Jeff Probst a Constant for ‘Survivor’ as It Nears 44th Game

This image released by CBS shows Jeff Probst in the premiere episode of the 44th season of the reality competition series "Survivor," airing March 1. (CBS via AP)
This image released by CBS shows Jeff Probst in the premiere episode of the 44th season of the reality competition series "Survivor," airing March 1. (CBS via AP)
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Jeff Probst a Constant for ‘Survivor’ as It Nears 44th Game

This image released by CBS shows Jeff Probst in the premiere episode of the 44th season of the reality competition series "Survivor," airing March 1. (CBS via AP)
This image released by CBS shows Jeff Probst in the premiere episode of the 44th season of the reality competition series "Survivor," airing March 1. (CBS via AP)

There was a time Jeff Probst could not imagine doing what he will on Wednesday, being on hand as host for the start of a 44th season of “Survivor.”

That’s not simply because of the transitory nature of television, where a 44th season of anything is a rarity, even a program that created a sensation when it first aired on CBS in the summer of 2000.

In those early days, there was a restlessness about Probst. He’d studied screenwriting, acted and wrote and directed a well-received indie film in 2001. He tried a short-lived talk show. He admits “I had a chip on my shoulder about being called a ‘host.’”

Yet as series creator Mark Burnett began stepping away, Probst added “producer” to his title and has since ascended to the level of “showrunner” — industry lingo that means he’s in charge of everything.

At age 61, he’s all in, an evangelist for “Survivor.”

“I have never been so excited to be part of the show,” he told The Associated Press in a recent interview. “I hope it’s apparent. I hope it’s clear that I’m really into ‘Survivor.’”

It remains a marvelously-designed game, one that tests survival skills in a forbidding — if lovely — environment along with the social and scheming skills to remain standing at the end to collect the $1 million prize. Even if one cast is a drag, “one of the show’s greatest strengths is that every season hits a reset button,” said Dalton Ross, executive editor at large at Entertainment Weekly and a veteran chronicler of the show.

So it can, um, survive a scandal like a player being kicked off in 2019 after being accused of inappropriately touching young women or tweaks that don’t work, like the “fire tokens” that were introduced and abandoned after one season.

Other new ideas, like a hidden immunity idol or the “David vs Goliath” season that Probst really loved, freshen the show as it adheres to a basic structure.

Producers were also ordered by CBS to increase diversity, which Probst said has added to the show’s richness. The 18 castaways for the new season include five Black contestants, three Latinos and an Asian American.

“People that don’t watch ‘Survivor,’ I think they may mistake it for some sort of survivalist’s show or they label it with this idea that it’s just a reality show,” Probst said. “When, really, ‘Survivor’ is one of the biggest adventures you can ever go on, either as a player or a viewer.”

As Probst became more involved in how the show was put together, there was a clear difference in how he did his job onscreen, Ross said.

“Jeff started to put more opinion and personality into his hosting,” he said. “Up to that point, it was more of a master of ceremonies role. You realized he could be the eyes and ears of the audience and can speak for the audience. It was one of the most important changes he made as a host. It made him an element in the game that the players had to contend with.”

“Survivor” has settled on Fiji as a permanent set after bouncing around for several years to different locations. The jungle is a character in itself. High-definition photography and drones makes things more visually appealing than ever, Ross said.

Probst demurs when asked his opinion of the best player ever, and admits some of the seasons start to run together. He’d lose a “Survivor” trivia contest, he said.

“I will see an early cut of an episode, and I can’t remember who was voted out, even though I was the one at Tribal Council who snuffed out their torch,” he said.

And, yes, he’s excited about the new season, calling it one of the most entertaining groups of players the show has put together in a while.

“It’s intoxicating,” he said. “I honestly believe one of the reasons we’re still on the air is that it’s compelling. If people watch the first episode of ‘Survivor’ 44,’ I don’t know how you’re not going to watch the second episode. You’re going to be hooked.”

Starting Wednesday, Probst will host a podcast with show producer Brittany Crapper and fan Jay Wolff that will air after the conclusion of each episode. “On Fire with Jeff Probst” will an insider’s look at how the show is put together, he said.

CBS doesn’t want to spoil the magic, but deepen the relationship with fans, he said.

With broadcast television struggling for viewers, “Survivor” is a dependable performer for CBS and is one of those rare family shows that people of all ages can enjoy. The show seems destined to be around for awhile and hard to imagine without the man who’s “not just the face of ‘Survivor’ but the pulse of ‘Survivor’ as well,” Ross said.

Asked if he would want to stay with the show as long as it’s on the air, Probst at first calls the question impossible.

Then he quickly answers.

“At this point, yes,” he said. “Really, yes. Because I’ve built my life around ‘Survivor’ and I’ve fashioned all of my creative ideas through ‘Survivor.’ Every single conversation, book I read, podcast I listen to, every single thing ... will get filtered through my ‘Survivor’ filter.”



‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
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‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)

“Joker: Folie à Deux” is the No. 1 movie at the box office, but it might not be destined for a happy ending.
In a turn of events that only Arthur Fleck would find funny, the follow-up to Todd Phillips’ 2019 origin story about the Batman villain opened in theaters nationwide this weekend to a muted $40 million, according to studio estimates Sunday, less than half that of its predecessor. The collapse was swift and has many in the industry wondering: How did the highly anticipated sequel to an Oscar-winning, billion-dollar film with the same creative team go wrong?
Just three weeks ago, tracking services pegged the movie for a $70 million debut, which would still have been down a fair amount from “Joker’s” record-breaking $96.2 million launch in Oct. 2019. Reviews were mixed out of the Venice Film Festival, where it premiered in competition like the first movie and even got a 12-minute standing ovation, The Associated Press reported.
But the homecoming glow was short-lived, and the fragile foundation would crumble in the coming weeks with its Rotten Tomatoes score dropping from 63% at Venice to 33% by its first weekend in theaters. Perhaps even more surprising were the audience reviews: Ticket buyers polled on opening night gave the film a deadly D CinemaScore. Exit polls from PostTrak weren’t any better. It got a meager half star out of five possible.
"That’s a double whammy that’s very difficult to recover from," said Paul Dergarabedian, the senior media analyst for Comscore. “The biggest issue of all is the reported budget. A $40 or $50 million opening for a less expensive movie would be a solid debut."
“Joker: Folie à Deux” cost at least twice as much as the first film to produce, though reported figures vary at exactly how pricey it was to make. Phillips told Variety that it was less than the reported $200 million; Others have it pegged at $190 million. Warner Bros. released the film in 4,102 locations in North America. About 12.5% of its domestic total came from 415 IMAX screens.
Internationally, it's earned $81.1 million from 25,788 screens, bringing its total global earnings estimate to $121.1 million. In the next two weeks, “Joker 2” will also open in Japan and China.
Second place went to Universal and DreamWorks Animation's “The Wild Robot,” which added $18.7 million in its second weekend, bringing its domestic total to nearly $64 million. Globally, it's made over $100 million. Warner Bros.' “Beetlejuice Beetlejuice" took third place in weekend five, Paramount's “Transformers One” landed in fourth and Universal and Blumhouse's “Speak No Evil” rounded out the top five.
The other big new release of the weekend, Lionsgate's “White Bird,” flopped with just $1.5 million from just over 1,000 locations, despite an A+ CinemaScore.
Overall, the weekend is up from the same frame last year, but “Joker's” start is an unwelcome twist for theater owners hoping to narrow the box office deficit.
Phillips and star Joaquin Phoenix have said they aspired to make something as “audacious” as the first film. The sequel added Lady Gaga into the fold, as a Joker superfan, and delved further into the mind of Arthur Fleck, imprisoned at Arkham and awaiting trial for the murders he committed in the first. It’s also a musical, with elaborately imagined song and dance numbers to old standards. Gaga even released a companion album called “'Harlequin,” alongside the film.
In his review for The Associated Press, Jake Coyle wrote that “Phillips has followed his very antihero take on the Joker with a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was.”
The sequel has already been the subject of many think pieces, some who posit that the sequel was deliberately alienating fans of the first movie. In cruder terms, it’s been called a “middle finger.” But fans often ignore the advice of critics, especially when it comes to opening their wallets to see revered comic book characters on the big screen.
“They took a swing for the fences,” Dergarabedian said. “But except for a couple of outliers, audiences in 2024 seem to want to know what they’re getting when they’re going to the theater. They want the tried and true, the familiar.”
It has some high-profile defenders too: Francis Ford Coppola, who last week got his own D+ CinemaScore for his pricey, ambitious and divisive film “Megalopolis,” entered the Joker chat with an Instagram post.
“@ToddPhillips films always amaze me and I enjoy them thoroughly,” Coppola wrote. “Ever since the wonderful ‘The Hangover’ he’s always one step ahead of the audience never doing what they expect.”
“Megalopolis,” meanwhile, dropped a terminal 74% in its second weekend with just over $1 million, bringing its total just shy of $6.5 million against a $120 million budget.
Deadline editor Anthony D’Alessandro thinks the problem started with the idea to make the Joker sequel a musical. “No fan of the original movie wanted to see a musical sequel,” he wrote on Saturday.
The first film was also divisive and the subject of much discourse, then about whether it might send the wrong message to the wrong type of person. And yet people still flocked to see what the fuss was about. “Joker” went on to pick up 11 Oscar nominations, including best picture and best director, and three wins. It also made over $1 billion and was the highest-grossing R-rated film of all time, until this summer when Marvel's “Deadpool & Wolverine" took the crown.