The gutting of TCM made it all too clear that the channel can vanish at the decree of a single executive, tnyfrontrow writes—and that’s why it should become a not-for-profit streaming service.
Photograph by Rick Maiman / GettyThe gutting of Turner Classic Movies by its parent company, Warner Bros. Discovery, is a grim omen for the future of the channel. Much of its leadership team was pushed out, including its respected lead programmer, Charlie Tabesh, who’d been there more than twenty-five years. The C.E.O. of Warner Bros.
Yes, channels come and go, or change: AMC is now the basic-cable home of “Fear the Walking Dead” and not greatly lamented. But what makes TCM different, and what makes its potential shuttering a grave menace to culture at large, is that TCM owns many of the movies that it shows. Consider, by comparison, the short-lived, aggressively art-house channel Uptown, which I watched in the nineteen-eighties.
Imagine a literary world without public libraries, without a New York Public Library or a Library of Congress as all-embracing book collections, in which the sole arbiters of what’s kept and what’s pulped are the publishers themselves—or the conglomerates that take them over. Finding a book unprofitable, publishers wouldn’t deem it worth the storage space, and all copies would likely be gone in a slurry. That’s the essential pathos of the history of cinema.
TCM fulfills the role of Langlois’s dual fervor for collection and creative exhibition, a combination that provided the raw material of cinephilic passion and aesthetic education that nourished the young enthusiasts who eventually formed the. That’s why TCM should become a not-for-profit streaming service—call it Turner Cinema Museum or Turner CinéMathèque.
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