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    Reality TV Wades Into Cross-Generational Dating Pools

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    Bravo’s “Love Hotel” and ABC’s “Bachelor in Paradise” are widening the age range of prospective love matches.Age-gap relationships are nothing new when it comes to depictions of older men in TV and film plots. But a wave of recent releases, including “Babygirl,” “The Idea of You,” “Bridget Jones: Mad About the Boy” and “Lonely Planet,” have zeroed in on romantic and sexual relationships between women in midlife and younger men.Two new reality dating spinoffs are now catching up. Bravo’s “Love Hotel,” which premiered Sunday, features three over-50 “Real Housewives” — Luann de Lesseps, 59, Gizelle Bryant, 54, and Shannon Beador, 61 — looking for love among eligible bachelors whose ages range from their 30s to their 60s at a luxury resort in Los Cabos, Mexico. (Ashley Darby, 36, rounds out the group of bachelorettes.)In the first episode Bryant asks Wale Alesh, 38, if he wants children. When he responds that he does, the cameras cut to Bryant in an interview filmed after. “Gizelle doesn’t have a uterus, so that means we aren’t compatible,” she says, speaking in the third person.Meeting Jay Bramble, 46, Bryant explained: “My three daughters are in college. I have the house to myself, so I just walk around naked.” He responded, “You’re living the dream.”Bryant, who is divorced and who dated the “Winter House” cast member Jason Cameron, 38, on a past season of “The Real Housewives of Potomac,” said it’s important that audiences see mature women living vital love lives. “Hey, ain’t nobody dead because they have, like, jumped over 39,” she said in an interview.Bryant added that the program gives the women a chance to show “we can spend whatever days we have left in a happy place with somebody that, you know, you really want to rock out with.”

    @bravotv Be cool, the wait for #BravosLoveHotel is over. #CountessLuann ♬ Luanns Right Back from Bravos Love Hotel – Bravo We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Deli Boys,’ Plus 9 Things to Watch on TV this Week

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      A new Hulu comedy premieres, “The Righteous Gemstones” are back and “The Traitors” wraps up its third season.Between streaming and cable, there is a seemingly endless variety of things to watch. Here is a selection of TV shows and specials that air or stream this week, March 3-9. Details and times are subject to change.Things aren’t going as expected.On the Hulu thriller “Paradise,” things took an unexpected turn right from the beginning — and have only gotten more twisty from there. The show follows Xavier Collins, a secret service agent played by Sterling K. Brown who is in charge of protecting President Cal Bradford (James Marsden). Slight spoilers ahead: The end of the first episode showed that Xavier, Cal and a few lucky civilians have been living in an underground city after the world ended — and that the president is actually dead. In a series of flashbacks, the rest of the episodes have revealed how things got to where they are, and this week’s finale will reveal who killed the president. Streaming Tuesday on Hulu.Netflix’s lush historical drama “The Leopard” follows the Salina family, Sicilian aristocrats who are bracing for the Giuseppe Garibaldi’s Redshirt guerrillas to conquer the island in the 19th century. The 1958 book, by Giuseppe Tomasi di Lampedusa, became one of the highest selling novels in Italy. If not for a look at the history, tune in for the stunning location and enviable outfits. Streaming on Wednesday on Netflix.What happens when you have been raised in the cushy world of wealth but your father’s death has left nothing but his convenience store empire, which is actually a crime front? “Deli Boys,” a new comedy, answers that question. Asif Ali and Saagar Shaikh star as brothers who are trying to maintain a deli counter while also dealing with a Peruvian cartel and the Italian mafia. Streaming Thursday on Hulu.An inside look at sports.It’s no secret that Boston takes their sports seriously. The new documentary series “Celtics City” transports viewers back to the founding of the Boston Celtics N.B.A. team in 1946 and forward to their championship win in 2024. The show features archival footage and interviews with past and present players, including Bob Cousy, Larry Bird, Jayson Tatum and Jaylen Brown. Monday at 9 p.m. on HBO and streaming on Max.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How to Watch the Oscars 2025: Date, Time and Streaming

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      Conan O’Brien will host the annual awards, which will be available to watch live on a streaming service for the first time.It seems like a lifetime ago that Sean Baker’s screwball comedy “Anora” first emerged as the favorite in the best picture race (no one was yet even thinking about holding space for “Wicked”).But we’re now right back where we started in the fall with both math and our Projectionist columnist, Kyle Buchanan, predicting that “Anora” will emerge triumphant. It’s by no means a sure thing — last weekend’s big Screen Actors Guild Awards winner, the papal thriller “Conclave,” could play spoiler.In the acting races, Demi Moore appears to be the one to beat after notching another win at the SAGs (though Buchanan says not to count out Fernanda Torres, who delivers a tour de force performance in the quiet Brazilian drama “I’m Still Here”).But could Adrien Brody, who plays a Jewish architect who survives the Holocaust in “The Brutalist,” be in for an upset from the 29-year-old Timothée Chalamet, who has embarked on a decidedly unconventional — and very online — Oscar campaign for his lead role in the Bob Dylan biopic “A Complete Unknown”?Here’s everything you need to know.What time does the show start and where can I watch?This year’s show is again one for the early birds: The ceremony is set to begin at 7 p.m. Eastern, 4 p.m. Pacific, at the Dolby Theater in Los Angeles.On TV, ABC is the official broadcaster. Online, you can watch the show live on the ABC app, which is free to download, or at abc.com, though you’ll need to sign in using the credentials from your cable provider. There are also a number of live TV streaming services that offer access to ABC, including Hulu + Live TV, YouTube TV, AT&T TV and FuboTV, which all require subscriptions.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How Going to Commercial During the Super Bowl Works

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      Television commercial breaks are the bane of every N.F.L. fan. They interrupt a game already riddled with stoppages, bombard viewers with come-ons and force fans and players in the stadium to stand around for about two and a half minutes, sometimes in the freezing cold.Yet commercials are the lifeblood of the N.F.L. Without them, broadcasters could not afford to pay the league billions of dollars for rights fees, money that goes to paying players’ salaries and much more.Most games have 18 commercial breaks. A few timeouts, like at the end of the first and third quarters and at the two-minute warnings, are fixed. The league and networks avoid taking breaks if a team’s opening drive of the game ends quickly, because they want fans to settle into the broadcast. If all goes well, the last commercials run at the two-minute warning in the fourth quarter.Most commercial breaks, though, are chosen in real time as league executives, network producers and officials on the field look for natural breaks in the action. Finding them is more art than science because every game unfolds differently, with long drives, three-and-outs, injury timeouts and coaches’ challenges.League officials sit in the press box during games and help determine when to take commercial breaks.Caroline Gutman for The New York Times“Our fans know that the commercial breaks are coming,” said Mike North, vice president of broadcast planning and scheduling at the N.F.L. “The whole idea from where we sit is to try to use those breaks to cover downtime: resetting the field after a score; if there happens to be an injury, hopefully a minor one; or an instant replay review when the referee goes to the sideline.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Apple Cider Vinegar’ Is a Scammer Docudrama With Bite

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      The Netflix series, starring Kaitlyn Dever, tells the story of an Australian blogger who found fame and money by lying about having cancer.“Apple Cider Vinegar,” on Netflix, is the latest scammer docudrama, another galling true story zhuzhed up for maximum bingeyness. This one is about two scams, though: an Australian woman perpetrating a cancer fraud, and the wellness industry more broadly.Kaitlyn Dever stars as Belle Gibson, who rose to fame as a cancer and food blogger. The show weaves her story together with that of two other characters who actually do have cancer: Milla (Alycia Debnam-Carey), Belle’s blogger idol, who is convinced she can heal her own cancer, and later her mother’s, with juicing, and Lucy (Tilda Cobham-Hervey), a breast-cancer patient desperate for alternatives to the brutality of chemotherapy. Presumably “Coffee Enema” was not as enticing a title as “Apple Cider Vinegar,” but that pseudoscientific practice occupies a lot screen time here. A lot.The story unfolds in jumbled timelines, mostly between 2009 and 2015. The size and gnarliness of the lesions on Milla’s arms situate where she is in her prognosis, and Lucy grows increasingly wan. Belle’s “journey,” in contrast, is told by the state of her veneers — the brighter and shinier, the more recent. Belle’s grifts began in her teens, but she started honing her cancer story on mommy message boards as a young mother. “One of the worst things that can happen to a person happened to me!” she declares, lapping up each molecule of pity she can wring from others.“Vinegar” has more depth and bite than many other scam stories, with more hypotheses about what might motivate someone to perpetrate social frauds: bad mom, absent dad, rapacious need for attention — the same things that lead a lot of people to a life on the stage. Alienation and desperation are powerful motivators, and Devers’s performance makes Belle just sympathetic enough to reel you in.For those who want more from the world of cancer frauds, the documentary series “Scamanda,” based on a podcast of the same name, airs Thursdays at 9 p.m. on ABC. (Episodes arrive the next day on Hulu; the series debuted on Jan. 30.) Amanda Riley lied for years about having cancer, blogging about it and giving talks at her church, scamming friends and community members out of hundreds of thousands of dollars. Where “Vinegar” focuses on the perpetrator, “Scamanda” is more concerned with the victims, with their humiliation and revulsion over being had. It’s a mediocre doc, but the story is wild. More

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      How Did ‘Dancing With the Stars’ Become a Gen Z Hit? TikTok, Of Course.

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      After almost 20 years on air, the reality competition series made changes that brought a surge of younger viewers.The world has changed around “Dancing With the Stars” since the competition series became a hit after its 2005 premiere. Though producers have periodically experimented with casting, canned hosts and tweaked the elimination process, the heart of the show — pairs of professional dancers and celebrities performing weekly and facing elimination based on scores from judges and fan votes — has remained intact.That formula meant “D.W.T.S.” had an audience with a median age of 63.5 in 2022. But in the past two seasons — after almost 20 years and 500 episodes — the show has grabbed hold of Gen Z viewers through its canny use of TikTok, casting of younger dance pros and the chance virality of “wow moments” from routines.“We’ve kind of hit this tipping point where now we feed TikTok, TikTok feeds back to us,” said Conrad Green, the showrunner.Ahead of the Season 33 semifinals, Green and two of the show’s professional dancers, Rylee Arnold, 19, and Witney Carson, 31, explained their parts in making “Dancing With the Stars” a hit with Gen Z.Charli D’Amelio was an influencer contestant for the streaming era.In 2022, Disney execs removed “Dancing With the Stars” from network TV, making it available only via the Disney+ streaming app, a move aimed at drawing older viewers to the service, which predominantly catered to children from the ages 2 to 17.

      @officialdwts The countdown to #DisneyNight is on! Join us in ONE HOUR – 8/7c on ABC and Disney+. 🐭✨ #DWTS ♬ original sound – Dancing with the Stars #DWTS We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘The Bachelor’ Is Shattering Its Own Fairy Tale

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      Recent revelations about contestants’ troubling backgrounds have punctured the franchise’s fantasy — that reality TV is a secure place to look for love.Just three years ago, the “Bachelor” franchise was in serious need of a revival. The longtime host, Chris Harrison, had left the show and ratings sagged. Instead of 10 million viewers, premieres now brought in closer to 2 or 3 million.In 2023, ABC pumped new life into the franchise with “The Golden Bachelor,” a version of the dating contest that followed Gerry Turner, a 72-year-old widower who proudly wore a hearing aid and spoke of finding love after the death of his wife. The premiere brought in over 4 million live viewers (and totaled over 7 million including streaming), making it the franchise’s most-watched debut since 2020.But the show’s honeymoon has not lasted. “The Bachelor” and its various iterations have long promised viewers some semblance of a fairy-tale romance, providing charmed but closed environments where the leads can suss out the suitors’ intentions through extravagant dates, like hot air balloon rides and castle visits. Recent revelations about the show have punctured this fantasy.Just before Turner handed out his final rose, The Hollywood Reporter published details about his past (a spotty work résumé, a trail of scorned lovers) that challenged his image as a sympathetic figure, as put forth on the show. (Turner declined to comment for the article.) His subsequent marriage to Theresa Nist, the season’s “winner,” ended after three months.The most recent season of “The Bachelorette,” which debuted in summer 2024, cast Jenn Tran as the series’s first Asian American lead, a role she hoped would bring positive visibility. “Anytime Asians were in the media, it was to fill a supporting character role, to fulfill some sort of stereotype,” Tran said in an interview with The New York Times before the show’s premiere. “I always felt boxed in by that, because I was like, I don’t see myself onscreen. I don’t see myself as a main character.”But her quest for love ended in public humiliation. On the live special “After the Final Rose,” she revealed through tears that Devin Strader — the contestant she proposed to in the series finale — had broken off their engagement over the phone. Seeing him for the first time since the breakup, Tran sobbed uncontrollably on the show as producers made her watch the proposal in front of a national audience.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      In ‘High Potential,’ Kaitlin Olson Gets Smart

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      Earlier this month, the actress Kaitlin Olson was in her Los Angeles kitchen slicing a lemon.“I was really cutting it hard,” she said. “I put 100 percent of my effort into it.”The knife slipped, nearly severing her pinkie, which explained why, on a morning a few days later in Manhattan, Olson, 49, had accessorized her black silk blouse and black pants with a black finger splint. (She also wore an array of diamonds, one the size of a kumquat.) The look was working. A waiter asked if she was in town for fashion week.There are few things that Olson — tall and emphatically blond, with screwball energy — does lightly. As concerns comedy, physical stunts and also apparently cooking, her approach is full contact. On the set of “It’s Always Sunny in Philadelphia,” the cheeky FX comedy she has co-starred in for nearly 20 years, she has broken her foot, slashed open her calf and suffered at least one possible concussion. “Definitely worth it,” she said of the scene.This wasn’t her first food-prep injury, and she skipped the emergency room. She didn’t have the time. In addition to “Sunny,” she is a guest actor on the HBO show “Hacks” and the star of a new ABC procedural, “High Potential,” in which she plays a cleaning woman with savant-like tendencies who consults for the police. It premieres on Tuesday.In “High Potential,” Olson’s character cleans the police station … and soon helps the officers solve cases.David Bukach/DisneyWhile it is not Olson’s first series lead (that would be the Fox comedy “The Mick”) or her only chance to flaunt her aptitude for drama (see also: “Hacks”), “High Potential” showcases her dizzy, daffy, sardonic gifts. Which Olson appreciates.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Emmy Viewership Rises to 6.9 Million Viewers

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      The uptick puts the Emmys among the award shows, such as the Oscars, that have had audience gains in the past few years.For the first time in three years, viewership for the Emmy Awards has gone in an upward direction.The Emmys drew an audience of 6.9 million on ABC on Sunday night, according to Nielsen, a healthy increase following a strike-delayed ceremony in January that drew a low of just over 4 million viewers.The ratings increase finally follows a trend of other award shows, such as the Oscars and Grammys, which have had viewership gains over the past few years. And it also stops the bleeding for an event that was dangerously approaching the low ratings of the Tony Awards.Even with the increase, the Emmys has lost a substantial amount of its audience in recent years. As recently as 2018, the event regularly drew more than 10 million people.Sunday’s telecast had some advantages over the last show. The January ceremony ran head-to-head against an N.F.L. playoff game, and was on the tail end of a frenetic stretch of award shows that included the Golden Globes and the Critics Choice Awards. Sunday’s show was back in the Emmys’ traditional mid-September slot that viewers have come to expect.The Emmys has long had the unfortunate — but accurate — reputation of being numbingly predictable. Indeed, in recent years, voters have tended to shower the same show (“Schitt’s Creek,” “The White Lotus,” “Ted Lasso,” “Succession”) with award after award. But on Sunday, there was an unusual turn of events: There were numerous upsets.“The Bear” won four Emmys on Sunday but, in a big surprise, “Hacks” won best comedy. Voters gave “Shogun” best drama honors, but also delivered unexpected wins to shows like “Slow Horses” and “The Morning Show.” “Baby Reindeer” took best limited series, but “True Detective,” “Fargo” and “Ripley” also had wins on Sunday.Reviews for the telecast, which was hosted by the father-and-son duo of Eugene and Dan Levy, were decidedly mixed. The Los Angeles Times described the telecast as “casually interesting” while Variety called it “humdrum” and Rolling Stone said it was “blah.” More