Seth

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.

Seth Rogen and James Franco were once an inseparable comedic duo.

But following several women’s allegations of sexual misconduct by Franco in 2018, the pair has been publicly estranged. Rogen recently told the New York Times that he hadn’t spoken to Franco “in a long time” and didn’t plan to work with him.

“Nothing has changed since the last time I talked about all this,” Rogen said, “and I haven’t worked with him in a really long time and I have no plans to.”

The actors got their start in Hollywood on the cult classic TV show “Freaks and Geeks.” At the time, Rogen was 16 and Franco was 21. As they continued to make their way through the industry, they became known for a string of well-loved early-2000s and 2010s comedies including “This Is the End,” “The Disaster Artist” and “Pineapple Express.”

Franco’s illustrious movie career came to a halt when five women, including several of his acting students, accused him of sexual exploitation. Some of the allegations included removing protective plastic guards covering actresses’ vaginas during the filming of intimate scenes, and Franco getting angry when actresses didn’t want to go topless.

Two of the accusers filed a class action in 2019, claiming sex discrimination, sexual harassment, fraudulent business practices and intimidation. Franco settled the case in 2021 for $2.2 million.

Rogen and Franco’s friendship has been a point of contention for the actor, as Rogen continues to climb the ranks in Hollywood. Just last year, “The Studio,” a show that Rogen created, writes, stars in, directs and produces won 13 Emmys and is currently filming its second season.

Rogen previously said he regretted saying that he could work with Franco again after the allegations surfaced.

“What I can say is that I despise abuse and harassment and I would never cover or conceal the actions of someone doing it, or knowingly put someone in a situation where they were around someone like that,” Rogen said in 2021, in an interview with the U.K.’s Sunday Times. “I also look back to that interview in 2018 where I comment that I would keep working with James, and the truth is that I have not and I do not plan to right now.”

The actor is still hesitant to detail the nuances of his friendship with Franco. He told the New York Times that it’s “a very personal thing.”

“There’s the public-facing side of it, which I’ve spoken about, and I have the same stance publicly that I’ve had, and I think the proof is in the pudding — I have not worked with him in years,” Rogen said. “But the personal side of it is just so nuanced, and it involves people that I don’t know if I should be dragging into this.”

It’s been a big year for Seth Rogen’s Point Grey Pictures.

The 15-year-old production company founded by Rogen, his childhood friend and longtime collaborator Evan Goldberg and producer James Weaver is coming off a huge awards season for its comedy, “The Studio.”

The Apple TV series, which simultaneously pokes fun at the institutions of Hollywood while also peeling back some of the industry’s mystery, is now the most-awarded new comedy in TV history.

“The Studio” has won 13 Emmys, a BAFTA TV award in the international category, two Golden Globes and three Critics Choice awards. It’s currently filming its second season, with most details still under wraps.

I spoke with Rogen, Goldberg and Weaver about the success of the show, which primarily films on the Warner Bros. lot, and what’s next for Point Grey.

On all those awards?

“We’ve never, literally, won any awards before this, so I by no means expected this,” Rogen said, with a chuckle. “I hoped people would creatively recognize that we were really swinging for the fences, but awards were not really something that I was thinking that much about.”

In the show, the Canadian actor and comedian plays beleaguered movie studio head Matt Remick, who must balance the art of filmmaking with the economics of the business. In a nod to Hollywood’s pull toward intellectual property, one storyline focuses on the studio embarking on a movie about the Kool-Aid Man, which Rogen’s character only reluctantly agrees to pursue.

It’s not all about the money

“To me, what is interesting, and what people don’t seem to think about Hollywood, is that the people involved in it actually care about movies, even the ones who make bad ones, even the ones who make choices that stop good ones from being made,” Rogen said. “If you really just wanted to make money, there are much easier ways to make money where you don’t have to deal with people like me.”

He also noted that there’s a role for movies such as the fictional Kool-Aid flick.

“You could argue it’s the Kool-Aids of the world that keep theaters open,” Rogen said. “It’s our fake Kool-Aid movie that allows smaller movies to exist and allows theaters to take risks on smaller movies.”

Remembering comedy

“The Studio” also stemmed from a desire to make a pure comedy, despite the tough time comedies have had recently in the marketplace.

“We just all agreed that we wanted to make something that was just funny,” Goldberg told me. “It just felt like the world stopped making those, and we just wanted to make something that when you tuned in, was just absolutely hilarious.”

A serious L.A. business

Los Angeles-based Point Grey, which has 15 employees, is named for the Canadian school where Rogen and Goldberg met (the first project they wrote together, which became 2007’s “Superbad,” was based on their experiences there). Despite their comedic reputations, the more serious-sounding company name was deliberate so it could be used with any kind of project.

In fact, the company got its start with the Joseph Gordon-Levitt-led dramedy “50/50” about a 20-something who learns he has cancer. Over the years, Point Grey’s projects have spanned genres, including supernatural series “Preacher,” 2016’s “Sausage Party,” the satirical superhero show “The Boys” and biographical mini-series “Pam and Tommy.”

A Point Grey project is “genuinely original” and “daring,” said Weaver, Rogen’s former assistant who now serves as president of the company, which has a first-look film deal with Universal Pictures and a first-look TV deal with Lionsgate. He declined to discuss financials but said the company is profitable.

“We’ve managed to be really productive in terms of the amount of things that we’ve made, and we try to be smart about how we run our financials,” Weaver said. “The company is doing quite well.”

Point Grey is in production on “Teenage Mutant Ninja Turtles: Mutant Mayhem”; just wrapped a romantic comedy for Amazon MGM Studios starring Cameron Diaz and Stephen Merchant; and recently screened an animated film at Cannes called “Tangles” that’s based on a graphic novel about Alzheimer’s.

The production company may eventually expand into video games (“We love video games,” Goldberg told me), and plan to continue to navigate the changes in Hollywood, which is reeling from a continued drought in local production that my colleague Stacy Perman and I wrote about recently.

“Personally, I feel like people are very fatalistic about the trajectory of the industry, but it’s not like the industry is going down, the industry is just changing,” Goldberg said. “We just are very flexible and embrace the change, and hopefully in doing so, we don’t get left behind.”

Stuff We Wrote

Number of the week

After 1,810 episodes as the host of “The Late Show,” Stephen Colbert signed off for the final time Thursday.

CBS has said it canceled Colbert because the show was losing $40 million a year as viewers have increasingly migrated away from late-night viewing in the streaming era.

But many in the TV business are skeptical of the claim and believe Skydance wanted to silence Colbert, a frequent Trump critic, to pave the way for its deal last year to acquire parent network Paramount. (The Federal Communications Commission’s approval of the transaction came days after the show’s cancellation was announced.)

My colleague, Stephen Battaglio, has written about what the future of late-night TV talk shows will now look like.

What I’m watching

I watched the “Survivor 50” finale Wednesday with some friends, despite only watching two episodes this season (or ever). It was fun seeing the drama unfold, though I was, like everyone else, shocked at that “last twist” of Jeff Probst accidentally spoiling who lost in the final fire-making challenge.