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Revolving Door Roundup: CBS News Names Tom Cibrowski President and Executive Editor

Revolving Door Roundup: CBS News Names Tom Cibrowski President and Executive Editor

Yahoo27-02-2025

Eye on CBS News: A week after the departure of Adrienne Roark to Tegna, CBS News has brought in Tom Cibrowski to lead the news organization as its president and executive editor. Reporting to Wendy McMahon, Cibrowski will oversee CBS News' newsgathering, units, and shows.
'Journalism and storytelling are what CBS News does the best,' Cibrowski said in a statement. 'There is simply no one better. I'm beyond thrilled to be returning to this iconic and unmatched organization and can't wait to hit the ground running.'
This is a homecoming for Cibrowski, who returns to the network after a stint at the ABC San Francisco affiliate, KGO. He was previously part of the CBS News family as a broadcast producer for the CBS Early Show with Bryant Gumbel and was also responsible for the morning show's coverage of the 9/11 attacks.
Cibrowski also spent 25 years at ABC News in multiple leadership roles, including senior vice president of ABC News programs, newsgathering, and special events. Cibrowski was part of the team that saw Good Morning America assume the No. 1 position after Today's 16-year stranglehold.
Moving Up: ABC News has promoted Seni Tienabeso to vice president of ABC News Live and specialized units after serving as the first-ever executive director of the streaming service. In this new role, Tienabaso will lead all aspects of ABC News Live, including resource and talent management, content development, and programming.
CNN Moves: Harry Enten-CNN's numbers guy and host of the Margin of Error podcast-has been promoted to chief data analyst at the network. Enten was previously a senior writer and analyst for CNN Politics focusing on poll numbers and electoral trends.
CNN also announced that Sam Felix has joined the network as a senior vice president of strategic partnership and business development. Reporting to David Leavy, Felix joins the network from The New York Times, and will be responsible for developing, cultivating, and building out CNN's commercial and strategic partnerships with key technology platforms and services, industry leaders, and trade organizations.
Finally, former CNN deputy media editor, Jonathan Passantino, has landed at the Status newsletter where he will be the platform's executive editor. The Status newsletter is the brainchild of Oliver Darcy, CNN's former media reporter who also wrote the Reliable Sources newsletter. 'His experience and sharp editorial eye will help us push even further,' Darcy said on X, formerly Twitter.
NBC News New Hire: NBC News has announced that Gordon Lubold will be joining the news outlet as a national security reporter beginning March 10. Lubold comes to NBC from The Wall Street Journal where he was their White House national security and Pentagon reporter.

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‘Good Night, and Good Luck' CNN live broadcast brings George Clooney's play to the masses
‘Good Night, and Good Luck' CNN live broadcast brings George Clooney's play to the masses

Los Angeles Times

time5 hours ago

  • Los Angeles Times

‘Good Night, and Good Luck' CNN live broadcast brings George Clooney's play to the masses

Saturday afternoon out west and evening back east, as citizens faced off against ICE agents in the streets of Los Angeles, 'Good Night, and Good Luck,' George Clooney's 2005 dramatic film tribute to CBS newsman Edward R. Murrow, became a Major Television Event, broadcast live from Manhattan's Winter Garden Theater, by CNN and Max. That it was made available free to anyone with an internet connection, via the CNN website, was a nice gesture to theater fans, Clooney stans and anyone interested to see how a movie about television translates into a play about television. The broadcast is being ballyhooed as historic, the first time a play has been aired live from Broadway. And while there is no arguing with that fact, performances of plays have been recorded onstage before, and are being so now. It's a great practice; I wish it were done more often. At the moment, is streaming recent productions of Cole Porter's 'Kiss Me, Kate!,' the Bob Dylan-scored 'Girl From the North Country,' David Henry Hwang's 'Yellow Face' and the Pulitzer Prize-winning mental health rock musical 'Next to Normal.' Britain's National Theater at Home subscription service offers a wealth of classical and modern plays, including Andrew Scott's one-man 'Vanya,' as hot a ticket in New York this spring as Clooney's play. And the archives run deep; that a trip to YouTube can deliver you Richard Burton's 'Hamlet' or 'Sunday in the Park With George' with Mandy Patinkin and Bernadette Peters is a gift not to be overlooked. Clooney, with co-star Anthony Edwards, had earlier been behind a live broadcast of 'Ambush,' the fourth season opener of 'ER' as a throwback to the particular seat-of-your-pants, walking-on-a-wire energy of 1950s television. (It was performed twice, once for the east and once for the west coast.) That it earned an audience of 42.71 million, breaking a couple of records in the bargain, suggests that, from a commercial perspective, it was not at all a bad idea. (Reviews were mixed, but critics don't know everything.) Like that episode, the 'live' element of Saturday's broadcast, was essentially a stunt, though one that ensured, at least, that no post-production editing has been applied, and that if anyone blew a line, or the house was invaded by heckling MAGA hats, or simply disrupted by audience members who regarded the enormous price they paid for a ticket as a license to chatter through the show, it would presumably have been part of the broadcast. None of that happened — but, it could have! (Clooney did stumble over 'simple,' but that's all I caught.) And, it offered the groundlings at home the chance to see a much-discussed, well-reviewed production only a relatively few were able to see in person — which I applaud on principal and enjoyed in practice — and which will very probably not come again, not counting the next day's final performance. The film, directed by Clooney and co-written with Grant Heslov (who co-wrote the stage version as well), featured the actor as producer and ally Fred W. Friendly to David Strathairn's memorable Murrow. Here, a more aggressive Clooney takes the Murrow role, while Glenn Fleshler plays Friendly. Released during the second term of the Bush administration, the movie was a meditation on the state of things through the prism of 1954 (and a famous framing speech from 1958 about the possibilities and potential failures of television), the fear-fueled demagoguery of Wisconsin Sen. Joseph McCarthy, and Murrow's determination to take him on. (The 1954 'See It Now' episode, 'A Report on Sen. Joseph McCarthy,' helped bring about his end.) As in the film, McCarthy is represented entirely through projected film clips, echoing the way that Murrow impeached the senator with his own words. It's a combination of political and backstage drama — with a soupcon of office romance, represented by the secretly married Wershbas (Ilana Glazer and Carter Hudson) — even more hermetically set within the confines of CBS News than was the film. It felt relevant in 2005, before the influence of network news was dissolved in the acid of the internet and an administration began assaulting the legitimate press with threats and lawsuits; but the play's discussions of habeas corpus, due process, self-censoring media and the both-sides-ism that seems increasingly to afflict modern media feel queasily contemporary. 'I simply cannot accept that there are, on every story two equal and logical sides to an argument,' says Clooney's Murrow to his boss, William F. Paley (an excellent Paul Gross, from the great 'Slings & Arrows'). As was shown here, Murrow offered McCarthy equal time on 'See It Now' — which he hosted alongside the celebrity-focused 'Person to Person,' represented by an interview with Liberace — but it proved largely a rope for the senator to hang himself. Though modern stage productions, with their computer-controlled modular parts, can replicate the rhythms and scene changes of a film, there are obvious differences between a movie, where camera angles and editing drive the story. It's an illusion of life, stitched together from bits and pieces. A stage play proceeds in real time and offers a single view (differing, of course, depending on where one sits), within which you direct your attention as you will. What illusions it offers are, as it were, stage magic. It's choreographed, like a dance, which actors must repeat night after night, putting feeling into lines they may speak to one another, but send out to the farthest corners of the theater. Clooney, whose furrowed brow is a good match for Murrow's, did not attempt to imitate him, or perhaps did within the limits of theatrical delivery; he was serious and effective in the role if not achieving the quiet perfection of Strathairn's performance. Scott Pask's set was an ingenious moving modular arrangement of office spaces, backed by a control room, highlighted or darkened as needs be; a raised platform stage left supported the jazz group and vocalist, which, as in the movie, performed songs whose lyrics at times commented slyly on the action. Though television squashed the production into two dimensions, the broadcast nevertheless felt real and exciting; director David Comer let the camera play on the players, rather than trying for a cinematic effect through an excess of close-ups and cutaways. While the play generally followed the lines of the film, there was some rearrangement of scenes, reassignment of dialogue — it was a streamlined cast — and interpolations to make a point, or more directly pitch to 2025. New York news anchor Don Hollenbeck (Clark Gregg, very moving in the only role with an emotional arc) described feeling 'hijacked … as if all the reasonable people went to Europe and left us behind,' getting a big reaction. One character wondered about opening 'the door to news with a dash of commentary — what happens when it isn't Edward R. Murrow minding the store?' A rapid montage of clips tracking the decay of TV news and politics — including Obama's tan suit kerfuffle and the barring of AP for not bowing to Trump's Gulf of America edit and ending with Elon Musk's notorious straight-arm gesture, looking like nothing so much as a Nazi salute — was flown into Clooney's final speech. Last but not least, there is the audience, your stand-ins at the Winter Garden Theatre, which laughed at the jokes and applauded the big speeches, transcribed from Murrow's own. And then, the curtain call, to remind you that whatever came before, the actors are fine, drinking in your appreciation and sending you out happy and exhilarated and perhaps full of hope. A CNN roundtable followed to bring you back to Earth.

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