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Indeed, NBC’s concerns about that in 1980, and whether Americans would embrace a project featuring predominantly Japanese characters, could be seen in the extent to which the story centered on Blackthorne. The result, of course, helped burnish Richard Chamberlain’s claim to the title “king of the miniseries,” but it resulted in somewhat underplaying the role of Toshiro Mifune as Toranaga, and the use of narration by Orson Welles.

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“Shōgun” further benefited, then and now, from being a true limited series (the term “miniseries” having fallen out of use), telling a self-contained story with a beginning, middle and end. Thanks to its combination of critical acclaim and popularity (albeit on a much lesser scale than what was possible in the days of three broadcast networks), there’s already speculation about ways to extend that, but the idea of crafting some sort a prequel or sequel seems misguided and, given the resolution of Toranaga’s meticulous plotting, unnecessary.

Hollywood’s appetite for remaking past artifacts has been one of the constants of the industry, as we head into a summer movie-going season that kicks off with“The Fall Guy,”adapted from a TV show that premiered the year after “Shōgun” did.

From that perspective, “Shōgun’s” finale cemented its status as a model and beacon for that practice, setting the kind of high bar for remakes that will be difficult to dethrone.

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