The Brief

CBS News Editor-in-Chief Bari Weiss said she will make the news division "fit for purpose in the 21st Century" at an all-staff meeting Tuesday, in which she outlined her strategy.

Weiss announced the hiring of 18 paid commentators — on subjects ranging from national security to health and wellness — as part of an effort to "widen the aperture of the stories we tell and the voices we listen to." They include HR McMaster, who served as national security advisor during the first Trump administration; Reihan Salam, the president of the conservative Manhattan Institute; and the historian Niall Ferguson.

She also cited several new hires who are going to produce original reports from Kyiv, London and New York City with a social media-first approach. And she said she only wants top-flight performers committed to her approach to stick around.

Weiss is expected to make significant cuts to the newsroom, though she did not address them in her remarks.

Weiss has expressed exuberance about the task she confronts at CBS, ranked third behind NBC and ABC, and an eagerness to learn about broadcast news. She has said she wants to appeal to independently minded Americans. And she says the news division has not — until now —addressed the fundamental reasons that she believes it is losing audience: a sharp drop in public trust in the mainstream media and a huge spike in competition for viewers' attention.

"We all must focus first on what we're building, not what we're maintaining. On how we are going to reach an audience exponentially bigger than the one we have now," Weiss said, according to prepared remarks shared by the network with NPR and other outlets. She said that she would do that by "marrying the journalistic principles that will never change — seeking the truth, serving the public, and ferociously guarding our independence — with the tools that constantly are." (The network said Weiss hewed closely to her prepared text.)

"We can still do what the Wild West of social media cannot," she said.

First months marked by controversy

In her brief tenure, Weiss has alienated much of the staff of 60 Minutes, the crown jewel of the news division; sought to reinvent the CBS Evening News; and questioned whether CBS journalists have been fair or worthy of Americans' trust in the past.

This story also draws on interviews with eight current and former CBS News journalists. All of those still at the network spoke on condition they not be named, citing professional repercussions. Several noted that Weiss has told staffers she welcomes internal debate but cannot abide public dissent.

While Weiss has been welcomed by some CBS journalists, including Chief Legal Correspondent Jan Crawford, others have taken issue with her style of leadership and the editorial choices that have followed her arrival.

In addition, liberal critics outside the network have blasted her, alleging that she is doing the handiwork of the networks' owners, who are allies of President Trump and are seeking his blessing in their bid for Warner Bros. Discovery. Weiss has rejected that assertion, though she declined to comment for this story through a spokesperson.

Weiss brought in to reshape CBS News

A former conservative opinion writer and editor for the New York Times and the Wall Street Journal, Weiss was hired last fall by Paramount's new controlling owner, David Ellison, to shake up CBS's news division as it came under renewed attack from the Trump administration.

The previous owners of Paramount had paid $16 million to settle a lawsuit filed by Trump as a private individual over the editing of a fall 2024 60 Minutes interview with Kamala Harris. That helped clear the way for approval from Trump's chief broadcast regulator, who additionally secured promises from Ellison of an ombudsman to field complaints of ideological bias.

Paramount also acquired Weiss's center-right digital startup, The Free Press, for $150 million. The Substack views-and-news site has approximately 170,000 paying subscribers and is built on the proposition that most of the mainstream media is reflexively liberal, though it does sometimes offer coverage that is critical of Trump.

She has been personally involved in remapping the CBS Evening News.

Ahead of his debut as the new anchor of the Evening News, CBS's Tony Dokoupil said the press has too often missed the story.

"Because we've taken into account the perspective of advocates and not the average American. Or we put too much weight in the analysis of academics or elites and not enough on you," he wrote in an online post on Jan. 1. "At certain points, I have been you. I have felt this way too. I have felt like what I was seeing and hearing on the news didn't reflect what I was seeing and hearing in my own life."

On Instagram, Dokoupil wrote in response to a critic: "I can promise you we'll be more accountable and more transparent than Cronkite or any one else of his era."

His comment was taken as an affront by some of his colleagues, according to four people at the network's news division. Walter Cronkite, the iconic CBS anchor who narrated the death of President John F. Kennedy, humanity's ascent to the Moon, and the resignation of President Richard M. Nixon for tens of millions of Americans, embodied the definition of the TV news anchor for the modern era.

The internal tensions erupted into public view in December. Less than two days before broadcast, Weiss decided to hold a 60 Minutes story on the alleged abuse of immigrants sent to an El Salvador detention center where the Trump administration sent hundreds of Venezuelan migrants last March.

She said the segment wasn't ready, though it had been reviewed and approved by CBS News lawyers and video excerpts had been released publicly to promote the segment. Weiss later said she would not be rushed into approving it for air.

The incident became public and sparked an enormous outcry. Yet, when the story aired this month, it had not changed appreciably. (The initial version was available from a Canadian distributor that had mistakenly already loaded it for streaming subscribers.)

The story ended up running almost exactly as it had been prepared, with an extra element documenting the written comments of Trump administration officials and CBS's efforts to get them to come on camera for an interview.

According to someone who attended Tuesday's meeting, Weiss conceded making a mistake on the 60 Minutes story, saying she had not understood how the timing of her decision would throw the show into disarray. Yet she did not back down from the merits of her decision, which she grounded in the desire to get a Trump administration official to speak about the matter on camera.

Initial CBS Evening News coverage choices prove divisive

Less well known are some of the incidents involving the Evening News that inspired internal discomfort.

Weiss and top producers had drawn up plan to fly Dokoupil around the country to underscore his desire to talk to Americans outside elite circles in New York, Washington, D.C., and Los Angeles.

Yet since Dokoupil's debut in early January, CBS has taken an Evening News segment off the air called "Eye On America," on since 2024, that had been doing just that.

On the first night, executives pulled Dokoupil back to New York City to cover the U.S. seizure of Venezuelan President Nicolás Maduro. The second night was Jan. 6 and Dokoupil was in Miami. Major news organizations, including NPR and the New York Times, offered new projects about what had been learned in the five years since the siege of the U.S. Capitol.

Dokoupil offered this scant reference: "President Trump today accused Democrats of failing to prevent the attack on the Capitol, while House Democratic Leader Hakeem Jeffries accused the president of 'whitewashing' it." The he-said, he-said formulation lasted about 15 seconds.

That prompted denunciations from outside critics. Sarah Longwell, the founder and publisher of the center-right, anti-Trump publication The Bulwark, wrote on X: "Trump is getting exactly what his rich buddy paid for."

Ellison's takeover of Paramount was financed by his father, Oracle co-founder Larry Ellison. The elder Ellison is a Trump adviser who encouraged his efforts to contest the 2020 race.

CBS Justice Correspondent Scott MacFarlane took great exception to Dokoupil's Jan. 6 broadcast, according to two people inside the network who spoke on condition they not be named.

MacFarlane has spent the past five years covering the attack on the U.S. Congress, drawing upon evidence presented in court to document the effort to deny the formal certification of President Joe Biden's win in the 2020 race.

He did not appear on the air on CBS News this Jan. 6. Instead, as he posted on the social media platform X, MacFarlane appeared on the BBC. It lasted nearly four-and-a-half-minutes.

"Here's my deep dive on the 5-year mark of Jan 6," MacFarlane wrote. "The ongoing impact on victims, the lies... and the continued malignant corrosion of democracy[.] As aired on.... The BBC."

At the tail of that night's broadcast from Miami, Dokoupil hailed Secretary of State Marco Rubio as a prominent Floridian in a flippant segment at the end. The anchor noted his key role in the administration — including on Venezuela — and shared AI-generated social media memes envisioning Rubio in a variety of roles, including as a hunter, the Michelin Man, and the leader of Greenland.

"Marco Rubio, we salute you," Dokoupil deadpanned. The light-hearted approach to the minute-long segment so close to the Venezuelan military action delighted the Trump White House and stirred backlash from journalists.

A White House threat over Trump interview

Weiss has personally gotten involved to secure major interviews in her drive for the network to make and break news.

Dokoupil landed several big-name interviews including with Trump and Pentagon chief Pete Hegseth. The Independent reported Hegseth said he only did the interview because Weiss asked. The New York Times posted audio showing that White House Press Secretary Karoline Leavitt threatened to sue CBS at the end of the interview with Trump if it was not run in full, unedited. Dokoupil said it would.

In a statement, CBS News said the network had already made "the independent decision to air it unedited and in its entirety."

Several current and former CBS journalists pointed to another instance that appeared to pull a punch that could land hard on the Trump administration. Correspondent Nicole Sganga broke down video footage of the deadly shooting of Renee Good in Minneapolis by a federal immigration officer. A retired ICE agent who watched the footage frame by frame with CBS said the officer appeared to act improperly.

The segment streamed on the YouTube page of CBS Evening News. But it did not air on the flagship news program.

"There are always growing pains when you start something new," says former CBS News President Andrew Heyward, citing the reinvention of CBS Evening News with Dokoupil as anchor. "Those growing pains have been exacerbated by today's polarized political atmosphere and execution errors."

"Now comes the hard slog of, day after day, drawing on CBS News's journalistic capacities to do original reporting that delivers real value to the existing audience and attracts new people without chasing away the people who like what they see," Heyward says.

Weiss told staffers Tuesday that she's thinking of CBS News as a start-up.

"If we all do our jobs right, in a year's time CBS News will look very different," Weiss said in her prepared remarks. "But start-ups aren't for everyone. They're places that move at rapid speed. They experiment. They try new things. They sometimes create noise and, yes, bad press!"

"If that's not your bag... that's okay," Weiss added. "But if what I'm describing sounds exciting and exhilarating to you... I am here to work very hard alongside you. What I can promise you in return is a common, shared purpose, the freedom to do great work and to see it aggressively promoted, and the stability and support you deserve."

A new trail across the beloved natural area of Elephant Hill in Northeast Los Angeles is officially opening this weekend.

The route is years in the making, and it's a big milestone in the decades-long conservation efforts to preserve this local jewel in the community of El Sereno.

The hiking trail connects one side of Elephant Hill to the other — from the corner of Pullman Street and Harriman Avenue all the way across to Lathrop Street.

It's 0.75 miles in total, but packs a punch.

"It's a pretty straight shot, but because of the terrain — the trail is kind of twisty and curvy. There's switchbacks — and great views," Elva Yañez, board president of the nonprofit Save Elephant Hill, said.

People have always been able to access the 110-acre green space, but Yañez said the new trail provides a safe and easy way to navigate the steep hillsides.

The El Sereno nonprofit has been working for two decades to preserve the land. Illegal dumping and off-roading have damaged the open space over the years. And the majority of the 110 acres are privately owned by an estimated 200 individual owners.

Mountains Recreation and Conservation Authority (MRCA) joined the efforts in 2018, spurred by a $700,000 grant from Los Angeles County Regional Park and Open Space District, in part, to build the trail. The local agency received some $2 million in grants from the Santa Monica Mountains Conservancy to add to the 10 acres of Elephant Hill it manages and conserves. This year, MCRA acquired an additional 12 parcels — or about 2.4 acres.

And the spiffy new footpath — with trail signage, information kiosks and landscape boulders — is not just a long-sought-for victory but a beginning in a sense.

"We know that it means a lot to the community," Sarah Kevorkian, who oversees the trail project for MRCA, said. "We're wrapping up the trail, but it really feels like the beginning of all that is to come."

A hint of that vision already exists — for hikers traversing the new route, courtesy of Test Plot, the L.A.-based nonprofit that works to revitalize depleted lands.

"They're able to see at the end of the trail, at the 'test plot' — exactly what a restored Elephant Hill would look like," Yañez said.

Here's a preview:

The Venice Boardwalk after sunset has generally been a no-go zone for tourists and locals alike, as the beachside bars and restaurants close on the early side and safety is often an issue. Now, a group of artists is out to bring some vibrancy to the creative neighborhood with a series of new installations that will include live evening performances – and even a “Venice Opera House.”

“Let's play with light and let's play with sound and give people a reason to come to the Boardwalk after sundown,” said artist and entrepreneur Stefan Ashkenazy, who is curating the project and owns the buildings housing them. “I mean, let's just be open 24 hours a day.”

The concept doesn’t have an official name yet, but he’s been calling it “See World.”

Artist James Ostrer's space looks out from a bed through the fence to the ocean at Venice Beach.

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Laura Hertzfeld

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William Attaway, a longtime Venice artist, created a gallery space filled with various paintings and sculptures.

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Laura Hertzfeld

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LAist

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The pair of modern buildings on the Venice Boardwalk at Thornton Ave. – with their big balconies, floor-to-ceiling glass windows, and seven open garage-style retail spaces – have sat mostly empty since Snapchat vacated their beachside offices in 2019. Ashkenazy recently bought the building and recruited artists to fill those front-facing spaces with creative work until a full-time tenant comes in.

Over the past several weeks the installations have been created in real-time, in public.

All of the projects are loosely along the theme of “home,” with each artist claiming a “room” in the two buildings that stretch across a full block on the Boardwalk. Several local Venice artists are featured, including William Attaway, whose intricate mosaic work is recognizable on the Venice public restrooms along the beach. Attaway’s space features a floating larger-than-life-sized statue and various works in a mini-gallery. In the next room is Robin Murez’s pieces, featuring carved wooden seats from her beloved neighborhood Venice Flying Carousel.

Ashkenazy is no stranger to wild (and wildly successful) art ideas. He’s the owner of the Petit Ermitage hotel in West Hollywood, a longtime haven for visiting artists, and the founder of the decade-old Bombay Beach Biennale, where artists install all kinds of work in an annual event near the Salton Sea. Many of the artists from that community are featured at the Venice project.

A "Venice Opera House" will host pop-up music events throughout the summer.

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Laura Hertfeldz

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LAist

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New York-based artist Greg Haberny's paintings on the wall of his Venice space.

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Laura Hertzfeld

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LAist

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New York-based artist Greg Haberny and London-based artist James Ostrer have brought some of their work in the Bombay Beach Biennale to the Venice project. Their windows on the Boardwalk both speak to a child-like sense of wonder and creativity.

“I think it's just kind of exploring and playing a little bit, to have the freedom to be able to do that,” Haberny says of his imagined child’s bedroom space, which includes a fort made out of puffy cheese balls. “It's a big space, too.
It's beautiful.”

Ostrer is experimenting with a performance art idea where he sits in bed amongst a room full of his own artwork, which he describes as “happy art with an edge.” Looking out at the ocean from the bed, he’s invited passersby to sit and have chats with him about his work or anything else they want to talk about.

“It’s a very intimate space, so you have a different kind of conversation,” he said. “I use art to channel human creativity, and [talk about] dark things.”

While there are open fences that block off the spaces, they aren’t sealed up at night. Both Ashkenazy and the team of artists seemed open to the idea that anything could happen and that the installations are a conversation with the public – and with that comes some risk.

Greg Haberny (right) works with his assistants on an installation featuring kid-inspired graffiti art and a "cheesy puff" fort.

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Laura Hertzfeld

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LAist

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“I don't really know if I [would] say worried, but I guess it's just the cost of doing business,” Haberny said. “I don't really make things to get damaged or broken, sure. But I have done [things like] burned all my paintings and then made paint out of ash.”

While he’s felt safe – and even slept overnight in the installation – Ostrer has been collaborating with a local female artist who performs in a pig mask in front of his installation some nights. Watching her perform, he said, has taught him about the vulnerability of women in public spaces like the Boardwalk. “I've started to, on a very fractional level, have seen how scary that is. Because I've sat in the bed behind her performing at the front here… the way in which men are approaching her and shrieking at her … it's shocking.”

Ashkenazy says he will keep the artists in the space, potentially rotating new ones in, until a fulltime tenant takes over.

“This is an experiment … and after acquiring the building, the intention wasn't, ‘let's open a bunch of public art spaces,’ he said. “It is kind of …what the building wanted and listening to what the Boardwalk needed. Let's play, let's have the artists that we love and appreciate have a space to play and engage and give the locals and the visitors to the Boardwalk something to experience.”

A coalition of residents from across the San Gabriel Valley are mobilizing over a battery storage project and possibly more industrial development in the City of Industry they say could pollute communities next door.

A protest is scheduled today in neighboring Rowland Heights, targeting a 400-megawatt battery energy storage facility sited on about 9 acres that was approved by the City of Industry leaders in January.

Such Battery Energy Storage Systems, or BESS, are used to keep the power grid stable, especially as output from renewable energy sources like solar and wind fluctuate. But fires involving lithium batteries at some sites have heightened environmental and public health fears.

Because of the City of Industry’s unusual, sprawling shape stretching along the 60 Freeway, it borders on more than a dozen communities, meaning what happens there can have far-reaching impact.

“Pollution does not end right at the border,” said Andrew Yip, an organizer with No Data Centers SGV Coalition. “Pollution travels.”

Some local activists with the Puente Hills Community Preservation Association have challenged the approval of the battery facility under the California Environmental Quality Act.

Beyond environmental concerns, locals have also been frustrated with how decisions are made by officials in the City of Industry, a municipality that’s almost entirely zoned for industrial use and has less than 300 residents.

Organizers say they’ve struggled to get direct responses from city officials whom they say have replaced regular meetings with special meetings, which under state law require less advance notice.

A city spokesperson has not responded to requests for comment.

The so-called Marici Energy Storage System Facility would be run by Aypa Power. The fact that the battery storage developer is owned by the private equity giant Blackstone, a major investor in AI and data centers, has only fueled concerns that a battery storage facility would lay the groundwork for data center development.

A request for comment from Aypa was not returned.

Today’s protest is taking place at Peter F. Schabarum Regional Park in Rowland Heights across the street from the Puente Hills Mall, a largely vacant “dead” mall, which activists fear could be redeveloped into a data center and bring higher utility costs and greater air and noise pollution.

Yip pointed out that industrial developments make a lot of money for the City of Industry.

“But none of these surrounding communities receive any of those benefits,” Yip said. “Yet we have to put up with all the harmful effects and impacts from this city that does all this development without really reaching out.”

It’s about the size of a park bench and made of steel and wood. The bench’s arm rests are formed by the letters “L” and “A” in a design that’s unmistakable to any sports fan. But the welder-artist who created it says it’s not a Dodgers bench.

“This is about civic pride, L.A. pride. I made a design statement saying that it has nothing affiliated with the Dodgers,” said Steve Campos.

Campos grew up near Dodger Stadium, raised by parents who were die-hard Dodgers fans. So much, that they named him after Steve Garvey but that legacy doesn’t keep him from confronting how the Dodgers benefitted from the mass displacement of working-class people from Chavez Ravine after World War Two. That’s why he calls it an L.A. Bench, and not a Dodgers Bench.

The logo may be synonymous with the city's beloved baseball team, but the design of the interlocking letters was used by the L.A. Angels minor league baseball team before the Dodgers moved to L.A. in 1958.

“The monogram was here before the Dodgers,” Campos said.

A second-generation welder

Welding is the Campos family business. His father created gates and security bars for windows and doors for L.A. clients. That was the foundation for the work Campos has done for two decades since graduating from Lincoln High School, L.A. Trade Tech College, and enrolling in a summer program at Art Center in Pasadena.

The inspiration for the L.A. Bench came last year while he was playing around in his shop creating versions of the L.A. logo. A friend he hangs with at Echo Park Lake asked Campos to make him a piece of furniture.

“I was trying to figure out what my friend Curly wanted. He liked Dodgers and drinking and getting into fights, so I was like, 'Let me make something with the LA monogram,'” he said.

Welder-artist Steve Campos created whimsical steel sculptures with the LA logo.

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It didn’t design itself. He said he had to lengthen the legs on the “A” and lean the back of the “L” in order to make the bench functional. In the process, he’s made a piece of furniture with a ubiquitous logo that he’s embedded with his own L.A. pride, as well as city history past and present.

LA civic pride travels to Japan

Campos vacationed in Japan the last week of April and took advantage of the trip to reach out to people who may be interested in the L.A. Bench. He was caught off guard by people’s reaction when he showed them pictures of it.

“They look at it and they go, 'Oh, Ohtani bench,'” he said.

For them, it’s still a bench embedded with pride, he said, but centered around Dodgers star Shohei Ohtani, an icon in his native Japan.

Campos has made four L.A. benches and is selling them fully assembled, he said, for $2,500 each — taking into account his labor and how costly the raw materials have become. For now, he’s offering the metal parts as a package for $500, which requires the buyer to purchase the wood for the seat and the back — an easy process, he said.

While he has no plans to mass produce the L.A. Bench, he does have one goal in mind that shows how hard it is for him to separate L.A. civic pride and the Dodgers.

“I would love to get a couple of them installed at Dodger Stadium,” he said.