Network

CBS News named veteran anchor and correspondent Adriana Diaz and business journalist Kelly O’Grady as the new co-hosts for “CBS Saturday Morning.”

The duo will officially start this week, the division announced Friday. The previous long-time co-hosts, Michelle Miller and Dana Jacobson, were let go in a wave of company-wide staff reductions in October.

The cuts and changes at the weekend program were in the works before Bari Weiss arrived to begin her role as editor-in-chief of CBS News earlier that month.

Weiss has generated controversy and bad publicity for the network with her last-minute decision to pull a “60 Minutes” story on the Trump administration’s treatment of hundreds of Venezuelan migrants who were deported to El Salvador. Critics have also been less than impressed with the revamp of “CBS Evening News” which began this week with new anchor Tony Dokoupil.

Diaz and O’Grady will also alternate as co-hosts of “CBS Mornings 24/7,” the daily program on the CBS News streaming platform, working alongside featured host Vladimir Duthiers.

Diaz has been with CBS News since 2012. She has served as a China-based correspondent covering Asia, and later reported from Chicago. Her last anchor role was on “CBS Mornings Plus,” a short-lived one-hour program that followed “CBS Mornings” in several markets, including Los Angeles.

Diaz, 42, also had a stint as anchor of “CBS Weekend News.” She is a frequent fill-in for “CBS Mornings” co-host Gayle King. Internally, Diaz is considered a possible successor to King who is in the final year of her contract with CBS News.

O’Grady, 34, is a recent addition to CBS joined the network in 2024 as a correspondent for its MoneyWatch unit where she reported on the economy. She had been a correspondent and fill-in anchor at Fox Business.

In addition to her co-host role, O’Grady will continue to cover business, technology and the economy for the network.

You’re HBO, and your newest release is an explosive documentary about one of the most controversial sectors of the United States government: the Border Patrol. What do you do to get it as much attention as possible?

We’re seeing their strategy play out right now.

“Critical Incident: Death at the Border” recounts the death of Anastasio Hernández Rojas, a 42-year-old undocumented immigrant who died in 2010 days after immigration agents handcuffed, beat and Tasered him near the San Ysidro Port of Entry after trying to deport him to Mexico. Border Patrol at the time said they used force after Hernández Rojas, who had lived in this country since he was 15, resisted them.

The case drew international attention and Hernández Rojas’ family received a $1-million settlement from the federal government, which declined to file criminal charges against those involved in his death even though the San Diego County coroner’s office ruled it a homicide. Enter John Carlos Frey, a reporter who has pursued the story for nearly 15 years and who is one of the protagonists in “Critical Incident.”

He knocks on the doors of agents who were there when Hernández Rojas died, discovers footage that contradicts the Border Patrol’s official account and uncovers a secretive Border Patrol unit tasked with the “mitigation” of use-of-force incidents that was disbanded in 2022. The documentary includes an interview with a whistleblower who claimed bosses told him to doctor evidence to exculpate the agency in the death of Hernández Rojas. It also alleges the cover-up went all the way up to Customs and Border Protection commissioner Rodney Scott, who was Border Patrol deputy chief for the San Diego region when Hernández Rojas died.

Scott appears near the end of “Critical Incident” to dismiss those “allegations” and declines to comment about any culpability those involved may have had, citing ongoing litigation. “This case from over a decade ago was thoroughly investigated and resolved by the Department of Justice and local law enforcement,” a Department of Homeland Security spokesperson told the Times in a statement when I asked for comment about the documentary’s findings. “Efforts to malign CBP and ICE officers as lawbreakers are slanderous, irresponsible, and only reveal the media’s eagerness to mislead the American people.”

“Critical Incident” is taut, disturbing, timely and a brisk hour and a half. It deserves as many viewers as possible and a publicity campaign as ubiquitous as what HBO is currently pushing for its hit hockey romance, “Heated Rivalry.”

Instead, the network released “Critical Incident” on Dec. 29, when most Americans were lost in a haze of Christmas leftovers, “Avengers: Endgame” reruns and college football bowl games. It’s not listed alongside other recently released documentaries on HBO’s website, and I wasn’t able to find it on the network’s streaming app’s “Just Added” tab.

Director Rick Rowley was diplomatic about his documentary’s “difficult” release date, saying he has “limited insight” into HBO’s decision. He’s nevertheless confident “this film is going to have a long life because these [Border Patrol] issues are only more pressing as the days pass.”

Frey wasn’t as polite: “If I was an executive and released it on that date, I would be fired.”

Rodney Scott, then-nominee for commissioner of U.S. Customs and Border Protection, arrives for a Senate confirmation hearing in April 2025.

(Stefani Reynolds / Bloomberg via Getty Images)

An HBO spokesperson pushed back on Frey’s criticism, stating, “The documentary was actually released during one of the highest usage times on the platform and we are proud to say the film is doing very well, even showing up in the top 10 rail.”

In development for four years, Frey said “Critical Incident” was supposed to air just before the 2024 election. He showed me a text message from a senior producer attesting to that. But HBO held on to it even as a Senate committee grilled Scott about Hernández Rojas’ death during his confirmation hearing last April, which isn’t included in the documentary. The documentary didn’t air even as the Border Patrol’s invasion of cities far from the U.S.-Mexico border throughout last year made the story “Critical Incident” told more relevant than ever.

HBO “buried it on purpose,” Frey, 56, told me over breakfast in Boyle Heights. He blames the current political environment — specifically, Netflix’s proposed $82.7-billion bid to acquire HBO’s parent company, Warner Bros., which federal regulators would have to approve. The last thing executives wants to do right now, Frey argued, is anger President Trump by promoting a documentary that attacks his deportation deluge.

“They buried it on the worst day of the year when no one is watching, and of course, they’re going to deny it,” Frey said.

“That is, of course, not true,” the HBO spokesperson said .

Covering la migra is personal for Frey, who grew up in Tijuana and Imperial Beach with views of the U.S.-Mexico border fence. When he was 12, a Border Patrol agent approached his mother — then a green card holder — while her son was playing outside.

“He wouldn’t believe anything she would say and wouldn’t let her go to our house to get her documents,” Frey said. He’s of average height, deep-voiced and barrel-chested and tends to respond to questions with questions. “Why would he? The agent deported her.”

As an adult, Frey began to cover the Border Patrol in a post-9/11 era. Much like today, it was rapidly expanding, and aggressive tactics like breaking car windows when the occupants weren’t resisting and agent-involved shootings were endemic. The Hernández Rojas case entered his scope after someone reached out claiming they had footage of his death.

“The original narrative was Anastasio became belligerent, they subdued him and he died,” Frey said. “The case was closed, the Border Patrol had written it off.”

The source was initially too scared to share their recording, but Frey eventually convinced them after forwarding his stories about repeated Border Patrol abuses of power. What he saw — about a dozen Border Patrol agents circling a prone, moaning Hernández Rojas, Tasering and punching him while onlookers scream at them to stop — left the reporter “disgusted.”

The footage eventually aired on a 2012 PBS program, which made the story go national. Frey’s continued work on the case eventually caught the attention of Rowley, whose documentaries on neo-Nazi groups, the murder of Washington Post columnist Jamal Khashoggi and the War on Terror have earned him Emmy wins and an Oscar nomination.

The documentarian wanted to examine the Border Patrol’s impunity, and, he said, “Anastasio’s story is one of the only stories that takes you all the way to the top. And you have to work with John if you’re going to do the Anastasio case. He’s fearless.”

Rowley is proud of his final product but admitted that he’s “used to having more press around a film release, especially about a film about … the most important domestic issue in the country, especially in the last year.”

That’s what angers Frey the most about the release of “Critical Incident.”

“The stories I used to hear — ‘Border Patrol broke my windows, left me bloodied, grabbed me without asking any questions’ — it’s now in neighborhoods,” he said. He twisted a napkin, tossed it into the pile of twisted napkins next to his coffee cup.

“It’s a deliberate choice when you’re going to release a documentary and how. If I were HBO and I had evidence of a murder by the feds, I would’ve led with that inmy promotion. I would think that’s a selling point, especially with the [immigration] raids. Instead, they have me hugging someone in the trailer.”

Frey shook his head. “We made a good film, but half the battle is getting people to see it.”

STORM Goretti is continuing to cause chaos across the UK as further travel disruptions are confirmed.

A number of rail lines have suspended services as the first storm of the year batters Britain.

West Midlands Railway officially cancelled routes this morning, Friday, 9 January.

In an official statement, the rail network said it is “unable to provide services until the afternoon”.

“Due to the significant ongoing transport and infrastructure disruption caused by Storm Goretti, we advise passengers not to travel on West Midlands Railway services on the morning of Friday, January 9,” the operator said.

“Passengers wishing to travel on the afternoon on Friday 9th January should check their journeys before they travel as we work to resume services.”

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No rail replacement road services will be provided due to “uncertain road conditions”.

Network Rail are also experiencing disruption after a “very intense heavy snow” hit the West Midlands/Shropshire and Staffordshire areas on Thursday night.

Efforts are being made to clear rail routes, with some services expected to be affected until Sunday, 11 January.

Meanwhile, Avanti West Coast issued “do not travel” advice to anyone planning to use Midlands routes until 1pm on Friday.

“An amended timetable will operate across all routes from 0700 until 1500, when we currently expect services to return to normal,” the train service operator said.

“We strongly recommend travelling outside these times if possible.”

Storm Goretti has also caused disruptions to air travel, with East Midlands Airport and Birmingham Airport forced to cease operations after flurries of snow left runways unusable.

Some areas of the country could see as much as 15-25cm of snow fall and settle as the extreme weather continues for a second day, while Cornwall and the Isles of Scilly were issued a rare red weather warning.

Gusts of 99mph were recorded at St Mary’s Airport on the Isles of Scilly while 90mph winds hit Culdrose, Cornwall where gales brought down power lines and trees.

National Highways said the A30 in Cornwall is closed in both directions between the A394 at Longrock and the A3074 at St Erth.

The closure is reportedly “due to a large number of trees that have fallen and are blocking the road”; Devon and Cornwall Police are assisting at the scene.

Specialist crews are working to clear the trees from the carriageway.

The A628 Woodhead Pass connecting Greater Manchester and South Yorkshire also remains closed in both directions between the A616 for Flouch and the A57 for Hollingworth because of snow.

National Highways has urged drivers to check the weather forecast before travelling today, saying: “Consideration of the weather forecast should be taken before commencing journeys, with considerable delays possible.”

NEW YORK — Nine Major League Baseball teams have terminated their deals with the FanDuel Sports Network to carry their local broadcasts, and Commissioner Rob Manfred said MLB is prepared to produce and distribute the telecasts.

Main Street Sports Group, which operates the FanDuel networks, did not make its December payment to the St. Louis Cardinals. It also carries games of Atlanta, Cincinnati, Detroit, Kansas City, the Angels, Miami, Milwaukee and Tampa Bay, along with 13 teams in the NBA and seven in the NHL.

The termination by the MLB teams was confirmed to The Associated Press by a person who spoke on condition of anonymity because the decisions had not been announced.

“No matter what happens, whether it’s Main Street, a third party or MLB media, fans are going to have the games,” Manfred said Thursday.

Teams that terminated their contracts could reach new deals with Main Street, which did not immediately respond to a request for comment.

MLB took over broadcasts for San Diego in May 2023 after Diamond Sports Group missed a payment to the Padres and added Arizona that July.

Colorado joined MLB’s distribution in 2024, and Cleveland and Minnesota in 2025. Seattle is being added this season and possibly Washington, which is leaving the Mid-Atlantic Sports Network.

Diamond was renamed Main Street Sports Group as it emerged from Chapter 11 bankruptcy proceedings last year and its networks were rebranded as FanDuel.

“Our focus, particularly given the point in the calendar, is to maximize the revenue that’s available to the clubs, whether that’s MLB Media or third party,” Manfred said. “The clubs have control over the timing. They can make a decision to move to MLB Media because of the contractual status now. I think that what’s happening right now clubs are evaluating their alternatives. Obviously they’ve made significant payroll commitments already and they’re evaluating the alternatives to find the best revenue source for the year and the best outlet in terms of providing quality broadcasts to their fans.”

Manfred said local media provides more than 20% of industry revenue.

MLB and the players’ association for 2024 allowed discretionary fund distributions of up to $15 million each to teams whose local media revenue had declined since 2022 or 2023, but they did not reach a similar agreement for 2025.

“We are not providing financial assistance right now,” Manfred said.

Manfred spoke at a news conference to announce an initiative that includes Foster Love and envisions 250,000 volunteer hours to mark the 250th anniversary of the United States. At the news conference, MLB staff assembled duffel bags with goods for foster care children.

Blum writes for the Associated Press.

A “60 Minutes” story on the Trump administration’s imprisonment of hundreds of deported Venezuelan migrants to El Salvador was pulled by CBS News Editor-In-Chief Bari Weiss shortly before it was scheduled to air Sunday night.

The unusual decision drew a sharp rebuke from Sharyn Alfonsi, the correspondent for the piece.

Alfonsi said the decision was motivated by politics, according to an email she circulated to colleagues and viewed by the Times. Alfonsi noted that 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.”

According to the CBS News press department’s description of the segment, Alfonsi spoke to released deportees who described “the brutal and torturous conditions they endured inside CECOT,” one of El Salvador’s harshest prisons.

In a statement, a representative for CBS News said the report called “Inside CECOT” will air in a future “60 Minutes” broadcast. “We determined it needed additional reporting,” the representative said.

Weiss viewed the segment late Thursday, according to people familiar with the matter who were not authorized to comment publicly. She had a number of issues with story and asked for additional reporting, which could not be completed in time for airing on Sunday. A press release promoting the story went out Friday.

Weiss reportedly wanted the story to have an interview with an official in President Trump’s administration.

But Alonsi said in her email the program “requested responses to questions and/or interviews” with the the Department of Homeland Security, the White House and the State Department.

“Government silence is a statement, not a VETO,” Alfonsi wrote. “Their refusal to be interviewed is a tactical maneuver designed to kill the story.”

Alfonsi’s email said she learned the story was pulled on Saturday and that she had not discussed the matter with Weiss.

Even if Weiss’ concerns might be valid, the sudden postponement of a “60 Minutes” piece after it has been promoted on air, on social media and through listings on TV grids is a major snafu for the network.

For Weiss, it’s perilous situation as her every move as a digital media entrepreneur with no experience in television is being closely scrutinized.

As the founder of the conservative-friendly digital news site who was personally recruited by Paramount Chief Executive David Ellison, journalists at CBS News and media industry observers are watching to see if Weiss’ actions are tilting its editorial content to the right.

Before it was acquired by Skydance Media, Paramount agreed to pay $16 million to settle a Trump lawsuit making the dubious claim that a “60 Minutes” interview with Kamala Harris was deceptively edited to aid her 2024 presidential election campaign against him.

Trump recently said “60 Minutes” is “worse” under Paramount’s new ownership following an interview with Rep. Marjorie Taylor Greene, in which she was highly critical of the president and his administration.

Paramount acquired the Free Press for $150 million as part of the deal to bring Weiss over. Her first major move was to air a highly sympathetic town hall with Erika Kirk, the widow of slain right-wing activist Charlie Kirk. Erika Kirk has taken over as head of Turning Point USA, the political organization her husband founded.

Animation is an art of the impossible, though it often settles for the ordinary. Much of what comprises adult animation merely translates into line what might be shown in live action — humans in human settings. Which is fine. Some great shows fit that bill — “King of the Hill” and “Bob’s Burgers,” for example. Still, there are infinite avenues to explore, and so it’s good to have Adult Swim, the network that once produced a series whose heroes are a meatball, a shake and a bag of fries, still making aesthetic trouble.

“The Elephant,” which premieres Friday on the network, and Saturday on HBO Max alongside a documentary on its creation, “Behind the Elephant,” is an animated take on exquisite corpse, the old surrealist game in which three artists contribute the head, torso or legs of a single figure, folding the paper so as not to see what the others had drawn. This project enlists four fab animators over three acts — “Adventure Time” creator Pendleton Ward, Ian Jones-Quartey (“OK K.O.! Let’s Be Heroes”), Rebecca Sugar (“Steven Universe”) and Patrick McHale (“Over the Garden Wall”) — to make something that not only had we not seen before, but none of them had either, until their independently produced parts were put together. All are “Adventure Time” vets, as are Jack Pendarvis and Kent Osborne, who conceived the idea, served as “game keepers,” and share story credit with the animators.

Exquisite corpse was also used in character design. It invariably produces monsters, if amusing ones, which explains why the character — let’s call her The Character — in Ward’s act has a cactus for an arm and a giant pink foot in place of one leg. In the Jones-Quartey and Sugar act, she has robot arms, fishnet stockings and a “music button” in her chest (the city parties when its disco plays), and in McHale’s, a TV for a torso. One regards The Character as the same person in each act, and through changes that occur within each act — identity, death and reincarnation are at the heart of the show. She’s always different, though always the protagonist. (And seemingly female.) Which is not surprising if you’ve ever watched “Adventure Time,” where even every villain is also a protagonist.

Ward takes the first act; Jones-Quartey and Sugar, who are married, worked together on the second; and McHale brings it home with Act 3. Ward’s section is easily recognizable as his work in its mix of the uncanny and the offhand, both from “Adventure Time” and the psychedelic “Midnight Gospel.” Sugar and Jones-Quartey opt for a New Wave angularity far from their usual styles, and McHale cycles through several looks until his Character, who arrives already hoping to get off this wheel of endless rebirth and cease to exist, settles down for a spell in a realistically portrayed city in the snow — New York, I’d say — in conversation with a lonely inventor. McHale also brings in, for just a few seconds, the eponymous elephant in an apropos reference to the parable of the blind men who imagined that animal to be a different sort of beast depending on where they laid their hands.

Each animator (or team) integrates their position in the game — and the nature of the game itself — into their storytelling. Ward’s Character, born onscreen, wonders “What am I? I’m not sure.” In the second section, Sugar and Jones-Quartey have their narrating Character say, “I could feel my existence stretching in both directions, back to the nothingness before anything happened and forward to the nothingness after everything is over. And if everything has a beginning and also a end then this was just the middle.” By virtue of owning the conclusion, and it’s a moving one, McHale brings order to the whole; given the scattered process, and the changes between and within each section, it feels remarkably cohesive and intentional. But metamorphosis is the soul of animation.

If “The Elephant,” described by the network as “a creative experience,” had appeared before it was already published, it would have certainly joined four other animated series — three from Adult Swim — on my list of 2025 favorites. It demands a second viewing, and you’ll want to watch “Behind the Elephant” to learn more. You may want to watch that twice as well.

The top of the tower had disappeared in the mist, but its bells rang clear and true, tolling beyond the abbey gates, over the slopes of frost-fringed trees, down to the town in the valley below. Final call for morning mass. I took a seat at the back of the modern church, built when the Abbey of Saint Maurice and Saint Maurus relocated to this hill in Clervaux, north Luxembourg, in 1910. Then the monks swept in – and swept away 1,000 years. Sung in Latin, their Gregorian chants filled the nave: simple, calming, timeless. I’m not religious and didn’t understand a word, but also, in a way, understood it completely.

Although mass is held here at 10am daily, year-round, the monks’ ethereal incantations seemed to perfectly suit the season. I left the church, picked up a waymarked hiking trail and walked deeper into the forest – and the mood remained. There was no one else around, no wind to dislodge the last, clinging beech leaves or sway the soaring spruce. A jay screeched, and plumes of hair ice feathered fallen logs. As in the church, all was stillness, a little magic.

I’d come to Luxembourg by train, with the notion of finding a frozen fairytale. This tiny grand duchy, about the size of Dorset, has a ridiculous number of castles – as many as 130 (depending on your definition). It’s the legacy of being sited at the heart of western Europe, suffering centuries of incursions. Some of these castles have been restored for visitors; some are places you can stay at (with lower rates off-season). Add in rimy forests, chanting monks and the fact all public transport is free – maybe the most magical thing of all – and my hopes Luxembourg would make an atmospheric winter break were being fulfilled.

My walk ended at Clervaux Castle. It dates from the 12th century, but was destroyed during the second world war’s desperate Battle of the Bulge, which played out in these cold forests in December 1944. The castle has since been rebuilt and now houses the 1950s Unesco-listed photo exhibition The Family of Man. It was almost empty as I moved between the 503 images, taken by the most prestigious photographers of the age, depicting normal people in all life stages, the ordinary rendered extraordinary. There are no captions or locations; each photograph is its own whole story, containing multitudes. It was incredibly uplifting.

You can’t spend the night at Clervaux Castle, but 10 minutes away by (free!) bus is Chateau d’Urspelt, where you can stay. When I arrived, this castle looked Disney-cute, fairy lights dripping from its white-washed turrets. Eighty years ago, it was quite different. The US 1st Battalion 110th Infantry had its HQ here in December 1944, before being overwhelmed by German forces. After the war, Urspelt fell further into ruin, until 2005, when a local entrepreneur decided to restore it and turn it into a smart hotel. I skipped the snazzy spa, and the ice rink sparkling in the courtyard, but relished a fruity Luxembourgish pinot noir in the low-lit bar, which hides like a speakeasy in the castle’s historic cellars.

One of the country’s most impressive castles is Vianden (less than an hour from Clervaux via a free bus), a beast of a bastion, lording over the River Our, on the German border. It was constructed between the 11th and 14th centuries on Roman foundations, altered multiple times, left to rot, then, from the 1970s, painstakingly restored to its medieval pomp. On a pallid winter’s day, it was crowd-free. I rattled around its vast state rooms and marvelled at the layered history visible in the visitor centre, which is built around past excavations.

It’s not just the castle that gives Vianden its fairytale feel. There’s the winding river, the tight-pressed wooded hills and the village itself, with its remnants of 13th-century walls and pretty, cobbled main street. I opted to escape reality entirely in the Ancien Cinéma cafe, a former movie theatre where you can grab a coffee, sit on a couch and watch whatever’s on the big screen, surrounded by film paraphernalia.

My final stop was a castle unlike any other. Chateau de Clémency, close to the Belgian border, is a five-room guesthouse and the 2025 winner of Luxembourg Tourism’s Best Host award. Dating back to 1635, it was only ever a small residential retreat, with no military function. When Pascal Zimmer – former judoka, self-taught tailor and architect, and restorer of historic buildings – bought it 20 years ago, it was a proper mess, in need of either demolition or renovation. He saw the property’s true value and he liked the staircase – “You could say I spent €400,000 on some stairs …” he confessed, pointing out the stone pleasingly worn by 400 years of footfall.

“When you think about castles, you think of Windsor or Versailles. But this is a Luxembourgish castle, not so expansive, not so well done; you can’t restore it in the same way.”

So, to that end, Clémency is Pascal’s own artistic vision. Each room has a different theme, from belle époque “Peggy’s” to the “Roaring 20s”. “Tribute” pays homage to the local steel industry on which Luxembourg’s wealth is built. “My father was a miner,” Pascal said. “He was a humble guy; he’d say all he wanted was a small, clean room. This is a small, clean room.” A patchwork blanket covers the bed, while the bathroom is black polished concrete, a nod to life underground. I stayed in “Sherlock”, a Holmesian fantasy suite; the lounge was a steam-punkish curiosity shop of moody portraits, scientific implements and stuffed cats.

There isn’t much to do in the town of Clémency itself, although that hardly mattered. It was only 40 minutes by public transport (did I mention: all free!) into Luxembourg City, a capital perched on a precipitous rock, like something from a storybook. It was a shorter hop to Bascharage, where I got cosy in D’Braustuff, a gemütlich brewery-brassiere serving Luxembourgish classics – I tucked into a hearty wäinzoossiss (traditional sausage). But when darkness fell, I was also content to stay in my castle with a book – the shelves were full of Agatha Christie and Conan Doyle – and enjoy an alternative winter’s tale.

The trip was provided by Luxembourg tourism board and Byway, which can arrange bespoke itineraries including Eurostar tickets, Interrail passes and accommodation. Château de Clémency has doubles from €99. Château d’Urspelt has doubles from €174

Katie Pavlich, a longtime contributor to Fox News, is leaving the network to join NewsNation.

Pavlich, a conservative political analyst, will have a nightly 10 p.m ET program starting early next year, the Nexstar-owned cable news channel announced Monday.

Pavlich, 37, will replace Ashleigh Banfield, who held down the time period since 2021. Banfield will partner with the network to create digital true crime content, including a podcast.

Pavlich has spent the last 16 years as news editor of the conservative website Townhall.com. She appeared regularly on cable ratings leader Fox News since 2013, appearing as a guest co-host on “The Five” and a fill-in host on its prime-time programs.

Pavlich becomes the latest Fox News alum to join NewsNation. Leland Vittert, a former correspondent for the network, is NewsNation’s 9 p.m. Eastern host. Chris Stirewalt, who was fired from Fox after the 2020 presidential election, is politics editor for the network.

Veteran cable news host Ashleigh Banfield joined NewsNation in March.

(NewsNation)

NewsNation was launched in 2020 as an alternative to the three major cable news networks at a time when all leaned heavily into opinion programming in prime time. But the network has moved toward political debate since Chris Cuomo became its highest rated host in prime time.

An Arizona native who grew up as an avid hunter, Pavlich is a strong advocate of the 2nd Amendment. She poses with firearms in a number of photos on her Instagram.

Pavlich is the author of several books, including New York Times bestsellers “Fast and Furious: Barack Obama’s Bloodiest Scandal” and “Assault and Flattery: The Truth About the Left and Their War on Women.”