Business
Want to Understand America? Watch ‘Shark Tank.’
One day in late June, a panel of investors entertained business ideas from around the country. A kitschy advent calendar. A fancy mini-fridge for drinks. A flashlight that emits beams from multiple angles. A machine that grows mushrooms. Bendable cups. Pet plants (for you, not your cat).
This was the Los Angeles set of “Shark Tank,” the ABC show that for 15 years has turned business negotiation into entertainment. Aspiring entrepreneurs use hustle, gross margins and cringe-worthy pitches to pry money from the so-called Sharks in exchange for a stake in their companies.
On one level, “Shark Tank” is your basic reality TV show. The pitches, which last about 45 minutes, are edited to snappy 12- to 15-minute segments with music scored for suspense over tight shots of bug-eyed, sweaty supplicants. Some founders leave the tank defeated, humiliated or in tears. Others leave triumphant with handshake deals. Stories about overcoming struggle and self-doubt feel calibrated to make you cry.
With a short window to impress the Sharks, contestants make the most of “hello.”
ABC
But if you watch the show as I did — most of its 15 seasons in one year — you might be struck by something else: the way it reflects the shifting contours of the American economy. The show started in August 2009, in the pit of the Great Recession. Over the next decade and a half, 1,275 people pitched their ideas on air. The comfort food and DVDs featured in those first years were replaced by the rise of online direct-to-consumer businesses, the allure of Silicon Valley and its build-at-all-costs mentality, and then the shock of the pandemic and the ingenuity that came out of it.
“Shark Tank” Over the Years
Season 1 (2009-10)
The show premiered against the backdrop of the Great Recession. Small business owners, like Tod Wilson, shared stories of struggle and overcoming adversity.
Season 3 (2012)
The economy was getting better and so was the show. Mark Cuban joined and raised the tempo and the stakes of the negotiations.
Season 4 (2012-2013)
Scrub Daddy, the smiley face sponge, makes its debut. Shark Lori Greiner, also known as the “QVC Queen,” helps turn it into one of the show’s most recognizable products.
Season 5 (2013-14)
This season brought items with a tech spin, like DoorBot. This object became Ring, which Amazon later acquired for more than $1 billion.
Season 6 (2014-15)
The founders of Bombas, the sock company, got a grilling for their high valuation. But the company has since become a huge success.
You can also see the emergence of consumer trends: online dating (the Coffee Meets Bagel app); combining capitalism with social good (Bombas socks); democratizing professional services (Everlywell home medical tests); reimagining personal care products (Dude Wipes). And, of course, the show has featured plenty of minimally useful, niche gimmicks that are destined to collect dust.
“‘Shark Tank’ is not a game show,” said Kevin O’Leary, a cutthroat investor known sarcastically in the tank as Mr. Wonderful. “It’s real life. It’s real investing, real money. And it reflects the real economy.”
It is also real exposure. Perhaps the show’s most important role in the entrepreneurial economy is not the advice or money the Sharks dispense, but to serve as a platform for the most American of business strategies: shameless self-promotion.
That exposure might be even more relevant now. As the show enters its 16th season on Oct. 18, the economy seems good on paper, but feels bad for many Americans, including entrepreneurs. Yes, inflation is starting to ease and interest rates are slowly coming down, but the economy still feels in suspense.
The show has been adjusting over the past few years. The Sharks are less excited about businesses with big valuations and more interested in discovering and funding smaller start-ups, said Barbara Corcoran, founder of the Corcoran Group who got rich selling Manhattan real estate and has appeared as a Shark since the show’s first season. “So there are a lot of low asks, which I really like because I love to get on the ground floor with people,” she told me.
These “mom-and-pa type people,” as Ms. Corcoran calls them, also make for better TV. Where “Shark Tank” is concerned, good TV comes from stoking a belief — some might call it a myth — that anybody with a good idea and some moxie can make it in America. Having difficulty brushing your daughter’s curly hair? A flash of genius provides the solution and you create a hairbrush company! It’s the American dream.
In fact, the Sharks invoked the American dream so often in my interviews with them that it felt like they were trying to make a sale. Mark Cuban, who is leaving the show after this season, put it this way: “The idea that maybe we had a little bit to do with amplifying entrepreneurship and making the American dream stronger, that’s pretty damn cool, you know?”
From Bakeries to Bots
The “Shark Tank” concept grew out of a Japanese show called “Tigers of Money.” It spread to Britain and Canada as “Dragons’ Den,” and in 2009, Mark Burnett, the television producer known for hit shows like “The Apprentice” and “Survivor,” adapted the idea for the United States.
It was, in some ways, exactly the wrong moment for a show about making it in business. “Shark Tank” debuted less than a year after the subprime mortgage crisis devastated the global economy. The investment firm Lehman Brothers had gone belly up and banks were not lending. Retail sales cratered. But the investors chosen as Sharks saw the show as a new way to make money. “It’s ’08, nobody’s buying more clothes and they can’t pay their rent or mortgage,” said Daymond John, the founder of apparel brand FUBU. “I went on the show to diversify my portfolio.”
That first season Mr. John and the other Sharks were pitched by a lot of sole proprietors: a woman opening a plus-size clothing boutique in Houston, a caregiver who created an elephant-shaped medicine dispenser. The money offered was $100,000 here, $50,000 there. Small potatoes.
Every pitch leads to an ask, a dollars-and-percent offer that starts the negotiation with the Sharks. ABC
The producers and casting department recruited entrepreneurs by looking at local newspapers or relying on word of mouth. Tod Wilson, the first person to pitch in the “tank,” was one of them. He owned a bakery that sold sweet potato pies in Somerset, N.J., and wanted to expand nationwide.
“I had a couple small loans with some local community banks, but nobody was lending any more money,” Mr. Wilson said. On the show, Mr. John and Ms. Corcoran offered him a deal.
By the third season, in 2012, it was time to feel optimistic again. Businesses were making it pleasant to buy stuff online that you usually need to feel and touch — like clothes and eyeglasses. Uber, Airbnb and WeWork, with their outsize valuations, emboldened many companies to think they could hit it big. Instagram and Twitter, along with the ubiquity of Amazon Marketplace, offered new ways to sell goods.
Shark Tank, too, wanted a piece of Silicon Valley.
Producers recruited more ambitious companies through open calls held at Las Vegas convention centers and pitch sessions hosted on college campuses. Sweet potato pies gave way to apps and cloud-based solutions. In episode after episode, viewers saw entrepreneurship as a pathway to financial success and autonomy. The show was growing in popularity, and by Season 6 in 2014, had reached 9.1 million people tuning in per episode.
“The idea that anybody can make it into that top echelon, I think, is an incredibly American mind set,” said Angela Lee, who teaches at Columbia Business School.
In the first season, the average valuation for a company that appeared on the show was $376,000; a decade later, it had ballooned to $2.4 million, according to a database compiled by Halle Tecco, an adjunct professor at Columbia Business School who tracked the first 10 seasons of “Shark Tank.” The average amount the Sharks agreed to invest nearly doubled.
The Sharks didn’t always spot the winners. In 2013, the producers reached out to Jamie Siminoff, a successful serial entrepreneur who was tinkering in his garage with a product he called DoorBot.
Like all the entrepreneurs who appear on the show, Mr. Siminoff walked down a long hallway to the double doors that open up to the awaiting Sharks. But instead of those doors opening, Mr. Siminoff knocked three times, prompting Mr. Cuban to ask, “Who’s there?” After some back and forth, the door opened and Mr. Siminoff said, “Wouldn’t it have been nice to know who was behind the door before you let me in?”
He demonstrated how, with a smartphone and his video doorbell, anyone could see who was standing at their door. He had already sold more than $1 million of the devices through his own website alone.
The ensuing negotiations made for good TV. Four Sharks declined to invest, leaving only Mr. O’Leary. He offered Mr. Siminoff an infusion of cash in return for a percentage of every sale. Mr. Siminoff balked, saying those payments would bleed him of cash when he needed it most. With the suspense soundtrack playing underneath, Mr. Siminoff responded: “Respectfully, Mr. Wonderful, we’re going to decline.”
A year later, Mr. Siminoff renamed his business Ring, and four years after that, Amazon bought it for more than $1 billion.
At the time of his “Shark Tank” appearance, Mr. Siminoff “was actually broke, so I did want to get money,” he told me recently. “I didn’t get money, but I got awareness and credibility, which was amazing. I think if it wasn’t for ‘Shark Tank,’ I don’t think Ring would exist today.”
Mr. Siminoff came back as a guest shark in 2018; all the Sharks stood up and clapped.
The QVC Economy
Companies appearing on “Shark Tank” have reinvented the wheel (though the Smart Tire Company didn’t convince the Sharks it was needed). One contender confidently asserted that he had created a “vortex chamber” that harnesses the Earth’s rotation to create electricity. (The Sharks didn’t get it either. He left empty-handed.) The Sharks were pitched a wakeboard-like device that, when attached to an airplane, would allow people to fly. (No thanks. Too much of a liability risk.)
There are a lot of crazy inventions out there.
There are some pretty mind-numbing ones, too (insurance, enterprise software, energy production) that power the economy. But those kinds of companies are rarely reflected on “Shark Tank” for one simple reason: They don’t make for good TV.
Robert Herjavec, a Shark since the first season, has an expertise in cybersecurity. He likes to tell the story of taking Mr. Burnett out for dinner in the show’s early years and asking why producers weren’t bringing to the sound stage more of the back-end companies he gravitated toward.
As Mr. Herjavec recalls, Mr. Burnett told him, “I don’t know how to say this to you, but what you do is boring. You’re missing the entire point of the show.”
That dinner, Mr. Herjavec says, changed his perspective. “I need to invest in things that the consumer is going to get excited about,” he said.
What people get excited about, it turns out, is merchandise that you might purchase impulsively in the checkout line at TJ Maxx. Or, in Target or on the QVC shopping network, platforms where Lori Greiner, one of the mainstay Sharks, has strong connections. “What is a winning product? What do people want? Those are the basics,” Ms. Greiner said.
“Shark Tank” Over the Years
Season 7 (2015-16)
Simply Fit Board, an exercise board created by a mother-daughter duo, clinched a deal with Shark Lori Greiner. The founders said they did a million dollars in sales in the 24 hours after the show aired.
Season 11 (2019-20)
After 10 years, entrepreneurs recognize the value of “Shark Tank” as a potential marketing platform for their products.
Season 12 (2020-21)
Scores of small businesses closed during the pandemic, but “Shark Tank” celebrated the founders who were able to pivot, like Foam Party Hats.
Season 15 (2023-24)
More first-time entrepreneurs stepped onto the set, making the show feel more like the early seasons.
More than two-thirds of the U.S. economy is driven by consumer spending, and while that includes less tangible things like auto insurance, Ms. Greiner leans into the relatable. She has backed “Shark Tank” companies with some of the biggest sales: Scrub Daddy, the smiley-faced sponge; Simply Fit, the exercise balance board; and the Squatty Potty toilet stool.
Mr. Herjavec learned his lesson. Soon after his dinner with Mr. Burnett, he took an equity stake in what he says is his most memorable investment: Tipsy Elves, a company that makes ugly Christmas sweaters. It has done about $200 million in sales.
What You Don’t See in the Tank
Venture capitalists praise the show for introducing the masses to business concepts like “landed costs” and “scaling.” The show has also helped entrepreneurs find out what their company is worth.
Founders coming from small towns who might not have deep connections to major investors can use “Shark Tank” as a barometer, said Michael Jones, founding partner of Science Inc, a Los Angeles-based investment firm which has poured money into consumer brands like the canned water company Liquid Death and Dollar Shave Club.
“You can get a sense of what terms at least the Sharks think are normal,” he said.
But, venture capitalists are often quick to add, the show does not reveal the nitty-gritty of the negotiation process. The painstaking effort of combing through a company’s financials and ownership structure and analyzing the market sector happens off camera.
During that process, deals agreed to during the taping might be restructured or the founders or Sharks are allowed to walk away. According to an 2023 analysis from Forbes, roughly half of the deals clinched on the show never actually closed.
“They’re a platform to promote entrepreneurship and small businesses,” said Taryn Jones Laeben, founder of early-stage advisory and investment firm IRL Ventures, “more than they are a direct window into the venture capital world.”
Tod Wilson, the pie maker who appeared on the very first episode and received a handshake deal, decided not to go through with the offer. He eventually secured a bank loan. After some ups and downs, he continues to sell in Wegman’s and ShopRite supermarkets as well as online.
He beat the odds. While the show promotes the upside of the American dream, many entrepreneurs face constant challenges to stay in business. Nearly half of all small businesses fail within the first five years.
“I don’t think people know how hard it is to be one of the ones that have made it,” Ms. Lee, the Columbia Business School professor, said. “The problem with social media and everything is that we only hear about the success stories.”
Marketing Muscle
Ms. Lee is also the founder of 37 Angels, an early-stage investment firm. She says she has done due diligence on dozens of companies that have appeared on “Shark Tank.” None of them, she says, described the show primarily as way to get funding. It was a way to market their products.
With nearly 4 million viewers, the show has become a cultural phenomenon. Dozens of blogs and podcasts are dedicated to the show and hundreds of memes on social media reference it (“Hello sharks. Today I am seeking $100,000 so I can just vibe for a bit”). Educators like Ms. Lee use episodes as case studies, and educational programs like Junior Achievement use it to teach students about how to start businesses.
Sarah Paiji Yoo, one of the founders of Blueland, which makes sustainable cleaning products, didn’t really need an investment. By the time she appeared on the show in 2019, she had already raised $3 million in venture capital. The funding she got from Mr. O’Leary was about “driving more awareness of our product,” and credibility, she told me later. Her company has now done more than $200 million in sales.
Dave Heath, co-founder of Bombas, the sock retailer, described the show as a “megaphone.” He appeared in 2014, and two months later his company sold $1.2 million worth of socks. Bombas has now surpassed $1.7 billion in lifetime revenue, making it the show’s most successful company.
Reinventing the wheel isn’t necessary to impress the Sharks. But some have tried.
ABC
The possibility of television exposure also piques the interest of traditional retailers. Ann Crady Weiss, the co-founder of Hatch, was scheduled to tape a “Shark Tank” segment with her husband to pitch a baby changing pad that doubled as a scale. Before the filming, she flew out to Target’s headquarters in Minneapolis to meet a buyer.
“I decided to leverage the fact that we were going to be on TV,” Ms. Weiss recounted. “The buyer gave us a shot at Target because of the ‘Shark Tank’ appearance.”
“We turn you into a rock star and you become part of the ‘Shark Tank’ culture and the lore of ‘Shark Tank’,” said Mr. O’Leary. “Your deal becomes legend and stays in syndication for decades. What venture capital can do that?”
On the weekend in June, toward the end of the second day of “Shark Tank” tapings, a young man in a black T-shirt burst through the set’s familiar doors to pitch his restaurant in Queens. He had saved $600,000, which impressed the Sharks, who offered encouragement. At one point, Mr. O’Leary said, “you should be mentoring me.”
Near the end of his time in front of them, Mr. John stood up, walked over and handed him his personal phone number.
“This is what I wanted,” the founder said before walking off.
Business
Erewhon and others shut by fire set to reopen in Pacific Palisades mall
Fancy grocer Erewhon will return to Pacific Palisades in an entirely rebuilt store, as the neighborhood’s luxury mall, owned by developer Rick Caruso, undergoes renovations for a reopening next August.
Palisades Village has been closed since the Jan. 7 wildfire destroyed much of the neighborhood. The outdoor mall survived the blaze but needed to be refurbished to eliminate contaminants that the fire could have spread, Caruso said.
The developer is spending $60 million to bring back Palisades Village, removing and replacing drywall from stores and restaurants. Dirt from the outdoor areas is also being replaced.
Demolition is complete and the tenants’ spaces are now being restored, Caruso said.
“It was not a requirement to do that from a scientific standpoint,” he said. “But it was important to me to be able to tell guests that the property is safe and clean.”
Erewhon’s store was taken down to the studs and is being reconfigured with a larger outdoor seating area for dining and events.
When it opens its doors sometime next year, it will be the only grocer in the heart of the fire-ravaged neighborhood.
The announcement of Erewhon’s comeback marks a milestone in the recovery of Pacific Palisades and signals renewed investment in restoring essential neighborhood services and supporting the community’s long-term economic health, Caruso said.
A photograph of the exterior of Erewhon in Pacific Palisades in 2024.
(Kailyn Brown/Los Angeles Times)
“They are one of the sexiest supermarkets in the world now and they are in high demand,” he said. “Their committing to reopening is a big statement on the future of the Palisades and their belief that it’s going to be back stronger than ever.”
Caruso previously attributed the mall’s survival to the hard work of private firefighters and the fire-resistant materials used in the mall’s construction. The $200-million shopping and dining center opened in 2018 with a movie theater and a roster of upmarket tenants, including Erewhon.
“We’re honored to join the incredible effort underway at Palisades Village,” Erewhon Chief Executive Tony Antoci said in a statement. “Reopening is a meaningful way for us to contribute to the healing and renewal of this neighborhood.”
Erewhon has cultivated a following of shoppers who visit daily to grab a prepared meal or one of its celebrity-backed $20 smoothies.
The privately held company doesn’t share financial figures, but has said its all-day cafes occupy roughly 30% of its floor space and serve 100,000 customers each week.
Erewhon has also branched out beyond selling groceries.
Its fast-growing private-label line now includes Erewhon-branded apparel, bags, candles, nutritional supplements and bath and body products.
Erewhon will also open new stores in West Hollywood in February, in Glendale in May and at Caruso’s The Lakes at Thousand Oaks mall in July 2026.
About 90% of the tenants are expected to return to the mall when it reopens, Caruso said, including restaurants Angelini Ristorante & Bar and Hank’s. Local chef Nancy Silverton has agreed to move in with a new Italian steakhouse called Spacca Tutto.
In May, Pacific Palisades-based fashion designer Elyse Walker said she would reopen her eponymous store in Palisades Village after losing her 25-year flagship location on Antioch Street in the inferno.
Fashion designer Elyse Walker announced the reopening of her flagship store at the Palisades Village in May.
(Myung J. Chun/Los Angeles Times)
“People who live in the Palisades don’t want to leave,” Walker said at the time. “It’s a magical place.”
Caruso carried on annual holiday traditions at Palisades Village this year, including the lighting of a 50-foot Christmas tree for hundreds of celebrants Dec. 5. On Sunday evening, leaders from the Chabad Jewish Community Center of Pacific Palisades gathered at the mall to light a towering menorah.
A total of 6,822 structures were destroyed in the Palisades fire, including more than 5,500 residences and 100 commercial businesses, according to the California Department of Forestry and Fire Protection.
Caruso said he hopes the shopping center’s revival will inspire residents to return. His investment “shows my belief that the community is coming back,” he said. “Next year is going to be huge.”
Business
How the ‘Wicked’ Movies Boosted the Musical’s Broadway Sales
Oct. 30, 2003
Broadway Opening
“Wicked” is an undisputed juggernaut — one of the biggest productions in musical theater history. The stage show, by the composer Stephen Schwartz and the librettist Winnie Holzman, has grossed $1.8 billion on Broadway, and $6.2 billion globally. Worldwide, it has been seen by more than 72 million people.
But none of that was a foregone conclusion. Based on Gregory Maguire’s 1995 novel, which in turn was based on L. Frank Baum’s “The Wonderful Wizard of Oz,” the musical had a so-so reception during its pre-Broadway run in San Francisco in the spring of 2003. In New York that fall, it divided critics when it opened on Broadway at the Gershwin Theater, starring Idina Menzel as the green-skinned “wicked witch,” Elphaba, and Kristin Chenoweth as her frenemy, Glinda, a.k.a. the Good Witch of the South. (“There’s Trouble in Emerald City” was the headline on the review in The New York Times.)
“You wake up the morning after opening night, and some of those notices were pretty devastating, and you think, ‘Oh, well, this is the final word,’” Mantello said. “But then the audiences are telling you a completely different story.”
The production pretty quickly became a fan favorite, and over the years, audiences made the show their own. The “Wizard of Oz” base was, of course, a huge factor — the 1939 film is a much-loved American classic — but, also, the musical’s depiction of female friendship became a central part of its allure, and kept audiences returning for repeat viewings.
March 23, 2006
1,000th Broadway Performance
“Once word kicked in, it took on a life that none of us could have ever predicted,” Mantello said. “It was the audience, and not a critical consensus, that turned it into the hit that it became.”
Menzel, the original Elphaba, won a Tony Award for best leading actress in a musical in 2004. In 2005, the day before her final performance, she fell through a trap door onstage; she couldn’t perform at her last show, but made a cameo in a red tracksuit.
Sept. 27, 2006
‘Wicked’ International
The show expanded rapidly, and now has a global footprint. The London production opened in September 2006, after the prior year’s introduction of a North American tour and a production in Chicago, where it ran for three and a half years. Los Angeles, Japan and Germany began in 2007; and Australia in 2008. In the years since, productions have run in the Netherlands, Mexico, South Korea and Brazil; productions are still running in London and South Korea, and touring in North America.
Oct. 30, 2018
Another Milestone: 15 Years
In 2018, the show celebrated its 15th anniversary, a milestone achieved by few shows. And “Wicked” has continued to outpace its peers: It has since become the fourth-longest-running production in Broadway history, following “The Phantom of the Opera,” “Chicago” and the top-grossing show, “The Lion King.”
Sept. 14, 2021
‘Wicked’ Reopens After the Shutdown
Broadway shows were closed from the spring of 2020 through the fall of 2021 because of the coronavirus pandemic. In August 2021, the touring production of “Wicked” restarted in Dallas — the first Broadway touring production to do so — and in September 2021 “Wicked” reopened on Broadway.
Dec. 7, 2022
Yes, We’re Making a Movie
The idea of adapting “Wicked” for the screen goes way back. In fact, it predates the stage musical. Universal Pictures had optioned the novel but couldn’t figure out how to turn it into a film, and agreed to let Schwartz, working with Holzman, develop it into a stage musical first. (Universal didn’t miss out; it is one of the lead producers of the stage musical, along with Marc Platt and David Stone.)
Once the stage production became a ginormous hit, the film adaptation was an inevitability, but still there were false starts, abandoned schedules and creative-team overhauls along the way. News coverage of a film adaptation began in 2010; at one point, the director Stephen Daldry was attached and a 2019 release was announced; in 2021 Jon M. Chu became the director, and the next year he said it would be split into two films.
Grande and Erivo had both become fans via the stage show. Grande saw it with her grandmother on Broadway in 2004 (and met Chenoweth backstage); Erivo saw the London production when she was a student.
Feb. 11, 2024
Marketing Saturation
The “Wicked” films’ rollout began in earnest in early 2024, with a trailer that ran during the Super Bowl, and the actresses were ubiquitous throughout that year, including in promotional spots that aired during the Paris Summer Olympics. (NBC Universal, the parent company of Universal Pictures, has the American broadcasting right to the Games.)
The marketing budgets for most Hollywood films are vastly larger than those for Broadway shows. In this case, because there are two films — one released last year and one released last month — the marketing campaigns, as well as publicity and news coverage, was doubled. The films had an estimated marketing budget of at least $125 million each — or $250 million total — along with the numerous brand partnerships that also generated a ton of attention. By contrast, the Broadway show has an annual marketing budget of about $11 million.
Nov. 22, 2024
‘Wicked: Part I’ U.S. Theatrical Release
The movies’ effect on the stage production was significant. In 2023, “Wicked” grossed $97.85 million on Broadway; in 2024 it was up nearly 15 percent, to $112.13 million, and this year it expects to be up another 13.4 percent, to $127.3 million.
The show says the effect in London has also been sizable: It expects London “Wicked” grosses this year to be up 29.4 percent over last year, and last year the grosses were up 10.5 percent over the previous year. (The show also holds a record for the highest weekly grosses in West End history, set this year during the week that included New Year’s Day.)
“It’s amazing,” Schwartz said in an interview. “Before the movies came out, I wondered what the impact would be on the show. I don’t think any of us anticipated how strong it would be. You can never plan on this kind of thing, or even hope for it, but it’s really lovely.”
Dec. 25, 2024
$5 Million on Broadway
The Broadway production of “Wicked” grossed $5 million over Christmas week last year (just a month after the first film’s release) — it is the first and only Broadway show to gross that much in a single week. (It was also the first show to cross the $2 million mark and the $3 million mark.)
Nov. 21, 2025
‘Wicked: For Good’ U.S. Theatrical Release
What’s next? The second movie was released just before Thanksgiving, giving a second surge for “Wicked” in all its forms, and now the year looks to be ending strong for the stage show. The Broadway production grossed more than $3 million over Thanksgiving week (by comparison, it had generally been grossing $2.3 million to $2.5 million during Thanksgiving weeks that preceded the films’ release). Just around the corner: the Christmas and New Year’s stretch, always a good period for Broadway, and this year, even more so for “Wicked.”
Broadway grosses reflect the most recent box office receipts as reported by the Broadway League. Grosses are not adjusted for inflation.
Images: Sara Krulwich/The New York Times and Universal Pictures.
Videos: CBS; Wicked Musical Korea; Broadway.com; Theater Mania; Ariana Grande; Pink News; Out; FOX; NBC; Universal Pictures.
Produced by Leo Dominguez, Hollis Johnson, Rebecca Lieberman and Josephine Sedgwick. Additional reporting by Leo Dominguez and Jeremy Singer-Vine.
Business
Senators dig into FCC chairman’s role in Jimmy Kimmel controversy
U.S. senators peppered Federal Communications Commission Chairman Brendan Carr with questions during a wide-ranging hearing exploring media censorship, the FCC’s oversight and Carr’s alleged intimidation tactics during the firestorm over ABC comedian Jimmy Kimmel’s comments earlier this fall.
Sen. Ted Cruz (R-Texas) called Wednesday’s hearing of the Senate Commerce, Science and Transportation Committee following the furor over ABC’s brief suspension of “Jimmy Kimmel Live!” amid social media backlash over Kimmel’s remarks in the wake of conservative activist Charlie Kirk’s killing.
Walt Disney Co. leaders yanked Kimmel off the air Sept. 17, hours after Carr suggested that Disney-owned ABC should punish the late-night comedian for his remarks — or face FCC scrutiny. Soon, two major TV station groups announced that they were pulling Kimmel’s show, although both reinstated the program several days after ABC resumed production.
Progressives were riled by the President Trump-appointed chairman’s seeming willingness to go after broadcasters in an alleged violation of their First Amendment rights. At the time, a few fellow Republicans, including Cruz, blasted Carr for suggesting to ABC: “We can do this the easy way or hard way.”
Cruz, in September, said that Carr’s comments belonged in the mob movie “Goodfellas.”
On Wednesday, Carr said his comments about Kimmel were not intended as threats against Disney or the two ABC-affiliated station groups that preempted Kimmel’s show.
The chairman argued the FCC had statutory authority to make sure that TV stations acted in the public interest, although Carr did not clarify how one jumbled sentence in Kimmel’s Sept. 15 monologue violated the broadcasters’ obligation to serve its communities.
Cruz was conciliatory Wednesday, praising Carr’s work in his first year as FCC chairman. However, Democrats on the panel attempted to pivot much of the three-hour session into a public airing of the Trump administration’s desire to punish broadcasters whom the president doesn’t like — and Carr’s seeming willingness to go along.
Sen. Ted Cruz (R-Texas) called Wednesday’s Senate committee hearing.
(Associated Press)
Carr was challenged by numerous Democrats who suggested he was demonstrating fealty to the president rather than running the FCC as an independent licensing body.
Despite the landmark Communications Act of 1934, which created the FCC, the agency isn’t exactly independent, Carr and fellow Republican Commissioner Olivia Trusty testified.
The two Republicans said because Trump has the power to hire and fire commissioners, the FCC was more akin to other agencies within the federal government.
“Then is President Trump your boss?” asked Sen. Andy Kim (D-N.J.). The senator then asked Carr whether he remembered his oath of office. Federal officials, including Carr, have sworn to protect the Constitution.
“The American people are your boss,” Kim said. “Have you ever had a conversation with the president or senior administration officials about using the FCC to go after critics?”
Carr declined to answer.
Protesters flocked to Hollywood to protest the preemption of “Jimmy Kimmel Live!” after ABC briefly pulled the late-night host off air indefinitely over comments he made about the fatal shooting of conservative activist Charlie Kirk.
(Genaro Molina / Los Angeles Times)
The lone Democrat on the FCC, Anna M. Gomez, was frequently at odds with her fellow commissioners, including during an exploration of whether she felt the FCC was doing Trump’s bidding in its approach to merger approvals.
Trump separately continued his rant on media organizations he doesn’t like, writing in a Truth Social post that NBC News “should be ashamed of themselves in allowing garbage ‘interviews’” of his political rivals, in this case Sen. Raphael Warnock (D-Ga.).
Trump wrote that NBC and other broadcasters should pay “significant amounts of money for using the very valuable” public airwaves.
Earlier this year, FCC approval of the Larry Ellison family’s takeover of Paramount stalled for months until Paramount agreed to pay Trump $16 million to settle a lawsuit over his grievances with edits of a CBS “60 Minutes” pre-election interview with Kamala Harris.
“Without a doubt, the FCC is leveraging its authority over mergers and enforcement proceedings in order to influence content,” Gomez said.
Parts of the hearing devolved into partisan bickering over whether Democrats or Republicans had a worse track record of trampling on the 1st Amendment. Cruz and other Republicans referenced a 2018 letter, signed by three Democrats on the committee, which asked the FCC to investigate conservative TV station owner Sinclair Broadcast Group.
“Suddenly Democrats have discovered the 1st Amendment,” Cruz said. “Maybe remember it when Democrats are in power. The 1st Amendment is not a one-way license for one team to abuse the power.
“We should respect the free speech of all Americans, regardless of party,” Cruz said.
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