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      How Married ‘Bachelor’ Couples Make it Work. Yes, Some Are Still Together.

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      As “The Bachelor” franchise enters its 20th year, still-married couples who met on that show and “The Bachelorette” discuss how they’ve built lasting relationships.In the latest season of “The Bachelor,” Clayton Echard, the show’s 26th lead, said after a late-night rendezvous with a hopeful suitress, “If I ever need validation to know that this process works, I’m seeing it unfold before me.”But according to the numbers, perhaps unsurprisingly, that “process” — a weeks-long mass courtship in front of cameras that is meant to end with a proposal and, presumably, a marriage — is not very effective at yielding long-term relationships.Since the “The Bachelor” debuted on ABC in March 2002 and “The Bachelorette” the following year, only six couples who met on those shows are currently married. A seventh is expected to wed in May. In this time, there have been 34 televised proposals in 44 seasons combined. Taking into account those who met on other spinoffs, the number of currently married couples jumps from six to 10. (Representatives from Warner Bros and ABC declined to comment for this article.)As the franchise enters its 20th year, what can be gleaned from some of those still-wed couples’ most dramatic story lines ever? Below, five of the six who met on “The Bachelor” and “The Bachelorette” discuss how they’ve made it work since meeting on set. (The sixth couple, Rachel Lindsay and Bryan Abasolo, declined to comment for this article.)Catherine and Sean LoweCatherine and Sean Lowe.Craig Sjodin/Disney General Entertainment Content, via Getty ImagesThe Lowes met on season 17 of “The Bachelor,” which aired in 2013 and ended with Mr. Lowe’s on-camera proposal in Thailand. They were married the following year.The couple, who live in Dallas with their two sons, ages 5 and 3, and daughter, 2, have since built a life around what Ms. Lowe called “super chill” family traditions, including making homemade pizza.“Our happy place is at home with our kids,” said Ms. Lowe, 35, who runs a local gifting service and, with her husband, started a namesake furniture line, Home by Sean & Catherine Lowe.Mr. Lowe, 38, said that when people ask him how he found love on “The Bachelor,” his response is always the same. “I liken it to meeting 25 strangers on a dating app — you might connect with one of them,” he said.But “then you have to enter the real world, and it takes work,” he added.That he and Ms. Lowe, or any couple who married after meeting on the show, have managed to stay together still strikes him as somewhat improbable. “When you have girls racing in bikinis while driving lawn mowers it’s silly,” he said. “All the elements go against creating a long-term relationship.”Ms. Lowe, however, said she left the show feeling wiser about how to form a successful partnership. The accelerated courtship the contestants experience made her realize the importance of focusing on “non-negotiables” at the start of any romance, instead of worrying about “things that don’t matter, like leaving the toilet seat up.”She added that meeting Mr. Lowe on set with other people around helped her get a better understanding of his character, recalling a moment when she saw him speaking to the crew and “noticed that he knew everybody’s name.”“I took that as such an insight into who he really was when the cameras were down,” Ms. Lowe said.Molly and Jason MesnickMolly and Jason Mesnick.Kevin Casey, via Getty ImagesMr. Mesnick, the lead on “The Bachelor” season 13, which aired in 2009, stunned fans when he called off his engagement to Melissa Rycroft six weeks after proposing on air, and later proposed (off air) to his future wife, who was that season’s runner-up.“I think the challenge is that the public looks at that as a real engagement,” Mr. Mesnick, 45, said of the series’ televised proposals, which he considers more of a commitment to “see what happens over the next several months or a year or whatever.”Before the Mesnicks wed in 2010, they went through a bit of a get-to-know-you-again period, said Ms. Mesnick, 38.“You need to start over at square one and get to know each other,” she said, echoing Mr. Lowe’s sentiments that cast members do not behave on set as they would in real life. “They’re literally getting to know a totally different person when there’s not a camera or producer in your face.”On the show, Ms. Mesnick said, “I was really calm,” but in real life, “I’m very Type A and kind of crazy.” Mr. Mesnick, on the other hand, is “super go-with-the-flow.”“I think it’s taken us 10-to-12 years to finally get into a really good, easy groove on how to function in life,” Ms. Mesnick added.The Mesnicks, who live in Seattle, now say their contrasting personalities not only provide equilibrium in their relationship, but also in their work as brokers co-leading a real estate team in Kirkland, Wash. “She does the marketing, and I do face-to-face with our clients,” said Mr. Mesnick.When they met, Mr. Mesnick was a divorced father of one. Moving in with him and his then 4-year-old son in 2009, Ms. Mesnick said, at first “rocked their world.” But she and her stepson, now 17, eventually became “thick as thieves.”The couple, who have a 9-year-old daughter, say open and honest communication has been essential to making their relationship last. Ms. Mesnick said it has also helped that they got together before picking apart relationships from “The Bachelor” became a sport of sorts on social media.“It would have been brutal,” she added of the backlash they might have received when she and Mr. Mesnick got back together after he broke off his engagement with Ms. Rycroft.Chris and Desiree SiegfriedChris and Desiree Siegfried.Francisco Roman/Walt Disney Television, via Getty ImagesAs two people who initially didn’t want to be on TV — Ms. Siegfried said she applied for “The Bachelorette” season nine, which aired in 2013, as a “skeptic joke,” and Mr. Siegfried said that friends convinced him to join the cast after he declined an initial offer to participate — neither envisioned the experience would have a fairy-tale ending.But Ms. Siegfried, 35, a fashion designer and the founder of Desiree Hartsock Bridal, said that “really natural” chemistry paved the way for them to fall in love on set.Mr. Siegfried, 36, a loan officer, said “she was definitely someone I would pursue outside of television.”“Our conversation was easy,” he added. “And when we were talking, she knew what she wanted and was looking for in someone, and that was important to me.”After filming their on-camera engagement, Ms. Siegfried, who was living in Los Angeles and said she was “broke as could be,” relocated to Seattle, where she and Mr. Siegfried, who had moved there in 2011, started living in a new home together.“It would be hard for one person to dive into someone else’s life across state lines,” she said. “It was nice to start afresh together.”They married in 2015 and now live in Portland, Ore., with two sons, 3 and 5. Though the couple has no plans to appear on television again, watching it remains a beloved pastime, said Ms. Siegfried. Recently, their favorite shows include “Yellowstone” and “1883,” she said.Their relationship also benefits from spur-of-the-moment workday dates. “He’s like, ‘Hey, I have a break. You want to grab lunch?’” Ms. Siegfried said. “It’s fun to have that spontaneous lunchtime.”Heartfelt compliments, or “words of affirmation” as Mr. Siegfried put it, go a long way, too. “While everyone loves flowers, that’s not necessarily what she’s looking for.”Lauren and Arie LuyendykLauren and Arie Luyendyk.Paul Hebert/Disney General Entertainment Content, via Getty ImagesMr. Luyendyk, 40, a real-estate agent and racecar driver, initially proposed to Becca Kufrin at the end of “The Bachelor” season 22, which aired in 2018.But he soon ended their engagement because he couldn’t stop thinking about Ms. Luyendyk, 30, a fashion designer and the founder of the line Shades of Rose. On a live episode filmed after the pre-taped finale aired, Mr. Luyendyk proposed to Ms. Luyendyk in front of a studio audience.“I want to do this in front of everyone, because I want to show you that I should have done this a long time ago,” he said at the time.In some ways, the Luyendyks credit their bond’s strength to the backlash they faced after their engagement. “There was a lot of animosity in the room,” Ms. Luyendyk said. “I could see people glaring at me when I walked out.”“We’ve always said, ‘It’s us against the world,’” she added.The couple, who live in Scottsdale, Ariz., married in Hawaii in 2019, while Ms. Luyendyk was pregnant with their daughter, now 2. In June 2021, they became a family of five when the couple had twins, a boy and a girl.Between work and parenthood, they say it has been harder to carve out time for themselves, making their home an ideal venue when they can fit it in. One recent activity: “Goat yoga in the backyard,” Mr. Luyendyk said. “It was messy.”Their morning coffee ritual is another opportunity to connect. “We love to be up early and have coffee together and make that little time for us before the babies wake up,” he said. Added Ms. Luyendyk, “Some nights, I can’t wait to have coffee in the morning.”Trista and Ryan SutterTrista and Ryan Sutter.Craig Sjodin/Disney General Entertainment Content, via Getty ImagesThe Sutters wed in December 2003 on a three-part televised special that followed their appearance on “The Bachelorette” season one, which aired earlier that year. They now live with their son, 14, and daughter, 13, in Vail, Colo., and their 18-year marriage is the longest in the franchise’s history.Ms. Sutter, 49, who has since written a book and hosted a podcast, was the runner-up on season one of “The Bachelor.” She said that appearing on both shows convinced her you can find love anywhere, including “on national television like we did.”Mr. Sutter, 47, a firefighter, said that though “there is pressure” for finalists like himself to propose at the end of a season, “I never felt it to the degree that I made any major decisions because of it.”But, he added, “If I’m being honest, I really didn’t know her as well as I probably should have prior to asking her to marry me.”Like other couples, acclimating to a regular life together after the show proved trying for the Sutters. Mr. Sutter said that a mental health professional whom he spoke to during the casting process told him that contestants’ lives could be affected for up to three months after their season ended. “She missed the mark by years,” he said.Making time for in-person conversations is something both have prioritized over the course of their marriage. “Throw your phones in your drawer once you come home from work,” said Ms. Sutter of a tactic they use to eliminate distractions during one-on-one time.Playing pickleball, taking camping trips with their children and sitting down at a table to eat dinner each day are other activities that enhance their relationship.While no relationship is always roses and Neil Lane diamond rings, the Sutters say theirs is one that people continue to cite as an example of marital bliss. Over the years, Mr. Sutter said that they have been asked how they make their relationship work “hundreds of times,” and that their reply has evolved along with their marriage.If they could sum up their answer in a song, Ms. Sutter would point people to “Legends,” Kelsea Ballerini’s 2017 single. “Basically it says no one believed in us, but we did.” More

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      Late Night Has Fun With Trump’s Missing Phone Records

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      “The only time there should be a seven-hour gap is when you’re trying to remember what happened on St. Patrick’s Day,” Jimmy Fallon said.Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.‘Scam Likely’The House committee investigating the events of Jan. 6, 2021, reported a seven-hour gap in President Donald J. Trump’s phone records, including the time of the Capitol riot.“Seven hours. I don’t know if anyone else is a fan of the show ‘Dateline,’ but if your phone records are missing even 10 minutes, you’re guilty,” Jimmy Fallon said.“I’m sure he was just busy volunteering somewhere, I mean, or maybe working on his watercolors, could be any of that.” — JAMES CORDEN“Even the ghost of Richard Nixon is like, ‘I don’t think you can do that.’” — JIMMY FALLON“The only time there should be a seven-hour gap is when you’re trying to remember what happened on St. Patrick’s Day.” — JIMMY FALLON“Instead, for all of those hours, all the White House phone records just say, ‘Scam likely.’” — STEPHEN COLBERT“This is the thing with Trump — you never know. You never know if he’s more evil or lazy. He could have been plotting the overthrow of the government, or he could have been watching Fox News in the bath — you just don’t know!” — JAMES CORDENThe Punchiest Punchlines (Burner Edition)“And now after making the discovery, the House committee is investigating whether Trump used burner phones. It’s always reassuring when a president acts like a character in ‘The Wire.’” — JIMMY FALLON“Trump denied it, saying, ‘I’ve never had a burner phone. I’ve had a couple of burner wives, but no burner phones.’” — JAMES CORDEN“So now the big question is, which White House toilet did he flush them down?” — JIMMY KIMMEL“I wouldn’t be surprised. I mean, he already has a burner son.” — STEPHEN COLBERTThe Bits Worth WatchingJason Alexander starred in “Jeff Bezos: The Musical” on Tuesday’s “Jimmy Kimmel Live.”What We’re Excited About on Wednesday NightHasan Minhaj will appear on Wednesday’s “Tonight Show.”Also, Check This OutDaddy Yankee helped take reggaeton worldwide. He has said his March album, “Legendaddy,” will be his last.Greg Doherty/Getty ImagesThe reggaeton star Daddy Yankee announced his retirement after dropping his last album, “Legendaddy.” More

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

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      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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      ‘Moon Knight’ Review: Marvel, Oscar Isaac and Identity Issues

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      Oscar Isaac multitasks in a Marvel series about a superhero who answers to an ancient Egyptian god and struggles with dissociative identity disorder.The hero of the new Marvel Comics series, “Moon Knight,” has a superior costume. It’s a cool, bullet-absorbing white suit with a billowing cape and eyeholes that shine like milky spotlights. It makes him look like a luminescent Batman. And he refuses to wear it.His wife, who has an abundance of common sense and very little patience, yells at him: “Summon the suit! Summon the suit!” But he just dithers or pouts or stares at her blankly while the bad guys close in.There could be a lot of things behind this costume avoidance, including a general move in Marvel’s television shows away from superhero business-as-usual and toward something with a little more, if you’ll excuse the phrase, psychological realism.With “Moon Knight,” which premieres Wednesday on Disney+, it also has to do with concept and casting. The show features a relatively minor Marvel hero, created in the 1970s, whose defining character trait is what is now known as dissociative identity disorder. In the four episodes (of six) available for review, he is most often Steven Grant, a mild-mannered clerk at the British Museum gift shop, and occasionally Marc Spector, a deadly former mercenary and earthly avatar of a justice-seeking Egyptian god.They are, of course, opposite halves of a symbolic whole: brains and brawn, peace and war. But the show generates most of its drama and humor, and a number of its visual effects, from their inability to coexist. Visible to one another as reflections, they bicker and trade insults, Steven abhorring Marc’s violence (even when violent action is called for) and Marc ruing what he sees as Steven’s weakness.Explore the Marvel Cinematic UniverseThe popular franchise of superhero films and television series continues to expand. ‘Spider-Man: No Way Home’: The web slinger is back with the latest installment of the “Spider-Man” series.‘Hawkeye’: Jeremy Renner returns to the role of Clint Barton, the wisecracking marksman of the Avengers, in the Disney+ mini-series.‘Shang-Chi and the Legend of the Ten Rings’: The superhero originated in comics filled with racist stereotypes. The movie knocked them down.‘Eternals’: The two-and-a-half-hour epic introduces nearly a dozen new characters, hopping back and forth through time.As they try to stop a sanctimonious bad guy from resurrecting a rival Egyptian deity, enduring chases, desert treks and crunchingly violent battles, they grudgingly trade off possession of their shared body. The show’s favored move is for Steven to give in just in time for Marc to save both them and their archaeologist wife, Layla El-Faouly. But it takes the direst circumstances for the suit to be summoned, turning the human protagonist into the magically powered Moon Knight.And that’s where the casting comes in: reflecting Marvel’s ability to attract top-flight talent, Steven and Marc are played by Oscar Isaac, and who wants to wrap Oscar Isaac in C.G.I. mummy bandages, no matter how nifty they look?There are a lot of issues swimming around in “Moon Knight,” including its treatment of ancient Egyptian culture, its presentation of its Middle Eastern milieu and its depiction of its hero’s mental health issues. But as a drama, it’s built entirely around the Isaac vs. Isaac cage match, which supplies fair to middling action and sentiment and consistently satisfying laughs.The hero’s highly symbolic identities are visible to one another as reflections.Marvel StudiosIt’s characteristic of the Marvel Disney+ shows that the ability of the performers exceeds the inventiveness of the crew — writers and directors seem to be hired for competence rather than distinctive vision. Jeremy Slater (“The Umbrella Academy”), the show’s creator, and its director, Mohamed Diab (the Egyptian features “Cairo 678” and “Clash”), are only fitfully successful at combining psychological drama, “Raiders of the Lost Ark” desert adventure and superhero origin story.A little more flair would help paper over the cracks; as it is, events and relationships aren’t easy to parse and characters’ actions (especially Steven’s) can be inconsistent. It probably didn’t help that nine writers are credited on the six episodes.You also could wonder how much focus was spent on navigating the hazards of orientalism and ableism present in the original material. The credits include consultants for Egyptology, Judaism and mental health as well as three general consultants from a company that promises on its website to “flag potential concerns and provide advice on how to avoid or mitigate risk.” (No Islam consultant is listed; the focus on ancient Egypt mitigates the risk of dealing with the country’s predominant contemporary religion.)We don’t know what the consultants’ input was. But onscreen, presenting Cairo in a new light (in interviews, Diab has said this was a priority) seems to consist of making it look like every other world capital. A scene featuring Gaspard Ulliel, who died in January, uses what appears to be an Arab form of jousting as background exoticism; when the characters venture into ancient monuments and archaeological sites, the dangers they face are of a familiar silver-screen variety.None of that increases the viewer’s pleasure, but it doesn’t necessarily diminish it, either, and you can always focus on Isaac’s nervous fidgeting, shy stubbornness and dodgy accent in his scenes as Steven. (Convinced of his Britishness, Steven refers to Marc as “the little American man living inside me.”)And Isaac has heavyweight support: Ethan Hawke plays Harrow, the villain, and F. Murray Abraham is the voice of the god, Khonshu, an arrogant and self-righteous loudmouth who appears to his avatar as a disjointed skeleton topped by a floating ibis skull.The show’s best moments belong to Abraham, who delivers helpful advice like “Kill him! Break his windpipe!” in hilariously stentorian tones. But the character we like best is the highly capable Layla, who gets to be the action star while Steven and Marc snipe at each other; May Calamawy, who plays the rebellious sister in “Ramy,” gives Layla an appealingly irritated insouciance.The makers of the show are not unaware of the “Raiders” comparison — Steven watches a movie called “Tomb Buster” whose title is rendered in the same sloping style. And while it’s unfair to wish that every desert or jungle adventure could be directed by Steven Spielberg (or Robert Zemeckis, or J.J. Abrams), “Moon Knight” won’t stop you from doing so. More

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      Late Night Tackles the Will Smith ‘Hitch’ Slap

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      “It was so shocking,” Jimmy Kimmel said. “The only thing I can really compare it to is when Mike Tyson bit Evander Holyfield’s ears.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.The Old ‘Hitch’ SlapLate night focused their Monday night monologues on Sunday’s big slap at the Oscars.“No one could have predicted that the most controversial movie of 2022 would be ‘G.I. Jane,’ but it was,” Jimmy Kimmel said.“The old ‘Hitch’ slap.” — JIMMY KIMMEL“Obviously, Chris Rock did not deserve to be slapped in the face for a joke. Will’s point of view is he was defending his wife, and that’s a tough position to be in because it’s damned if you do, Ted Cruz if you don’t.” — JIMMY KIMMEL“To me, there’s only one more step to make this right: the Comedy Central roast of Will Smith, hosted by Chris Rock.” — JIMMY KIMMEL“I hope they at least get together and have a ‘Red Table Talk’ or something, because it’s a bummer.” — JIMMY KIMMEL“Let me say something as an objective observer: It’s never OK to punch a comedian.” — STEPHEN COLBERT“I’ve got to say, Will Smith was offended by the joke and wanted to stand up to his wife. Fine. Challenge Chris to a duel or, if you really want to hit him, don’t laugh. It hurts more than a punch, I promise you.” — STEPHEN COLBERT“And by the way, no one did anything. A whole roomful of people, no one lifted a finger. Spider-Man was there, Aquaman was there, Catwoman, all sitting on their hands. No one helped Chris Rock.” — JIMMY KIMMEL“We will never stop talking about this. It was so shocking. The only thing I can really compare it to is when Mike Tyson bit Evander Holyfield’s ears. Even Kanye was like, ‘You went onstage and did what at an awards show?’” — JIMMY KIMMEL“Yep, in just a split second, the Oscars went from Oscar de la Renta to Oscar De La Hoya, you know?” — JIMMY FALLONThe Punchiest Punchlines (We Don’t Talk About Jada Edition)“The 94th Academy Awards were held last night and featured the first live performance of ‘We Don’t Talk About Bruno,’ from the Disney musical ‘Encanto,’ followed by an unbelievable live performance of ‘We Don’t Talk About Jada.’” — SETH MEYERS“That’s the worst thing Will Smith has ever done. Wait, I forgot about ‘Wild Wild West.’” — STEPHEN COLBERT“I’m kidding, obviously. The worst thing he’s ever done is ‘Gemini Man.’ Someone should slap both of the guys in that movie.” — STEPHEN COLBERT“Look, you move the award for best film editing out of the main broadcast and all hell breaks lose.” — JIMMY FALLON“Seriously, you know it was a strange award show when it ends with a statement from the L.A.P.D., you know what I’m saying?” — JIMMY FALLON“This was the Hollywood version of your drunk uncle starting a fight, ruining the wedding and then standing up and giving a long toast to the bride and groom.” — JIMMY KIMMELThe Bits Worth WatchingQuestlove, the newly minted Oscar winner and Jimmy Fallon’s bandleader, appeared as a guest on Tuesday’s “Tonight Show.”What We’re Excited About on Tuesday NightHannah Gadsby will stop by Tuesday’s “Late Show” to talk about her new memoir, “Ten Steps to Nanette.”Also, Check This OutAriana DeBose became the first openly queer woman of color to win an Oscar for acting.Ruth Fremson/The New York TimesThe 2022 Oscars made history in more than one way during Sunday night’s show. More

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      Will Smith Apologizes to Chris Rock After Academy Condemns His Slap

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      “I was out of line and I was wrong,” said Smith, who hit Rock at the Oscars after the comedian made a joke about his wife. The film organization opened an inquiry into the incident. Will Smith walked onstage and slapped Chris Rock after the comedian made a joke about Mr. Smith’s wife, the actress Jada Pinkett Smith. Mr. Smith then yelled and cursed at Mr. Rock after returning to his seat.Ruth Fremson/The New York TimesLOS ANGELES — Will Smith apologized to the comedian Chris Rock on Monday evening for slapping him during Sunday night’s Oscars telecast after the Academy of Motion Picture Arts and Sciences, which administers the awards, denounced his actions and opened an inquiry into the incident.Mr. Smith, who had pointedly not apologized to Mr. Rock on Sunday night when he accepted the award for best actor, wrote on Instagram Monday evening that “I would like to publicly apologize to you, Chris.”“I was out of line and I was wrong,” he said in the statement. “I am embarrassed and my actions were not indicative of the man I want to be.”His apology came as the academy, a major Hollywood union and others criticized his actions, which stunned viewers around the world and overshadowed the Oscars. “The academy condemns the actions of Mr. Smith at last night’s show,” the film organization said in a statement. “We have officially started a formal review around the incident and will explore further action and consequences in accordance with our bylaws, standards of conduct and California law.”The academy’s statement came after a meeting Monday. A five-page document on standards of conduct that accompanied it spells out behavior the organization deems unacceptable. It prohibits “physical contact that is uninvited and, in the situation, inappropriate and unwelcome, or coercive sexual attention.” Also not allowed is “intimidation, stalking, abusive or threatening behavior, or bullying.”Disciplinary action, according to the bylaws, could include “suspension of membership or expulsion from membership.”The Academy was not known to have expelled a member before 2017, when Harvey Weinstein was removed amid allegations of sexual harassment and rape. Then, in 2018, after adopting a code of conduct for members, the organization expelled Bill Cosby, who had been convicted of sexual assault, and the filmmaker Roman Polanski, who had fled the country years earlier while awaiting sentencing for statutory rape.The Screen Actors Guild-American Federation of Television and Radio Artists, the union representing thousands of people who work in film, television and radio, called the incident “unacceptable” but said that it “does not comment on any pending member disciplinary process.”“Violence or physical abuse in the workplace is never appropriate and the union condemns any such conduct,” the union said in a statement Monday. “The incident involving Will Smith and Chris Rock at last night’s Academy Awards was unacceptable.”How to Understand the Altercation Between Will Smith and Chris RockThe Incident: The Oscars were derailed when Will Smith slapped Chris Rock, who made a joke about Mr. Smith’s wife, Jada Pinkett Smith.His Speech: Moments after the onstage altercation, Mr. Smith won the Oscar for best actor. Here’s what he said in his acceptance speech.The Aftermath: Mr. Smith apologized to Mr. Rock the next day after the Academy denounced his actions and opened an inquiry into the incident.A Triumph Tempered: Mr. Smith owned Serena and Venus Williams’s story in “King Richard.” Then he stole their moment at the Oscars.What Is Alopecia?: Ms. Smith’s hair loss condition played a major role in the incident.The incident unfolded Sunday night after Mr. Rock made a joke about the buzzed hair of Mr. Smith’s wife, Jada Pinkett Smith, who has alopecia, a condition that leads to hair loss. Mr. Smith responded by walking onto the stage of the Dolby Theater and slapping Mr. Rock, leaving stunned viewers wondering at first if the blow might have been scripted until Mr. Smith returned to his seat and warned him to stop talking about his wife, using expletives.Jada Pinkett Smith and Will Smith in the audience at the ceremony.Ruth Fremson/The New York TimesBehind the scenes at the Oscars, there were serious discussions about removing Mr. Smith from the theater, according to two industry officials with knowledge of the situation who were granted anonymity to describe internal deliberations. But time was short, because the best actor award, which Mr. Smith was heavily favored to win, was fast approaching, one noted — and stakeholders had varying opinions on how to proceed. There was also concern about further disrupting the live broadcast, the other said.As the show went on, the actor Denzel Washington spoke with Mr. Smith during a commercial break. Not long after that Mr. Smith won best actor. (Mr. Smith said in his speech that Mr. Washington had told him: “At your highest moment, be careful. That’s when the devil comes for you.”) In his onstage remarks, Mr. Smith apologized to the academy and to his fellow nominees — but not to Mr. Rock — and defiantly sought to draw parallels to the character he played in “King Richard,” the father of Venus and Serena Williams.“Richard Williams was a fierce defender of his family,” Mr. Smith said.He received a standing ovation.Mr. Smith said in his statement Monday that he had reacted emotionally because a joke about his wife’s medical condition was “too much for me to bear.” Mr. Smith also apologized to the Academy, the show’s producers, the viewers, the people who worked on “King Richard” and the Williams family.“I deeply regret that my behavior has stained what has been an otherwise gorgeous journey for all of us,” he said. “I am a work in progress.”The incident overshadowed the awards. On ABC’s “Good Morning America,” on Monday George Stephanopoulos described it as “something we have never seen before, something that is very hard to process: Will Smith, walking up onto that stage after Chris Rock told a joke about his wife — simply assaulting Chris Rock.”The powers-that-be at the Oscars had been intent on not repeating last year’s record-low ratings, putting a series of changes in place they had hoped would draw more viewers: installing three comic actresses as hosts, pretaping some awards to try to quicken the pace, introducing a fan-favorite award that viewers could vote on. But the broadcast became must-see television for a reason they did not anticipate.“Welp … I said it wouldn’t be boring #Oscars,” Will Packer, one of the show’s producers, tweeted after the show. He later added: “This was a very painful moment for me. On many levels.”The telecast drew a larger audience than last year’s, but interest remained depressed compared with past years. The awards show attracted 15.4 million viewers on ABC, a 56 percent improvement on the 9.85 million people who watched the 2021 event, according to ABC. Sunday night’s show was still the second least-watched Oscars ever.Comedians, who tell uncomfortable and sometimes offensive jokes for a living, raised concerns about the precedent Smith had set.“Let me tell you something, it’s a very bad practice to walk up onstage and physically assault a comedian,” Kathy Griffin tweeted. “Now we all have to worry about who wants to be the next Will Smith in comedy clubs and theaters.”Jimmy Kimmel, the comedian and talk show host who had been the last person to host the Oscars, said on “The Bill Simmons Podcast” that he felt bad for the show’s hosts; for Ahmir “Questlove” Thompson, who won the best documentary feature award Mr. Rock had been presenting, and for Mr. Rock, who he said “certainly didn’t deserve that.”“In a way, I feel bad for Will Smith too, because I think he let his emotions get the better of him, and this should have been one of the great nights of his life,” Mr. Kimmel said. “And now it’s not. Was there anyone who didn’t like Will Smith an hour ago in the world? Like no one, right? Now he doesn’t have a single comedian friend — that’s for sure.”Whoopi Goldberg, who is on the academy’s board of governors and has hosted the show several times, said on “The View” on Monday that she did not think Smith’s award would be revoked, citing Mr. Rock’s decision not to press charges.“We’re not going to take that Oscar from him,” she said. “There will be consequences, I’m sure.”Mr. Rock after the incident with Mr. Smith, seated in front of him. Ruth Fremson/The New York TimesThe Los Angeles Police Department said it was aware of what it described as an incident involving “one individual slapping another” at the Oscars. The police said the person involved had “declined to file a police report.”“If the involved party desires a police report at a later date,” the police said, they would move forward and “complete an investigative report.”At least one member of the academy, Marshall Herskovitz, a former president of the Producers Guild of America, called for Mr. Smith to face disciplinary action.Two industry officials said that Mr. Rock’s joke had apparently been ad-libbed.And Bruce Vilanch, a past head writer of Oscars shows who did not work on this year’s, said: “Everything that is in the script is vetted. But if a comedian comes out onstage and ad-libs something, there’s no time to vet. I’m guessing that’s what happened last night. What I’m hearing from everybody is that this was not the material that was rehearsed.”Mr. Rock has teased the Smiths from the Oscars stage before. In 2016, when the Smiths boycotted the awards show because the nominees in the four acting categories were all white, Mr. Rock, that show’s host, joked about it. “Jada says she not coming, protesting,” he said. “I’m like, ain’t she on a TV show? Jada is going to boycott the Oscars — Jada boycotting the Oscars is like me boycotting Rihanna’s panties. I wasn’t invited.”Mr. Smith was not deterred from celebrating his win on Sunday night, dancing at a crowded party after the Oscars while holding his trophy, but he avoided questions about the incident. A publicist for Mr. Rock did not immediately respond to requests for a comment.Jaden Smith, one of the Smiths’ children, tweeted simply: “And That’s How We Do It.”The reaction inside and outside Hollywood ranged widely. In interviews following the show, at after-parties and on social media, Smith’s colleagues variously expressed sadness, confusion, disbelief, anger and, in some cases, empathy. Many deflected or ignored questions about the episode entirely.The actor Mark Hamill called it the ugliest Oscars moment. “Stand-up comics are very adept at handling hecklers,” he wrote on Twitter. “Violent physical assault … not so much. #UgliestOscarMoment_Ever.”One top studio executive, who declined to speak on the record, voiced disappointment in Smith and in the fact that the audience in the theater gave him a standing ovation.And Janai Nelson, the president of the NAACP Legal Defense and Education Fund, worried aloud in a tweet that “the way casual violence was normalized tonight by a collective national audience will have consequences that we can’t even fathom in the moment.”Others seemed to defend Mr. Smith. “Many takes on here about Will Smith and Chris Rock, especially from people whose partners are not Black women (mainly white people),” the author Frederick Joseph tweeted. “I don’t care if it’s a joke or not, the amount Black women have to endure — people are tired of it. We have no idea what Jada has gone through.”And the comedian Tiffany Haddish, who starred in the movie “Girls Trip” with Ms. Pinkett Smith, said in an interview with People magazine at an after-party that she appreciated seeing Mr. Smith protect his wife.“Maybe the world might not like how it went down,” Ms. Haddish said, “but for me, it was the most beautiful thing I’ve ever seen because it made me believe that there are still men out there that love and care about their women, their wives.”Even still, the day after, the prevailing reaction was mostly one of disbelief.“We’re not sure where the fallout will end up,” Ryan Seacrest said Monday on his morning show “Live With Kelly and Ryan.” “It was one of those moments that we couldn’t believe when we saw it.”Sperling reported from Los Angeles. Matt Stevens and Julia Jacobs reported from New York. More

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      Oscars Gets Higher Ratings Than Last Year’s Academy Awards

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      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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      Does the Academy Hate Movies? Our Critics on the 2022 Oscars.

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      Whatever you make of the slap, the telecast as a whole was a frustrating night of television that seemed based on a misunderstanding of what makes films great.Our chief film critics reflect on an Oscar night that went pretty much as expected — until it didn’t.A.O. SCOTT “The greatest night in the history of television,” said Chris Rock, a few seconds after Will Smith slapped him. Not a bad off-the-cuff punchline (so to speak). But until that moment — and Smith’s tearful, unrehearsed acceptance speech when he won best actor a short time later — it had been a dull and frustrating evening of television. Few surprises in any category (except maybe when “Belfast” won for original screenplay). Sentimentality triumphing over craft (except when Jane Campion won best director). A gnawing sense that the academy doesn’t understand movies, and maybe even hates them.MANOHLA DARGIS Bingo! Mind you, I don’t think the academy and its roughly 10,000 members hate movies; they just sometimes have really terrible taste, like everyone else, except you and me. But I think that as a TV show, the Oscars absolutely have contempt for the art, as the unfunny jokes about the hosts not finishing “The Power of the Dog” underscored.SCOTT The slap did not dispel any of that, but it did distract Twitter, which convulsed with takes about what it meant. We can get to that (or not!), but for the moment I want to stick with the question of what kind of television this was. American viewers did not actually see it on their screens. When the image froze, I thought my laptop had crashed, and it was only when people started posting uncensored video from Australian and Japanese broadcasts that anyone here knew what had happened. During Smith’s speech, the cameras cut away to Venus and Serena Williams, and then to the Oscars logo. Here was a spontaneous, complicated, emotionally intense moment — serving up more raw and painful human drama than “CODA,” “Belfast” and “King Richard” combined — and ABC just could not deal with it.DARGIS To be uncharacteristically fair about my favorite hate-watch, ABC wasn’t alone in not being able to deal. Initially, when ABC cut off Smith’s rebuke to Rock, I thought that the janky antenna that I use the rare times I watch broadcast TV had failed. Like a lot of people, I don’t watch as much traditional TV as I once did, which is part of the show’s and ABC’s intractable problem. That the network or the Oscar producers, or both, lost their nerve wasn’t surprising given that they’d already failed by not presenting some of the essential awards live.Will Smith’s slapping Chris Rock clearly overshadowed the evening.Ruth Fremson/The New York TimesSCOTT The way the “below-the-line” awards were banished to an earlier, pre-broadcast ceremony and then spliced into the main event was nonsensical. Are the acceptance speeches of cinematographers and costume designers inherently more telegenic than those of composers and editors? As it happens, Jenny Beavan, winning her third costume Oscar (for “Cruella”), was glamorous and genuine and funny, and her celebration of craft and professionalism represents the best of the Oscars. So do the honorary awards, which were held Friday night and featured Denzel Washington and Samuel L. Jackson hugging and cracking each other up as Washington presented Jackson with his trophy. Why wouldn’t the TV audience want to see that?DARGIS Even so, this year’s event started off pretty OK, particularly given horrific world events. One of the three hosts, Regina Hall, deftly handled the bit about administering faux Covid tests to some of the men in the room, even as the camera focused on her rear. It was stupid Oscar shtick — surprise — yet as it went on (and on), I kept thinking about the fact that the United States alone is approaching one million pandemic deaths. I’m not sure how the show could have addressed Covid’s grievous toll, but asking for a moment of silence, of all things — as it did with Ukraine — might have been worse.Of course now all the focus is on the slap, which was embarrassing and very sad. Smith seems to be going through something deeply complicated, to the point that he sabotaged his own triumph. As for the rest of the show, it lacked dramatic shape and momentum, partly because those canned awards would have given the live event more tension and emotion. There was no buildup, just bits … and an obituary musical number. Among other things, the show didn’t give viewers a coherent point of focus, the way it has when Jack Nicholson or Meryl Streep sat front and center representing the art and industry, a place that this year should have been reserved for Denzel Washington, who looked mighty uncomfortable in that chair.SCOTT The endless pre-Oscar hand-wringing about how to shore up ratings and make the show more relevant demonstrates a lack of confidence that was very much in evidence last night. The hosts were fine. The movies that won were fine.Except for those idiotic “fan” awards. They were, somewhat hilariously, hijacked by the Zack Snyder Twitter militia. The most memorable movie moment (of all time? of the century? it was hard to tell) is supposedly that scene from “Justice League” when Flash enters the Speed Force. And the most popular movie (of 2021) was “Army of the Dead,” which beat other curiosities like “Cinderella” and “Minimata.”Is this the death of cinema?DARGIS LOL. (Also: Did you see “Minimata”?) The Oscars are a TV show, and while they reflect certain industry trends, like the transformation of the big studios, they don’t have much to do with cinema, which is doing just fine, as you and I keep saying and writing and muttering. The Oscars generated lower ratings and angry snark when independent films like “Breaking the Waves” and “Secrets & Lies” received nominations in 1997 — “The English Patient” swept, winning best picture — only to rebound with “Titanic” the next year.SCOTT The more things change, the more they stay the same. One thing that has gotten worse is the unfortunate journalistic habit of equating the state of the Oscars with the state of movies. Even when television is great, the Emmys are terrible. Nobody seriously thinks that bad Grammy Awards spell the death of pop music, or that a given year’s National Book Awards reveal much about the health of literature. But movie journalism has elevated the Oscars to a position of absurd importance.“CODA” was the first Sundance premiere to win best picture.Ruth Fremson/The New York TimesDARGIS As an epic-sized commercial for movies, the Oscars just don’t often make good television. That’s kind of funny-strange given how many movies look like TV, which means it’s time to bring up Apple TV+’s “CODA.” It’s hard to believe it would have won best picture if voters had been forced to watch it on the big screen, though maybe it would have. It’s a nice, little, pedestrian heart-tugger, so it fits perfectly on TV. It’s the kind of movie that we’ve seen repeatedly at Sundance; but it isn’t the kind that inspires colleagues to proselytize about it the way they did with, say, “Beasts of the Southern Wild.” But that’s the Oscars, right? One year, “Moonlight” wins; two years later, “Green Book” does — and then, boom, “Parasite” wins.SCOTT “CODA” is the first best picture winner to premiere at Sundance, as well as the first to be distributed by a streaming service. It also won all of the three categories in which it was nominated, none of which were for lead performances or technical achievements, making it a fascinating outlier. Its victories — especially Troy Kotsur’s supporting actor win, a wonderful Oscar-night moment — are part of the academy’s continuing efforts to present a more diverse, inclusive face to the world.And it’s worth pointing out that the 94th Oscars were not so white, or so male, as most of their precursors. For the second year in a row — and the third time ever — the best director is a woman. The best picture was directed by a (different) woman. The best documentary feature is the work of a Black filmmaker, Ahmir “Questlove” Thompson. The best supporting actress, Ariana DeBose, is the first openly queer woman of color to win an acting Oscar. You and I have been covering Hollywood long enough to be wary of overstating its progress or believing its promises, but I also wonder if the defensiveness and insecurity that surround the Oscar broadcast amounts to a form of backlash.DARGIS Both Kotsur’s and DeBose’s acceptance speeches were lovely, and each offered moments of grace during an otherwise often awkward, poorly paced slog of three and a half hours, plus change. As to your wondering if the increasing diversity of the awards winners has provoked a backlash — well, yeah, I bet! The movie industry is changing and is no longer the citadel of white male power that it once was. At the same time, the old guard is holding strong and the Oscars often seem more like aspirational visions of the industry rather than its reality.SCOTT Aspirational and also, as we saw last night, wildly dysfunctional. That’s entertainment! More