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    ‘Gladiators,’ That ’90s Show, Is Back With Extra Muscle in Britain

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    A reboot of “Gladiators,” the musclebound 1990s staple, has attracted millions of viewers in Britain. Is appointment television back?First it was the streamers: the seismic arrival of Netflix, Amazon Prime Video, Apple TV+ and the rest, offering television’s previously captive viewers the chance to watch seemingly whatever they wanted, whenever they wanted. Then TikTok joined YouTube in conclusively shattering what was once a unified small-screen audience into a billion individual fragments.On both sides of the Atlantic, ratings plummeted. Viewers drifted away. Advertising revenue collapsed, and budgets followed. For much of the last decade, it has felt like the traditional television industry has been running up a steeply-inclined treadmill, legs pumping and lungs heaving as the ground moves rapidly beneath its feet.Now, in Britain, a group of bodybuilders, personal trainers and sundry gym rats have stepped unto the breach. Squeezed into tightfitting Lycra costumes, they have been wielding oversized pugil sticks, running around floating scaffolds and chasing only slightly less musclebound members of the public up walls, in front of a cheering crowd.In much the same format that first graced American screens in 1989 and British sets in 1992 — “regular” contestants compete in a variety of outlandish challenges against specialist, intimidating athletes each week — “Gladiators” has, in the year 2024, not only provided the BBC with an invigorating hit, but has also offered the latest sign that so-called “linear television” might be more resilient than previously thought.Even in an instant, on-demand media landscape, the idea that people would sit down to watch something — on a television set, at a scheduled time, with other people in the room — has been regaining some ground.According to the BBC, 9.8 million people have watched the first episode of the British “Gladiators” reboot, which first aired in January. More striking, though, is that the vast majority of those viewers did not see it at their convenience. Instead, the broadcaster says, 6.6 million — 10 percent of the British population — sat down to follow it as it went out.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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      Ed Mintz, Who Gave Audiences the Chance to Grade Films, Dies at 83

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      With CinemaScore, he broke new ground by building a business based on the opinions of moviegoers rather than critics.Ed Mintz, a mathematician who created an exit polling system for films called CinemaScore, which asks people leaving theaters on opening nights to grade the movies they have just seen — a precursor of the website Rotten Tomatoes, which aggregates and scores critics’ opinions — died on Feb. 6 in Las Vegas. He was 83.His son Harold said the cause of death, in a memory care facility, was vascular dementia.Mr. Mintz, a film buff, was a partner in a computerized billing service for dentists in 1978 when he and his wife, Rona, went to see “The Cheap Detective,” a comedy written by Neil Simon and starring Peter Falk, at a theater in the Westwood section of Los Angeles. They both disliked it, and they felt let down by the critics whose praise had encouraged them to see it.Their disappointment was echoed by at least one other departing moviegoer.“And all of a sudden, some guy said, ‘Is anybody here wondering why they can’t get the opinions of actual moviegoers and publish that? We keep getting critics,’” Mr. Mintz recalled in an interview with The Las Vegas Review-Journal in 2016. “I looked at him and thought, ‘Wow, that’s a great idea.’”That thought percolated until later that year. While attending Yom Kippur services at a synagogue in Los Angeles, he gazed at a donation pledge card. Rather than write with a pen or pencil, which Jews are prohibited from doing on Yom Kippur and the Sabbath, worshipers designated what to give by bending a perforated tab.“I almost jumped out of the chair,” he said. “I thought: ‘Simple. How simple.’”He quickly conceived the CinemaScore ballot card, which he tested by sending employees of his dental business to a few theaters. When the testing phase ended, polling began in 1979, and Mr. Mintz started reporting the results in a syndicated newspaper column.The card and the polling process have changed little since the beginning and create a crowdsourcing alternative to critics’ opinions.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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      ‘Barbenheimer,’ and an Early Start, Boost Oscar Ratings to 4-Year High

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      ABC’s telecast of the 96th Academy Awards on Sunday drew 19.5 million viewers, according to Nielsen.The comeback of live event TV continues.ABC’s telecast of the 96th Academy Awards on Sunday drew 19.5 million viewers, hitting a four-year viewership high, according to Nielsen. The live TV audience was up from last year’s 18.8 million, the third consecutive year that Oscar viewership has grown.The ratings report will prompt cheers at ABC and the academy, which bumped the start of the venerable awards ceremony to 7 p.m. Eastern, an hour earlier than usual, in the hopes that more viewers would stick around through the final categories.That approach appeared to pay dividends, as did the numerous nominations for the big box office hits “Barbie” and “Oppenheimer” — a change from recent years when more obscure films dominated the ceremony. Jimmy Kimmel also received warm reviews in his fourth outing as host, leaving him one away from matching another late-night star who moonlighted at the Oscars, Johnny Carson.Nielsen said that Sunday’s Oscars were the most-watched network awards show since February 2020, extending a recent trend where viewer interest has perked up for the kind of mass cultural events that struggled during the pandemic.In February, 16.9 million people watched the Grammy Awards, a 34 percent increase from last year. Viewership of the Golden Globes in January rose 50 percent compared with a year ago. The Super Bowl between the Kansas City Chiefs and the San Francisco 49ers beat ratings records with an audience of 123.7 million. Even ratings for the 2023 Tony Awards, traditionally the least-viewed of the “EGOT” quartet, rose modestly.At Sunday’s Oscars, Billie Eilish sang her pop ballad “What Am I Made For?” and Ryan Gosling delivered a cheeky yet dedicated performance of “I’m Just Ken.” The choreography, which drew on Busby Berkeley films and the Marilyn Monroe musical “Gentlemen Prefer Blondes,” was complemented by a cameo by the thrash-rock guitarist Slash and a bevy of supporting Kens from “Barbie,” including Simu Liu.ABC, which has the broadcast rights to the Oscars through 2028, said that it had sold out its advertising inventory for Sunday’s event. The network did not share prices, but advertising executives said ABC had charged $1.7 million to $2.2 million for a 30-second spot, up slightly from last year. Some of the ads turned up in the broadcast itself, like a plug for Don Julio tequila, in which Guillermo Rodriguez, a Kimmel sidekick, offered the beverage to celebrities in the audience.In 2021, for a stripped-down pandemic Oscars held in a Los Angeles train station, only 10.4 million people tuned in. Viewership rose in 2022 to 16.6 million people, in part because of the bizarre spectacle of Will Smith slapping Chris Rock.Still, there is no question that TV viewing habits have changed. Before 2018, the Oscars telecast had never dropped below 32 million viewers. More

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      $7 Million for 30 Seconds? It’s Worth It at the Super Bowl.

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      In a time of fragmentation, advertising during the game’s broadcast is still a reliable way to boost company revenue and familiarize viewers with a brand.A cat meowing for Hellmann’s mayonnaise, Peyton Manning chucking Bud Light beers to patrons in a bar and Kris Jenner stacking Oreo cookies. They all have one thing in common: Those companies paid seven figures to get their products in front of viewers during this year’s Super Bowl.For the second consecutive year, the average cost of a 30-second ad spot during the Super Bowl was $7 million. Even as many businesses are being more disciplined with the money they have for marketing, and with spending on advertising slowing in recent years, the cost of a Super Bowl ad continues to go up.The reason is simple: There is no opportunity guaranteed to reach more people than the Super Bowl, and the slice of every other pie keeps shrinking.“It’s a throwback in terms of reaching everyone all at once,” said Charles Taylor, a professor of marketing at the Villanova School of Business.In an increasingly fragmented media landscape, the number of opportunities for companies to reach a mass audience through advertising on network television has dwindled. Popular shows have increasingly moved to streaming platforms, along with audiences. More and more, networks find themselves relying on live events, like award shows and sports, to draw viewers.“Live events are still huge for advertisers, and those are the ones that draw the highest attention,” said Frank McGuire, a vice president at Sharethrough, an advertising integration platform.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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      You’ve Just Watched the Super Bowl. What Will You See Next?

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      The TV network that airs the N.F.L. title game wants to retain as many viewers as possible. There are various strategies, with CBS choosing to debut the crime drama “Tracker.”Some of the most precious television real estate comes immediately after the National Football League’s season finale, one of the few programs to still corral a giant audience.The network that airs the Super Bowl wants to retain as many of those viewers — 115 million people last year — as possible with the postgame slot. It has been a powerful tool to debut new shows, as CBS will do on Sunday with “Tracker,” a crime drama about the hunt for missing people that stars Justin Hartley, and it has also showcased already popular ones, such as NBC did in 1996 with “Friends.”Either strategy can prove effective.“It’s really a year-by-year basis when you have the Super Bowl and to think, ‘What are the different weapons you have to deploy?’” said Amy Reisenbach, the president of CBS Entertainment.New ShowsFor nearly two decades, the Super Bowl has cycled among Fox, NBC and CBS. (In 2027, ABC will air its first Super Bowl since 2006.) “There isn’t really any other platform like it on TV,” Reisenbach said, adding, “It’s a huge opportunity to get eyeballs.”Networks plan out the postgame slot about a year ahead of time, said Dan Harrison, the executive vice president of program planning and content strategy at Fox Entertainment.CBS chose “Tracker” in May, Reisenbach said, after executives viewed the pilot episode and felt it could appeal across demographics because of Hartley’s popularity with both men and women. The decision to debut a new show follows the strategy CBS used for “Undercover Boss” (2010) and for its two most recent Super Bowl lead-outs, “The World’s Best” (2019) and “The Equalizer” (2021).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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      4.3 Million Watched the Emmys, a New Low

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      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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      Golden Globes 2024 Draws 9.4 Million Viewers

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      The number of viewers was higher than last year, but still down significantly compared with prepandemic audience totals.The Golden Globes averaged 9.4 million viewers on Sunday night, according to Nielsen, an increase over the 2023 ceremony ratings but still significantly lower than the audience totals of just a few years ago.Until 2020, the Globes regularly drew 17 million to 20 million viewers. In 2019, the Globes was narrowing the viewership gap with the Oscars so significantly that it appeared the telecast could become the most-watched awards show.And then disaster struck.First came the pandemic, which deprived the 2021 Globes of its usual booze-soaked freewheeling ceremony, sending the ratings tumbling. Then came a scandal for the organization that administers the Globes, which led NBC to refuse to broadcast the 2022 ceremony. Last year, NBC gave the Globes a one-year chance, and the audience figures were still low: just over six million people watched.For months, there was speculation that a streaming service like Netflix or Amazon could pick up the rights to the Globes. That did not happen. In November, CBS picked up the rights for another one-year arrangement. (In a statement announcing the deal, George Cheeks, the CBS president, said that the Globes could help promote scripted programming that had been delayed by last year’s strikes in Hollywood. Those shows premiere next month.)CBS announced a host — a relatively unknown Jo Koy — only a few days before Christmas.Reviews for Mr. Koy were harsh, with critics taking particular issue with the comedian’s bizarre mid-monologue pivot, in which he blamed other writers for some of his dull jokes. “Yo, I got the gig 10 days ago, you want a perfect monologue?” he said. “Yo, shut up. You’re kidding me, right? Slow down. I wrote some of these — and they’re the ones you’re laughing at.”Critics were not kind to the telecast, either. Vanity Fair called it a “near-total disaster” and a critic at The Hollywood Reporter said it was “the dullest awards show” he had ever seen. The Ankler likened it to the “RC Cola of award shows.” More

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      Zombie TV Has Come for Cable

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      Many of the most popular channels have largely ditched original dramas and comedies, morphing into vessels for endless reruns.In 2015, the USA cable network was a force in original programming. Dramas like “Suits,” “Mr. Robot” and “Royal Pains” either won awards or attracted big audiences.What a difference a few years make.Viewership is way down, and USA’s original programming department is gone. The channel has had just one original scripted show this year, and it is not exclusive to the network — it also airs on another channel. During one 46-hour stretch last week, USA showed repeats of NBC’s “Law & Order: Special Victims Unit” for all but two hours, when it showed reruns of CBS’s “NCIS” and “NCIS: Los Angeles.”Instead of standing out among its peers, USA is emblematic of cable television’s transformation. Many of the most popular channels — TBS, Comedy Central, MTV — have quickly morphed into zombie versions of their former selves.Networks that were once rich with original scripted programming are now vessels for endless marathons of reruns, along with occasional reality shows and live sports. While the network call letters and logos are the same as before, that is effectively where the overlap stops.The transformation could accelerate even more, remaking the cable landscape. Advertisers have begun to pull money from cable at high rates, analysts say, and leaders at cable providers have started to question what their consumers are paying for. In a dispute with Disney this year, executives who oversee the Spectrum cable service said media companies were letting their cable “programming house burn to the ground.”“It’s kind of like when you drive by a store and you can see they’re not keeping it up, and it looks kind of sad,” said Linda Ong, a consultant who works with many entertainment companies and used to run marketing at the Oxygen cable network. “It feels like they don’t have the attention. And they don’t — they’re being stripped for parts.”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?  More

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      Jimmy Kimmel Said to Be Returning as Oscars Host

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      It will be the late-night comedian’s fourth time as M.C. of the awards ceremony, which won back some viewers last year.Academy Awards organizers have decided to stick with a tried and true host: Jimmy Kimmel.Mr. Kimmel, the late-night comedian who has hosted the event three times, will return to the Oscars stage on March 10 to steer the 96th ceremony, according to two people briefed on the plan, who spoke on the condition of anonymity because they were not authorized to disclose it. Molly McNearney, the co-head writer and an executive producer of “Jimmy Kimmel Live!” on ABC, will serve as an executive producer for the 96th Oscars telecast.The Academy of Motion Picture Arts and Sciences did not respond to requests for comment.Seeking cultural relevancy for the ceremony following a period of plunging ratings, the academy and ABC, which broadcasts the Oscars, have bounced between formats in recent years. They tried three hosts in 2022 (Wanda Sykes, Regina Hall, Amy Schumer) and zero hosts, from 2019 to 2021. For the 2023 show, the academy returned to one host — Mr. Kimmel, who also did the job in 2017 and 2018.He delivered. Viewership rose to nearly 19 million people this year, according to Nielsen, up from 16.6 million the year before and 10.4 million in 2021, the lowest ever. Before 2018, the telecast had never dropped below 32 million.Just as important for the academy, Mr. Kimmel’s return was free of controversy, helping to restore luster to an event tarnished in 2022 when Will Smith marched onstage and slapped Chris Rock. The academy and ABC also overhauled the red carpet preshow, hiring consultants with experience at the Met Gala to make star arrivals feel less chaotic and more glamorous. The red carpet was vanquished in favor of a champagne-colored one.Hosting the ceremony was once viewed as a feather in the cap of top comedians like Billy Crystal, a nine-time host, and Whoopi Goldberg, who was M.C. four times. But many stars have become leery about the time commitment and potential backlash that hosting can bring. Trash-talking the Oscars — for its stilted banter, for the choices made by voters, for its very existence — has become a hallmark of the social media age.Hollywood’s awards season has been slow to start this time around because of the actors’ strike, which prevented stars from promoting finished work. With the strike resolved, studios and publicists have quickly ramped up awards campaigns, pushing stars like Emma Stone, a front-runner for a best actress nomination for her debauched performance in the surrealist comedic drama “Poor Things,” and films like “American Fiction,” a satire about a writer who puts together a fake memoir that turns on racial stereotypes.Other films expected to prominently figure into the 96th Academy Awards include “Barbie” and “Oppenheimer,” both of which were runaway successes at the global box office. If they receive as many nominations as people in Hollywood expect, it will help Mr. Kimmel: Viewership for the Oscars tends to increase when popular films are honored. More