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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.”

The first appearance by Vice President JD Vance on ABC’s “The View” delivered the most-watched edition of the talk show since November 2024.

The June 16 program averaged 3.3 million viewers, according to Nielsen data. The figure was well above the average of 2.6 million viewers for “The View” in the 2025-26 season.

Vance appeared on the liberal-leaning program to promote his new book on his decision to become a Catholic. While the co-hosts mostly questioned him on the Trump administration’s policies on immigration and race, the discussion was cordial.

The panel of co-hosts — Whoopi Goldberg, Joy Behar, Ana Navarro, Sunny Hostin and Alyssa Farah Griffin — did not ask Vance to address the program’s ongoing tension with the Federal Communications Commission.

FCC Chairman Brendan Carr has questioned whether “The View” should have the status of news programs, which are exempt from giving equal time to the opponents of political candidates who appear as guests.

ABC has asked the FCC to rule on the status of “The View,” which received an exemption from the rarely enforced equal time provision in 2002. ABC has maintained that “The View” books politicians based on newsworthiness and not partisanship.

The FCC is currently taking comments from the public on the matter. ABC is running on-air spots urging viewers to support the program.

“‘The View’ has welcomed your favorite guests and covered the issues you care about for nearly 30 years,” the spot says. “Now the FCC wants to control who is allowed to appear on the show.”

The National Republican Senatorial Committee and the National Republican Congressional Committee submitted comments Monday, asserting that “The View” takes advantage of its exemption and favors Democratic candidates and permits “only rare appearances by Republican-aligned figures.”

ABC has told the FCC that “The View” has invited politicians from both sides of the aisle to appear on “The View,” including Health Secretary Robert F. Kennedy, Jr., Secretary of State Marco Rubio and entrepreneur Elon Musk. They have declined the invitation as did Vance before his appearance last week.

The letter from the GOP committees also cited the ideological leanings of the co-hosts, saying they are “not selected for their journalistic talent or excellence in commentary, but for their partisan tilt.”

Over the last two decades, “The View” has used five liberal hosts and filled one seat designated for a conservative voice. The right-leaning co-host role has had the most turnover.

“The View” has been the most-watched daytime program for the last nine years. As a live, topical program, it has remained an important media platform while the rest of the talk show genre has largely faded due to diminishing audiences.

Carr’s targeting of “The View” is part of his ongoing criticism of broadcast platforms that annoy President Trump, who has urged that TV station licenses be pulled when he’s been unhappy with coverage.

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.”

The Walt Disney Co. is rallying public support for ABC as it faces an early Federal Communications Commission review of its TV station licenses and the guest booking policy of its daytime talk show “The View.”

ABC began running spots Monday asking viewers to comment on the FCC’s recent actions that Disney sees as an effort to stifle speech seen as critical of President Trump. The president has repeatedly threatened to pull broadcast licenses of TV outlets that feature journalists and hosts he dislikes.

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 has repeatedly threatened to use the levers of power he has to punish TV and radio stations that irritate Trump.

The licenses for the TV stations, including KABC in Los Angeles, were originally scheduled for renewal between 2028 and 2031. Calling for an early review is highly unusual, but the agency said its related to an inquiry into Disney’s diversity, equity and inclusion policies and whether they violated federal anti-discrimination rules.

The FCC has not declined to renew a TV license since the early 1980s. With court challenges, such a process can take years to enact.

FCC Chairman Brendan Carr has also taken aim at ABC’s daytime talk show, “The View.” He publicly questioned whether the program should have the status of news programs, which are exempt from having to give equal time to the opponents of political candidates who appear as guests.

“The View” was granted an exemption from the rarely enforced rule in 2002. ABC’s Houston station KTRK filed a petition with the FCC in May asking for a declaration that the program can maintain that status.

“The Commission’s actions threaten to upend decades of settled law and practice and chill critical protected speech, both with respect to The View and more broadly,” KTRK-TV said in the filing.

ABC has maintained that “The View” books politicians based on newsworthiness and not partisanship. The program featured Vice President JD Vance last week, where he received a cordial welcome.

ABC’s message asking consumers to support “The View” amid an FCC investigation.

(ABC)

ABC is airing spots which warn viewers that the FCC wants to control what viewers see on “The View.” The message opens with the voice of legendary broadcaster Barbara Walters giving her introduction to the program she founded — “I had this idea for a show — different women, with different points of view.”

Walters is followed by an announcer who says, “‘The View’ has welcomed your favorite guests and cover the issues you care about for nearly 30 years. Now the FCC wants to control who is allowed to appear on the show.”

The spot says “the FCC is questioning our support to the community.” A QR code shows up on the screen that takes viewers directly to the FCC’s electronic comment filing system where they can submit their comments, which is regularly part of the agency’s review process.

Disney is also airing spots calling for support of its local TV stations, including L.A.’s KABC. The spots are customized for each ABC station market, emphasizing their commitment to local news coverage.

Disney did not comment on the campaign. But an executive not authorized to speak publicly about it said “ABC believes it is important for the public to know what is happening, what’s at stake, and how to engage directly in the process if they want to make their voices heard.”

Disney’s aggressive defense of its stations and “The View” are a stark contrast to its decision to settle a lawsuit filed by Trump over inaccurate statements ABC News anchor George Stephanopoulos made about a sexual assault civil suit the president lost in court.

ABC agreed to pay Trump $15 million in Dec. 2024 to end the legal fight — sparking an outcry among free speech advocates, who believed the network would have won the case.

ABC also caved In September, when Kimmel’s program was briefly pulled from the air after two major TV station groups refused to air it following the host’s comments about the murder of right-wing activist Charlie Kirk.

Disney received major blowback from the Hollywood community, where Kimmel is extremely popular. Data also showed the company experienced cancellations of its Hulu and Disney+ streaming services in protest of the move.

Two of the biggest box-office standouts of 2026 so far were not made by established studio directors or built on franchise IP.

“Obsession” and “Backrooms” — horror films from internet-native directors in their 20s — have outperformed far more expensive studio releases.

The breakout success of these films has ignited debate across Hollywood about what made these movies so popular, especially among Gen Z moviegoers who haven’t been flocking to cinemas in recent years. Here’s what to know:

The numbers

”Obsession” was directed by 26-year-old Curry Barker, who got his start on YouTube with sketch comedy and horror shorts. Released May 15 by Focus Features, the film was made for just $750,000 but opened to a staggering $17 million and has improved on its debut every weekend since.

“Obsession” set an all-time horror record for the biggest fourth weekend for a film at the domestic box office, raking in $25.4 million. It now ranks as the year’s fifth most popular film, nearing $200 million domestically and roughly $295 million worldwide — ahead of Pixar’s “Hoppers” ($166 million) and Paramount’s “Scream 7” ($121 million), per Box Office Mojo.

“Backrooms,” from 21-year-old Kane Parsons — known on YouTube as Kane Pixels — drew on an online fascination with liminal spaces, leading audiences through an endless run of nearly indistinguishable rooms.

Released May 29 by A24 (known for such acclaimed films as “Moonlight” and Everything Everywhere All at Once”) on a reported $10-million budget, it opened to $81 million and crossed $100 million in under a week.

Within two and a half weeks, it had outgrossed the entire theatrical runs of horror films “Five Nights at Freddy’s 2,” “Smile” and “Scream 7.” It sits as 2026’s eighth-highest-grossing film.

Who is watching?

The audiences are young. In recent weeks, nearly 90% of “Backrooms’” viewers were under 35, with more than half under 25. Over “Obsession’s” first few weekends, 75% of the audience was 17 to 34, which is significant at a time when major studios have struggled to consistently get younger viewers to trek to the multiplex.

Why it’s working

Audiences have clearly latched onto the stories, said Jason Blum of Blumhouse–Atomic Monster, who worked on both films.

“There’s been an audience kind of waiting to get back to the movie theaters, and we in Hollywood really have not landed on what would get them back,” he told The Times in an interview this week.

Blum, who upended horror genre with the “Paranormal Activity” franchise, ties the success of “Backrooms” and “Obsession” to a connection to the directors’ origins.

Because the films were made by creators who speak to younger viewers daily on YouTube, he said, that generation “feels like they’re being spoken to.”

David Gross, an analyst at FranchiseRe, framed it as a new pipeline of talent and material. Creators can build large followings very inexpensively, he said, and their stories arrive further developed — which expedites the development and discovery process. He called internet-based storytelling “another additive source for material for movies.” Blum added that the films’ success could make studios more willing to bet on undiscovered directors who “might not have been considered” before.

Rosie Ramirez, chief marketing officer at Galaxy Theatres, said a young first-wave audience tends to generate buzz. More than a month after “Obsession” was released, she said, the Nevada chain’s four California locations are only now seeing a second wave of moviegoers curious about the hype.

Notably, the rise of these two films has unfolded in the shadow of major releases like Disney’s “Star Wars: The Mandalorian and Grogu,” and Mattel’s “Masters of the Universe,” both of which returned underwhelming numbers in their respective opening weekends.

Is it a trend or an anomaly?

Whether this marks a lasting shift or a fluke is unclear. May crossed $1 billion in box office — with “Backrooms” and “Obsession” doing much of the heavy lifting. Despite the improvement, the box office has yet to full return to pre-pandemic levels, with the summer tracking roughly 3.5% behind summer 2019, said Comscore’s Paul Dergarabedian.

And Dergarabedian questioned how the industry could replicate a success that, in his words, was “authentically and organically created” rather than manufactured: “It just happened,” he said.

Ramirez argued the broader summer slate — franchise tentpoles like “Toy Story 5” alongside some original surprises — points to a healthy box office regardless, a reminder that “it doesn’t always have to be the big summer blockbuster.”

Argentina’s Lionel Messi isn’t the only one scoring in the 2026 FIFA World Cup.

Fox and Telemundo are off to a blazing start in the TV ratings for the quadrennial soccer tournament, delivering big increases over the 2022 World Cup held in Qatar.

Through the first 16 group stage matches, an average of 6 million viewers have watched on Fox and cable network FS1 cable network, a 128% increase over the 2022 FIFA World Cup according to Nielsen data.

The first 12 group stage matches of the tournament drew an average of 7.5 million viewers on the Comcast-owned Spanish language network Telemundo, a 234% increase from four years ago. The Telemundo telecasts are also streamed on Peacock.

The U.S. Men’s National Soccer Team’s opening match against Paraguay held Friday at SoFi Stadium set a record for the most-watched World Cup game on both and English and Spanish language television. The match scored 18 million viewers on Fox and its streaming platforms, while Telemundo’s telecast averaged 9.5 million.

The early ratings show the enduring power of live sporting events and their ability to draw mass audiences at a time when streaming video has splintered viewership . Scripted hit prime time TV shows need seven days or more of viewing on demand to reach the audience levels the World Cup is attracting in real time.

“Having this World Cup in North America clearly has a huge impact on ratings,” said Patrick Rishe, director of the sports business program at Washington University in St. Louis.

World Cup matches held in the U.S. for the first time since 1994 helps — and a competitive USNMT playing in front of home crowds could turbocharge the ratings to even bigger heights. Fox is expecting another record when the team plays its third group stage match in prime time on June 25.

Some sports media pundits have been citing the addition of out-of-home viewing and internet-connected televisions to Nielsen data as the reason sports ratings have been on the rise. But Mike Mulvihill, president of insights and analytics for Fox Sports, asserts that the viewers have been there all along.

“For many years, the numbers were under-counted and what we’re seeing now is a truer representation of the sports audience,” Mulvihill said in a recent interview. “You just cannot overstate what it means to us to be able to capture all that viewing that’s happening at fan fests, in bars and at smaller watch parties.”

Out-of-home viewing boosted the audience levels for Mexico’s inaugural World Cup match on June 11 by 50%, and contributed several million viewers to the total for the USMNT opener.

Mulvihill projects that by the end of the tournament, 150 million people will have watched some portion of Fox’s 2026 FIFA World Cup coverage. The figure approaches the 170 million people Fox reaches with a slate of regular season NFL games.

“For us, it’s like having two NFL seasons in a single year,” Mulvihill said.

Fox will be able to capitalize on the strong numbers for the early matches. Networks typically hold back some commercial inventory for big events in case audience levels fall short of what advertisers are guaranteed. Fox has surpassed those expectations and can now go back into the marketplace to sell available commercials for the later rounds, most likely for more than what was paid before the tournament.

The 2026 World Cup may also be benefiting from a viewing public that wants a distraction from the ongoing political discord in the U.S. and war in the Middle East.

“Sports still remains the one thing we can all kind of talk about and disagree about without it being divisive,” said Lisa Delpy Neirotti, director of the sports management program at the George Washington University School of Business.

Delphy Neirotti believes the World Cup has some momentum from the NBA Finals, which averaged 20.6 million viewers on ABC for the New York Knicks’ triumph over the San Antonio Spurs, The feel-good story of the Knicks winning their first championship in 53 years delivered the most-watched Finals since 1998 and put fans in the mood for more action.

“Fans were already primed up, meeting with friends, watching sports and now they can continue that camaraderie and that collective experience,” Delphy Neirotti said. “They want to be with community.”

The combined numbers for Fox and Telemundo are highest in Los Angeles, which in addition to a large Latino population has 500,000 Iranians. An average audience of 4.7 million viewers watched the Iranian national team play to a 2-2 tie against New Zealand on Monday, the second most-watched match ever on Fox Sports 1.

But there are plenty of World Cup fans in the heartland. Kansas City had the highest local rating for Fox’s coverage of the USMNT’s match, with more than 9% of the market’s homes tuning in.

Kansas City hosted its first World Cup match Tuesday at Arrowhead Stadium, where Argentina’s Messi set a tournament record with three goals in his team’s 3-0 victory over Algeria. The city has cultivated soccer fans with well-attended watch parties held in its Power and Light District.

“The watch parties that they’ve planned out throughout their cities to give people an opportunity to be part of the event, even though they’re not going to the event,” Rishe said. “Whether you’re watching or just walking by, it’s exciting.”

The stunning victory by the New York Knickerbockers over the San Antonio Spurs on Wednesday gave ABC the most-watched NBA Finals Game 4 since 1998, the year of Michael Jordan’s last championship with the Chicago Bulls.

Nielsen data showed an average of 20.9 million viewers watched the Knicks overcome a 29-point halftime deficit to top Victor Wembanyama and the Spurs 107-106 at Madison Square Garden, the greatest comeback in NBA Finals history. The Knicks have a 3-1 lead in the series and will play Game 5 on Saturday in San Antonio, attempting to win their first NBA championship in 53 years.

Through the first four games, the NBA Finals are averaging 19.6 million viewers, also the highest since the Bulls-Utah Jazz faced off on NBC in 1998. The series is on track to become the most-watched since the NBA Finals moved to ABC and ESPN in 2002.

“The match-up is ideal from a media business standpoint, featuring the nation’s largest media market with New York, teams with robust followings and multiple all-stars, especially Wemby, the compelling new face of the NBA,” said Lee Berke, president of LHB Sports Entertainment & Media, Inc.

The Knicks-Spurs series is up 116% over the first four games of last year’s match-up between the Oklahoma City Thunder and the Indiana Pacers. But the most encouraging numbers for ABC and ESPN is the growth among younger viewers, who have become harder to reach in the age of social media and streaming. Ratings among teens aged 12 to 17 are up 138% while the 18 to 24 age group is up 147%.

ABC is also seeing spikes in viewing among women, up 121%, and the Latino audience due to its large populations in the markets of New York and San Antonio, according to Flora Kelly, ESPN’s senior vice president for audience research.

Viewing in the New York market alone is accounting for 18% of the national audience.

Este Haim, Taylor Swift, and Mariska Hargitay react during the 2026 NBA Finals at Madison Square Garden on June 10, 2026.

(Al Bello / Getty Images)

In addition to delivering highly competitive games, the NBA Finals also had President Trump and pop superstar Taylor Swift in attendance at Madison Square Garden. Both are capable of turning a live TV event into a full-blown spectacle.

“What we’re seeing is that this Spurs-Knicks series is a tremendous cultural moment,” Kelly said.

Trump attended Game 3, making him the first sitting president to attend an NBA Finals. While Trump was a fixture at Knicks games before he entered the national political scene, some commentators, such as ESPN’s Stephen A. Smith, believed the president’s insistence on attending Monday’s contest became a distraction that disrupted the home team’s momentum. (The Knicks lost the game 115-111, ending the team’s streak of 13 consecutive wins).

Swift showed up for Game 4, joining “Law & Order: SVU” star Mariska Hargitay and the other celebrities that regularly show up court side at Madison Square Garden.

Nearly 17 years after the King of Pop’s death, Michael Jackson is dominating the box office, television ratings and headlines.

“Michael,” the biopic about the star that hit theaters in April, has surpassed $900 million at box offices globally, according to Deadline, making it the second-highest-grossing film of 2026 behind “The Super Mario Galaxy Movie,” which hit $1 billion. Although “Bohemian Rhapsody” is still the highest-grossing musical biopic, “Michael” is a mere $11 million behind and will likely snag the title in coming weeks.

The film, which stars Jackson’s nephew Jaafar Jackson, follows the “Thriller” hitmaker from his early career leading the Jackson Five to reaching pinnacle star status in the late ’80s. The film’s timeline ends before 1993, when Jackson faced sexual abuse allegations brought by 13-year-old Jordan Chandler.

On Tuesday, “Michael” was released to streaming services, and fans at home can rent or buy on-demand from Amazon Prime Video and other platforms.

Also available for streaming is the Netflix docuseries “Michael Jackson: The Verdict,” which became available on June 3 and dominated the streamer’s charts with nearly 18 million views in its first week. The three-part series examines the pop star’s 2005 molestation trial, in which he was acquitted of all charges, and features key players from the trial, including jurors, eyewitnesses and prosecutors.

The lead prosecutor, Ron Zonen, spoke with TMZ on Tuesday and said that, although he wasn’t sure audiences would view the allegations with a different lens 20 years later, he wanted the documentary to be “as accurate as possible” and feature “the perspective of people who were involved in the trial.”

As far as the response from viewers, Zonen told the outlet that he’d received threats via email. “Well, there are people who are fans, who express their displeasure at the position that we took in this documentary, and express their displeasure very clearly to me,” he said, adding that he’s not bothered by the bad blood with mega-fans, and that the threats were more numerous at the time of the trial.

The 79th Tony Awards telecast kicked off with a bang by giving out two major awards in the first 30 minutes — and before viewers could blink both John Lithgow and Laurie Metcalf had each won the third Tony Award of their careers.

Lithgow won best performance by an actor in a leading role in a play for his portrayal of the controversial, beloved British author Roald Dahl in Mark Rosenblatt’s poignant drama “Giant,” directed by Nicholas Hytner. Times theater critic Charles McNulty called Lithgow’s performance “at once terrifying and never anything less than human,” and “one of the bravest” of the Broadway season.

Lithogow’s win, however, was far from assured. He was in the running against Nathan Lane in the season’s most talk-about show’s “Death of a Salesman,” and many bets were surely placed on the latter to sweep.

Lithogow is among a cadre of accomplished film and television actors who have a deep love of the stage. His first Tony win came for best featured actor in a play for his 1972 Broadway debut in “The Changing Room.” His second came 30 years later in 2002 when he he won for best actor in a musical for “Sweet Smell of Success.”

Metcalf won best featured actress for her portrayal of Willie Loman’s protective wife, Linda Loman, in “Death of a Salesman.” This is Metcalf’s third win in less than a decade, and was not a surprise as she has inherited “Helen Hayes’ mantle of First Lady of the American Theater,” according to McNulty.

Perhaps that explains her perfunctory, somewhat rote speech — which still didn’t detract from the joy of her win. Viewers know a towering talent when they see one.

Lithgow, to the contrary, was clearly stunned — and deeply honored.

“I’ve had dozens and dozens of static, ecstatic moments on stage, but I have to tell you right now, this moment has got to be one of the best,” he said as he held his award.

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.”

The venerable news magazine “60 Minutes” is undergoing a major overhaul under CBS News Editor-in-Chief Bari Weiss.

Weiss announced Thursday the appointment of new executive producer to replace Tanya Simon, a 26-year veteran of the program who took over the top job last July. She will be replaced by Nick Bilton, a former New York Times technology columnist and documentary filmmaker.

Bilton will be the first executive producer in the 58-year history of “60 Minutes” to come from outside of the tightly knit organization. The program has only had four leaders in its history — Don Hewitt, Jeff Fager, Bill Owens and Simon — all of whom came up through the ranks of CBS News.

Weiss is said to have developed a solid relationship with Simon, whose late father Bob Simon was a highly respected correspondent for the program. But the connection apparently deteriorated after Weiss did not receive an advance notice on Anderson Cooper’s sign off from the program ending his nearly 20-year run as a correspondent.

Cooper, who is also a full-time anchor at CNN, turned down a new “60 Minutes” deal from Weiss. During his final appearance, he expressed fears about the editorial independence of the program.

Tanya Simon is the new executive producer of “60 Minutes.”

(Michele Crowe CBS News)

“Things can always evolve and change, and I think that’s awesome, and things should evolve and change, but I hope the core of what ’60 Minutes’ is always remains,” Anderson told viewers. “I think the independence of ’60 Minutes’ has been critical.”

Speculation over changes at “60 Minutes,” the most-watched news program on television for 52 consecutive years, have been swirling for months since Paramount Chief Executive David Ellison installed Weiss to oversee editorial content at CBS News.

The program has been in turmoil since Oct. 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 clear the regulatory path for Skydance Media’s acquisition of Paramount.

From a business standpoint, “60 Minutes” is a curious target. The program is one of the most profitable hours on the CBS prime time schedule while retaining its status as television’s most prestigious journalism operation. While the ratings for “60 Minutes” get a boost from a lead-in from high-rated NFL late afternoon games, it remains one of the few network shows that viewers make an appointment to watch.

After his Netflix roast inspired tit-for-tat feuding among comedians and backlash from viewers over a joke about George Floyd, Kevin Hart’s stance is clear: All is fair in love, war and comedy.

During a Tuesday appearance on “The Breakfast Club,” Hart addressed the controversy stemming from Netflix’s “Roast of Kevin Hart,” which aired earlier this month and included material that shocked viewers. Tony Hinchcliffe, who helms the No. 1 live podcast in the world, “Kill Tony,” applied his politically incorrect approach to comedy that similarly outraged audiences at a 2024 campaign rally for then-presidential candidate Donald Trump.

“The Black community is so proud of you right now,” he quipped at Hart. “George Floyd is looking up at us all, laughing so hard that he can’t breathe.”

In 2020, Floyd was murdered by police Officer Derek Chauvin, who pressed his knee into Floyd’s neck for more than nine minutes, until he died. His last words were “I can’t breathe,” which he said more than 20 times. The killing sparked global unrest and the largest civil rights protest since the 1960s. Hart attended Floyd’s memorial and private service in Minneapolis.

“The George Floyd joke, it wasn’t a tasteful joke to our culture,” Hart told the podcast. “But our audience that’s watching the roast … you get why they’re doing it, you get why the racial humor is on the table.”

Hart continued that the approach to comedy is nothing new and said, “Tony Hinchcliffe arguably had the best set, or one of the best sets.”

“Would I tell those jokes? No, but do I get why they’re being told? Yes,” Hart said.

Floyd’s brother, Terrence Floyd, spoke with “Breakfast Club” host Loren LoRosa after the roast aired and said that he expected Hart to step in and tell Hinchcliffe he’d gone too far.

“What do you want me to do? Drag him off?” Hart asked during his appearance on the podcast. “That’s not what I agreed to do. That’s not the job at hand. The job at hand was to produce a successful roast, which I did.”

Not only has the Netflix roast caused a stir among viewers, but the comedians who participated also have been trading slights in recent weeks. Chelsea Handler didn’t mince words when she offered her take on Hinchcliffe, as well as Shane Gillis, who also performed a set during the roast. According to Handler, ex-girlfriends of the controversial comedians slid into her DMs and told her what she said she already knew about them.

“They’re racist,” she said during an appearance on Deon Cole’s “Funny Knowing You” podcast. “That they’re bigots, that they’re sexist, that they think they’re like invincible.”

Handler said that one of Gillis’ jokes about lynching Hart was “worse than rape.” In response, Gillis told the Hollywood Reporter in a statement that Handler was capitalizing on the moment.

On Monday’s episode of “Kill Tony,” Hinchcliffe responded to Handler’s remarks by calling her “a bit of a c—. “

Comedian Conan O’Brien will return to host the 99th Academy Awards set for March 14.

O’Brien, known for his self-deprecating humor, emceed the Oscars this year and in 2025.

“Conan has created remarkable energy around the Oscars,” President of Disney Television Group Craig Erwich said in a statement Tuesday announcing O’Brien’s return. “His singular comedic voice makes Hollywood’s biggest night one of the most entertaining celebrations of the year. We’re proud to welcome him back and look forward to what he and the producing team deliver next.”

Raj Kapoor and Katy Mullan are set to return as the show’s executive producers for the fourth consecutive year.

Major changes are in store for the entertainment industry’s biggest night.

Starting in 2029, the Oscars will move from Hollywood’s Dolby Theatre, its home for nearly a quarter century, to the L.A. Live in downtown Los Angeles. The ceremony will also stream on YouTube, ending a five-decade run on ABC, beginning that year.

Oscars viewership has been in flux as younger audiences prefer to view clips of the ceremony on social media, rather than on television.

ABC’s telecast of the 2026 ceremony averaged 17.9 million viewers, down 9% from the previous year, when it garnered 19.7 million viewers. Ratings for the Oscars reached an all-time low of 10.5 million viewers in 2021.

Academy of Motion Picture Arts and Sciences Chief Executive Bill Kramer and President Lynette Howell Taylor announced the news at its upfront presentation Tuesday.