Peter Alexander, who covered Washington for NBC News for more than a decade, is leaving the network to join MS NOW, according to people familiar with his plans.

Alexander, 49, will serve as an anchor and chief national reporter for MS NOW. He will have a weekday program and also handle breaking news coverage throughout the day.

A 22-year veteran of NBC News, Alexander served as chief White House correspondent and co-host of the Saturday edition of “Today” with Laura Jarrett. He is among the most familiar faces in the White House briefing room.

Alexander told viewers at the end of his Saturday broadcast that he is departing NBC News but did not mention his new job. A representative for MS NOW declined comment.

MS NOW is the progressive-leaning cable channel formerly known as MSNBC. The network changed its name after it was spun off from Comcast into a new company called Versant.

After the split, MS NOW ended its relationship with NBC News. Journalists who worked on both MSNBC and NBC News had to chose which entity they would work for going forward.

Correspondents Jacob Soboroff and Ken Dilanian switched from NBC News to MS NOW. Data guru Steve Kornacki decided to stick with NBC News as he also has assignments at NBC Sports. Willie Geist, a co-host on MS NOW’s “Morning Joe,” is an exception as he continues to anchor NBC’s “Sunday Today.”

Alexander is the first NBC journalist to cross over to MS NOW since the split. His deal with Versant also gives him the opportunity to contribute to sports coverage on the company’s other cable properties, USA Network and the Golf Channel.

Alexander will anchor the 11 a.m. Eastern hour on MS NOW, succeeding Ana Cabrera, who is leaving the network when its daytime programming changes take effect in June.

Alexander joined NBC News after serving as an anchor on KPCQ in Seattle.

He was White House correspondent from 2012 to 2026, covering four presidencies.

An aggressive questioner, Alexander has been chastised by President Trump publicly over news conference questions that made him unhappy.

Movie Reviews reveal 2026’s best Certified Fresh films are arriving this month with stellar critical acclaim. March 2026 brings an extraordinary lineup of top-rated releases. Critics and audiences are celebrating these exceptional films together.

Project Hail Mary Dominates with 95% Critical Acclaim

Project Hail Mary opened March 20, 2026, becoming the standout theatrical certif fresh hit of the month. Ryan Gosling stars as science teacher Ryland Grace, waking up light-years from home with no memory. The sci-fi epic, directed by Phil Lord and Chris Miller, earned 95% from critics and 96% audience approval. Cinephiles praise its visual splendor and emotional depth.

According to reviews, the film balances spectacular space sequences with genuine human moments that resonate deeply. Amazon MGM Studios released this 156-minute masterpiece based on Andy Weir’s beloved novel. Early box office numbers exceed expectations significantly.

Streaming Certified Fresh Titles Light Up March

March 24, 2026 delivered major streaming victories. GOAT (Greatest of All Time) hit platforms with 84% critic score and 93% audience approval. This animated sports comedy features Caleb McLaughlin as an anthropomorphic goat chasing championship glory. Send Help arrived simultaneously, earning 93% critical praise with 87% viewer satisfaction. Both titles capture hearts through humor and heart.

Streaming platforms flooded March with 69 new movies and shows total. Critics celebrated the diverse quality spanning cult classics, acclaimed dramas, and blockbuster franchises all at once.

Beyond the Blockbusters: Other Standout Certified Fresh March Releases

“Visually, it is strong and immersive, but the real strength of Project Hail Mary is not spectacle alone. It is the sense of wonder and humanity running through the entire experience. The film knows when to be exciting, when to be funny, and when to slow down and let the emotional moments land.”

— IMDb Critics, Film Review Community

What Makes a Film Certified Fresh on Rotten Tomatoes

Certified Fresh status represents the industry’s gold standard for quality filmmaking. A movie earning this distinction must achieve at least 75% rating from professional critics. Additionally, films require 5 or more Top Critics reviews for certification. Recent updates tightened these standards to ensure only genuinely excellent films qualify.

This rigorous process explains why March’s nine certified fresh titles matter significantly. Critics spent hours analyzing each film thoroughly before adding their names. The combined critical weight behind these movies suggests spring viewing will be exceptional.

Plan Your March Movie Marathon Now – Which Film Will You Watch First?

Theater-goers should prioritize Project Hail Mary before it leaves cinemas. The 156-minute runtime demands a big screen experience. Meanwhile, streaming subscribers face delightful choices between GOAT’s comedy charm and Send Help’s heartfelt drama. Ready or Not 2 and Late Shift round out theatrical options perfectly.

New releases continue flowing through March 27, 2026, keeping entertainment options fresh. Kiki’s Delivery Service rereleased March 13, while Stand by Me returned March 27 with new appreciation. Which certified fresh film matches your mood this weekend?

Sources

• Rotten Tomatoes – Official certification database and critical scoring system
• Variety – Best movies streaming in March 2026 coverage
• The Wrap – Most anticipated films arriving in March analysis

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Paul McCartney sauntered onto the stage of the Fonda Theatre, took in the 1,200 faces before him — “I can see the whites of your eyes,” he said — then offered up a brief history lesson about where we’d gathered Friday night.

The Fonda, he told us, opened 100 years ago; back then, he added, it was called the Music Box.

“Cool little place, innit?”

At 83, McCartney is well into his cool-little-place era.

Last year the rock legend played a string of concerts at New York’s tiny Bowery Ballroom while in town for “Saturday Night Live’s” 50th anniversary; a few months after that, he hit the Santa Barbara Bowl as a kind of warm-up for the latest leg of his Got Back world tour.

Friday’s underplay — the first of two instant sell-outs at the Fonda — came as McCartney is drumming up interest in a new studio album he’ll release in May. Outside the venue, a double-decker bus was parked with signage advertising the LP, which is called “The Boys of Dungeon Lane” after a road in his Liverpool hometown.

But that hardly seemed like the purpose of the show itself, which lasted about an hour and 40 minutes and didn’t even include a performance of the album’s lead single. The truth is that Sir Paul genuinely appears to get a kick out of these intimate gigs — out of standing right in front of a crowd and doing the magic trick that is a song like “Get Back” or “Jet” or “Got to Get You Into My Life.”

And why wouldn’t he?

If a Paul McCartney concert in an arena or a stadium is a finely honed spectacle of boomer nostalgia and industrial-strength charm, one of his shows in a club or a theater is a chance to play music, which after six and a half decades still clearly turns his wheels.

You wouldn’t say the shows remind McCartney that he’s a regular guy. (Those six and a half decades have made him anything but.) What they might do, though, is remind him why he became so widely adored — valuable self-knowledge for an artist whose great subject has always been the transformative power of love.

Here, as in Santa Barbara, he and his seven-piece band (which featured three horn players) did a pared-down version of the most recent Got Back set, opening with a killer one-two punch — “Help!” into “Coming Up” — that alone said plenty about McCartney’s range and endurance.

“Let Me Roll It” had a funky swagger, while “Getting Better” chugged with cheerful insistence; “I’ve Just Seen a Face” showed off the group’s crisp harmonies and “Lady Madonna” its tight rhythmic interplay. After “Let ’Em In,” McCartney asked his band member Brian Ray to show off the song’s all-important bass line: a single note plucked over and over and over again.

Friday’s show was the first of two at the Fonda.

(MJ Kim)

He did a few other comic bits, including a memory of Tony Bennett singing without a microphone as a way to demonstrate the excellent acoustics of a concert hall — the punch line was that he later saw Bennett do the same thing at the Beverly Hilton — and some gentle ribbing of the folks sitting up in the “posh seats” of the Fonda’s balcony. Among them, McCartney pointed out, was Morgan Neville, director of the recent “Man on the Run” documentary about McCartney’s life in the aftermath of the Beatles’ breakup.

He also noted that his wife, Nancy Shevell, was in the house and dedicated “My Valentine” to her; truth be told, that one was a bit dreary, as was “Now and Then,” the so-called last Beatles song released in 2023 using machine learning to complete a scratchy demo left behind by John Lennon.

“Thank you, John, for writing that lovely song,” McCartney said afterward, which made it a little harder not to like.

In any event, there were more classics to come, not least a buoyant “Ob-La-Di, Ob-La-Da” and a “Let It Be”/“Hey Jude” twofer that inspired such a lusty singalong that McCartney probably could’ve gotten away with lip-syncing if he’d wanted to.

But of course he didn’t want to — that was kind of the whole point.