Lifestyle
Firings at CBS’ ’60 Minutes’ reflect the fight for media control in the age of Trump
Correspondents of CBS’ 60 Minutes pose for a portrait in 2023. From left to right, they are Sharyn Alfonsi, L. Jon Wertheim, Bill Whitaker, Lesley Stahl, Scott Pelley, Cecilia Vega, and Anderson Cooper. Former Executive Producer Bill Owens sits on the far right. Only Wertheim, Whitaker and Stahl remain at the program.
CBS Photo Archive/CBS via Getty Images/CBS
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CBS Photo Archive/CBS via Getty Images/CBS
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When CBS fired Scott Pelley on Tuesday night, the new 60 Minutes executive producer, Nick Bilton, told Pelley it was for insubordination at a staff meeting the day before.
The veteran correspondent argues he was defending the DNA of 60 Minutes and the integrity of its journalism.
The battle royale over the network’s most prestigious and profitable news program is part of a broader fight over the direction of CBS News.
And given CBS’s acquisition by a billionaire family whose business interests have become intertwined with the political interests of President Trump, it reflects a larger war over control of the media in the current moment.
That father and son, Larry and David Ellison, bought CBS’ parent company, Paramount, last summer. In January, they became co-owners of TikTok’s U.S. operations. Now they’re seeking approval from Trump’s regulators to buy Warner Bros. Discovery, the parent company of CNN.
A glamorous show shorn, for now, of most its stars
CBS fired Cecilia Vega, a correspondent, and Tanya Simon, the executive producer, from 60 Minutes last week. They are shown in this photo at the 2026 White House Correspondents’ Association Dinner on April 25, 2026 in Washington, D.C.
Kristina Bumphrey/Variety via Getty Images/Variety
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Kristina Bumphrey/Variety via Getty Images/Variety
But the specifics of this individual episode matter — for 60 Minutes, CBS, its audience of millions, and even the news business itself.
The program has been the most glamorous post in broadcast news. The correspondents are the stars of the show. And now, there are just three of them.
Anderson Cooper left last month, concerned over the direction of the network’s coverage. Last week was a virtual bloodbath: correspondents Cecilia Vega and Sharyn Alfonsi were fired. So were a producer and two show executives — including Tanya Simon, a longtime staffer who had stepped up as executive producer when her predecessor resigned in protest before the Ellisons’ takeover.
With Pelley’s ouster, only correspondents Lesley Stahl, Bill Whitaker, and Jon Wertheim remain. Now they are considering whether to resign, according to two associates with knowledge.
Their brand-new boss, Bilton, was previously a tech reporter for The New York Times and an investigative reporter for Vanity Fair. He executive-produced a documentary for Netflix about a couple accused of laundering Bitcoin and has been a producer on several other films.
Notably, he has no experience in television news.
Neither does Bari Weiss, whom David Ellison installed as the network’s editor in chief last October. The Ellisons also bought her center-right views-and-news site, The Free Press.
She has maintained that the network of Walter Cronkite needs a makeover for the digital moment. She has also contended for years that CBS, along with the rest of mainstream media, is too reflexively anti-Trump, anti-Israel, and too woke.
A rejection of CBS News executives’ overtures
The new executive producer of 60 Minutes, Nick Bilton, has been a tech journalist and documentary filmmaker, but lacks experience in broadcast news.
Matt Winkelmeyer/Getty Images/Getty Images North America
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Matt Winkelmeyer/Getty Images/Getty Images North America
Bilton attempted to set a conciliatory tone at Monday’s meeting — his first with the show. Pelley, a formidable veteran correspondent and former CBS Evening News anchor, wasn’t having it.
Pelley called Bilton unwelcome and unqualified. And Pelley said that Weiss was attempting to “murder” the program.
In firing Pelley on Tuesday, Bilton said the journalist had hijacked the meeting and rejected overtures to work constructively through their differences. (NPR obtained a copy of the firing notice.) Bilton wrote that Pelley’s “antipathy to the future of the show came through loud and clear.”
In his own statement late Tuesday evening, shared with NPR, Pelley accused CBS’s new news leadership of killing 60 Minutes‘ DNA and pushing him “to inject falsehoods and bias into a politically sensitive story” and “to include assertions that are unverified.”
The accusations, to which CBS has not yet responded, echo those made by Alfonsi and Vega, the two correspondents fired last week.
Earlier this year, Alfonsi publicly complained after Weiss held one of her stories at the last minute, and kept it frozen for weeks, demanding an on-camera interview with a Trump White House official that never played out. It ran, unchanged from the intended version, with additional statements from the administration tacked on to the end.
After being fired, Vega said in a statement obtained by NPR that her team had “experienced efforts to insert political bias into our stories.”
“Let’s call this what it is: censorship, both censorship and self-driven” Vega continued. “It is dangerous for the show and dangerous for democracy.”
Weiss previously rejected Alfonsi’s and Vega’s allegations. (CBS said Vega’s claims, for example, were “not based in reality” while expressing appreciation for her work.)
Weiss and Bilton say digital threat requires a 60 Minutes overhaul now
In a meeting this morning, Weiss said that Pelley chose his own path — that is, to be fired rather than to find a way to work through his concerns, according to attendees. The network and Weiss have not yet publicly addressed Pelley’s accusations of interference.
Bilton and Weiss say they respect the show’s traditions, its accomplishments and its legacy of enterprise reporting, extended interviews and visual storytelling. It rose in the ratings 9% over the past season under Simon.
The two news leaders say, however, 60 Minutes needs to be overhauled before it becomes increasingly irrelevant in the era of streamers and other sources of news, information and entertainment in the digital age.
Interviews with 12 current and former CBS News staffers, from producers to executives, suggest great reservations and suspicions remain about Weiss’ judgment and her ability to handle the prominent and even famous journalists on whom her division relies.
Weiss had initially sought to reinvent the CBS Evening News, dropping a two-anchor format that had sagged in the ratings. Cooper turned down Weiss’ overtures to anchor it and left the network altogether, concerned about her approach, according to associates. (They spoke on condition of anonymity because Cooper has not chosen to speak publicly on the matter.)
David Ellison became chairman and CEO of CBS’ parent company, Paramount, after buying it last year.
Noam Galai/Getty Images for Paramount/Getty Images North America
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Noam Galai/Getty Images for Paramount/Getty Images North America
The ratings have continued to sag under new anchor Tony Dokoupil. And some CBS journalists, including producers who have left the Evening News, have publicly accused Weiss of making editorial decisions driven by politics. She has rejected those claims.
The decision to take on overhauling two key shows — one listing, one highly profitable, both high profile — carries significant risks for Weiss and the network, even apart from other considerations.
But the Ellisons’ presence cannot be ignored.
When Shari Redstone was negotiating the sale of CBS’s parent company, Paramount, to the Ellisons’ Skydance Media last year, the network announced the end of Stephen Colbert’s late night show. He had been one of the president’s most biting and acerbic critics.
David Ellison also made a series of concessions directly to Trump’s chief broadcast regulator, Federal Communications Commission Chair Brendan Carr, gutting CBS’s diversity, equity and inclusion initiatives and appointing a conservative ombudsman to field complaints of bias against its news reporting.
Carr and other regulators approved the Paramount deal last summer.
The accommodations echo those made by other media titans.
Amazon and Blue Origin founder Jeff Bezos remade the editorial pages of the Washington Post, which he owns, into a far more hospitable zone for Trump at the outset of his second term. So did Los Angeles Times owner Dr. Patrick Soon-Shiong, a noted medical device inventor. Amazon and Blue Origin have multi-billion dollar contracts with the federal government. Soon-Shiong’s medical research firm routinely has patent applications up for review with federal regulators. One was approved Tuesday.
The Ellisons are hoping to win approval from federal regulators next month for their purchase of Warner Bros. Discovery in a deal valued at more than $110 billion. It would include Warner Bros. Studio, HBO and CNN, among other properties.
As Weiss routs CBS News’ old guard, the question of what role she might play at CNN — and what changes that portends at CBS — hangs over journalists at the two networks. The fate of 60 Minutes serves as a high-stakes case study for both.
Here’s something American concertgoers might not know: before a musician from another country can take the stage in the U.S., someone has to file paperwork with the federal government on their behalf. And not just any paperwork — a petition, hundreds of pages long, stacked with press clippings, award documentation, testimonial letters from other artists, venue contracts, a detailed tour itinerary, and evidence that the artist is legitimately accomplished at what they do.
And that’s just to start the clock in a process that may take over a year to complete.
This is the reality for international artists — from musicians to painters, dancers to comedians — who want to come to the U.S. to share their work. It’s a complicated, expensive process that arts advocates say has long made the country a difficult place for foreign artists to access. But now, they say it’s gotten much worse.
The time it takes to process a visa has dramatically increased. The number of available interview slots at U.S. embassies is backlogged. Application costs have surged. And there’s an added layer of uncertainty: paperwork can be perfect, fees can be paid, and yet artists still can be turned away at the border.
For U.S. audiences, all of this means a quiet loss of global cultural exchange.
What does the artist visa process look like?
To illustrate the nonimmigrant visa process for artists, let’s take Kongero, a small, Swedish folk a cappella group that completed its second U.S. tour last fall.
First step: File a petition.
The group’s booking agent planned the tour and gathered all the necessary documentation to file a petition with U.S. Citizenship and Immigration Services (USCIS) to demonstrate that the group qualified for a P-3 visa, the category for culturally unique artists.
Once USCIS approved the petition, each individual artist still needed to wait for a separate visa interview at a U.S. consulate in their country of residence.
Swedish Folk’appella group Kongoro, Anna Wikenius, left, Lotta Andersson, Sophia Hultqvist Kott and Emma Björling perform in Greensboro, Vt., in December 2023.
Danielle Devlin
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Danielle Devlin
According to several artists and attorneys, nonimmigrant visa processing had historically taken around two to four months, though processing time started to increase after a backlog built up during the pandemic, and then increased further after the Trump Administration’s crackdown on immigration.
Visas can be withheld and reviewed again any time the federal government announces an immigration policy change, like a travel ban update, or revisions to the petition review policy, said Zelo Safi, a senior attorney with the Artistic Freedom Initiative. There have been several similar changes during the Trump Administration.
Right now, the average time to review a P visa petition like Kongero’s is 11 1/2 months. Processing for an O-1 visa petition — for individual artists of “extraordinary ability” — has grown to a little over a year. The problem is that the government won’t even accept petitions more than a year in advance for all O visas, which are temporary work visas for those with extraordinary ability or achievement.
According to one manager of a dance troupe from Spain, the process is “completely out of sync with how the arts industry works.” Like many artists and managers NPR reached out to, this dance troupe manager requested that NPR not use their name out of fear that there would be reprisals against their future visa applications. Others declined to be interviewed for the same reason.
A statement to NPR from the U.S. Citizenship and Immigration Services said that the new procedures are due to “increasing threats to public safety and national security.” It continued, “Verifying identities and personal histories from various countries requires a rigorous process — one that prioritizes the safety of the American people over everything else.”
Step two: take out your wallets
If you can’t wait a year — and most artists can’t — you pay. Specifically, you pay $2,965 per petition for premium processing, another travel fee that has increased in recent months. According to immigration attorneys, paying that fee is essentially a mandatory step for artists if they want to make their scheduled tour dates.
Kongero paid it, and they still ran into trouble. The group was granted only two months of entry instead of the year they’d applied for, forcing them to cancel their planned 2026 summer, fall and winter appearances.
Matthew Covey, executive director of Tamizdat, a legal nonprofit that helps performing artists navigate U.S. visa processing, has watched his client numbers drop since premium processing effectively became mandatory. He says that they’re choosing not to come to the U.S., because for many, the cost of total travel expenses has become too great.
“The current situation is [that] a tour that would have been marginal and maybe break-even, even five years ago, is a losing-money project now,” he said.
Step three: the interview
Once USCIS approves a petition, each individual artist still needs to wait for and complete a separate visa interview at a U.S. consulate in their country of residence. It is the Department of State that issues visas if everything checks out. With current backlogs, an interview can take months to schedule, and they cannot be missed.
Group member Emma Björling missed the first week of a two-month U.S. tour after the Trump administration instituted a new, mandatory in-person interview requirement last September.
When the new requirement was announced, she was on tour with a different musical group in Canada. Now, because of the new policy, she first needed to fly all the way back to Sweden to do the interview, before returning to North America to do the U.S. tour.
The U.S. tour ended up running $8,000 in the red. Kongero won’t return to the U.S. in 2026.
“With all the additional fees and costs and troubles and stress … it’s not worth it, not financially, and not stress-wise and workload-wise,” Björling said.
In a statement, the Department of State said, “Under President Trump, the United States is unapologetic in implementing America First visa policies. We welcome the many foreign artists who follow the required procedures and meet all of the visa requirements under U.S. law.”
But if your paperwork is approved and your interview is completed, and your fees are paid, congratulations! You have a visa!
But does that mean you get to enter the country?
Maybe not.
Step four: get past the border
Once artists have their travel arrangements set, their petition approved and their passport stamped, one final hurdle awaits once they arrive in the U.S.
U.S. Customs and Border Protection (CBP) agents have final authority at ports of entry — and arts organizations say the current climate has introduced a new level of unpredictability in how that authority gets used.
Comedian and theater-maker Alaa Shehada had come to the U.S. twice before to perform his one-man show, The Horse of Jenin, about growing up in the West Bank. He had a valid O-1B visa when he landed at John F. Kennedy Airport last November for another scheduled performance. But this time around, he says officers pulled him aside for additional questioning as soon as they saw his Palestinian Authority passport.
Alaa Shehada in The Horse of Jenin.
Dario & Misja Photography
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Dario & Misja Photography
After hours of questioning, Shehada said he was handcuffed and transferred to an immigration detention facility in New Jersey, where he described spending the night with other detainees in a cramped room on a concrete floor, shocked and confused.
He was placed on a return flight to his residence in Amsterdam the following morning — one day before his scheduled performance in Massachusetts. Neither he nor his producer received a clear explanation for why his visa was rejected. In a statement to NPR, CBP said Shehada was refused entry for “not being forthcoming with facts” during his interview with CBP officers.
“When an immigrant attempts to enter the U.S. without possessing an immigrant visa or is not forthcoming with facts during an interview, travelers may be subject to detention and refusal as statutes or visa terms may be violated,” the statement read. “A visa is a privilege, not a right, and only those who respect our laws and follow the proper procedures wil
l be welcomed.”
About a month later, the Trump administration issued an expansive travel ban that suspended visa issuance to individuals applying using any travel documents issued or endorsed by the Palestinian Authority.
“Of course, it is scary to sit with people with power who can just kill your dreams as simple as that,” Shehada said, who had planned to tour additional U.S. and Canadian cities. “You feel how unfair and humiliating that is.”
Covey says there’s heightened scrutiny at U.S. ports of entry, but less consistency with how that scrutiny is applied. In a statement, CBP said, “Admissibility determinations are made on a case-by-case basis using law enforcement, national security, and immigration information available at the time of inspection. CBP officers have the authority to question travelers, conduct inspections, and determine admissibility consistent with U.S. law.”
Jennifer Roe, executive director of Folk Alliance International, which connects artists with presenters globally, says that this means there’s no room for even the smallest of mistakes.
“I know a lot of artists are fearful of coming into the U.S.,” she said. “They’re hearing stories of being asked random questions at the border and being sent home because they didn’t answer something correctly.”
Ripple effects
When an international artist cancels their tour, the effects ripple outward.
The presenters who were stops on Shehada’s upcoming visit had already begun marketing the show and selling tickets. The New York Theatre Workshop had built an entire festival around the show. Boom Arts, a small presenter in Portland, had rented a theater for Shehada’s live performance. While several of the presenters were able to switch to showing a filmed version of the show, Shehada’s tour producer Jenny Tibbels said the losses totaled tens of thousands of dollars.
Shehada’s performance at the University of Massachusetts Amherst Fine Arts Center had been planned for nearly a year before it was canceled at the last minute. Executive Director Jamilla Deria said the organization had been eager to share a story from a Palestinian artist with the community.
“In Western Massachusetts, where our communities are more rural, access to storytelling and the perspective of folks who are coming from parts of the world that you don’t have direct engagement with is not only lost for that night, but maybe lost for good,” she said.
Tracy Francis, a presenter with Boom Arts, said that recent travel bans and changes in immigration policy are forcing her to make difficult decisions about which international artists she can safely invite to share their art in person. She’s already shaped her next season around which countries’ artists are realistically likely to be allowed in.
“I was bringing more European artists for the first time next season, just because their visas are more likely to get approved,” she said. “I also was more careful about making sure that artists I am bringing are on a larger tour, so there’s more shared costs.”
Shehada said his experience traumatized him.
“This experience was so hard and deeply hurtful, so the idea of coming back becomes so hard,” he said. “I would love to go and meet the international audiences, the Americans. I have lots of people and friends in the U.S,, and of course, this is my mission as an artist. This is my approach to reach audiences, but with that experience, right now, I don’t feel like going back at all.”
Jennifer Vanasco edited this story for broadcast and digital. Chloee Weiner mixed the audio. Danielle Scruggs edited the visuals.
My favorite memory of the 2026 World Cup happened last month. By the late morning of June 18 in Koreatown, hours ahead of the Mexico vs. South Korea group-stage match, it was apparent that the neighborhood would be unrecognizable by kickoff.
I had heard rumblings about the Korean Festival Foundation’s watch party, but once I found out it would take place at Seoul International Park, I was almost dissuaded entirely. Although it is the beloved destination of my dog’s morning walks, its insignificant size and awkward location just off Olympic Boulevard didn’t seem appropriate for such a coveted event. So, I went to scout it out beforehand — and I almost couldn’t believe my eyes. There were already about 100 to 200 fans in the park, about six hours before the first whistle; laughing, drinking, lending a hand to vendor setups.
My apartment is only about six-odd blocks from the park, but closer to the game, I noticed a gigantic wave of red, lavender and white jerseys already crashing toward the watch party. It took my roommates and me about 30 minutes to walk the half-mile at 4 p.m., squeezing past fervent fans to eke out a spot in front of one of the two humongous screens situated on either side of Irolo Street.
Unfortunately for us, all of the good vantage points were taken. A mass in front of both screens was impenetrable; smaller televisions hooked up to generators were already seized by 10 too many eyes; even the roofs surrounding the park were full of attendees much bolder and athletic than me. We settled on the soccer field in the park, where we could juggle a ball around a bit while watching the match on our phones (and thank you to my girlfriend’s dad for his Peacock subscription).
The first half onscreen was mostly uneventful, but off-screen, I was able to witness a sort of camaraderie seen rarely in sprawling Los Angeles. People were swarming vendors from eateries all around Koreatown, dance circles formed around speakers blasting banda music, and “oohs” and “ahhs” at every missed shot were in perfect sync. Then, it happened: a goal in the 50th minute by Luis Romo of the Mexican side. The park and its surroundings exploded into a collective cheer that tickled my rib cage and resonated deep in my ear canal to the point I had to cover my ears. I can hardly remember if I joined the chorus, or if the excitement was so heavy that I just felt like an equal part of it.
Seeing my neighborhood in this light will stick with me much longer than the 1-0 result, or the fact that neither of these teams (both of which I partially rooted for) made it far into the tournament. But these memories, I believe, are what the World Cup is really about.
So tell us about your most cherished memory of the 2026 World Cup in L.A. so far. And remember, no moment is too small. We may feature it in an upcoming story.
Sam Neill arrives at the premiere of “Apples Never Fall” on March 12, 2024, in Los Angeles.
Richard Shotwell/AP Photo/Invision
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Richard Shotwell/AP Photo/Invision
WELLINGTON, New Zealand — Sam Neill, a smoothly elegant and versatile actor whose career moved from art film to blockbuster as he dodged velociraptors in “Jurassic Park” to playing Holly Hunter’s husband in “The Piano,” has died. He was 78.
In 2023, Neill disclosed he had been diagnosed with angioimmunoblastic T-cell lymphoma, a rare type of non-Hodgkin lymphoma. Neill died on Monday in Sydney, according to a statement posted to the actor’s social media page.
His death was “sudden and unexpected,” the statement said, adding that he “remained cancer free” when he died. A cause of death wasn’t specified.
“Sam was surrounded by family and passed with the dignity that has characterised his whole life,” his family wrote.
Actor came to world’s notice with ‘Dead Calm’ and ‘My Brilliant Career’
Neill was one of a host of actors and directors who achieved international fame after an explosion of Australian films that began in the late 1970s, a list that includes Paul Hogan, Mel Gibson, Geoffrey Rush, Russell Crowe, Jane Campion, Peter Weir and Gillian Armstrong. His range was remarkable, playing opposite Helena Bonham Carter in the Alan Ayckbourn comedy “Sweet Revenge” to chopping off Hunter’s finger in “The Piano” to poking his own eyes out in the sci-fi horror “Event Horizon.”
In “Omen III: The Final Conflict,” he played Damien the Antichrist and he also played Cardinal Thomas Wolsey in “The Tudors.”
The actor first came to the attention of international audiences in Armstrong’s 1979 film “My Brilliant Career,” which also introduced Judy Davis. He later appeared in Phillip Noyce’s “Dead Calm,” a classy thriller set at sea and co-starring the then-relatively unknown Nicole Kidman.
Neill twice co-starred with Meryl Streep, in Australian director Fred Schepisi’s “Plenty” and — again for Schepisi — in “A Cry in the Dark,” a film about the sensationalized aftermath of a dingo killing a baby in the Australian Outback. He earned an Emmy nomination for his performance in the title role of the 1998 miniseries “Merlin” and another as narrator of 2017’s “Wild New Zealand.”
‘Jurassic Park’ was his best-known film
Perhaps Neill achieved his highest level of fame in “Jurassic Park” playing paleontologist Alan Grant, who is summoned to an island off Costa Rica where a theme park has been built to house herds of cloned dinosaurs. He co-starred alongside Laura Dern, Jeff Goldblum and Richard Attenborough.
His character was thoughtful and reasonable, a scientist who warned the mastermind of the theme park before the chaos: “Dinosaurs and man, two species separated by 65 million years of evolution have just been suddenly thrown back into the mix together. How can we possibly have the slightest idea what to expect?”
Grant survived the harrowing events when the creatures get loose, but didn’t return for “The Lost World: Jurassic Park II” in 1997. He came back for the third episode in 2001 and “Jurassic World: Dominion” in 2022.
“It’s probably a little late to learn these things,” he told the Daily New of New York in 2001, “but I finally feel I’ve worked out how to be an action hero. I’m happier with Grant this time. He’s gnarly and grizzled, but he looks like he knows what he’s doing.”
Neill grew up in Northern Ireland, then New Zealand
Born in 1947 in Northern Ireland, Neill emigrated to New Zealand at the age of 7. He was born Nigel Neill, but told interviewers he started to go by Sam because there were too many Nigels at his school.
His family settled in Dunedin on the South Island and he was sent to boarding school in Christchurch. After college, he took the lead in “Sleeping Dogs” in 1977, the first feature made in New Zealand in more than a decade.
Neill’s other film roles included playing a Soviet submarine officer who memorably dreams of a home in Montana in “The Hunt for Red October” and an investigator in director John Carpenter’s “In the Mouth of Madness.”
On the small screen, Neill played the malign Chester Campbell in TV’s “Peaky Blinders” and Thomas Jefferson in the four-hour CBS miniseries, “Sally Hemings: an American Tragedy.” On Apple TV+, he was on “Invasion,” playing Oklahoma Sheriff John Bell Tyson, a man late in his career searching for his purpose. In 2024 he starred opposite Annette Bening in the Peacock series “Apples Never Fall.”
Actor beloved in New Zealand as an unassuming celebrity
The actor became known in New Zealand as a modest and unassuming person who didn’t embrace celebrity. On social media, he often posted images of his farm animals, many of them affectionately named after celebrities and friends, like Laura Dern the chicken, Kylie Minogue the duck and Helena Bonham Carter the cow.
New Zealand Prime Minister Christopher Luxon mourned Neill as “one of the greats” in a statement posted to social media.
“He started out when there was barely a film industry to speak of,” Luxon wrote. “For more than fifty years he took New Zealand stories to the world and his talents helped make our film industry into what it is today.”
Neill was also a vintner and under his Two Paddocks brand, he produced pinot noir and riesling wines from his winery in the Central Otago region of New Zealand’s South Island.
His memoir “Did I Ever Tell You This?” came out in March 2023 and he was awarded a knighthood in recognition of his “outstanding contribution to film,” a title approved by the late Queen Elizabeth II.
“I can’t pretend that the last year hasn’t had its dark moments,” Neill told The Guardian in 2023, referring to his cancer diagnosis and treatment. “But those dark moments throw the light into sharp relief, you know, and have made me grateful for every day and immensely grateful for all my friends.”
He is survived by his four children and eight grandchildren.
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