CBS dispute with Bill Belichick latest controversy to hit embattled network
Bill Belichick's back-and-forth with CBS News over his girlfriend Jordon Hudson shutting down a question about their relationship became the latest dispute for the network, as CBS and Paramount are also battling a lawsuit filed by President Donald Trump.
The former New England Patriots coach, now head coach of the North Carolina Tar Heels football team, spoke to "CBS News Sunday Morning" about his new book, and was asked by CBS host Tony Dokoupil about how he and Hudson met.
Hudson, who was sitting off to the side as Belichick was questioned, shut down the question about their relationship and said, "not talking about this."
After the moment was widely criticized, Belichick released a statement, accusing the network of creating a "false narrative" with "selectively edited clips." CBS News fired back at Belichick on Wednesday.
Bill Belichick's Relationship With Jordon Hudson Thrust Into National Spotlight After Awkward Interview
"When we agreed to speak with Mr. Belichick, it was for a wide-ranging interview," CBS' statement read. "There were no preconditions or limitations to this conversation. This was confirmed repeatedly with his publisher before the interview took place and after it was completed."
Read On The Fox News App
CBS News published a lengthy article on the interview, which included discussion about the book and his football career. The show's X account published a clip focused on Hudson's interruption.
"I agreed to speak with 'CBS Sunday Morning' to promote my new book, 'The Art of Winning — Lessons from My Life in Football.' Prior to this interview, I clearly communicated with my publicist at Simon & Schuster that any promotional interviews I participated in would agree to focus solely on the contents of the book," Belichick said in his statement.
The coach said in the statement that he was surprised when non-book-related topics were introduced and said Hudson jumped in to reiterate that the discussion was supposed to be about the book.
"She was not deflecting any specific question or topic but simply doing her job to ensure the interview stayed on track. Some of the clips make it appear as though we were avoiding the question of how we met, but we have been open about the fact that Jordon and I met on a flight to Palm Beach in 2021," he said.
'60 Minutes' Producer Defiant As Cbs Parent Company Mulls Settling Trump Lawsuit: 'I Will Not Apologize'
"The final eight-minute segment does not reflect the productive 35-minute conversation we had, which covered a wide range of topics related to my career. Instead, it presents selectively edited clips and stills from just a few minutes of the interview to suggest a false narrative — that Jordon was attempting to control the conversation — which is simply not true," the statement added.
Dokoupil faced internal backlash at CBS after a contentious interview he did with anti-Israel author Ta-Nehisi Coates in October 2024. The CBS anchor pressed the author on his book, which he said read like something you would find in "the backpack of an extremist," as well as whether he felt Israel had a right to exist.
CBS staffers were upset by the grilling from Dokoupil and network leadership, according to the Free Press, concluded that the interview did not meet the company's "editorial standards."
Paramount CEO Shari Redstone later acknowledged CBS made a "mistake" in its response.
"As hard as it was, frankly, for me to go against the company, because I love this company, and I believe in it, and I think we have a great, great executive team, I think they made a mistake here," Redstone said during a panel discussion in October 2024.
Cbs Boss Backs News Network Leadership After Parent Company Chair Disapproved Its Handling Of Tony Dokoupil
CBS' parent company, Paramount Global, was sued by Trump ahead of the 2024 election over a "60 Minutes" interview they did with then-Vice President Kamala Harris.
Trump is seeking $20 billion in a lawsuit against CBS, alleging election interference over its handling of the interview. The president accused CBS of aiding his 2024 Democratic opponent through deceptive editing just weeks before the presidential election. Paramount Global agreed to mediation, signaling the courtroom showdown would result in a settlement.
The raw transcript of the interview, which the network released in February 2025, showed CBS News had aired only the first half of her response to "60 Minutes" correspondent Bill Whitaker's question about Israeli Prime Minister Benjamin Netanyahu not "listening" to the Biden administration in a preview clip that aired on "Face the Nation," but aired only the second half of her response during a primetime special on the network.
"As the full transcript shows, we edited the interview to ensure that as much of the vice president's answers to 60 Minutes' many questions were included in our original broadcast while fairly representing those answers. 60 Minutes' hard-hitting questions of the vice president speak for themselves," CBS News said when they released the transcript.
'60 Minutes' Asks Harris Whether It Was A 'Mistake' For Biden Admin To Go Soft On Border, Vp Repeatedly Dodges
There was speculation Paramount was hoping to settle the suit ahead of a planned merger with Skydance Media in hopes of preventing potential retribution by the FCC, which has the authority to halt the multibillion-dollar transaction.
Trump feuded with "60 Minutes" while running for re-election in 2020 as well, and released a video of his full interview with Lesley Stahl, conducted in October of that year, which he described at the time as a "vicious attempted 'takeout.'"
Trump declined to do a "60 Minutes" interview during the 2024 election, citing Stahl's dismissal of the Hunter Biden laptop scandal during the 2020 interview.
Top '60 Minutes' Producer Resigns From Show, Cites Lack Of Independence
CBS was also accused of editing a clip of Gov. Ron DeSantis, R-Fla., during an exchange between the Florida governor and a reporter aired on "60 Minutes" in April 2021.
Reporter Sharyn Alfonsi accused DeSantis of a "pay-for-play" scheme over allegations that he rewarded Publix, a Florida supermarket chain, with COVID vaccines after the company made a sizable donation to his campaign.
"That's a fake narrative," DeSantis said during the interview. Conservative writer A.G. Hamilton pointed out at the time that the CBS program "cut out several minutes" of the governor's comments explaining what led to the deal with Publix.
"First of all, the first pharmacies that had [the vaccine] were CVS and Walgreens, and they had a long-term care mission, so they were going to the long-term care facilities. They got the vaccine in the middle of December. They started going to the long-term care facilities the third week in December to do LTCs," DeSantis told Alfonsi.
"So that was their mission. That was very important, and we trusted them to do that. As we got into January, we wanted to expand the distribution points," he added.
CBS stood by the reporting despite the criticism it received from two local Democrats in addition to Publix and DeSantis rejecting the narrative.
Click Here For More Coverage Of Media And Culture
CBS News did not immediately respond to a request for comment.
Fox News' Ryan Gaydos, Joseph Wulfsohn and Brian Flood contributed to this report.Original article source: CBS dispute with Bill Belichick latest controversy to hit embattled network
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

an hour ago
Tony Awards offer many intriguing matchups in a star-studded season
NEW YORK -- A pair of singing androids. Two Pulitzer Prize-winning plays. A drunken Mary Todd Lincoln. A musical with a corpse as its hero. Romeo, Juliet and teddy bears with rave music. Not to mention George Clooney. Broadway has had a stuffed season with seemingly something for everyone and now it's time to recognize the best with the Tony Awards, hosted by Cynthia Erivo, set for Sunday night on CBS and streaming on Paramount+. Broadway buzz is usually reserved for musicals but this year the plays — powered by A-list talent — have driven the conversation. There's Clooney in 'Good Night, and Good Luck,' Denzel Washington and Jake Gyllenhaal in 'Othello,' Sarah Snook in a one-woman version of 'The Picture of Dorian Gray' and her 'Succession' co-star Kieran Culkin and Bob Odenkirk in 'Glengarry Glen Ross.' (Clooney, Snook and Odenkirk are nominated for Tonys.) There were two Pulitzer winners — 2024 awardee 'English' and 'Purpose' from 2025 — but perhaps one of the season's biggest surprises was 'Oh, Mary!,' Cole Escola's irreverent, raunchy, gleefully deranged revisionist history centered on Mary Todd Lincoln. All three are nominated for best play, along with 'John Proctor is the Villain' and 'The Hills of California.' On the musical side, three options seem to be in the mix for the top prize: 'Maybe Happy Ending,' a rom-com about a pair of androids; 'Dead Outlaw,' about an alcoholic drifter whose embalmed body becomes a prized possession for half a century; and 'Death Becomes Her,' the musical satire about longtime frenemies who drink a magic potion for eternal youth and beauty. 'Maybe Happy Ending,' 'Death Becomes Her' and another musical nominee, 'Buena Vista Social Club,' lead nominations with 10 apiece. The 2024-2025 season took in $1.9 billion, making it the highest-grossing season ever and signaling that Broadway has finally emerged from the COVID-19 blues, having overtaken the previous high of $1.8 billion during the 2018-2019 season. 'We're going through this strange period, which I would think someday we can draw the line from COVID to this, as you can draw the line from the early 1980s with AIDS to the explosion of big musicals again,' says Harvey Fierstein, who will get a special Tony for lifetime achievement. Audra McDonald, the most recognized performer in the theater awards' history, could possibly extend her Tony lead. Already the record holder for most acting wins with six Tonys, McDonald could add to that thanks to her leading turn in an acclaimed revival of 'Gypsy.' She has to get past Nicole Scherzinger, who has been wowing audiences in 'Sunset Blvd.' And Kara Young — the first Black female actor to be nominated for a Tony Award in four consecutive years — could become the first Black person to win two Tonys consecutively, should she win for her role in the play 'Purpose.' Other possible back-to-back winners include director Danya Taymor, hoping to follow up her 2024 win with 'The Outsiders' with another for 'John Proctor Is the Villain,' and 'Purpose' playwright Branden Jacobs-Jenkins, who won last year with 'Appropriate.' Other possible firsts include Daniel Dae Kim, who could become the first Asian winner in the category of best leading actor in a play for his work in a revival of 'Yellow Face.' And Marjan Neshat and her 'English' co-star Tala Ashe could become the first female actors of Iranian descent to win a Tony. Broadway this season saw a burst in alt-rock and the emergence of stories of young people for young people, including 'John Proctor is the Villain' and a 'Romeo + Juliet' pitched to Generation Z and millennials. Sunday's telecast, as usual, will have a musical number for each of the shows vying for the best new musical crown, as well as some that didn't make the cut, like 'Just in Time,' a musical about Bobby Darin, and 'Real Women Have Curves.' This year, there's also room for 'Hamilton,' celebrating its 10th year on Broadway. But the musicals 'BOOP! The Betty Boop Musical' and 'SMASH' didn't get slots.


San Francisco Chronicle
2 hours ago
- San Francisco Chronicle
Tony Awards offer many intriguing matchups in a star-studded season
NEW YORK (AP) — A pair of singing androids. Two Pulitzer Prize-winning plays. A drunken Mary Todd Lincoln. A musical with a corpse as its hero. Romeo, Juliet and teddy bears with rave music. Not to mention George Clooney. Broadway has had a stuffed season with seemingly something for everyone and now it's time to recognize the best with the Tony Awards, hosted by Cynthia Erivo, set for Sunday night on CBS and streaming on Paramount+. Broadway buzz is usually reserved for musicals but this year the plays — powered by A-list talent — have driven the conversation. There's Clooney in 'Good Night, and Good Luck,' Denzel Washington and Jake Gyllenhaal in 'Othello,' Sarah Snook in a one-woman version of 'The Picture of Dorian Gray' and her 'Succession' co-star Kieran Culkin and Bob Odenkirk in 'Glengarry Glen Ross.' (Clooney, Snook and Odenkirk are nominated for Tonys.) There were two Pulitzer winners — 2024 awardee 'English' and 'Purpose' from 2025 — but perhaps one of the season's biggest surprises was 'Oh, Mary!,' Cole Escola's irreverent, raunchy, gleefully deranged revisionist history centered on Mary Todd Lincoln. All three are nominated for best play, along with 'John Proctor is the Villain' and 'The Hills of California.' On the musical side, three options seem to be in the mix for the top prize: 'Maybe Happy Ending,' a rom-com about a pair of androids; 'Dead Outlaw,' about an alcoholic drifter whose embalmed body becomes a prized possession for half a century; and 'Death Becomes Her,' the musical satire about longtime frenemies who drink a magic potion for eternal youth and beauty. 'Maybe Happy Ending,' 'Death Becomes Her' and another musical nominee, 'Buena Vista Social Club,' lead nominations with 10 apiece. The 2024-2025 season took in $1.9 billion, making it the highest-grossing season ever and signaling that Broadway has finally emerged from the COVID-19 blues, having overtaken the previous high of $1.8 billion during the 2018-2019 season. 'We're going through this strange period, which I would think someday we can draw the line from COVID to this, as you can draw the line from the early 1980s with AIDS to the explosion of big musicals again,' says Harvey Fierstein, who will get a special Tony for lifetime achievement. Audra McDonald, the most recognized performer in the theater awards' history, could possibly extend her Tony lead. Already the record holder for most acting wins with six Tonys, McDonald could add to that thanks to her leading turn in an acclaimed revival of 'Gypsy.' She has to get past Nicole Scherzinger, who has been wowing audiences in 'Sunset Blvd.' And Kara Young — the first Black female actor to be nominated for a Tony Award in four consecutive years — could become the first Black person to win two Tonys consecutively, should she win for her role in the play 'Purpose.' Other possible back-to-back winners include director Danya Taymor, hoping to follow up her 2024 win with 'The Outsiders' with another for 'John Proctor Is the Villain,' and 'Purpose' playwright Branden Jacobs-Jenkins, who won last year with 'Appropriate.' Other possible firsts include Daniel Dae Kim, who could become the first Asian winner in the category of best leading actor in a play for his work in a revival of 'Yellow Face.' And Marjan Neshat and her 'English' co-star Tala Ashe could become the first female actors of Iranian descent to win a Tony. Broadway this season saw a burst in alt-rock and the emergence of stories of young people for young people, including 'John Proctor is the Villain' and a 'Romeo + Juliet' pitched to Generation Z and millennials. Sunday's telecast, as usual, will have a musical number for each of the shows vying for the best new musical crown, as well as some that didn't make the cut, like 'Just in Time,' a musical about Bobby Darin, and 'Real Women Have Curves.' This year, there's also room for 'Hamilton,' celebrating its 10th year on Broadway. But the musicals 'BOOP! The Betty Boop Musical' and 'SMASH' didn't get slots. ___


Los Angeles Times
3 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.