The return of AMC's The Walking Dead and Prime Video's The Marvelous Mrs. Maisel top the list of original programming premiering during the week leading into and through the Presidents' Day holiday.  

The Walking Dead returns from its season 11 mid-season break February 20. The zombie-themed series will end its 11th and final season later this year.

The Emmy-winning comedy The Marvelous Mrs. Maisel returns for its fourth season Feb. 18 on Prime Video. The series stars Rachel Brosnahan and Tony Shalhoub.

Below are video trailers and premiere dates for multiple shows debuting the week of February 14 to February 20 on cable networks and streaming services (for some videos, viewer discretion is advised):

Feb. 14 – State of the Union (dramedy) – Sundance

Feb. 16 – Jeen-yuhs: A Kanye Trilogy (music documentary) – Netflix

Feb. 17 – Big Nate (animation) – Paramount Plus

Feb. 17 – Fistful of Vengeance (movie) – Netflix

Feb. 17 – Inside the Black Box (talk show) – Crackle

Feb. 18 – Painting With John (returning series) – HBO

Feb. 18 – Severance (sci-fi) – Apple TV Plus

Feb. 18 – Space Force (comedy) –Netflix

Feb. 18 – Texas Chainsaw Massacre (movie) – Netflix

Feb. 18 – Uprooted (documentary) – Discovery Plus

Feb. 20 – Abraham Lincoln (documentary) – History

Feb. 20 – From (horror) – Epix

Feb. 20 – I Was There (documentary) – History

Feb. 21 – Below Deck Sailing Yacht (returning series) – Bravo

Cable networks and streaming services will offer several new series and documentaries for viewers to peruse during the Memorial Day holiday week.

Prime video's drama series Homecoming will return May 22 for a second season with a new mystery-themed storyline, according to the streaming service. The new season stars Janelle Monáe (pictured) as a young woman who wakes up in a rowboat that's adrift in a lake with no memory of who she is or how she got there. 

Nat Geo will debut its new drama series Barkskins on Memorial Day (May 25). The series follows a group of settlers traveling from France to the uncharted land of North America during the 17th century. RELATED: Series Review 

Below are video trailers and premiere dates for several shows debuting the week of May 18 to May 25 on cable networks and streaming services (for some videos, viewer discretion is advised):

May 18 -- Blackballed (sports documentary) -- Quibi

May 18 -- Dead Still (dramedy) -- Acorn Tv

May 20 -- At Home with Amy Sedaris (returning series) -- truTV

May 20 -- Sleeping with Friends (reality) -- YouTube

May 21 -- The Split (drama) -- Sundance

May 21 -- Double Cross (drama) -- UMC

May 22 -- Homecoming (drama) -- Prime Video

May 25 -- Barkskins (drama) -- Nat Geo

May 25 -- Grant (documentary) -- History

Below are video trailers and premiere dates for several shows debuting the week of April 6 to April 12 on cable networks and streaming services (for some videos, viewer discretion is advised):

April 6 -- The Big Show (comedy) -- Netflix

April 6 -- Deadwater Fell (drama) -- Acorn TV

April 7 -- The Last O.G. (returning series) -- TBS

April 8 -- Liar (returning series) -- Sundance

April 9 -- The Good Fight (returning series) -- CBS All Access

April 9 -- Shaq Life (reality series) -- TNT

April 10 -- Brews Brothers (comedy) -- Netflix

April 11 -- The Clark Sisters: The First Ladies of Gospel (movie) -- Lifetime

April 12 -- Belgravia (drama) -- Epix

April 12 -- Insecure (returning series) -- HBO

April 12 -- Killing Eve (returning series) -- BBC America/AMC

April 12 -- Run (dramedy) -- HBO (RELATED: 'Run' Review)

April 12 -- Willie Nelson: American Outlaw (documentary) --A&E

Below are video trailers and premiere dates for several shows debuting the week of April 6 to April 12 on cable networks and streaming services (for some videos, viewer discretion is advised):

April 6 -- The Big Show (comedy) -- Netflix

April 6 -- Deadwater Fell (drama) -- Acorn TV

April 7 -- The Last O.G. (returning series) -- TBS

April 8 -- Liar (returning series) -- Sundance

April 9 -- The Good Fight (returning series) -- CBS All Access

April 9 -- Shaq Life (reality series) -- TNT

April 10 -- Brews Brothers (comedy) -- Netflix

April 11 -- The Clark Sisters: The First Ladies of Gospel (movie) -- Lifetime

April 12 -- Belgravia (drama) -- Epix

April 12 -- Insecure (returning series) -- HBO

April 12 -- Killing Eve (returning series) -- BBC America/AMC

April 12 -- Run (dramedy) -- HBO

April 12 -- Willie Nelson: American Outlaw (documentary) --A&E

AMC Networks’ Sundance Now streaming service acquired the U.S. and Canadian rights to Sanctuary, an eight-part psychological thriller.

Based on the novel The Devil’s Sanctuary by Marie Hermanson, the series stars Josefon Asplund and Mathew Modine. Sanctuary is a suspenseful psychological thriller that deals with the defining human issues of survival, identity, trust and betrayal

It will premiere on Sundance Now on April 23.

“As the US home for culture-craving TV watchers looking for their next streaming obsession, Sundance Now is thrilled to acquire the first-rate psychological thriller Sanctuary, said Shannon Cooper, VP of programming for Sundance Now. “With its gripping script, impressive international ensemble and the picturesque backdrop of the Italian Alps, Sanctuary is a perfect addition to Sundance Now’s slate of addictive dramas. We’re happy to partner with Studiocanal, Yellow Bird, and Fabula Pictures to bring their edge-of-your-seat thriller to US audiences.”

The series is produced by Italy’s Fabula Pictures and Swede’s Yellow Bird. It is distributed by Studiocanal. 

“At Studiocanal, we are delighted to partner with Sundance Now on this intriguing new series and are proud to see this high-end European drama travel across the Atlantic. We are confident Sundance Now will be the perfect home for Sanctuary and will bring this gripping narrative, adapted from a best-selling novel, to new audiences in North America,” said Beatriz Campos, head of international sales at Studiocanal.

PARK CITY, Utah — Ad-supported streaming service Tubi is making its first Sundance Film Festival appearance a memorable one, announcing an exclusive deal with writer-director Robert Rodriguez to stream his next movie beginning this summer. 

The film, Red 11, was the product of Rodriguez wanting to commemorate his first Sundance project, El Mariachi, an action thriller that famously cost just $7,000 to make. It became a big hit at the 1992 Sundance festival and launched a career that has included such film and video franchises as From Dusk Till Dawn, Spy Kids and Sin City.  

The Tubi deal covers both Red 11 and a related docu-series, The Robert Rodriguez Film School, which is focused on how to make movies on a tight budget. Both will be available on Tubi this summer in the United States, Mexico and Canada. 

First, however, the film will get a world premiere at Rodriguez’ “home” film gathering in his Austin hometown at South By Southwest, followed by an official screening at the Directors Fortnight section of the Cannes Film Festival in June. 

Rodriguez said in a press release that the projects were designed to commemorate the 25th anniversary (more or less) of that first low-budget foray. 

He used inspiration from the first project’s fundraising efforts – being a human guinea pig for medical testing – as a jumping-off spot for Red 11, which follows a student trying to pay off a huge debt by undergoing testing he suspects may be trying to kill him. It too was made on a $7,000 budget.

“These are both dream projects of mine, an entertaining culmination of ideas and ruminations on the creative process that also highlight the heightened sense of spirituality that comes from dancing with creativity when there is an absence of the usual financial resources,” Rodriguez said in a release. “In other words, ‘low budg fun.’”

The Film School is a series of videos about “truly actionable methods using my no-crew, micro-budget filmmaking style that will inspire others to make their own films and have their voices be heard,” Rodriguez said.

The deal was announced as part of Tubi’s first official appearance at Sundance, the Mecca for indie filmmaking. Tubi also sponsored a Sundance panel on getting films on streaming services, called “They Stream Indies, Don’t They?” followed by an evening party on Monday. 

It all makes for seemingly an unusual fit for the ad-supported streaming service. Tubi claims 20,000 feature and episodic titles, roughly double the Netflix catalog. 

But Tubi chief content officer Adam Lewinson said in an interview at Sundance that the fit between Sundance and Tubi isn’t as surprising as it may appear.

“We’ve been doing indie film deals for years under the radar,” Lewinson said. Tubi representatives are fanning out across Sundance, attending  screenings and scouting for other potential content deals before the festival ends this weekend.=

But Tubi has been lower-key than the big SVOD services such as Netflix and Amazon, who’ve made numerous splashy deals with Sundance projects to fill out their libraries. =

Last year, Amazon spent a reported $45 million acquiring rights to films such as the Mindy Kaling/Emma Thompson comedy Late Night. This year, dealmaking at Sundance has been notably more subdued through the festival’s first five days, though Amazon has made a couple of purchases, according to the Hollywood Reporter. 

Lewinson said offering free access as the ad-supported service does makes it much easier for viewers to sample a wide range of lesser-known shows with little downside. 

This year, the company is looking to enhance its offerings in Spanish-language and anime content, Lewinson said. Tubi already has a section focused on African-American cinema that is among its most popular niches. 

“I like to say Tubi exists to super-serve the underserved,” Lewinson said. “I feel like we’re uniquely positioned for indie film. This is where we use content personalization. The knock about indie content is that it’s niche, it’s hard to monetize. Theatrical releases are built for scale.” 

Given Tubi’s significant scale, it can now use its tools to target indie films to specific niche audiences that couldn’t profitably be reached in traditional theatrical distribution, Lewinson said.  

Tubi also recently announced a partnership with TV Azteca to launch in Mexico, and with Hisense, the world’s No. 6 TV maker, for prime position on its connected TV screens. The company also celebrated the one-year anniversary of its deal with Comcast’s xFinity video platform, the first of the AVOD services to be featured there. 

PARK CITY, Utah — Netflix showed off the latest fruits of its deal with Barack and Michelle Obama’s production company, opening the Sundance Film Festival’s 42nd year Thursday night with Crip Camp, a hugely affecting documentary about a group of disabled teens at a youth camp who later became central figures in the disability rights movement.

The film, which is part of the festival’s documentary competition, was the first feature of any kind to screen at this year’s festival. It received multiple standing ovations, especially for the large group of now-aging disabled activists portrayed in the film who attended the world premiere, then came onstage for a post-screening Q&A. 

The film was directed by Nicole Newnham and Jim LeBrecht. It depends for its first part on lively black-and-white footage shot by the People’s Video Theater, a shaggy group of guerrilla filmmakers using early video cameras to capture notable activist movements of several kinds. They had come in 1971 to shoot a day in the life of teens at Camp Jened, a summer camp founded in 1951 for disabled youths. LeBrecht was one of the camp’s teens that year, a big personality confined to a wheelchair after being born with spina bifida. LeBrecht, an award-winning sound designer, also appears in the film, and conducted many of the interviews with former campmates turned activists. 

The camp footage, which took LeBrecht and Newnham months to track down, is candid, impudent, playful, and illuminating. It shows a group of rambunctious teenagers who’ve been largely shunted aside by the society around them, and made to feel invisible and unwanted. At the camp, for once, they’re able to be who they really are. 

“Once we got (audiences) on that train of immersion in that footage, we really needed to keep  them there,” rather than relying on other, older camp footage the filmmakers also tracked down, Newnham said.

About 40 minutes into the 106-minute film, however, it shifts gears and moves beyond the camp. The rest of the film provides an inside-out look at the history of the disability rights movement, driven significantly by what happened when those Camp Jened teens became young adults, moved to California, and became politically active. 

The doc’s undoubted center from then on is Judy Heumann, confined to a wheelchair after childhood polio, but also a powerful and persistent advocate for federal laws to prevent discrimination against the disabled in jobs, education, housing, access to public facilities and more.

The movement led by Heumann and other Jened alums first pushed Richard Nixon to sign a vocational rehab bill with a non-discrimination section, then pushed Jimmy Carter’s cabinet secretary to approve enabling legislation, then fought Ronald Reagan’s efforts to eliminate the rules, then, finally, persuaded George H.W. Bush to sign the landmark Americans with Disabilities Act in 1990. The activists famously conducted a nearly month-long sit-in of federal offices in San Francisco in 1977 to push U.S. Housing, Education & Welfare Secretary Joseph Califano to release those enabling regulations. 

Now, Heumann said she hopes Netflix’s global reach and vast audience (it just reported around 166 million subscriber accounts, which translates to at least a few hundred million viewers) will further raise awareness of the need for better independent-living options for millions of disabled.

“We’re hoping this film will lead to so much more,” Heumann said after the screening. “Our lives will be represented to so many people. Ultimately, the question is, ‘What’s next?’ Because it will be shown (by Netflix) in 192 countries and in 22 languages. It will be amazing.” 

LeBrecht has said he hopes it does for the disabled rights movement what 1984’s The Times of Harvey Milk did for gay rights awareness. For the disabled, Ii’s been an even longer path to mainstream acceptance. 

Netflix and the Obamas’ Higher Ground Productions got involved relatively late in the film’s four-year creation process, said Executive Producer Howard Gertler, but it came at a crucial time, as money from a large group of non-profit and other funders was beginning to peter out. 

Sundance itself also helped out, admitting the filmmakers to its Documentary Edit & Story Lab, though Sundance founder Robert Redford said Thursday night that being part of the program wasn’t a guarantee that the film would make it to the festival, never mind the opening documentary on opening night. 

“We were in post-production, and we had funders who’d gotten us quite far,” Gertler said. “But we started talking to Netflix and Higher Ground.” 

And that led to the Obamas. 

“We called them and they said, “Yeah, let’s do that,” said Priya Swaminathan, the Annapurna Pictures veteran who heads Higher Ground. 

That led to a deal reported to be in the low seven figures, similar to another Netflix/Higher Ground doc, American Factory, that last week earned the Obamas their first Oscar nomination. 

American Factory sold for a reported $3 million, evidence of the increasingly substantial market for top documentaries, both in theatrical release  and on the big streaming-video services. Netflix founder Reed Hastings has been a big backer of documentaries for more than two decades, and such films ware becoming an important programming component for streamers such as Disney+ and HBO Max, as well as cable nets such as CNN and ESPN. 

As the streaming wars heat up, AMC Networks is keeping one of its big guns--the upcoming third series in the Walking Dead franchise--for itself and its own direct-to-consumer platforms.

Speaking on the company’s third-quarter earnings call Thursday, CEO Josh Sapan noted that the company had done a lucrative deal with Amazon to distribute the series overseas, outside of territories where AMC owns networks.

“However, in the U.S. we are holding back rights that we’ve traditionally sold to third parties,” Sapan said. “So domestically we will not sell the SVOD rights to this third Walking Dead series, but rather the series will be used to fuel our own platforms, both streaming as well as linear, as we window it and take full advantage of the opportunities that it presents for us.”

Related: AMC Networks Reports Higher Third-Quarter Net

The new Walking Dead series, set to have its linear premiere in the second quarter, could be a good fit for AMC Premiere, the company’s ad-free services, or Shudder, it’s horror-based SVOD service, Sapan suggested.

But Sapan noted that AMC would be looking at the best way to monetize its shows on a case-by-case basis.

He noted that the series Nos4a2 premiered on the AMC channel in the U.S. and then went to two of AMC’s streaming platforms, Shudder and AMC Premiere.

Related: AMC Orders Season 10 of ‘The Walking Dead’

A Discovery of Witches, on the other hand, debuted earlier this year on Shudder and Sundance Now, driving record usage and subscriber acquisition. Then it appeared on AMC channel, where it delivered strong ratings, he said.

“These examples illustrate how our multiple platforms are creating increasingly varied past to monetization and significant and different opportunities for our intellectual property, content engine,” he said.

Sapan also noted that AMC’s streaming services don’t really compete with the heavyweights from Comcast, AT&T, Disney and Apple that will be duking it out.

Instead AMC’s streaming services are hyper targeted and focused and “are thriving and we believe will continue to thrive, alongside what some may call the Something for Everyone SVOD category that is becoming more crowded and competitive by the day,” he said.

“The economic fundamentals around these targeted services have great attributes and are, in some cases, particularly for a company like ours, superior to the general entertainment SVOD category as there’s not the same pressure on retail price and there is not the same share battle,” Sapan said, noting that Acorn TV, AMC’s streaming service specializing in British shows, increased its price by $1 a month yet continued to grow.

Acorn TV recently passed the 1 million subscriber threshold, he noted, and AMC has been telling analysts it expects to have more than 2 million subscribers among all its services. “We are in fact now pacing to be ahead of that stated target,” Sapan said.

The company expects its streaming businesses to cross 3.5 million to 4 million cumulative subs by 2022 and by 2024 its said it plans to be in the 5 million to 7 million subscriber range. At that point, those services will be generating $500 million, the company forecasts.

“AMC Networks is well on its way to strategically transforming itself from a cable channels company into a premier content company with a suite of focused and targeted video entertainment products that are delivered to viewers on an ever expanding array of platforms,” Sapan said.

“And as our TV series come off their exhibition windows on main stream streaming services such as Netflix, Amazon, Hulu, they will then come back to us, AMC Networks, for the first time, representing a new business opportunity as we make determinations around the optimal utilization of that content,” he said.

OWN: Oprah Winfrey Network Friday unveiled the first teaser trailer for its new drama series, David Makes Man at the Sundance Film Festival.

The series, from Academy Award winner Tarell Alvin McCraney (Moonlight) and Warner Horizon Scripted Television, centers on a 14-year-old prodigy from the projects who is haunted by the death of his closest friend and relied on by his hardworking mother to find a way out of poverty. He must choose between the streets that raised him or the higher education that may offer him a way out, according to OWN.

McCraney serves as executive producer of the series alongside Dee Harris-Lawrence (Shots Fired Unsolved: The Murders of Tupac and the Notorious B.I.G.) Mike Kelley and Melissa Loy (Revenge), Michael B. Jordan (Creed) and Oprah Winfrey.