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      To Keep TV Shows Afloat, Some Networks Are Cutting Actors’ Pay

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      In a shrinking business, actors on some shows are being guaranteed less money, an issue that’s helping to fuel the Hollywood strike.Starring on the CBS sitcom “Bob Hearts Abishola” has been good for Bayo Akinfemi. Being a regular cast member for four years has given him financial security and made him a star in his native Nigeria, where the show is wildly popular. It even helped him branch out from acting, when producers gave him the opportunity to direct an episode.But Mr. Akinfemi and 10 of his castmates were told this year that the only way the half-hour show was going to get a fifth season was if budgets were cut. How the actors were paid was going to change.No longer would they be guaranteed pay for all 22 episodes of a season. Instead, Mr. Akinfemi and his castmates would be reclassified as recurring cast members. They would be paid the same amount per episode, but unlike regular cast members, they would be paid only for the episodes in which they appeared and would be guaranteed only five of those in a truncated 13-episode season, once the actors’ strike was over and performers returned to work. (Only Billy Gardell, who plays the white middle-aged businessman Bob, and Folake Olowofoyeku, who plays Abishola, the Nigerian nurse he loves, will remain series regulars.)“It was a bit surprising, for all of 10 seconds,” Mr. Akinfemi said in an interview before SAG-AFTRA, the actors’ union, went on strike. “We are disappointed, but we also understand at the end of the day it’s a business.”For decades, actors playing supporting characters on successful network television shows have been able to renegotiate their contracts in later seasons and reap financial windfalls. But this is a new era for network TV.It’s a business that has been struggling with depressed ratings, decreased advertising revenue and fierce competition from streaming services, resulting in millions of viewers cutting their cable subscriptions. And one way networks and production companies are trying to deal with the changing economics is to ask the casts of some long-running shows to take pay cuts.“Bob Hearts Abishola” was not the only show facing budget cuts, Channing Dungey, the chairwoman and chief executive of Warner Bros. Television Studios, said. David Livingston/Getty Images“The glory days of linear television are sadly behind us,” said Channing Dungey, the chairwoman and chief executive of Warner Bros. Television Studios, the studio behind “Bob Hearts Abishola.”This new reality in network television is one of the reasons behind the Hollywood writers’ and actors’ strikes. Those on strike say the economics of the streaming era have effectively reduced their pay and cut into money they get from residuals, a type of royalty. The studios say they aren’t making the kind of money they used to, meaning that they’re having to shave costs wherever they can.The sides are at a standstill. The writers haven’t spoken to the studios since going out on strike on May 2, and the actors haven’t since walking out on July 14. No negotiations are scheduled.“Blue Bloods,” a CBS drama starring Tom Selleck, is returning for its 14th season only because the entire cast agreed to a 25 percent pay cut when the strike is over. On the CW network, “Superman & Lois,” which is entering its fourth season, and “All American: Homecoming,” which is hanging on for a third season, saw their budgets cut and cast members reduced to day players or eliminated.Not even the juggernaut represented by Dick Wolf’s lineup of shows on NBC is immune. A number of the actors on shows like “Chicago P.D.” and “Chicago Fire” are being guaranteed appearances in fewer episodes for the coming season, according to two people familiar with the productions, who spoke on the condition of anonymity to discuss personnel matters.“This is something that’s happening across the board,” Ms. Dungey said, adding that CBS wanted to renew “Bob Hearts Abishola” only if Warner Bros. was able to produce it for the network at a reduced cost. “There are a number of different shows, both on CBS and elsewhere, where the same kinds of considerations are coming into play.”CBS and NBC declined to comment.Word of the salary adjustments for “Bob Hearts Abishola” came out in late April, just days before SAG-AFTRA authorized its strike with a 97.9 percent vote in favor.“This is the beginning of the end for working-class actors,” the actress Ever Carradine, who has been in shows like “Commander in Chief” on ABC and Hulu’s “The Handmaid’s Tale,” wrote on Twitter at the time. “I have never worked harder in my career to make less money, and I am not alone.”Today, first-time series regulars often earn anywhere from $20,000 to $50,000 an episode, depending on the budget of the show, the size of the role, and the studio or network that’s footing the bill. Commissions for agents and management are subtracted from those sums.To some, the recent reductions are an inevitable correction from the era of peak television, when studios were eager to lure talent with lucrative contracts. Some executives argue that paring back salaries will ultimately allow more shows to be made, at a more reasonable price.Network shows do not draw anywhere close to the viewer numbers they did when 20 million people were watching “Seinfeld” and “Friends” every week in the 1990s.At the end of its fourth season, “Bob Hearts Abishola” was averaging 6.9 million viewers per episode, according to Nielsen’s Live +35 metric, which measures the first 35 days of viewing on both linear and digital platforms. Hits had bigger audiences, like CBS’s “Ghosts,” which averaged 11 million viewers over 35 days, and ABC’s “Abbott Elementary,” which averaged 9.1 million.But the rise of streaming has cannibalized network television on a scale the networks weren’t prepared for, and not even scaling back on scripted offerings has been enough to stem the bleeding. “Bob Hearts Abishola” is one of four prime-time scripted comedies left on CBS.“It is hard now to get shows to Seasons 5 and beyond, but it doesn’t mean that it can’t happen,” Ms. Dungey said. “It just is less likely to happen as often as it did in the past.”Yet the new reality means actors must decide whether to remain on a show at a reduced rate but with some job security or leave to see if they can find other jobs.The management team for Kelly Jenrette, an actress on the CW’s “All American: Homecoming,” told the trade publication Deadline that she had chosen to become a recurring character rather than “opt for a return as a series regular on reduced episodic guarantees.”Ms. Jenrette declined to be interviewed because, she said, she was told that doing so would violate the actors’ union’s ban on promoting projects associated with struck companies. The CW declined to comment.For some, the pride they take in their shows is also an enticement to stay. On “Bob Hearts Abishola,” Mr. Akinfemi plays Goodwin, an employee of Bob’s compression sock company who was on his way to becoming an economics professor in Nigeria before he left the country.Fans have stopped him in the Nigerian airport, in the streets of Toronto, even at the CVS near his home in Los Angeles to marvel that whole scenes of the show are spoken in Mr. Akinfemi’s native Yoruba tongue. (He also serves as the language consultant for the sitcom.)“The idea that there could be a show like this that really showcases Nigerian culture, it’s just unfathomable,” Mr. Akinfemi said. “That we are really representing Nigerian culture as accurately as possible and in a positive light, on American television, is mind-blowing to a lot of Nigerians and Africans.”He and the 10 other cast members affected by the pay changes on “Bob Hearts Abishola” all chose to stay.“These actors are attached to good, important, groundbreaking work,” said Tash Moseley, Mr. Akinfemi’s manager. “I think they knew that the actors would come back and do it no matter what.” More

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      Tony Awards Viewership Increases to 4.3 Million

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      Awards shows have seen steep ratings declines in recent years, but the modest uptick for Sunday night’s Tonys followed recent increases for the Oscars and the Grammys.The CBS telecast of the Tony Awards drew 4.3 million viewers on Sunday night, the second consecutive year that the broadcast has seen a bump in the ratings, according to Nielsen.The modest increase in viewership at a moment where people are fleeing broadcast television qualifies as a win these days. And the fact that the Tonys gained audience share is part of a trend where award shows have stopped the bleeding after years of steep losses. This year’s Oscars and Grammy Awards both increased their viewership, too.Still, for the Tonys, which is a relatively niche ceremony compared to more popular awards shows, Sunday’s ratings represent the third-lowest viewership total since records have been kept. Last year’s ceremony drew 3.9 million viewers.The fact that the Tonys happened at all took no small effort. Just a month ago, the televised ceremony was in jeopardy after the union representing thousands of striking movie and television writers — who have been on strike against the major Hollywood studios since May 2, arguing that their wages have stagnated despite the streaming production boom — threatened to picket the event.The writers have deployed aggressive tactics to hurt the studios during the strike, and a live event broadcast on CBS was lining up to be a good target. (The writers had already successfully disrupted the MTV Movie & TV Awards last month, which prompted the cancellation of the live ceremony; MTV and CBS share the same corporate parent, Paramount.)But a group of playwrights lobbied leaders of the Writers Guild of America, the union representing the writers, arguing that the cancellation of the event would hurt the theater industry more than it would hurt CBS. The Tony Awards represent a vital marketing tool for Broadway as it still makes its slow recovery out of the pandemic. Given the relatively low viewership of the Tonys, the show has always been more of a prestige play for CBS than a profit machine.The W.G.A. relented, and the end result was an awards show that went heavy on live performances and introductory videos, and went without scripted material or pre-written bits. Presenters did little more than introduce themselves and announce the nominees and winners. The striking writers were given repeated shout-outs throughout the night.W.G.A. leaders expressed approval on Monday morning, with the union’s Eastern branch tweeting, “A big congratulations, and a big thank you to the Tony Award winners who stood with the #WGAstrike in their speeches. Thank you to attendees wearing #WGAstrong pins, and to everyone who showed solidarity with the writers during last night’s unscripted awards show.”The unscripted ceremony, which was hosted by Ariana DeBose, was mostly well received. Jesse Green, The New York Times’s theater critic, observed, “Previous Tonys telecasts have often wasted their ‘bumpers’ — the gaps between the end of a big performance or award and the commercials that follow — with unconvincing scripted nonsense. Guess what? No script, no nonsense.”In 2021, the Tony Awards drew a record low of 2.8 million viewers when the pandemic-altered ceremony aired in September, three months later than its traditional mid-June slot. The highest-rated Tony Awards in recent years was in 2016, when a “Hamilton”-fueled ceremony had an audience of 8.7 million viewers.The top-rated markets for Sunday’s telecast were, in order, New York, West Palm Beach, Fla., and San Francisco, according to Nielsen. More

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      The Tony Awards Are Sunday. Here’s How to Watch.

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      Here is all the information you’ll need to tune in on Sunday to the annual ceremony honoring Broadway’s top productions and performers.When are the Tony Awards? We’re so glad you asked!The Tony Awards, which each year honor the best plays and musicals staged on Broadway, are Sunday night.The main event, with lots of song-and-dance numbers between the prizes, is at 8 p.m. Eastern, and will be televised on CBS and streamed on Paramount+. And before that, starting at 6:30 p.m. Eastern, is a preshow at which a number of awards for creative work, such as design, will be handed out. That will stream on Pluto TV.This year is going to be different from the usual in several ways.First, the ceremony will take place in a new location: the United Palace, a former movie house in Washington Heights, which is one of Manhattan’s northernmost neighborhoods. The reasons for the move are predominantly financial; the United Palace proved much less expensive to rent than Radio City Music Hall, where the show often takes place.Second, screenwriters are on strike, and that strike initially threatened to disrupt the Tonys as it has disrupted other televised awards shows. In order to secure an agreement from the Writers Guild of America not to picket the telecast, the Tony Awards had to pledge not to use any scripted writing during the awards ceremony. The result is that there will be more singing, and less talking, than in normal years.Who’s hosting?The broadcast will be hosted for a second consecutive year by Ariana DeBose, who this year, because of the absence of writers, is expected to dance more and to make fewer jokes. She won an Academy Award last year for her performance in Steven Spielberg’s “West Side Story” remake, and she was nominated for a Tony Award in 2018 as one of three actresses playing Donna Summer in the jukebox musical “Summer.” This year’s Tonys preshow will be hosted by Julianne Hough (“POTUS”) and Skylar Astin (“Spring Awakening”).Who’s performing?Each of the five shows nominated for best musical will do a song — that’s “& Juliet,” “Kimberly Akimbo,” “New York, New York,” “Shucked” and “Some Like It Hot.” And all four shows nominated for best musical revival will also perform — that’s “Camelot,” “Into the Woods,” “Parade” and “Sweeney Todd.”But wait, there’s more! Lea Michele is going to lead a number from the revival of “Funny Girl” that opened a year ago. The cast of “A Beautiful Noise,” a jukebox musical about Neil Diamond, will also perform. And Joaquina Kalukango, one of last year’s Tony winners, will sing a song to accompany the In Memoriam segment.Why do the Tonys matter?Broadway is still struggling to recover from the lengthy coronavirus shutdown — attendance remains 17 percent below prepandemic levels — and producers view the Tony Awards as an important way to introduce a large audience to the newest shows.Also, the Tonys are a way to lift up theater as an art form, often boosting the careers of the artists involved. Wins and nominations help plays get staged at regional theaters and taught in colleges, and telecast performances help musicals sell tickets and tour.The Tony Awards, named for the actress and philanthropist Antoinette Perry, are presented by the Broadway League and the American Theater Wing. The winners are chosen by voters — there are 769 of them this year — who are mostly industry insiders: producers, investors, actors, writers, directors, designers and many others with theater-connected lives and livelihoods.This Sunday’s ceremony will be the 76th Tony Awards. More

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      How America’s Playwrights Saved the Tony Awards

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      The screenwriters’ strike threatened next month’s broadcast, a key marketing moment for the fragile theater industry. That’s when leading dramatists sprang into action.Martyna Majok, a Pulitzer Prize-winning playwright, was revising her musical adaptation of “The Great Gatsby” after a long day in a developmental workshop when she heard the news: The union representing striking screenwriters was not going to grant a waiver for the Tony Awards, imperiling this year’s telecast.So at three in the morning, she set aside her script to join a group of playwrights frantically writing emails and making phone calls to leaders of the Writers Guild of America, urging the union not to make the pandemic-hobbled theater industry collateral damage in a Hollywood dispute. “I had to try,” she said.Surprising even themselves, the army of artists succeeded. The screenwriters’ union agreed to a compromise: it said it would not picket the ceremony as long as the show does not rely on a written script.“Theater is having a very hard time coming back from the devastating effects of the pandemic — shows are struggling and nonprofit theaters are struggling terribly,” said Tony Kushner, who is widely regarded as one of America’s greatest living playwrights, and is, like many of his peers, also a screenwriter. “Ethically and morally, this felt like a recognition of the particular vulnerability of the theater industry. It’s the right thing to do, and costs us nothing.”Kushner, who is best known for the Pulitzer-winning play “Angels in America,” is a fiery supporter of the strike who freely denounces the “unconscionable greed” of studio bosses and who showed up on a picket line as soon as it began. But he spent a weekend calling and writing union leaders in both New York and Los Angeles, urging them to find a way to let the Tony Awards happen, arguing that canceling them would have been far more damaging to theater artists than to CBS, which broadcasts the event.He was among a number of acclaimed dramatists — including David Henry Hwang and Jeremy O. Harris — who spent a weekend phoning and emailing union leaders. At least a half-dozen Pulitzer winners joined the cause, including Lynn Nottage (“Sweat” and “Ruined”), Quiara Alegría Hudes (“Water by the Spoonful”), David Lindsay-Abaire (“Rabbit Hole”), Donald Margulies (“Dinner with Friends”) and Majok (“Cost of Living”).“Cost of Living,” by Martyna Majok, is nominated for best new play. Majok joined other playwrights lobbying the writers’ union to allow the Tonys telecast to proceed. Sara Krulwich/The New York TimesMajok, who is a first-time Tony nominee herself this year for “Cost of Living,” said, “I approached them with respect and gratitude for all they have done for me,” she said, “but this decision was impacting so many of my colleagues and friends deeply, in an industry that is still financially struggling.”Writers are never the main attraction at the Tony Awards. The annual ceremony centers musical theater, hoping that razzle-dazzle song and dance numbers will inspire viewers to get up off their couches and come visit Broadway. The telecast often struggles with how to represent serious drama.But playwrights say they treasure the Tonys, because the ceremony introduces new audiences to theater. “In one way or another, it’s all connected,” Kushner said.And for once playwrights actually had power, because in recent years, as the number of scripted series on television and streaming services has exploded, many of them have also taken jobs working in film and television, which pays much better than the theater industry. Many of the playwrights concerned about the Tony Awards were also members of the Writers Guild — some quite successful, like Kushner, who wrote the scripts for Steven Spielberg’s “Munich,” “Lincoln,” “West Side Story” and “The Fabelmans,” and Kenneth Lonergan, who wrote “The Waverly Gallery” for the stage and “Manchester by the Sea” for the screen.“Most playwrights are W.G.A. members, because they have to make a living and get health insurance,” said Ralph Sevush, the executive director of business affairs for the Dramatists Guild of America, which is a trade association of theater writers. “And yes, there was a great deal of lobbying of the W.G.A. by many of them to find a way to get the broadcast on.”The screenwriters’ union was torn over whether to assist the Tony Awards, with its eastern branch, filled with playwright members more sympathetic than the affiliated western branch, which is more Hollywood-oriented. It did not go unnoticed that many theatrical workers have been vocally supporting the writers’ strike, including Kate Shindle, the president of the Actors’ Equity Association, who has brought members of her union to the picket lines and who spoke with the heads of both branches of the screenwriters’ guild.“There was no master strategy involved — we were just standing up for the writers,” Shindle said. “But I’m happy with the way that it seems like a decision came about: writers talking to and debating with each other, which feels like the right thing.”The Tonys seem likely to be a rare exception. In the days following the greenlighting of the theatrical awards, this year’s Peabody Awards, which honor storytelling in electronic media, were canceled, and the Daytime Emmy Awards, which honor work on television, were postponed.Asked about the decision, Lisa Takeuchi Cullen, a vice president of the screenwriters’ guild’s eastern branch, offered an emailed statement that said, in part, “we recognize the devastating impact the absence of a Tonys would have on our New York theater community. Here in W.G.A. East, we have many, many members who are playwrights, and we are deeply intertwined with our sister unions whose members work in the theater.”Playwrights were not actually the first choice of Broadway boosters strategizing about how to save the Tonys — at first, industry leaders thought they might look to prominent politicians and famous actors to make their case. But they quickly realized that playwrights, because of their ties to the W.G.A., were better positioned to influence the discussion. Harris, who wrote “Slave Play,” and Gina Gionfriddo (“Rapture, Blister, Burn”) rallied writers to the cause, along with the agent Joe Machota, who is the head of theater for Creative Artists Agency.This year, they argued, would be an especially unfortunate time to downgrade the Tony Awards.Ariana DeBose, who hosted last year’s Tony Awards, is expected back this year, but it’s unclear what a ceremony without a script will look like.Sara Krulwich/The New York TimesBroadway attendance and overall grosses remain well below prepandemic levels, and new musicals are struggling — four of the five nominated shows are losing money most weeks.Unlike the Oscars, which generally take place after the theatrical runs of nominated films, the Tonys take place early in the run of most nominated musicals, so they can translate into ticket sales. The Tonys matter for plays in a different way: nominations and wins have an enormous impact on how often those works are staged, read and taught.“People that don’t work in playwriting don’t always have a meaningful understanding of how important Broadway is to Off Broadway and to regional theaters — they’re really a beacon for the community at large, and even if you don’t care about the glitz and the glamour, if they start to lose money, it has impacts all over the country,” said Tanya Barfield, a playwright and television writer who is the co-director of the playwriting program at Juilliard.After she heard her union had denied a waiver for the Tony Awards, a “heartbroken” Barfield joined a picket line with a homemade “I ❤️ the Tony Awards” sticker on her WGA sign. And she wrote union leaders. “We wanted to make sure theaters did not become a casualty,” she said.Another concern: this year’s Tony Awards feature an unusually diverse group of nominees, reflecting the increasingly diverse array of shows staged on Broadway since 2020. Five of this year’s nominated new plays and play revivals are by Black writers; four of the five nominees for best actor in a play are Black; the best score category for the first time includes an Asian American woman; and the acting nominees include two gender nonconforming performers as well as a woman who is a double amputee.“We need to showcase what we’ve been seeing with the diverse talent and rich storytelling of the past few years,” Majok said.The Tonys will be different this year. The event will take place, as planned, at the United Palace in Upper Manhattan, with a live audience, live performances of musical numbers from nominated shows, and the presentation and acceptance of awards. But there will be no scripted material (a draft script had been submitted, but will not be used) and no scripted opening number (Lin-Manuel Miranda had been planning to write one). Ariana DeBose, the Oscar-winning actress who had been named its host for the second year in a row, is still expected to take part, but it is not clear what role she will play.One new element that is expected at this year’s ceremony? Shout-outs to the striking screenwriters. Hwang, a W.G.A. member who called and emailed union leaders asking them to rethink their position on the Tonys, said, “I anticipate that there will be a lot of speeches that express our appreciation and support for the guild on Tony night.” More

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      Tony Awards Officials Ask Striking Writers to Reconsider Broadcast

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      The LatestTony Awards administrators held an emergency meeting on Monday to try to salvage this year’s ceremony in the face of a strike by screenwriters that is imperiling the broadcasting of the event.The officials have asked the leadership of the striking Writers Guild of America to reconsider and accept a compromise that would allow the Tony Awards broadcast, which is scheduled for June 11 on CBS, to proceed in some form as the Hollywood strike continues.The W.G.A. said on Friday that it would not grant a waiver that would allow screenwriters to work on a script for the broadcast. That made it difficult to see how the Tonys could be televised, since Broadway is a heavily unionized industry and it is widely expected that theatrical union members, who include actors and musicians, will refuse to participate out of solidarity with the striking screenwriters.The awards show’s management committee, which oversees the broadcast, held a 90-minute virtual meeting Monday morning at which they opted to seek a way to preserve the planned June 11 show, according to three people with knowledge of what took place who were granted anonymity to describe a confidential conversation.Several Broadway shows are already seeking to boost ticket sales by advertising their Tony nominations, but the June 11 telecast that they hope will provide an even bigger boost is now in danger. Sara Krulwich/The New York TimesWhy It Matters: It’s Broadway’s biggest marketing moment.Broadway producers and industry leaders say that the annual awards show is a vital marketing tool for the industry, and particularly important to the financial health of new musicals.Broadway shows do not have the outsize marketing budgets of Hollywood films or television series, so they need to find other ways to build awareness, and the awards ceremony has traditionally been an important element of that.The ceremony benefits the theater industry in several ways: the shows that win awards often sell tickets to theatergoers eager to see the most acclaimed productions, and those shows that stage exciting or moving musical numbers on the broadcast often see a box office bump as a result.Background: Theater attendance is still down since the pandemic.W.G.A. members are striking for better compensation and structural changes to the way writers relate to studios, streaming services and networks as the entertainment industry evolves.At the same time, the theater industry is still trying to recover from the disruptions brought by the coronavirus pandemic: Broadway attendance this season remains about 17 percent lower than it was during the last full season before the pandemic.One sign of the current economic challenge: Four of the five shows nominated for best new musical this year are losing money most weeks, because the shows cost more to run than they are making at the box office. Those shows — “Kimberly Akimbo,” “New York, New York,” “Shucked” and “Some Like It Hot” — are especially hoping that winning prizes or showing off their production numbers on a television broadcast could help them sell tickets. And the nominated show currently doing the best at the box office, “& Juliet,” would welcome a chance to perform before a national audience.What’s Next: A decision could come in days.Conversations between theater industry leaders, union leaders, and CBS are ongoing. The Broadway League and the American Theater Wing, which jointly present the Tony Awards, are hoping to resolve the crisis soon.It appears more likely that the Tony Awards will have to find a way forward without a televised broadcast on June 11, but in an industry built on optimism, some theater officials are still holding out hope that pleas by theater artists to their Hollywood colleagues could yield a compromise.If a broadcast proves impossible, many industry leaders appear determined to hand out the prizes as scheduled, either at a nontelevised event or simply by announcing the winners. But there are also some who think the ceremony should be postponed until the strike is settled, so that it can remain on television. More

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      What’s on TV This Week: ‘True Lies’ and ‘Black Girl Missing’

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      An action series premieres on CBS, and a new film on Lifetime highlights how missing Black women are treated by the police and the media.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Feb. 27-March 5. Details and times are subject to change.MondayAlhajji Sharif, a former prisoner, in “Attica.”SHOWTIMEATTICA (2021) 5:45 p.m. on SHO2. This Oscar-nominated documentary from the director Stanley Nelson explores the enduring violence and racism of the prison system, and the ongoing need for reform, through the lens of the Attica prison revolt of 1971. Using archival footage and interviews with survivors of the uprising, reporters and government officials, the documentary takes the viewer through the events as they unfolded, building to “a powerful final half-hour that makes the case that the brutality used in ending the riot was excessive, criminal and racist — a show of force closer to revenge,” as Ben Kenigsberg wrote in his review.TuesdayClockwise from left, Tom Hanks, Kevin Bacon and Bill Paxton in “Apollo 13.”Ron Batzdorff/Universal StudiosAPOLLO 13 (1995) 7:55 p.m. on Syfy. Adapted from the 1994 book “Lost Moon: The Perilous Voyage of Apollo 13” by Jim Lovell, the astronaut who commanded the Apollo 13 lunar mission in 1970, and Jeffrey Kluger, this Academy Award-winning film follows Lovell (Tom Hanks), Jack Swigert (Kevin Bacon) and Fred Haise (Bill Paxton) and what happened during their failed Moon landing mission. In a 1995 article about the film for The Times, John Noble Wilford, the science journalist who covered “the ill-starred flight” in 1970, attests to the film’s authenticity. The story “evokes a time when people took risks to reach grand goals,” Wilford wrote, adding that “perhaps the retelling of the Apollo 13 story will remind Americans of who we were and who we want to think we are.”WednesdaySURVIVOR 8 p.m. on CBS. This Emmy Award-winning competitive reality television series returns for its 44th season. Hosted by Jeff Probst, the season premiere introduces the 18 contestants who will compete in a series of games and challenges until only one person remains to claim the show’s $1 million prize.TRUE LIES 10 p.m. on CBS. Inspired by the James Cameron action film of the same name, this new series follows the suburban Tasker family as Helen (Ginger Gonzaga), a language professor, finds out that her husband, Harry (Steve Howey), is a spy for Omega Sector, a U.S. intelligence agency. The show follows the couple as Helen is recruited by Omega and the pair begin working together, all while keeping their double lives a secret from their children.ThursdayBREAKFAST AT TIFFANY’S (1961) 8 p.m. on TCM. This Grammy and Academy Award-winning romantic comedy, adapted from Truman Capote’s 1958 novella of the same name, follows Holly Golightly (Audrey Hepburn), a country girl turned socialite, as she falls in love with Paul Varjak (George Peppard), a struggling writer in the same apartment building. “It is a completely unbelievable but wholly captivating flight into fancy composed of unequal dollops of comedy, romance, poignancy, funny colloquialisms and Manhattan’s swankiest East Side areas captured in the loveliest of colors,” A.H. Weiler wrote in a 1961 review for The Times.FridayThe poet Ruth Stone’s work explored the nature of creativity, grief and family dynamics.Ruth Stone TrustRUTH STONE’S VAST LIBRARY OF THE FEMALE MIND (2021) 9 p.m. on PBS WORLD. The poet Ruth Stone’s work explored the nature of creativity, grief and family dynamics; she died in 2011 at 96, and wrote for much of her life in obscurity. Through interviews with Stone at different points in her life, interviews with her family and colleagues, readings of her poetry and an animation by her granddaughter, this documentary, premiering on PBS for Women’s History Month, is an intimate look at Stone’s legacy and art.SaturdayBLACK GIRL MISSING (2023) 8 p.m. on Lifetime. A part of Lifetime’s Emmy Award-winning public affairs campaign, “Stop Violence Against Women,” the movie “Black Girl Missing” highlights how missing Black women are handled by the police and the media. The film follows Cheryl (Garcelle Beauvais) as she tries to find her daughter, who has been labeled a runaway while the police and the media are too busy following another missing person: a white girl. The movie is accompanied by “Beyond the Headlines: Black Girl Missing,” which tells the true stories of missing women of color through interviews with their families.SundayFrom left, Tameka “Tiny” Harris, Kandi Burruss, LaTocha Scott and Tamika Scott, members of Xscape, in “SWV & XSCAPE: The Queens of R&B.”Phylicia J.L. Munn/BravoSWV & XSCAPE: THE QUEENS OF R&B 9:30 p.m. on Bravo. Two of the best-selling ’90s R&B girl groups are brought together for a one-night-only concert event in this six-part limited series. Viewers will follow the Grammy Award-nominated, multiplatinum trio SWV and the quartet Xscape as they explore the dynamics of sisterhood in music groups on and off the stage. Each episode will capture the highs and lows of these seven women’s journeys as they work together — and against one another — to put on a massive concert. More