4:3 aspect ratio (unlike the remastered, widescreen versions TV Land had been airing).

BossIn fact, Amazon streams all seven seasons of the series, but unlike the thousands of TV shows and movies included with their $99 Prime membership annual fee, a visit to Georgia’s fictional Hazzard County is gonna cost you a little something extra. Digital copies of individual episodes are priced at $1.99, or you can buy a full season for $19.99 (most of which goes to Boss Hogg, I assume).

Now let’s run the numbers.

Collecting the complete series of The Dukes of Hazzard on DVD (which will require paying a mark-up to a third party seller for the first season) will cost you at least $215 (plus shipping). Buying the series electronically from Amazon nets out at about $140.

Best of all, you can watch the episodes on your TV using an easy-to-set-up Internet streaming player. (I’d recommend a Roku, which is the most transformative piece of consumer electronics I’ve ever owned.) The shows are commercial-free and you can watch them whenever and wherever you want, using Amazon’s apps for your iOS or Android tablets and phones.

As a 10-year-old in 1979, the automotive slapstick of cousins Bo, Luke, and Daisy, their Uncle Jessie, and chief antagonist Sheriff Rosco P. Coltrane was a weekly ritual for me. Is the show silly? You bet. Intentionally so. Is it racist? I watched it for years and that thought never occurred to me. It still doesn’t, and I’m about as liberal as they come. But as I’ve learned over the years, affection for classic TV and film can make strange political bedfellows.

This country needs to engage in a serious national dialogue about race, but that conversation has very little to do with The Dukes of Hazzard. I respect the perspectives of those who take issue with use of the Confederate flag in any context, but I’d encourage folks to revisit The Dukes of Hazzard before they dismiss it as a racist relic. There’s a line the narrator (country music legend Waylon Jennings) says in the pilot episode that I think sums up seven years of storytelling:

The Duke family was in the whiskey business 50 years before the Declaration of Independence. They fought everybody from the British to the Confederacy to the U.S. government to stay in it.

It’s that rebellious spirit that appealed to me a kid, and still resonates for many audience members today. Focusing only on the roof of a car misses the forrest for the trees and it demeans a vital issue with a nonsensical sidebar.

But perhaps more importantly, this sort of revisionist censorship runs the risk of having a chilling effect on access to all classic film and television. Because anything that’s old is going to include portrayals and perspectives that may be problematic to contemporary sensibilities. Instead of burying beloved classics on the Internet or in museums, let’s watch and learn from them.

The fight to save classic film and TV has begun, and that fight may just have started in Hazzard County.


Posted in Classic TV | Tagged | 11 Comments

TV Land Pulls “The Dukes of Hazzard”

firstBo and Luke Duke may be “makin’ their way the only way they know how.” But that’s just a little bit more than TV Land will allow.

The Viacom-owned cable network quietly removed The Dukes of Hazzard from their programming schedule yesterday in the wake of recent controversy regarding the show’s extensive use of the Confederate flag. The 1979-85 series had been airing twice daily at 4:36 p.m. and 5:38 p.m. (ET) and, according to listings at TV Guide.com, was scheduled to continue in that slot. The classic Western Bonanza will now air in its place.

A TV Land spokesperson confirmed via email that the series has been removed from the schedule, but offered no further comment.

Thirty years after the CBS hit rode off into the Georgia sunset, The Dukes made headlines once again last week when Warner Bros. (which produced the series and still retains the rights) announced they would no longer license the show’s Confederate flag-emblazoned 1969 Dodge Charger (known as The General Lee). An on-line petition has since been launched by fans, arguing the series “was about family values, fighting corruption, helping friends, neighbors and even strangers… no matter what color they were.” Ben Jones (who played Cooter) also posted a defense of the series (and the flag) on Facebook.

Screen Shot 2015-06-30 at 1.14.23 PMTV Land, which began life in 1996 as a destination for retro reruns, has been seeking recently to shed its classic TV identity. The channel announced a rebranding on June 23, seeking to “overhaul of the network’s brand identity to complement a slate of new, original programming.” TV Land made its first foray into originals with the Golden Girls-esque sitcom Hot in Cleveland in 2010, but broke through this year with Younger, a comedy-drama about a forty-something (Sutton Foster) posing as a Millennial.The Darren Starr-produced series broke ratings records for the channel and attracted a more youthful demographic, including a 180% gain among women 18-34 in primetime.

Country Music Television (CMT) had also been airing The Dukes of Hazzard recently, but a quick check of their website indicates no scheduled broadcasts. CMT is also owned by Viacom.

There’s no word on whether or not The Dukes of Hazzard will return to TV, but all 145 episodes remain available on DVD and for VOD streaming on Amazon Instant for $19.99 per season.

Where you Can Watch The Dukes of Hazzard – And Why You Should

Hat tip to TV Classics ‘R Us and the Classic TV Shows Facebook page, which first reported this news. 


Posted in Classic TV | Tagged | 51 Comments

George Winslow (1946-2015): Child Star of the 1950s Who Upstaged Icons


Even if you love old movies, there’s a good chance you won’t recognize the name George Winslow.

And that’s unfortunate because Winslow, a former child star who died on June 14 at age 69, was one of the funniest film actors of the 1950s – in any age group.

With a deadpan demeanor and husky voice that suggests a kid version of comedian Steven Wright, “Foghorn” (as he was sometimes credited) had a brief but prolific career, appearing in ten films released between January of 1952 and August, 1958. But in that short span he managed to steal scenes from heavyweights like Marilyn Monroe (in GENTLEMEN PREFER BLONDES, as Henry Spofford III), Richard Widmark (MY PAL GUS), Cary Grant (ROOM FOR ONE MORE and MONKEY BUSINESS), Clifton Webb (MISTER SCOUTMASTER) and Jerry Lewis (ARTISTS AND MODELS) before retiring in 1958 and receding into anonymity as a Northern California postal worker.

Born George Karl Wentzlaff on May 3, 1946, Winslow got his start on the NBC radio game show People Are Funny, auditioning in hopes of winning a free bicycle. He briefly became a semi-regular, and his unscripted interactions with genial host Art Linkletter caught the ear of Grant, who was set to star in Norman Taurog’s ROOM FOR ONE MORE at Warner Bros. Taurog cast him as Teenie, youngest son of George (Grant) and Anna Perrott Rose (Betsy Drake), a New Jersey couple who achieved national fame in the 1930s and ’40s as advocates for foster care.

Poster - Room for One More (1952)_10And now I interrupt this obit for a confession: when I had seen ROOM FOR ONE MORE previously, I had dismissed it as a heavy-handed message movie, with laughs that were only unintentional. And then I re-watched it the day after I learned Winslow had died.

Here’s a Pro Tip for the film fan seeking to memorialize a recently departed actor by watching one of his films: don’t pick a tearjerker. Because you just might just lose your shit.

Based on Anna Rose’s popular memoir of the same name (published in 1949 after serialization in Reader’s Digest), ROOM FOR ONE MORE opens with the author visiting an orphanage with a group of prospective adoptive mothers. Administrator Miss Kenyon (Lurene Tuttle) explains how long the waiting list is for an infant, then reveals a snowy playground teeming with unclaimed tweens and teens.

“But you must be able to find homes for some of them?” Ana insists.

“We’d like to be able to find homes for all of them,” Miss Kenyon replies.

ROOMAnd before you can say “Angelina Jolie,” the Roses have welcomed a troubled adolescent girl into their already crowded home. But Jane (Iris Mann) isn’t just another orphan, she’s an abused teenager who has survived multiple suicide attempts. Jane is soon followed by Jimmy John (Clifford Tatum, Jr.), a polio survivor so emotionally damaged he has lost the ability to speak (until he starts shrieking at night when left alone).

Despite the metal braces on his legs, 12-year-old Jimmy John insists on hiking through the snow to earn his stripes as an Eagle Scout – an award which is presented in the elaborate ceremony that concludes the film, with his new family in attendance.

Seriously, I can’t even type this right now without choking up.

Yes, my mother and father were foster parents (undoubtedly influenced by the Roses) and that led to them adopting me in 1969 and my sister (from South Korea) in 1973. And yes, I was a Boy Scout who spent many an evening at Pinewood derbies and merit badge ceremonies in the basement of our church. But despite the schmaltzy classic film that is my own real life, I’d always been able to shield myself from the sentiment of ROOM FOR ONE MORE with snarky bravado.

But not this time.

“Are you okay?” my girlfriend asked, as she looked across the couch at me sniffling.

“Shut up,” I said. “Remember, you’re adopted too.”

Room-for-One-More-PosterHere’s the thing about George Winslow: he is exactly what ROOM FOR ONE MORE needed. As a five-year-old rookie he does the heavy lifting, ably carrying the comic relief of a movie that gets far heavier than your average family film of the 1950s. He’s so good, in fact, that Warners essentially upped him to co-star status with Grant and then-wife Drake on the film’s poster, where his character is cheekily identified as “Teenie the Meenie” (a reference that never appears in the film, as far as I remember).

It’s fairly well accepted that Howard Hawks’ GENTLEMEN PREFER BLONDES is Winslow’s best film, and ROOM FOR ONE MORE won’t change anyone’s mind on that score. But ROOM is an excellent introduction to the extraordinarily natural talents of George Winslow before the movie business turned him into a self-parody.

ROOM FOR ONE MORE is a touching, old fashioned film that will give you a good, cathartic cry if you let it. And come to think of it, what better way is there to honor the best of classic Hollywood’s deadpan kids than with a sloppy show of emotion?

Winslow was once quoted as saying he didn’t like acting, which is probably why he didn’t continue with it into adolescence and adulthood. But I hope he understood how much he means to many classic film fans, and this one in particular.

ROOM FOR ONE MORE (1952) is available on manufacture-on-demand DVD from Warner Archive and is available for digital rental at Amazon Instant. Hat tip to Citizen Screen for being the first to report Winslow’s passing. You can read her tribute to him here

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Posted in Classic Film, Warner Archive Collection | Tagged , , | 6 Comments

Lifetime’s A DEADLY ADOPTION is Brilliant – And Don’t Believe Anyone Who Tells You It’s Not

willFor 30 years, Lifetime has been making predictable movies about women in peril, marriages on the skids, and adorable children in danger. These competently produced but uninspired films usually feature familiar faces from TV and provide disposable diversion for the channel’s core female audience.

Saturday night, Lifetime paid homage to that history while simultaneously mocking it with a delightfully bizarre inside joke.

A DEADLY ADOPTION follows the Lifetime blueprint, but with a surprising twist: Will Ferrell and Kristen Wiig, two icons of contemporary comedy, play the lead characters. Ferrell is Robert Benson, a recovering alcoholic and author of self help books. Wiig is his wife Sarah, a stay-at-home mom who operates a baked goods stand at a local farmer’s market, selling sugar free treats concocted for their diabetic daughter Sully (Alyvia Alyn Lind). 

All is ostensibly well until the Bensons decide to take in pregnant, unmarried Bridget (Jessica Lowndes). Sarah, as we learn in the film’s prologue, is unable to conceive after a tragic accident, and the couple hopes to heal by adopting the baby Bridget can’t afford to keep. Bridget has other ideas, of course, and with the help of her tattooed grifter boyfriend Dwayne (Jake Weary) she turns the Benson’s seemingly idyllic life into a bloody nightmare.

When the existence of A DEADLY ADOPTION was first revealed earlier this year, the film’s pedigree – two Saturday Night Live vets and a writer (Andrew Steele) best known for farce (he also wrote SNL) – led to assumptions it would be a parody. But Lifetime didn’t promote it that way, nor did they offer much explanation for why two huge movie stars were playing roles that in past decades would have gone to Ed Marinaro and Tracey Gold.

Taken strictly at face value, A DEADLY ADOPTION is not funny. This seems to have been a disappointment to critics and audience members who believed they were owed the sort of broad antics Ferrell and Wiig routinely deliver on movie screens. But what’s most brilliant about the film is the very thing for which people are condemning it: it’s not obvious. And more importantly it’s not jokey, because Lifetime Original Movies are not jokey.

If parody is exaggeration for comedic effect, A DEADLY ADOPTION succeeds because it distills the art form to its essence, heightens each trope, and delivers an enjoyably metatextual deconstruction, while simultaneously being the thing it is deconstructing. More simply: A DEADLY ADOPTION isn’t (just) a parody of a Lifetime Original Movie, it is a Lifetime Original Movie. Only more so, and with Will Ferrell and Kristen Wiig.


Ferrell and Wiig don’t wink at the audience even once, playing exactly the sort of bland, khaki-clad yuppies you’d expect. (Ferrell’s wiry comb-over and close-cropped beard are themselves worthy of Emmys.) Lowndes is appropriately hammy as the batshit crazy pregnant girl, delivering expected howlers like “I’m your new mommy!” with bug-eyed glee. And Bryan Safi is great as Wiig’s seemingly gay co-worker, who communicates his character entirely through coding (perhaps as an homage/indictment to a past when gay characters on Lifetime, or TV in general, could’t be obviously out).

Steele fills the script with unnatural expository dialogue and hackneyed set pieces, managing to squeeze in one laugh-out-loud line  – “You know the dangers of diabetic Ketoacidosis!” – while still remaining true to the characters. And director Rachel Goldenberg uses every trick in the cheesy book, including cutting to a distant wide shot as a major character is murdered, with a sound effect of flapping birds filling the morbid silence. The climatic sequence in which she allows multiple characters to run around with life-threatening gunshot wounds harkens back to the bloodless fakery of classic film noir and is alone worth the price of admission (which was free, but you get my point).

As with great mockumentaries like ZELIG (1983) or THIS IS SPINAL TAP (1984), A DEADLY ADOPTION likely confused viewers who didn’t know if it was serious or a joke. Let me clear it up for you: it’s both. My girlfriend, a regular viewer of the Lifetime Movie Channel, got caught up in the plot, yelling things at the screen and predicting story points as she would with any other Lifetime Original. She reveled in the obvious, even though she was totally in on the joke. I enjoyed the remarkable subtly, shocked that the network who brought us Lindsay Lohan in LIZ AND DICK was committing this fully to an experimental joke very few might get.

And if you’re wondering why Lifetime decided to blow up their own brand after three decades, just look at all the attention A DEADLY ADOPTION has generated. They attracted eyeballs that have likely never been there before (mine included) and, in the process, promoted buzz-worthy new shows like Unreal (which I sampled after the movie and recommend). Nowadays you have to throw bombs to get attention, and A DEADLY ADOPTION may be just the sort of so-bad-it’s-good bomb Lifetime needed.


Posted in Contemporary TV | Tagged , , , | 46 Comments

TCM Without Cable or Satellite on Sling TV

tCMIn the last three years, a single search term has brought more people to this blog than any other: “How can I watch TCM without cable?” And the answer has always been the same: you can’t.

Now you can.

DISH Network’s Sling TV, a $20-per-month Internet TV service that streams channels to your TV, PC, tablet, and phone, announced today that they’ve added Turner Classic Movies to their channel lineup. TCM will be available in the Hollywood Extra tier for an additional $5 –  a total cost of $25 per month. Other film-centric networks in that tier include Sundance TV, EPIX, EPIX 2, EPIX 3 and EPIX Drive-In, which also airs classic films, along with cult, sci-fi and horror titles. (Here’s the EPIX schedule.)

You can watch Sling TV at home in high definition via an Internet-connected smart TV or a Roku streaming player, Roku Stick, Amazon Fire TV or Fire TV Stick. And If you’re a technophobe, don’t worry. Set up is easy and intuitive and the cheapest option will run you no more than $35. (Sling also offers discounts on Amazon streaming devices for new customers, including a free Fire TV Stick when you prepay for three months of service.) And you can watch remotely on your Mac, PC, Tablet or phone via a free app for iOS or Android devices.

Now, let’s take a look at the numbers for folks who decide to give Sling TV with TCM a try.

Screen Shot 2015-06-20 at 9.00.32 AM

With a monthly subscription fee of $25 paid to DISH, plus at least $40 for decent speed (10-megabit or more) broadband service paid to, you guessed it, your local cable provider (you can’t escape them!) your total monthly cost will net out at about $65. But considering that you’re probably already paying for broadband, this is likely less than your total cost now to watch TCM via a cable or satellite provider. 

Now the bad news: Sling TV is available only to customers in the United States and, according to a customer service rep I spoke with, Sling TV will not support the Watch TCM mobile app. Sling will offer access to TCM via its own app, which you can use on your phone or tablet as long as you have a WiFi signal. So, if you love to access Watch TCM on your phone via your cellular network (as I do while walking the streets of New York City), this may not be a great solution for you. Note also that Sling is a “single stream” service, which means you can’t watch on multiple devices at the same time.

Initially Sling will also not offer on-demand movie options for TCM like many providers do (Time Warner Cable currently offers 6-8 titles for free, on-demand viewing). Today’s announcement does suggest that additional on-demand options for TCM are coming, but no further details have been offered.

Sling’s programming choices are still somewhat limited (no local broadcast channels, no Showtime yet) and adding beyond the basic Best of Live TV tier will cost you additional money (which would eventually total more than you’re paying for your current cable bundle). But, if you’re a cord-cutter who watches local TV with an antenna and is looking to add TCM without a cable or satellite package filled with channels you don’t care about, this may be the day you’ve been waiting for.

At some point in the near future, TCM may be available direct-to-consumers via a subscription video-on-demand service you can access without cable or satellite (like the excellent Warner Archive Instant streaming service). And I’ll be the first person to tell you when that happens. But until we get there, Sling TV sounds like a good stopgap for cord-cutters. And they’re offering a free 7-day trial to check out the service, which I just signed up for. So continue to watch this space for more details.

The Future may not be here entirely, but every day brings us one step closer.

For more info on Sling TV visit their website


Posted in TCM | Tagged , | 3 Comments

Update: A Brief History of the Classic Movie Tweet-a-Long

Screen Shot 2015-06-18 at 5.13.04 PMUpdated 6/19/15 – New info in italics.

When scholars write the history of social media – and they will (but probably not with a pen) – Thursday, June 9, 2011 will forever be remembered as the night the live movie tweet-a-long was born.

On that early summer evening four years ago, a pioneering group of film fans held the first-ever organized, live tweet of a film airing on Turner Classic Movies using a specially created hashtag. The film was THEM! (1954), the hashtag was #TCMBugout and the group of founding film fans included yours truly. The Twitter party lasted all night, because we were young and fancy free. (Or unemployed, over-caffeinated, and suffering from insomnia. Take your pick.)

To mark this auspicious anniversary, TCM is once again airing THEM! tonight at 11:45 p.m., as part of a six-film marathon of insect-gone-amuck science fiction films. The schedule kicks off with THE FLY (1958) at 8 p.m. and concludes with THE COSMIC MONSTER (1958) at 4:45 a.m.

MothraAnd many of the same fans who first congregated four years ago will be back again to relive the magic, as the TCMParty and DriveInMob live tweeting communities converge for the social media equivalent of a high school reunion. Original Tweeter Jim Phoel will host MOTHRA (1954) at 9:45 p.m. followed by THEM! at 11:45 p.m., and the chosen hashtag for tonight’s festivities will be #TCMDriveIn.

To understand the important historical significance of that tag, let me take you back to the heady days of 2011 when Twitter was still a shiny new toy for many of us. Every Thursday that June, TCM aired classic sci-fi from the Drive-In Era of the 1950s and early ’60s in delightfully campy, night-long marathons. There was already a small but vocal classic film constituency using the Twitter platform at that time, and many of us would tweet along to films now and then using the hashtag #TCM (which we shared with foreign versions of Turner Classic Movies, Chinese medical practitioners, and hip hop aficionados). That habit continued on the first night of the summertime Drive-In series, but it soon became obvious that a unique tag was needed to accommodate the growing number of participants (and to avoid the guys tweeting about herbs of various types). Thus was born #TCMBugout for Week 2.

For Week 3, nary a giant bug was in sight on the schedule and a more all-encompassing descriptor was needed. And thus the #TCMDriveIn was built. That tag carried us for the rest of June as the community grew larger (and more smart-assy) each week. And then the series was over, and we all tweeted a tear.

But from the ashes of the TCM DriveIn rose two mighty communities that continue to thrive four years later: DriveInMob and TCMParty.

SOUNDSOFTHEDRIVEINMOB2The DriveIn Mob has been programming Thursday night live tweet-alongs to sci-fi, horror and cult films without fail ever since using free streaming platforms like YouTube, Vimeo or Daily Motion. The community and its brilliantly creative multi-media is the brainchild of Brian Kirby (who tweets as @DriveInMob) and regular hosts include beloved Internet personality @CulturalGutter from the website of the same name and @GCDB from the essential Grindhouse Cinema Database. The group’s weekly schedule allows for pop-up memorials to departed genre stars, as they did last week when Christopher Lee’s death at age 93 was announced. (I wrote about that here.)

TCMPIn September of 2011, TCMParty picked up where TCM DriveIn left off and became the defining social media community for classic film fans. During primetime hours as many as 2,000 Twitter users participate in scheduled live tweets hosted by co-founder Paula Guthat and her henchmen Trevor Jost and Joel Williams, who offer a combination of curation, trivia and witty repartee. Activity continues on the tag nearly 24 hours per day, and at least one couple who met live tweeting (Bryan and Kelly) has gotten married in real life. (I’m sure there have also been some drunken hook-ups at roadside motels, but sadly people don’t talk about those). Paula and Joel have also been featured on-air with host Ben Mankiewicz as part of TCM’s Fan Favorites series and the open, public forum they help to moderate remains a welcoming and respectful environment for fans of all ages and experience levels.

“If you love these movies so much why don’t you pay attention and watch them,” my girlfriend said to me during that first live tweet four years ago (and continues to say today).

She has a point – it is hard to type on one screen and pay full attention to what’s going on on another – but the people I’ve met live tweeting old movies have become some of my best friends, both on-line and off. They make Twitter (and life) far more fun, and I wouldn’t trade that for anything.

Plus It’s nice to know that, if I’m ever cornered by a giant radioactive spider, at least 2,000 people will have my back. Or at least run away with me.

Update 6/19/15 – Last night’s triumphant return of the TCM DriveIn was a great success, with 1,373 tweets in just a few hours. Not bad for a hashtag that was dormant for four years. You can read the tweets here courtesy of a Storify posting curated by @CulturalGutter.

You can also re-live the fun of the #TCMBugOut from 2011 here. Scroll from the bottom to read in order. And doit with the lights off. It’s scarier. 

Posted in Classic Film | Tagged , , | 5 Comments

TCM Launches Multi-Year Focus on Female Filmmakers

Screen Shot 2015-06-18 at 8.44.33 AMIf you love old movies you love strong women.

From the plucky heroines of silent film, to the dangerous dames of Pre-Code and Noir, to the liberated women of the New Hollywood of the 1960s and ’70s, classic film has no shortage of powerful female icons. But the same can’t be said for the decision-makers behind the scenes. Or can it?

Turner Classic Movies today announced a multi-year partnership with Women in Film Los Angeles designed to shine a spotlight on the “historical contributions of women working behind the camera” and empower a new generation of female filmmakers. The initiative will launch in October with a month-long programming series that’s expected to be an annual event for the next three years.

“The issue of gender inequality in the film industry is both timely and immensely important,” TCM general manager Jennifer Dorian said in a statement. “We’re thrilled to partner with such a well-respected organization as Women in Film in order to address and promote the empowerment of women in our industry.”

Mary_Pickford_with_camera2The numbers speak for themselves, and what they say isn’t good. Of the 1,300 highest grossing films released since 2002, male directors outnumbered female by a margin of 23-1. But this sort of institutional sexism wasn’t always the case in Hollywood.

“In the early days of film, women were frequently in positions of authority,” Christel Schmidt, author of Mary Pickford: Queen of the Movies, told me via email. “Mary Pickford was one of the true moguls of that period, as both an independent producer and the co-founder of United Artists. I think it’s great that TCM will remind viewers of the early trailblazers and inspire the current generation.”

While the films in the series have not yet been announced, TCM promises an “extensive” on-air programming commitment as well as “research and resources” designed to assist contemporary female filmmakers. There’s no word yet on the shape the off-channel component may take, but TCM has achieved great success recently with Into Darkness: Investigating Film Noira free, online course in film noir offered in conjunction with Ball State University. That class, part of TCM’s Summer of Darkness series, has attracted more than 15,000 participants worldwide.

“For years, I have dreamed of having a network reach out to our organization with a true interest in our advocacy and the ability to collaborate on programming that will reach audiences everywhere,” Women in Film president Cathy Schulman said. “Now, thanks to TCM, that dream is real.”

For more information on Women in Film, visit their website. To listen to a podcast discussion of TCM’s film noir course w/ professor Richard L. Edwards, Ph.D., TCM staffer Shannon Clute, Miguel Rodriguez and me, click here.

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Posted in TCM | 5 Comments