EXCLUSIVE: Behind-the-scenes melodrama at The View amped up on Tuesday when departing co-host Abby Huntsman didn’t comply with network executives’ urgent entreaty to contradict reports describing the show’s “toxic culture"https://t.co/lw4P75hfZ1
— The Daily Beast (@thedailybeast) January 15, 2020
One year after Moonves' exit, CBS TV stations also face harassment and misogyny claims https://t.co/cxetfh5ktn— LAT Entertainment (@latimesent) December 8, 2019
Jill Arrington was a star in TV sports. Then, four years ago, the former NFL sideline reporter traded national exposure for what she thought would be a more stable job at CBS’ television stations in Los Angeles.
Arrington loved chronicling the Rams and other pro teams, and eventually took on additional duties as the weekend sports anchor for KCBS-TV Channel 2 and KCAL-TV Channel 9. But one thing about her job galled her: She was earning nearly $60,000 less a year than the male anchor she replaced.
When her contract came up for renewal, Arrington told the station’s top managers that it was unacceptable to pay a woman so much less than a man.
“Oooh, isn’t she tough,” Arrington recalls the former general manager of CBS’ L.A. stations, Steve Mauldin, saying during a March 2018 meeting. She said Mauldin turned to his lieutenant and said: “This one talks more than my wife.”
The meeting ended with no assurance of a raise. But as Arrington started to leave, she said her boss told her: “Put on a tennis dress and meet me at the golf club. We’ll put you on tape, and you can make some extra money.”
Arrington had experienced come-ons in her years covering sports, but nothing like this. She confided in a colleague, who recalled that Arrington was “frantic and scared” after the exchange. In an interview last week, Mauldin denied making the remarks. “That didn’t happen,” he said. “That’s the most absurd thing. I would not talk to women that way.”
Six months after that meeting, a bombshell detonated at the highest level of the company: CBS’ larger-than-life chief executive, Leslie Moonves, was ousted over claims he harassed and assaulted multiple women decades ago.
After a high-profile probe into Moonves’ conduct and the company’s workplace culture, independent law firms hired by CBS concluded that “harassment and retaliation are not pervasive at CBS.” But a Times investigation has uncovered claims of discrimination, retaliation and other forms of mistreatment in an overlooked but significant corner of the company: the chain of CBS-owned television stations.
More than two dozen current and former employees of KCBS and KCAL described a toxic environment where, they said, employees encountered age discrimination, misogyny, and sexual harassment — and retaliation if they complained.
Discrimination complaints have also surfaced at CBS-owned stations in Chicago, Dallas and Miami. The U.S. Equal Employment Opportunity Commission filed a lawsuit against CBS after investigating allegations that station managers in Dallas denied a full-time position to a 42-year-old traffic reporter and instead hired a 24-year-old former NFL cheerleader who didn’t meet the job’s requirements. CBS denied that it engaged in discrimination.
In late November, shortly before a scheduled trial, CBS reached a tentative agreement to resolve an age discrimination and retaliation lawsuit brought by award-winning Miami-based journalist Michele Gillen, who sued CBS last year. The company admitted no liability in the agreement. In her court filings, Gillen called CBS a “good ole boys club” that “protects men despite bad behavior.”
*****
During the last seven years, multiple women at the Los Angeles stations complained that they were subject to harassment by their bosses or colleagues.
Early in 2018, prominent KCAL anchor Leyna Nguyen complained to KCBS management about inappropriate comments and unwanted touching by a male colleague, according to several people familiar with the matter. CBS spent months investigating the allegations but concluded there was insufficient evidence of wrongdoing, according to a person familiar with the situation who was not authorized to comment publicly and requested anonymity.
CBS reached a settlement with Nguyen in July 2018 — just days before the allegations about Moonves became big news. Nguyen, a 20-year employee who left KCBS following the incident, declined to comment on the matter. CBS also struck a separation agreement with the person who was accused of the misconduct, and he also left. CBS did not admit liability in the matter. The employee denied wrongdoing and did not respond to a request for comment placed through his attorney.
The station’s then-head of makeup, Gwendolyn Gatti, backed Nguyen’s allegations. Gatti said the same employee harassed her, too, and that he “propositioned her for sex, asked about her sex life,” “slapped her on the buttocks,” and used the N-word when referring to her, according to a lawsuit in a separate case. CBS settled the matter with Gatti on July 27, 2018, according to court records. In a court filing, a CBS attorney labeled Gatti’s sexual harassment allegations “frivolous.” CBS denied any liability, according to a partially redacted copy of Gatti’s settlement agreement.
A former KCBS employee told The Times that he recalled a separate episode several years ago when Gatti was near tears and shaking with anger after a different colleague, a cameraman, forcefully slapped her on the buttocks. A second person confirmed that CBS investigated the slapping incident and the cameraman was disciplined.
Gatti was fired in September 2018, two months after her settlement. The 64-year-old makeup artist sued CBS in Los Angeles Superior Court in February, alleging wrongful termination, discrimination and retaliation. CBS, in court documents, said Gatti was fired “after she brought illegal drugs onto CBS property, in violation of company policy.”
In her lawsuit, Gatti said she realized her wallet was missing on Sept. 18, 2018, and called CBS’ security office to see if it had been turned it in. Later that day, she said she was called to the security office and presented with what she said were two empty plastic bags that a security guard claimed were found in her wallet. Gatti denied the bags were hers and “stated that she does not use any illegal drugs,” according to the lawsuit. She was fired the next day.
Nguyen and Gatti complained to management about sexual harassment in March 2018, according to court records. This was the same month that Arrington, the weekend sports anchor, began inquiring about her contract renewal. A single mom, she had been at the station more than two years, her duties had increased, and she wanted a raise.
The Times independently confirmed that CBS was paying Arrington about $60,000 a year less than her male predecessor. Arrington said her goal simply was to extend her contract, which expired in April 2018, and get a bump in pay to an anchor’s salary because she was putting in long hours serving as both a reporter and an anchor — appearing in as many as seven telecasts on a weekend shift.
Arrington was far from the highest-paid employee at the station, according to a person familiar with KCBS’ finances. Her salary put her among the middle of the pack. She was told to discuss the situation with Mauldin, which led to the awkward exchange.
Arrington’s colleague, Elsa Ramon, a former KCBS and KCAL anchor, confirmed that Arrington shared details about the incident with her shortly after it occurred in early 2018.
“She was uncomfortable,” Ramon said. “Mauldin made a suggestion that she engage in some activity,” adding that she viewed it as a quid pro quo situation.
A second CBS executive who attended the meeting said he didn’t recall Mauldin making inappropriate comments. Arrington claims that executive left the meeting just before she did. The second executive and Mauldin said they felt that Arrington was out of line in asking for a substantial raise over her $135,000 annual salary at a time when the station was struggling to control costs. (Arrington said she made no specific salary demands, and merely asked to be paid what other anchors in L.A. were making.)
“I thought she was making a good salary,” Mauldin said. “She thought she was worth more.”
Arrington initially was reluctant to talk to The Times.
Before joining KCBS, the 47-year-old Georgia native worked at Fox Sports, ESPN and CBS Sports, where she was seen by millions of viewers on the sidelines of NFL games and hosting shows about college football and NASCAR. Playboy readers in a 2000 online poll voted her America’s “sexiest sportscaster.” She declined the $1-million offer to pose for the magazine.
She arrived at KCBS and KCAL in 2015 after being recruited by Bill Dallman, a popular station news director who was also a Fox Sports alum. Arrington said she accepted the CBS stations job even though it meant lower pay and less exposure than a position at a national network. She was then in her 40s and working in on-air roles, a corner of the industry that can be unforgiving to women as they age.
Arrington nonetheless said she “felt it could be a whole new career for me, and a place where I could work for the next 10 years.”
Dallman, who now is news director for an ABC affiliate in Seattle, told The Times: “Jill and I both worked diligently to improve the quality of the on-air product and the culture in the building.”
Arrington enjoyed her experience early on, particularly co-anchoring KCAL’s weekend “Sports Central” with Gary Miller, an ESPN veteran. Miller, who now works at a Cincinnati station owned by Sinclair, said in an interview that Arrington was capable and a team player. Another KCBS reporter said: “She was one of the best we’ve ever had.”
Miller said Arrington confided in him that she was uncomfortable with Mauldin’s comments. Miller said he encouraged Arrington to complain to the human relations department, but she felt her best option was to avoid Mauldin. “He would start talking about her appearance or ask about her private life,” Miller said. “It was so inappropriate.” Mauldin denied the claims, saying “there was never a time when I put her in an uncomfortable position.”
Miller was let go in January 2017 due to budget cuts, and Arrington’s workload increased.
There were other tensions, too, according to seven current and former station employees interviewed by The Times. Jim Hill, a former NFL player and a fixture in L.A. broadcasting, was the station’s main sports personality and its sports director. He seemed uninterested in sharing the limelight, these people said.
“Jim wanted to handle the big stuff,” Mauldin said, adding that Hill was one of his favorites. “He wanted to do the big interviews, and I think Jill had a problem with that. ... I don’t think people down there [in sports] were comfortable being around her because of where her head was at.”
Arrington’s feature stories rarely appeared in Hill’s shows, she and others familiar with the situation said. Even a powerful report on an NFL lineman battling depression didn’t make the cut. Instead, the station ran preseason baseball clips.
“She wasn’t allowed to do stories that she wanted to do,” Miller said.
Hill did not respond to a request for comment.
Arrington said she tried to persevere: “I was just hoping the quality of my work would speak for itself.”
In early August 2018, the high-profile investigation into CBS’ culture began. Arrington’s attorney, Bobby Hacker, said he reached out to lawyers conducting the review because of concerns about Arrington’s treatment. But Arrington didn’t get a chance to talk to the investigators.
She was blindsided a week later on Aug. 22, 2018. It was her first day back at work after spending the weekend covering a Rams-Oakland Raiders preseason game. She was summoned to a conference room, where Tara Finestone, the news director who had replaced Dallman in January 2018, told her it was her last day.
Arrington demanded an explanation. She recalls Finestone saying: “We’re not firing you. We are happy with the quality of your work.” Instead, Arrington was told her position was no longer being staffed.
“I thanked her for her contributions and we talked about budgetary reasons,” Finestone told The Times. “Hers was the position that we decided to eliminate.”
More than a year later, Arrington still hasn’t landed a new job and she fears for her future.
“My takeaway from my experience at KCBS is that they were more concerned with protecting political alignments rather than the quality of their on-air broadcasts,” she said.
Colleagues and others also were confused by her abrupt departure. “My dealings with Jill were always first rate,” said Steve Brener, Dodgers spokesman. “She was professional and easy to work with. Then one day, she wasn’t here any more.”
Other station staffers say management decisions can be capricious and punitive. In 2013, Emmy Award-winning KCBS reporter Joy Benedict, who had just become the union shop steward at the station, posted a photo on Facebook of herself playfully posing on a giant chess board while on vacation in Miami with the caption, “Who wants to play with me???” Executives in New York became upset when a TV industry blog reposted the picture. They ordered KCBS managers to fire Benedict over the picture, according to three people with knowledge of the incident. KCBS executives felt that was too harsh of a punishment but they nonetheless assigned Benedict to primarily work less desirable weekend shifts. CBS representatives pointed out that she has since been given additional on-air opportunities at KCBS and CBS News.
Nancy London, who worked at CBS for 34 years, found herself on the outs after years of favorable performance reviews.
Nearly a decade ago, London, who worked at KCBS in technical services, received a new assignment and a new boss. He “harassed and ridiculed” her, she claimed in a lawsuit, alleging age, race and sex discrimination. London is African American. When she complained to HR, she said the situation grew worse. In July 2011, she was confronted by her boss and three other men who “railed upon” her in a group setting, London alleged in court filings. She fainted, requiring medical attention, according to the lawsuit.
A week later, London was fired.
London sued CBS in 2012, alleging wrongful termination. CBS dismissed London’s account as baseless. CBS settled the case in 2013 and did not admit liability. London declined to comment.
Several older CBS workers in L.A. also have alleged that they have been subject to age discrimination. The company also has come under criticism for its use of so-called per diem reporters, some of whom have worked for CBS for decades. These employees refer to themselves as freelancers, but some have been there so long that they jokingly call themselves “perma-lancers.”
Los Angeles relies heavily on per diem talent, according to executives and agents. The system causes resentment because it results in two classes of staff members working side by side. Using more per diem, part-time workers allows the stations to save money on personnel costs.
“People want to work in L.A., so there is a bigger pool of talent,” said one veteran CBS executive. “It comes down to market conditions.”
In the last 18 months, the station hired several new part-time reporters in their 20s. Younger reporters tend to get marquee weekday slots, which has caused resentment among some veterans, according to interviews and a review of KCBS staffing schedules.
In the just-completed November sweeps, KCBS and KCAL tied for sixth place in Los Angeles in viewership to late local newscasts. Market leaders are Walt Disney Co.’s KABC-TV Channel 7 and Univision’s KMEX-TV Channel 34.
“They are trying to cut, cut, cut and it’s taking a toll,” said Ramon, the former anchor who left the station in spring 2018. Ramon, 48, left rather than return to the weekend shift after spending two years filling in on prominent weekday newscasts because she cherished that time with her kids. She said she did not experience sexual harassment, but she didn’t see any opportunity for advancement, particularly because the station was investing in younger workers. “I felt that I was just spinning my wheels,” she said.
Numerous people said the atmosphere at KCBS and KCAL deteriorated after Dallman left.
Six employees told the Times that what they perceived as a hostile atmosphere at the station contributed to their decision to leave it in recent years.
Earlier this year, KCBS employees brought their concerns about stagnant wages and reliance on long-term freelancers to their union, SAG-AFTRA. Nearly two dozen reporters and anchors signed a petition in May. A union representative declined to comment on pending negotiations.
Mauldin denied that women were treated poorly or underpaid and said that the highest-paid talent was 30-year anchor Pat Harvey, a woman.
“We didn’t pay women less than men because they were women,” he said. “We respect everyone. But when you cut back in business, it’s difficult on people.”
CBS has faced workplace complaints in other divisions. Scott Pelley, 62, the respected former anchor of the “CBS Evening News,” told CNN that he lost his job as chief anchor “because I wouldn’t stop complaining ... about the hostile work environment.” CBS also ousted two big names — morning news anchor Charlie Rose and former “60 Minutes” executive producer Jeff Fager — over allegations of inappropriate conduct.
CBS’ board a year ago acknowledged shortcomings. “Historical policies [and] practices ... have not reflected a high institutional priority on preventing harassment and retaliation,” the board said of the investigators’ findings.
At KCBS and KCAL, a new general manager, Jay Howell, arrived in July, after spending the previous year running CBS stations in Pittsburgh.
Some staff members said they doubt reforms will filter down to the local stations.
Hello old friend.#Pinkman2019 pic.twitter.com/CyKW8c4lox
— Aaron Paul (@aaronpaul_8) September 23, 2019
#Emmys viewership falls under 7M for 1st time to all-time low – @DeadlineDominic reports https://t.co/VFeNXj19Rd pic.twitter.com/gsyRqclH6u
— Deadline Hollywood (@DEADLINE) September 23, 2019
I miss the days when just about EVERYONE was watching the Emmys LIVE and chatting about it ...seemed so fun and happy and exciting...kinda crickets on here☹️
— Kirstie Alley (@kirstiealley) September 23, 2019
The #Emmys telecast was proof of how far television has come creatively, socially and as an industry.
— LAT Entertainment (@latimesent) September 23, 2019
And if we’re to read anything else into the show, it’s that there’s plenty more change to come, writes @LorraineAli https://t.co/IeUxtF84Pw
Peak TV. Prestige programming. The platinum age of television.
Whatever we chose to call the tsunami of innovative series that have made watching too much television a respectable pastime, the Television Academy finally managed to wrap its arms around the multiplatform beast on Sunday during the 71st Emmy Awards ceremony in Los Angeles.
From “Game of Thrones” to “Fleabag,” “Chernobyl” to “Ozark,” “Killing Eve” to “Pose,” the winners list produced during the three-hour Fox telecast was a testament to the diversity — in budget, subject matter, character and platform — that’s changed the very definition of television.
Case in point: Phoebe Waller-Bridge’s comedy “Fleabag,” about a woman’s dysfunctional relationship with her family, men and, yes, relationships. “This is getting ridiculous,” she said, somewhat stunned as she accepted the show’s fourth and biggest award of the night for comedy series.
In a huge upset, the cutting-edge artist also won the lead comedy actress Emmy over former favorite Julia Louis-Dreyfus of HBO’s powerhouse “Veep” and last year’s victor, the beloved Rachel Brosnahan of Amazon’s “The Marvelous Mrs. Maisel.” Waller-Bridge also took home the prize for writing for a comedy series over strong competitors such as HBO’s “Barry.”
As television hurtles forward into what looks like another new phase of its endless new phases — get ready for streaming platforms Disney+, Apple TV+ and more to upend the game — it’s important to stop and savor the moment we’re in now. Sunday’s Emmys were the culmination of a creative renaissance that’s still so fast-moving we haven’t had the time to give it a name that sticks. But it’s made it so “Fleabag” and “Game of Thrones” occupy the same space, at least when it comes to industry respect and (respective) social media fervor.
Even Hollywood veteran Michael Douglas, who lost the comedy actor honor for his work in Netflix’s “The Kominsky Method” to “Barry’s” Bill Hader, appeared impressed by the sheer breadth of the material represented onstage Sunday.
When introducing the drama series award he described the nominees — “Better Call Saul,” “Bodyguard,” “Game of Thrones,” “Killing Eve,” “Ozark,” “Pose,” “Succession” and “This Is Us” — as “each being so different from the television we grew up on.”
It was not surprising that the night’s top honor went to “Game of Thrones.” What was unexpected? The last big water-cooler series didn’t sweep every drama category possible for its final, earth-scorching season.
Still, the ceremony was less about dancing on the graves of blockbusters such as “Game of Thrones” or “Veep,” which was also expected to win big in the comedy categories but came away empty-handed. It was more about celebrating the wide-open landscape that allowed for “Killing Eve” and “Pose” to even happen, and then for their leads — Jodie Comer and Billy Porter — to win the academy’s top drama honors.
The night belonged to high-budget productions as well as fringe efforts, familiar faces doing new things — including Jason Bateman, who won for his direction in “Ozark”— and new arrivals that have bent comedy and drama norms into pop art.
The ceremony itself was as loose and far-flung as the industry it was honoring. It was the first time the show went host-less since way back in 2003 when the big four networks still won all the top awards, and it would be another year before HBO’s “The Sopranos” took home cable’s first drama series Emmy.
The show was held together by a pastiche of personalities and TV ephemera that included Homer Simpson, masked singers and a tuxedo-clad Bryan Cranston introducing a year in television that looked markedly different than it did when “Breaking Bad” arrived over a decade ago.
“Television has never been bigger,” he said. “Television has never mattered more. And television has never been this damn good.”
Emotions ran high when Jharrel Jerome accepted the award for lead actor in a limited series for his performance in Ava DuVernay’s “When They See Us.” The series followed the saga of black teens dubbed the Central Park Five by the media, who were wrongly accused and imprisoned for the brutal rape of a Central Park jogger.
Jerome, who played one of the accused, Korey Wise, in the series, dedicated the award to “the men that we know as the Exonerated Five.”
And all five men — Wise, Kevin Richardson, Antron McCray, Raymond Santana Jr. and Yusef Salaam — were in the audience, on their feet, hands in the air as if they’d been freed once again.
“Game of Thrones” star Peter Dinklage might have put it best when he accepted the Emmy for supporting actor in a drama. “Thank you. I have no idea what I’m about to say, but here we go. I count myself so fortunate to be a member of a community that is all about tolerance and diversity, because in no other place could I be standing on a stage like this,” he said, choking up...
This man I am standing with (Vince Gilligan) is the reason I have a career. I would follow this man into a fire. That’s how much I trust him. This man gave me a chance back when nobody else would. In weeks people will know our secrets that we keep. Here’s to many more secrets. pic.twitter.com/NlXskGvjLa— Aaron Paul (@aaronpaul_8) September 19, 2019
Did I just watch Dave Chappelle save America from itself in 65 minutes on Netflix? pic.twitter.com/FCXgk2j4hX
— Bret Easton Ellis (@BretEastonEllis) August 29, 2019
NEW: Morning from San Fran, where 14 (!) Dem candidates have gathered for the Calif Dem convention
— Jonathan Martin (@jmartNYT) June 1, 2019
At the same time, Biden is in...Ohio tonight.
How and why the 2020 race went national - and IA & NH have lost their stranglehold >>https://t.co/Sp2Azp600m pic.twitter.com/YLhPIgFXIe
Hope you’ll read the story, but this map from @jsonkao really paints the picture:
— Jonathan Martin (@jmartNYT) June 1, 2019
the Dem candidates have already visited over 30 states + territories for non-fundraising events.
And the year isn’t halfway done https://t.co/Sp2Azp600m pic.twitter.com/8qNLXPqzee
It’s not *just* Super Tuesday.
— Jonathan Martin (@jmartNYT) June 1, 2019
The nature of Dem coalition & Trump has made ‘20 the mirror of ‘08:
Obama spent 89 days in Iowa and won the nom in part bc he showed there he could win rural whites. Now the candidates must prove they have a message for, and can win, non-whites.
It’s hard to overstate how central the cable-social media feedback loop has become to this primary. Staff judge events in part on if cables went live from venue. And they’re fixated on creating settings& moments that can go viral.
— Jonathan Martin (@jmartNYT) June 1, 2019
Warren has won plaudits for her meaty policy proposals, but no candidate besides Biden has benefited as much from Trump. Why?
— Jonathan Martin (@jmartNYT) June 1, 2019
Because cable TV drives polling and cable is fixated on Mueller
After Warren called for impeachment her cable mentions soared and polling followed...
...and then Warren helped herself w a good turn at, wait for it, a *cable* town hall just 3 days after calling for impeachment post-Mueller report
— Jonathan Martin (@jmartNYT) June 1, 2019
It’s no accident polls show she’s doing best of any non-Biden candidate among the most engaged Dems: they’re glued to cable/social
BUT: The early states still thin the field@davidplouffe warns that campaigns are making a mistake if IA and NH aren’t their “the north star”
— Jonathan Martin (@jmartNYT) June 1, 2019
“If you need to come in third but you came in fifth you’ll say, ‘Shit, if only I had spent three or four more days in Iowa.’”
AND:
— Jonathan Martin (@jmartNYT) June 2, 2019
the new rules from the DNC on debate access will only incentivize candidates to focus more on breaking thru on TV and spending more on social/TV https://t.co/Sp2Azp600m
Fun fact: Dan Crenshaw did three tours BEFORE losing the eye. After he lost the eye, he went back and did two more. https://t.co/mn8XueBd8w
— Emily Zanotti (@emzanotti) November 4, 2018
"I want to begin with two words, I'm sorry..The country feels so divided and I have no wish to add to that pain and offense. I believe this is a time for more understanding, more love, more sensitivity and honor..Thank you for listening and for helping me listen too." Megyn Kelly pic.twitter.com/6hHrvZLNvK
— Megyn Kelly TODAY (@MegynTODAY) October 24, 2018
#FridayFeeling or #FridayMotivation ? #NFLKickoff ratings down to multi-year low as #ATLvsPHI starts late on harsh TV landscape ... even with that winning version of the "Philly Special" https://t.co/fS0NU4PVh8— Dominic Patten (@DeadlineDominic) September 7, 2018
With only Eagles defensive end Michael Bennett taking to the bench in protest during the national anthem, when things finally did kick off on NBC just after 9 PM ET, it certainly didn’t seem to be the most inspiring game. At one point, tell-it-like-it-is Philly fans were booing the current Super Bowl champs on live TV for their lame efforts on the field.More.
Then, as it looked like Atlanta would be grinding out a win, the action really started right near the end as the Eagles dusted off a variation of their Super Bowl move the Philly Special. With some quick moves, QB Nick Foles snagged a 15-yard pass from teammate Nelson Agholor on a reverse to seal an 18-12 victory for the Eagles and some respect from the more than just the fans at Lincoln Financial Field.
Sadly, that glory did not translate into the ratings
With a 13.4/5 in the metered markets, the post-midnight ending game is down 8% from last year’s kickoff of September 7, 2017. In one of the lowest season openers ratingswise and facing portions of a cable news-covered rally by a very NFL critical President Donald Trump, last night’s game is not only down from last year, but 2016, 2015 and 2014 – all of which saw successive declines.
To add more injury to that, the 2017 8:42 PM ET-starting season opener between the victorious Kansas City Chiefs and New England Patriots ended up with a weak 7.7/29 rating among adults 18-49 and 21.8 million viewers. That was a double digit decline from 2016 and the worst total audience an opening game had since 2009.
ven in a TV landscape where ratings and viewership are noticeably dipping, unless you are This Is Us or Game Of Thrones, those results have to worry the NFL and the broadcasters, especially the still Rupert Murdoch-owned Fox with its pricey Thursday Night Football debuting this year
We’ll update with more NFL kickoff numbers and other ratings like Big Brother, which was on too last night, as we get them later today...
Hannity asked Barr several times what she would say to Jarrett if she were watching. It took her a while to get around to something, but eventually Barr said:
Let’s talk about it. Let’s really turn this into a teachable moment. We need to talk about race and everything that’s connected to it. Her skin tone is like mine, and I’m brown. I didn’t know she was African-American. I assumed because she was from Iran and she lived in Iran for such a long time. If she’s watching, I’m so sorry you thought I was racist and you thought that my tweet was racist because it wasn’t. It was political. I’m sorry for the misunderstanding that caused my ill-worded tweet. I’m sorry that you feel harmed and hurt. I never meant that."For that, I apologize. I never meant to hurt anybody or say anything negative about an entire race of people. My 30 years of work can attest to that,” she added.
And then: "Plus, I'd tell her she needs to get a new haircut."
If the last part sounds insensitive, well, sure, but it also speaks to what made the interview so bizarre and unsatisfying: Barr is a comic, first and foremost, and she could not stop being one Thursday night...
"I couldn't believe that I went there to have a conversation. I got thrown off the set, thrown out of the building, and as I walked away, she is yelling at me, get the F out of this building!" -Judge Jeanine joined @seanhannity to discuss her interview on "The View". Take a look: pic.twitter.com/p5bs8cCXku
— Jeanine Pirro (@JudgeJeanine) July 20, 2018
Roseanne Barr was dropped by ICM Partners, the talent agency that represented her https://t.co/t1RZOb8b7B pic.twitter.com/fLigtoCFrx
— Los Angeles Times (@latimes) May 29, 2018
Disney Chairman and CEO Bob Iger tweeted in support of canceling "Roseanne" https://t.co/t1RZOb8b7B pic.twitter.com/YivntBtAA7
— Los Angeles Times (@latimes) May 29, 2018
'Roseanne' cancellation a huge blow to ABC, but network praised for swift action https://t.co/ZHuTBTCD1X pic.twitter.com/42mAZoWbV7
— LA Unvrz (@LAunvrz) May 30, 2018
See what happens when tweets and phone calls aren’t suppressed like votes??? KEEP. THAT. SAME. ENERGY. #Roseanne https://t.co/l0BHEZVyck pic.twitter.com/pJjojXHD5k
— Brittany Packnett (@MsPackyetti) May 29, 2018
ABC has done the right thing. They’ve stood up against racism. It is our country’s original sin. But this is 2018 and it has no place in the hearts of decent people. Unfortunately our president has stoked these evil fires. If he doesn’t applaud ABC, he will continue to stoke evil
— Rob Reiner (@robreiner) May 29, 2018
Roseanne’s problem turned out to be that she far too authentically represented the actual worldview of a significant chunk of the Trump base.
— Chris Hayes (@chrislhayes) May 30, 2018
#Roseanne effed up. She had to know what would happen by making a stupid crack like that. This is the chance the left was waiting for, and to them, its the beginning of a purge. Trump’s the ultimate target, BAMN. 🤷♂️ https://t.co/3H0NzqrD0z
— Donald Douglas (@AmPowerBlog) May 30, 2018
