late night

Jimmy Kimmel’s emotional Tuesday return to his late-night hosting perch at ABC gave his program its largest audience ever in its regular 11:35 p.m. time period, despite not airing for nearly a quarter of U.S. households.

An average of 6.26 million viewers tuned in to watch “Jimmy Kimmel Live!” as the comedian addressed his suspension that became a free speech cause celebre, according to Nielsen. ABC had pulled the show “indefinitely” starting Sept. 17 following blowback over Kimmel’s remarks about the shooting death of right-wing activist Charlie Kirk.

The only times “Jimmy Kimmel Live!” has scored higher ratings were when it aired special episodes after the Oscars and the Super Bowl. Preliminary numbers for Tuesday’s show didn’t include streaming.

The program delivered strong numbers despite not airing on 60 network affiliates covering 23% of U.S. television households. Television station ownership groups Nexstar and Sinclair kept the program off their ABC-affiliated outlets even as Walt Disney Co.-owned ABC resumed production.

By late Wednesday, 15 million people had watched Kimmel’s monologue and a comedy bit with actor Robert De Niro on YouTube, where ABC made it available shortly after it aired on TV. ABC said a total of 26 million people watched the monologue across YouTube and social media platforms.

Kimmel clearly grasped that his return would be a historic moment in the annals of late-night TV, as his network-imposed hiatus became a global news story and sparked a widespread debate about free speech and the role of government regulators.

He opened with the line, “Before I was interrupted” — the same words “Tonight” show host Jack Paar used in 1960 when he returned from a monthlong walkout. Paar left his program after NBC censors cut a water closet joke from his monologue, which became one of the biggest TV industry controversies of that era.

Kimmel was pulled off the air the same day Federal Communications Commission Chair Brendan Carr took aim at the host’s Sept. 15 monologue, in which Kimmel said MAGA Republicans were using Kirk’s death to “score political points” and were trying to categorize suspected shooter Tyler Robinson as “anything other than one of them.”

Carr, who oversees regulations for broadcast stations, called Kimmel’s remarks “the sickest conduct possible” and called for ABC to act. He threatened to go after TV stations’ licenses if it failed to do so.

During his opening monologue, Kimmel got choked up when he told viewers it was “never my intention to make light of the murder of a young man” when he discussed the right wing’s response to the shooting.

But Kimmel went on to chastise Carr, showing his social media postings in recent years that gave unequivocal support to the 1st Amendment and condemning the censorship of TV hosts and commentators.

Since becoming FCC chair under the Trump administration, Carr has joined the president in denouncing his late-night critics.

While Kimmel was contrite regarding Kirk, he showed no mercy for Trump in the monologue addressing the matter that took much of the show, a clear indication that he won’t be changing his tone. He also continued to promote free speech, saying the government attempts to stifle voices such as his are “un-American” and “so dangerous.”

Kimmel also expressed gratitude to politically-right-leaning politicians and commentators who expressed dismay over his removal from the air, including Ted Cruz and Joe Rogan.

Trump reacted harshly to Kimmel’s return. In a Truth Social post, he said he may file another lawsuit against ABC. The network paid a $16-million settlement last year after “Good Morning America” co-host George Stephanopoulos mistakenly said Trump was found liable of of sexual assault instead of sexual abuse.

A letter signed by several dozen former employees of ABC, which was obtained by The Times, praised Disney Chief Executive Bob Iger’s decision to return Kimmel to the air, but warned “it must be the first step in a concerted effort to defend free speech and press freedom against political intimidation.”

“The $16 million settlement with Donald Trump, combined with the absence of a strong public defense of ABC News journalists under attack, has emboldened Administration efforts to intimidate the press,” said the letter, which included the signatures of former ABC News correspondents Sam Donaldson, Chris Bury, Ned Potter, Judy Muller and Brian Rooney.

Nexstar is still keeping “Jimmy Kimmel Live!” off its ABC affiliates. A Nexstar representative said Wednesday the company is having “productive discussions with executives at the Walt Disney Company, with a focus on ensuring the program reflects and respects the diverse interests of the communities we serve.”

A representative for Sinclair, which preempted “Jimmy Kimmel Live!” in markets such as Seattle and Washington, D.C., said in a statement that the company is also monitoring the situation before deciding to return the program to its ABC station program lineups.

Late night has a new tone in 2025, and Greg Gutfeld is the one setting it, one unpredictable quip at a time. Rewriting the rules and bringing his signature acerbic style to “Gutfeld!” on Fox News, his show is drawing in more than 3 million viewers nightly, making it the most-watched show at the edge of prime time at 10 p.m. Eastern time / 7 p.m. Pacific time, airing over 90 minutes earlier than such hosts as Jimmy Kimmel and Jimmy Fallon

Stacking up gigs, he’s also the resident wild card on the network’s hit show “The Five,” and he hosts the new reality game show “What Did I Miss?” on Fox Nation, which was just renewed for a second season. Gutfeld isn’t just leaving his mark on the network; he’s reshaping it.

Before he became polarizing to some, and well before his New York Times bestsellers and his night of reminiscing on Jimmy Fallon’s couch, Gutfeld was climbing the editorial ranks at magazines like Men’s Health, Stuff and Maxim. His biggest break came when he landed the very late slot hosting his own Fox News show, “Red Eye,” which would set the stage for his runaway success.

Taking nothing too serious while being surrounded by complete seriousness, and with “Gutfeld!” pulling in some of the strongest ratings on TV, he’s proving that irreverence can be its own kind of relevance. His refusal to put so-called untouchables on a pedestal has everyone taking notice, and like him, loathe him or don’t know what to think about a grown man obsessed with unicorns, there’s no denying that Gutfeld has turned having a good time into a full-time job. And he’s just getting warmed up.

How do you find out you’re No. 1 in the 10 p.m. timeslot ? Is there a cake and a massive check?

It’s more brought to you and then happens over time. I get ratings every single day, so I was able to watch us win. I guess I wasn’t that surprised by it; I just knew that it was going to take time. I thought, yeah, maybe in a couple of years, but it was in like a matter of months.

For old–school fans of “Red Eye,” “Gutfeld!” feels familiar, with the blended panel that’s always down to have a good time. But now everyone gets more comfortable chairs, which is nice too.

I agree. “Gutfeld!” is basically “Red Eye” but for everybody. Red Eye was operating on the assumption that you really had a select group of people awake at 2 or 3 in the morning. It wasn’t trying to be a cultlike pleasure; it just happened to be that way. We did want it to be for everyone, though. Now we have 10 times the viewers and we’re No. 1, so in my mind I’m going, I want the same sensibility, but I don’t want to completely confuse the viewers. I realize that my humor on “Red Eye” was deliberately obtuse in some ways, and not really deliberately. It was just surreal and bizarre, and maybe that won’t fly in prime time or late night, but like “Red Eye,” our show now is as interesting and unpredictable as that show was. And that’s 90% of the fight.

There’s definitely an unpredictability theme going on because “The Five” can get somewhat fiery at times, but not for the reasons one would think.

With “Gutfeld!” and with “The Five,” I really push the concept of teasing, because when I genuinely like somebody, I tease them. When everybody is together teasing each other, it’s a very fun thing and the viewers are in on it. On “Red Eye,” we were all basically roasting each other, and on my show, we’re all making fun of each other, some more than others. On “The Five,” of course, I needle Dana [Perino] and Jesse [Watters], they needle me, I go after Jessica [Tarlov], she makes fun of us all — we all do it, and I think that’s really the secret sauce to the success of “The Five,” “Gutfeld!” and why “Red Eye” was so beloved. You felt like you were with the people. It was like a perverted version of “Friends.”

There really is this vibe that, no matter what gets said, when the camera goes off you’re all knocking back a few together.

Yeah, I think the key is that nothing you say should warrant an apology. Meaning, if I were to insult you, you’re not going to demand an apology from me. When somebody wants an apology for a comment I always ask them, “How would that apology sound? I’m sorry that the jokes I made hurt your feelings?” How insulting is that to that person you’re apologizing to! I’m sorry I hurt your feelings with this insult. It’s like the people that are demanding an apology don’t even see how absolutely insulting it is that they are asking for it.

Some people really write their own headlines. I imagine yours ramped up after you took “The King of Late Night” joke and ran with it?

I’m trying to think where “the king” came from, and I think I have to credit Dave Rubin. I think Rubin was on during the first week of the show and said something like, “You’re going to be the king of late night. You’re going to be No. 1.” I don’t like saying stuff like that because then it’ll just be thrown back in your face, but he was right! Then, of course, I had to put it on my book cover. I don’t even know how that all happened, but putting it on the cover of my book was just, like, this audacious and ridiculous thing, having me on the top like I’m a skyscraper where King Kong swatted down people.

Silly is definitely your lane. What do you think the term “late night” even means anymore? It used to be pretty neutral, and now it’s almost like you better choose a side before you watch this comic make their TV debut!

Yeah, it kind of became defined as maybe a person who wanted to go to bed angry with somebody who wanted to go to bed happy. One thing that I always want to do is not send people to bed enraged. Sure, maybe you’re sad that Biden lost, but we’re going to have so much fun, and this is going to be great! And then Trump wins. This is going to be so much fun, and this is going to be great! So, we’re going to have fun, and things are going to be great no matter who wins or loses. I’m not going to let that impact the time that we have. I think doing a late-night show that makes everyone feel bad is a disservice. I don’t understand that. That’s when you have people switching the channel to come to us. They didn’t even know that we existed until then.

What a shakeup that channel flip caused and, also, it’s pretty monumental because the viewers are staying.

You know, for a long time they couldn’t even mention my name and it was a personal thing for them, but then I think they realized that all I did was point out what was missing. I mean, they gave me the opportunity by not addressing most of the country, and it was there for the taking. There was literally free money on the table, and so I took it, and I showed [mainstream media] that they don’t own the culture. I think it’s not just about late night; it’s about all of culture. It’s the ability to tell people, you aren’t the cool kids at the table anymore. You took people for granted, you insulted everybody else, and we’re the ones now who are having fun.

Seeing you on Fallon also looked like a lot of fun. You could seriously feel your excitement as you told him your drunken story of meeting him. You think he’d ever come on ”Gutfeld!”?

It was fun! It went the way I think we both wanted it to go, which was like an old-school TV segment you would have seen on Carson. Just two people having a fun conversation. I probably talked too much, but I had to tell that drinking story because I’ve been telling that story for years, and the only person I hadn’t told that to was Jimmy. So yeah, we were both happy about it, and it’s good to see two industry people in whatever “supposed rivalry” who genuinely like each other without that other bull—. I haven’t asked him to come on, though. Our show is a little different because if you come on, you’re on for the whole hour. You’re also on with other people so it’s kind of a bigger ask of someone, but the president did do it so…

Last fall, indie pop auteur Tei Shi immersed herself in the British Columbia backwoods during a creative retreat — an experience that helped her reclaim artistic control over her decade-long career.

Out Friday, the Canadian Colombian singer shares her most intimate album to date, “Make believe I make believe,” a 10-track record she’s self-releasing through Tei Shi LLC and the Orchard.

“Being back home, reconnecting with family and old friends, and working without any outside voices or pressure — no label, manager, or restrictions — allowed me to fully dive into my mind and emotions,” says Tei Shi in a statement.

The 35-year-old singer-songwriter attended the weeklong retreat in Vancouver Island, Canada, with longtime collaborators Noah Beresin (co-creator of the alternative hip-hop project Chiddy Bang) and Tommy English (the record producer behind many of Børns’ hits).

“The result is a really versatile collection that captures a wide range of feelings and touches on sonics from Canadiana to neo-perreo,” she adds.

Since emerging in the music scene with her breakthrough 2013 debut EP, “Saudade,” and follow-up 2015 EP, “Verde,” Tei Shi — whose real name is Valerie Teicher Barbosa — remains untethered to a genre, ebbing and flowing between dream-pop, indie folk and shoegaze.

Her new, fourth studio album expands on the 2024 LP, “Valerie,” her first independent project, which was released after departing her previous label, Downtown Records (then under Geffen), which left her feeling creatively wounded. With new control of her artistic vision, unfettered by the demands of the mainstream music industry, the move has allowed Tei Shi to release songs in both English and Spanish.

This time around, the artist leans into her multicultural identity, experimenting whimsically with what she has lovingly dubbed Canadianatón — a sonic palette inspired by her upbringing in Vancouver’s mountainous terrain and the melancholic Latin ballads she was raised with.

She digs further into the gritty neo-perreo sound with tantalizing tracks like “222,” featuring Loyal Lobos, and the sticky, synth-laden melody of “Don’t Cry.” In contrast, Tei Shi’s feathery vocals float lightly over a sensual bolero beat in “Aphrodite.”

In the album’s focus track, “Montón,” an upbeat reggaeton track, the artist surrenders herself to the natural motions of love and lust.

“‘Montón’ is a song about falling for someone, crushing hard and giving into it,” says Tei Shi. “I picture it as a late night with your bb, up all night just the two of you in your room, dancing together and tuning out the world.”

It also wouldn’t be a complete Tei Shi album without the thoughtful layering of ethereal beats, most evident in the advance single “Best Be Leaving,” which echoes the essence of legendary dream-pop band Cocteau Twins.

The “Bassically” singer also dropped details on her upcoming U.S. headline tour, which kicks off Sept. 26 in Los Angeles’ Lodge Room. Tei Shi will make a stop in 11 other North American cities, including stops in Washington, D.C., New York, Chicago, Toronto and more.

For full dates and ticket info, visit https://teishi.world/.

Bad Bunny is booked and busy. (Now try saying that twice.)

On Tuesday night, the Grammy-winning Puerto Rican singer will make two back-to-back appearances on late-night television shows: “The Late Show With Stephen Colbert” on CBS and “Late Night With Seth Meyers” on NBC.

The 31-year-old artist is in the midst of his historic No Me Quiero Ir De Aquí residency at the Coliseo de Puerto Rico in San Juan. The 30-night concert series is expected to generate $200 million to the local economy, according to the island’s promotional agency, Discover Puerto Rico.

Bad Bunny, who moonlights as an actor, is also promoting the long-awaited “Happy Gilmore 2,” a sequel to the 1996 Adam Sandler comedy, which will premiere July 25 on Netflix. He will play a golf caddy to Happy Gilmore (played by Sandler), an aggro-ex-hockey player turned golf phenom. Both Sandler and Bad Bunny are expected to appear on “Late Night With Seth Meyers.”

It’s an unusual move by the two competing networks to book the same guest on a single night, but as evening newscasts clash with fast-paced content on social media sites like YouTube or TikTok, perhaps the rules can be relaxed for a superstar.

Camaraderie across the TV aisle has grown in recent days, with multiple late-night hosts decrying the cancellation of Colbert’s program for what CBS has cited as financial reasons. News of this cancellation came days after Colbert criticized CBS’ parent company, Paramount, over the $16-million settlement of President Trump’s lawsuit stemming from a “60 Minutes” interview with Kamala Harris.

“And now for the next 10 months, the gloves are off,” said Colbert on Sunday night. His decade-long show will end May 2026.

Earlier this year, Bad Bunny co-hosted “The Tonight Show Starring Jimmy Fallon” to promote his hit album, “Debí Tirar Más Fotos,” which remains on the Billboard 200 chart since its January debut. During the program, the two disguised themselves while busking in a New York Subway station, first performing a cover of the Backstreet Boys’ “I Want It That Way,” then Bad Bunny’s single “Nuevayol.”

For those wondering how Bad Bunny will pull off this New York showdown, fear not: “Late Night With Seth Meyers” films its Tuesday program on Monday.

Bad Bunny will first appear as a guest on “The Late Show With Stephen Colbert” on CBS at 8:35 p.m. PST, followed by “Late Night With Seth Meyers” on NBC at 12:35 a.m. ET/PT.

President Trump is celebrating the cancellation of Stephen Colbert’s “The Late Show” on CBS — and calling for even more late-night hosts to be axed.

“I absolutely love that Colbert got fired. His talent was even less than his ratings,” Trump wrote Friday morning on Truth Social. “I hear Jimmy Kimmel is next. Has even less talent than Colbert!”

He added that Greg Gutfeld, who has a late-night show and co-hosts “The Five” on Fox News, “is better than all of them combined, including the Moron on NBC who ruined the once great Tonight Show,” referring to Jimmy Fallon.

Although “Late Night” is the top-rated late-night broadcast show, “Gutfeld!” draws a bigger audience.

Colbert, 61, has hosted the show for a decade and shared the news of its cancellation Thursday night, noting that he was made aware of the decision only the night before. “The Late Show” will end in May.

“It’s not just the end of our show, but it’s the end of ‘The Late Show’ on CBS,” Colbert said. “I’m not being replaced. This is all just going away.”

CBS said the decision was “purely financial.” The cancellation comes after Colbert criticized the network’s parent company, Paramount Global, for settling a lawsuit filed by Trump last year over the editing of a “60 Minutes” interview with Kamala Harris. Colbert called the $16-million settlement a “big fat bribe” Monday night, noting that Paramount is awaiting federal approval for its $8-billion merger with Skydance Media.

Both branches of the Writers Guild called on New York Atty. Gen. Letitia James to investigate Paramount.

“Cancelations are part of the business, but a corporation terminating a show in bad faith due to explicit or implicit political pressure is dangerous and unacceptable in a democratic society,” read a statement released Friday by the union.

Fellow late-night hosts have since criticized the show’s cancellation.

“Love you Stephen. F— you and all your Sheldons CBS,” Kimmel wrote in an Instagram story, referencing the network hits “The Big Bang Theory” and “Young Sheldon.”

“I’m just as shocked as everyone. Stephen is one of the sharpest, funniest hosts to ever do it. I really thought I’d ride this out with him for years to come,” Jimmy Fallon posted in an Instagram story. “I’m sad that my family and friends will need a new show to watch every night at 11:30. But honestly, he’s really been a gentleman and a true friend over the years — going back to The Colbert Report, and I’m sure whatever he does next will be just as brilliant.”

Sen. Elizabeth Warren (D-Mass.), who called for an investigation into the Paramount settlement this month, suggested that the move was politically motivated.

“CBS canceled Colbert’s show just THREE DAYS after Colbert called out CBS parent company Paramount for its $16M settlement with Trump — a deal that looks like bribery,” she wrote Thursday night on X. “America deserves to know if his show was canceled for political reasons.”

“If Paramount and CBS ended the Late Show for political reasons, the public deserves to know. And deserves better,” said Sen. Adam Schiff (D-Calif.), who was a guest on the show Thursday night.

Trump had called for Colbert’s termination in September.

“I briefly watched an interview of Stephen Colbert on highly government subsidized PBS, and found it fascinating for only one reason — Why would they be wasting time and the public’s money on this complete and total loser?” he wrote on Truth Social. “He is not funny, which he gets paid far too much to be, he is not wise, he is VERY BORING, and his show is dying from a complete lack of viewers.

“CBS should terminate his contract and pick almost anyone, right off the street, who would do better, and for FAR LESS MONEY,” he continued. “Or I could recommend someone, much more talented, and smarter, who would do it for FREE! The good news for Stephen is that the two DOPES on NBC & ABC are not much better than him!”

In a Variety interview published Wednesday, Kimmel shared his concerns about the Trump administration targeting him and his competitors.

“Well, you’d have to be naive not to worry a little bit. But that can’t change what you’re doing,” the ABC late-night host told the outlet. “And maybe it is naive, but I have the hope that if and when the day comes that he does start coming after comedians, that even my colleagues on the right will support my right to say what I like. Now, I could be kidding myself, and hopefully we’ll never find out. But if we do, I would hope that the outrage is significant.”

We seem to be in an era of endings. The end of ethical norms, of the rule of law, of science, of democracy, of Marc Maron’s “WTF” podcast, possibly the world and the just-announced end of “The Late Show With Stephen Colbert,” when the host’s contract runs out in 10 months — which may presage the end of late-night television, at least on CBS, which says it has no plans to replace him or keep the show.

“This is all just going away,” Colbert said in a statement taped Thursday.

Coincidentally, or not, Paramount Global, which owns CBS, is seeking regulatory approval from the Trump administration to sell itself to the Hollywood studio Skydance Media. (I’d never heard of it either.) An official statement, claiming that the “Late Show” cancellation represents “a purely financial decision against a challenging backdrop in late night … not related in any way to the show’s performance, content or other matters happening at Paramount” (italics mine) is — however true it might be — just the sort of thing to make one say, “Pull the other one.”

“Other matters” would seem to refer to the merger and to Paramount’s recent payment of $16 million to settle a frivolous Trump lawsuit over the perfectly routine editing of a “60 Minutes” Kamala Harris interview that was somehow supposed to give Harris an unfair advantage in the 2024 election and to have caused her opponent “mental anguish” — a payment Colbert characterized in a monologue just a few days ago as a “big fat bribe”: “As someone who has always been a proud employee of this network, I am offended. And I don’t know if anything will ever repair my trust in this company. But just taking a stab at it, I’d say $16 million would help.”

Though he responded to his studio audience’s supportive boos saying, “Yeah, I share your feelings,” he was only kind to the network: “I do want to say that the folks at CBS have been great partners,” Colbert said. “I’m so grateful to the Tiffany network for giving me this chair and this beautiful theater to call home.”

But there have been plenty of surrogates to draw connections, provide context and bite harder, especially in light of the departure of “60 Minutes” executive producer Bill Owens and CBS News President Wendy McMahon. “Love you Stephen,” ABC host Jimmy Kimmel, posted on Instagram, “adding “F— you CBS and all your Sheldons.” (In January, ABC also settled a Trump suit for $16 million, over George Stephanopoulos erroneously saying that Trump had been found civilly liable of “rape.”)

Of the remaining late-night hosts, we may say that each is special in their own way. Colbert, 61, who has been at “The Late Show” for 10 years, is the most mature, professorial and philosophical — gentle, a gentleman, and at times a mock-gentleman, addressing his audience as “My fellow Americans,” or echoing Walter Winchell, “Mr. and Mrs. America and All the Ships at Sea,” or as “Ladies and Gentlemen.” He slaps himself in the face twice before every show to “be in the moment … [to] only do this for the next hour.” Though he may still kick up his heels during a monologue, as an interviewer he is composed and thoughtful and curious — and funny, to be sure — to the degree each conversation demands. A committed (liberal) Catholic, he co-narrated the English-language audiobook of Pope Francis’ “Life: My Story Through History,” with Franciscan Father John Quigley, at the same time, he’s a first-generation Dungeons & Dragons devotee, a lifelong reader of science fiction and a man of whom director Peter Jackson said, “I have never met a bigger Tolkien geek in my life.” (Jackson cast him as “Laketown spy” in “The Hobbit: The Desolation of Smaug.”) He’s a person who will quote Gandalf in a conversation on grief and loss with Anderson Cooper, or, on “The Friendship Onion” podcast with Dominic Monaghan and Billy Boyd, a.k.a. Merry and Pippin, declare that after reading “The Lord of the Rings” after college, “I realized that Aragorn is the Apollonian model of manhood … The Hobbits are us. And we should love life as much as they do.”

And he knows a thing or two about Ronnie James Dio. And grew up on Mad magazine, where young minds were taught to recognize the deceptions and hypocrisies of politics, business and media.

Comedy Central’s “The Colbert Report,” which he hosted from 2005 through 2014, had a huge cultural effect beyond the reach of any late-night host now, Colbert included. Because it ran on basic cable and not network television, and because Colbert hid within the character of a pompous conservative pundit, the show could take wild swings; to the extent it looked respectable, it was only a matter of irony. Colbert and Jon Stewart, on whose “The Daily Show,” where Colbert had earlier worked, staged a “Rally to Restore Sanity and/or Fear” on the National Mall in Washington, which drew a crowd of more than 200,000; he ran for president twice and created a PAC, Americans for a Better Tomorrow, Tomorrow, “100 percent legal and at least 10 percent ethical.”

During its run, he (or his writers) gave the world “truthiness,” named 2006’s Word of the Year by Merriam-Webster, which defined it as “a truthful or seemingly truthful quality that is claimed for something not because of supporting facts or evidence but because of a feeling that it is true or a desire for it to be true.” Colbert was twice named one of Time’s 100 Most Influential People. Ben & Jerry’s created an ice cream flavor, Stephen Colbert’s AmeriCone Dream, in his honor, and NASA dubbed a piece of exercise equipment for use on the International Space Station the “Combined Operational Load-Bearing External Resistance Treadmill,” or COLBERT.

Testifying in character in 2010, before a House Judiciary subcommittee on legal status for immigrant farmworkers, he said, as if looking into 2025, “This is America,” he said, “I don’t want my tomato picked by a Mexican. I want it picked by an American, then sliced by a Guatemalan and served by a Venezuelan in a spa where a Chilean gives me a Brazilian … My great grandfather did not travel over 4,000 miles of the Atlantic Ocean to see the country overrun by immigrants. He did it because he killed a man back in Ireland. That’s the rumor, I don’t know if that’s true. I’d like to have that stricken from the record.”

The signature segment of “The Late Show” is the “Colbert Questionert” in which the host poses 15 questions “ergonomically designed to penetrate straight to the soul of one of my guests and reveal their true being to the world.” (It’s “a scientifically verified survey; I’ve asked several scientists and they assured me — yeah, it’s a survey.”) Designed to create comic and/or sincere responses, they range from “What’s the best sandwich?” (Will Ferrell: “Salami and grapefruit on rye, with a light sheen of mayonnaise.”) to “Apples or oranges?” (Colbert considers apples the correct answer, because you can put peanut butter on them.) to “The rest of your life in five words.” (Tom Hanks: “A magnificent cavalcade of color.”) Cate Blanchett took it lying on Colbert’s desk, as if in therapy. “What do you think happens when we die?” he asked. “You turn into a soup,” she replied. “A human soup.”

But it’s Colbert’s extended interviews and discussions, from “The Late Show” and elsewhere, posted online, that dig the deepest and reveal the most about him in the bargain: a much circulated conversation with Nick Cave from last year; a long talk with Anderson Cooper, after the death of his mother, both about grief and gratitude; an episode of “The Spiritual Life With Fr. James Martin, S.J.,” from a couple of weeks ago. (Colbert describes himself as “publicly Catholic,” not “a public Catholic.”) Such discussions perhaps point the way to a post-”Late Show” practice for Colbert, much as it became one for David Letterman, who passed the seat on to him. (He’s only the second host since the show’s premiere in 1993.)

As to the field he’ll be leaving next May, who can say? Taylor Tomlinson‘s “After Midnight” game show, which followed “The Late Show,” expired this week. Kimmel and Seth Meyers, who go as hard against Trump as does Colbert, and the milder Jimmy Fallon, seem for the moment safely fixed at their desks. Though new platforms and viewing habits have changed the way, and how much, it’s consumed, late-night television by its temporal nature remains a special province, out at the edge of things, where edgy things may be said and tried. (Don’t expect Colbert to go quietly into that goodnight.) Yet even as the No. 1 show in late night, “The Late Show” reportedly loses money. There’s something to that “financial decision,” I’m sure; it’s the “purely” that smells. We’ll see.

“I absolutely love that Colbert got fired,” Trump posted on his vanity social media site, going on to say that he “hears” that “Jimmy Kimmel is next. Has even less talent than Colbert.” Trump and Colbert could not be farther apart as humans. The president sells fear; he uses it as a club. But the TV host is sanguine.

“You can’t laugh and be afraid at the same time,” Colbert is fond of saying, sometimes adding, “and the Devil cannot stand mockery.”

The shocking cancellation of “The Late Show With Stephen Colbert” is a sign that time is running out for one of TV’s most beloved formats.

The late-night talk show was invented in the 1950s as a way for networks to own their own programming rather than have it provided by sponsors. Now, amid shrinking audiences and a politically turbulent climate for free speech, the familiar desk-and-sofa tableau is in serious trouble.

CBS announced Thursday that the upcoming 2025-26 TV season for “The Late Show” will be its last. Executives blamed the cancellation on financial concerns felt across all network late-night shows. Last year, NBC cut “The Tonight Show Starring Jimmy Fallon” to four nights a week while “Late Night With Seth Meyers” cut its live band.

Still, industry veterans were bewildered by the timing.

It’s hard to imagine Paramount Global executives did not anticipate blowback from announcing the move days after Colbert blasted the company’s $16-million settlement with President Trump over CBS News’ “60 Minutes” interview with Kamala Harris. Colbert described the deal as a bribe during his Monday monologue.

Every move the company makes is now under a microscope as it tries to get the Federal Communications Commission, led by Trump acolyte Brendan Carr, to approve an $8-billion merger with Skydance Media. Canceling the most watched late-night program hosted by one of Trump’s harshest critics will draw even more scrutiny.

Sen. Adam Schiff (D-Calif.), weighed in on X shortly after taping an interview on Colbert’s program.

“If Paramount and CBS ended the Late Show for political reasons, the public deserves to know. And deserves better,” Schiff posted.

The Writers Guild of America also raised questions, saying the cancellation appeared to be a case of “sacrificing free speech to curry favor with the Trump Administration.”

One factor contradicting the theory is that Colbert, who has another year on his contract, will remain on the air through May. His commentaries have never been restrained by network executives over his 10-year run and that situation is not expected to change in his final season.

The poor optics may be a matter of contractual timing.

Paramount Global had to complete the deals with writer-producer teams in July for the upcoming “Late Show” season, according to a person familiar with the discussions who was not authorized to comment.

Those deals typically run for a full year, but with the company’s intention to cancel the program — decided several months ago — the contracts being offered only ran through May, which tipped off the network’s plans.

When Colbert learned of the cancellation decision on Wednesday, he made the call to inform his staff and his audience the next day.

“Late Show” is said to be losing somewhere in the tens of millions of dollars a year as younger viewers have fled. Since 2022, the program has lost 20% of its audience in the advertiser-coveted 18-to-49 age group, according to Nielsen data.

Ad revenue for “Late Show” in 2024 was $57.7 million, according to iSpot.tv, down from $75.7 million in 2022. “The Tonight Show Starring Jimmy Fallon” on NBC and “Jimmy Kimmel Live!” on ABC have also seen significant declines over that period.

CBS has already given up on one hour of late night due to financial pressure. Two years ago, it canceled its 12:35 a.m. “Late Late Show” program hosted by James Corden because it was losing money.

CBS came up with a lower-cost replacement with “After Midnight,” but that ended after two seasons as its host Taylor Tomlinson decided not to renew her deal. CBS is replacing it with a syndicated program, “Comics Unleashed,” from Byron Allen’s Entertainment Partners in an arrangement that will cost the network nothing.

Still, Paramount Global will find itself facing questions about why CBS did not seek ways to reduce the production costs of the program instead of just pulling the plug.

If CBS decides to continue programming the 11:30 p.m. slot, it will hard-pressed to approach the same audience levels that Colbert attracted.

CBS is giving up a popular culture touchstone, although in the current fragmented media landscape, the days of such hosts having massive sway over a large audience have passed.

Media analyst Rich Greenfield wrote that legacy media companies investing in expensive original programming outside of sports and news may be ill-advised as viewers continue to flock to streaming.

“Ending ‘The Late Show’ is the tip of the iceberg with massive programming and personnel cuts to come,” he said.

For decades, late-night TV served as the brand identity of the broadcast networks.

Jack Paar was the witty conversationalist that made Middle America feel like it was invited to a sophisticated Manhattan cocktail party. His successor, Johnny Carson, became a trendsetter in the 1960s, defining male coolness. He had his own clothing line. His dry monologue was often a gauge of the country’s political mood. An invitation to take a seat next to Carson after a stand-up set turbocharged the careers of many top comedians.

CBS was unable to compete with Carson for decades, trying and failing with the likes of Merv Griffin and Pat Sajak. When David Letterman became available after he was bypassed for the “Tonight” job at NBC, he came to CBS in 1993 and made the network a serious contender.

Letterman’s offbeat, sardonic brand of humor also gave a layer of hipness to CBS, which had long had a reputation for stodginess.

“Late Show With David Letterman” helped make late-night network TV a financial bonanza. While the proliferation of cable networks was cutting into audience share in the 1990s and early 2000s, the late-night habit still thrived, especially with its ability to reach young men, the most elusive demographic for TV advertisers.

As a result, late-night hosts became the highest-paid stars in the business. Letterman and Jay Leno were both earning in the neighborhood of $30 million a year until networks started trimming salaries 10 years ago.

But technology chipped away at the late-night talk show habit. When DVRs reached critical mass, consumers started to catch up with their favorite prime-time shows during the late-night hours.

The most painful blow came from social media. While online clips of the late-night shows draw hundreds of millions of viewing minutes, that doesn’t generate the same kind of ad revenue as TV. They also make showing up at 11:35 p.m. every night pointless.

“The networks cut up all of the best parts of the show, and by the end of the night you can see all of them on social media,” said one former network executive who oversaw late-night programs. “There’s no reason to even DVR it.”

Prime-time programs add millions of viewers through on-demand streaming after they air on the broadcast networks. Topical late-night shows don’t have the same shelf life.

While politics have long been an important element of late-night comedy, the emergence of Trump‘s political career in 2015 — and his ability to drive ratings and the national conversation — made him the dominant topic.

Where Carson, Letterman and Leno skewered both sides of the political spectrum, Trump’s ability to provide endless comedy fodder on a daily basis made him an easy, entertaining and ultimately one-sided target.

For years it worked. Ratings for Colbert — who made his bones on Comedy Central satirizing a reactionary talk show host — languished for the first two years after he replaced Letterman. Audience levels and ad rates surged in 2017 once Trump came into office and became Colbert’s muse.

But the country has become more politically polarized in recent years and the relentless lampooning of Trump has created a lane for “Gutfeld!,” a nightly Fox News talk show with a conservative bent.

While not technically a late-night show (it airs at 10 p.m. Eastern), “Gutfeld!” drew an average of 3 million viewers in the second quarter of 2025 according to Nielsen and has grown 20% since 2022.

The young men that used to make late night an advertiser magnet are now turning to podcasters such as Joe Rogan and others who can speak without the restraint of broadcast TV standards.

CBS said it is canceling “The Late Show with Stephen Colbert” at the end of the upcoming television season in May, a casualty of industry changes that have dealt a crippling blow to advertising revenue.

Colbert announced the news to his audience Thursday during a show taping in New York. In a clip posted to Instagram, crowd members gasped, then started booing. Colbert said he only learned of the move on Wednesday.

“It’s not just the end of our show, but it’s the end of the late show on CBS,” Colbert said. “I’m not being replaced. This is all just going away.”

Colbert has hosted the show for a decade. After a rocky start, Colbert found his sea legs and eclipsed longtime late night leader NBC with his signature humor and sharp takes on political and cultural hot buttons. Colbert has long been a star within CBS’ parent company, Paramount Global, rising to fame on Comedy Central’s “The Daily Show with Jon Stewart.”

The decision to end a franchise that has helped shaped pop culture was stunning to some. CBS launched its late night block in 1993 with David Letterman.

“This is purely a financial decision against a challenging backdrop in late night,” CBS Chief Executive George Cheeks and other top executives said in a joint statement. “It is not related in any way to the show’s performance, content or other matters happening at Paramount.”

David Ellison’s Skydance Media is waiting for federal approval to buy Paramount, an $8 billion deal that is expected to usher in a new wave of cost-cutting.

“We consider Stephen Colbert irreplaceable,” said Cheeks, along with CBS Entertainment President Amy Reisenbach and CBS Studios President David Stapf. “We are proud that Stephen called CBS home. He and the broadcast will be remembered in the pantheon of greats that graced late night television.”

More than 200 people work on Colbert’s show and their fate, beyond next spring, is unclear.

“I do want to say that the folks at CBS have been great partners,” Colbert said. “I’m so grateful to the Tiffany network for giving me this chair and this beautiful theater to call home. And of course, I’m grateful to you, the audience, who have joined us every night.”

This is a developing story.