The stunning victory by the New York Knickerbockers over the San Antonio Spurs on Wednesday gave ABC the most-watched NBA Finals Game 4 since 1998, the year of Michael Jordan’s last championship with the Chicago Bulls.
Nielsen data showed an average of 20.9 million viewers watched the Knicks overcome a 29-point halftime deficit to top Victor Wembanyama and the Spurs 107-106 at Madison Square Garden, the greatest comeback in NBA Finals history. The Knicks have a 3-1 lead in the series and will play Game 5 on Saturday in San Antonio, attempting to win their first NBA championship in 53 years.
Through the first four games, the NBA Finals are averaging 19.6 million viewers, also the highest since the Bulls-Utah Jazz faced off on NBC in 1998. The series is on track to become the most-watched since the NBA Finals moved to ABC and ESPN in 2002.
“The match-up is ideal from a media business standpoint, featuring the nation’s largest media market with New York, teams with robust followings and multiple all-stars, especially Wemby, the compelling new face of the NBA,” said Lee Berke, president of LHB Sports Entertainment & Media, Inc.
The Knicks-Spurs series is up 116% over the first four games of last year’s match-up between the Oklahoma City Thunder and the Indiana Pacers. But the most encouraging numbers for ABC and ESPN is the growth among younger viewers, who have become harder to reach in the age of social media and streaming. Ratings among teens aged 12 to 17 are up 138% while the 18 to 24 age group is up 147%.
ABC is also seeing spikes in viewing among women, up 121%, and the Latino audience due to its large populations in the markets of New York and San Antonio, according to Flora Kelly, ESPN’s senior vice president for audience research.
Viewing in the New York market alone is accounting for 18% of the national audience.
Este Haim, Taylor Swift, and Mariska Hargitay react during the 2026 NBA Finals at Madison Square Garden on June 10, 2026.
(Al Bello / Getty Images)
In addition to delivering highly competitive games, the NBA Finals also had President Trump and pop superstar Taylor Swift in attendance at Madison Square Garden. Both are capable of turning a live TV event into a full-blown spectacle.
“What we’re seeing is that this Spurs-Knicks series is a tremendous cultural moment,” Kelly said.
Trump attended Game 3, making him the first sitting president to attend an NBA Finals. While Trump was a fixture at Knicks games before he entered the national political scene, some commentators, such as ESPN’s Stephen A. Smith, believed the president’s insistence on attending Monday’s contest became a distraction that disrupted the home team’s momentum. (The Knicks lost the game 115-111, ending the team’s streak of 13 consecutive wins).
Swift showed up for Game 4, joining “Law & Order: SVU” star Mariska Hargitay and the other celebrities that regularly show up court side at Madison Square Garden.
Nearly 17 years after the King of Pop’s death, Michael Jackson is dominating the box office, television ratings and headlines.
“Michael,” the biopic about the star that hit theaters in April, has surpassed $900 million at box offices globally, according to Deadline, making it the second-highest-grossing film of 2026 behind “The Super Mario Galaxy Movie,” which hit $1 billion. Although “Bohemian Rhapsody” is still the highest-grossing musical biopic, “Michael” is a mere $11 million behind and will likely snag the title in coming weeks.
The film, which stars Jackson’s nephew Jaafar Jackson, follows the “Thriller” hitmaker from his early career leading the Jackson Five to reaching pinnacle star status in the late ’80s. The film’s timeline ends before 1993, when Jackson faced sexual abuse allegations brought by 13-year-old Jordan Chandler.
On Tuesday, “Michael” was released to streaming services, and fans at home can rent or buy on-demand from Amazon Prime Video and other platforms.
Also available for streaming is the Netflix docuseries “Michael Jackson: The Verdict,” which became available on June 3 and dominated the streamer’s charts with nearly 18 million views in its first week. The three-part series examines the pop star’s 2005 molestation trial, in which he was acquitted of all charges, and features key players from the trial, including jurors, eyewitnesses and prosecutors.
The lead prosecutor, Ron Zonen, spoke with TMZ on Tuesday and said that, although he wasn’t sure audiences would view the allegations with a different lens 20 years later, he wanted the documentary to be “as accurate as possible” and feature “the perspective of people who were involved in the trial.”
As far as the response from viewers, Zonen told the outlet that he’d received threats via email. “Well, there are people who are fans, who express their displeasure at the position that we took in this documentary, and express their displeasure very clearly to me,” he said, adding that he’s not bothered by the bad blood with mega-fans, and that the threats were more numerous at the time of the trial.
The 79th Tony Awards telecast kicked off with a bang by giving out two major awards in the first 30 minutes — and before viewers could blink both John Lithgow and Laurie Metcalf had each won the third Tony Award of their careers.
Lithgow won best performance by an actor in a leading role in a play for his portrayal of the controversial, beloved British author Roald Dahl in Mark Rosenblatt’s poignant drama “Giant,” directed by Nicholas Hytner. Times theater critic Charles McNulty called Lithgow’s performance “at once terrifying and never anything less than human,” and “one of the bravest” of the Broadway season.
Lithogow’s win, however, was far from assured. He was in the running against Nathan Lane in the season’s most talk-about show’s “Death of a Salesman,” and many bets were surely placed on the latter to sweep.
Lithogow is among a cadre of accomplished film and television actors who have a deep love of the stage. His first Tony win came for best featured actor in a play for his 1972 Broadway debut in “The Changing Room.” His second came 30 years later in 2002 when he he won for best actor in a musical for “Sweet Smell of Success.”
Metcalf won best featured actress for her portrayal of Willie Loman’s protective wife, Linda Loman, in “Death of a Salesman.” This is Metcalf’s third win in less than a decade, and was not a surprise as she has inherited “Helen Hayes’ mantle of First Lady of the American Theater,” according to McNulty.
Perhaps that explains her perfunctory, somewhat rote speech — which still didn’t detract from the joy of her win. Viewers know a towering talent when they see one.
Lithgow, to the contrary, was clearly stunned — and deeply honored.
“I’ve had dozens and dozens of static, ecstatic moments on stage, but I have to tell you right now, this moment has got to be one of the best,” he said as he held his award.
In recent months, the iconic ticking stopwatch of the CBS News magazine “60 Minutes” began to sound like a time bomb.
The explosive detonated Tuesday as the prestigious program’s most high-profile correspondent, Scott Pelley, was fired after openly challenging the moves and motives of the news division’s leadership and questioning the credentials of new “60 Minutes” executive producer Nick Bilton.
Pelley accused CBS News Editor in Chief Bari Weiss of “murdering” the program and berated Bilton, a former New York Times journalist, for lacking TV news experience. His forced exit along with the departure of several other veterans is raising fears about the future of the most-watched TV news program that has managed to retain its vitality and importance in the face of major changes across the media landscape.
Weiss praised Pelley’s contribution to the network when she discussed his termination at the network’s morning editorial meeting Wednesday, but cited a loss of “trust and mutual respect” as the reason for moving on.
“We cannot do our work without it,” Weiss said. “That foundation was broken on Monday, and despite our attempts to engage with Scott Pelley and to find a way back, unfortunately we weren’t able to do so, and so we had to part ways.”
But industry veterans familiar with “60 Minutes” said the firings represented a notable shift in how the venerable program has been run by its predecessors.
Rome Hartman, a former longtime “60 Minutes” producer, said Wednesday in an interview that the termination of Pelley for forcefully expressing his views at a staff meeting is a fundamental misunderstanding of how the program has operated and thrived over 58 years. Spirited, and occasionally acrimonious, internal debate has always been a part of working at “60 Minutes.”
“Sharp words in defense of important ideas, whether they be in stories, or whether they be about the future of the broadcast, shouldn’t just be tolerated, they should be encouraged and inculcated, and they always have,” Hartman said.
The insularity of the “60 Minutes” operation — which has its own suite of offices across the street from the main headquarters of CBS News — has rankled the network’s executives in the past. But those dynamics were considered part of the price of having the most prestigious news program on television.
“Every single CBS News president in the history of CBS News has resented the independence of ’60 Minutes,’” Hartman said.”But the smart ones have come to understand that that independence is part of the secret sauce. I don’t know Bari Weiss, but she seems incredibly thin-skinned.”
The turmoil inside “60 Minutes” comes at an inopportune time for CBS. Weiss is now under the gun to replenish the program’s staff with three months to go before original episodes return to the prime-time schedule.
Pelley is the fourth correspondent to depart “60 Minutes” since Weiss took over as editor in chief. Last week, Weiss fired correspondents Sharyn Alfonsi — who accused Weiss of playing politics by holding a story on the government’s use of El Salvador prisons for undocumented migrants — and Cecilia Vega, who was also outspoken in her criticism of the changes at “60 Minutes,” saying she faced censorship. Anderson Cooper, the CNN anchor who spent nearly 20 years as a contributor to the program, chose not to sign a new contract.
Weiss also fired executive producer Tanya Simon, who has been with the program for 25 years, and her second in command. (Pelley said he was unable to get answers on the firings during his final meeting Tuesday with Weiss and CBS News President Tom Cibrowski.)
Bari Weiss hosts Senator Ted Cruz on her “Honesty” podcast on January 18, 2025, in Washington, D.C.
(Leigh Vogel / Getty Images for Uber, X and The Free Press)
And there could be more departures on the way, adding to the upheaval. Bill Whitaker, who joined the program in 2014 and was a Pelley ally, is said to be weighing whether to walk away from the two years left on his current contract. The program’s respected veteran , Lesley Stahl, is pondering her future as well amid the massive changes, according to people familiar with her thinking who were not authorized to speak publicly.
The call is out for new talent, according to one agent who said CBS News is talking to “dozens of people” for the openings.
But the company will also look within its ranks. Matt Guttman, hired away from ABC News by Weiss to become senior national correspondent, is one name being mentioned, along with Major Garrett, the network’s chief Washington correspondent. Both have emerged as favorites of Weiss.
Norah O’Donnell, already a contributor to the program, is also likely to have a larger presence.
While the “60 Minutes” patina has been tarnished by the recent events, there is no shortage of journalists who would be willing to step up and join the program. But whoever does sign on will be intensely scrutinized while the Nielsen numbers are closely watched.
Newcomers on the program are rare and would have an easier time gaining audience acceptance if they were joining a stable operation.
Although every long-running TV program can use an occasional refresh, a massive overhaul is destabilizing for “60 Minutes,” one of the last non-sports appointment programs for the traditional television audience that still provides broadcast networks with the bulk of their advertising revenue.
Notably, the program averaged 9.1 million viewers during the 2025-26 TV season according to Nielsen, up 9% over the previous year.
“Viewers liked the ’60 Minutes’ that they had,” said a former CBS News executive who worked on the program who was not authorized to speak publicly. “And if they don’t like it, they have many other places to go.”
One of Weiss’ mantras — echoed by Bilton — has been the need to pull “60 Minutes” into the digital future as traditional TV viewing declines. Insiders say she has yet to make clear how that will be achieved.
Under Weiss’ watch, clips and full segments of the program gained significant traction on platforms such as YouTube. The success on digital is an encouraging sign for the program’s ability to attract younger viewers who don’t watch traditional talent.
But veteran TV executives say that loyal “60 Minutes” viewers still expect to see seasoned correspondents delivering in-depth investigations and analysis. A diversion from that formula poses substantial risks.
“Its audience has certain expectations,” said Jim Murphy, a former executive producer for CNN and CBS News. “These guys built a literally nearly perfect program for the medium and for the audience. You’re not going to make it better just because somebody cooler does a story that’s, like, a little funkier. It just not going to work.”
Steve Capus, a veteran network producer who worked with Pelley at the “CBS Evening News,” said his former colleague was built for the meticulous work that goes into every “60 Minutes” segment.
“It’s hard to do week in and week out,” Capus said. “You have to be first-rate in your storytelling.”
What’s more, Weiss and Bilton will also have to fight the perception that their moves on the program have been guided by the desire of David Ellison, chief executive of CBS News parent Paramount, to please the Trump administration as he seeks regulatory approval of his deal to acquire Warner Bros. Discovery.
Trump sued “60 Minutes” over the editing of an interview with his 2024 presidential opponent, former Vice President Kamala Harris. The suit was settled just ahead of the Federal Communications Commission clearing the way for the takeover of Paramount by David Ellison’s Skydance Media.
Ellison acquired Weiss’ digital startup, the Free Press, which established itself as a voice critical of so-called woke politics.
Pelley said in a statement Tuesday that there has been pressure to shape CBS News coverage to please the Trump White House, a claim that both Vega and Alfonsi have made.
“I’ve been told to include assertions that are unverified,” he said. “To date, in every case, I have ignored these instructions or refuse them.”
In a statement, a representative of “60 Minutes” said that the exchanges with Pelley regarding editorial content were not out of the ordinary.
“There is no political interference at CBS News, not from ownership, not from Bari Weiss,” the representative said. “The only ‘interference’ is the normal back and forth between editor and correspondent that happens in every newsroom.”
The venerable news magazine “60 Minutes” is undergoing a major overhaul under CBS News Editor-in-Chief Bari Weiss.
Weiss announced Thursday the appointment of new executive producer to replace Tanya Simon, a 26-year veteran of the program who took over the top job last July. She will be replaced by Nick Bilton, a former New York Times technology columnist and documentary filmmaker.
Bilton will be the first executive producer in the 58-year history of “60 Minutes” to come from outside of the tightly knit organization. The program has only had four leaders in its history — Don Hewitt, Jeff Fager, Bill Owens and Simon — all of whom came up through the ranks of CBS News.
Weiss is said to have developed a solid relationship with Simon, whose late father Bob Simon was a highly respected correspondent for the program. But the connection apparently deteriorated after Weiss did not receive an advance notice on Anderson Cooper’s sign off from the program ending his nearly 20-year run as a correspondent.
Cooper, who is also a full-time anchor at CNN, turned down a new “60 Minutes” deal from Weiss. During his final appearance, he expressed fears about the editorial independence of the program.
Tanya Simon is the new executive producer of “60 Minutes.”
(Michele Crowe CBS News)
“Things can always evolve and change, and I think that’s awesome, and things should evolve and change, but I hope the core of what ’60 Minutes’ is always remains,” Anderson told viewers. “I think the independence of ’60 Minutes’ has been critical.”
Speculation over changes at “60 Minutes,” the most-watched news program on television for 52 consecutive years, have been swirling for months since Paramount Chief Executive David Ellison installed Weiss to oversee editorial content at CBS News.
The program has been in turmoil since Oct. 2024 when President Trump filed a $20 billion lawsuit against CBS over an interview conducted with then Vice President Kamala Harris that was settled to clear the regulatory path for Skydance Media’s acquisition of Paramount.
From a business standpoint, “60 Minutes” is a curious target. The program is one of the most profitable hours on the CBS prime time schedule while retaining its status as television’s most prestigious journalism operation. While the ratings for “60 Minutes” get a boost from a lead-in from high-rated NFL late afternoon games, it remains one of the few network shows that viewers make an appointment to watch.
After his Netflix roast inspired tit-for-tat feuding among comedians and backlash from viewers over a joke about George Floyd, Kevin Hart’s stance is clear: All is fair in love, war and comedy.
During a Tuesday appearance on “The Breakfast Club,” Hart addressed the controversy stemming from Netflix’s “Roast of Kevin Hart,” which aired earlier this month and included material that shocked viewers. Tony Hinchcliffe, who helms the No. 1 live podcast in the world, “Kill Tony,” applied his politically incorrect approach to comedy that similarly outraged audiences at a 2024 campaign rally for then-presidential candidate Donald Trump.
“The Black community is so proud of you right now,” he quipped at Hart. “George Floyd is looking up at us all, laughing so hard that he can’t breathe.”
In 2020, Floyd was murdered by police Officer Derek Chauvin, who pressed his knee into Floyd’s neck for more than nine minutes, until he died. His last words were “I can’t breathe,” which he said more than 20 times. The killing sparked global unrest and the largest civil rights protest since the 1960s. Hart attended Floyd’s memorial and private service in Minneapolis.
“The George Floyd joke, it wasn’t a tasteful joke to our culture,” Hart told the podcast. “But our audience that’s watching the roast … you get why they’re doing it, you get why the racial humor is on the table.”
Hart continued that the approach to comedy is nothing new and said, “Tony Hinchcliffe arguably had the best set, or one of the best sets.”
“Would I tell those jokes? No, but do I get why they’re being told? Yes,” Hart said.
Floyd’s brother, Terrence Floyd, spoke with “Breakfast Club” host Loren LoRosa after the roast aired and said that he expected Hart to step in and tell Hinchcliffe he’d gone too far.
“What do you want me to do? Drag him off?” Hart asked during his appearance on the podcast. “That’s not what I agreed to do. That’s not the job at hand. The job at hand was to produce a successful roast, which I did.”
Not only has the Netflix roast caused a stir among viewers, but the comedians who participated also have been trading slights in recent weeks. Chelsea Handler didn’t mince words when she offered her take on Hinchcliffe, as well as Shane Gillis, who also performed a set during the roast. According to Handler, ex-girlfriends of the controversial comedians slid into her DMs and told her what she said she already knew about them.
“They’re racist,” she said during an appearance on Deon Cole’s “Funny Knowing You” podcast. “That they’re bigots, that they’re sexist, that they think they’re like invincible.”
Handler said that one of Gillis’ jokes about lynching Hart was “worse than rape.” In response, Gillis told the Hollywood Reporter in a statement that Handler was capitalizing on the moment.
On Monday’s episode of “Kill Tony,” Hinchcliffe responded to Handler’s remarks by calling her “a bit of a c—. “
Comedian Conan O’Brien will return to host the 99th Academy Awards set for March 14.
O’Brien, known for his self-deprecating humor, emceed the Oscars this year and in 2025.
“Conan has created remarkable energy around the Oscars,” President of Disney Television Group Craig Erwich said in a statement Tuesday announcing O’Brien’s return. “His singular comedic voice makes Hollywood’s biggest night one of the most entertaining celebrations of the year. We’re proud to welcome him back and look forward to what he and the producing team deliver next.”
Raj Kapoor and Katy Mullan are set to return as the show’s executive producers for the fourth consecutive year.
Major changes are in store for the entertainment industry’s biggest night.
Oscars viewership has been in flux as younger audiences prefer to view clips of the ceremony on social media, rather than on television.
ABC’s telecast of the 2026 ceremony averaged 17.9 million viewers, down 9% from the previous year, when it garnered 19.7 million viewers. Ratings for the Oscars reached an all-time low of 10.5 million viewers in 2021.
Academy of Motion Picture Arts and Sciences Chief Executive Bill Kramer and President Lynette Howell Taylor announced the news at its upfront presentation Tuesday.
