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    4.3 Million Watched the Emmys, a New Low

    The Emmys had a lot going against it, including a ceremony delayed months by the Hollywood strikes, and stiff competition from other events.The Emmy Awards ratings collapse continues.An audience of 4.3 million people watched the Emmys on Fox on Monday night, the lowest viewership since records have been kept, according to preliminary Nielsen data. In 2022, the Emmys garnered 5.9 million viewers, the previous low.The ratings have put the Emmys dangerously close to the Tony Awards, which for decades has drawn a significantly smaller audience. But in June, 4.3 million people tuned into the Tonys, an increase from its previous ceremony.The final Emmy numbers, which will be released on Wednesday, will probably increase somewhat from the preliminary figures.The Emmys had a lot going against it. The ceremony had been delayed by four months because of last year’s screenwriter and actor strikes, the most significant postponement for the event in more than two decades.Indeed, the competition was stiff on Monday night. The Emmys went head-to-head against a Monday night football playoff game and the Iowa caucuses.The football game, which featured the Philadelphia Eagles and the Tampa Bay Buccaneers, drew more than 28 million viewers, according to Nielsen. Roughly 4.7 million people tuned into the three big cable news networks between 8 p.m. and 11 p.m. for Iowa returns, according to the preliminary Nielsen data.The Emmys also faced competition from other award shows. All the big winners on Monday night — “Succession,” “The Bear” and “Beef” — had been honored at the Golden Globes last week, and the Critics Choice Awards on Sunday night.Yet the Emmys even had trouble holding its own against a rerun of a network television show. A repeat of “NCIS” on CBS at 8 p.m. on Monday night — which had the benefit of a lead-in from another playoff football game — drew 4.9 million viewers, according to preliminary Nielsen data.Most other major award shows — despite lower audience figures compared with a decade ago — have seen ratings rebound recently. Oscar ratings have ticked up two years in a row. So have the Grammys. Even the scandal-plagued Golden Globes saw a big increase in audience last week.The Emmys telecast, which was broadcast on Fox and hosted by Anthony Anderson, cannot be blamed. The ceremony got generally warm reviews, with critics appreciating the number of cast reunions — including “Cheers,” “Ally McBeal” and “Grey’s Anatomy” — that were staged in honor of the 75th Anniversary of the awards.The Emmys will not be gone long. The next ceremony will be in September, and broadcast on ABC. More

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    Tony Awards Viewership Increases to 4.3 Million

    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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    Study Shows Disability Representation Onscreen Is Increasing, but Still Falls Short

    The study published Tuesday also showed that television continues to lag behind film when it comes to representation of characters with disabilities.“CODA,” a film about the hearing child of deaf parents, won this year’s Academy Award for best picture, and one of its stars, Troy Kotsur, became the first deaf man to win an acting Oscar when he took home the award for best supporting actor. Lauren Ridloff became the Marvel Cinematic Universe’s first deaf superhero in “Eternals.” The Hulu mystery-comedy series “Only Murders in the Building” won acclaim for an almost entirely silent episode that highlighted the perspective of a deaf character (played by James Caverly).Even with these prominent examples of disability representation onscreen, relative to the approximately 26 percent of adults in the United States who have a physical or psychological disability, representation continued to lag behind, a new study released Tuesday by Nielsen found. The report, whose release was timed to the 32nd anniversary of the passage of the Americans with Disabilities Act, analyzed the representation of disabled characters on film and TV shows released from 1918 to 2022.The titles came from a Nielsen database that included about 164,000 films and TV shows that premiered over the past century. Of those, about 4.2 percent, or 6,895 titles, were tagged as having significant disability themes or content.Disability inclusion was highest, the study found, in 2019, when 518 productions with disability themes were released.Across the board in this year’s report, films again fared better than television — of the 6,895 titles that featured significant disability themes or content, about 59 percent (4,066) were feature films, and 18 percent (1,209) were regular series. (The remaining depictions were in other categories like short films, limited series, TV movies or specials.)Those numbers represent a slight shift toward television from last year, when a Nielsen report showed that 64 percent of depictions of disabled characters were in feature films, and 16 percent were in regular television series.A survey of more than 2,000 smartphone users on disability representation in media conducted in the first quarter of 2022 also found that people with disabilities were much more likely to take issue with portrayals of disabled characters. Viewers with disabilities were 34 percent more likely to say there was not enough representation of their identity group in media, and they were 52 percent more likely than those who did not identify as having a disability to characterize a TV portrayal of their identity group as inaccurate.Lauren Appelbaum, a vice president at RespectAbility, a nonprofit organization that participated in the Nielsen study last year, told The Times then that though the number of disabled characters continued to increase, approximately 95 percent of those roles were still portrayed by actors who did not have disabilities.But there have also been positive representations, as on the HBO series “The Sex Lives of College Girls,” which features a character who uses a wheelchair (played by Lauren Spencer, known as Lolo), a confident student who attends the show’s iconic nude party. Alaqua Cox also won acclaim for her performance as Maya Lopez/Echo, a deaf Cheyenne woman who has the ability to imitate other people’s movements, in the Disney+ series “Hawkeye.” More

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    Oscars Audience Jumped After Will Smith’s Slap of Chris Rock

    The Oscars audience swelled by more than half a million people on Sunday shortly after Will Smith slapped Chris Rock, capping the awards show with a late-night surge.At 10:27 p.m., Mr. Smith attacked Mr. Rock after the comedian delivered a joke onstage about Mr. Smith’s wife, Jada Pinkett Smith. Nearly 17.4 million viewers were watching in the minutes after the slap, up from 16.8 million shortly before it, according to Nielsen data released by ABC.Mr. Rock, who was presenting an award, had taken a jab at the close-cropped hair of Ms. Pinkett Smith, who has alopecia, a condition that leads to hair loss. Mr. Smith walked onto the stage, struck Mr. Rock, and then returned to his seat and loudly demanded, using expletives, that the comedian refrain from talking about Ms. Pinkett Smith. Mr. Smith’s words, as well as Mr. Rock’s responses, were silenced during the broadcast, leaving many viewers struggling to understand what had happened and speculating whether the incident was scripted. (It was not.)Until that point, viewership had been tailing off. The largest audience measured by Nielsen came earlier in the night, when nearly 17.7 million people watched Troy Kotsur, the first deaf man to win an acting Oscar, deliver a heartfelt acceptance speech for his supporting role in “CODA.”Viewership dropped off quickly after the attack, but then surged again during the period when Mr. Smith, who was the heavily favored front-runner in the best actor race, returned to the stage to claim the award for his role in “King Richard.” About 17.4 million people watched his speech, according to the Nielsen data.On Monday, Mr. Smith apologized for his actions. Earlier that day, the Academy of Motion Picture Arts and Sciences said it was conducting a formal review of the incident.Overall, the Oscars drew 16.6 million viewers, around 4.9 million of them 18 to 49 years old, according to Nielsen. The audience was 58 percent larger than the all-time low of 10.4 million people who watched last year, but was still by far the second smallest viewership on record. ABC said that the Oscars drove 22.7 million interactions on social media, a 139 percent increase over last year’s broadcast. More

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    Oscars Gets Higher Ratings Than Last Year’s Academy Awards

    The Academy Awards on Sunday night drew a larger audience than last year, when viewership plunged to an all-time low, but interest remained depressed amid disruptions to television- and movie-watching habits.The 94th edition of the awards show attracted 15.4 million viewers on ABC and a 3.2 rating among adults between 18 and 49 years old, according to a preliminary report from Nielsen released to ABC on Monday. The early results showed a 56 percent improvement on the 9.85 million people who watched last year’s event, according to ABC, though the show was still the second-least-watched Oscars ever on record.Initial viewership figures evolve in the days after the show to factor in West Coast audiences as well as out-of-home and livestream viewing.The telecast took a bizarre turn more than two hours in, when Will Smith strode onstage and slapped Chris Rock in the face for telling a joke about his wife. Mr. Smith then returned to his seat, and less than an hour later, he won the best actor prize.The early data did not indicate whether there was a surge in viewership after the slap, which immediately ricocheted around the internet.Organizers have been desperate to reverse a yearslong ratings slide for the Oscars, which saw viewership last year plummet 58 percent. To perk up interest, they hired the comics Regina Hall, Amy Schumer and Wanda Sykes to host a show that had been hostless since 2019; relegated some awards to a pretaped segment to hurry along what still clocked in at more than 3.5 hours; and invited fans to vote on Twitter for their favorite film (Zack Snyder’s “Army of the Dead”).The broadcast hit its peak in 1998, when 55.2 million viewers tuned in to watch “Titanic” sweep the awards, and has struggled to retain its cultural relevance since. Awards shows took an additional hit during the pandemic but had already been facing criticism for being too white, too long, too politicized and too boring. Viewership for the Grammy Awards, which will be held this weekend, slumped 53 percent to a new low last year; NBCUniversal declined to even broadcast this year’s Golden Globes.Mr. Smith’s attack happened after Mr. Rock, who was handing out the award for best documentary, joked about Mr. Smith’s wife, Jada Pinkett Smith, and her closely cropped hair.“Jada, I love you — ‘G.I. Jane 2,’ can’t wait to see it, all right?,” he said, referencing the 1997 film ‘G.I. Jane,’ which featured Demi Moore sporting a buzz cut.The joke prompted an eye roll from Ms. Pinkett Smith, who has been vocal about her struggles with alopecia, a condition that leads to hair loss. Mr. Smith then marched onto the stage, slapped Mr. Rock, turned around and returned to his front-row seat. Then, using an obscenity, he yelled at the comedian to stop speaking about Ms. Pinkett Smith.The slap appeared onscreen, but many viewers in the United States did not hear Mr. Smith shout at Mr. Rock because ABC cut the sound. That left many viewers initially wondering if the attack was real or a skit. Uncensored clips soon shot around the internet, leaving no doubt that it was real.Mr. Smith won best actor for his role in “King Richard.”Ruth Fremson/The New York TimesForty minutes later, Mr. Smith won the best actor trophy for his role in “King Richard.”He returned to the stage to receive the award — his first — and delivered an emotional speech apologizing to the Academy of Motion Picture Arts and Sciences and to his fellow nominees, but not to Mr. Rock.“I hope the academy invites me back,” he said at the end of his speech.The outburst divided Hollywood. The academy said it “condemns the actions of Mr. Smith” and that it was starting an inquiry. The actor Mark Hamill called it the ugliest Oscars moment, while the comedian Kathy Griffin said it was “very bad practice.”Tiffany Haddish, a comedian who co-starred with Ms. Pinkett Smith in the film “Girls Trip,” described Mr. Smith’s protective display as “the most beautiful thing I’ve ever seen.” Piers Morgan, the British television host, wrote that he felt “moved to defend” Mr. Smith.Ariana DeBose, Troy Kotsur and Jessica Chastain with their Oscar statues on Sunday night.Noel West for The New York TimesThe confrontation jolted a broadcast whose most exciting moments earlier had included historic acting wins by Ariana DeBose of “West Side Story” and Troy Kotsur of “CODA” and a surprise appearance by the rapper Megan Thee Stallion in a performance “We Don’t Talk About Bruno,” the hit from “Encanto,” which won best animated feature.Despite being aired on a broadcast network, the night underscored the upheaval to theatergoing and traditional television caused by streaming services and online platforms.“CODA,” which featured Mr. Kotsur as a deaf fisherman trying to relate to his hearing daughter and was snapped up by Apple TV+ for $25 million after debuting at the Sundance Film Festival last year, was the first film from a streaming service to win a best picture Oscar. Jane Campion, the director of Netflix’s “Power of the Dog,” beat out Steven Spielberg, who directed “West Side Story,” to claim the directing trophy.But the Oscars telecast continued to draw advertising attention. ABC sold out of spots for commercials the week before the show, which featured ads from Crypto.com, Pfizer, Rolex, Verizon and more. Many companies also tried to take advantage of the altercation between Mr. Smith and Mr. Rock by posting memes of the slap, to which marketing experts reacted with dismay. More

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    ‘Like Choosing a Pope’: How Succession Got Messy at ‘Jeopardy!’

    The decades-old game show, TV comfort food for many, has been rocked by drama over who would replace the late Alex Trebek.When Ken Jennings arrived at the “Jeopardy!” studios in November for the first day of his audition to become the new host of the long-running quiz show, he found a gift waiting for him: a pair of Alex Trebek’s cuff links, along with a handwritten note from his widow, Jean.Mr. Trebek, the “Jeopardy!” galaxy’s central star, had died of pancreatic cancer three weeks before, setting off a frenzy in Hollywood: one of the greatest jobs in television was available for the first time in 37 years.For some members of the “Jeopardy!” crew, the cuff links validated their assumption that Mr. Jennings, a genial Utahn who rose to fame in 2004 after winning a record 74 consecutive games, had been Mr. Trebek’s preferred successor. (“Jeopardy!” producers had arranged for a phone call between Mr. Jennings and Mr. Trebek two days before he died.) But “Jeopardy!,” while a beloved cultural icon, is also a lucrative asset of Sony Pictures Entertainment, and in the television industry, sentiment only goes so far.“Jeopardy!,” whose first iteration began in 1964, is one of TV’s last bastions of comfort food, a place where politics don’t matter and the real world is easily digested in just-the-facts bites. Then its succession drama got messy. After a cattle call of guest hosts, including Anderson Cooper, Robin Roberts, Aaron Rodgers, LeVar Burton and even Dr. Mehmet Oz, the announcement of the winner sent fans into a tailspin. The new weekday host would be Mike Richards, the show’s obscure executive producer and the man initially charged with finding Mr. Trebek’s replacement.Mr. Richards, it seemed, did not have to look very far.Critics accused Mr. Richards of rigging the contest à la Dick Cheney, who led the vice-presidential search for George W. Bush. Old lawsuits surfaced from Mr. Richards’s previous job, at “The Price Is Right,” involving his treatment of female staff members. (He denies wrongdoing.) After Sony said the “Big Bang Theory” actress Mayim Bialik would host the show’s prime-time spinoffs, her past skepticism about vaccines recirculated. (Her team said “she is not at all an anti-vaxxer.”)Mike Richards, the show’s executive producer, was named Mr. Trebek’s weekday replacement.Carol Kaelson, via ReutersUnder the retro, feel-good surface of “Jeopardy!,” the succession battle is a story of television’s dwindling real estate in American life and the strenuous efforts to occupy one of its remaining desirable plots.“It is a little like choosing a pope,” Mr. Jennings said, in his first interview since the new hosts were announced. “If you don’t watch ‘Jeopardy!,’ you don’t understand, but people take this very seriously.”In an age of atomized audiences, “Jeopardy!” still averages 8.8 million viewers a week, according to Nielsen — not quite “NCIS” territory, but roughly comparable to a network evening newscast. Its audience skews older: Last year, about four viewers out of five were over age 55.And the job itself is, as any Hollywood agent would tell you, a pretty sweet gig.When the “Jeopardy!” cast and crew gather on the Sony Pictures stage in Culver City, Calif., they film five 30-minute shows in a single day, the equivalent of one week of syndicated television. The host works roughly two days a week, two weeks a month — and toward the end of his tenure, Mr. Trebek’s salary was estimated at $16.5 million. Sony would not disclose Mr. Richards’s compensation, but several people familiar with internal discussions said it was significantly less.There are other perks to being the face of a show that is still watched by a broad audience on local network affiliates, a rarity as the nation divides into ever-more-partisan extremes and as traditional TV is supplanted by niche streaming services.“It’s appointment television, which is rare,” said George Stephanopoulos, the ABC News anchor, who guest hosted for a week. “It’s the kind of thing you can watch with your whole family.”Plus there is the reflected glow of always having the right answers.“It’s absolutely iconic,” said Rick Rosen, the TV superagent at Endeavor. “Everybody knows the show and has played along with it. And it’s not the type of show where you’re just a genial host — there’s a perception of intelligence that goes along with it.”Unlike his rivals, Mr. Richards, 46, had a deep background in game shows. Born in Burbank, Calif., he started his career as a stand-up comedian and went on to host game shows like the mid-2000s concoction “Beauty and the Geek.” He hosted and produced numerous series on the Game Show Network before auditioning to replace Bob Barker on “The Price Is Right.” Drew Carey got the job, but Mr. Richards was brought on as executive producer; his successful 11-year tenure revived the wilting franchise into a hit.By “Jeopardy!” standards, though, he was a newcomer.He started as executive producer at both “Jeopardy!” and “Wheel of Fortune” in May 2020, replacing Harry Friedman, who oversaw both shows for 25 years. Mr. Richards overlapped with Mr. Trebek on set for only 15 shoot days before the host stepped aside, 10 days before he died.Sony said that while Mr. Richards initially led the hunt for Mr. Trebek’s replacement, he moved aside after he emerged as a candidate.But as executive producer, Mr. Richards retained a key role in selecting which appearances by each prospective host would be screened for focus groups, whose reactions weighed heavily in Sony’s decision-making, according to three people familiar with the show’s internal deliberations. The other supervising “Jeopardy!” producers were excluded from that process, the people said.Asked about Mr. Richards’s role, Sony referred to a memo from its TV chairman, Ravi Ahuja, who told staff that after the company began considering Mr. Richards as a potential host, “he was not part of” the selection process. The ultimate decision was made by Tony Vinciquerra, the chairman of Sony Pictures Entertainment.As questions mounted, Mr. Richards sent a memo to “Jeopardy!” staff that was distributed by Sony’s publicists.“The choice on this is not my decision and never has been,” Mr. Richards wrote. He said the “Price Is Right” litigation — which included an allegation that he made insensitive comments to a pregnant employee — “does not reflect the reality of who I am.” (Sony said it had “spoken with Mike about the issues raised in these cases and our commitment to maintaining a workplace environment where our employees are respected and supported.”)Mayim Bialik was announced as a co-host.Carol Kaelson, via ReutersOn Thursday, Sony announced Mr. Richards and Ms. Bialik as co-hosts, although for now, only one prime-time special featuring Ms. Bialik is scheduled. “What started out with my 15-year-old repeating a rumor from Instagram that I should guest host the show has turned into one of the most exciting and surreal opportunities of my life!” Ms. Bialik said in a statement.Mr. Jennings, who remains a consulting producer at “Jeopardy!,” praised Mr. Richards’s performance. “Mike was the only person up there with any game show hosting chops, and it showed,” he said.Some fans argue that a relatively bland, little-known host was always a better outcome than a celebrity. “The game is the star, and the contestants are the stars,” said John Podhoretz, the editor of Commentary magazine and a 1987 quarterfinalist in the “Jeopardy!” Tournament of Champions. “The host should be a secondary figure.”For his part, Mr. Jennings agreed. “What was great about Alex was we didn’t know anything about him: He came into our homes every night and he hosted ‘Jeopardy!,’” Mr. Jennings said. “Today, it’s very hard to find a broadcaster whose priors and opinions you know nothing about.”Mr. Jennings, who guest hosted six weeks’ worth of shows, said he harbored no hard feelings about the outcome.“I knew ‘Jeopardy!’ was in a spot this year, and I mostly wanted them to have a smooth transition,” Mr. Jennings said. “I was not going to lobby for that job in the media, ever. I was not going to plant stories about what a promising young candidate I was. I wasn’t interested in doing any of that. I am a company man.”Marc Tracy More

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    Nielsen Introduces New Ratings for Streaming Services

    The company known for measuring television ratings said Netflix and YouTube are far ahead of their digital rivals, but viewers still spend more time watching cable and network TV.Nielsen on Thursday announced that it had moved a step closer toward cracking one of the great questions of the modern entertainment world: How big, exactly, is streaming? More