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      Sony and Apollo Take Key Step in Bid for Paramount’s Assets

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      The two companies have expressed interest in acquiring the media conglomerate, but are backing away from their $26 billion all-cash offer.Sony Pictures Entertainment and Apollo Global Management have taken a significant step forward in their effort to court Paramount, three people familiar with the matter said on Friday.The two companies have signed nondisclosure agreements with Paramount, allowing them to look at Paramount’s nonpublic financial information, said the people, who spoke on the condition of anonymity to discuss active negotiations. Paramount previously shared materials with another suitor, the Hollywood studio Skydance.Early this month, Sony and Apollo sent Paramount a nonbinding expression of interest in acquiring the company for $26 billion. The two had been seeking to buy Paramount for its studio and then sell off other parts of its empire, which includes CBS, cable channels like MTV and the Paramount Plus streaming service.But Sony’s shareholders have fretted over the possible acquisition, given the potential cost of a bid for Paramount and the headwinds facing the subscription streaming business. Sony and Apollo are now contemplating a variety of approaches to acquire the company’s assets, but are backing away from their plan to make an all-cash, $26 billion offer for Paramount, two of the people said.Sony’s new vision for a deal could alter the dynamics of Paramount’s effort to sell itself or merge with another company. Paramount previously rebuffed Sony’s offer to buy just its studio, and Paramount’s controlling shareholder, Shari Redstone, has long sought a deal for the entire company.A person familiar with Ms. Redstone’s thinking has said that a breakup of the company is not a deal breaker, depending on the terms, but that she prefers to keep Paramount intact.Ms. Redstone has blessed a deal to sell her stake in National Amusements, Paramount’s parent company, to Skydance, but Skydance’s bid for the entire company has faced significant pushback from Paramount’s common shareholders.Paramount let an exclusive negotiation window with Skydance lapse in recent weeks, but the two are still talking, and Skydance remains interested in a deal.The deal talks are happening at a tumultuous time for Paramount. The company’s chief executive, Bob Bakish, stepped down last month after more than a quarter-century at the company. He was replaced in the interim by three executives running an “office of the C.E.O.”: George Cheeks, the chief executive of CBS; Chris McCarthy, the chairman of Showtime and MTV Entertainment Studios; and Brian Robbins, the chief executive of Paramount Pictures. More

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      Podcasters as TV Heroes? We’re All Ears

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      Why have podcasters emerged as the rumpled protagonists of numerous television shows? We’ll discuss after the break.Gilbert Power, a public radio veteran and the host of the podcast “On Record,” went to a small town in Ireland to make a show about a 20-year-old missing-persons case. The podcast, he explained, was meant to be “a bit of fun, something to listen to on your drive home. I didn’t understand then how much power a story actually has. But stories can change us.”Gilbert, played by a grinning Will Forte, is the lightly inane hero of “Bodkin,” a seven-episode series that premiered last week on Netflix. And as the fictional host of a fictional podcast, he has plenty of onscreen competition.In the past five years, podcasters have emerged as the rumpled protagonists of numerous television shows (“Based on a True Story,” “Truth Be Told,” “Only Murders in the Building,” “Alex Inc.”) and films (“C’mon C’mon,” “Vengeance,” “Monolith,” “Bros”). Even the trendsetting Carrie Bradshaw was onboard; in “And Just Like That…,” she moved from print journalism to the advice podcast “X, Y and Me,” before going solo.Some of these works are comedies, some dramas. Many of them involve one or more mysteries in homage to or parody of true-crime podcasting. In these shows and movies, podcasters fill the roles once occupied by journalists or amateur sleuths, as tyros desperate for answers. These protagonists are often bumbling, and their relationship to ethics is distinctly off-and-on. But characters like these help fulfill a very particular fantasy: that we can tell the truth while also telling a good, possibly even powerful, story. And maybe land a mattress sponsorship while we’re at it.From left, Selena Gomez, Martin Short and Steve Martin in “Only Murders in the Building,” which revolves around a true-crime podcast.Patrick Harbron/HuluWe 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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      Comcast Plans Streaming Bundle With Netflix, Apple TV+

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      The bundle, called StreamSaver, is the latest joint effort from entertainment companies looking to woo price-weary customers.Comcast, the parent company of NBCUniversal, is planning to offer its streaming service Peacock in a bundle with Netflix and Apple TV+, Brian Roberts, the company’s chief executive, said at an investor conference on Tuesday.Called StreamSaver, the bundle will be sold at a deep discount compared with subscribing to all three services separately, Mr. Roberts said. He didn’t specify a price for the service, which is expected to debut later this month.“We’ve been bundling video successfully and creatively for 60 years,” Mr. Roberts said. “This is the latest iteration of that. And I think this will be a pretty compelling package.”Over the past year, several entertainment companies have joined forces to entice customers who are weary of signing up and paying for numerous individual streaming services.Earlier this year, Warner Bros. Discovery, Fox and Disney announced that they were teaming up to offer a streaming service with games from the National Basketball Association and the National Football League. Last week, Disney and Warner Bros. Discovery said that they would bundle their streaming services, selling users a package that included Disney+, Hulu and Max.Comcast has long offered its users a menu of streaming services on Xfinity, its package of services that includes cable television and broadband internet. For years, the company has offered services like Netflix and Apple TV+ as add-ons to its existing television bundle, acting as a vendor for those companies. This is the first time that Comcast has offered both services as part of a discounted bundle.Comcast, which has millions of broadband and cable television customers across the United States, has different incentives to bundle streaming services together than many of its competitors have. If Comcast can give its customers additional reasons to stick with the company, or convince them to pay for more features through Xfinity, the effort to bundle services will have been worth it.Many other internet providers have sold bundles that include streaming services. When Disney+ launched, Verizon offered a promotional bundle with that service. When the short-lived, short-form streaming service Quibi launched, T-Mobile offered to bundle its wireless offering with that service.Comcast has been willing to spend big to gain a foothold in the competitive video streaming business. Peacock, which launched in 2020, lost $2.7 billion last year, Comcast said in a filing, but paying subscribers increased to 31 million. The company has said that Peacock’s losses were narrowing as the service matured. More

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      How ‘Law & Order: SVU,’ ‘NCIS’ and ‘Grey’s Anatomy’ Have Kept Fans Hooked

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      Shows like “Law & Order: SVU,” “NCIS” and “Grey’s Anatomy” have kept fans hooked for 20 seasons or more. How do they do it?Breanna DePasquale grew up watching “Law & Order: SVU” with her mother, Christina, in Brooklyn. Breanna loved Detective Olivia Benson on the show, while Christina was all in for Detective Elliot Stabler.Few were surprised when Breanna became Detective DePasquale with the New York Police Department. The show, she said, “absolutely” contributed to her pursuing a career in law enforcement.As they have for many fans, the characters and story arcs that seem ripped from the headlines keep Detective DePasquale, 29, coming back. Fans like her helped cement “SVU,” now in its 25th season, as the longest-running prime-time drama in history.“I always call her my own Olivia Benson,” Christina DePasquale said.Prime-time drama super fans like the DePasquales can reference their favorite episodes at the flip of a remote. They can quote lines by the protagonists — some have even turned them into tattoos.Regardless of whether the characters commit a crime, or a friend teases them about their dedication to a television show that has passed the legal drinking age, these fans are along for the ride.Yvonne Macklin, an “SVU” fan from Baltimore, at the show’s fan event in New York City.Hiroko Masuike/The New York TimesBrandi Burgos, at a recent “SVU” fan event, shows off her tattoo — a line in a letter from Detective Stabler to Captain Benson.Hiroko Masuike/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘The Bachelor’ Promises True Love. So Why Does It Rarely Work Out?

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      Of the 40 combined seasons of “The Bachelor” and “The Bachelorette,” only eight couples have stayed together. We spoke to former contestants and leads about roadblocks to a happy ending.The season premiere of any installment in “The Bachelor” franchise always starts the same: with the host talking directly to camera about the lead’s almost-certain path to finding lasting love. Unlike other popular reality dating shows, the franchise markets itself as a genuine chance to find love without any other incentives like cash prizes.But it’s actually not all that probable: Of the 40 combined seasons of “The Bachelor” and “The Bachelorette,” only eight couples have stayed together — not great betting odds.Morale in the franchise was low going into 2023, with no recently minted couples still together, until ABC announced a hopeful new twist. “The Golden Bachelor” pledged to aid then-72 year-old Gerry Turner make the most of a second chance at love following the death of his wife. At season’s end, he proposed to Theresa Nist in a teary finale. In January their wedding was televised on ABC. By April, they’d announced plans to divorce.That breakup felt like the last straw in believing this franchise could foster lasting love, so to look into why “The Bachelor” rarely makes good on its premise, we spoke to the former Bachelorettes Kaitlyn Bristowe and Tayshia Adams, as well as the former contestants Tyler Cameron and Melissa Rycroft about the flaws that doom the reality franchises’ lovebirds.“When you’re in that ‘Bachelor’ bubble, all you do is focus on and be brainwashed toward that person,” said Tyler Cameron, the runner-up on Hannah Brown’s “Bachelorette” season.Mark Bourdillon/ABC, via Getty ImagesThe main prize might not be the catch you thought.Many love-related reality television shows that are on the air today — think “Love Island,” “Are You the One?” or even “Bachelor in Paradise” — allow for participants to intermingle in environments specifically designed to mimic some version of real life.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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      Sam Rubin, Los Angeles TV Anchor and Entertainment Reporter, Dies at 64

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      Mr. Rubin began at the Los Angeles television news station KTLA in 1991 and became a staple of morning viewing through his interviews with celebrities.Sam Rubin, a journalist for the television station KTLA 5 in Los Angeles whose morning interviews with celebrities became requisite viewing for much of the entertainment industry and who endeared himself to Hollywood insiders with his geniality and knowledge of their work, died on Friday. He was 64.Mr. Rubin’s death was announced by a KTLA anchor, Frank Buckley. A tribute segment that aired on the station said the cause was a heart attack.In an industry known for its changing names and evolving trends, Mr. Rubin was for decades a mainstay for viewers across the city and an interview with him was considered a rite of passage for many stars.His ability to make celebrities feel comfortable as he asked them about their craft spanned generations.Although it was clear that Mr. Rubin was immersed in the minutiae of his beat, part of his enduring appeal came from the antics he himself brought to the studio and his ability to change the pace of what could be a rote interview.“Is it shampoo and conditioner, or just shampoo — what is the hair regimen, Jared?” he said in an interview with the actor Jared Leto.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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      Jeannie Epper, Groundbreaking Stunt Double on ‘Wonder Woman,’ Dies at 83

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      Her first stunt was riding a horse bareback down a cliff when she was 9. She went on to soar on the hit TV series “Wonder Woman” and in many other places.Jeannie Epper had at least 100 screen roles, maybe even 150 — no one is quite sure. But because she was a stunt double, galloping on horseback, crashing cars and kicking down doors for the stars of films and television shows, hers was not a household name.In her heyday, however, Ms. Epper was ubiquitous. She hurtled through the air most weeks as Lynda Carter’s stunt double on the hit television series “Wonder Woman” and mimed Ms. Carter’s leggy lope. She tumbled through a scrum of mud and rocks as Kathleen Turner’s double in the 1984 comedy-adventure film “Romancing the Stone,” which also starred Michael Douglas. She threw punches for Linda Evans in one of her many ballyhooed cat fights with Joan Collins on the frothy long-running 1980s nighttime soap opera “Dynasty.”And, in what she often said was her favorite stunt — or gag, to use the industry term — Ms. Epper skidded a Corvette into a 180-degree turn as Shirley MacLaine’s character in “Terms of Endearment” (1983), neatly hurling Jack Nicholson’s double into the Gulf of Mexico.Ms. Epper, whose bruising career spanned 70 years, died on Sunday at her home in Simi Valley, Calif. She was 83.Her daughter, Eurlyne Epper, confirmed the death. She said her mother had been ill for some time and caught an infection during a recent hospital visit.Ms. Epper, second from the left, in 1960, next to her husband at the time, Richard Spaethe, and their son, Richard. Her brother Tony and her sister Stephanie, also stunt performers, are sitting next to her on the fence. Another stuntman, Dick Hock, stands next to them with his wife, Margo, and their son, Johnnie.Los Angeles Examiner/USC Libraries — Corbis, via Getty ImagesWe 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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      ‘Doctor Who’ Season Premiere Recap: Back in the Groove

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      The new season, written by Russell T Davies and starring Ncuti Gatwa as the 15th Doctor, opens with a double episode premiere.Season 1, Episodes 2 and 3: ‘Space Babies’ and ‘The Devil’s Chord’Russell T Davies, the showrunner for the new season of “Doctor Who,” had a tough task ahead of him.How do you convince longstanding fans that this British institution of a show is back in safe hands after several disappointing seasons, while also introducing a new international audience to a sci-fi series steeped in 60 years of history?In the premiere double bill of “Doctor Who,” you can feel Davies grappling with these questions, with largely successful results. After the show was canceled in 1989, Davies rebooted “Doctor Who” in 2005, manning the ship during Christopher Eccleston and David Tennant’s tenures as the time-traveling Doctor. Under Davies, “Doctor Who” was not only popular, but, dare I say it, kind of cool.We met Davies’s new Doctor, played by the Scottish-Rwandan actor Ncuti Gatwa, last year in the show’s 60th anniversary episodes (and somewhat confusingly, this new season’s first episode aired as a stand-alone Christmas special). This is also the first season to debut on Disney+ in the United States, and since the rules governing time and space in the “Whoniverse” are notoriously complicated, there’s a lot of world building to do in less than two hours of TV.Typically, a “Doctor Who” two-parter would feature a shared story or location, but here we have two separate adventures. The first episode, “Space Babies,” does much of the heavy lifting to set up the season, so that by the time “The Devil’s Chord” rolls around, “Doctor Who” can do what it does best: take the audience on rip-roaring, high-voltage adventures.“Space Babies” picks up where the Christmas episode, “The Church on Ruby Road,” left off. The Doctor’s new companion Ruby Sunday (Millie Gibson) enters the TARDIS, his spaceship disguised as a police box, with lots of questions about where he comes from. It’s the Doctor’s job to take her, and any first-time viewers, through the basic Time Lord fact sheet: He comes from the planet Gallifrey and is the last of his species, an orphan like Ruby; he has been alive for thousands of years; and he spends his time traveling through time and space. As introductions go, it’s not subtle, but it gets the job done.Ruby is human, TARDIS technology confirms, but she remains a question mark we can expect the season to return to later.Bad Wolf/BBC StudiosWe 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