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Matt Groening knows what a real theremin sounds like.

As a kid who grew up on the celluloid junk food of the 1950s and ’60s, “The Simpsons” creator heard the ghostly wail of that early electronic instrument in sci-fi film scores and in albums by his beloved Frank Zappa. Its cousin, the ondes martenot, was featured in one of Groening’s favorite classical pieces — the “Turangalîla-symphonie” by Olivier Messiaen — which would inspire the name for a lead character in “Futurama,” Turanga Leela.

So, when composer Alf Clausen was recruited in the sophomore season of Groening’s popular new show about a yellow nuclear family and answered a request to use theremin — a small lectern with two metal antennae sticking out, which a musician plays by moving their hand in the space between — in the inaugural “Treehouse of Horror” episode in October 1990, Groening immediately recognized it was a fake; it was bouncing around the scale in a way a real theremin can’t do.

“And [Clausen] admitted, yeah, it wasn’t a theremin; it was a keyboard,” Groening recalls. “And it took many years for us to get a real theremin. The downside of the theremin is that it can’t play all the notes — but it’s got a feel to it that is so great.”

Clausen quickly became a fixture of “The Simpsons,” scoring every episode from that first “Treehouse of Horror,” now an annual Halloween tradition, all the way through the end of the 28th season, which wrapped in 2017, as well as composing many unforgettably funny songs with the show’s writers. Groening often referred to Clausen as the show’s “secret weapon.”

A scene from “Treehouse of Horror XXXVI,” this year’s Halloween episode of “The Simpsons.”

(“The Simpsons” & 20th Television)

The show’s producers were always pushing to save money, Groening says, and to have the show scored with synthesizers and a drum machine — par for the course for TV music in the 1990s. But Groening felt differently. “I always thought that the music really helped the show in a way, because I thought the animation was kind of … primitive,” Groening punctuates the word with a laugh, “and I thought, man, though, if we have great orchestral music backing up these goofy drawings, it’ll mean: ‘Hey, we really meant it!’ And Alf got that right away.”

Groening was none too happy, then, when Clausen was fired by Fox in 2017. The official reason stated was the high cost of recording every episode with a live orchestra; but the veteran composer, who had previously scored TV series like “Moonlighting” and “ALF” (no relation), was 76 when he got the boot, later suing Disney and Fox over age discrimination. (Clausen died earlier this year at age 84.)

Enter Bleeding Fingers Music, a composer collective founded in 2014 by Hans Zimmer, Russell Emanuel and Steven Kofsky that has grown from its original six composers to a stable of 26. Zimmer had been a longtime go-to for “Simpsons” executive producer James L. Brooks, and he won over a skeptical Groening with his zany score for “The Simpsons Movie” in 2007.

With a composer void, Brooks approached Zimmer about taking over the series, and Zimmer proposed Bleeding Fingers — whose credits at that point included several entries in the “Planet Earth” series and various History Channel documentaries and reality shows.

Russell Emanuel of Bleeding Fingers.

(Kevin Shelburne)

“It took a long time for the decision to be made,” says Emanuel, a cheeky Brit who got his start making soundalike rock albums in the 1980s and co-formed Extreme Music in 1997, a music library company that produced EDM tracks for shows like “Top Gear.” Zimmer was an early contributor to Extreme Music, and in 2001 the company moved into his vast Remote Control Productions campus in Santa Monica.

“It was taken very seriously,” Emanuel adds. “The first I knew about it was Hans calling me into his room and going, ‘We’ve got “Simpsons.” Don’t f— it up.’”

It was an awkward arranged marriage for Groening — and a “baptism by fire” for Emanuel and his cohort. They had an ample three weeks to tackle their very first episode, a “Game of Thrones” parody titled “The Serfsons,” which featured some theremin solos. Groening asked if it was a live theremin. It was not, the new composers sheepishly replied.

“He could hear it immediately, and completely called us out on it,” says Emanuel. “We had to go back and redo that whole thing. There were two or three big issues for him — but, you know, that was part of us learning the language.”

On a recent Friday morning on the Fox scoring stage, just around the corner from Groening’s office of nearly four decades, the “Simpsons” creator was smiling as a live orchestra recorded the score for Sunday’s new “Treehouse of Horror” episode (streaming next day on Hulu). There was a woodwind virtuoso, Pedro Eustache, making wild and beautiful sounds in an isolated booth with his arsenal of flutes — and out on the stage there was a real, live theremin.

Running the session was Kara Talve, a young but dominant digit of Bleeding Fingers who has been the principal composer on “The Simpsons” since Season 30; this is her sixth “Treehouse of Horror” episode. After graduating from Berklee College of Music, she took an assistant job at Bleeding Fingers — mostly, she says, because she wanted to work on “The Simpsons.”

Kara Talve of Bleeding Fingers, who has been the principal composer of “The Simpsons” since Season 30.

(Sage Etters)

“But I had to convince Russell that I could do it,” Talve says, sitting in her studio next to her boss. “I don’t think he trusted me yet. But also: Why would he, because I was like 5 years old.”

It’s quickly apparent how self-deprecating and silly they both are — Emanuel recently got a tattoo of a Spotify code that, when scanned, triggers Justin Timberlake’s “SexyBack” — but also how seriously they take this job.

“The responsibility of working on a show like this, we don’t take it lightly,” Talve says. “And because I was so intrigued by the show, and I really, really wanted to work with Russell on ‘The Simpsons,’ I went back and I listened to those old episodes — because I want to honor the musical language that Alf left, and that Danny Elfman left.” (Elfman composed the iconic theme song, which Emanuel and Talve consider “the heart of the show.”)

“And it’s a very specific palette,” she adds. “Like, not to get too nerdy about it, but there really is this harmonic language that’s only in Springfield.”

There are other, subtle ingredients to a good “Simpsons” score: For instance, the music should (usually) duck out of the way for the verbal or visual punchline. And the show has always overflowed with pop culture references and spoofs, which requires an almost bottomless well of musical knowledge. That’s one area where having two dozen other composers working in the same building comes in handy.

“There’s this adaptability that you have to have on this show,” says Talve, “and it’s every genre under the sun, and you kind of just have to figure out how to do that. And Russ was a big part in teaching me, because he’s the king of production music.” She adds that the composers in the collective also play a variety of instruments, so “I can just ask them to come in and play this line, because we can’t sell it to the showrunners if it sounds too fake.”

The average “Simpsons” episode has between five and 10 minutes of score — which might sound like easy street.

“The amount of starts is very challenging,” Talve says. “And it is deceiving. People go, ‘Five minutes? Oh, you’re just doing a bunch of stings’ or whatever. But I want to debunk this because it’s actually way harder, for me personally, to do 30 short cues for one episode than to have one long cue that’s five minutes because the amount of emotional turns that the music has to have, and that you have to hit all this stuff within 10 seconds — it’s actually really frickin’ hard.”

(In 2014, Clausen told me he always joked that “I can make you feel five ways in 13 seconds.”)

The Simpson family in a segment from this year’s “Treehouse of Horror.”

(“The Simpsons” & 20th Television)

Most episodes are recorded with small ensembles at the Bleeding Fingers facility, but the “Treehouse of Horror” chapters are special; they tend to have wall-to-wall music, and the producers splurge on a full orchestral session at Fox — just like the old days.

This year’s anthology spoofs “Jaws,” “Late Night With the Devil” and “Furiosa.” Talve’s score bobs and weaves accordingly, from big brassy horror to eerie synths to world percussion and a custom-made plastic flute.

Groening, who was full of praise for Talve’s “Treehouse” score, has gradually warmed to the Bleeding Fingers team approach — viewing it less like a factory churning out product and more like the way animators work.

“The nature of animation, with maybe two or three exceptions in the history of the medium — it’s all a collaboration,” Groening says. “We’ve got a lot of ‘Simpsons’ writers, we have a lot of voice actors, a lot of animators, a lot of musicians. I mean, one of the great things about that particular session was that these are some of the greatest musicians in Los Angeles, playing amazing music.”

He even wishes people could witness it in person.

“There should be live concerts of this music because it is so much fun to listen to,” he says.” And it gets a little constrained, you know, when it’s supporting goofy animation — but as music, it’s really fantastic.”

Reality television production in Los Angeles declined sharply this summer, leading to a nearly 21% drop in overall TV shoot days, a new report shows.

The total number of shoot days in the greater L.A. area from July to September was 4,380, down 13.2% compared to a year ago, according to data from FilmLA, a nonprofit that handles film permits for the Los Angeles region.

The third-quarter data does not reflect the full effect of the state’s newly bolstered film and TV tax credit program, which was passed this summer.

In the most recent round, 22 TV series were chosen amid a nearly 400% increase in applications, with 18 of those shows primarily filming in the L.A. area.

Projects that received an incentive have 180 days to start production after notice of their award, and it often takes time to commence filming.

Because of that, FilmLA executives were not surprised to see on-location production continue to slip during the summer months.

“Fortunately, we’ve already begun to see early signs of these incentives having their desired effect,” he said. “We’re excited to be taking calls from productions looking to line up their locations and pull permits,” FilmLA Vice President Philip Sokoloski said in a statement.

TV production totaled 1,441 shoot days, down 20.7% compared to the same time period last year. The decline is especially significant because TV is the region’s main driver of production.

Reality TV dropped to 649 shoot days, down 31.4% compared to last year. Other genres of TV production also saw a downturn — drama (down 19%) and pilots (down 34.5%). Production of television comedies, however, was a bright spot with 79 shoot days, up 41.1%.

Feature film production in L.A. also ticked up with 522 shoot days, an increase of 9.7% compared to last year. But commercial production, which does not receive a tax incentive, was down 17.9% to 668 shoot days.

The report’s “other” category, which includes student films, still photo shoots and documentaries, saw a decrease of 9.9% to 1,749 shoot days.

A shoot day represents one crew’s permission to film at a single location in a 24-hour period.

Longtime FilmLA executive Denise Gutches has been named the nonprofit’s new chief executive.

Gutches, who has served as FilmLA’s chief financial and operating officer since 2011, will assume her new role on Jan. 1. FilmLA President Paul Audley will retire at the end of December after a 17-year tenure with the organization, which announced the change Wednesday morning.

“We have a lot to do in this creative economy,” Gutches said in an interview. “I am definitely up for this challenge.”

The leadership transition comes as Hollywood tries to lure back film and television production that has relocated to other states and countries in search of lower costs and more generous tax incentives. Earlier this year, California increased the annual amount allocated to its own film and TV tax credit program and expanded the eligibility criteria in hopes of jump-starting production in the Golden State.

In the most recent application period, 22 TV series were awarded tax credits amid heightened interest in the program. Eighteen of those series will film largely in the Los Angeles area.

Gutches said she is hopeful the sweetened incentives will provide a boost to the Greater L.A. area, which has seen a sharp decline in production since the pandemic, dual writers’ and actors strikes and a pullback in spending from the studios.

FilmLA — which handles film permits for the city of Los Angeles and unincorporated areas of the county — is also working with government partners to smooth the process of filming in L.A., she said.

“We think that that’s highly critical to ensure that we can make the Los Angeles region more attractive with the new film and television tax credit,” she said. “Our mission is to keep filming here and streamlining it, and that’s really what we’re going to focus on.”

The transition to Gutches’ leadership began months ago when Audley asked the nonprofit’s board not to renew his contract.

His decision came after the group’s staff was cut to 74 employees from 117, reflecting industry changes and a slowdown in local production activity.

“It’s really about right-sizing the executive level staff of an organization of this size,” Audley said. “It just makes good business sense.”

Nearly two dozen television shows will receive incentives for shooting in California — including two series that relocated from Texas and Canada — in the first award period since the state bolstered its film and TV tax credit program earlier this summer.

The 22 shows were chosen amid a massive amount of interest in the state’s incentive program, which now has an annual cap of $750 million, up from $330 million. In this round, the California Film Commission saw a nearly 400% increase in applications, said Colleen Bell, the agency’s executive director.

“These enhancements to our program, they’re not just about curbing runaway production,” she said in an interview. “We’re building momentum to grow and expand production here in California.”

In total, the 22 shows were allocated $255.9 million in credits and are expected to generate about $1.1 billion of economic activity in California, she said. The productions are estimated to employ 6,500 cast and crew members and more than 46,000 background actors.

Of the 22 awarded series, 15 were new projects, five were recurring shows and two relocated from outside of California, including Tom Segura’s darkly comedic Netflix series “Bad Thoughts,” which previously filmed in Texas.

Apple TV+ comedy “The Studio” and legal thriller “Presumed Innocent” received production incentives, as did CBS’ “NCIS: Origins,” a new HBO series by comedian Larry David, a pilot called “Group Chat” from “black-ish” creator Kenya Barris and a new Hulu drama from Dan Fogelman of “Paradise” and “This is Us.” All of the qualified projects that applied were able to get a tax credit in this round, Bell said.

“California has long been the entertainment capital of the world — and the newly expanded film and TV tax credit program is keeping it that way,” Gov. Gavin Newsom said in a statement. “We’re not just protecting our legacy — we’re reminding the world why the Golden State remains the beating heart of film and television.”

Newsom called for an expansion of the state’s film and TV tax credit program late last year in an attempt to stem the tide of productions moving to other states or countries with lucrative incentive packages. Hollywood studios, producers, unions and other workers rallied around the issue for months, traveling up to Sacramento to lobby legislators about the importance of the entertainment industry to California’s economy.

In addition to the higher cap, the revamped program broadened the types of productions eligible for incentives, including half-hour television shows, certain large-scale competition shows and animated shorts, series and films.

For this round of incentives, the California Film Commission was able to consider all of the new categories except for animated shows and large-scale competition shows because those require new regulations that are being drafted, Bell said. Those categories could be eligible starting early next year, she said.

The new program provisions also upped the tax credit to as much as 35% of qualified expenditures for productions filmed in the greater Los Angeles area, and up to 40% for projects shot outside the region. For this application period, most of the series will shoot in the L.A. area, except for four that will shoot at least partially outside of that zone, Bell said.

“People want to shoot their projects here in California,” Bell said. “Now, decision makers are giving California a second look because we have made these important programmatic changes that have made us much more competitive with other jurisdictions.”

This fall, there are more than a few mysteries to be uncovered, whether it’s by a group of retired amateur sleuths, an FBI task force, a group of children living in small-town Maine or the only unhappy woman in the world — trust us, the last isn’t as dour as it seems (there are donuts). If you would rather stay grounded in reality, streaming documentaries with subjects ranging from Sarah McLachlan to Martin Scorsese to the American Revolution will do just the trick while giving you perspective about the music and film industries and America’s Founding Fathers. But if you prefer to detach and have some laughs, there are several comedies and dramedies that will do just that. And that’s the democratic nature of television — there’s something for everyone.

‘The Thursday Murder Club’

(Netflix, Aug. 28)

Ben Kingsley, Helen Mirren and Pierce Brosnan in Netflix’s “The Thursday Murder Club.”

(Giles Keyte / Netflix)

The first of Richard Osman‘s wonderful series of novels concerning a group of British retirees who recreationally solve murders has become an almost-straight-to-Netflix feature with a cast that in olden times would have guaranteed a long theatrical ride. Helen Mirren plays Elizabeth, with a background in intelligence; Pierce Brosnan is Ron, a combative ex-trade unionist; Ben Kingsley plays Ibrahim, a shy former psychiatrist; and Celia Imrie is Joyce, the chirpy newcomer, with Naomi Ackie as Donna, the bored police officer who falls under their collective spell. (Plus David Tennant, Richard E. Grant and Jonathan Pryce, if that isn’t enough British thespian firepower for you.) As a fan of the books, I will approach it with some trepidation, but I will absolutely approach it. — Robert Lloyd

‘Task’

(HBO, Sept. 7)

Mark Ruffalo leads HBO’s “Task,” created by Brad Ingelsby of “Mare of Easttown.”

(HBO)

Crime dramas are a dime a dozen, but sometimes one stands out from the crowd and keeps you hooked. The latest HBO series from Brad Ingelsby, who famously brought us Kate Winslet in a Delco accent in “Mare of Easttown,” may well do that. Like “Mare,” it is also set in Pennsylvania, but this time the story revolves around an FBI agent named Tom played by Mark Ruffalo, who is charged with leading a task force to uncover who is behind a string of robberies. Parallel to his story is that of Robbie (Tom Pelphrey) and his best friend Cliff (Raúl Castillo), sanitation workers who are trying to make ends meet. Secrets, twists and turns lie ahead that bridge their stories together and make you question the gray areas between good, bad, wrong and right. — Maira Garcia

‘Black Rabbit’

(Netflix, Sept. 18)

Jason Bateman stars opposite Jude Law in Netflix’s “Black Rabbit.”

(Netflix)

Between TV series (“Ozark”), films (“Carry-On”), podcasts (“SmartLess”) and commercials (State Farm Insurance), Jason Bateman is one of the busiest performers in Hollywood. He returns to Netflix in a limited series, “Black Rabbit,” which teams him with Jude Law. The project features Law as Jake Friedkin, the owner of New York’s popular Black Rabbit restaurant and VIP lounge who runs into trouble when his brother Vince (Bateman) returns years after going on the lam after running up a mountain of gambling debts. Bateman also directs the first two episodes, and is an executive producer along with Law. — Greg Braxton

‘Lilith Fair: Building a Mystery’

(Hulu, Sept. 21)

Paula Cole on stage at Lilith Fair. Hulu’s “Building a Mystery” takes a look back at the pivotal music festival.

(Merri Cyr / Hulu)

Sweet nostalgia. Lilith Fair was the first music festival I ever attended as an awkward, introverted teen, and it was the first time I was surrounded by thousands of (mostly) women who I knew felt absolutely free to be themselves. Of course I’d want to relive that. For those who need a refresher, Lilith Fair was a traveling music festival founded by Sarah McLachlan and others to prove the sexist standards that existed in the music industry in the 1990s were morally and financially wrong. Featuring artists like Sheryl Crow, Liz Phair, Queen Latifah, Sinéad O’Connor, the Indigo Girls and many others, the festival made more than 130 stops over its original three-summer run. Directed by Ally Pankiw and touting Dan Levy as one of its producers, “Lilith Fair: Building a Mystery” mined over 600 hours of never-before-seen footage and features interviews with the festival’s organizers, musicians and fans. — Tracy Brown

Fall Preview 2025

The only guide you need to fall entertainment.

‘The Lowdown’

(FX, Sept. 23)

Ethan Hawke and Ryan Kiera Armstrong in FX’s “The Lowdown.”

(Shane Brown / FX)

Sterlin Harjo, who last gave us “Reservation Dogs,” is back with another Oklahoma-set series, a noir excursion loosely based on citizen journalist Lee Roy Chapman. Ethan Hawke, here called Lee Raybon, is a Tulsa amateur “truthstorian” and rare book dealer, working and living in a store where the cool people hang out. His yen to cure civic rot in the light of day brings him into the orbit of a powerful family, including a suicide (Tim Blake Nelson), a widow (Jeanne Tripplehorn), and a candidate for governor (Kyle MacLachlan). Kaniehtiio Horn, the Deer Lady on “Rez Dogs,” plays his ex-wife because in a show like this, any wife is bound to be an ex, with Ryan Kiera Armstrong as their Nancy Drew of a teenage daughter, and Keith David bringing his formidable Keith David-ness. — R.L.

‘Slow Horses’

Season 5 (Apple TV+, Sept. 24)

Gary Oldman and his Slough House misfits are back for Season 5 of “Slow Horses.”

(Jack English / Apple TV+)

The long, and for some of us agonizing, wait is over for the best spy drama on TV. Jackson Lamb (Gary Oldman) and his MI5 Slough House misfits are at it again, bumbling into all manner of international and inner-departmental intrigue, with their signature results of mess and mayhem. Computer-genius man-child Roddy Ho (Christopher Chung) plays a central figure in this year’s race against time, River Cartwright (Jack Lowden) continues to agonize over the plight of his aging grandfather (Jonathan Pryce) and his own determination to get back to the Park, where Second Desk Diana Taverner (Kristin Scott Thomas) remains under the authority of twitchily incompetent First Desk Claude Whelan (James Callis, having a grand old time.) Pulling everyone’s strings is, of course, Lamb — whether goading his assistant Catherine Standish (Saskia Reeves), locking horns with Taverner or talking his way out of virtually any situation, Lamb is the most noisome, flatulent, stringy-haired super spy ever to grace any screen and it is impossible to imagine a world without him. — Mary McNamara

‘House of Guinness’

(Netflix, Sept. 25)

Louis Partridge in Netflix’s “House of Guinness.”

(Ben Blackall / Netflix)

Arthur Guinness, the founder of the world’s most iconic beer, had 21 children. Only 10 of them survived to adulthood and only four represent the family in this Netflix series. But in the hands of creator Steven Knight, best known for “Peaky Blinders,” four appear to be quite enough. Following their father’s death, Arthur (Anthony Boyle), Edward (Louis Partridge), Benjamin (Fionn O’Shea) and Anne (Emily Fairn) must navigate all manner of tensions and threats, including the draconian terms of their father’s will, violent Fenian protests (Guinness senior was a Protestant who believed in Catholic rights but not Irish self-rule) and various affairs of the heart — Anne smolders early on at the sight of brewery overseer Sean Rafferty (James Norton). Many creative liberties were taken, no doubt, but the inevitable “Succession” meets “Peaky Blinders” (by way of “Rebellion”) description is apt enough. As the adverts for the black stuff say, it is a lovely day for Guinness. — M.M.

‘IT: Welcome to Derry’

(HBO, October)

Mikkal Karim-Fidler, Clara Stack and Jack Molloy Legault in HBO’s “IT: Welcome to Derry.”

(HBO)

You just can’t put a terrifying clown down. Almost 40 years have passed since Stephen King terrified readers with “IT,” his massive novel about a vicious clown named Pennywise who targets the children of Derry, Maine. A 1990 miniseries and two theatrical films followed. “Welcome to Derry” continues the “IT“-verse as a prequel set in the 1960s before the “IT” and “IT Chapter 2” films. Bill Skarsgård reprises his portrayal of Pennywise as the series unveils the origins of the menacing clown, while also spotlighting a group of residents wrestling with their own fears and demons. Andy Muschietti, who directed the “IT” films, helped develop the series and is one of the executive producers. The cast includes Jovan Adepo and Taylour Paige. — G.B.

‘Boots’

(Netflix, Oct. 9)

Liam Oh, left, and Miles Heizer in Netflix’s “Boots.”

(Alfonso “Pompo” Bresciani / Netflix)

Choosing to join the military can be construed as a major act of patriotism, but oftentimes it is a very personal decision that involves a lot of a sacrifice — choices like where you will live, what you do on a day-to-day basis and who you work with are dictated. Enter Cameron Cope (Miles Heizer), a gay, bullied high school graduate who isn’t sure what’s next until his best friend Ray McAffey (Liam Oh) — the only person he’s come out to — suggests they join the Marines. Cameron imagines the military to be like summer camp, until reality sets in. This dramedy is set in the ‘90s, when being gay in the military was still grounds for discharge, so not only does Cameron have to endure the brutality of boot camp, he has to keep his sexual orientation a secret. The series is based on “The Pink Marine,” a memoir by Greg Cope White, who serves as a writer. — M.G.

‘DMV’

(CBS, Oct. 13)

Molly Kearney, Gigi Zumbado, Tony Cavalero, Alex Tarrant, Harriet Dyer and Tim Meadows star in CBS’ “DMV.”

(Matt Barnes / CBS)

Your local department of motor vehicles may seem like the very last place to get a laugh, but CBS has managed to pull it off. Its new workplace comedy centers on a ragtag group of employees who work at an East Hollywood DMV: Gregg (Tim Meadows), a former English teacher; Colette (Harriet Dyer of “Colin From Accounts”), a driving examiner with few boundaries; Vic (Tony Cavalero), a former bouncer; Cici (Gigi Zumbado), an outspoken photographer; and Noa (Alex Tarrant), a handsome surfer whom Colette has her eye on. They’re led by newly minted manager Barbara (“SNL” alum Molly Kearney, delightful to see onscreen again), who becomes dismayed when some consultants arrive — no matter where you work, that’s never a good sign. Despite work and interpersonal turmoil, they make a fun and funny team that should be a welcome addition to CBS’ fall lineup. — M.G.

‘Mr. Scorsese’

(Apple TV+, Oct. 17)

“Mr. Scorsese” is a five-part documentary directed by Rebecca Miller.

(Brigitte Lacombe / Apple TV+)

Among the biggest challenges for documentary filmmakers of major figures is figuring out not only how to gain access but also the trust of your subject. The ability to get them to open up can turn an interesting documentary into a great one. And when the subject is Martin Scorsese, one of America’s great auteurs, you want the full portrait of a director who helped shape cinema with iconic films like “Taxi Driver,” “Goodfellas,” “Gangs of New York” and, most recently, “Killers of the Flower Moon.” Director Rebecca Miller (“She Came to Me,” “Personal Velocity”) seems up for the task, having created a five-part docuseries that’s billed as the definitive portrait of 82-year-old Scorsese and will premiere at New York Film Festival this fall. — M.G.

‘Nobody Wants This’

Season 2 (Netflix, Oct. 23)

Justine Lupe, Kristen Bell and Jackie Tohn return for Season 2 of “Nobody Wants This.”

(Erin Simkin / Netflix)

There will inevitably come a time when the drip-drop of wholesome, rom-com-level video content of Pamela Anderson and Liam Neeson on their “Naked Gun” promotional tour will loosen its grip on my social media algorithms, and I’ll return to longing for a fictional romantic comedy to fill the void. That’s where Adam Brody — who really propelled the art of the neck-hugging smooch combo — and Kristen Bell come in. The first season made millennial hearts squeal with its pairing of Brody and Bell — two decades after they rose to fame in the early aughts on teen dramas “The O.C.” and “Veronica Mars,” respectively — in a delightful will they/won’t they set in L.A. Bell is Joanne, a woman who often regales about her single life on the podcast she co-hosts with her sister Morgan (Justine Lupe), while Brody’s Noah is a progressive rabbi who is newly single. But can their relationship make it past hurdles that include their careers, family and religion? The first season ended with a showstopping kiss that suggested they’re willing to give it a try. The sophomore outing promises to unpack what that looks like. Let’s just hope no one in this couple-with-obstacles is proposing a five-year waiting period to deal with personal matters before really giving it a go. (IYKYK.) Plus, “Gossip Girl” alumnus Leighton Meester, Brody’s wife IRL, joins the fun, playing Joanne’s childhood nemesis. — Yvonne Villarreal

‘Star Wars: Visions’

Vol. 3 (Disney+, Oct. 29)

Sevn and IV-A4 in a scene from the “Star Wars: Visions” Vol. 3 short “The Bounty Hunters.”

(Lucasfilm Ltd. / Disney)

Dave Filoni’s rise at Lucasfilm is proof enough that some of “Star Wars’” best storytelling has happened in animation. My favorite has been “Star Wars: Visions,” an anthology series where international animation houses have been given the freedom to explore their ideas about the Force and the galaxy far, far away outside of the constraints of the franchise’s existing canon. For the first season, Lucasfilm tapped Japanese anime studios for nine shorts, which featured a range of stories including those that centered an ex-Sith ronin, a Jedi Padawan turned lead singer of a rock band and even a Force-wielding droid. The series went even more global for its second season, with studios from Europe, Asia and South America being among those that were enlisted for their takes. The upcoming third season brings the focus back to Japanese anime, with sequels to three of the shorts from Season 1 — including my favorite, “The Village Bride” — among the lineup. — T.B.

‘Last Samurai Standing’

(Netflix, November)

Netflix’s “Last Samurai Standing” is based on the historical novel series “Ikusagami.”

(Netflix)

When I saw this series described as “‘Shōgun’ meets ‘Squid Game,’” I had two competing reactions. There was the part of me that was slightly skeptical seeing a logline that leaned on two of the biggest Asian-led shows ever, but the part of me that grew up on a steady diet of chanbara is excited by the idea of a battle royale with samurai — and that part has completely won out. Based on the historical novel series “Ikusagami” by Shogo Imamura, the Meiji-era set “Last Samurai Standing” will involve 292 warriors assembled at a temple in Kyoto for a deadly game with a massive cash prize. Considering the Meiji period was when the samurai became obsolete, the potential for social commentary mixed in with high-stakes combat seems pretty high. — T.B.

‘Pluribus’

(Apple TV+, Nov. 7)

Rhea Seehorn stars in Apple TV+’s “Pluribus,” her upcoming series from Vince Gilligan.

(Apple TV+)

If you thought the grainy footage of Ariana Grande surreptitiously licking a doughnut inside an L.A. shop a decade ago sent shivers down your spine — health codes matter, people! — the first teaser for Vince Gilligan’s new TV opus is just as chilling to behold. Ditching “Better Call Saul’s” signature cinnamon roll pastry for the hole-y American staple, the trailer for the new series takes place in the dead of night at an office building and settles on a woman, in a pink uniform, licking the tops of doughnuts one by one — ASMR at its eeriest — before placing them back in their box as a sign that reads “Help yourself!” with a smiley face comes into focus. Uh, what? The series reunites Gilligan with “Better Call Saul’s” Rhea Seehorn, who was the show’s beating heart with a ponytail as Kim Wexler, a skilled lawyer who gets caught up in the antics and schemes of Jimmy McGill/Saul Goodman. In this genre-bending sci-fi drama, she is the most miserable person on Earth who must save the world from happiness — it’s the sort of TV premise that feels like it was tailor-made for my 2025 fatigue. In addition to Seehorn, the series stars Karolina Wydra (“Sneaky Pete”) and Carlos-Manuel Vesga (“The Hijacking of Flight 601”), and guest stars Miriam Shor (“American Fiction”) and Samba Schutte (“Our Flag Means Death”). It’s already been picked up for a second season so you can go in knowing there are no commitment issues. — Y.V.

‘The American Revolution’

(PBS, Nov. 16)

John Trumbull’s “The Declaration of Independence, July 4, 1776.” Ken Burns’ latest PBS docuseries will focus on the American Revolution.

(Yale University Art Gallery/PBS)

The combination of PBS and Ken Burns (with co-directors Sarah Botstein and David Schmidt and writer Geoffrey C. Ward) returns again to improve your mind and remind you that history is not something that can be edited to suit the whims of a king or dictator, but also that it is made up of a variety of stories from a spectrum of participants. In these parlous times, when conspiracy theories are mistaken for truth and experts for enemies, those who might most profit from “The American Revolution” are perhaps least likely to watch it, but in the course of this six-part, 12-hour foundational tale, anyone is bound to learn something. It will certainly have things to say about how Black and Indigenous people participated in this long moment. And if you have it, send money to your local public broadcaster, who needs it more than ever. — R.L.

Tyler Perry is facing legal backlash to the tune of $260 million from an actor who appeared in his BET drama “The Oval” and is accusing the media mogul of quid pro quo sexual harassment, sexual battery and retaliation, among other counts.

Perry’s accuser, actor Derek Dixon, filed his lawsuit against the billionaire film and TV producer in Los Angeles County Superior Court on Friday. The actor claims Perry leveraged his power and standing in entertainment “to create a coercive, sexually exploitative dynamic with Mr. Dixon — initially promising him career advancement and creative opportunities,” according to court documents reviewed by The Times. Tyler Perry Studios and the And Action production company are listed as co-defendants.

“This is an individual who got close to Tyler Perry for what now appears to be nothing more than setting up a scam,” Perry’s attorney Matthew Boyd said in a statement to The Times. “But Tyler will not be shaken down and we are confident these fabricated claims of harassment will fail.”

In his 46-page complaint, Dixon says he met the “House of Payne” creator in September 2019 when he was working as event staff for one of Perry’s parties. The multi-hyphenate entertainer offered Dixon the chance to audition for his show “Ruthless” a month after their first meeting. Perry claimed he would “change [Plaintiff’s] life” and offered him a small role in the TV series, “setting up the first stage in a series of escalating quid pro quo offers,” the lawsuit alleges.

From January 2020 to June 2024, Perry “sustained a pattern of workplace sexual harassment, assault and retaliation,” the lawsuit alleges. Dixon appeared in 85 episodes of Perry’s presidential drama “The Oval” from 2021 to 2025, according to IMDb.

Dixon accused Perry of relentlessly probing him about his sex life, making suggestive comments and expressing jealousy about his interactions with other men during the duration of their work together. The complaint features multiple screenshots of alleged conversations between Dixon and the media mogul, including messages in which the director asks “What’s it going to take for you to have guiltless sex?” and likens the actor to a rose but says he is “so blocked that you refuse to be smelt [sic] or opened.”

The lawsuit — which evokes cases against Harvey Weinstein, Bill Cosby, Kevin Spacey and other high-profile Hollywood figures accused of sexual harassment — also details multiple occasions where Perry allegedly groped the actor. The first was in January 2020 when Dixon stayed the night in a guest room at Perry’s home in Georgia and allegedly felt Perry “slip into bed behind him and start rubbing Dixon’s body around his inner thigh in a highly sexual and suggestive manner.” Dixon also accuses Perry of “violently” grabbing his throat in March 2020, groping his buttocks in a trailer later that year, and pulling down his underwear and groping his buttocks again in June 2021.

The complaint underscores that Dixon repeatedly refused Perry’s advances and walked a fine line, keeping his interactions with Perry professional but friendly enough to remain in his good graces. He claims the threat of Perry killing off his character constantly loomed over his “Oval” tenure. In addition to casting Dixon in his series, Perry also expressed interest in helping the actor develop a show, the lawsuit says.

Dixon distanced himself from Perry after the alleged June 2021 assault, the lawsuit says, but the producer’s “fixers” reached out with a new storyline for his “Oval” character and a pay raise. They also allegedly told Dixon he could not tell his castmates about the new perks.

Perry allegedly continued to ask Dixon about his sex life through the years that followed and in March 2024 plans to pitch Dixon’s show began to fall apart. After Perry offered Dixon a writing spot on one of his series in June 2024, Dixon “woke up and realized Perry was never going to be serious about helping Dixon” grow his career, the lawsuit says.

Dixon claims he reported the alleged sexual harassment to the Equal Employment Opportunity Commission but the complaint was not investigated. Dixon left “The Oval” and Perry allegedly retaliated by telling Dixon he could say only that he was taking medical leave. “Defendant made the leave of absence unpaid and therefore terminated Plaintiff’s employment causing Dixon additional loss of income and insult,” the suit says.

The lawsuit also includes allegations of work environment harassment, workplace gender violence, sexual assault, negligent retention and intentional infliction of emotional distress.

Walt Disney Co. has secured the exclusive streaming rights to the children’s TV series “CoComelon,” according to people familiar with the matter, taking one of the most popular kids’ programs in the world away from Netflix.

Starting in 2027, Disney+ will have every season of “CoComelon,” a compilation of nursery rhymes for toddlers, according to the sources, who asked not to be identified discussing a deal that hasn’t been announced. The Burbank-based movie, TV and theme-park company will pay tens of millions of dollars annually for the rights, one person said.

“CoComelon” has been one of the most-popular kids’ programs in the world for almost a decade. Its flagship YouTube channel has 193 million subscribers and averages more than 2 billion views a month, according to Social Blade. It was the second-most-watched program on Netflix in 2024, trailing only the “Bridgerton” shows.

The series adds to an already strong lineup of kids’ programming on Disney+, which is home to the most-watched preschool show on streaming, “Bluey,” as well as classic Disney films and TV shows. Disney had three of the most-watched preschool shows in the U.S. in the first quarter of this year with “Bluey,” “Spidey and his Amazing Friends” and “Mickey Mouse Clubhouse.”

Former advertising executive Jay Jeon created the YouTube channel in 2006 to entertain his child and sold it to U.K.-based Moonbug Entertainment in 2020. Moonbug was later acquired by Candle Media, an independent media firm led by former Disney executives Kevin Mayer and Tom Staggs. Moonbug, which declined to comment, will continue to post videos of “CoComelon” on YouTube while Disney+ will be the exclusive paid streaming home.

The popularity of “CoComelon” on Netflix has waned over the last 12 to 18 months. While the show was the fifth most-watched program in all of streaming in 2023, it didn’t appear in the top 10 last year. Viewership has declined by almost 60% over the last couple of years. Netflix will continue to be the home of “CoComelon Lane,” an original series, as well as “Blippi,” another property owned by Moonbug.

Disney has been the biggest brand in kids’ entertainment for a century, producing beloved characters such as Mickey Mouse and the Little Mermaid. But many of the most popular new properties for kids began outside of Hollywood. Bluey, for example, is from the Australian Broadcasting Corp. and BBC Studios.

Disney is placing renewed emphasis on kids’ programming as it competes with Netflix and YouTube, which is the most popular video service in the world, especially with viewers under age 30. Disney+ had 126 million subscribers at the end of March, up 1.4 million from the three previous three months.

In addition to “CoComelon,” Disney is licensing several seasons of “Little Angel” and a couple seasons of “JJ’s Animal Time,” two other Moonbug shows. “Little Angel” will remain available on YouTube, Netflix and Amazon.

Streaming services that once focused primarily on signing up new customers are increasingly occupied with keeping customers for as long as possible. The longer that subscribers stay with a service, the less likely they are to cancel and the more valuable they are to advertisers. Kids’ programming drives a lot of engagement for streaming services. It accounts for about 15% of all viewing on Netflix, the company said last week. Netflix closed 2024 with more than 300 million paid subscribers.

On May 19 the company announced an agreement to begin carrying new and old episodes of the children’s classic “Sesame Street” and also has the hit kids’ show “Gabby’s Dollhouse.”

“CoComelon” will arrive on Disney+ the same year that a movie based on the property will be released in theaters by Universal Pictures.

Shaw writes for Bloomberg.