Showing posts with label 60 Minutes. Show all posts
Showing posts with label 60 Minutes. Show all posts

Saturday, June 6, 2026

The future of news media: From a 'free press' to propaganda for the olichargy. Part 2 of 3


ANALYSIS: PART 2 OF 3.
I admit I was naive and idealistic when I became a journalist. I believed in the mythic power of the press — the role of journalism in exposing the horrors of the Vietnam War and shaming Richard Nixon into resignation. I thought simply telling the truth would right wrongs. I was wrong. The Fourth Estate is in danger.

During the Trump reign, we are witnessing the construction of an "Oligarchic OS." CBS used to be the gold standard for television journalism. With the departure of several highly-respected journalists, including 60 Minutes veterans Cecilia Vega, Anderson Cooper and Scott Pelley and the previous releases of award-winning Elaine Quijano and Lisa Ling, the network's credibility has sunk to new lows, reflected in its flailing ratings. 
EDITOR'S NOTE: This is Part 2 of a 3-part analysis of America's Fourth Estate and how it affects AANHPI communities. Click here for Part 1: CBS News suffers a million cuts. 
When Larry Ellison backs the Paramount-Skydance merger and eyes a $111 billion "Paramount Discovery" leviathan, he isn't just buying a movie studio. He is tethering iconic news brands like CBS News and CNN directly to Oracle’s AI infrastructure.

This is dangerous because it creates a closed-loop reality:

  • Your news (CBS), your entertainment (Paramount+), and your social data (his group's play for TikTok) all run on his servers. The "free press" stops being a public service and becomes a data-mining operation.
  • We’ve already seen the retreat: Jeff Bezos cutting staff at the Washington Post; Dr. Patrick Soon-Shiong, the L.A. Times owner, blocking the endorsement of Kamala Harris; and Elon Musk turning X (formerly Twitter) into a personal megaphone. Fox News and the New York Post, and the Wall Street Journal are all controlled by the family of billionaire Rupert Murdoch.
  • When the person who provides the government's cloud computing also owns the nightly news, the "Watchdog" doesn't just lose its teeth—it becomes the PR department for the billionaire class.

We are watching a quiet, dangerous shift in how Americans get their information. A modern, ultra-wealthy oligarchy is buying up the digital printing presses and the broadcast towers, and it’s threatening the very fabric of our multicultural democracy. When a tiny handful of centi-billionaires holds the keys to the kingdom, the diverse voices of everyday people — including our Asian American and Pacific Islander communities — get pushed further to the margins.

Buying the free press

What we are witnessing across the American landscape is not philanthropy; it is a calculated transformation of our public square into a highly specialized tool for the super-rich. While the initial acquisition of a legacy news outlet buys a billionaire an immediate seat at the cultural table, the true endgame is far more transactional.
They see themselves as a ruling class, above the daily fray the majority of Americans must maneuver through and they don't like being watched, regulated and saddled with things that might make a better world like workers' rights, equality and diversity-enhancing requirements.
The question that arises, though, is why. Why are the ultra-rich — who already have everything they need to lead super-comfortable lives with their multi-homes, yachts and jets  — so hellbent in controlling America's story.
The simple answer is: So they can get richer. They may talk about shareholders and pubilc good, but in the end, the reason is so they can put more wealth into their own bulging pockets so they can buy an island   
They are converting ink and airwaves into concrete political and economic leverage through several deliberate maneuvers:
  • Rewriting economic reality: Editorial directions are subtly pivoted to normalize extreme wealth gap disparity. Outlets under billionaire control frequently question the viability of wealth taxes while framing corporate tax cuts as universal economic wins.
  • Suffocating the labor movement: The narrative machine is deployed to systematically cast labor unions in a negative light. Workplace violations are downplayed, while corporate consolidation is celebrated as "market efficiency."
  • Buying immunity from regulation: By controlling the primary watchdogs of democracy, the super-rich insulate their primary tech, energy, and retail empires from antitrust scrutiny and environmental accountability.
  • Controlling policymakers: Direct ownership of major journalistic platforms grants unprecedented leverage over Washington lawmakers. Politicians seeking endorsements or fearing targeted negative press quickly become receptive to the owner's broader corporate agendas.
  • Silencing the watchdogs: The platforms are actively weaponized to discredit independent regulatory agencies, investigative journalists, and reform-minded political figures who threaten the status quo.
  • Killing the free press: A key goal is to undermine traditional media outlets, which are frequently labeled as having a "liberal bias". By creating a robust alternative ecosystem, right-wing owners can discredit critical reporting and provide a direct "megaphone" for the MAGA agenda.
  • "Flooding the Zone": This strategy involves overwhelming the public with a constant stream of startling statements and initiatives. The goal is to create chaos, making it difficult for opponents or the media to focus on any single issue or discern fact from fiction.
  • Creating chaos: This strategy involves overwhelming the public with a constant stream of startling statements and initiatives. The goal is to create chaos, making it difficult for opponents or the traditional media to focus on any single issue or discern fact from fiction.
A public confused with a boatload of misinformation and outright lies is a malleable public. This is a dangerous consolidation of narrative power that directly compromises journalistic integrity. 

Roots of the information monopoly

MEDIA JUSTICE
When I was working for the traditional newspapers, it seemed like they were changing ownership every few years as the bigger newspapers bought out the local outlets. Even the traditional large chains like Knight-Ridder, McClatchey, News Media Corp., and Gannet, struggled under the loss of revenue to the new tech media.

The rise of targeted digital advertising and the dominance of tech platforms stripped local newspapers and legacy media of their traditional revenues. This debt crisis made media corporations susceptible to buyouts from private equity firms and tech billionaires, who increasingly use these outlets as "loss leaders" for broader economic and political influence.

The same tech oligarchs who build the nation's data centers, surveillance tools, and AI infrastructure also control the algorithms and social networks that dictate what counts as news. 

Because the public relies on these platforms for information, tech oligarchs have transformed simple content distributors into highly centralized gatekeepers.

Views from the edge

Let’s be real for a minute: billionaires aren’t buying up media networks because they suddenly developed a deep, burning passion for investigative journalism. No, they’re buying the megaphone as a tool to protect the business that put them in the very top of the one-percent. 

By gobbling up news outlets and information pipelines, the ultra-wealthy are securing the kind of systemic political leverage that keeps their fortunes safe from things like fair taxes and corporate accountability. It’s information weaponized to rewrite the rules of the game in their favor.

And it’s not just a hunch. Hard data from media watchdogs shows exactly where this road leads: it completely hollows out our democratic guardrails. When you control the narrative, you control the economy. 

Simply put: The rich get richer and the rest of us, well, we find ourselves fighting among ourselves for the scraps.

However, there is a more sinister complicated and dangerous view that  says accumulating these media trophies is not about making a quick buck.  It’s about power. It is about creating a libertarian paradise in which the ruling class can do whatever they want in order to make money and keep it for themselves and for their vanity projects. One way of doing that is to eliminate the institution that is supposed to protect us from unfettered power by shaping elections, controlling the narrative and convincing us what we want.

By choking out competition and drowning out everyday voices, this media monopoly does one thing exceptionally well — it entrenches extreme inequality while keeping the rest of us on the edge looking in. 

Our AANHPI communities have fought too hard to break down walls and gain access so we can build our own platforms and tell our own stories to let them be drowned out by billionaire gatekeepers. We cannot afford the luxury of apathy. We need to stay alert, think critically, and protect independent journalism. Be part of the ongoing conversation — because the future of our democracy depends on it.

EDITOR'S NOTE: For additional commentary, news, views and chismis from an AANHPI perspective, follow me on Threads, on X, BlueSky or at the blog Views From the Edge. If you find this perspective interesting, please repost.

Thursday, June 4, 2026

'60 Minutes' and CBS News losing credibility with departure of veteran journalists: Part 1 of 3

GEMINI
Veteran journalists Elaine Quijano, left, and Lisa Ling no longer work at CBS.


While mainstream media is currently hyper-focused on Scott Pelley’s dramatic, "for cause" termination from 60 Minutes, his exit was quietly preceded by the firings of veteran Latino journalist Cecilia Vega and two prominent Asian American journalists, Elaine Quijano and Lisa Ling.


Last month, as a harbinger of CBS News' future, the network also released Cecilia Vega, the first Latina correspondent in the 55-year history of 60 Minutes was fired. She has publicly spoken out against the network, citing "censorship" and expressing concern about the editorial direction the storied newsmagazine is taking under the new leadership of Editor-in-Chief Bari Weiss.

For those of us tracking representation in network news, this pattern reveals how easily diverse talent is treated as disposable when corporate corporate ax-men take over CBS News. The network’s ongoing corporate bloodbath—orchestrated under parent company Paramount Skydance and Weiss—has systematically cleared out the very anchors who brought vital, diverse perspectives to the airwaves.

Here is how the corporate restructuring pushed out top-tier AANHPI broadcast journalists before the Pelley newsroom explosion even happened:
  • Lisa Ling (October 2025): The veteran journalist was swept up in a massive wave of network-wide layoffs. As a contributor who frequently brought deeply human storytelling to CBS News Sunday Morning, Ling noted after her dismissal that contributors are often the "easy to cut" targets when corporate suits look to slash budgets.
  • Elaine Quijano (March 2026): Quijano, a trailblazing Filipina American anchor who paved the way on both streaming and traditional broadcasts, was abruptly axed from her roles as a prominent CBS morning show anchor and weekend anchor. Her termination was part of a sweeping 6% workforce reduction that eliminated 60 to 70 newsroom jobs.
Last month, 60 Minutes also lost the openly gay journalist Anderson Cooper. 
According to deep-cover media watchdogs like Oliver Darcy’s Status newsletter, Cooper didn’t just leave — he fled. Sources close to the anchor reveal he was increasingly alarmed by the "MAGA-fied" editorial direction of CBS News under its controversial Weiss, and Paramount-Skydance billionaire David Ellison.
 
Scott Pelley (June 2026): Pelley's firing only came after he publicly confronted management. During an explosive newsroom meeting with new executive producer Nick Bilton, Pelley forcefully called out "Black Thursday"—the recent round of cuts that saw fellow correspondents Sharyn Alfonsi and Vega fired—accusing leadership of destroying the show's DNA.


These exits were part of a broader culling of journalists and executives across the network, including the cancellation of *CBS Mornings Plus$* and *CBS Evening News Plus.* Many industry insiders and critics have expressed concern over the loss of prominent minority voices and experienced field reporters across the network's rosters.

Mainstream headlines will continue to center on Pelley's dramatic newsroom crashout. However, the reality remains that the erosion of veteran, diverse journalists like Vega, Cooper, Quijano and Ling is what set the stage for the collapse of values at the top of the network.


During a heated editorial meeting, Pelley loudly condemned management, stating that Weiss was brought in specifically to "kill" the program. He also questioned Bilton's fitness to run the show since Bilton is a former tech journalist with no traditional broadcast news background.


Several “60 Minutes” staffers and media watchers believe Weiss and hand-picked management s are trying to pacify Donald Trump. “The new owner of our network” is casting the legacy of 60 Minutes aside, “apparently to curry a moment of favor with the Trump administration.”

The next day Pelley was fired.

Following his dismissal, Pelley released a public statement hitting back at leadership. He claimed that under the new management, "60 Minutes" had lost its DNA and alleged that executives had "instructed me to inject falsehoods and bias into a politically sensitive story."


60 Minutes long served as the undisputed "gold standard" of TV journalism, commanding unmatched viewer trust and dominating the Sunday night ratings for decades.

In his final statement on 60 Minutes, and apparently without Weiss approval, Cooper said: “I think the independence of 60 Minutes has been critical. The trust it has with viewers is critical to the success of 60 Minutes,” Cooper noted pointedly. He added that whoever runs the program requires a deep "appreciation of the history and the sacrifices" of its staff.

As a journalist and news junkie, I used to schedule my Sunday evenings around watching 60 Minutes. I always learned something new. Now, my Sundays are more open.

It looks as though 60 Minutes' time as TV journalism's gold standard has rexpired. Tick, tick,tick ....

EDITOR'S NOTE: For additional commentary, news, views and chismis from an AANHPI perspective, follow me on Threads, on X, BlueSky or at the blog Views From the Edge. If you find this perspective interesting, please repost.




Tuesday, January 6, 2026

2026 Olympics: '60 Minutes' interviews Olympic hopeful Alysa Liu


The Chinese American skater is back and looking forward to this year's Winter Olympics.


Alysa Liu, the skating star, is the United States favorite to win a Gold Medal in Women's singles skate, a feat that hasn't happened in decades.

After "retiring" as a teenager, Liu says her "second act" in the sport shifted to a more mature approach - one in which she was in more control and one she takes more joy.

“I get to pick my own programme music. I get to help with the creative process of the programme. If I feel like I’m skating too much, I’ll back down,” she explained in the "60 Minutes" Sunday, Jan. 4.

“If I feel like I’m not skating enough I’ll ramp it up. No one’s going to starve me or tell me what I can or can’t eat.”

Watch the interview, here:


EDITOR'S NOTE: For additional commentary, news, views and chismis from an AANHPI perspective, follow me on Threads, on X, BlueSky or at the blog Views From the Edge. 

Monday, November 21, 2016

Bruno Mars night on '60 Minutes' and on the American Music Awards

'60 Minutes' reporter Laura Logan interviews Bruno Mars in Hawaii.

By Louis Chan
REPRINTED FROM ASAM NEWS


BRUNO MARS dominated the airwaves Sunday night on broadcast television with his back story featured on 
60 Minutes then an exclamation point with his scintillating performance the American Music Awards on another channel.

First he was featured in an extensive story on 60 Minutes where he talked about his early career at Little Elvis, his life living with his homeless family, the trouble he had establishing his career being half Filipino, one quarter Puerto Rican and one quarter Jewish, and the day his career turned around.

Then if you switched the channel in time, you caught him opening the American Music Awards with his electrifying performance of his new hit, 24K Magic.

At the end of the performance, co-host Pharoah offered up his best Donald Trump performance to compliment the singer. “I love Bruno Mars,” said Pharoah as Trump. “I don’t know what color he is so I can’t deport him.” He continued the impression, earning belly laughs from the audience by saying, as Trump, “I’m going to funk this country up bigly.”

The most revealing part of Mar’s 60 Minutes interview came when he took reporter Lara Logan to Paradise Park, a bird zoo in Hawaii where his dad worked and where he and his brother lived with their dad following the divorce from his mom. Watch that segment below.


They lived there for two years in a building that now has no roof and has plants growing in the middle of it. The three all shared one bed and despite the hardship, Bruno considers this time a happy memory.

“Yeah. We had it all, you know. We had each other and it never felt like it was the end of the world. “It’s alright we don’t got electric today. It’s alright. It’s temporary.” saying, “Well, we gonna figure this out. Maybe that’s why I have this mentality when it comes to the music. ‘Cause I know I’m gonna figure – I’m gonna figure it out, just give me some time.”

He also recalled the time he got fired from Motown and realized he just wasn’t ready.

“It’s simply I wasn’t ready yet. I think everybody don’t know what color I am. It’s like, “He’s not black enough. He’s not white enough. He’s got a Latin last name but he doesn’t have – he doesn’t speak Spanish. Who are we selling this to? Are you making urban music? Are you making pop music? What kind of music are you making?”

You can watch the entire interview on 60 Minutes. In the meantime, enjoy his dance moves and music from the American Music Awards on the video below.


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