NEW YORK — As top executives at CBS deliberate on President Donald Trump’s whopping $20 billion lawsuit against the “60 Minutes” program, the iconic newsmagazine continues to churn out compelling and pointed stories that scrutinize the administration’s policies in every episode since Trump’s inauguration.
On the most recent Sunday episode, CBS News showcased a paid performance by middle and high school musicians of diverse racial backgrounds who were the top winners in a contest, earning the opportunity to play alongside the prestigious U.S. Marine Corps Band. Originally planned for a live concert, the event was canceled due to President Trump’s executive order, which terminated diversity, equity, and inclusion efforts.
Journalist Scott Pelley has been at the forefront of narrating six out of the seven segments since Trump’s rise to office, including the latest one. His investigative work delved deep into the administration’s stances on Ukraine and tariffs, scrutinized shifts in the Justice Department, and assessed the dismissals of government oversight personnel. After one of his reports on the deconstruction of USAID, tech mogul Elon Musk provocatively called for “long prison sentences” for the show’s journalists, igniting a storm of controversy.
The spotlight on “60 Minutes,” hailed as television’s leading news source, has intensified as audiences watch to gauge how it copes with such unprecedented pressure.
“While this lawsuit might intend to serve as an intimidation tactic, CBS is clearly signaling they will not be deterred,” remarked Tom Bettag, a seasoned television news producer noted for his work with Mike Wallace and Morley Safer at CBS.
Pelley’s bold reporting has polarized opinions, gathering both praise and criticism.
“Another week, another ’60 Minutes’ narrative striving to undermine Trump’s policies,” Brent Baker, editor of the conservative media watchdog organization NewsBusters, criticized on the social platform X.
The backdrop of the ’60 Minutes’ critiques
Trump’s legal action, along with a simultaneous Federal Communications Commission probe, accuses “60 Minutes” of election meddling, particularly concerning the editorial handling of Bill Whitaker’s conversation with Trump’s potential 2024 election rival, Kamala Harris, last fall.
Segments aired on both “60 Minutes” and CBS’ “Face the Nation” featured Harris offering seemingly conflicting responses to Whitaker during a discourse centered on Israel. CBS defended its editorial choices by clarifying that Harris made both remarks within her response and that the two programs simply aired distinct segments of her comprehensive reply. CBS maintains that the discrepancies were ordinary editing practices, not a calculated attempt, as Trump alleged, to present Harris in a more favorable light.
In recent weeks, Paramount Global, CBS’s parent company, has filed motions seeking the dismissal of both the lawsuit and the FCC inquiry. Despite reported anxiety from Shari Redstone, Paramount’s chief, about settling—a stance favored by Disney when it settled for $16 million in Trump’s lawsuit against ABC News’ George Stephanopoulos—complications ensue as Paramount seeks approval for a merger with Skydance Media from the current administration.
Voices within CBS News are ardently opposed to any settlement, maintaining “60 Minutes” acted appropriately. The show’s executive producer, Bill Owens, explicitly stated to his team that he would not apologize as part of any potential settlement.
“Our cherished ’60 Minutes’ is in a pivotal struggle,” stated correspondent Lesley Stahl while accepting a First Amendment award from the Radio Television Digital News Association. “I’m immensely proud of ’60 Minutes’ for standing firm and advocating for justice.”
Neither Owens nor Pelley have commented on whether “60 Minutes” intentionally conveys a subtext regarding the lawsuit in its reports. Bettag observed that the program remains driven by the innate significance of its stories.
“What ’60 Minutes’ has tackled these past months is remarkable,” remarked Bettag, now a journalism professor at the University of Maryland. “The personnel at ’60 Minutes’ are dedicated journalists, and they understand that this is an era demanding their utmost efforts, far outweighing the relevance of Trump’s frivolous lawsuit.”
Some of the coverage has been unusually time-sensitive for a newsmagazine renowned for its longer, meticulously curated pieces. Pelley’s feature on Ukraine aired promptly following a heated White House encounter between Trump and Ukrainian President Volodymyr Zelenskyy.
Musk’s vehement outburst on X ensued after Pelley’s February 16th examination of the billionaire’s involvement in the rapid shutdown of the USAID office, where Pelley asserted that Musk, despite benefiting from “billions in taxpayer dollars” for his SpaceX ventures, abruptly ceased aid to impoverished families worldwide.
“’60 Minutes’ ranks as the world’s most deceptive storytellers! Their deceitful practices during the last election are unforgivable. They warrant lengthy prison sentences,” Musk declared on X just hours later.
Beyond CBS, numerous other media outlets have managed to produce commendable work amid challenging circumstances, according to Columbia University journalism professor Bill Grueskin. Along with Pelley, Grueskin praised the efforts of the Washington Post’s journalism team, despite its owner, Jeff Bezos, reportedly taking a more amicable stance toward Trump.
‘The Silenced Symphony’
Last Sunday’s “60 Minutes” segment spotlighted exceptional high school talents—individuals identified as Black, Hispanic, Indian, or Asian—who earned the privilege of performing with the Marine band, only to have their opportunity rescinded.
In collaboration with Equity Arc, an initiative dedicated to enhancing minority representation in classical music, CBS News coordinated a private concert for the students’ families and friends near Washington, D.C. Retired members of military bands provided mentorship to the students. CBS, eager to hear the students’ stories, covered the travel and accommodation costs for 22 participants.
Pelley dubbed it “the concert that wasn’t meant to be heard.”
“The original Marine Band performance would have drawn hundreds,” he commented. “This evening, millions are witnessing these musicians.”
Pelley’s March 9 expo, “Firing the Watchdogs,” scrutinized Trump’s maneuvers to eliminate inspector generals and undercut defenders of whistleblowers within government echelons. He refuted Trump’s assertions that these actions were typical for a new regime assuming power, stating, “President Trump is mistaken.”
Through a probing lens, Pelley examined challenges within the U.S. Justice Department, including some prosecutors resisting dropping corruption charges against New York City Mayor Eric Adams.
“Pelley has emerged as Trump’s most vocal TV adversary,” noted Paul Bedard from the Washington Examiner.
Even while maintaining his characteristic deadpan tone, Pelley’s pieces have been fiercely analytical. While discussing USAID’s fate, Pelley stated, “It’s premature to gauge President Trump’s seriousness in challenging the Constitution.”
