All the Best Movies and Shows Coming to and Leaving Hulu in August 2. While were waiting for the solar eclipse later on in the month, well be cooling our heels in August hiding out in the air conditioning, and catching up on the fresh batch of movies and TV shows that are hitting streaming services on the 1st. Below, new offerings to expect from Hulu in the dog days of summer Highlights. Watch Confessions Of A Dangerous Mind Online Hulu' title='Watch Confessions Of A Dangerous Mind Online Hulu' />Hulu is introducing many Oscar winning movies this month, including As Good as It Gets, Arthur, Ghost, High Noon, Reds, and Saving Private Ryan. There are also iconic movies people still reference today like Clueless, Bill Teds Excellent Adventure and its sequel Bill Teds Bogus Journey, and Honey, I Shrunk the Kids. If youre planning to see Spider Man Homecoming in theaters, you can also watch Spider Man and Spider Man 2, starring Tobey Maguire, on Hulu. AVavy4KzhmKYj13OtsVeMd1z2.jpg' alt='Watch Confessions Of A Dangerous Mind Online Hulu' title='Watch Confessions Of A Dangerous Mind Online Hulu' />NASA astronaut and biochemist Peggy Whitson will return to Earth as the planets new record holder for longest time cumulatively spent on space by an American or a. Hulu also has most of the Saw franchise Saw through Saw V. For more horror, theres 2. My Bloody Valentine 3 D, the remake of the 1. SCI FI Channel is now Syfy, but you can still get access to all your favorite SCI FI Channel content right here. Syfy features science fiction, drama, supernatural. If youre planning to see SpiderMan Homecoming in theaters, you can also watch SpiderMan and SpiderMan 2, starring Tobey Maguire, on Hulu. Hulu also has most of. Watch Investigation Discovery TV series online with help from SideReel Find links to shows, read episode summaries and reviews, add ratings, and more. Henry Jenkins is the Provost Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California. He arrived at USC in Fall. Canadian film My Bloody Valentine about a miner who goes on a murder spree. If youre looking for something less scary but that still involves suspense, youll be able to watch 1. Clue, based on the popular board game of the same name, starting on August 1. Season 7 of HBOs Game of Thrones premieres this Sunday, giving you just enough time to figure out where to place your bets in your death pool and how to watch the. The Nintendo Switch exists, and is a fantastic gaming system that you can, in a pinch, play in a bar, a car, or on the train. Phones exist too, and the games on them. There are concert options, as well, including CMA Fest 2. Specialhosted by country singers. Thomas Rhett and Kelsea Ballerini. If country music isnt your thing, you can watch the comedy music special hosted by ventriloquist and Americas Got Talent winner Terry Fator, Terry Fator Live in Concert, where he does impressions of singers. On August 5, youll be able to watch hilarious Billy on the Street segments because Hulu is streaming the shows the fifth season were excited to watch him destroy more art. You can also watch Billy Eichner play the part of an aspiring comedian on August 8, when the third season of Hulus original series Difficult People, about two bitter friends trying to make it in New York City, premieres. For reality TV fans, theres The Bachelorette The Men Tell Allon. August 1 and the contested season 4 premiere of Bachelor in Paradise on August 1. On August 3. 1, many popular movies are leaving the service, including Blue Velvet, Gangs of New York, and Girl, Interrupted. Two popular Disney cartoons, Hercules and Mulan will be removed from the streaming service as well. Arriving This Month. August 1. Ali 2. Among Friends 2. Arthur 1. 98. 1As Good as it Gets 1. The Bachelorette The Men Tell All Special ABCBad Boys 1. Bad News Bears 2. Bad Company 2. 00. Benny Joon 1. The Big Chill 1. Bill Teds Bogus Journey 1. Bill Teds Excellent Adventure 1. Bloodsport 1. 98. Box of Moonlight 1. Breakdown 1. 99. Center Stage 2. Center Stage On Pointe 2. Center Stage Turn it Up 2. Charley One Eye 1. Charlottes Web 2. Clue 1. 98. 5Clueless 1. Coming to America 1. Criminal Law 1. 98. Cujo 1. 98. 3Dead Gamers 2. The Dead Zone 1. Delta Force 1. Eves Bayou 1. 99. Watch Mothers And Daughters Online Mothers And Daughters Full Movie Online. Far From Home 1. Final Fantasy VII Advent Children 2. Final Fantasy The Spirits Within 2. Finding Forrester 2. The Foot Fist Way 2. Friends and Lovers 1. The Generals Daughter 1. Get Rich or Die Tryin 2. Ghost 1. 99. 0Hannie Caulder 1. Harlem Nights 1. Harsh Times 2. Hey Arnold The Movie 2. High Noon 1. 95. Higher Learning 1. Honey, I Shrunk the Kids 1. 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Shivers 1. 97. 5Tracker 2. Underworld 2. 00. Underworld Evolution 2. Under the Sea 2. Walking Tall 2. Henry Jenkins. Thanks to several decades of research on the audiences for contemporary popular media, we now know much about various forms of fan engagement and participation. Yet, I am always hungry for more historical work that explores these same questions, if for no other reason, so we have a context for understanding what is distinctive about the current moment and what have been recurring issues around media audiences across a broader time span. I was, thus, very excited to learn of a new book, Playwriting Playgoers in Shakespeares Theater, which provides deep insights into the forms of participation desired and achieved by theatergoers in Elizabethian England. Its author, Matteo A. Pangallo, has uncovered a range of original scripts written by amateur playwrights with fantasies in many cases that they might join the repertoire of the various theater troops of the era. Through careful readings of this archival material, Pangallo gains deep insight into the forms audience engagement and participation took during this formative moment in Western popular theater. Given a chance to interview Pangallo, who contacted me because he was interested in the parallels and differences with contemporary fan culture, we were able to explore the historical roots or lack thereof of contemporary phenomenon, such as fan fiction, spoiling, catch phrases, and fan service. I appreciate his willingness to engage with my questions, since this interview offers a productive bridge between historians and cultural studies researchers writing about audiences. We both try hard not to get too anachronistic in describing these practices as an early form of fandom, a word and concept not in use during this period, but we can certainly see playgoers as forming intense relations with plays, characters, and performers, which encouraged them to return for multiple viewings, to share their insights with each other and the producers, and to create their own works in the same genres of the plays they admired. This is the first of a number of interviews I plan to run through the fall, exploring the current state of fandom and fan studies. Keep reading. You write about an audience stage relationship that was intensely dialogic, participatory and creative. In what ways What forms did audience participation take and what did the professional theater troops do to recognize this grassroots creativity Most fundamentally, as a commercial enterpriseindeed, Englands first regular, cultural commercial enterpriseShakespeares theater empowered its audience with the ability to shape through consumer demand the kinds of content produced by the playmakers. If a particular genre, style of writing, or type of narrative were to fall from favor, attendance at those plays would fall off and the playmakers would have to shift the repertory away from that kind of material or risk losing paying customers to a rival playhouse or troupe. This power of the purse created a dynamic in which playgoers came to understand themselves as collaborative participants in shaping the plays that they were watching and the repertory of the companies. And many of the playmakers acknowledged as much often epilogues delivered at the end of a play would invite playgoers to identify what parts of a play they did not like, implying that the play could be revised and revived to align more fully with their desires whether or not playmakers actually followed through on such promises is unclear. Playmakers frequently drew attention some positively and some negatively to the fact that each audience member individually had the capacity to imagine and interpret the fiction that they were watching. But even beyond that kind of internalized participation, we have ample evidence of playgoers participating in an externalized fashion, making comments, both favorable and unfavorable, on plays in the midst of performance. These responses included shouting out their own ideas for lines, bantering with the clown, mocking bad actors, throwing objects, hissing villains, cheering heroes, calling for popular bits to be done again and again, asking for particular jigs or songs, and so forth. In some instances, playgoers externalized responses during performance evidently prompted the actors to change or even abandon their original intentions that is, the playwrights script, though in other instances they likely ignored the outburst. Even when the outburst was ignored, however, in the context of a live performance, an unscripted response from any one playgoer necessarily informed for the rest of the audience their experiences and understanding of the play, with potentially radical results. There are a few accounts of a single spectator laughing at a tragedy or weeping at a comedy and, by virtue of their generically inappropriate conduct, changing how other playgoers thought about the play, subverting the playwrights and actors generic intentions for the play and, in effect, undermining the supposed authority of the mainstream cultural producers. We shouldnt forget that Shakespeares playhouse, with its shared light and three quarters seating sometimes with patrons even sitting on the stage or on the balcony behind the stage, was a venue in which audience members were as much on display as the play they had come to watch. It was an environment that encouraged consumers to connect with the producers and even intervene in the act of production, rather than, as in the modern proscenium arch theater, obediently disappear from view and observe silently. You have stumbled onto such a rich mine of materials here that offer us perspectives on what audiences of Shakespeares time thought about the theater. Why are people just now writing about such practicesShakespeares audience has long been the subject of interest for scholars, though earlier audience studiessuch as Alfred Harbages 1. Shakespeares Audience, Ann Jennalie Cooks 1. The Privileged Playgoers of Shakespeares London, and Andrew Gurrs 1. Playgoing in Shakespeares Londonfocused less on audience experience and more on resolving the fundamental questions of who comprised those audiences, their demographics, playgoing habits, and preferred venues. A separate branch of audience studies took an interest in audience desire and experience, but addressed themselves to recovering evidence of that desire and experience through the critical study of plays written by professional playwrights. These studiessuch as Arthur Colby Spragues 1. Shakespeare and the Audience, Ernst Hongimanns 1. Shakespeare Seven Tragedies, The Dramatists Manipulation of Response, Jean Howards 1. Shakespeares Art of Orchestration, Ralph Berrys 1. Shakespeare and the Awareness of the Audience, and Jeremy Lopezs 2. Theatrical Convention and Audience Response in Early Modern Dramacenter upon the reasonable premise that successful commercial playwrights such as Shakespeare were successful because they understood what their audiences wanted furthermore, truly effective playwrights like, again, Shakespeare could even control, or orchestrate, audience experience and desire. This approach, of course, does not actually study the audience itself rather, it studies the playwrights understanding of, and assumptions about, his audiencethat is, its really a study about the playwright, which is naturally going to be of interest when the playwright you are talking about is Shakespeare. And, in the end, neither approach was really able to address the question of audience understanding of the theater and how it worked. While all of this was happening in the world of early modern studies, a different approach to the theatrical audience was taking shape in the parallel world of modern performance studies, in works such as Keir Elams 1. The Semiotics of Theatre and Drama, Patrice Paviss 1. Simpsons New Series Watch Online. Languages of the Stage Essays in the Semiology of Theatre, Daphna Ben Chaims 1.