Culture
Were the Paris Olympics the greatest ever? They were on TV and streaming
It feels like a lifetime ago, before Léon Marchand had a nation cheering his every stroke at La Défense Arena, before Simone Biles had us out of our seats watching the women’s gymnastics all-around competition, before Steph Curry put the French crowd to sleep at Bercy Arena, and before the U.S. women’s basketball team eked out a thrilling finish for its eighth straight gold medal, there was a looming question that hung over the Paris Games as the world arrived in the City of Light.
Could the Olympics get its groove back?
Prior to Paris, Olympic viewership had tumbled significantly in recent cycles. The COVID-moved Tokyo Olympics averaged 15.6 million viewers per night in 2021 across NBC’s various television and digital platforms. The 2022 Beijing Winter Olympics averaged 11.4 million across all platforms, the least-watched Olympics in the modern era. It was a sharp decline from the 19.8 million average for the 2018 Winter Games in Pyeongchang, South Korea.
But the Olympics bloomed again in France’s capital. Beginning with the opening ceremony through Saturday, NBCUniversal posted a 16-day total audience delivery average of 31.3 million viewers across the combined live Paris Prime (2-5 p.m. ET) and U.S. prime time (8-11 p.m. ET/PT). The final numbers will be in this week. Some of the viewership data was simply extraordinary, including 12.7 million viewers on NBC and Peacock live on a Tuesday afternoon to see Biles and Team USA win gymnastics gold.
As we have noted throughout, there is important context: NBC rolled up its numbers for the Paris Games to include live viewership from 2-5 p.m. ET featuring NBC, Peacock, USA Network, CNBC, E!, Paris Extra 1, Paris Extra 2 and additional NBCU digital platforms, as well as U.S. prime-time viewership on NBC, Peacock and USA Network. (Total audience delivery is based upon live-plus-same day custom fast national figures from Nielsen and digital data from Adobe Analytics.) The network said the revised methodology was a more accurate way to present viewership information for Paris because viewers had never before had the option to watch a live fully produced Olympics on NBC or Peacock in the daytime in addition to the traditional prime time (which was a curated presentation given the competition day had ended in Paris, six hours ahead of Eastern time in the U.S.). That’s how they sold it to advertisers.
“We decided to be progressive in our thinking about how we present the Games,” said Mark Lazarus, the chairman of NBCUniversal Media Group in an interview late last week. “We chose to modernize our production and our presentation of the Games. When we changed our methodology on presentation, we changed the methodology in conjunction with the marketing community.”
I think these have been the best Olympics of my lifetime, and I say that as someone who covered the Olympics on-site in Salt Lake City, Athens, Turin, Beijing, Vancouver, London and Sochi. Unlike covering the Games in person, I experienced these Games via NBC and Peacock, and the combination of being able to process events live on Peacock and elsewhere, and then watch a curated presentation was an excellent experience.
With the Olympic flame over Paris now extinguished, here are 20 media-centric thoughts and reported items on the Paris Games.
1. NBC leaned heavily on celebrity for its presentation, and you should expect this for future Olympics. The opening ceremony featured Kelly Clarkson and Peyton Manning. The closing ceremony featured Jimmy Fallon. You could not go a day without seeing Snoop Dogg. There were endless crowd shots of famous people (hey, John Travolta) in the crowd.
There were times the celebrity-drenched coverage felt too much, but NBC makes no apologies. They see the Olympics as a mix of sport and entertainment, especially when the time difference does not offer live sports in prime time.
“We did research over what’s been going well and what’s not over the last bunch of Games, and we thought about how we could bring up the Q score value of our broadcast,” said Lazarus. “Now Paris did some of that on its own. Some of the people that are here, we had nothing to do with them being here. We’re not dwelling on them, but we’re definitely taking a shot of them in the crowd if it’s relevant to our audiences or interesting to the American public.”
2. NBC’s “Gold Zone” coverage, an “NFL RedZone”-inspired whip-around show that streamed daily from 7 a.m. to 5 p.m. on Peacock, was an addictive and uber-modern way to watch the Games. It ranked in the top five most-watched Olympics titles on Peacock and was a technological success given all the elements at play.
Scott Hanson, who has served as the host of “NFL RedZone” since its inaugural season in 2009 and is also an NFL Network host, was a genius hire, and NBC got a free run of positive press from that move alone. Fellow hosts Matt Iseman, Andrew Siciliano and Jac Collinsworth provided the requisite high-energy metabolism needed for the production. “Gold Zone” was one of the massive successes of these games for NBCU.
3. The top broadcast medalists for me were the primary race callers for the track and field competition — NBC’s Leigh Diffey and Rob Walker of the Olympic Broadcasting Service (the world feed). Diffey was phenomenal on his calls, particularly 0n Quincy Hall winning the men’s 400.
NEVER doubt Quincy Hall. 😱
A EPIC comeback to win 400m GOLD! #ParisOlympics
📺 NBC & Peacock pic.twitter.com/qQJqfxrH9n
— NBC Olympics & Paralympics (@NBCOlympics) August 7, 2024
Same with Cole Hocker’s win in the men’s 1500.
AN UPSET IN THE MEN’S 1500M! 🤯
Cole Hocker surges on the final stretch for OLYMPIC GOLD.
📺 #ParisOlympics on NBC and Peacock pic.twitter.com/4ElH2uxckn
— NBC Olympics & Paralympics (@NBCOlympics) August 7, 2024
Yeah, he missed the Noah Lyles call, but I give grace for things like that because he doesn’t have the benefit of a delete key as I do. NBC’s track and field group of Diffey, Sanya Richards-Ross, Ato Boldon, Kara Goucher, Trey Hardee, Paul Swangard and Lewis Johnson were consistently excellent during the meet. Walker’s calls could be heard on Peacock if you watched the coverage, and the Brit really knows how to call a race. Also, Noah Eagle and LaChina Robinson were sensational in calling the Americans’ 67-66 win over France in the women’s basketball gold-medal game on Sunday.
4. Laurie Hernandez showed an innate gift to communicate gymnastics to a broad audience combined with genuine enthusiasm for the success of her former teammates (she and Biles won gold in the team competition at the 2016 Rio Olympics). It made for an exceptional viewing experience if you watched women’s gymnastics live on Peacock.
5. I thought NBC’s swimming coverage went incredibly light on the revelations in recent months about dozens of positive drug tests among Chinese swimmers. It’s a global story and one that was particularly significant on the final day of swimming as China won gold in the men’s 4×100-meter medley relay. It deserved more than the perfunctory coverage we received on NBC during its prime-time rebroadcast of the swimming competition last Sunday night.
6. There will be a significant number of NBA broadcasting jobs open given NBC and Amazon will enter the market in 2025 as media rights-holders. Given his Hall of Fame profile and the reps he undertook in Paris, Dwyane Wade will get a serious look from networks if he’s interested. Wade said he’s worked with both a speech and vocal coach for preparation.
“When I got asked to do this, I looked at this as probably one of the biggest challenges in my 2024 calendar year,” Wade said. “… I decided to dive into it, understanding that it was going to be a lot of things that was going to be learned on the fly. … Being able to sit right next to Noah (Eagle) … I’ve definitely asked him a lot of questions about this world, stuff that I didn’t know. Something as simple as, ‘Hey, bro, what does No. 1 mean? What is a No. 1 team?’ I don’t know those things. I’m not afraid to say what I don’t know. But most importantly just being myself. That’s the one thing that everyone told me, and that’s what I told myself when I signed up to do this. I’m going to bring my brand of basketball to the airwaves, understanding, just like in life, some people are going to love it. Some people will not love it.”
NBC Sports president Rick Cordella said no talent decisions have been made for NBC’s NBA coverage other than Mike Tirico and Eagle will play significant roles as play-by-play voices. (Tirico will be the No. 1.) But NBC now has a relationship with Wade, and that should seriously count should Wade decide he wants to do this. NBC also needs multiple analysts, so Wade would not have to be on the No. 1 team at the start.
“We’ll sit down this fall and talk about talent in the pregame show, talk about talent on our play-by-play analyst positions,” Cordella said. “We’ll need multiple because we have games on three nights a week.”
Dwyane Wade called U.S. men’s basketball games during these Olympics. It could put him in position to land an NBA job if he wants one. (Jesse D. Garrabrant / NBAE via Getty Images)
7. Look for NBC to take the multi-view feature for the Olympics that was part of the Peacock experience and use it for its coverage of the Premier League.
“It makes the most sense when you have a lot of things going on at once and you don’t get that with Big Ten football or one NFL game at a time,” Cordella said. “But for the Premier League with those Saturday morning windows, you could expect to see that. I don’t know if we’ll have that for launch or not, so don’t hold me to that. … But certainly over time you will see that product feature with that sport.”
8. The biggest surprise for NBC as far as viewership was how many people they were able to get during the day parts of their coverage. An educated guess would be part of the reason is the increase in a work-from-home environment in a post-COVID world.
“We were able to aggregate a significant audience,” Cordella said. “For instance, a men’s basketball game at 11:50 in the morning drew 11 million viewers for that game. Peacock often got close to five million streamers a day. So that’s probably the biggest surprise we had.”
The singular most remarkable afternoon viewership number came on Saturday when NBC and Peacock averaged 19.5 million viewers for the U.S. men’s basketball team’s thrilling 98-87 victory over France. It was the most-watched gold-medal game since the 1996 Olympics in Atlanta. The game peaked at 22.7 million viewers from 5-5:15 p.m. ET in the final quarter of the game.
9. How did NBC executives view those who had an issue with parts of the opening ceremony?
“In 7,000 hours, you’re gonna have people who don’t like something, and I understand and respect that,” Lazarus said. “As it relates to the opening ceremonies, we have an outline of what’s going to happen, but there were things we didn’t know were going to happen. I think the way I look at it is we document the proceedings. We didn’t comment on those things that were somewhat controversial. As long as we are taking the role as the group that is just showing the proceedings that are being shown by the organizing committee, and we’re not making commentary about them, I don’t feel we’ve done anything to create a controversy for ourselves.”
10. I asked followers on X to offer thoughts on what they thought of NBC/Peacock’s coverage of the Paris Games. Some really interesting replies here.
11. As I reported last week after talking to NBC Sports brass, I would be stunned if Snoop Dogg is not back for future Olympics.
Snoop Dogg became his own storyline at these Paris Olympics. Except NBC to welcome back for future Games. (Christian Petersen / Getty Images)
12. NBC is always going to have U.S.-centric viewing — and that’s understandable. But they short-changed viewers significantly when it came to the prime-time coverage of the final day of the women’s heptathlon. Belgium’s Nafissatou Thiam won her third successive Olympic women’s heptathlon gold medal — an otherworldly achievement in the sport — but that was barely touched on as the coverage focused heavily on American Anna Hall.
Hall is a phenomenal athlete, she has a great story, and she was a big part of NBC’s marketing promotion heading into the Games. She’s going to be a star in L.A. four years from now. So this isn’t about the coverage she received, there simply had to be a way to give viewers more on Thiam in prime time given this is a once-in-a-century athlete in her event.
13. The point person for NBC’s Olympics production is Molly Solomon, the executive producer and president of NBC Olympics production. She’s the first woman to hold that position. Since covering the Olympics, I’m not sure I have seen NBCU receive better overall social media feedback than they had in Paris, and that matters along with the traditional viewership metrics.
Some of that is, of course, related to how the competition played out (it was a great Olympics for the U.S.), but it’s also related to how the audience perceived the production including how friendly it was for viewers. Solomon sets herself up as the person to lead NBCU on what will be its biggest Olympics and most-anticipated production ever — the Los Angeles Games — four years from now.
14. Will people stay with Peacock after the Games end? The data will come in a couple of months. Cordella said that 70 percent of those who signed up for the NFL wild-card game in January were with Peacock two months after that game.
“We do have some good data on (people) coming in for sports and staying,” he said. “We’re also lucky that this is now mid-August and we’re heading into football season with Big Ten games, NFL games on Peacock, and the exclusive NFL game on Friday of opening weekend in Brazil (Eagles-Packers).”
15. I was very mixed on how NBC presented the opening ceremony, and I would love to see a little more traditional sports or news people be part of it as opposed to the heavy celebrity. (I do not think NBC will follow my wishes here for Italy in 2026 and L.A.)
GO DEEPER
At the Olympic opening ceremony, a force of nature upset the plan but not the point
16. Lazarus said the Olympics will make money for NBCU. “It will exceed our revenue goals, and be more revenue than we’ve ever had before in an Olympics,” he said. “We’ll make a nice profit, and I’m sure at some point, we’ll talk about it on an earnings call.”
17. Lewis Johnson has served as an Olympics reporter for NBC since the Sydney Games — his primary focus for Summer Games is track and field — and he consistently delivers for viewers by asking pertinent questions about why things happened. He also frequently does what someone in his position should do — he takes advantage of his role as a member of the host broadcasting team and uses that access to unearth details for the audience, as he did with Noah Lyles in Paris. Every Olympics I find myself thinking: This guy does an excellent job.
18. Rowdy Gaines said the 2028 Olympics will be his last as an Olympics commentator. NBC has used Michael Phelps as a roving correspondent of sorts for the Paris Games, but when he’s been specifically assigned as a swimming commentator, he has been tremendous for the audience. NBC should really push to get Phelps as the replacement for Gaines, and both should be on swimming in L.A.
19. The live closing ceremony was where NBC’s celebrity push was brutal for Olympic viewers. Ask yourself what Jimmy Fallon added here for viewers? The dude asked Katie Ledecky, “When do you fly home or are you going to swim home?” It’s cross-promotion over value for the audience.
Terry Gannon, Tara Lipinski, Johnny Weir and Tirico were more than good enough for this. Also, on Tirico: This is how you quickly and definitively acknowledge an error.
20. Getty Images photographer Hector Vivas, take a bow. You too, Ezra Shaw. And check out these photos as well.
GO DEEPER
Paris Olympics in pictures: 32 captivating photos from each event of the Summer Games
(Top photo of NBC correspondent Snoop Dogg: Carl Recine / Getty Images)
Whatever you do, don’t think of a bird.
Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?
Before you answer, read this poem, which is quite literally about not thinking of a bird.
Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.
Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.
As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.
Are those worlds real?
Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.
Until then, we find consolation in fangles.
When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.
Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.
Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.
A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.
But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”
The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.
Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.
This interview has been edited and condensed.
“I felt really close to him, and my memory of him.”
Wheaton on channeling a co-star’s performance.
There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”
It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.
That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.
“You’re just a kid,
Gordie–”
“I wish to fuck
I was your father!”
he said angrily.
“You wouldn’t go around
talking about takin those stupid shop courses if I was!
It’s like
God gave you something,
all those stories
you can make up, and He said:
This is what we got for you, kid.
Try not to lose it.
But kids lose everything
unless somebody looks out for them and if your folks
are too fucked up to do it
then maybe I ought to.”
I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?
So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.
I could hear and feel it. It was the weirdest thing. It’s like I was right back there.
I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.
“Rob gave me a gift. Rob gave me a career.”
Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.
Rob really encouraged us to be kids.
Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.
We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”
The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”
Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”
The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.
They chanted together:
“I don’t shut up,
I grow up.
And when I look at you I throw up.”
“Then your mother goes around the corner
and licks it up,”
I said, and hauled ass out of there,
giving them the finger over my shoulder as I went.
I never had any friends later on
like the ones I had when I was twelve.
Jesus, did you?
When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”
And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.
“I was really really really excited — like jumping up and down.”
The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.
I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.
I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity.
That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.
“Will you shut up and let him tell it?”
Teddy hollered.
Vern blinked.
“Sure. Yeah.
Okay.”
“Go on, Gordie,”
Chris said. “It’s not really much—”
“Naw,
we don’t expect much from a wet end like you,”
Teddy said,
“but tell it anyway.”
I cleared my throat. “So anyway.
It’s Pioneer Days,
and on the last night
they have these three big events.
There’s an egg-roll for the little kids and a sack-race for kids that are like eight or nine,
and then there’s the pie-eating contest.
And the main guy of the story
is this fat kid nobody likes
named Davie Hogan.”
When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.
I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.
“I feel the loss.”
Wheaton remembers River Phoenix.
The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.
I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.
What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.
And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.
Near the end
of 1971,
Chris
went into a Chicken Delight in Portland
to get a three-piece Snack Bucket.
Just ahead of him,
two men started arguing
about which one had been first in line. One of them pulled a knife.
Chris,
who had always been the best of us
at making peace,
stepped between them and was stabbed in the throat.
The man with the knife had spent time in four different institutions;
he had been released from Shawshank State Prison
only the week before.
Chris died almost instantly.
It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.
Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.
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