network

July 31 (Asia Today) — Japan launched its National Intelligence Bureau on Friday, creating a central command to collect government intelligence, coordinate analysis and determine national intelligence priorities.

The bureau reports directly to Prime Minister Sanae Takaichi and was created by upgrading the Cabinet Intelligence and Research Office.

It has about 730 personnel and is headed by Kazuya Hara, a former National Police Agency official who served as director of Cabinet intelligence.

Hara’s career has included assignments at Japanese embassies in Russia and the United States as well as positions in the Defense Intelligence Headquarters and the National Police Agency’s foreign affairs division.

Japan also launched a National Intelligence Council chaired by Takaichi. Its members include Chief Cabinet Secretary Minoru Kihara, the foreign and defense ministers, the chair of the National Public Safety Commission and other relevant Cabinet members.

The National Intelligence Bureau will serve as the council’s secretariat.

The government is expected to begin drafting Japan’s first national intelligence strategy, setting basic principles and priorities for intelligence activities. It is also considering legislation intended to counter foreign espionage.

The council will deliberate on foreign intelligence operations and information considered important to national security.

A coordinator, not an overseas spy agency

Despite its name, the National Intelligence Bureau is not designed to operate like the U.S. Central Intelligence Agency.

Its central function is to ensure that ministries and agencies provide information in a timely manner and to integrate that material into assessments for policymakers.

The bureau will coordinate the government’s intelligence activities and provide analysis to the prime minister. It has not been granted new authority to establish independent overseas stations, recruit and manage foreign agents or conduct covert operations.

Japan already possesses extensive intelligence capabilities, but they remain divided among several government organizations.

The Foreign Ministry gathers diplomatic intelligence through Japanese missions overseas. The Defense Intelligence Headquarters handles signals, satellite and imagery intelligence.

The Public Security Intelligence Agency and the National Police Agency monitor international terrorism, foreign intelligence services and counterintelligence threats.

The new bureau will bring information collected by those organizations together, but it will not operate its own overseas human intelligence network.

Its role is therefore closer to that of the U.S. Office of the Director of National Intelligence than the CIA.

The U.S. intelligence director’s office coordinates multiple intelligence agencies and provides national intelligence assessments to the president. The CIA collects foreign human intelligence, conducts analysis and may carry out covert operations under presidential authorization.

Separate foreign intelligence service planned

The governing Liberal Democratic Party and the Japan Innovation Party have proposed establishing a separate foreign intelligence agency by the end of fiscal 2027.

That proposal underscores the operational limitations of the National Intelligence Bureau.

A second agency would not be necessary if the new bureau already possessed capabilities comparable to those of the CIA or Britain’s Secret Intelligence Service, commonly known as MI6.

What Japan established Friday was essentially an intelligence command center.

Combining diplomatic reports, satellite and signals intelligence, information supplied by allies and publicly available material could improve the speed and accuracy of government assessments.

However, detecting changes in the intentions of foreign leaders before they become visible often requires human sources inside foreign governments and institutions.

Japan’s existing ministries and agencies will continue to supply most of the information analyzed by the bureau until the government creates an organization capable of independently collecting intelligence overseas.

Oversight remains a concern

The bureau’s expanded authority has also raised questions about oversight.

During legislative deliberations, lawmakers raised concerns about privacy, political neutrality and mechanisms allowing the Diet or independent institutions to review intelligence activities after they occur.

Those questions will become more significant if Japan adopts anti-espionage legislation or establishes a foreign intelligence service.

The government would need to define who may be monitored, what information may be collected and how citizens’ rights will be protected.

The launch of the National Intelligence Bureau strengthens the central leadership of Japan’s intelligence system.

Its effectiveness, however, will still depend largely on information collected by existing ministries, agencies and allied countries.

Japan has created a larger brain for its intelligence system, but it has not yet given that system independent arms and legs capable of gathering secrets overseas.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260731010011670

Telegram has removed accounts linked to a Hausa-language network that openly sold child sexual abuse material across northern Nigeria, following an inquiry by HumAngle, but the platform has not explained how the network survived repeated suspensions over three months before our investigation was published.

In an email response to HumAngle, a Telegram spokesperson confirmed that moderators had “processed the content reported and removed anything they could identify as breaching our terms.” The platform also provided a formal statement defending its broader moderation record, saying it had removed more than 305,000 groups and channels related to child sexual abuse material in 2026 alone.

“The distribution of CSAM  is explicitly forbidden by Telegram’s terms of service and we use industry-leading moderation techniques to remove it,” the statement read.

The response came hours after HumAngle published an investigation documenting a network of Hausa-language Telegram channels, X accounts, and TikTok profiles selling access to child sexual abuse material through paid VIP groups priced at up to ₦100,000, distributing non-consensual intimate videos of women, and advertising sexual services using photographs stolen from unsuspecting social media users. The investigation, published on July 23, traced two central operators identified through payment records as Fatima Mahmud, who used the name “Teema” or “TeemaTV,” and Khadijah Adamu, who operated under the identities “Khadeeja Deejah,” “Deejah,” “Nanadady,” and “Deharjah.”

Before publication, HumAngle sent Telegram a detailed request for comment, summarising the findings and posing specific questions about the platform’s moderation of Hausa-language content and its capacity to detect coordinated networks of replacement channels. The reply arrived hours after publication.

Alongside the statement to HumAngle, Telegram said it scans all media uploaded to its public platform against a hash database of previously removed Child Sexual Abuse Material (CSAM), supplemented with datasets from the Internet Watch Foundation and the Indian Cybercrime Coordination Centre. The platform added that it processes CSAM reports from authorities and NGOs around the world.

Those measures, if applied consistently, should in theory have flagged material within the network HumAngle documented. But the investigation found that administrators avoided posting child sexual abuse material directly on public channels, instead using screen records and screenshots of media catalogues as proof of possession before directing paying customers into private conversations. That structure, common across similar networks documented by investigations in India, Sudan, Malaysia, and Brazil, appears designed to stay one step ahead of hash-matching tools that identify known material rather than advertisements for it.

What was taken down

HumAngle’s own review found that most, although not all, of the accounts and channels documented in the original investigation had been taken down. Fatima Mahmud’s administrator account, @teematv2, was no longer active, along with several of her channels, including @teematv7 and @teematv9, and other successive replacements identified during the monitoring period. 

One channel, @teematv8, remained accessible after the takedowns, however. On X, Fatima’s account also remains active.

Within the wider network, HumAngle also identified accounts tied to Khadijah Adamu, including @Deekano and @realsadiyaharka, as well as channels operating as @arewagidanharka1 and @gidanharkaxx. HumAngle shared these identifiers with Telegram directly, while noting that the ecosystem documented in the original investigation was larger than what could be fully captured during three months of monitoring, and that additional accounts likely remain. At the time of publishing this report, Khadija Adamu remains active.

What the response does not address

Telegram’s statement points to a large-scale, ongoing moderation effort. They sit, however, alongside a specific finding from the original investigation: the network, monitored for three months, rebuilt through replacement accounts faster than individual removals could disrupt it, with no public indication that Telegram’s existing systems had identified it as a coordinated network rather than a series of isolated violations. 

Telegram did not address HumAngle’s questions about what proactive measures exist to detect coordinated replacement networks, the moderation capacity the platform applies to Hausa-language content specifically, whether any of the documented channels had been previously reported before HumAngle’s inquiry, or whether the platform coordinates with Nigerian authorities such as the National Agency for the Prohibition of Trafficking in Persons (NAPTIP) when CSAM-related accounts are removed.

HumAngle’s requests for comment to X and to NAPTIP remain outstanding at the time of publication.

Fatima ‘Teema’ Mahmud uploaded a short clip on her Telegram Status that morning; it showed a leaked intimate video involving individuals in northern Nigeria. The time was 8:13 a.m.; minutes later, she uploaded another one and another. By midday, she had uploaded dozens of similar pieces of content. By evening, there were hundreds.

Some of the updates advertised leaked, non-consensual intimate videos that had circulated across social media timelines in the region days earlier. Others promoted sex work services, paid erotic video calls, and private VIP groups featuring explicit videos of women, particularly northern actresses. Among them, and pinned prominently at the top of Fatima’s Telegram profile, were screen records of what she claimed were sexual and nude videos of children, advertised under paid access tiers.

The next morning, the cycle began again.

This reporting was never supposed to become an investigation into child sexual abuse material. It began with a simpler question: where do the leaked intimate videos that circulate on northern Nigerian social media end up?

Every few weeks, another such video appears. The names change, but the outrage follows a familiar script: WhatsApp groups begin asking for links, X users post screenshots before directing followers to Telegram, and Facebook pages recycle the same clips. For a day or two, timelines become courtrooms. Then attention shifts elsewhere, and the people at the centre of those scandals disappear from public conversation, but the links do not.

One such link appeared in May. An X account, now suspended, promoting what it described as a leaked intimate video involving a woman, instructed followers to continue on Telegram. Instead of downloading the material, HumAngle followed the trail, using a pseudonymous account to trace the same path thousands of other users take whenever another intimate video erupts across northern Nigerian social media.

For three months, HumAngle watched what that trail led to: an ecosystem that had evolved to survive platform bans, rebuild audiences almost overnight, and transform some of women’s most private moments into commercial products. Within that ecosystem, children appeared to have become one of its most valuable commodities.

Following the trail

It started with “Teematv” on X. HumAngle stumbled on the account promoting a teaser video following a scandal involving a Kaduna-based woman, whom HumAngle will not name to avoid re-victimising her. The X account claimed to have the “full video” and encouraged followers to access it on Telegram.

We created a pseudonymous account and followed the trail.

The first Telegram channel, “Teematv” (@teematv9), which is the main feeder channel and had over 40,000 subscribers before it got suspended in June, looked much as expected: pornography, leaked videos, and VIP subscriptions. But the longer the investigation continued, the less it resembled another anonymous pornography page. The channel did not exist in isolation. Every video and image posted linked to something else, and subscribers were encouraged to save the phone numbers provided by the administrators. “Add my contact,” she often tells subscribers. 

Once saved, these numbers unlocked Telegram Status updates, which promoted private VIP groups, which led to new administrators, who promoted replacement channels. When one account disappeared, another had already taken its place.

It felt less like browsing social media and more like walking through a marketplace where every stall owner knew the next. The journey was remarkably consistent, and the pattern held across every operator HumAngle traced; the public channels attracted attention, Telegram Status sustained it, and private conversations completed the sale. Each platform served a different purpose within the same business. X functioned as a storefront, where explicit clips and provocative teasers attracted attention and encouraged users to click through. Telegram became the marketplace itself, while WhatsApp and private Telegram conversations handled the transactions.

Looking closer, the structure reflected an operation built specifically to survive the content moderation it was navigating.

The pattern started with what appeared, and what did not appear, on X. Operators such as Teema used their X accounts to post pornographic clips into X’s video feed, content that the platform’s moderation has grown relatively permissive toward, and whose recommendation algorithm readily surfaces more of it once a user engages with it repeatedly. At no point during our three months of monitoring did HumAngle observe child sexual abuse material posted directly on X. 

Whether by experience or deliberate caution, the operators appeared to understand the distinction: ordinary pornography might slip through a platform that has relaxed many of its guardrails around adult content, but material involving children almost certainly would not survive there. The Telegram link attached to those X posts was, in turn, rarely the final destination. It served as an additional layer of security, requiring users to either save a phone number or send a private inquiry before anything further was revealed.

Only after that number was saved did the next stage begin, through Telegram Status. There, too, the same caution applied. Rather than posting material involving children directly, operators uploaded blurred collages or screenshots, with titles and scenes presented as proof that a fuller collection existed, along with a caption advertising group access and a price, directing interested buyers into a private conversation. Nothing that could be mistaken for the material itself appeared in a space Telegram or outside observers could easily flag; the proof of possession and the point of sale were kept one careful step apart. HumAngle observed screenshots of children naked and being abused.

The advertisements rarely remained online for long. Telegram Status updates disappear automatically after 24 hours, and the administrators appeared to exploit that feature deliberately, because the posts remain accessible on the profile itself to anyone who has saved their contact. On some days, one operator uploaded close to 200 Status updates, rotating through advertisements, teaser clips, and promotional graphics before repeating the process the following morning.

The result was a constantly changing catalogue. One day, the focus might be leaked intimate videos. The next, sex work services. Then paid video calls. Then another newly emerging leaked-video scandal that had just begun trending elsewhere on social media. The operators appeared to respond quickly to public attention: whenever an intimate video began circulating widely online, it often appeared inside the network within hours, repackaged as a commercial product, a short preview posted publicly with the full video available, administrators claimed, after payment. The scandals that dominated social media for a day or two became inventory.

Identifying the operators

There was one problem with Telegram usernames: they rarely lasted. By the time HumAngle finished documenting one account, another had often appeared. The usernames, invitations, and even profile photographs changed. But the people behind them did not.

To understand who was operating the network, our investigation moved beyond monitoring channels and focused instead on the digital traces the administrators had left behind, rather than the material they were advertising. The approach was deliberate: HumAngle had already decided it would not purchase access to private VIP groups or attempt to obtain any material advertised as involving children. 

Beyond the obvious ethical concerns, doing so could expose journalists to illegal content and compromise the investigation itself. Instead, we focused on the operators’ own mistakes, and the first was surprisingly ordinary: money.

Like any online business, the administrators eventually needed customers to pay. Across multiple Telegram channels and Status updates, Teema repeatedly instructed interested buyers to save a phone number before making enquiries or completing payments. Unlike her usernames, the number rarely changed. It became the first real-world lead.

A search through Truecaller, a popular caller identification service, returned the name “Fatima Mahmud”. One result was not enough, so the same number was cross-checked against Nigerian online banking applications, including OPay and PalmPay, both of which use registered phone numbers as account identifiers and display the associated account name before a transfer is completed. Both returned the same name. For the first time, the investigation had connected one of the network’s most active operators to a real-world name, confirmed through two independent verification methods.

Finding the person behind that name proved harder. Searching “Fatima Mahmud” and “Teema” on social media produced dozens of unrelated results, and many of the accounts connected to the investigation had already been suspended or had disappeared before they could be examined. So HumAngle changed direction, following relationships rather than names: Telegram usernames led to older accounts, older accounts led to replacement accounts, and replacement accounts led to suspended X profiles, each revealing another fragment of the same digital footprint.

The same process and the same dual verification through Truecaller and banking app records identified a second recurring figure in the network who used several online identities: Deejah, Nanadady, and Deharjah. Once again, the payment trail pointed to one name: Khadija Adamu.

Despite the frequent account suspensions and identity changes, traces of her activity remained visible. As recently as July 17, Khadija remained active. In a Telegram Status update, she told followers her phone had been damaged and appealed for financial support to replace it, posting her Union Bank account details. The account name she provided, Khadija Adamu Abubakar, was confirmed through a mobile banking application search, adding a third independent verification to the identity already established through Truecaller and her OPay and PalmPay records. Fatima’s administrator account was also active at the time of publication.

Khadija’s operation mirrored Teema’s in structure, but she operated across a considerably wider segment of the online sex trade, advertising leaked intimate videos, homosexual pornography, sex work, paid sexual video chats, sex toys, sexual stimulants, and VIP groups promoted as containing child sexual abuse material. Of that range, child sexual abuse material appeared to be one of her primary products, and her pricing across the board was consistently higher than Teema’s, with VIP access advertised at between ₦50,000 and ₦100,000. From what HumAngle observed, she made no attempt to obscure or apologise for any of it.

A further question remained: were the photographs attached to their profiles genuine? At first glance, they appeared convincing: young Hausa women in casual portraits and self-portraits, but reverse-image searches using Google Lens and facial-recognition software found that several did not belong to the account holders at all. Instead, they matched publicly available photographs of Hausa actresses and other individuals whose images had been lifted from elsewhere online. The people running the accounts had carefully concealed their own identities behind someone else’s faces.

Fatima addressed this directly in the description of her main feeder channel, Teematv (@teematv9), which had more than 40,000 subscribers before it was suspended on June 12. “I post pretty Hausa girls on my page. If you see your picture here, then know [that] you are pretty,” she wrote. “Some of you are complaining. I just leave compliments as the caption. I mean no harm. [It] is just for fun.”

A final search, this time relying on Facebook’s “People You May Know” recommendation feature after the administrators’ phone numbers were saved as contacts, surfaced a profile that strongly matched the identity already established for Khadija. Fatima’s case proved less conclusive; several profiles appeared, but none could be verified with sufficient confidence. The search stopped there. We do not possess the legal powers available to law enforcement agencies, but what the reporting established was enough: two operators had been identified through the payment infrastructure they themselves had created, and neither appeared to be working alone.

The product

The advertisements followed a consistent commercial logic, and the same pricing structure recurred across all operators and channels documented in this investigation.

Individual leaked Hausa intimate videos, after a short teaser had been posted publicly, typically sold for between ₦2,000 and ₦5,000. Buyers seeking larger collections were encouraged to pay for VIP memberships instead, which administrators claimed offered hundreds of additional videos. The advertisements suggested a tiered business: casual customers bought individual videos, regular customers subscribed, and those willing to spend more were offered access to increasingly exclusive groups.

At the top of the pricing structure were advertisements for group access explicitly involving children. Unlike the adult-content advertisements, which typically promoted individual clips, these posts promised something larger: a collection, membership, exclusivity. They were usually brief: a blurred collage or screen record, a short caption, sometimes only a few words, followed by a price. Most commonly, that price was ₦50,000, though some operators, like Khadija, advertised memberships as high as ₦100,000. The wording varied slightly from one administrator to another, but the sales strategy did not, and the same pattern appeared consistently across multiple Status updates, different administrators, and different channels over the three months of monitoring.

At first, HumAngle questioned whether the advertisements were genuine; exaggerated claims to lure paying customers are common online. But the consistency, repeated across unrelated administrators using nearly identical language, made coincidence difficult to sustain as an explanation.

Teema’s advertisements illustrated how the claims were built up over time. In a sequence of Status updates viewed chronologically, she claimed her VIP collection had grown from around 600 videos to more than 800, and eventually to over 1,200. HumAngle could not independently verify those figures, but documented them as part of the marketing strategy: growth itself had become a product, with a larger claimed catalogue used to strengthen the sales pitch.

The operators appeared to understand a basic principle of online commerce: that people rarely arrive intending to make their largest purchase but are guided towards it. Every stage encouraged the next. The channels resembled a subscription business more than an ordinary social media page. Only the product was different, and its advertisements did not appear hidden in obscure corners of the internet. They appeared alongside the same promotional posts advertising leaked intimate videos, prostitution, and paid video calls. Children were not presented as something separate. They were presented as another product category, another premium tier.

HumAngle also decided not to attempt to identify the children referenced in the advertisements. INTERPOL’s International Child Sexual Exploitation database, the tool specialist law enforcement units use to identify victims and offenders worldwide, treats abusive images and videos as evidence tied to real children, real locations, and real offenders, material to be handled by trained victim-identification specialists rather than pursued independently. Attempting to trace the children through the material risked compounding the harm the investigation was seeking to expose.

The network

For much of the investigation, Teema and Khadija appeared to be running separate operations: different Telegram channels, different X usernames, different pricing. It was easy to assume they were competitors. Then one Status update changed that.

While reviewing Teema’s Telegram Status one afternoon, HumAngle noticed she was no longer advertising her own channel, but Khadija’s. Only days earlier, one of Khadija’s Telegram accounts had disappeared or been removed before we could complete the documentation of its activity. The replacement account appeared almost immediately, and Teema introduced it to thousands of followers. Over the following days, the same promotion resurfaced repeatedly across dozens of Status updates before disappearing after 24 hours, only to return.

Tracing the followers who interacted with those promotions on X uncovered dozens of accounts exhibiting remarkably similar behaviour. When one profile disappeared, another announced its replacement. When Telegram removed a channel, fresh invitation links circulated through WhatsApp Status updates and newer Telegram accounts. The audience rarely needed to search; the network guided them. Investigators documented several accounts operating under different versions of Teema’s identity, including @teematv2 and @teematv3, with Khadija running parallel replacements under her own aliases.

Around them was a wider ecosystem. Channels such as AREWA GIDAN DADI, Arewagidanharkazallah, and Sadearharka surfaced repeatedly throughout the investigation.

HumAngle found no evidence that these accounts were all controlled by the same individual, nor could we establish that every operator knew every other one personally. What our investigation does establish is narrower but significant: the accounts consistently promoted one another, shared audiences, and directed followers towards replacement channels, forming a distribution network that platform bans repeatedly failed to disrupt.

The blind spot

The most surprising thing about the network was not that it existed, but that it appeared to operate in plain sight. The operators behaved less like people trying to disappear than people confident they would not be noticed. That raises a broader question: why did a network operating so openly prove so resilient?

Part of the answer may lie in language. Almost every account documented in this investigation communicated primarily in Hausa, and the cities referenced in conversations, such as Kano, Kaduna, Maiduguri, Katsina, Sokoto, and Abuja, pointed overwhelmingly to audiences in northern Nigeria. This was not simply a Nigerian online marketplace; it was a Hausa-speaking one. 

Researchers have increasingly warned that many widely spoken African languages remain “low-resource” from the perspective of artificial intelligence and automated content moderation. While Hausa is spoken by tens of millions of people across West Africa, there are comparatively fewer linguistic datasets and moderation tools to help technology companies automatically identify harmful content in the language, meaning abusive or exploitative content can be harder to detect at scale than equivalent content in English. 

Nothing in HumAngle’s investigation suggests the operators tried to hide the language they used; on the contrary, their marketing relied on local expressions and reflected the culture of Arewa social media. The same characteristics that made the network accessible to its intended audience may also have made it less visible to moderation systems built primarily around better-resourced languages.

This is not a uniquely Nigerian, or even uniquely Hausa-language, problem. Investigations in other parts of the world have documented strikingly similar patterns, in which mainstream platforms funnel users toward Telegram-based child sexual abuse material (CSAM) marketplaces that survive enforcement through rapid replacement. 

A BBC Eye investigation published in July found that Instagram’s advertising system in India was itself directing a test account toward paid child sexual abuse material sold through Telegram channels, with material advertised for as little as the naira equivalent of one US dollar; Meta’s own moderation team initially cleared one flagged advertisement as compliant with its policies, and only acted once BBC journalists sought formal comment. 

A separate investigation by Sudan’s Ayin Network documented Telegram channels operating an almost identical structure to the one described here: administrators charging roughly $30 for VIP access to material described as exclusive, channels going dark after reports only to be quickly recreated with subscribers migrated across, and content sourced from economically vulnerable communities with little legal recourse. 

Malaysiakini’s Kini News Lab has separately described Telegram as functioning as a “dark mall” for this kind of material, in which promotional content on more visible platforms consistently routes interested users toward Telegram, where moderation is comparatively lighter. 

Another investigation, conducted by the Brazilian outlet Núcleo with the Pulitzer Centre’s AI Accountability Network, found dozens of Telegram bots capable of generating AI-manipulated child sexual abuse imagery, most operating despite Telegram’s own public commitments on child safety.

These investigations point to a recurring global pattern. Broader research suggests the problem extends far beyond the networks examined in any single investigation. Research conducted by UNICEF Innocenti, ECPAT International, and INTERPOL across 13 countries in Africa and Southeast Asia found that, depending on the country, up to one in five internet-using children aged 12 to 17 had experienced online sexual abuse within a single year. Social media platforms were among the environments where children most frequently encountered the abuse. 

Nigeria was not included among the countries studied, leaving no comparable national estimate of how many Nigerian children may be affected. UNICEF and the WeProtect Global Alliance have warned that online child sexual exploitation is becoming increasingly complex as offenders adapt quickly to new technologies, encrypted platforms, and gaps in national responses, arguing that effective responses require cooperation between technology companies, law enforcement, child-protection organisations, and governments, rather than isolated moderation decisions by individual platforms. UNICEF Nigeria has separately noted that violence against children increasingly occurs in both physical and digital spaces, while support for victims remains limited.

As we identified the operators of these accounts, an obvious question emerged: if journalists could trace those digital footprints using publicly available tools, what prevented authorities from doing the same?

Nigeria does not lack the relevant laws. The Cybercrimes (Prohibition, Prevention, etc.) Act criminalises the production, distribution, and possession of child sexual abuse material, alongside offences relating to the use of digital platforms to facilitate unlawful activities, including the non-consensual distribution of intimate images.

The Violence Against Persons (Prohibition) Act recognises image-based sexual abuse, and children receive further protection under the Child Rights Act and the Trafficking in Persons (Prohibition) Enforcement and Administration Act. 

The activity documented in this investigation appears to fall squarely within conduct already prohibited under Nigerian law. Over three months of monitoring, HumAngle found no public record of investigations or prosecutions specifically targeting the Hausa-language Telegram ecosystem documented in this reporting, even as channels disappeared, replacement channels emerged, subscribers migrated, and the marketplace continued operating.

The threat was not entirely new to Nigerian authorities. In 2023, the National Agency for the Prohibition of Trafficking in Persons (NAPTIP) said it had observed increasing cases involving child sexual abuse material, sextortion, and revenge pornography, and had established a Cybersecurity Response Team, in partnership with organisations including Meta and the United States National Centre for Missing and Exploited Children (NCMEC). That year, the agency said it was investigating six cyber-tip reports involving online child exploitation and sextortion, drawing on NCMEC’s CyberTipline, the centralised reporting system through which tech companies and the public flag suspected child exploitation to law enforcement worldwide. What remains unclear is whether the Hausa-language network HumAngle documented had ever entered that reporting system.

The network appeared to exploit precisely the jurisdictional and institutional gaps that researchers have long warned about: Telegram channels directed users toward WhatsApp, WhatsApp conversations led back to Telegram, and X attracted new audiences, with each platform seeing only one part of the picture while the operators appeared to see the whole. Platform enforcement removed accounts. Law enforcement, at least publicly, appeared largely absent, aside from the small number of cases NAPTIP said it was already investigating. 

What follows

Before publication, HumAngle shared its findings with Telegram and NAPTIP, seeking answers about the network, its operators, and the apparent gaps that allowed it to persist. The advertisements, the Telegram links, the payment instructions, and the phone numbers had all been public. The operators had made no effort to hide them.

If you feel like your favorite morning news or talk show is frequently trying to sell you something, you’re right.

Shopping segments within the program content of NBC’s “Today,” ABC’s “Good Morning America” and “CBS Mornings” have grown in recent years. Using QR codes on the screen, viewers are taken directly to dedicated e-commerce sites where they can put in their orders, with the program getting 20% or more of the revenue generated.

The segments typically feature a contributor or expert presenting household items, fashion or personal care products, alongside the host viewers know and trust. While hosts typically don’t do the actual pitching, their presence provides a seal of approval that helps drive a purchase.

The segments are also a staple of talk shows and syndicated programs such as “The View,” “The Jennifer Hudson Show,” “Entertainment Tonight” and “Inside Edition” and have spread to local TV stations. Ownership groups have signed deals with companies that match them up with brands looking for exposure that goes far beyond what they get with a 30-second commercial.

“This is the savior for media, if they really focus on it,” said Brian Meehan, co-founder of Knocking, a Connecticut-based company that specializes in embedding e-commerce into TV and digital content.

That may seem bit hyperbolic, but there is little doubt that TV outlets are looking for help as they navigate the upended media industry.

Streaming has pulled viewers away from traditional television, driving down ad revenues. Since 2022, ad spending on broadcast and cable TV has dropped 23%, to $51 billion in 2025. Consumers bypassing or canceling their cable subscriptions are cutting into the fees stations receive from pay TV providers.

As a result, both networks and TV stations have had to make significant cuts in their news operations to maintain profit margins. The daytime syndication business has declined dramatically as well, with NBCUniversal exiting the market and canceling “Access Hollywood” and “The Kelly Clarkson Show.”

Networks and stations don’t reveal how much they earn from the shopping segments, which typically run four minutes, but insiders say it’s well into the eight-figure range.

Bill Hague, executive vice president for the media research firm Magid, said more TV stations are turning to the segments to help fill the additional hours of local news they are programming instead of syndicated talk shows.

“Why invest in syndication when you can have the same audience and more revenue tied to it?” Hague said, adding that the company’s research shows consumers don’t believe the practice diminishes the quality of a newscast.

Jeff Rossen, a former consumer reporter for NBC News, recently pitched online shopping deals for Tegna’s TV local stations. The products he demonstrated sold briskly, likely helped by the credibility and trust he has accrued as a journalist.

That authority matters to viewers. NBC says its research shows that 94% of “Today” viewers trust the product recommendations made on the program.

Morning shows, with their mix of hard news, entertainment segments and lighter fare, have always had more latitude in what they present. But the current dire circumstances of the TV business explain why there is little pushback.

“If helping me buy a better blender also helps pay for an investigative reporter, I’m fine with it,” said Andrew Heyward, a former CBS News president who has consulted for TV station groups.

Heyward said consumers have gotten accustomed to editorial content being a gateway to online shopping. The New York Times gets a cut of sales linked to its Wirecutter product review site.
Book reviews in the Los Angeles Times are linked to Bookshop.org, and the newspaper gets a commission for any sales.

Amazon and other web platforms have made e-commerce account for 21.8% of all U.S. retail purchases, according to the Department of Commerce.

Direct selling on traditional media goes back decades. In 1978, a Clearwater, Fla., radio station accepted 112 electric can openers from an advertiser who could not afford to pay for commercial time. Station owner Bud Paxson had a newscaster auction the inventory over the air and it sold out quickly, leading to a regular show called “Suncoast Bargaineers.”

In 1982, Paxson moved the concept to a local Tampa cable outlet, called it Home Shopping Channel and, after a few years, took it national as Home Shopping Network. HSN soon had celebrities pitching their own product lines, a technique that is now occasionally used by the morning shows.

Candi Carter, whose Cistus Media handles e-commerce for Tegna, said viewers have long been accustomed to seeing products touted inside of programming content, going back to the days of Oprah Winfrey’s “favorite things” segments.

“Brands do it for visibility,” Carter added. “They don’t have to pay a product integration fee and they get revenue from the sales.”

The broadcast networks experimented with direct selling to viewers over the years. NBC even put its name on ShopNBC, a cable channel it co-owned in the 1990s. But the concept was not mastered until NBC’s “Today” introduced “Steals and Deals” in 2010 as an occasional segment that grew over time.

The program now has 30 contributors who present wares in about 350 shopping segments each year. They are available across digital, social, newsletters and mobile platforms after they air on “Today.”

ABC’s “Good Morning America” started its own version in 2011, brazenly calling it “Deals and Steals.” The network now has daily segments on both “GMA” and the afternoon hours “GMA 3” and “The View.” Network contributor Tory Johnson has handled “Deals and Steals” since its launch and has long been one of the most familiar faces on “GMA.” Other contributors, such as former fashion magazine editor Laurie Bergamotto, have been added over the years.

Meehan recalls the biggest hurdle to launching the segments at ABC was the language explaining the arrangement to viewers — making it clear that the network stands to benefit.

“It came down to the attorneys just saying, ‘ABC may receive promotional or financial consideration,’” he said. “It took a long time to go through that process.”

CBS News, historically cautious about any endeavors that could tarnish its legacy as a journalism organization, was the last of the traditional networks to get into e-commerce in 2022 after COVID-19 lockdowns depressed ad revenues. The division was also under pressure to improve its financial performance as Shari Redstone, then-chair of parent Paramount, was intent on improving the company’s balance sheet ahead of a sale.

“Shop CBS” segments, as they’re called, are presented multiple times a week on “CBS Mornings” and “CBS Saturday Morning” and have become key revenue drivers for the struggling news division. Any resistance from producers or on-air talent recedes once they learn how much money e-commerce takes in, according to one veteran at the division not authorized to discuss the matter publicly.

While ABC and NBC broker their e-commerce deals in-house and through some of their contributors, CBS turned to Knocking to develop its segments. The company makes deals with product suppliers looking for in-program exposure, supplies the on-air talent that does the pitching with the network’s hosts and builds the websites that handle the transactions.

While on-air network journalists appear in the segments, they are not asked to do the selling. When CBS News signed on with Knocking, the division insisted the talent and producers involved be able to test the products before putting them on air. When they can react with enthusiasm, it’s a big help.

“When ‘CBS Mornings’ co-host Nate Burleson puts on a massager and he’s like, ‘Ooh, wow, this feels like real human hands,’ — none of that is scripted,” said Meehan.

Still, programs are putting their credibility on the line by selling the products. There is little margin for error or customer dissatisfaction, as disgruntled viewers will tune out.

Meehan said Knocking does its best to mitigate that possibility by accepting returns up to six months after purchase.

“A bad experience will hurt both the product or service being featured, and the broadcaster,” Heyward said. “All the parties have a vested interest in honesty, and in a good user experience.”

TV station ownership groups may finally get their wish to own more outlets.

Federal Communications Commission Chairman Brendan Carr announced Wednesday that the agency will vote next month to end the rule that allows companies to own no more than two TV stations in a single market. The cap also limits the national coverage of any station owner to 39% limit of the U.S.

Carr said the agency will consider a “case by case” review on station merger and acquisition deals that would result in exceeding the current limits. The commission, which has two Republicans and one Democrat, will vote on Aug. 6.

“Previously, the cap operated as a blanket prohibition on any and all deals that would combine stations in [excess] of the 39% limit — regardless of whether it was a good deal or bad deal for the country,” Carr wrote on the right-wing website Breitbart. “Our new proposal would allow the FCC to approve deals that exceed the 39% cap, but only if doing so would promote the public interest.”

TV station owners and its lobbying group the National Assn. of Broadcasters have been clamoring for a change in the rule, citing the changes in technology that have occurred since the ownership limit. The 39% threshold was set in 2004 when streaming video was still a nascent business.

The station groups say the ability of tech companies such as Google and Netflix to reach every consumer in the U.S. puts them at a disadvantage. At the same time, streaming now accounts for more than 40% of all viewing, according to Nielsen, pulling consumers away from traditional TV. TV stations are also seeing their share of carriage fees from cable and satellite companies shrink due to cord-cutting.

The station groups also argue that declining viewership and revenue make it more challenging to support multiple local TV.news operations in a single market.

But proposed changes to the cap limits have been met with push back from consumer groups and state government officials. They have said station consolidation will result in journalist layoffs and fewer voices for the communities they serve.

Earlier this year, a group of attorneys general filed suit to block Nexstar Media Group’s proposed $6.2-billion acquisition of Tegna, arguing it violates a 112-year-old U.S. antitrust law by knocking out a major competitor. The deal would give Irving, Texas-based Nexstar control of 265 television stations across the country, up from 164. And, in dozens of markets, including San Diego and Sacramento, Nexstar would own multiple TV network affiliates.

U.S. District Court Chief Judge Troy L. Nunley issued a preliminary injunction in April that forbids Nexstar — which owns KTLA-TV Channel 5 in Los Angeles — and Tegna, from combining operations. Nexstar is appealing.

Carr’s proposal would largely put the FCC in charge of picking winners and losers on a case-by-case basis.

When faced with a merger proposal, Carr said the commission would consider such issues as commitment to local journalism and “viewpoint diversity.”

Carr has made his name by threatening to pull the over-the-air broadcast licenses of TV stations that irritate President Trump with their coverage and commentary.

In April, the FCC called for an early review of the licenses for Disney’s eight broadcast TV stations, a day after Trump demanded that ABC fire late-night host Jimmy Kimmel over a joke about First Lady Melania Trump.

Carr also questioned whether ABC’s daytime show “The View,” where negative Trump commentary is rampant, should qualify as a bona fide news program that is exempt from giving equal time to qualified candidates.

Carr’s Breitbart column also reiterated his view that large media companies such as Disney and NBCUniversal parent Comcast hold too much sway over their affiliates.

“New York and Hollywood interests have steamrolled those local TV stations and the broader media market in recent years in ways that run directly counter to the regulatory framework that Congress and the FCC put in place,” he wrote. “Their national programs naturally reflect the values of the New York and Hollywood executives that produce them. This power imbalance has contributed to a steady decline in locally produced news — and with it, a weakening of the public’s trust in the media.”

How owning more stations would give groups leverage in their dealings with networks is unclear. The networks control the rights to the NFL — the No. 1 TV ratings attraction for broadcast television by a mile. Stations pay the networks compensation for those games, which they use when negotiating the carriage fees they receive from cable and satellite companies.

Times staff writer Meg James contributed to this report.

With the 2026-27 season premiere of “60 Minutes” just two months away, CBS News leadership is getting closer to deciding who will fill the recent departures of longtime correspondents Scott Pelley, Sharon Alfonsi, Cecilia Vega and Anderson Cooper.

Seth Doane, a longtime correspondent based in Italy who is often seen on “CBS Sunday Morning,” is under consideration, along with chief investigative correspondent Jim Axelrod, who currently has a lead role in the “Eye On America” series featured on the “CBS Evening News with Tony Dokoupil.”

Trevor Phillips, a British journalist and former politician who recently joined CBS News as senior global affairs correspondent, is expected to have a role on the program, according to people briefed on the plan. Phillips had a long career in the U.K., producing and writing documentaries and most recently hosted the Sky News program “Sunday Morning with Trevor Phillips.”

Phillips received a knighthood in 2022 for his service to equality and human rights for the U.K. But he also generated controversy over his career for comments about the British Muslim community, which led to a yearlong suspension from the Labor Party in 2020.

A CBS News representative declined comment beyond saying the division is looking at a number of internal and external candidates.

Dokoupil is expected to deliver four “60 Minutes” pieces a season. Major Garrett, the network’s chief Washington correspondent, will also have a contributor role.

Matt Gutman, hired from ABC News last year as national correspondent, is under strong consideration. He is being put in front of test audiences, according to several people at the network.

Holly Williams, a foreign correspondent working out of Istanbul for CBS News since 2012, and Mariana van Zeller, a journalist for National Geographic Channel, are both said to remain in contention.

The newcomers will join Bill Whitaker, Lesley Stahl, Jon Wertheim and Norah O’Donnell, who are all returning as correspondents. O’Donnell will also continue in her role as senior correspondent for the network, occasionally anchoring specials.

The rebuild of the talent lineup comes after the upheaval at the program that has occurred since Bari Weiss joined CBS News as editor in chief in October.

Pelley was fired last month after confronting management about the May 28 dismissal of his colleagues Alfonsi and Vega along with the program’s executive producer Tanya Simon and her second-in-command Draggan Mihailovich.

In February, Cooper decided not to sign a new deal as a “60 Minutes” contributor, as the CNN anchor cited a desire to spend more time with his family. But Cooper has reportedly told colleagues that he does not want to work for Weiss.

The internal disruption at “60 Minutes” followed a highly successful season. In its 57th season, “60 Minutes” was the most watched news program on television with an average of 9.1 million viewers a week, according to Nielsen data. The program bucked the overall decline in traditional TV viewing by growing 9% over the previous season.

After the dismissal of his “60 Minutes” colleagues, Pelley accused Weiss of trying to “murder” the program and claimed she was putting “her thumb on the scale” for more favorable coverage of the Trump administration. He was fired with cause after confronting management at a June 1 meeting.

Weiss came to CBS when parent company Paramount acquired her digital website The Free Press, known for its criticism of progressive policies and its strong support of Israel.

Weiss was hired by Paramount Chief Executive David Ellison with a mandate to move the news division to the political center. The pronouncement has created the perception that CBS News is looking to placate the Trump administration as Paramount sought regulatory approval for its $111-billion acquisition of Warner Bros. Discovery, which will also give the company ownership of CNN.

The noise surrounding Weiss has hurt CBS News despite strong reporting that is often far from being pro-MAGA. This past weekend’s “CBS Sunday Morning” featured a segment from national security correspondent David Martin about the Department of Defense interfering with the editorial independence of Stars & Stripes, the military newspaper.

Trump complained vehemently about his last interview with O’Donnell on “60 Minutes,” — conducted the day after a gunman tried to enter the White House Correspondents Assn. dinner in Washington on April 25.

This World Cup has made unlikely international stars out of a plucky Cape Verde squad, further catapulted the status of gargantuan Norwegian striker Erling Haaland and firmly planted Lionel Messi as the greatest player of his generation.

But the players on the pitch haven’t been the only ones catching the eyes of soccer viewers.

Another legend among legends has also cemented his legacy during this run: Aurelio Casillas — the fictional drug kingpin and protagonist at the heart of the long-running Telemundo series “El Señor de los Cielos.”

The 10th season of the program finds Casillas reemerging to recover his narcotics empire after disappearing from his family’s radar. Familial drama ensues as betrayal runs rampant and Casillas embarks on a vengeful crusade against his enemies to regain and avenge the death of his love interest.

The image of Casillas, portrayed by veteran Mexican actor Rafael Amaya, has been plastered all across Telemundo’s World Cup coverage.

In the ads leading into games, Casillas is there. During most commercial rejoins, hosts spotlight the “El Señor de los Cielos” final season‘s Tuesday premiere.

The promotion has gone beyond what most U.S. audiences might be accustomed to as the network has cleverly implemented in-game ad reads that seem to flow freely into match coverage.

If Haaland coordinates a strike that helps Norway regain power in the game, a Telemundo game announcer might point out that decorated drug trafficker Casillas has also been known to schedule timely strikes to help him regain power in the dangerous world of narco warfare.

The incessant and cheeky ad reads served as more than just a gimmick as social media users have taken note of Telemundo’s marketing strategy. Many have joked about capitulating to the network’s advertising and giving the show a try. Others have humorously pondered about the contents of the program, while some have defiantly proclaimed that they will never fall for the series’ propaganda.

Hate it or love it, people can’t stop talking about it.

During halftime of Friday’s high-octane Argentina-Cape Verde Round of 32 match, Telemundo sportscaster Adriana Monsalve nodded to the online chatter the show has generated.

“We’ve read your messages on social media,” Monsalve said. “Between those who have said they’ve been convinced and those who admitted that they will be watching ‘El Señor de los Cielos,’ all we have to say is thank you. We await you all this Tuesday at 9 p.m./8 p.m. Central on Telemundo and Peacock.”

This type of over-the-top promotion model has long been used by the network as a way to convince advertisers that running commercials on its airways is worthwhile, noted University of Oregon advertising professor Christopher Chávez.

“They’ve really had to scrap it out over the years and so their product placement has always been overt, whereas in English-language media, there’s at least some attempt to make it creative or artistic,” Chávez, who also serves as the director of his school’s Center for Latina/o and Latin American Studies, told The Times. “There’s just this history of announcers and creatives really just going all in on marketing and almost not disciplining themselves, and because you have this global platform, people are just taking notice and they’re having fun with it.”

Telemundo’s executive vice president of marketing and creative strategy, Claudia Chagui, told The Times that the company had a game plan for how to approach the moment for “El Señor de los Cielos.”

“We had a very clear strategy going into the World Cup,” Chagui said. “We knew what we wanted to do in terms of how to protect our core fans and how to attract English-leaning Hispanics and maybe even general market fans to come and watch it in Spanish and all of that happened. We knew that this launchpad for ‘El Señor’ was going to be the strongest platform we could have.”

Chávez remarked that the Telemundo likely put a lot of stock in engaging Latinos online in the hopes that they would have fun with the marketing rollout.

“[Telemundo] knows that Latinos are younger and tend to be more proficient users of social media and more likely to share content,” Chávez said. “They’re very aware of that kind of market research, so whatever they put out there, hopefully it’s going to be meme-able or it’s going to be shareable. I think they’re pretty much banking on that.”

Chagui said that while much of the viral online chatter is beyond the control of the network, Telemundo’s social team has been locked in to the conversations regarding the show.

“We have our ‘El Señor’ account and even our Aurelio account — who is commenting on some of these conversations — and we’re making sure that our community feels like they’re being heard,” Chagui noted. “There is a real fan community around this IP and we take that very seriously. We want to take care of our fans.”

The show has been able to have such reach this World Cup cycle because more U.S. viewers are opting to tune in to Telemundo’s coverage than ever before.

In a recent social media post, Telemundo said that nearly half of all World Cup viewers stateside are watching its coverage.

NPR reported that 20% of Telemundo’s soccer audience speaks English as their primary language. Telemundo Deportes leadership told the outlet that the network’s telecast numbers have increased by 122% since the 2022 World Cup in Qatar.

“It’s so much better when we’re watching it on Telemundo, because the announcers are not simply announcing the game, they’re engaging with the audiences themselves,” said Mari Castañeda, University of Massachusetts Amherst’s Commonwealth Honors College dean. “They’re really leaning into a more Latino aesthetic that is much more loose, open, joyful, kind of like a party atmosphere that changes the vibe and makes it become more celebratory, which it should be. The World Cup is meant to bring people together and it really seems to be doing that.”

That level of involvement from the commentators was something that Telemundo’s marketing team made sure to instill in its talent pool, Chagui noted.

“We work with our sports team and say, ‘These are the things that are top priorities for us from a promotional perspective,’ and our team creates all those mentions for those commentators and we work hand-in-hand with the sports team to make sure that there’s time within the games for them to be able to make those mentions,” she said.

“We tweak that messaging along the way to make sure that it doesn’t become too repetitive, that people don’t get tired of it. And now when the season starts, you’ll see that those mentions are going to be even more organic and will be more related to what’s happening on the show at the time.”

An unexpected added element that fell into Telemundo’s lap was the dream run of Mexico’s national team in the tournament.

“We prayed for that, but it’s been tremendous,” Chagui said. “[The Round of 32 game against Ecuador] had over 17 million viewers, so talk about a dream promotional platform. We really couldn’t ask for more.”

Chávez saw this current cultural moment as a great time for “El Señor de los Cielos” to potentially add a slew of new viewers, especially among English-first audiences.

“One of the things that streaming platforms like Netflix has done is that you’re starting to now see preferences change,” he said. “American audiences are starting to consume Korean dramas, for example, or Spanish-language dramas … [these] platforms have changed people’s comfort levels with consuming content that is not necessarily in English.”

Chagui also credited Telemundo’s streaming home, Peacock, as an important driver of popularity for “El Señor de los Cielos.”

“Now everybody watches content in any language, so I think the partnership with Peacock has been tremendous, because we know a lot of consumers don’t watch linear television anymore, and so if you’re not available on the streaming platforms, then you already hit a brick wall … we have to be available where our audiences are consuming content,” Chagui said.

If you’re one of the many people intrigued by the series, but find the idea of doing nine seasons of catch-up viewing daunting — there’s no need to fear, Telemundo has got you covered.

Seizing on the show’s newfound increase in popularity, the network created a special episode of “El Señor de los Cielos” that recaps all nine seasons of the series in under two hours.

“We needed a catch-up strategy because core fans are going to want to catch up before the premiere of the new season, but we’re going to bring in all these new eyeballs with the World Cup, and so we had to have something that is easy for them to understand what the series is about so they can hit the ground running,” Chagui said. “That’s where we had this idea to do this 90-minute recap of all nine seasons and so since we launched that on Peacock and the consumption has been off the charts.”

But the appeal of the “El Señor de los Cielos,” which began airing back in 2013 and is inspired by the real-life escapades of Mexican drug lord Amado Carrillo Fuentes, goes beyond just the viral marketing.

“I think for a lot of the folks that were not watching it, but that now are interested and fascinated by the show, [the appeal] is that it’s based loosely on a true story,” Castañeda said. “That’s one of the things that in talking to some of the elders in the community is what connects them to the story itself, it feels like it’s something relevant and contemporary because it’s based on the potential of a true story that’s taking place.”

Castañeda added that the program’s high production value and explosive action scenes make “El Señor de los Cielos” seem like “a fun show to watch.”

Amaya’s turn as the sinister yet family-focused Aurelio Casillas has drawn comparisons to James Gandolfini’s portrayal of mob boss Tony Soprano — a distinction the actor dubbed an “honor” as “The Sopranos” is one of his favorite series.

In a conversation with The Times, Amaya embodied the corporate synergy that has piqued interest in his show.

“Our World Cup are TV series and I think that we’ve scored a bunch of goals during the decade that we’ve been telling a story that always been buzz-worthy and that has passed from generation to generation,” Amaya said. “All that is thanks to the viewers and to the characters who have evolved and remained relevant.”

In addition to the plethora of ads, the “El Señor de los Cielos” lead actor contributed to Telemundo’s World Cup coverage through a special program titled “Diarios de Fútbol con Rafael Amaya.” The show follows Amaya around L.A. as he speaks with soccer legends about the transformative power of the sport.

When asked what new viewers of the show should expect, Amaya kept it simple.

“They’re obviously going to see a series filled with adrenaline, betrayal, unexpected turns,” Amaya said. “In this 10th season there are a lot of changes, and I think it’s the best season yet.”

Walt Disney Co.’s ABC network has stepped up its defense of “The View” amid its battle with Federal Communications Commission Chairman Brendan Carr, who has targeted the network’s programming and its hiring policies.

At issue is whether “The View” still qualifies for an exception to FCC rules that require broadcasters to provide equal air time for opponents of various political candidates.

Carr has called the daytime talk show “overtly political.”

Late Monday, ABC filed documents with the FCC to support its request for a declaratory ruling that “The View” is indeed a bona fide news interview program entitled to the equal-time rule exemption that covers newscasts, political debates and documentaries.

The show was granted the exception in 2002.

“Today, the program in the Commission’s sights is The View,” ABC said in this week’s filing. “The principle in the balance is far larger: whether a federal regulator may override a broadcaster’s editorial judgment about whom to interview — a judgment the Constitution commits to broadcasters and their audiences, not to the state.”

Since the FCC opened its inquiry in late May, the agency has received more than 77,000 public comments — most in support of the long-running daytime talk show.

“While ABC insists that ‘The View’ is a ‘bona fide news program’ under the law, ABC should focus on complying with its public interest obligations, rather than misleading the public about them,” an FCC spokesperson said in a statement sent to The Times.

Separately, the FCC also took the unusual step of calling in the licenses of eight Disney-owned television stations for early review. The move — widely interpreted as an effort to chill the Disney network’s speech — came a day after President Trump demanded that ABC fire its late-night host Jimmy Kimmel over a joke about First Lady Melania Trump.

Losing the licenses for its stations, including KABC-TV Channel 7 in Los Angeles, would be a significant blow to the Disney-owned network.

Some conservatives, including Sen. Ted Cruz (R-Texas) have suggested the FCC actions are an overreach while others have encouraged the agency to come down hard on Disney.

“The Commission can take this opportunity to address multiple pending complaints against ABC related to its programming,” conservative lawyer Daniel Suhr, head of the Center for American Rights, wrote in his 65-page petition in support of revoking Disney’s licenses.

“The View,” which features Trump critics Whoopi Goldberg, Sunny Hostin, Joy Behar and Ana Navarro, helps make a case that Disney is running a partisan network, Suhr alleged in his documents.

“Democrats are featured on The View at an insanely high ratio compared to Republicans,” Suhr wrote, noting that at least a third of the show’s 348 guests in 2025 were liberals — including Sens. Bernie Sanders (I-Vt), Elizabeth Warren (D-Mass) and Cory Booker (D-N.J.). Meanwhile, two prominent conservatives, former Georgia Republican Rep. Marjorie Taylor Greene and actor Cheryl Hines, the wife of Health and Human Services Secretary Robert F. Kennedy, Jr., were featured last year.

Since Carr opened the review, the ABC show has avoided conversations with political candidates in competitive races leading up to this year’s pivotal midterm elections.

The show has continued its tradition of hosting politicians, though, including a highly rated interview last month with a Carr ally — Vice President JD Vance.

ABC has asked the FCC for a declaratory ruling on the status of “The View.” The network maintains that “The View” books politicians based on newsworthiness and not partisanship.

The network has run on-air spots urging its viewers to support the program by filing comments with the FCC.

“Big fan of the show. Hope my vote counts,” wrote one viewer, Wilson Vélez, in a comment filed with the FCC on Monday.

Another viewer, Patricia Pomeroy, wrote: “Freedom of speech, Freedom of speech, Freedom of speech.”

ABC’s filing noted that the program has kept the same format and focus on topical news events since its inception.

“What has changed is not the program but the political climate around it,” ABC said in the petition.

Disney’s filing, signed by attorney Paul Clement, commended the “robust response” from the public, saying the outpouring “represents laudable civic engagement of the kind the Commission should welcome given its statutory obligation to make decisions based on the public interest.”

South Korea aims to establish a low-Earth orbit satellite communications network composed of hundreds of satellites by 2035 and accelerate the country’s first lunar landing to 2030, the state-run space agency said Friday.

The Korea AeroSpace Administration (KASA) unveiled the plan during a public briefing on advanced industry development held in the southeastern city of Jinju. The strategy was approved earlier in the day by the National Space Council, chaired by President Lee Jae Myung.

KASA said building the network will help strengthen South Korea’s domestic satellite and launch vehicle development and manufacturing ecosystem as the country pushes to build its own version of SpaceX‘s Starlink network.

“Leading space nations are making all-out efforts to build low-Earth orbit satellite communications networks, which are critical infrastructure for safeguarding national security and communications sovereignty, as well as a strategic foundation for the 6G era,” KASA Administrator Oh Tae-seok said.

The agency said it plans to launch between 128 and 512 satellites, which cost at least 4 trillion won (US$2.62 billion) and up to 13.2 trillion won every five years.

The government also said it plans to set up a special purpose company (SPC) along with private firms for the sale of information amassed through satellites.

The SPC, to be more than 70 percent owned by private firms, is expected to generate over $1.7 billion in sales by 2034, the agency said.

KASA also aims to bring forward South Korea’s first lunar landing to 2030, two years ahead of schedule.

Instead of waiting for the next-generation launch vehicle, which is scheduled to debut in 2032, the government plans to send a privately developed small lunar lander aboard the three-stage Nuri rocket in 2030.

Oh also said South Korea plans to launch a lunar communications orbiter in 2029 and an Earth-moon scientific exploration probe in 2031 to lay the groundwork for an expanded lunar exploration program.

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As CNN prepares for change under a new owner, the network’s chief legal affairs correspondent, Paula Reid, is heading for the exit and expected to jump to MS NOW.

The Washington-based Reid’s contract with CNN is up in several months and she has told the network she does not plan to renew. She is expected to sign on with CNN competitor MS NOW, according to people familiar with her plans who were not authorized to comment publicly.

A representative for MS NOW said the network does not comment on personnel matters but added, “as everyone in Washington knows, Paula Reid is an exceptional reporter, and any news organization would be fortunate to showcase her journalism.”

Reid‘s planned departure comes ahead of the impending merger of CNN parent Warner Bros. Discovery and Paramount. The combination has led to speculation over who will run CNN, and the uncertainty is said to have played a factor in Reid’s decision.

Reid joined CNN from CBS News in 2021.

CNN and Paramount’s CBS News will be combined after the merger, but the management structure is still under discussion. Paramount put Bari Weiss, founder of the heterodox digital news site the Free Press, in charge of CBS News in October, with a mandate to move the network’s coverage more to the political center. Based on the chaos that has ensued at CBS News under her watch, many CNN insiders are concerned over her possible stewardship of an even larger and more complex organization.

CBS News executives and on-air talent have pushed back at Weiss’ efforts to make changes at the division, which many insiders have viewed as an attempt to placate the Trump White House while Paramount seeks regulatory approvals needed ahead of closing the $111-billion Warner Bros. Discovery deal.

Internal resistance to Weiss has been strongest at the venerable news magazine “60 Minutes.” The program’s star correspondent Scott Pelley was fired last month after he confronted management over the dismissals of executive producer Tanya Simon and his on-air colleagues Sharyn Alfonsi and Cecilia Vega.

Weiss’ overhaul of the “CBS Evening News” with her handpicked anchor Tony Dokoupil has failed to improve the third-place program’s competitive position in the ratings. The program has also been criticized for some of its editorial decisions and logistical snafus.

CNN anchor Anderson Cooper has reportedly told colleagues he does not want to work for Weiss if the cable network is put under her purview. He already rejected an offer from Weiss to anchor the “CBS Evening News” and declined to renew his deal as a “60 Minutes” contributor after nearly two decades with the program.

The chaos at CBS has given pause to people at CNN. Larry Ellison, the tech billionaire and father of Paramount Chief Executive David Ellison, has reportedly promised Trump there will be sweeping changes to CNN after the merger.

Reid, 43, is among the many TV news correspondents and anchors that Trump has disparaged over the years, claiming they are unfair in their coverage. As White House correspondent for CBS News, Reid was known for asking tough questions of Trump during his White House briefings on the coronavirus.

Reid was a lawyer before becoming a journalist at CBS News in 2010. In addition to serving as White House correspondent for the network, she covered the Justice Department and the Supreme Court.

Reid would be another significant hire for MS NOW, the progressive-leaning channel that is rebuilding its roster after separating from NBC News and its parent, Comcast. The network formerly known as MSNBC is now part of Versant, a company with a stable of cable networks spun off by Comcast.

Peter Alexander, former chief White House correspondent for NBC News, is joining MS NOW as a morning anchor later this year. The network also hired former “CBS Mornings” executive producer Shauna Thomas as political director.

Veteran MS NOW anchor Alex Witt is leaving the news network, which is moving away from live programming on the weekends.

The new weekend programming strategy announced Friday is a cost-saving measure that will give parent company Versant more resources for a new direct-to-consumer streaming offering that makes MS NOW available to consumers without a pay-TV subscription. The company is also looking to expand its live event business.

According to a memo from MS NOW President Rebecca Kutler, “The Weekend: Primetime,” a live discussion program launched last year, will have its final airing Saturday.

One of the program’s co-hosts, Antonia Hylton, will take over Witt’s midday shifts later this year. Hylton’s co-hosts Ayman Mohyeldin, Catherine Rampell, and Elise Jordan, will remain with MS NOW and continue to appear on other programs.

Kutler said job losses from the moves are minimal and encouraged staffers who lose their current roles to apply for 40 current job openings at the company with more on the way. MS NOW has been staffing up its news operation since separating from NBC News last year.

MS NOW changed its name from MSNBC in November. The network, along with other Comcast-owned cable channels, were spun off into Versant in January.

Weekends have long been a ratings weak spot for MS NOW, which while a distant second to Fox News, has seen audience growth in 2026 and remains ahead of CNN. The network has started to rely on podcasts such as “Pod Save America, from Crooked Media to fill some hours. The episodes have performed strongly enough for MS NOW to try similar deals with outside podcast producers.

“Throughout the summer, we will expand our taped strategy and announce new content partnerships,” Kutler said in her memo.

With the changes, MS NOW will still have 20 hours of live programming each weekend and will be staffed to handle breaking news.

Witt joined the network formerly known as MSNBC in 1999, long before it began its strong tilt toward progressive political commentary. Over the years, Witt’s weekend newscast became one of the few programs on the network that delivered straight news without opinion.

Kutler called Witt “a beloved longtime member of our MS NOW family” and “a continued, trusted, and steady presence for our audiences.”

While Witt works through the summer, Hylton will anchor the 11 a.m. weekday time period, which will eventually be handled by former NBC News White House correspondent Peter Alexander.

Fox has adopted a new split-screen approach to ads during the World Cup’s mandatory hydration breaks, after a stir among viewers over how it had been handling the pauses.

At the start of the tournament, the network aired full-screen ads during the three-minute breaks, cutting away from the field during the opening match between Mexico and South Africa. Soccer fans complained that they were missing on-field action, and the backlash mounted.

By the Mexico-South Korea match last week, Fox had changed course, running split-screen advertisements for the first time: two side-by-side panels, one keeping the camera on the stadium while the other played a commercial. The approach hasn’t been consistent, though. For Friday’s U.S.-Australia match, the network reverted to full-screen ads.

Fox declined to comment on the changes.

Viewers were quick to notice the split-screen format and weigh in on social media. “At least FOX stopped doing the stupid full screen breaks,” one user wrote on X. “I can live with split screen.”

The World Cup has posted substantial ratings gains for Fox.

Throughout the first 16 telecasts of the tournament, the network is averaging more than 6 million viewers from Fox and Fox Sports 1, up 128% from 2022’s World Cup in Qatar. The broadcast of the U.S. team’s first game this month was the most-watched FIFA Men’s World Cup telecast in English in U.S. history, with more than 18 million views, according to the network.

The hydration break itself is new to the World Cup. FIFA announced it in December as a way to protect players’ health in the summer heat. In every match, the referee is to call for a break around the 22-minute mark of both halves, regardless of the weather.

In addition to helping the players, these extra minutes created a new advertising window. Networks are allowed to leave the on-field action 20 seconds after the referee signals the hydration break and return 30 seconds before play resumes, allowing for ads of up to two minutes and 10 seconds in total. They can air any full-screen ad they’d like, or run a split-screen ad — though a split-screen has to feature a FIFA partner, such as Coca-Cola or Adidas.

Ads during the tournament’s earlier games reportedly cost around $200,000 for a 30-second slot. The price jumps to $750,000 when the U.S. is playing, according to the Wall Street Journal.

When any rules change in televised sports, the most dedicated fans are going to get upset, said Patrick Rishe, the director of the sports business program at Washington University in St. Louis. Despite all the online uproar, he said that the hydration breaks are overall beneficial, as they allow networks an extra opportunity to recoup revenue and brands to get additional exposure.

“This is commercially fantastic for FIFA and the networks. It’s tactically helpful for the teams, and I do think it’s helpful for growing interest in the sport,” Rishe said. “It makes it easier for the casual fans to stay engaged.”

Fox is under fire for missing on-field action during the first match of the World Cup last week. .

Many sports fans were irate when the network aired a full-screen ad when play resumed after a water break during last Thursday’s Mexico–South Africa match.

In the second half, the referee called for the newly instated hydration break, but the call came during a replay, which led to a miscommunication over when the three-minute break actually started.

Fox ran its full-screen ad late, and because the break didn’t last the full three minutes, players were reportedly left stalling on the field — and many Fox viewers missed the restart entirely.

“The reason that I keep coming back to these games as a fan is for 45 solid minutes of entertainment. Anything that interrupts that, whether it’s [these hydration breaks] or anything else, is not great for the game,” Garrett Denney, an avid World Cup fan and frequent user of the World Cup Reddit page, said. “What we want to see is that kind of rhythm and tempo, the intensity for a full half of soccer.”

Fox declined to comment.

The hydration break is new to the World Cup. FIFA announced it in December as a way to protect players’ health in the summer heat. In every match, the referee is to call for a break around the 22-minute mark of both halves, regardless of weather.

A FIFA spoesperson declined to comment, but pointed to a previous press release describing the breaks as a “focused attempt to ensure the best possible conditions for players, drawing upon the experiences of previous tournaments.”

The extra minutes also created something else — a new advertising window, and broadcasters are taking advantage.

Networks are supposed to leave the on-field action 20 seconds after the referee signals the break and return 30 seconds before play resumes, allowing for ads of up to two minutes and 10 seconds in total. They can air any full-screen ad they’d like, or run a split-screen ad — though a split-screen has to feature a FIFA partner, like Coca-Cola or Adidas.

The stakes are especially high for Fox, which is also leaning on the tournament to promote Fox One, its streaming service that lets subscribers watch its programming without a traditional pay-TV subscription. The World Cup broadcast has been a major plus for the platform, which costs $19.99 a month.

For some soccer fans, though, the commercial breaks are an intrusions.

“The FIFA hydration break is pure capitalism,” comedian Kevin Fredericks wrote on X.

Musician Lloyd Cole made a similar point about the new ad windows: “US tv finally got their 4 quarters. Fifa, corrupt? Fifa?”

After Fox’s stumble, many fans started questioning the intention behind the rule itself.

That frustration has pushed some viewers toward an alternative: Telemundo. The Spanish-language network, available through the Peacock streaming platform, opted for minimal hydration-break ads instead of full-screen takeovers.

During the same Mexico–South Africa match, while Fox aired its full-screen ad, Telemundo kept players on camera, let its commentators share their thoughts, and ran a Lays ad in the corner of the screen. The network has described it as a conscious decision to prioritize authenticity and keep viewers immersed.

“No ads on Telemundo and I’m learning Spanish at the same time!” one user quipped on the World Cup subreddit.

Denney, who’s rooting for Team USA, said his family prefers the Telemundo stream too — even with only part of the household fluent in Spanish.

“Part of our household is fully fluent in Spanish, part is not. And even despite the language barrier, we’ve really gravitated toward the quality of the Telemundo stream,” Denney said. “It’s really more of a rhythmic commentary. You can get deep into the game, you’re not pulled so far out of that experience and it feels almost like you’re at the stadium.”

While the smoke has begun to clear at “60 Minutes” after three correspondents were fired, CBS News leadership now faces the challenge of finding journalists who can fill their shoes just three months before a new season starts.

The venerable news magazine was plunged into crisis last week as longtime correspondent Scott Pelley confronted management about the May 28 firings of his colleagues Sharyn Alfonsi and Cecilia Vega along with the program’s executive producer Tanya Simon and her second-in-command Draggan Mihailovich.

Pelley, who also accused CBS News Editor-in-Chief Bari Weiss of “murdering” the program, was terminated June 2 after a 37-year career at the network. He later gave an interview to The New York Times, accusing Weiss of “putting her thumb on the scale” for the Trump administration when guiding the editorial direction of stories.

(CBS News denied Pelley’s accusations. But Paramount Chief Executive David Ellison, who has given Weiss a free hand in disrupting the CBS News hierarchy, found the turbulent situation concerning enough to personally reach out to veteran “60 Minutes” correspondent Lesley Stahl, according to The New York Times. He assured Stahl the program would not be subject to political interference, a message she passed along to the staff.)

Lesley Stahl in the 2022 film “Marcel the Shell With Shoes On.”

(A24)

The recent personnel bloodbath followed the already announced departure of Anderson Cooper, and leaves CBS News with four correspondent roles to fill and a far less experienced executive producer — former tech journalist Nick Bilton in place to keep the program on track.

Remaining staffers were encouraged that Maria Gavrilovic, a 19-year veteran of CBS News who worked closely with Pelley, was promoted to senior producer under Bilton. They are also relieved that correspondents Stahl, Jon Wertheim and Bill Whitaker chose to remain with the program rather than leave in solidarity with Pelley.

Norah O’Donnell’s interview with Crown Prince Mohammad bin Salman in 2021.

But “60 Minutes” is under pressure to get a new team in place as newcomers will have little time to learn the program’s formula that gives it the comforting consistency its viewers seek. The 13-minute pieces on “60 Minutes” are filmed, written and voice-tracked in a distinctive narrative style that takes time to master, according to people who have gone through the process.

Weiss has told people internally that “60 Minutes” is the most important platform within the news division and if a major story comes from outside its corps of correspondents, it will find a place on the program.

Here are the leading contenders for full-time roles based on interviews with several sources at CBS News who were not authorized to discuss the matter publicly. A CBS News representative declined comment.

Holly Williams: Williams has been a foreign correspondent working out of Istanbul since 2012. The Australian journalist has reported extensively from war zones in Iraq, Afghanistan, Libya, Gaza and Ukraine. When covering Syria’s civil war from inside the country, she and her team gained access to a prison where alleged ISIS terrorists were being held.

Williams has contributed reports to “60 Minutes” over the years. Before joining CBS, she was a Beijing-based correspondent for Sky News.

CBS News foreign correspondent Holly Williams,

(Michele Crowe / CBS News)

Tony Dokoupil: The anchor of “CBS Evening News” is expected to be added as a contributor to “60 Minutes,” a role also given to his predecessors at the newscast including Dan Rather, Katie Couric, Scott Pelley and Norah O’Donnell.

Dokoupil has done longer interviews and segments for “CBS Sunday Morning” over his 11 years at the network. The additional exposure to a Sunday night audience of more than 9 million who tune into “60 Minutes” could also help boost his nightly newscast. The program has struggled in the ratings since he took over in January when, during his inaugural week, he awkwardly saluted Secretary of State Marco Rubio at the close of one episode.

“CBS Evening News” anchor Tony Dokoupil and the network’s chief national correspondent Matt Gutman.

(CBS News)

Matt Gutman: The network’s national correspondent was Weiss’ first significant on-air talent hire when he joined from ABC News in December. Gutman has been a frequent presence on big stories and breaking coverage for “CBS Evening News” since he arrived.

Mariana van Zeller at the Ultimate Disney Fan Event at the Anaheim Convention Center in September 2022.

(Image Group LA / Walt Disney Co.)

Mariana van Zeller: The multilingual journalist is best known for her documentary series “Trafficked,” which airs on the National Geographic Channel. Van Zeller, 50, has won dozens of awards for the program that has taken her around the world to report on black market activities and human trafficking.

Norah O’Donnell: Currently a contributor to “60 Minutes” who already appears on the program’s trademark open, O’Donnell’s role is expected to expand. After CBS settled a $16-million lawsuit filed by President Trump against the program for what he claimed was deceptive editing of an interview, O’Donnell helped the program by stepping up to interview the president twice, subjecting him to tough questions. Her recent joint interview with three U.S. cardinals about Pope Leo XIV and his church’s opposition to the Iran war and Trump’s aggressive immigration crackdown became a major story in April.

Major Garrett: The network’s chief Washington correspondent recently appeared on “60 Minutes” to interview Israeli Prime Minister Benjamin Netanyahu. The assignment caused internal tension as Stahl was pursuing a sit-down with the leader. But Weiss handled the booking and gave Netanyahu the option to select Garrett.

While the decision faced some criticism, the program regularly agreed to former President Obama’s preference for now-retired “60 Minutes” correspondent Steve Kroft to interview him even though other journalists on the team wanted a chance.

In recent months, the iconic ticking stopwatch of the CBS News magazine “60 Minutes” began to sound like a time bomb.

The explosive detonated Tuesday as the prestigious program’s most high-profile correspondent, Scott Pelley, was fired after openly challenging the moves and motives of the news division’s leadership and questioning the credentials of new “60 Minutes” executive producer Nick Bilton.

Pelley accused CBS News Editor in Chief Bari Weiss of “murdering” the program and berated Bilton, a former New York Times journalist, for lacking TV news experience. His forced exit along with the departure of several other veterans is raising fears about the future of the most-watched TV news program that has managed to retain its vitality and importance in the face of major changes across the media landscape.

Weiss praised Pelley’s contribution to the network when she discussed his termination at the network’s morning editorial meeting Wednesday, but cited a loss of “trust and mutual respect” as the reason for moving on.

“We cannot do our work without it,” Weiss said. “That foundation was broken on Monday, and despite our attempts to engage with Scott Pelley and to find a way back, unfortunately we weren’t able to do so, and so we had to part ways.”

But industry veterans familiar with “60 Minutes” said the firings represented a notable shift in how the venerable program has been run by its predecessors.

Rome Hartman, a former longtime “60 Minutes” producer, said Wednesday in an interview that the termination of Pelley for forcefully expressing his views at a staff meeting is a fundamental misunderstanding of how the program has operated and thrived over 58 years. Spirited, and occasionally acrimonious, internal debate has always been a part of working at “60 Minutes.”

“Sharp words in defense of important ideas, whether they be in stories, or whether they be about the future of the broadcast, shouldn’t just be tolerated, they should be encouraged and inculcated, and they always have,” Hartman said.

The insularity of the “60 Minutes” operation — which has its own suite of offices across the street from the main headquarters of CBS News — has rankled the network’s executives in the past. But those dynamics were considered part of the price of having the most prestigious news program on television.

“Every single CBS News president in the history of CBS News has resented the independence of ’60 Minutes,’” Hartman said.”But the smart ones have come to understand that that independence is part of the secret sauce. I don’t know Bari Weiss, but she seems incredibly thin-skinned.”

The turmoil inside “60 Minutes” comes at an inopportune time for CBS. Weiss is now under the gun to replenish the program’s staff with three months to go before original episodes return to the prime-time schedule.

Pelley is the fourth correspondent to depart “60 Minutes” since Weiss took over as editor in chief. Last week, Weiss fired correspondents Sharyn Alfonsi — who accused Weiss of playing politics by holding a story on the government’s use of El Salvador prisons for undocumented migrants — and Cecilia Vega, who was also outspoken in her criticism of the changes at “60 Minutes,” saying she faced censorship. Anderson Cooper, the CNN anchor who spent nearly 20 years as a contributor to the program, chose not to sign a new contract.

Weiss also fired executive producer Tanya Simon, who has been with the program for 25 years, and her second in command. (Pelley said he was unable to get answers on the firings during his final meeting Tuesday with Weiss and CBS News President Tom Cibrowski.)

Bari Weiss hosts Senator Ted Cruz on her “Honesty” podcast on January 18, 2025, in Washington, D.C.

(Leigh Vogel / Getty Images for Uber, X and The Free Press)

And there could be more departures on the way, adding to the upheaval. Bill Whitaker, who joined the program in 2014 and was a Pelley ally, is said to be weighing whether to walk away from the two years left on his current contract. The program’s respected veteran , Lesley Stahl, is pondering her future as well amid the massive changes, according to people familiar with her thinking who were not authorized to speak publicly.

The call is out for new talent, according to one agent who said CBS News is talking to “dozens of people” for the openings.

But the company will also look within its ranks. Matt Guttman, hired away from ABC News by Weiss to become senior national correspondent, is one name being mentioned, along with Major Garrett, the network’s chief Washington correspondent. Both have emerged as favorites of Weiss.

Norah O’Donnell, already a contributor to the program, is also likely to have a larger presence.

While the “60 Minutes” patina has been tarnished by the recent events, there is no shortage of journalists who would be willing to step up and join the program. But whoever does sign on will be intensely scrutinized while the Nielsen numbers are closely watched.

Newcomers on the program are rare and would have an easier time gaining audience acceptance if they were joining a stable operation.

Although every long-running TV program can use an occasional refresh, a massive overhaul is destabilizing for “60 Minutes,” one of the last non-sports appointment programs for the traditional television audience that still provides broadcast networks with the bulk of their advertising revenue.

Notably, the program averaged 9.1 million viewers during the 2025-26 TV season according to Nielsen, up 9% over the previous year.

“Viewers liked the ’60 Minutes’ that they had,” said a former CBS News executive who worked on the program who was not authorized to speak publicly. “And if they don’t like it, they have many other places to go.”

One of Weiss’ mantras — echoed by Bilton — has been the need to pull “60 Minutes” into the digital future as traditional TV viewing declines. Insiders say she has yet to make clear how that will be achieved.

Under Weiss’ watch, clips and full segments of the program gained significant traction on platforms such as YouTube. The success on digital is an encouraging sign for the program’s ability to attract younger viewers who don’t watch traditional talent.

But veteran TV executives say that loyal “60 Minutes” viewers still expect to see seasoned correspondents delivering in-depth investigations and analysis. A diversion from that formula poses substantial risks.

“Its audience has certain expectations,” said Jim Murphy, a former executive producer for CNN and CBS News. “These guys built a literally nearly perfect program for the medium and for the audience. You’re not going to make it better just because somebody cooler does a story that’s, like, a little funkier. It just not going to work.”

Steve Capus, a veteran network producer who worked with Pelley at the “CBS Evening News,” said his former colleague was built for the meticulous work that goes into every “60 Minutes” segment.

“It’s hard to do week in and week out,” Capus said. “You have to be first-rate in your storytelling.”

What’s more, Weiss and Bilton will also have to fight the perception that their moves on the program have been guided by the desire of David Ellison, chief executive of CBS News parent Paramount, to please the Trump administration as he seeks regulatory approval of his deal to acquire Warner Bros. Discovery.

Trump sued “60 Minutes” over the editing of an interview with his 2024 presidential opponent, former Vice President Kamala Harris. The suit was settled just ahead of the Federal Communications Commission clearing the way for the takeover of Paramount by David Ellison’s Skydance Media.

Ellison acquired Weiss’ digital startup, the Free Press, which established itself as a voice critical of so-called woke politics.

Pelley said in a statement Tuesday that there has been pressure to shape CBS News coverage to please the Trump White House, a claim that both Vega and Alfonsi have made.

“I’ve been told to include assertions that are unverified,” he said. “To date, in every case, I have ignored these instructions or refuse them.”

In a statement, a representative of “60 Minutes” said that the exchanges with Pelley regarding editorial content were not out of the ordinary.

“There is no political interference at CBS News, not from ownership, not from Bari Weiss,” the representative said. “The only ‘interference’ is the normal back and forth between editor and correspondent that happens in every newsroom.”

Scott Pelley, a signature on-air talent for “60 Minutes,” was ousted from CBS News a day after he blasted the division’s top management over the firing of the program’s executive producer and two correspondents.

“We have parted ways with Scott Pelley,” the newly installed executive producer Nick Bilton said in a message sent to staff Tuesday.

The network announced Pelley’s departure after a meeting with top CBS News management late Tuesday, where the veteran correspondent continued to ask for answers on why “60 Minutes” executive producer Tanya Simon and correspondents Sharyn Alfonsi and Cecila Vega were let go last week, according to people familiar with the discussions who were not authorized to speak publicly. Editor in Chief Bari Weiss would not address the matter at the meeting.

Pelley’s departure follows a contentious “60 Minutes” staff meeting on Monday where he accused Weiss of “murdering” the country’s most-watched news program.

Pelley also raised doubts over the credentials of Bilton, the former New York Times journalist and documentary filmmaker named last week to run the venerable newsmagazine, citing his lack of experience in TV news.

Bilton was named to replace Simon on Thursday, an unexpected move that also came with the firings of the correspondents. The moves were made by Weiss, who has targeted the prestigious program for changes since she arrived at the network in the fall.

Bilton attempted to defend Weiss, who was not at the meeting, and asserted that CBS News management was committed to guiding “60 Minutes” into the digital future.

“She is murdering ‘60 Minutes,’” Pelley said of Weiss at the meeting held at the program’s Manhattan headquarters. “She does not love this place. She was brought in to kill it, and she’s been doing exactly that.”

Pelley’s stunning remarks at the meeting were applauded by his colleagues. But veterans in the division — who were shocked by the confrontation— took it as a sign that he was ready to leave the program.

Pelley is the fourth correspondent to depart “60 Minutes” since Weiss joined CBS News. Anderson Cooper, who also anchors at CNN, chose not to sign a new deal, citing family reasons, although many insiders said he was not comfortable with the direction of CBS News. Alfonsi and Vega were severed last week.

Those vacancies mean “60 Minutes” will have to line up new talent quickly to fill the correspondent roles. Production on segments for the 2026-27 season is already underway.

Pelley, 68, started his career at CBS News in 1989. He covered the Gulf War for the network, traveling in Iraq and Kuwait. He later became chief White House correspondent during Bill Clinton’s turbulent second term.

Pelley became a correspondent for “60 Minutes II,” a midweek edition of the program that ran from 1999 to 2005. After the program was canceled, Pelley moved to the Sunday flagship edition.

The fate of “60 Minutes” — which saw a 9% audience increase and massive spikes in viewing across social media platforms this past season — has been an ongoing saga since President Trump sued the program over the editing of an interview with his 2024 opponent former Vice President Kamala Harris.

The suit was settled just ahead of the Federal Communications Commission clearing the way for the takeover of Paramount by David Ellison’s Skydance Media.

Ellison acquired Weiss’ digital start-up the Free Press, which established itself as a voice critical of so-called woke politics. She was given a mandate to move CBS News to the political center, which created a perception that her role is to placate the Trump White House as Paramount seeks regulatory approval to acquire Warner Bros. Discovery.

Nick Bilton, the new executive producer of “60 Minutes,” received a hostile welcome Monday from the CBS News program’s most respected correspondent Scott Pelley as the staff is still reeling over last week’s firings.

In the first staff meeting since Bilton was named last week, Pelley accused CBS News Editor-in-chief Bari Weiss of “murdering” the country’s most-watched news program, which recently finished the TV season with a 9 percent ratings increase. Recordings of the meeting were circulated to journalists.

“She is murdering ‘60 Minutes,’” Pelley said. “She does not love this place. She was brought in to kill it, and she’s been doing exactly that.” Pelley also attacked the credentials of Bilton, a former New York Times tech reporter and documentary filmmaker who like Weiss has no previous experience running a TV news operation.

Bilton was named to replace Tanya Simon on Thursday, an unexpected move that also came with the firing of correspondents Sharyn Alfonsi and Cecilia Vega. The moves were enacted by Weiss, who has targeted the prestigious program for changes since she arrived at the network last fall.

David Ellison, chief executive of CBS News parent Paramount, brought in Weiss — a skeptic of legacy media — with a mandate to move the division more to the political center. But many critics have seen the move as an attempt to placate the Trump administration while Ellison seeks regulatory approval for his deal to acquire Warner Bros. Discovery,

“60 Minutes,” has long been in Trump’s cross hairs. The president sued the program last year over the editing of an interview with his 2024 opponent former Vice President Kamala Harris. The suit was settled just ahead of the Federal Communications Commission clearing the way for Ellison’s Skydance Media takeover of Paramount.

One person close to “60 Minutes” said attendees at the meeting in the Manhattan West Side offices described it as something they had never witnessed in their careers. The confrontation — and the applause Pelley received from his colleagues during the meeting — also demonstrates how CBS News management may have underestimated the staff’s devotion to the program, now closing in on its sixth decade, that has long been considered the most powerful and respected platform in TV journalism.

A representative for CBS News declined comment on the meeting.

Pelley is held in especially high stature at the network due to his work over the years in dangerous war zones. When he was anchor at the “CBS Evening News,” he displayed photos of CBS News journalists who have died in the line of duty for the network going back to George Polk, who was killed during Greece’s civil war in 1948.

People close to CBS News management said both Bilton and Weiss reached out to Pelley last week to discuss the changes and their plans for the program’s future but he did not respond.

One CBS News veteran said the tense meeting “reads like Scott wants to be fired.”

Weiss has maintained she is committed to expanding the “60 Minutes” brand so it generates viewing and revenue outside of its Sunday night broadcast. But she has also clashed with producers and correspondents over the handling of stories such as Alfonsi’s report on the Trump administration’s use of harsh El Salvador prisons to hold undocumented Venezuelan migrants.

Alfonsi’s message to colleagues saying the segment was held for political reasons led to her dismissal from the program.

Vega posted a message last week claiming she had been facing pressure to insert political bias into her stories. “I very much fear what comes next for … the future of the legendary broadcast,” Vega said in a social media post on Thursday, referring to “60 Minutes.”

A CBS News representative said last week that Vega’s claims “are not based in reality.”

Bilton has tried to reassure veterans at the program that he remains committed to the program’s mandate to provide tough, investigative journalism. The words he’s used in several meetings are that next season will not be much different than the successful year the program just completed.

“He’s very much committed to continuing and extending the kind of journalism that ’60 Minutes’ has been known for.” said one person close to Bilton.

Walt Disney Co.’s ABC has filed renewal applications with the Federal Communications Commission “under protest” after an order mandating a years-early review of the network’s eight television station licenses.

The criticism was part of the network’s applications for the FCC review, which were filed ahead of a deadline Thursday. In an objection to the early renewal, Disney’s New York station WABC called the FCC order “unlawful, arbitrary and unconstitutional” and said it was “legally indefensible.”

“The Commission had not demanded early renewal in over five decades,” the station wrote in its filing. “And it has never before demanded simultaneous license renewal applications from a group of stations commonly owned with a network as it has here. The order has no legitimate purpose.”

The licenses for the eight ABC-owned TV stations, including KABC in Los Angeles, were originally scheduled for renewal between 2028 and 2031.

The FCC order came shortly after ABC late-night host Jimmy Kimmel made a joke about First Lady Melania Trump looking like an “expectant widow” days before a gunman tried to breach the White House Correspondents’ Assn. gala last month that President Trump attended.

Trump has frequently threatened to have TV station licenses pulled when he is unhappy with their coverage, but the order is the first time the government has acted on his wishes, sparking anger from free speech advocates. The FCC has said the order is part of an investigation into whether Disney’s diversity and inclusion policies violate federal law and the agency’s rules against “unlawful discrimination.”

In its response, WABC said the “only plausible reason” to issue the order was to “punish the station for speech the government does not like.”

“The ultimate injury here is not to the station or its parent company. It is to the public,” WABC wrote. “When a broadcaster must weigh regulatory retaliation before making editorial decisions, the public loses access to journalism that is free from government influence.”

FCC Chairman Brendan Carr said in a statement Thursday that Disney filed its applications to renew its broadcast licenses only after the company was told its previous answers were “disingenuous, deficient and improper.”

“Contrary to Disney’s claim that the FCC called in their broadcast licenses for early renewal for no reason, the record shows something very different,” Carr said. “Broadcast licensees have a unique obligation to operate in the public interest. The FCC will follow the facts and law wherever they may lead.”

FCC Commissioner Anna M. Gomez, the panel’s only Democrat who has backed Disney in its fight, cheered the Burbank media and entertainment company’s filing, saying in a post on X that she was “glad to see them expose the FCC’s actions as nothing more than naked political retribution and an unlawful assault on free speech and a free press.”

Times staff writer Meg James contributed to this report.

After a complete shakeup at CBS’ “60 Minutes,” ousted correspondent Cecilia Vega said she had been facing pressure to insert political bias into her stories and dealing with censorship.

“I very much fear what comes next for … the future of the legendary broadcast,” Vega said in a social media post on Thursday referring to “60 Minutes.”

Vega, who had worked at the newsmagazine for three years, was fired alongside the program’s executive producer, Tanya Simon, and fellow correspondent Sharyn Alfonsi, who notoriously clashed with CBS News Editor in Chief Bari Weiss over a segment on President Trump’s immigration policies.

The latest shakeup follows multiple controversial moves by Weiss, who’s set on remaking the institution long defined by tradition. She arrived at CBS News in October with no television experience, installed by Paramount Chief Executive David Ellison after he acquired her digital news outlet, the Free Press, with a mandate to change the network.

Ellison’s political intent has been brought into question as he owns CBS’ parent company. The billionaire and his father, Larry Ellison, built a friendly relationship with the Trump White House as Paramount’s acquisition of Warner Bros. Discovery still needs regulatory approval.

Ellison’s pronouncements that CBS News needs to move more to the political center has led to the perception that the network is trying to placate Trump with more positive news coverage, even as “60 Minutes” has remained tough with its White House reporting.

“Our responsibility is to preserve that legacy and vital mission by building a show that thrives in the 21st century,” wrote Weiss in her note to staff. “That requires a new approach: expanding ’60 Minutes’ beyond a one-hour television broadcast, deepening its role across CBS News.”

Vega claims, in her statement, that “in recent months, my producing teams and I have experienced efforts to insert political bias into our stories.” She also said that reporting teams are holding back on submitting specific story pitches, due to the “fear of the internal repercussions.”

“Let’s call this what it is: censorship, both imposed and self-driven,” Vega wrote. “It is dangerous for the show and dangerous for democracy.”

She said that in working at “60 Minutes” she’s had to keep stories rooted in fact and away from “questionable editorial suggestions.”

“I know from many conversations with colleagues that many producing teams and correspondents working on the show today have had to fight to maintain editorial independence with regularity,” Vega said. “I am far from the only ’60 Minutes’ correspondent who has asked herself, ‘What is my personal red line? How much can I push back before I pay the price?’”

In a statement, a CBS News representative said, “We respect Ms. Vega and her contributions, but her claims are not based in reality.”

Vega joined the newsmagazine in 2023, becoming the program’s first Latina correspondent. Before that, she worked for over a decade at ABC as the network’s chief White House correspondent and co-anchoring “Good Morning America.”

Several journalists like ABC’s John Quiñones and former Univision anchor Jorge Ramos offered words of support for Vega’s remarks. Quiñones commented, “Journalism is stronger because of your voice, your courage and your story-telling, Cecilia,” and Ramos wrote in Spanish that he respects and admires her.

Sharyn Alfonsi, the longtime “60 Minutes” correspondent who clashed with CBS News Editor-in-Chief Bari Weiss over a story on Trump White House immigration policies, said Wednesday her contract is not being renewed.

“Over the weekend, my contract with CBS News expired, drawing to a close nearly twenty years with the network, including more than a decade at ’60 Minutes,’” Alfonsi, 54, said in a statement to The Times.

“Following an intense editorial dispute over our CECOT story, repeated attempts by my representation to establish a path forward were met with absolute silence from network executives,” she added. “The message could not be clearer: my time at 60 Minutes is apparently over.”

CBS News declined to comment on Alfonsi’s remarks. Her contract expired this past weekend but she remains employed at the division on an “at will” basis, which means she can be terminated at any time, according to people familiar with the discussions. Producers who worked with Alfonsi have been assigned to other correspondents.

Alfonsi made her comments as the “60 Minutes” staff anticipates significant changes in the coming days, which could include shifting the lineup of correspondents. Anderson Cooper has already announced his departure from the program after 20 seasons.

A scene from the “60 Minutes” report “Inside CECOT.”

(CBS News)

The segment at the center of Alfonsi’s likely exit, “Inside CECOT,” detailed the Trump administration’s treatment of hundreds of Venezuelan migrants who were deported to an El Salvador prison known for its harsh conditions.

“Inside CECOT” was scheduled to run Dec. 22 but was pulled the day before air by Weiss, who believed it needed more reporting, including a direct on-camera response from the administration, which did not participate.

Alfonsi protested the decision to hold the story, calling it politically motivated in an email she sent to colleagues that was shared publicly.

Alfonsi said at the time the story was ready for air after being vetted by the network’s attorneys and the standards and practices department.

“It is factually correct,” Alfonsi wrote. “In my view, pulling it now — after every rigorous internal check has been met is not an editorial decision, it is a political one.”

“Inside CECOT” eventually ran on Jan. 18 without any substantial changes to its tone or reporting. Weiss acknowledged internally that pulling the segment after it had already been promoted was a mistake.

The move created the first public relations fiasco under Weiss’ watch and tarnished the strong journalistic reputation of “60 Minutes.” The matter also added to the narrative that Weiss was installed at CBS News to placate the Trump administration as parent company Skydance Media sought government regulatory approval to buy Paramount and its current deal to merge with Warner Bros. Discovery.

The program has been in turmoil since October 2024 when President Trump filed a $20-billion lawsuit against CBS over an interview conducted with then-Vice President Kamala Harris that was settled to help clear the regulatory path for Skydance Media’s acquisition of Paramount last year.

Weiss joined CBS News in October with a mandate from Paramount Chief Executive David Ellison to pull the division to the political center. The founder of the conservative-friendly digital news site the Free Press, Weiss has wanted to make changes to “60 Minutes” but put them off until after the 2025-26 TV season ended this past weekend.

In her statement, Alfonsi predicted CBS News would try to make her exit an administrative decision not related to her work.

“In the coming days, network leadership may attempt to hide behind corporate euphemisms like ‘modernization’ and ‘restructuring’ to explain away my departure,” Alfonsi said. “Don’t be misled. This was not a routine corporate transition; it was a deliberate choice to penalize a journalist for refusing to sanitize factually accurate reporting, and it sends a chilling message to the entire newsroom.”

Insiders at CBS News are uncertain about the extent of the planned overhaul. Weiss has been advised to limit any disruption to “60 Minutes,” which is coming off a strong season of ratings performance.

Nielsen data showed the program averaged 9.1 million viewers in its Sunday time period, up 9% from the previous year. The program’s views across digital and social media platforms were also up substantially.

The deal, valued at more than $300m, gives Murdoch control of a storied magazine and a podcast division with a reach valued by advertisers.

Media scion James Murdoch has agreed to acquire New York Magazine and the Vox Media Podcast Network in a deal that will significantly expand his portfolio and stands to boost his influence over news and entertainment.

“This acquisition reflects both our interest in the forward edge of culture and our deep commitment to ambitious journalism,” Murdoch, the younger son of media mogul Rupert Murdoch, said in a statement on Wednesday announcing the transaction. His company Lupa Systems will buy both properties from Vox Media.

The deal, valued at more than $300m, gives Murdoch control of a storied magazine known for its coverage of culture, politics and fashion, and a podcast division whose reach, among a demographic coveted by advertisers, rivals that of cable television news networks, according to several people with direct knowledge of the acquisition. The politics news site Vox.com is also included.

Murdoch and his wife Kathryn Murdoch were intimately involved in courting key talent from Vox, specifically Kara Swisher and Scott Galloway, stars of the popular Pivot podcast, as well as several other programmes on the company’s podcast network.

“I like James and Kathryn,” Swisher said in a phone interview. “Unlike many other media owners these days, they’re savvy about the business and willing to take smart risks.”

Vox’s podcast division was valued much higher than New York Magazine in the transaction, two of the people said, spotlighting the importance of making sure top programmes were locked in. Pivot, for example, has three years remaining on its contract, which will continue under Murdoch. Swisher met with the investor and his wife Kathryn several times before the deal came together.

“In a company like Vox, if its talent doesn’t like something, it’s not gonna happen,” Galloway said in an interview. He added, “James is the only Murdoch that this deal could have happened with.”

Several years ago, James was locked in a fierce dispute with his father over the editorial direction and future control of the family’s media empire. In 2019, he founded Lupa after stepping down as chief executive of 21st Century Fox. In 2020, he resigned from the board of News Corp, the publishing arm of the family’s media empire, citing “disagreements over certain editorial content”.

Vox’s podcast and publishing assets will operate as a subsidiary of Lupa Systems, which also owns Art Basel, which hosts annual events in Paris, Miami, Hong Kong, and Doha, and Tribeca Enterprises, the media and entertainment company cofounded by Robert De Niro and Jane Rosenthal.

Vox Media CEO Jim Bankoff will join Lupa Systems and will continue to lead the brands under the Vox Media label, he said in a note to the company’s staff, adding the deal is expected to close in four to six weeks.

New York Magazine’s publications include The Cut, Vulture and Intelligencer, with a digital audience of tens of millions and more than 400,000 paying subscribers currently.

The acquisition does not include other Vox Media brands such as Eater, Popsugar and The Verge. These brands, along with SB Nation and The Dodo, will become an independent company under a new corporate name.

James’s father, Rupert Murdoch, once owned New York Magazine from the late 1970s till he sold it in 1991.

The television industry has changed dramatically over the last decade, but one tradition that won’t die is the annual gathering of ad-buying execs in Manhattan to hear the pitches of networks and streamers looking to sell their commercial time.

This past week’s lavish presentations, known as the upfronts, included the usual array of big-name actors (Arnold Schwarzenegger and Jennifer Lopez), NFL legends (Tom Brady and Mike Tomlin) and “Real Housewives,” past and present.

Jennifer Lopez and Brett Goldstein speak onstage during the 2026 Netflix Upfront at Sunset Pier 94 Studios on May 13.

(Dimitrios Kambouris/Getty Images for Netflix)

The selling buzzwords are far different from the days when the presentations were a vehicle for networks to boast about their ratings and present new program line-ups. The 2026 upfronts talked a lot about “connections” and “community” as the personalized nature of TV viewing brought on by streaming video-on-demand has been fully integrated into the buying and selling of commercials.

“Three of us could be watching the same show, maybe at a different time, maybe at the same time, but receive very different advertising based on what ad technologies, know about us as an audience segment,” said Josh Mattison, executive vice president of digital revenue pricing, planning and operations for Walt Disney Co. “The old model would be, hey, did 10 million people watch this ad? 
I think the new model is, which 10 million people watch this ad.”

Here’s a sampling of what ad executives were seeing and hearing this week:

Using new ad tools that target viewers

Every company presentation touted advancements in the ability to target consumers now that advertising has become the main source of revenue growth in the streaming business. They also played up new services — such as NBC’s Performance Insights Hub — providing advertisers with up to date information on the effectiveness of their advertising so they can adjust accordingly.

Streamers can take the consumer research collected by advertisers and align them with the viewing habits of their subscribers. The data are analyzed in a secure room to protect consumer privacy.

Netflix doesn’t ask subscribers for personal information in the sign-up process, as it can discourage people from buying the service. But the company does use the viewer habits on the platform to help advertisers reach the customers they seek.

“We are seeing where there is overlap and use that to help our advertisers target better,” Amy Reinhard, president of advertising for Netflix, told The Times. “It’s all based on viewer preferences.”

Every company is turning to AI to respond to the needs of advertisers. NBC now offers them the chance to insert commercials that relate to the action seen on the screen during live sports events.

Creators are going mainstream

YouTube’s annual upfront gatherings used to have the feel of an alternative show business universe, with personalities who built their rabid followings on the streaming platform far away from the audiences for traditional TV.

Now creators such as the sports stunt group Dude Perfect have their own studios. Beast Industries, the corporate home of MrBeast, held its own invitation-only breakfast for marketing executives at a high-end New York venue . YouTube stars, such as Jesser, are landing shows on other platforms.

At YouTube’s presentation at Lincoln Center, longtime favorites such as “Call Her Daddy” podcast mogul Alex Cooper and “SubwayTakes” host Kareem Rhama appeared on stage to announce new projects on the platform, looking more like established show producers rather than social media renegades.

Ten years ago, YouTube advertisers had to worry about their spots running next to Islamic State videos. Now it’s become common for marketers to embrace YouTube stars and fully integrate products and messages into their programs.

“When creators talk about your products on YouTube, viewers are 13 times more likely to search for your brands and five times more likely to buy,” said Paul Downey, president of Americas & Global Partners for YouTube.

Mary Ellen Coe, chief business officer for YouTube, told The Times that advertisers can determine if a creator is right for their brand by looking at audience numbers, subscriber data and comments from their communities of fans. But many have their own personal focus groups at home that introduce the hottest YouTube personalities.

“Most of these advertisers have children and teenagers and they go nuts for them,” Coe said.

YouTube is the most watched TV platform according to Nielsen, accounting for nearly 13% of all TV viewing. But that share is much higher among younger consumers.

“My kids don’t watch TV — they watch YouTube,” said Anthony Pedalino, vice president and head of media investment at the ad buying firm Giant Spoon. “So I think this is a bit of future proofing.”

Other companies are seeking creators for their platform.

Amazon Prime Video introduced an alternative feed of some of its NBA games on its streaming platform Twitch, which will turn them into a “CreatorCast.” The streamers who are regulars on the site call the action live in an effort to bring in younger fans. The format will be used in WNBA games in the league’s new season.

Fox touted its creator initiative that develops programs for Tubi, the company’s fast-growing ad-supported streaming platform that now has 100 million active users. The company also has a partnership with TikTok to support creators who want to turn their short-form clips into full-length programs.

There’s always room for comfort food

Amid all the innovations in ad buying and audience measurement presented during the week, many of the programs and personalities offered up by the major networks and streamers were extremely familiar.

“They may be resigned to the fact that people are going to go to emerging platforms for more niche and esoteric programs,” Pedalino said.

Oprah Winfrey made an entrance on the Beacon Theatre stage to promote the move of her podcasts to Amazon Prime Video.

Disney rolled out the cast of “Scrubs” to announce another 10-episode order of the early 2000s sitcom for Hulu. The series had a successful reboot as Gen Z viewers continue to devour vintage programs. Amazon Prime announced “The Greatest,” a Michael B. Jordan-produced mini-series on legendary heavyweight fighter Muhammad Ali, not exactly uncharted territory.

Fox introduced a reboot of “Baywatch,” which was canceled after a single season on NBC in 1990, but went on to become a worldwide hit in syndication over the decade that followed. The slow-motion shots of toned lifeguard bodies running into Venice beach waters are coming back without a hint of irony.

Netflix brought out the set of “Pop Culture Jeopardy” at its presentation at Sunset Pier 94 Studios, NBC previewed comedies with proven prime time stars and touted its 100th anniversary which will be celebrated with an old-fashioned variety special later this year.