Well this is something special, a holiday treat for the end of 2024: a group of archivists (including Chris Person) has uploaded an HBO magic special by Ricky Jay that has been largely unavailable since it aired in 1996.
This is an RF rip of Ricky Jay and His 52 Assistants, to date the greatest card magic special ever produced, directed by David Mamet of all people. This special was produced by HBO and to date has never had a home release, although poor home recordings of this special exist online.
Before getting into preservation generally, it’s worth considering how we got here. Why is so much media lost or badly preserved? A recurring reason is that the people in charge are sometimes, but not always, asleep at the wheel. Media is forgotten or stored improperly, and humidity and heat have destroyed more of our history than we will ever know. Sometimes companies handle the material sloppily (I’ve blogged about the use of AI before, but there are countless examples in audio too).
Having shared all that, I feel like the quality of this YouTube video of the special is not perceptibly worse than the one uploaded to archive.org? What am I missing?
The playwright David Mamet and the theatre director Gregory Mosher affirm that some years ago, late one night in the bar of the Ritz-Carlton Hotel in Chicago, this happened:
Ricky Jay, who is perhaps the most gifted sleight-of-hand artist alive, was performing magic with a deck of cards. Also present was a friend of Mamet and Mosher’s named Christ Nogulich, the director of food and beverage at the hotel. After twenty minutes of disbelief-suspending manipulations, Jay spread the deck face up on the bar counter and asked Nogulich to concentrate on a specific card but not to reveal it. Jay then assembled the deck face down, shuffled, cut it into two piles, and asked Nogulich to point to one of the piles and name his card.
“Three of clubs,” Nogulich said, and he was then instructed to turn over the top card.
He turned over the three of clubs.
Mosher, in what could be interpreted as a passive-aggressive act, quietly announced, “Ricky, you know, I also concentrated on a card.”
After an interval of silence, Jay said, “That’s interesting, Gregory, but I only do this for one person at a time.”
Mosher persisted: “Well, Ricky, I really was thinking of a card.”
Jay paused, frowned, stared at Mosher, and said, “This is a distinct change of procedure.” A longer pause. “All right — what was the card?”
“Two of spades.”
Jay nodded, and gestured toward the other pile, and Mosher turned over its top card.
A teaser trailer for the third season of The White Lotus is out and the release date has been revealed: February 16, 2025. Parker Posey? Walton Goggins? Yes, please. But I’ve got a love/hate relationship with this show (I couldn’t get through the first season but thought the second season was great), so I’m feeling cautiously optimistic.
Somehow, I missed that the teaser trailer for season two of the excellent The Last of Us premiered almost a month ago. I guess both I and the world have been busy with other things and also keeping tabs on the entire interest and media landscape is just not something that’s possible.
The second season, based on the 2020 game The Last of Us Part II, follows Joel (Pedro Pascal) and Ellie (Bella Ramsey) five years after the events of the first season, and introduces Abby (Kaitlyn Dever).
And that “the season is expected to span seven episodes”.
I love My Brilliant Friend — it’s one of my all-time favorites and might be the best show you’re not watching. I agree completely with Clare Thorp’s description of it as “criminally underrated”.
As the trailer above shows, the previous two lead actors (who were excellent) have been replaced by older ones, a change I’m a little apprehensive about, but everything else about the show has been pitch perfect so I’m gonna trust the process. From an NPR piece on the new season:
“This child is you, when you were a child,” Maiorino recalled her friend Alessia saying about the novel’s titular protagonist and sometimes antagonist Lila. Like Lila and her friend Lenù, Maiorino is from Naples and stayed in the south, while her friend left to study in the north of the country, get married and have children.
Art has now truly imitated life for Maiorino, who plays Lila in the fourth season of the series.
New episodes of My Brilliant Friend started airing on HBO last night and will drop every Monday for the next 10 weeks. Go check it out!
If you’ve ever wondered what HBO and the producers of The Last of Us might do with some slightly different source material, Pedro Pascal and the cast of Saturday Night Live took a crack at a gritty adaptation of Mario Kart. I mean, I would 100% watch this.
So, I have been waiting for months for season three of HBO’s My Brilliant Friend series (based on Elena Ferrante’s Neapolitan novels) and somehow it has snuck in1 and started without me noticing! Anyway, the s03 trailer is above, the first episode aired earlier this week & is on HBO Max now, and new episodes will follow every Monday.
If you haven’t seen the show, you should check out the first two seasons first…this show is a gem and I wish HBO was doing more to promote it.
I’ve logged into HBO Max like 4 times this week and it has shown me nothing about the show, even though I watched the first two seasons of it. Even now, I had to dig to find it. Algorithm, you had one job…↩
Winning Time was also the last straw in the disintegration of the creative partnership between McKay and Will Ferrell. From a recent profile of McKay in Vanity Fair:
McKay had been making an HBO limited series about the Los Angeles Lakers basketball team in the 1980s based on the book Showtime and Ferrell, a huge Lakers fan, had his heart set on the role of Jerry Buss, the legendary ’80s-era team owner. After Gary Sanchez dissolved, however, the Lakers show moved under McKay’s new production banner, Hyperobject Industries. And Ferrell, it turns out, was never McKay’s first choice. “The truth is, the way the show was always going to be done, it’s hyperrealistic,” he says. “And Ferrell just doesn’t look like Jerry Buss, and he’s not that vibe of a Jerry Buss. And there were some people involved who were like, ‘We love Ferrell, he’s a genius, but we can’t see him doing it.’ It was a bit of a hard discussion.”
The person McKay wanted for Buss was John C. Reilly, who looks more like the real thing, and who is Ferrell’s best friend. McKay hesitated. “Didn’t want to hurt his feelings,” he says flatly. “Wanted to be respectful.”
In the end he cast Reilly in the role anyway-without telling Ferrell first. Ferrell was infuriated. “I should have called him and I didn’t,” says McKay. “And Reilly did, of course, because Reilly, he’s a stand-up guy.”
P.S. For the first couple of months of the pandemic, I shared what I was listening to during my workday in this thread (continued here). Check it out if you need some wordless music to beaver away to.
Same with Sally Rooney’s Normal People. The TV series could have been terrible but it very much was not.↩
Wyatt Cenac’s Problem Areas was an HBO documentary series created and hosted by writer and comedian Wyatt Cenac. The entire run of the show is available for free on YouTube (and on the HBO website) for the next month, but of particular interest is the first season, which was dedicated to the problem of policing in America. The first episode of season one, embedded above, explores police training (specifically “warrior training”) and how it contributed to the death of Philando Castile in Minneapolis. The season’s other episodes cover community policing, police abolition, use of force, and abuse of power.
The show’s not perfect. You can see when my eyes are reading a teleprompter because HBO’s legal team needed me to say something very specifically so they didn’t get sued. But the show wasn’t about being perfect or even about being right. It was about trying to have a dialogue.
When the smoke clears, we’re still going to need to find a way forward. And we’re going to have to find a way to do it together because this country is a dingy apartment and we’re all just a bunch of Craigslist roommates that have to find a way not to eat each other’s cheese.
For years, Jerry Jacobson was in charge of the security of the game pieces for McDonald’s Monopoly, one of the most successful marketing promotions in the fast food giant’s history. And for almost as long, Jacobson had been passing off winning pieces to family, friends, and “a sprawling network of mobsters, psychics, strip club owners, convicts, drug traffickers”, to the tune of more than million in cash & prizes.
In early February, HBO is airing a five-part documentary series on the investigation called McMillions:
Open the canned peaches because Al Swearengen, Seth Bullock, and the rest of your Deadwood favorites are back on May 31 in Deadwood: The Movie. Here’s a tease:
Swearengen: You ever think, Bullock, of not going straight at a thing?
I watched Leaving Neverland last night in one four-hour sitting…as in I literally didn’t leave the sofa. Completely riveting. Here are some thoughts I have about it.
1. At its heart, this is not actually a movie about Michael Jackson. It’s about two men, James Safechuck and Wade Robson, whose lives were utterly ruined by a man they idolized & trusted. Their childhood innocence ripped away. Their families torn apart. Their current families left wondering if they can be trusted with their own children. As the movie progresses, Jackson almost fades into the background and the viewer is just left with these men, feeling and empathizing with them and their families.
2. One of the things I was most struck by, especially in the early part of the film, was the way the two men and their families described Jackson in almost a tender, loving way. There was little on-camera anger and lashing out (although there undoubtably was during their still-ongoing recovery process). I was left with a feeling of unease that in a deep and complicated way, these two men still care for Jackson. That feeling’s gonna stay with me for a loooong time.
3. As I’m writing this post, one of Jackson’s songs echoes in my head: “Heal the world / Make it a better place / For you and for me.” I have no idea what to make of this or how to process it.
4. It is pretty simple. Unless you’re willing to perform complicated mental gymnastics to bamboozle yourself into conspiracy theory land, the plain truth is that Michael Jackson was a pedophile. You can feel however you want about that — he was a monster, he was a man broken by his own abusive childhood & twisted by the vortex of fame — but you cannot simply dismiss it. Maureen Orth covered previous accusations about Jackson for Vanity Fair; her recent article is a good short summary of the facts.
5. If you’re a famous actor who spent lots of one-on-one time with Jackson when you were a child, why would you ever in a million years tell anyone that he sexually abused you?
6. A statement released by the Jackson estate said that Leaving Neverland is “the kind of tabloid character assassination Michael Jackson endured in life, and now in death”. Who knows if they actually watched the film because it is the opposite of a sensationalistic hit piece. This isn’t Michael Moore bombast. The film is careful, methodical, and, aside from some slightly ominous music at times, quite respectful towards Jackson given the circumstances. As Wesley Morris writes, “‘LEAVING NEVERLAND’ is long but delicately, patiently done — and so quiet; you can practically hear yourself listening.”
If you don’t believe that Jackson touched anyone inappropriately, you have to reckon with the fact that he knowingly coerced families into allowing their children into his orbit while incrementally driving their parents away; that he nudged them out of the picture as they got a little older, only remembering to call when he needed someone to testify in a court of law. You have to listen to the Robson family explain how Jackson’s machinations pried the young boy’s parents apart, how the singer convinced them to move to Los Angeles from Australia, how Robson’s father committed suicide because they left him.
You come away from the film with the sense that Jackson was, at a minimum, a troubled and deeply manipulative person, more so than we’d ever imagined.
The story was that Jackson never molested anybody. And we stuck to it, and it stuck to him. And the question now, of course, is what do we do? It’s the question of our #MeToo times: If we believe the accusers (and I believe Wade and James), what do we do with the art? With Jackson, what can we do? Wade became a successful choreographer who’s made a career out of teaching his version of Jackson’s hydraulic bounces, whips, and stutters to Britney Spears, ‘N Sync, Cirque du Soleil and rooms full of aspiring dancers. “Look Back at It,” the big single from A Boogie Wit Da Hoodie’s No. 1 album from January, is built out of two Jackson hits. Michael Jackson’s music isn’t a meal. It’s more elemental than that. It’s the salt, pepper, olive oil and butter. His music is how you start. And the music made from that — that music is everywhere, too. Where would the cancellation begin?
9. Where does the cancellation begin? I have no idea about the music; I love so many of his songs (my kids are fans too, which is a whole other thing I don’t know how to deal with) but “Don’t Stop ‘Til You Get Enough” now has a second sinister meaning that I will never be able to shake. I will say this though: I’ve posted a number of things about Jackson on kottke.org over the years that are unrelated to the sexual abuse allegations. Not anymore. It’s time to hear other stories.
Set to air on HBO starting March 3rd, Leaving Neverland is a two-part documentary film about the experiences of two men who were befriended by and allegedly sexually abused by Michael Jackson as young boys. Here’s the trailer:
Leaving Neverland is a two-part documentary exploring the separate but parallel experiences of two young boys, James Safechuck, at age ten, and Wade Robson, at age seven, both of whom were befriended by Michael Jackson. Through gut-wrenching interviews with Safechuck, now 37, and Robson, now 41, as well as their mothers, wives and siblings, the film crafts a portrait of sustained abuse, exploring the complicated feelings that led both men to confront their experiences after both had a young son of his own.
Robson, by this point a choreographer for stars like Britney Spears, testified that he had spent the night at Neverland more than 20 times but that Jackson had never molested him or taken a shower with him.
James Safechuck, who had met Jackson as a young boy in the 1980s when he was cast in a Pepsi commercial, also denied publicly that he had been abused, although he was not called to testify.
It may not be much of a secret that Michael Jackson acted inappropriately with a number of young boys, but there’s no way to prepare yourself for the sickening forensic details presented in Dan Reed’s four-hour exposé. It’s one thing to be vaguely aware of the various allegations that were made against the King of Pop; the asterisks that will always be next to the late mega-star’s name. It’s quite another to hear the horrifyingly lucid testimony that stretches across the entire duration of “Leaving Neverland,” as two of Jackson’s most repeat victims bravely lay bare how a universal icon seduced them away from their realities, splintered their families beyond all recognition, and leveraged their love for him into a disturbing litany of sexual acts.
The eloquent and straightforward “Leaving Neverland” was made for no other reason than to give shape to a nebulous cloud of rumors, many of which were floated in public before they were silenced behind settlements, and none of which a jury was able to prove beyond a reasonable doubt. In the wake of Reed’s film and the shattering interview footage that it exists to share with us, there’s no longer a reasonable doubt. There’s no longer any doubt at all. Not only do the documentary’s two main subjects perfectly corroborate their separate accounts in all of the most tragic of ways, but they do so with a degree of vulnerability that denies any room for skepticism.
Other stars who previously had private or ignored abuse allegations leveled against them — Kevin Spacey, Bill Cosby, R. Kelly, Woody Allen, Louis CK — have been judged more harshly and their accusers have taken more seriously in recent years, and it’ll be interesting to see what happens with Jackson after the documentary airs.
I loved Elena Ferrante’s Neapolitan novels so much that that I almost couldn’t bring myself to watch the trailer for HBO’s upcoming miniseries adaptation of the first book. But I did and I’m…cautiously optimistic? Eight episodes, premieres in November. Oh god, I hope this is good.
P.S. Seriously, this series is probably my favorite read from the last five years. Phenomenal. (via @rkgnystrom)
Steven Soderbergh’s latest project, Mosaic, takes two forms. The first is a free iOS app that contains an interactive miniseries with over seven hours of footage that you can move through in the style of Choose Your Own Adventure, with “DVD extras” built right into the story. Mosaic will also air in a more conventional linear form on HBO in January. Both versions star Sharon Stone, Beau Bridges, and Garrett Hedlund. Wired has the story of how Mosaic came to be.
Where they ended up was a smartphone-enabled story, developed and released by Silver’s company PodOp, that lets viewers decide which way they want to be told Mosaic’s tale of a children’s book author, played by Sharon Stone, who turns up dead in the idyllic ski haven of Park City, Utah. After watching each segment — some only a few minutes, some as long as a standard television episode — viewers are given options for whose point of view they want to follow and where they want to go next. Those who want to be completest and watch both options before moving on can do so, those who want to race to find out whodunit can do that too. Because each node, filmed by Soderbergh himself, feels like a TV show, launching Mosaic can be akin to sneaking a quick show on Netflix while commuting to work or waiting on a friend; but because it’s long story that’s easily flipped through, it can also enjoyed like the pulpy crime novel on your nightstand, something you chip away at a little bit at a time before bed. It’s concept isn’t wholly original — Soderbergh himself notes that “branching narrative has been around a long time” (the most obvious analogue is a Choose Your Own Adventure book, but Soderbergh cringes at that analogy) — but that it finds a way to appeal to both fans of interactive storytelling, and people who just want to watch some decent TV.
Matt Zoller Seitz also interviewed Soderbergh about the app/show for Vulture. It’s a really good interview (not surprising with Seitz at the helm); they inevitably got into the question of Hollywood and abuse of power:
MZS: Do you believe that in order to make memorable art, you have to be disturbed in some way?
SS: Not at all.
MZS: That’s what’s often raised as a defense of Roman Polanski, Mel Gibson, and others.
SS: No, I don’t believe that at all. It takes a lot of energy to be an asshole. The people I admire most just aren’t interested in things that take away from their ability to make stuff. The people I really respect, and that I’ve met who fit this definition, have a sense of grace about them, because they know that there is no evolving and there is no wisdom without humility.
You can’t get better if you behave in a way that shuts people off. You can’t! You don’t have all the ideas necessary to solve something. You don’t! I’m sure if you spoke to Harvey in his heyday and said to him what I just said to you, he would believe that he accomplished all that he had because of the way he behaved.
MZS: Meaning, like a bully.
SS: Yes, and I would argue instead, “You’re 50 percent of what you could have been, because of the way you behave.” Ultimately, there is a large group of people who are talented, who you want to be in business with, but who won’t be in business with you. I don’t know how you view that as being your best self, or the best version of your business, but I’m really curious to see going forward what changes.
From HBO, The Defiant Ones is a four-part documentary on Dr. Dre and Jimmy Iovine directed by Allen Hughes (who co-directed Menace II Society).
The four-documentary event is told with the help of many of the most notable artists and figures of our time, reflecting Hughes’ unfettered access to Iovine, Dre and the remarkable cast of figures who have been a part of their success story. In addition to extensive interviews with Dr. Dre and Jimmy Iovine, who speak frankly about their highs and lows, the show includes interviews with such music icons as Bono, David Geffen, Eminem, Nas, Ice Cube, Gwen Stefani, Jon Landau, Tom Petty, Trent Reznor, Snoop Dogg, Bruce Springsteen and will.i.am. The series also features never-before-seen footage from a multitude of recording and writing sessions with Eazy-E, JJ Fad, Stevie Nicks, N.W.A., Tom Petty, Bruce Springsteen and U2, among others.
Ok, fine, looks good, but the real reason you should watch this trailer is to hear Snoop talking about being on the cover of “The Rolling Stones” magazine and its aftermath…and then the cut to Eminem. Who says there’s no good editing happening in trailers?
Also, I wonder if they’re going to go into Dre’s history of domestic violence? I’m guessing not? Defiant indeed.
This month, HBO is airing a special edition of The Godfather that presents scenes from the first two movies in chronological order with some deleted scenes mixed in for good measure. It’s more than 7 hours long. It’s not listed anywhere on HBO’s site, but supposedly it’ll run all month on HBO and their online and on-demand services.
Netflix and HBO know what you did last summer. And they know you’re still doing it this summer. The sharing of login credentials is so widespread that the big streaming players are losing hundreds of millions a year. So why don’t they stop us? Two reasons: It’s all about growth at this point. And no one has come up with a way to limit credential sharing without hurting the customer experience.
You can have the best technology, you can have the best business model, but if the storytelling isn’t amazing, it won’t matter. Nobody will watch. And then you won’t sell more shoes.
Back in September, I posted that HBO was remastering The Wire in HD. The company announced they’ve completed the process; it’ll be on HBO Go this month at full-frame 16x9 HD.
HBO announced today that they had completed the high-definition re-mastering of all five seasons of “The Wire,” which will debut in December on HBO Signature and HBO Go, be sold in digital HD (through iTunes, Google Play, etc.) starting January 5, and on Blu-ray starting next summer. As the press release notes, “The entire series has been beautifully re-mastered in 16x9 Full-Frame HD from more than 8,000 reels of original 35mm camera negative, allowing for a tighter fit on widescreen TVs and computer/tablet screens. The original negatives were scanned, edited, dust-busted and color-corrected with great care and attention taken to stay true to the look and feel of the original Standard-Definition 4x3 version.”
To their great credit, once we alerted HBO production executives to our absolute interest in the matter, they halted the fall HD release and allowed us to engage in detail. And over the past several months, looking at some of what the widescreen format offered, three things became entirely clear: First, there were many scenes in which the shot composition is not impaired by the transfer to 16:9, and there are a notable number of scenes that acquire real benefit from playing wide. An example of a scene that benefits would be, say, from the final episode of season two, when an apostolic semicircle of longshoremen forms around the body of Frank Sobotka. Fine as far as it goes, but the dockworkers are all that much more vulnerable, and that much more isolated by the death of their leader when we have the ability to go wider in that rare crane shot.
But there are other scenes, composed for 4:3, that lose some of their purpose and power, to be sure. An early example that caught my eye is a scene from the pilot episode, carefully composed by Bob, in which Wee Bey delivers to D’Angelo a homily on established Barksdale crew tactics. “Don’t talk in the car,” D’Angelo reluctantly offers to Wee Bey, who stands below a neon sign that declares, “burgers” while D’Angelo, less certain in his standing and performance within the gang, stands beneath a neon label of “chicken.”
That shot composition was purposed, and clever, and it works better in the 4:3 version than when the screen is suddenly widened to pick up additional neon to the left of Bey. In such a case, the new aspect ratio’s ability to acquire more of the world actually detracts from the intention of the scene and the composition of the shot. For that reason, we elected in the new version to go tighter on the shot in order to maintain some of the previous composition, albeit while coming closer to our backlit characters than the scene requires. It is, indeed, an arguable trade-off, but one that reveals the cost of taking something made in one construct and recasting it for another format. And this scene isn’t unique; there are a good number of similar losses in the transfer, as could be expected.
Update: HBO Signature is currently running a marathon of all the HD episodes. They’re also available on HBO Go.
David Simon added some before-and-after video clips to his piece about the HD remastering process showing instances where the wider aspect was beneficial and not-so-beneficial.
Good morning, good morning. Welcome back from your beach vacation. Settling in? Good, good. Let’s get right to it then: HBO is remastering The Wire in 16x9 HD and rebroadcasting what looks like every episode on HBO Signature starting this Thursday (Sept 4). Here’s a teaser:
We haven’t had news to report on HBO’s The Wire in a long, long time but this tidbit caught our ear. HBO will be rebroadcasting one of its iconic series: The Wire in never-before-broadcast HD glory! The marathon will begin weeknights at 8PM starting on September 4th. You’ll find the episodes on HBO Signature, a channel most, if not all HBO subscribers should have access to.
No idea if these new HD versions will make it to HBO Go or Amazon Instant or even into the mythical The Wire Blu-ray. Hopefully?
Update: A reader writes in:
My friend who works at HBO says they are chopping the top and bottom off the 4 x 3 frame for the early seasons to “fit” 16 x 9. We saw this with FX’s Simpsons Marathon and I really wish companies would stop doing this. It wasn’t cool to chop the sides off Lawrence of Arabia and it is likewise not cool to chop the head and neck off of Stringer Bell.
Boo. Boo-urns. According to IMDB, only season 5 was shot at 16x9. They should just leave seasons 1-4 at 4x3 and make the picture better. (thx, john)
And perhaps the final contrast to the rest of high-end episodic television, The Wire for each of its five seasons has been produced in good old fashioned 4 x 3 standard definition. DP Dave Insley recalled, “The reason the show has stayed 4x3 is because David Simon thinks that 4x3 feels more like real life and real television and not like a movie. The show’s never been HD, even 4x3 HD and that (SD) is how it is on the DVDs. There is no 16x9 version anywhere.” As a viewer with an HD set I will point out that like much of SD television that makes its way to HD channels, it appears that HBO utilizes state-of-the-art line doubling technology. It may still be standard definition, but line doubled it looks considerably better on a high definition set than it would on a standard definition set.
Insley explained, “When the show started 2001 / 2002 they framed it for 16 x 9 as a way of future-proofing. Then a couple of seasons ago, right before Season 4 began shooting, there was a big discussion about it and after much discussion — David, Nina, Joe Chappelle, the Producers, the DPs — and we discussed what should be the style of the show. David made the decision that we would stay with 4x3. The DPs pretty much defined the look to be what it is now. And it’s been consistent for the past two seasons.”
If the chopping down to 16x9 rumors are true, David Simon cannot be happy about that. I wonder how much creative control he maintains over decisions like that? I am guessing very little. (via @tubofguts)
A promo claiming that a “replay marathon” of the series would start September 4 on HBO Signature ran prematurely, HBO said, and the series will not be airing this month.
HBO is licensing some of their shows exclusively to Amazon for streaming on their Prime Instant Video service. Here’s the scoop:
Beginning May 21, Amazon Prime members will have unlimited streaming access to:
- All seasons of revered classics such as The Sopranos, The Wire, Deadwood, Rome and Six Feet Under, and of recent favorites such as Eastbound & Down, Enlightened and Flight of the Conchords
- Epic miniseries, including Angels in America, Band of Brothers, John Adams, The Pacific and Parade’s End
- Select seasons of current series such as Boardwalk Empire, Treme and True Blood
Game of Thrones and True Detective are notably absent from the deal. But Amazon Prime subscribers will be able to stream all of the shows above for free. (via deadline)
Here’s the entire first episode of Aaron Sorkin’s The Newsroom. You can also watch it on HBO.com but you have to register first. I doubt non-US residents can watch it in either place. Why isn’t this embeddable? I don’t understand…they don’t want more people to watch it? Does the internet girl know?
The first episode of Girls, an eagerly awaited HBO series by executive producer Judd Apatow and writer/director Lena Dunham, is available for free on YouTube (HBO disabled embedding for some dumb reason). HBO plans to do this with Veep next week as well.
With 2 Oscar winners, Chris Cooper and Diane Wiest, already cast as the leads, this was a no-brainer, but it’s now official: HBO’s drama pilot The Corrections is proceeding to production.
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