One year ago, Rebecca Kutler was promoted to president of the cable news network then known as MSNBC.
Taking the helm at a major news organization is the pinnacle of a journalist’s career. But a lot changed after Kutler landed the job.
In August, MSNBC announced it was dropping its name of nearly 30 years to become MS NOW — as its now-former owner NBCUniversal wanted a clean break from the channel, which was spun off to be part of a new media company called Versant.
The spin-off, which NBCU parent Comcast initiated because its cable networks are considered slow-dying properties that weighed down its stock price, was hardly a vote of confidence in the business. Losing the moniker that had decades of brand equity among its politically progressive viewers was not going to help.
At a recent lunch near her Washington office, Kutler, acknowledged the circumstances were less than ideal. But with more than 20 years in the TV news business where she began as a production assistant at CNN, she understood the audience’s connection to her channel begins with the people on-screen, and not the logo.
“I was pretty confident the audience wouldn’t really blink because when they turn on the their television, they see Rachel Maddow, they see Jen Psaki, they see Joe Scarborough,” Kutler, 46, said. “The fact that two letters change does not change any of those audience habits.”
Still there was work to be done. Kutler no longer had the resources of NBC News at her disposal. Instead of paying $60 million annually for its newsgathering services, she chose to have MS NOW build its own newsrooms in Washington and New York. The operation was tested Tuesday as President Trump’s State of the Union address was the first major event MS NOW covered as a freestanding entity.
Kutler has some big professional challenges, but none as daunting as the one that emerged in October when she was diagnosed with breast cancer. Kutler found herself watching the newly rechristened MS NOW on a TV in a hospital room as she received chemotherapy treatments every few weeks.
“If anything it just made me appreciate and love what I do even more,” Kutler said.
As she works through her recovery, Kutler’s spirits have been buoyed by data that prove her point about MS NOW’s audience loyalty. From Nov. 15 — the date of the rebrand — through Feb. 14, MS NOW’s average daily audience has grown to 613,000, up 25% compared to the same period a year ago, according to Nielsen. Weeknight prime time is up 27% to 1.2 million viewers, still a distant second to conservative-leaning Fox News but well ahead of CNN.
There was an audience exodus from MSNBC in the months following President Trump’s election in 2024 as viewers unhappy with the results typically tune out after a presidential campaign. But anxiety over the activities of the second-term Trump White House sent them back into the familiar tent to hear Maddow, Lawrence O’Donnell, Ari Melber and others weigh in.
Lawrence O’Donnell and Rachel Maddow at an MSNBC fan festival in New York City in October 2025.
(MSNBC)
When the name change to MS NOW was announced in October, the network’s internal research showed 31% of viewers found the idea somewhat unappealing or very unappealing, a warning light for what might be ahead. Two months later, that figure dropped to 17%, while the percentage of viewers who found it very appealing or somewhat appealing jumped from 30% to 44%.
A $20-million promotional campaign that focused on the network’s personalities helped. “We made sure the audience knew that it was just a name change, not a strategy change,” Versant Chief Executive Mark Lazarus said.
Programming moves Kutler implemented ahead of the switch helped. Longtime evening host Joy Reid was replaced with an ensemble program “The Weeknight,” with Symone Sanders-Townsend, Michael Steele and Alicia Menendez, and the audience level rose by 30% in February compared to a year ago.
Kutler moved Psaki, the former press secretary to President Biden, to the 9 p.m. Eastern slot Tuesday through Friday, where viewership is up 41%.
At CNN, Kutler had a strong reputation as a producer and in talent development. She was being groomed for a top job at the network before jumping to MSNBC as an executive vice president in 2022. Agents have been impressed with her swift decision-making.
“They have exceeded expectations in an especially challenged environment,” said Bradley Singer, a partner at William Morris Endeavor whose clients include Sanders-Townsend and “The Weekend” co-host Eugene Daniels. “And I would argue that Rebecca is the right leader for this moment because she’s willing to move quickly to try new things. And the business doesn’t really have time to spare.”
Jen Psaki is the host of MS NOW’s “The Briefing.”
(MS NOW)
Psaki credits Kutler for guiding her transition into TV news. “I wasn’t hired because I spent 20 years as a local news anchor, right?” Psaki said in a recent telephone interview. “I could learn those skills, but Rebecca helped me really start the task of figuring out how to ask the questions that needed to be asked, while also sharing my unique perspective as somebody who’s worked in government and politics.”
MS NOW did have to fill a major hole when political data guru Steve Kornacki chose to stick with NBC after the spin-off. Kutler tapped Ali Velshi, the network’s versatile chief correspondent, to take over the number-crunching during election nights and other big events.
While Kutler can point to ratings increases, she is aware of the long-term doomsday scenario that faces the cable TV industry as more viewers turn to streaming. The people who still have cable like MS NOW a lot — the network has three times as many viewers today as it did 20 years ago when there were far more pay-TV subscribers. But Versant needs to become less dependent on traditional TV as subscriber numbers are sliding every year.
Wall Street will get its first look at Versant’s financial performance when the new company delivers an earnings report next week, expecting to show $6.6 billion in revenue last year. While there have been declines in revenues because of cord-cutting, the company, which includes USA Network, SYFY, CNBC, Golf Channel, E! and Oxygen, says it still delivers double-digit profit margins.
MS NOW President Rebecca Kutler at Vesant’s investor day in New York on Dec. 4.
(MS NOW)
By early fall, MS NOW will launch a direct-to-consumer subscription product aimed at people who don’t have a pay-TV package. CNN launched such a service last year, while Fox News, the perennial ratings leader in cable, is available as part of Fox One, which also offers Fox Corporation’s broadcast network and sports channels.
Kutler said MS NOW‘s direct-to-consumer service will be part of a broader digital offering that can serve as a community for progressives. She describes subscriptions as “memberships.”
“We’re trying to build a product that meets the needs of people who love news, care about democracy and want to come together in a shared space,” she said.
MS NOW already has a strong presence on YouTube. In January, the network had 339 million views of its content, second only to Fox News (466 million) among cable and broadcast TV news outlets.
Mika Brzezinski and Joe Scarborough on the set of MS NOW’s “Morning Joe.”
(MS NOW)
MS NOW also stepped up its podcast business, scoring 140 million downloads last year. The long-form interview program “The Best People with Nicolle Wallace” has been a top download onApple Podcasts, and a new entry, “Clock It” with Sanders-Townsend and Daniels, launched this month.
Kutler also is looking at outside podcast companies to supply programming. Last week, MS NOW announced a deal with Crooked Media to produce a weekly compilation of its podcasts, including “Pod Save America,” which will air Saturdays at 9 p.m. Eastern.
“If there’s content our audience is interested in, we should find a way to bring it to them,” she said.
Overall, the moves at MS NOW show a willingness to invest in growing the business, a situation that did not exist under NBCU, which has been focused on building its Peacock streaming platform. “Liberating us from that was part of the strategy of the entire spin because we now need to do all of those things in order to create a growth company,” Lazarus said.
Kutler even had the green light to enter talks with Anderson Cooper — one of the highest-paid on-air talents in TV news — about joining MS NOW before he decided to re-sign with CNN.
Kutler had her final chemo session last Friday, and doctors say her health prognosis is good. She draws inspiration from her mother, a Philadelphia-area lawyer who raised Kutler as a single parent and successfully battled the disease in her 60s.
“My hardest day would have been my mom’s easiest day,” said Kutler, who is married with three teenaged children. “I was born watching somebody power through stuff. The idea of doing a job that’s busy and demanding and loving your kids and making them a priority is the only thing I ever knew.”
It wasn’t easy to go into Lazarus’ office to break the news about her condition after just six months on the job and a massive task ahead. But Kutler said he didn’t flinch, and the new company has been “1,000%” supportive.
“She’s a tremendous leader and an example of resilience and strength,” Lazarus said.
TOURETTES campaigner John Davidson said he was mortified after sparking a race row by shouting out the N-word at the Baftas.
John later voluntarily left the ceremony amid shock at his swearing as Delroy Lindo and Michael B. Jordan were on stage presenting an award.
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The incident happened at the 79th annual British Academy Film Awards, which took place at the Royal Festival Hall on Sunday nightCredit: BBC/UNPIXSJohn Davidson said he was ‘deeply mortified’Credit: BBC/UNPIXSThe campaigner made the decision to leave the awards half way through after several involuntary ticsCredit: Getty
In statement the organisation said: “Early in the ceremony a loud tic in the form of a profoundly offensive term was heard by many people.
“Michael B. Jordan and Delroy Lindo were on stage at the time, and we apologise unreservedly to them, and to all those impacted.
“We would like to thank Michael and Delroy for their incredible dignity and professionalism.
“John chose to leave the auditorium and watch the rest of the ceremony from a screen and we would like to thank him for his consideration of others on what should have been a night of celebration for him.”
I Swear saw Robert Aramayo, 33, pick up Best Actor. It also won Best Casting.
Scottish-born John, 54, is a campaigner for Tourette sufferers and aged 16 was the subject of a BBC documentary, John’s Not Mad, about living with the condition, which leads some to shout swear words.
The Sun understands that Sunday night’s audience was not told a person with Tourette Syndrome was present.
Previously, at the Bafta TV awards, people have been warned in similar situations.
A source said: “Neither host Alan Cumming nor any of the Bafta team warned people — the apology and comments came after the outbursts.”
Cumming had said: “Tourette Syndrome is a disability. We apologise if you’re offended tonight.”
Hannah Beachler, the production designer on movie Sinners, said: “What made the situation worse was the throwaway apology of, ‘if you were offended’. Of course we were.”
It was reported BBC production staff did not hear the N-word — which meant it was left in the coverage.
However, a source added: “It was as loud and as clear as day.”
The corporation said: “Some may have heard strong and offensive language.
“This arose from involuntary verbal tics associated with Tourette’s and, as explained during the ceremony, it was not intentional.
“We apologise that this was not edited out prior to broadcast.”
Campaigner John is the inspiration behind the movie I SwearCredit: Shutterstock EditorialRobert Aramayo posed up with his two BAFTAs – Best Actor and Rising Star after his performance in I SwearThe pair backstage during the EE BAFTA Film Awards 2026Credit: Getty
The reality of living with Tourette syndrome
TOURETTE syndrome is a condition that causes a person to make involuntary sounds and movements called tics.
It usually starts during childhood, but the tics and other symptoms often improve after several years, and sometimes go away completely.
There’s no cure for Tourettes, but treatment can help manage symptoms.
The most common physical tics include:
Blinking
Eye rolling
Grimacing
Shoulder shrugging
Jerking of the head or limbs
Jumping
Twirling
Touching objects and other people
Examples of vocal tics include:
Grunting
Throat clearing
Whistling
Coughing
Tongue clicking
Animal sounds
Saying random words and phrases
Repeating a sound, word or phrase
Swearing
Swearing is rare and only affects about 1 in 10 people with Tourettes.
Some people can control their tics for a short time in certain social situations, like in a classroom.
But this can be tiring, and someone may have a sudden release of tics when they return home.
Aidy Smith, who was diagnosed with Tourettes aged nine, said these are the most common misconceptions about the condition:
It is a ‘swearing disease’ characterised by repeated bad language
People with Tourette’s can’t succeed in the workplace
It’s impossible to control your tics
‘Tourettes’ is a ‘dirty’ word
It’s OK to make jokes about the condition because it isn’t serious
Gov. Gavin Newsom on Monday sharply criticized “fake MAGA-manufactured outrage” over his comments about his low SAT score in Atlanta Sunday during his national book tour.
Conservative commentators, Trump loyalists and right-wing media outlets accused the California governor and potential 2028 presidential candidate of disparaging Black Americans when he was discussing his struggles with dyslexia.
“First MAGA mocked his dyslexia and now they’re calling him racist for talking about his low SAT scores,” said Izzy Gardon, a spokesperson for Newsom, in a statement. “The governor has said this publicly for years — including with [the late conservative commentator] Charlie Kirk and dozens of other audiences.”
During a conversation with Atlanta Mayor Andre Dickens, who is a Black politician, Newsom was asked what he wanted the audience and readers to know about him. The governor, in a long-winded response, said he wasn’t trying to impress anyone, but “press upon you I’m like you.”
“I’m no better than you,” Newsom said. “I’m a 960 SAT guy.”
The governor continued to discuss his dyslexia and struggle to read.
“@GavinNewsom Thinks a 960 SAT Makes Him ‘Like’ Black Americans. Let That Sink In,” Fox News commentator Sean Hannity posted on the social media platform X.
Newsom offered a profanity-laced retort to Hannity, accusing him of long ignoring President Trump’s racist remarks and social media posts, then feigning outrage at Newsom’s remarks.
“You didn’t give a shit about the President of the United States of America posting an ape video of President Obama or calling African nations shitholes — but you’re going to call me racist for talking about my lifelong struggle with dyslexia?” Newsom posted on X. “Spare me your fake fucking outrage, Sean.”
Gardon pointed out that Newsom was speaking to a mixed-race audience during the conversation with Dickens.
“Take it from someone who was actually in the chair asking the questions: context matters more than a headline,” Dickens said on Instagram. “The conversation around his new book included him speaking about his own academic struggles, including not doing well on the SAT. That wasn’t an attack on anyone. It was a moment of vulnerability about his own journey.”
Sunday’s event wasn’t the first time Newsom has mentioned his SAT score. The governor has cited his performance on the test many times in conversations about his dyslexia and issues with self-esteem growing up, including during an interview with The Times about his new memoir “Young Man in a Hurry” earlier this month.
“Come on, I’m a 960 SAT guy, governor of the fourth largest economy in the world,” Newsom told The Times. “I’m a guy, you know, with sweaty hands as described in the book, you know, who can’t read a speech, and I’m governor. I’m talking to you. Come on, the whole thing is sort of fascinating.”
Newsom used the low score as an example of the grit and resilience he learned from his mother.
The governor is accustomed to sparring with Republicans on social media. Ring-wing furor over his remarks, whether justified or politically motivated, is likely to continue as he flirts with a 2028 presidential run.
“We’ve gotten so used to loud, chest-pounding politics that when someone speaks about shortcomings, people try to twist it into something else,” Dickens, said in his post on Instagram. “Let me be clear though. This is Atlanta. We don’t need anyone to tell us when to be offended. And history has shown… when we are, you’ll know.”
Youtuber KSI is the newest judge to the Britain’s Got Talent panel, joining the show permanently this year after a successful guest stint covering for Bruno Tonioli last year
KSI booed by Britain’s Got Talent audience as he breaks unofficial rule(Image: ITV)
KSI‘s first episode as a permanent member of Britain’s Got Talent’s judging panel didn’t get off to the best start, as a rule-breaking act led the audience to boo him.
During the show, one wowed the audiences and three of the judges, but not KSI. Dom and his dog Ninja were a parkour double act, and while their opener to the act – a video in which they did flips and jumps off of the Blackpool benches and landmarks – impressed KSI, he was unhappy with the rest.
The other judges were happy with the performance, and as such, KSI was the only one to say no to Dom and Ninja. When it was revealed that KSI has cats, the audience started to boo.
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This got the YouTuber riled up, and he began to shout back at the audience, loudly telling them: “Don’t boo my cats!” Meanwhile, Dec Donnelly, one half of the hosting duo Ant and Dec, said KSI had broken an unofficial rule on the show. “You don’t say no to dogs on Britain’s Got Talent, KSI,” he said to a camera. “It’s the rules.”
KSI is the newest judge on the panel, as this year is his first on the show. He filled in for Bruno Tonioli last year and has now taken over following Bruno’s departure.
Another guest judge on the show last year was Stacey Solomon, who filled in for Simon Cowell after he had a fall and injured his head. Judge Amanda Holden, who took over as the head judge when Simon was off, was thrilled to welcome Stacey to Britain’s Got Talent, praising her for bringing a great deal of warmth to the panel and drawing on her past experience from The X Factor in 2009.
“She’s so lovely, and I think we’ve got quite a similar style of judging,” Amanda reveals. “She’s warm, she’s super funny, she has a great understanding of what it’s like to be on the other side, because she obviously auditioned for The X Factor all those years ago.”
However, she was less pleased to be a head judge. “I must admit I hated sitting in that seat,” confessed Amanda. “I’ve been on the show the longest, so I understand why I probably need to sit in that seat, but when I was there, I felt very outcast on the end.”
Amanda concedes she felt vulnerable without a fellow judge on either side. “It’s OK if your team are sitting to the left of you – Simon’s got dozens of staff and family watching from the side and communicating with him.
“Mine all decided to eat my snacks and sit in the dressing room, paying no attention to the show or me whatsoever!” Amanda quipped.
“Simon said to me, ‘You must have loved it. Did you feel powerful?’ I said I hated it because I had to keep leaning in to be part of the conversation. I never want to sit in that seat again! I’m juicy in the middle, it’s such a good spot.”
Disneyland Resort’s high percentage of California visitors has helped mitigate a dip in international tourists, an executive said Thursday.
More than 50% of the Anaheim theme park’s audience has typically been from California, Thomas Mazloum, president of Disneyland Resort, told reporters during a media event at Disney’s Grand Californian Hotel and Spa. As a result, the company has been able to quickly shift marketing focus to that audience, as well as its ongoing efforts to boost out-of-state attendance.
Company executives said they expected to see “modest” growth in its operating income for its experiences sector — which includes Disney’s theme parks — due to “headwinds” in foreign visitation trends to its domestic parks, as well as pre-launch costs for its new cruise ship and a “Frozen”-themed land in Disneyland Paris.
And as Disneyland Resort hit its 70th anniversary last year, the park is looking to grow and find new audiences to stay relevant for the future.
Because of the large number of California visitors, the company recently expanded its traditional deal for Southern California locals to all residents of the Golden State. Disneyland Resort has also made its lowest-price entry ticket of $104 available year-round to active-duty members of the U.S. armed forces, and introduced a new summer promotion pricing a one-day, park-hopper kids’ ticket at $50 a day.
The theme park is also looking to attract more young families. To that end, Disneyland Resort will open an immersive theater experience called “Bluey’s Best Day Ever!” on March 22 at the Fantasyland Theatre, a nod to the massive appeal of Australian animated show “Bluey.”
“I continue to say how critical it is to expand the audience,” Mazloum said. “I still see a lot of opportunity for people who haven’t discovered Disneyland yet.”
Disney California Adventure’s Monsters, Inc. Mike & Sulley to the Rescue! ride will also stay open into 2027, Mazloum said. The ride was originally scheduled to be retired this year to make way for an “Avatar” ride and experience, but after some planning from the engineering and operations teams, it can now stay open without negatively affecting construction and project progress, he said.
The park is also looking to increase spontaneity for visitors, and will eliminate the current 11 a.m. start time for park-hopping later this year, allowing guests to move back and forth between the parks at their leisure, Mazloum said.
The plans for growth at Disneyland Resort come as Disney recently named theme parks chief Josh D’Amaro as its new chief executive. The theme parks sector he previously oversaw is Disney’s economic engine, providing the majority of the company’s operating income in the last few years.
Strictly Come Dancing bosses are reportedly considering This Morning’s Sian Welby for a presenting role on the BBC series following the departure of Tess Daly and Claudia Winkleman
Sian Welby is a stand-in presenter on This Morning but could be about to move over to Strictly (Image: Ken McKay/ITV/REX/Shutterstock)
This Morning star Sian Welby is reportedly being considered for the hosting job on Strictly Come Dancing. Towards the end of last year, long-standing presenters Tess Daly and Claudia Winkleman shocked the nation when they announced that they had quit after more than a decade on air together.
Ever since the news broke, rumours have been rife with who might take on the coveted roles on the BBC Saturday night favourite, with celebrities such as X Factor star Rylan Clark, former Strictly finalist Fleur East and Bake Off’s Mel Giedroyc all being thrown into the mix.
But now, it’s thought that bosses are looking at Sian, a radio host and occasional This Morning presenter, who, coincidentally, bears a resemblance to Tess.
Sian, 39, has become a favourite amongst the younger audience with her presenting job on Capital FM, and also stands in on This Morning, often appearing on main hosting duties with Dermot O’Leary and fronting the ITV Daytime competitions that often run across Good Morning Britain, Lorraine and Loose Women.
A source said: “Sian might be less well-known than other names linked with Tess and Claudia’s jobs so far. But she’s got everything it takes with one special ingredient — a younger audience, thanks to her job on trendy Capital FM.
Speaking to The Sun, the source added: “And working on This Morning ticks all the TV boxes. Execs have looked at her as someone who would be a good fit for the job!”
It comes just days after Zoe Ball and Emma Willis were both said to be going for the same job on the programme. Ahead of the series’ presumed return later this year, radio host Zoe, 55, and former Big Brother presenter Emma, 49, were said to be battling it out for the top job, and only one of them will be successful because bosses want to have someone “a bit more left field” for the other position.
Fans can also expect the comedic aspects to continue in the programme in the style of Claudia, who has also enjoyed major success with fellow BBC show The Traitors, as the source added: “It’s felt the humour Claudia brought to the show, particularly in her ‘Claudatorium’, needs to carry on.”
Ever since Tess and Claudia broke the news that they were leaving, several big showbiz names have been rumoured to be their replacements, including Chris and Rosie Ramsay, Rylan Clark, Holly Willoughby, Amanda Holden and Angela Scanlon, amongst a host of others.
In the initial announcement, which consisted of a video of the pair sitting next to one another, Claudia began with: “Hi, it’s Claud and Tess. There have been some rumblings, and we want you to hear this from us…” Tess added: “Yeah, we have news. After 21 wonderfully joyful years on Strictly, we have decided the time is right to step aside and pass on the baton…”
“The very sparkly baton…” Claudia continued before she turned to Tess and said: “You’ve been here since the beginning…” Tess, who used to host the show with the late Bruce Forsyth, then replied: “2004 with Brucey – lovely Bruce.
“That’s over two decades ago, and a lot of that time has been with you. It’s been a huge part of our lives, hasn’t it? Since our children were literally babes in arms, and now they’re young adults, and I think, genuinely, we have cherished every second.”
Claudia added: “We have, we’re so lucky to have been part of this amazing show, and we just want to thank the Strictly team because Strictly is the people who make it so thank you…” Tess agreed: “They are the very best team in television. We’ve been so lucky.
“And the audience as well, they’ve been so wonderful. They’ve been with us for this entire journey of 21 years, and we wouldn’t have a show without them, and they’ve been just so loyal and supportive.”
Claudia added: “We have, we’re so lucky to have been part of this amazing show, and we just want to thank the Strictly team because Strictly is the people who make it so thank you…” Tess agreed: “They are the very best team in television; we’ve been so lucky.”
“Hey” is what he responds to, and he says he can be best described as a “travel agent,” a designation said with a sly smile to clearly indicate it’s code for something more illicit.
About eight of us are crammed with him into a tiny area tucked in the corner of a nightclub. Normally, perhaps, this is a make-up room, but tonight it’s a hideaway where he’ll feed us psychedelics (they’re just mints) to escape the brutalities of the world. It’s also loud, as the sounds of a rambunctious funk band next door work to penetrate the space.
Celeste Butler Clayton as Ursa Major and Ari Herstand as Copper Jones lead a group of theater attendees in a pre-show ritual.
(Gabriella Angotti-Jones / For The Times)
”Close your eyes,” I’m told. I let the mint begin to melt while trying to pretend it’s a gateway to a dream state. The more that mint peddler talks, the more it becomes clear he’s suffering from PTSD from his days in Vietnam. But the mood isn’t somber. We don’t need any make-believe substances to catch his drift, particularly his belief that, even if music may not change the world, at least it can provide some much-needed comfort from it.
“Brassroots District: LA ’74” is part concert, part participatory theater and part experiment, attempting to intermix an evening of dancing and jubilation with high-stakes drama. How it plays out is up to each audience member. Follow the cast, and uncover war tales and visions of how the underground music scene became a refuge for the LGBTQ+ community. Watch the band, and witness a concert almost torn apart as a group on the verge of releasing its debut album weighs community versus cold commerce. Or ignore it all to play dress-up and get a groove on to the music that never stops.
Audience members are encouraged to partake in a “Soul Train”-style dance exhibition.
(Gabriella Angotti-Jones / For The Times)
Now running at Catch One, “Brassroots District” aims to concoct a fantasy vision of 1974, but creators Ari Herstand and Andrew Leib aren’t after pure nostalgia. The fictional band at the heart of the show, for instance, is clearly a nod to Sly and the Family Stone, a group whose musical vision of unity and perseverance through social upheaval still feels ahead of its time. “Brassroots District” also directly taps into the history of Catch One, with a character modeled after the club’s pioneering founder Jewel Thais-Williams, a vital figure on the L.A. music scene who envisioned a sanctuary for Black queer women and men as well as trans, gay and musically adventurous revelers.
“This is the era of Watergate and Nixon and a corrupt president,” Herstand says, noting that the year of 1974 was chosen intentionally. “There’s very clear political parallels from the early ‘70s to 2026. We don’t want to smack anyone in the face over it, but we want to ask the questions about where we’ve come from.”
This isn’t the first time a version of “Brassroots District” has been staged. Herstand, a musician and author, and Leib, an artist manager, have been honing the concept for a decade. It began as an idea that came to Herstand while he spent time staying with extended family in New Orleans to work on his book, “How to Make it in the New Music Business.” And it initially started as just a band, and perhaps a way to create an excitement around a new group.
Ari Herstand as musician Copper Jones in an intimate moment with the audience.
(Gabriella Angotti-Jones / For The Times)
Celeste Butler Clayton (Ursa Major), from left, Ari Herstand (Copper Jones), Bryan Daniel Porter (Donny) and Marqell Edward Clayton (Gil) in a tense moment.
(Gabriella Angotti-Jones/For The Times)
Yet as the pair became smitten with immersive theater — a term that typically implies some form of active involvement on the part of the audience, most often via interacting and improvising with actors — Brassroots District the band gradually became “Brassroots District” the show. Like many in the space, Herstand credits the long-running New York production “Sleep No More” with hipping him to the scene.
“It’s really about an alternative experience to a traditional proscenium show, giving the audience autonomy to explore,” Herstand says.
Eleven actors perform in the show, directed by DeMone Seraphin and written with input from L.A. immersive veterans Chris Porter (the Speakeasy Society) and Lauren Ludwig (Capital W). I interacted with only a handful of them, but “Brassroots District” builds to a participatory finale that aims to get the whole audience moving when the band jumps into the crowd for a group dance. The night is one of wish fulfillment for music fans, offering the promise of behind-the-stage action as well as an idealized vision of funk’s communal power.
Working in the favor of “Brassroots District” is that, ultimately, it is a concert. Brassroots District, the group, released its debut “Welcome to the Brassroots District” at the top of this year, and audience members who may not want to hunt down or chase actors can lean back and watch the show, likely still picking up on its broad storyline of a band weighing a new recording contract with a potentially sleazy record executive. Yet Herstand and Leib estimate that about half of those in attendance want to dig a little deeper.
At the show’s opening weekend this past Saturday, I may even wager it was higher than that. When a mid-concert split happens that forces the band’s two co-leaders — Herstand as Copper Jones and Celeste Butler Clayton as Ursa Major — to bolt from the stage, the audience immediately knew to follow them into the other room, even as the backing band played on. Leib, borrowing a term from the video game world, describes these as “side quests,” moments in which the audience can better get to know the performers, the club owner and the act’s manager.
“Brassroots District: LA ‘74” is wish fulfillment for music fans, providing, for instance, backstage-like access to artists. Here, Celeste Butler Clayton performs as musician Ursa Major and is surrounded by ticket-goers.
(Gabriella Angotti-Jones / For The Times)
An audience member’s costume.
(Gabriella Angotti-Jones / For The Times)
Yet those who stay in the main stage will still get some show moments, as here is where a journalist will confront a record executive. Both will linger around the floor and chat with willing guests, perhaps even offering them a business card with a number to call after the show to further the storyline beyond the confines of the club. If all goes according to plan, the audience will start to feel like performers. In fact, the central drama of “Brassroots District” is often kicked off by an attendee finding some purposely left-behind props that allude to the group’s record label drama. Actors, say Herstand, will “loosely guide” players to the right spot, if need be.
“The point is,” says Leib, “that you as an audience member are also kind of putting on a character. You can stir the spot.” And with much of the crowd in their ‘70s best and smartphones strictly forbidden — they are placed in bags prior to the show beginning — you may need a moment to figure out who the actors are, but a microphone usually gives it a way.
“They’re a heightened version of themselves,” Herstand says of the audience’s penchant to come in costumes to “Brassroots District,” although it is not necessary.
“Brassroots District,” which is about two hours in length, is currently slated to run through the end of March, but Herstand and Leib hope it becomes a long-running performance. Previous iterations with different storylines ran outdoors, as it was first staged in the months following the worst days of the pandemic. Inside, at places such as Catch One, was always the goal, the pair say, and the two leaned into the venue’s history.
“Brassroots District: LA ’74”
“It’s in the bones of the building that this was a respite for queer men and the Black community,” Leib says. “There’s a bit of like, this is a safe space to be yourself. We’re baking in some of these themes in the show. It’s resistance through art and music.”
Such a message comes through in song. One of the band’s central tunes is “Together,” an allusion to Sly and the Family Stone’s “Everyday People.” It’s a light-stepping number built around finger snaps and the vision of a better world.
“We are stronger when we unite,” Herstand says. “That is the hook of the song, and what we’re really trying to do is bring people together. That is how we feel we actually can change society.”
And on this night, that’s exactly what progress looks like — an exuberant party that extends a hand for everyone to dance with a neighbor.
Seattle’s smothering defense preventing New England from ever getting on track in the game at Levi Stadium in Santa Clara, Calif., was more appreciated by serious football fans than casual watchers. But the controversy surrounding the event with halftime performer Bad Bunny likely stoked additional interest.
Bad Bunny’s halftime show averaged 128.2 million viewers, higher than the game overall. The performance aired after the second quarter, when the game was still close and hit a peak of 137.8 million viewers.
The NFL’s selection of Bad Bunny riled up right-wing commentators who objected to having an artist singing only in Spanish performing at the premier U.S. sporting event of the year. Bad Bunny has also been outspoken over the Trump administration’s aggressive tactics in removing undocumented immigrants. He skipped the mainland U.S. on his last tour, citing fears that his fans would be targeted by Immigration and Customs Enforcement.
Right-wing activist group Turning Point USA presented an alternative halftime show on YouTube, which topped 6 million viewers, a surprisingly high number considering details of the program were not revealed until days before game day. A concert featuring Kid Rock and several lesser-known country artists did not get a strong critical reception on social media.
But the audience size showed that a hot musical act could attract a significant chunk of the audience already gathered to watch the game.
“More bands should go head to head with the halftime show and not in a political way,” said one rival network executive not authorized to comment publicly. “It would be a good stunt for HBO Max or some other company that’s not an NFL rights holder.”
Nielsen’s improvement to its measurement of viewing through internet connections and set-top boxes — which boosted NFL TV ratings throughout the season, also likely helped the Super Bowl LX number. The additional data was incorporated into TV ratings starting in September.
Another 3.3 million watched the Spanish-language broadcast on Telemundo. NBC did not release data for viewing on its Peacock, saying only that it was the biggest day ever for the streaming platform.
NBC sold out the commercial time for the game at an average price of $8 million for a 30-second spot, with some going for $10 million. USA Today’s annual “Ad Meter” panel chose Budweiser’s “American Icons” as its favorite commercial on the telecast.
Sunday, the NBC play-by-play announcer will be baptized by fire.
Not only will Tirico call the Super Bowl for the first time, but he will stay on the Levi’s Stadium field after the game to remotely host Sunday night’s coverage of the Winter Olympics.
From football’s mountaintop to the majestic peaks of Northern Italy, it’s an unprecedented double play in the broadcasting business.
“We’ll keep the Super Bowl celebration threaded into the Olympic show — confetti, family moments, that sort of thing,” said Tirico, 59, who worked both events four years ago but didn’t call that Super Bowl at SoFi Stadium, instead hosting the pregame show.
“What I learned from Super Bowl LVI is that it’s possible to do this without cheating either job.”
Maybe so, but it requires the extraordinary organization and preparation for which Tirico is famous within the network. Each year, he distributes to colleagues a color-coded calendar — a different color for every sport he’s covering that day — and the patchwork on every page looks like the Partridge family bus.
“Mike is the world’s best multitasker,” said Rob Hyland, coordinating producer of “Sunday Night Football.”
“This is in his DNA. It’s how he’s wired.”
Even for Tirico, however, the task is ambitious. The day after calling the Rams’ divisional playoff game at Chicago, he boarded a flight for Italy to check out the NBC studios in Milan. It was all part of getting comfortable with the setup.
On Super Bowl Sunday, hours before the Seattle Seahawks and New England Patriots take the field, Tirico will be up at 4:30 on the West Coast to watch Lindsey Vonn in the women’s downhill. He then will try to get back to sleep to prepare for his long day of football, knowing he will be running on adrenaline deep into the night. At halftime, he’ll carve out a few minutes to get up to speed on what’s happening in Italy.
On Monday, he and others from NBC will fly to Milan, with Tirico beginning his in-studio Olympics coverage Tuesday.
Tirico is just the 13th play-by-play announcer to call a national Super Bowl broadcast. He said Sunday will be like being back at Syracuse and taking three final exams in one day. He figures he will graze his way through the day but doesn’t plan to sit down for a meal, per se.
“They always say you should be slightly hungry when you take a test,” he said. “I subscribe to that theory on game day.”
Whereas preparation for the Super Bowl begins the moment the participating teams are determined, Tirico said his work on the Olympics has been years in the making.
“You want to be prepared but not over-prepared,” he said, referring to both events. “You want to know the important things you can get to during the game.”
The key is to use the information judiciously without overloading the audience with facts and statistics.
“With all that detail and information as granular as he can get, he never loses sight of what’s important for a mass audience,” Hyland said. “Mike is a unicorn. He’s one of one.”
As for Hyland, he’s one and done. After the Super Bowl, he will head home to Connecticut and become part of said audience.
“I’ll be playing the role of dad back on my couch in Southport with our six-month-old baby boy,” he said. “I’ll be watching the Olympics as a fan.”
In a sense, Tirico is a fan, too. There’s still a kernel of disbelief that this is his job.
“This is the thing that happens after you stop dreaming,” he said. “Because your dreams never let you get this far.”
