
Who is next after Stephen Colbert? The death of late-night TV... and the unlikely conservative star
CBS and its parent company, Paramount, announced that Colbert's show would 'end its historic run' in May 2026, just over a decade after it first launched.
'We consider Stephen Colbert irreplaceable and will retire the Late Show franchise at that time,' the broadcast executives said.
'We are proud that Stephen called CBS home. He and his broadcast will be remembered in the pantheon of greats that graced late night television.'
In fact, Colbert, 61, had the best ratings of all the traditional late-night 11.35pm show hosts before he got the chop.
The veteran presenter attracted 2.42 million viewers across 41 first-run episodes - easily outpacing ABC's Jimmy Kimmel Live! which had 1.77 million, and NBC's The Tonight Show Starring Jimmy Fallon which had 1.19 million, per LateNighter.
According to the TV specialist news site, the Late Show was the only one among nine mainstream programs tracked which drew more viewers in the second quarter of 2025 than the first, with a small audience growth of one percent.
So it's no wonder that Colbert's axing has got other left-leaning hosts shaking in their boots.
Kimmel, 57, blasted CBS via his Instagram stories. He reposted Colbert's announcement with the caption: 'Love you Stephen. F**k you and all your Sheldons CBS.'
Late night talk show host Andy Cohen, 57, also said he was 'stunned' by the news.
'I can't believe CBS is turning off the lights at 11:30 after the local news. I'm stunned. He's one of three late-night shows deemed worthy enough for an Emmy nomination. He produces a brilliant show,' he told Deadline.
'I think it's a sad day for late-night television. I think it's a sad day for CBS. I think Stephen Colbert is a singular talent. He's going to have an incredible next chapter.'
While it's likely that Colbert's demise could spark a bonfire of late-night shows like Kimmel's and Cohen's as the younger generation turns to TikTok over TV, there's also an unlikely rising star still attracting viewers to the small screen.
Greg Gutfeld on Fox News has been disrupting the TV genre once monopolized by the likes of Colbert, and Seth Meyers, whose Late Night with Seth Meyers show on NBC reigns supreme for post-midnight ratings.
Gutfeld! dominated late-night TV ratings in the second quarter of 2025 with an average of three million viewers.
This comes with a caveat that the show starts 95 minutes earlier than Colbert's, filling Fox News' 10pm slot, and attracts many of the right-wing network's faithful viewers who watch the network for several hours a day.
But it's not all down to timings and Fox's following - as Gutfeld attracted a key demographic of the smartphone generations who are being lost to online media.
The show was watched by 365,000 people aged between 25 and 54 in the second quarter of 2025, according to MSN.
Gutfeld! has a similar structure to the other late shows, with a monologue, roundtable, recurring gags, and rotating co-hosts, but behind the scenes it's a very different story.
The show reportedly runs off a creative team of around 20 people, according to Mediate, making it more authentic than its polished, liberal competitors.
As a result, it attracts viewers who wanted real talk over highly-scripted mainstream comedy.
The Late Show was also beleaguered by Trump's threats to sue his network, while Fox News enjoyed a post-election boom.
Colbert's program was cancelled just days after the host blasted the network's $16 million settlement with President Trump as a 'big fat bribe.'
Taking aim at CBS and Paramount Global, Trump's lawsuit accused producers of editing an October interview with Harris to sway public opinion in her favor.
The broadcast channel is also facing a probe by the Federal Communications Commission (FCC) into whether the interview violated 'news distortion' rules.
Complainants said the station broke the law by cherry picking only a portion of Harris' answer to a question about Middle East policy to present her in a favorable light.
Trump's lawsuit coincided with a planned $8.4 billion merger between Paramount and Skydance, which requires approval from the FCC.
Though the agency is prohibited from censorship or infringing the First Amendment rights of media, broadcasters cannot intentionally distort the news.
CBS previously said the complaint aims to turn 'the FCC into a full-time censor of content' which would result in an unconstitutional role and an impossible one for the agency.
In January, the FCC's chair Brendan Carr reinstated complaints about the 60 Minutes interview with Harris, as well as complaints about how Walt Disney's ABC News moderated the pre-election TV debate between then-President Joe Biden and Trump.
It also reinstated complaints against Comcast's NBC for allowing Harris to appear on 'Saturday Night Live' shortly before the election.
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Daily Mail
26 minutes ago
- Daily Mail
Nicole Scherzinger looks emotional as she performs her final Sunset Boulevard show on Broadway
Nicole Scherzinger brought the house down in a dramatic farewell performance as Norma Desmond in Sunset Boulevard on Sunday night. The former Pussycat Doll, 47, took to the stage one last time as the silent movie star and left fans stunned with her chilling finale look, featuring theatrical blood dripping down her neck. Nicole has won rave reviews for her role in the gritty Andrew Lloyd Webber classic, with her haunting portrayal of the character. In the lead up to her final show, tributes poured in to her via Nicole's social media. Her vocal coach described her as 'an absolute force of nature'. He revealed that on their first session, she looked at him right in the eyes and said: 'I'm a good student. Tell me what I need to do and I'm gonna get it done.' Nicole herself said that tonight's show would be 'magic in the making'. In a lengthy post to her Instagram she wrote: 'Today, the sun sets on Sunset Blvd for the final time. 'After living and breathing Norma Desmond for the past two years, it's almost impossible to grasp that today is the last show. What began as a limited run, then extended, now somehow, nearly 10 months on Broadway have flown by. 'Norma's story is for anyone who's ever felt alone. Lonely. Abandoned. Outcast. 'For anyone who never felt like they belonged. 'For those who once loved something deeply and had it taken from them, aching to reclaim it. 'For the dreamers. The fighters. The believers. The warriors. For those unshakable in their purpose and power, doing what they love most. ''This is my life. It always will is nothing else.'' She added: 'Norma has changed me forever. Thank you, Broadway 'for the magic in the making.' 'Thank you and to the entire beautiful, brilliant @andrewlloydwebber @jamielloyd @alanwilliamsmd @fabianaloise and to the entire beautiful, brilliant @sunsetblvdmusicalcompany, for everything.' Fans flocked to her comment section and penned: 'Just absolutely incredible. I saw it 3 times and I would have seen it more if I could lol. You are a force my love. So proud of you!!!!!! Love you queen!!!!!' In a lengthy post to her Instagram Nicole reflected emotionally on her final performance describing how deeply she connected with the character (pictured onstage during The 78th Annual Tony Awards performing a number from the musical) Fans flocked to her comment section and penned: 'Just absolutely incredible. I saw it 3 times and I would have seen it more if I could lol. You are a force my love. So proud of you!!!!!! Love you queen!!!!!' 'So happy I saw it twice. Wish I could have seen it 20 more times!' 'So beyond happy for you. Saw the show four (or was it five) times and every time you were even more nuanced, took different risks and had the audience in the palm of their hands. Brava! She's a Hawaiian Tony Winner!!!!!' 'You have given Norma the stage she deserves for a new Audience and a new generation! Saw it 3 times it was incredible every time! Brava my dear.' 'You have changed OUR lives forever with your talent, wisdom, bravery, and most of all your willingness to open up your heart and reveal it to us night after night. You are the North Star for all that it means to be a performer, and I am so beyond grateful that I got to live at a time in history to witness such beautiful art. Thank you, thank you, a thousand times thank you. ❤️ You are the GREATEST STAR OF ALL' The critically acclaimed musical, runs for approximately two hours and 35 minutes and and has earned Nicole a Tony at this year's awards. Nicole took over taking over the role from acting legend Glenn Close, 78, who won her third Tony Award in 1995 for the role. After watching Nicole's performance earlier this year, Glenn said: 'You can't approach Norma with a faint heart. She tests your metal [and] demands that you dig deep.' She continued: 'Nicole's performance is an act of raw artistry and astounding bravery. 'She and the entire production blew me away. I loved meeting Nicole, [her co-star] Tom Francis, and many members of the ensemble backstage afterwards!' Sunset Boulevard has been a huge success and grossed more than $1.08 million during its first week of six previews alone at the St. James Theatre in New York City. Nicole initially played the role of Norma when it opened in London in 2023, whilst West End legend Rachel Tucker served as her alternate. Last year, upon hearing the news that she would be starring the Broadway show, Nicole raved that she could 'hardly believe' that she was getting the chance. 'Little Nicole has waited for this her whole life. And I get to do it with this beautiful cast @sunsetblvdmusical and these two heroes of mine @andrewlloydwebber @jamielloyd,' she wrote on Instagram.


Daily Mail
an hour ago
- Daily Mail
Liam Neeson jokes that his favourite part of making The Naked Gun was filming 'sex scenes' with co-star Pamela Anderson
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The Guardian
an hour ago
- The Guardian
What the culture war over Superman gets wrong
We've entered the era of the superhero movie as sermon. No longer content with saving the world, spandex saviors are now being used to explain, moralize and therapize it. And a being from Krypton has shown up once again in a debate about real life; about borders, race and who gets to belong. Superman. Of all symbols. I've read reactionary thinkpieces, rage-filled quote tweets and screeds about the legal status of a fictional alien – enough to lose count. This particular episode of American Fragility kicked off because James Gunn had the audacity to call Superman 'the story of America'. An immigrant, by definition, as he was always meant to be. What set things off wasn't just the sentiment – it was who said it, and how plainly. Gunn, now headlining DC's cinematic future, told the Sunday Times that Superman was 'an immigrant who came from other places and populated the country'. He spoke of Superman's inherent kindness as a political statement in itself, noting that the film would play differently in some parts of America before adding, bluntly, that 'there are some jerks out there who are just not kind and will take it as offensive just because it is about kindness'. 'But screw them,' he added. It was that line – less the immigrant metaphor, more the unapologetic framing – that sent the usual outrage machine into motion. Enter Dean Cain, a former TV Superman. Cain accused Gunn of politicizing the character, which is remarkably foolish, considering Superman's been swatting at fascism since 1941. Meanwhile, over at Fox News, it's been a full meltdown over the idea that Superman, canonically not of this Earth, might be played as … not of this Earth. Liberal brainwashing, they suggested. Identity politics in a cape. But have they actually looked at David Corenswet? The man looks like he was made to sell oat milk in a Ralph Lauren ad. All cheekbones and cleft chin. If this is the foreign body in question, no wonder middle America has historically shrugged over Supes being an immigrant by definition. Even still, there's something telling about any collective gasp over a white, blue-eyed man with an immigrant backstory. The scramble to defend him says more than intended. For all the hand-wringing over Superman's alienness, what rarely gets named is how meticulously his story was crafted to cushion the unease of the topic at hand: otherness itself – the very thing people pretend was always central to his character. There are plenty of ways to frame the ridiculousness of this argument, clever ways to connect the dots, but the real fracture in Superman's myth hits, oddly enough, during a quiet scene in Tarantino's meditation on vengeance, Kill Bill: Vol. 2. In the scene, the villain, Bill (David Carradine) unpacks what makes Superman different from every other hero. 'What Kent wears – the glasses, the business suit – that's the costume,' Bill says. 'That's the costume Superman wears to blend in with us. Clark Kent is how Superman views us.' It's one hell of a tell – the kind of observation that pulls back the curtain on how Superman was engineered to understand the world, and how the world, in turn, reinforced how he should fit within it. From the start, Superman was never meant to be an outsider. His creators, Jerry Siegel and Joe Shuster – sons of Jewish immigrants – didn't craft him as a symbol of difference but as a projection of pure Americanness. They gave him a midwestern upbringing, an Anglo name in Clark Kent, and that square-jawed charm. Siegel and Shuster were working against the backdrop of unchecked antisemitism, at a time when Jewish immigrants faced hostility. But instead of exploring immigrant 'otherness', the artists imagined a version of America where that alienness could be easily discarded via an outfit change. Superman wasn't an outsider – he was the ideal immigrant, effortlessly slipping into a world that required no resistance. His story wasn't about struggling to belong, but about the fantasy of belonging, with the privilege of choosing whether or not to fight for it. That projection of safe, silent Americanness hasn't remained confined to the pages of comic books. Today's immigration politics run on the same fantasy. The myth of the 'good' immigrant – quiet, grateful, easy to assimilate – still runs wild. It's the same story that fuels the strange spectacle of politicians praising white South African farmers as victims of racial persecution, all while demonizing migrants from Latin America, the Middle East or sub-Saharan Africa. The notion of who deserves to stay has always been racialized, selective and violent. Tom Homan, Trump's border czar, has said that a person's physical appearance could be a factor in the decision to question them. He later said it could not be 'the sole reason'. But in April, Juan Carlos Lopez-Gomez, a US-born citizen from Georgia, was detained in Florida even after his mother showed authorities his birth certificate. In New York, Elzon Lemus, an electrician, was stopped because he 'looked like someone' agents were after. Maybe he didn't wear his suit and glasses that day. Superman, the immigrant who makes people comfortable, has never been just a comic book character. He's been a metaphor and living testament to the kind of 'other' that wealthy nations have always preferred: those who blend in, assimilate and rarely challenge the systems that demand their silence. If you're still not convinced that Superman's assimilationist fantasy is alive and well, just look at a White House meme from 10 July 2025: Trump dressed as Superman, with the words 'Truth. Justice. The American Way.' It's a glaring example of how cultural symbols are repurposed – hijacked, really – to serve a narrow and self-congratulatory vision of America. That's the trick of Superman: he's been a blank canvas of a both-sides heroism, which makes everyone feel seen. You don't even need to like or dislike Superman for the Maga debate to pull you in, as it was always meant to. The culture war still appointed a celebrity to govern the most powerful nation on Earth. It still turned a corporate diversity initiative into a national crisis. And it took a serious conversation about immigration and made a polished, all-American character its face. The culture war distorts, and it continues, relentless as ever. Noel Ransome is a Toronto-based freelance writer