CBS SIGNS DEAL TO AVOID LEGAL TROUBLE FROM STEPHEN COLBERT PLAYING COPYRIGHTED ‘PEANUTS’ SONG; Billboard, June 16, 2026

 Bill Donahue, Billboard ; CBS SIGNS DEAL TO AVOID LEGAL TROUBLE FROM STEPHEN COLBERT PLAYING COPYRIGHTED ‘PEANUTS’ SONG

"A month after Stephen Colbert played copyrighted Peanuts music during the final taping of The Late Show in a joking effort to get CBS sued, the TV network has signed a licensing deal to avoid any legal issues from the incident.

Lee Mendelson Film Productions — the owner of the music to the Charlie Brown franchise that just launched a legal blitz over its rights — said Tuesday (June 16) it had reached a resolution with CBS over the episode, in which Colbert deadpanned: “I hope this doesn’t cost CBS any money!”

The agreement will see CBS take a license for “Linus and Lucy,” the unofficial Peanuts theme that Colbert’s band played on the air during the show. The proceeds from the deal will be donated to the charity World Central Kitchen, run by Chef José Andrés."

Firings at CBS' '60 Minutes' reflect the fight for media control in the age of Trump; NPR, June 3, 2026

David Folkenflik, NPR; Firings at CBS' '60 Minutes' reflect the fight for media control in the age of Trump

"The battle royale over the network's most prestigious and profitable news program is part of a broader fight over the direction of CBS News.

And given CBS's acquisition by a billionaire family whose business interests have become intertwined with the political interests of President Trump, it reflects a larger war over control of the media in the current moment.

That father and son, Larry and David Ellison, bought CBS' parent company, Paramount, last summer. In January, they became co-owners of TikTok's U.S. operations. Now they're seeking approval from Trump's regulators to buy Warner Bros. Discovery, the parent company of CNN."

Read the letter firing Scott Pelley from ‘60 Minutes’ — and his response; The Washington Post, June 3, 2026

Scott Nover

 and 

Liam Scott

, The Washington Post; Read the letter firing Scott Pelley from ‘60 Minutes’ — and his response

"Pelley was fired Tuesday when Bilton sent him this letter, printed in full below...

Pelley responded in a late-night statement shared with The Washington Post, lambasting the network, its leadership and its ownership under David Ellison’s Paramount Skydance, whom he accused of trying to “curry favor with the Trump administration.

You can read it in full here:"

CBS News Fires Scott Pelley of ‘60 Minutes’; The New York Times, June 2, 2026

Benjamin Mullin and Michael M. Grynbaum, The New York Times ; CBS News Fires Scott Pelley of ‘60 Minutes’

"CBS News fired Scott Pelley on Tuesday, jettisoning one of the network’s best-known journalists in a clash over the future of “60 Minutes,” the country’s top-rated news program.

Mr. Pelley, 68, a “60 Minutes” correspondent and a former anchor of “CBS Evening News,” joined the network in 1989. At a staff meeting on Monday, he accused the network’s editor in chief, Bari Weiss, of “murdering ‘60 Minutes,’” citing the ouster last week of the program’s leadership team and two on-air correspondents.

“We have parted ways with Scott Pelley,” Nick Bilton, the tech journalist who was hired last week as the new “60 Minutes” executive producer, wrote in a memo to the show’s staff on Tuesday night.

CBS News declined to comment. In a formal letter to Mr. Pelley, which was obtained by The New York Times, Mr. Bilton wrote that the correspondent had been “terminated for cause effective immediately.”"

Scott Pelley Accuses CBS News Boss of ‘Murdering’ ‘60 Minutes’; The New York Times, June 1, 2026

 

Michael M. Grynbaum and Benjamin Mullin, The New York Times; Scott Pelley Accuses CBS News Boss of ‘Murdering’ ‘60 Minutes’

"CBS News faced a fresh wave of turmoil on Monday after Scott Pelley, the “60 Minutes” correspondent, laced into the show’s newly hired executive producer during a staff meeting and accused Bari Weiss, the network’s editor in chief, of “murdering” the longstanding Sunday news program.

In an extraordinary exchange, Mr. Pelley, his newscaster’s baritone sometimes shaking in anger, told Nick Bilton, the new executive producer, that he had “slender” qualifications for his new job and questioned the network’s commitment to the future of the program, according to a recording of the meeting obtained by The New York Times.

The 10 a.m. gathering, held at the program’s Midtown Manhattan headquarters, was intended as a formal introduction to Mr. Bilton, a tech journalist and filmmaker who was appointed last week as part of a major shake-up at “60 Minutes.” CBS fired Tanya Simon, the previous executive producer, and her deputy, along with Sharyn Alfonsi and Cecilia Vega, two of the show’s correspondents — an event that Mr. Pelley referred to as “Black Thursday.”

The meeting quickly turned tense — not a surprise after months of strain between veteran journalists at “60 Minutes” and Ms. Weiss, an opinion journalist who was a longtime critic of legacy media institutions before she became the head of one last year. She was appointed by David Ellison, a tech scion who took control of CBS’s parent company Paramount in a multibillion-dollar merger...

Ms. Weiss’s handling of “60 Minutes” has generated internal turmoil for months.

In December, she pulled a segment reported by Ms. Alfonsi, about the brutal treatment of migrants in a Salvadoran prison, saying that it needed more reporting. The segment was critical of the Trump administration, and Ms. Alfonsi said the decision was “political.” The piece ultimately aired with some additional comments from the Trump administration."

CBS walks back copyright claims on Stephen Colbert local access episode; USA TODAY, May 26, 2026

 Melina Khan,  USA TODAY ; CBS walks back copyright claims on Stephen Colbert local access episode

"CBS has backed off copyright claims about Stephen Colbert's surprise appearance on local access TV – at least for now.

On May 22, after signing off from "The Late Show," the comedian made an unexpected return to "Only in Monroe," a Michigan-based local access show. He once guest-hosted the show before taking over David Letterman's CBS spot in 2015.

But after Colbert's "Only in Monroe" appearance, CBS sparked backlash when it sent copyright notices to YouTube channels that were sharing the episode.

Now, the network is holding off on takedown notices pending further review, it said in a statement to USA TODAY."

STEPHEN COLBERT USES COPYRIGHTED ‘PEANUTS’ MUSIC DURING FINALE: ‘I HOPE THIS DOESN’T COST CBS ANY MONEY!’; Rolling Stone, May 22, 2026

 ELISABETH GARBER-PAUL , Rolling Stone; STEPHEN COLBERT USES COPYRIGHTED ‘PEANUTS’ MUSIC DURING FINALE: ‘I HOPE THIS DOESN’T COST CBS ANY MONEY!’

"During the final episode of The Late Show, host Stephen Colbert purposely used copyrighted music during a segment, a move that could potentially cost his former bosses at CBS a lot of dough if the music was unauthorized, and the usage were to end in a lawsuit.

“Peanuts is a powerful brand and corporation in and of itself. Anyone illegally using that music is going to have to pay through the nose,” he said, before addressing his band leader, Louis Cato. “Louis, Louis! Is the band right now playing the same Peanuts music I just said people were being sued for, for using without permission? Is that what you’re doing?” The band was indeed launching into the familiar Vince Guaraldi song. “Oh no, I hope this doesn’t cost CBS any money!” Colbert said."

Stephen Colbert says CBS lawyers pulled James Talarico interview as early voting begins in Texas; AP, February 17, 2026

MEG KINNARD, JIM VERTUNO AND JOHN HANNA, AP; Stephen Colbert says CBS lawyers pulled James Talarico interview as early voting begins in Texas

"Late-night host Stephen Colbert said his interview with Democratic Texas Senate candidate James Talarico was pulled from Monday night’s broadcast over network fears it would violate regulatory guidance from the Trump administration on giving equal time to political candidates.

The issue came just hours before early voting opened Tuesday in Texas’ primary elections, which feature hotly contested Senate nomination races in both parties. 

“He was supposed to be here, but we were told in no uncertain terms by our network’s lawyers, who called us directly, that we could not have him on the broadcast,” Colbert said on his program, ”The Late Show with Stephen Colbert.”

“Then I was told, in some uncertain terms, that not only could I not have him on, I could not mention me not having him on. And because my network clearly doesn’t want us to talk about this, let’s talk about this.”"

CBS: Caving. Bowing. Scraping.; The New York Times, July 26, 2025

 MAUREEN DOWD, The New York Times; CBS: Caving. Bowing. Scraping.

"CBS is, as Colbert said, “morally bankrupt.” It’s sickening to see media outlets, universities, law firms and tech companies bending the knee. (Hang tough, Rupert!)

Satirists are left to hold people accountable, and they are more than ready." 

Bill Moyers, a Face of Public TV and Once a White House Voice, Dies at 91; The New York Times, June 26, 2025

Janny Scott, The New York Times; Bill Moyers, a Face of Public TV and Once a White House Voice, Dies at 91

"In an age of broadcast blowhards, the soft-spoken Mr. Moyers applied his earnest, deferential style to interviews with poets, philosophers and educators, often on the subject of values and ideas. His 1988 PBS series, “Joseph Campbell and the Power of Myth,” drew 30 million viewers, posthumously turned Mr. Campbell — at the time a little-known mythologist — into a public broadcasting star, and popularized the Campbell dictum “Follow your bliss.” 

A Sense of Moral Urgency’

To admirers, many of them liberals, Mr. Moyers was the nation’s conscience, bringing to his work what one television critic called “a sense of moral urgency and decency.” Others, mostly conservatives, found him sanctimonious and accused him of bias. In a 2004 retrospective, the conservative website FrontPageMag.com called him a “sweater-wearing pundit who delivered socialist and neo-Marxist propaganda with a soft Texas accent.”...

PBS to CBS and Back

Mr. Moyers turned down offers to edit newspapers, run colleges and co-host the “Today” show on NBC. (“I just didn’t like the idea of selling dog food in a world where so many people were eating it,” he told People magazine.) Instead, he began producing a weekly public affairs program on PBS, devoting entire shows to topics like the Watergate scandal and public education. John J. O’Connor of The Times called his show, “Bill Moyers Journal,” “one of the most outstanding series on television.”

CBS Report on Moonves Shows Epic Failure of Corporate Governance; The New York Times, December 4, 2018

James B. Stewart, The New York Times; CBS Report on Moonves Shows Epic Failure of Corporate Governance

[Kip Currier: Another example of toxic organizational culture--at multiple levels--that's also a "teachable moment" case study on the need for ethical leadership.

It's also (another) call for action and responsibility by Board members in all kinds of organizations--for profit and non-profit:

If you see (or reasonably suspect) something illicit, illegal, or unethical is occurring within your organization, say something!

You have an ethical duty to act. Not to cover up, turn away your gaze, or enable.

Ask tough questions. Demand answers. Report concerns and observations to outside parties when you can't get answers or information from within.

Do your duty. Do the right thing.

Even if it's hard.]

"As a draft report prepared by CBS’s outside lawyers now makes clear, many of the company’s employees, including high-ranking executives and even members of its board, were aware of the former chief executive Leslie Moonves’s alleged sexual misconduct and subsequent efforts to conceal it.

Yet no one acted to stop him — and the repercussions for that failure are likely to reverberate at CBS for years.

“A culture where this behavior could have gone unchecked for so long with so much knowledge is really troubling,” said Charles M. Elson, an expert on corporate governance at the University of Delaware. “This is a disaster for CBS shareholders. There’s been no other #MeToo incident with this kind of negative impact” on a major American company...

Members of corporate boards, senior executives and even rank-and-file employees have a duty of loyalty — to the company, not its chief executive. They’re required by corporate law, company policy and in many cases their employment contracts to report misconduct to the board."

Can You Copyright Your Dumb Joke? And How Can You Prove It's Yours?; NPR, May 17. 2017

Laurel Wamsley, NPR; 

Can You Copyright Your Dumb Joke? And How Can You Prove It's Yours?

"In 2008, law professors Dotan Oliar and Christopher Sprigman published a paper that explored the norms comics had established to protect their intellectual property: their jokes...

Can you really copyright a dumb joke?

"The question really focuses on originality, and there is no freestanding barrier to copyright extending to a joke on any topic ... so long as that joke meets the fairly minimal requirements for originality," says Perzanowski. "That means it has to demonstrate some low level of creativity and importantly that it not be copied from some other source."

"Copyright will give you protection for this specific arrangement of words," he says, but not for a whole subject matter.

When it comes to topical comedy, he says, the question is whether one can separate an idea (which can't be copyrighted) from its expression (which can).

Judge Sammartino agrees. "[T]here is little doubt that the jokes at issue merit copyright protection," she writes, citing the relevant case law, "noting originality requires only independent creation of a work that 'possess[es] some creative spark, "no matter how crude, humble or obvious" it might be.'"

However, she adds, the jokes here "are similarly constrained by their subject matter and the conventions of the two-line, setup-and-delivery paradigm."

The result is that for O'Brien's jokes to infringe on Kaseberg's copyright, they must be "virtually identical," one step below verbatim."

To Boldly Go Where No Fan Production Has Gone Before; Slate, 7/13/16

Marissa Martinelli, Slate; To Boldly Go Where No Fan Production Has Gone Before:

"The issues at the heart of the Axanar case are complex—in addition to copyright infringement, CBS and Paramount are accusing the Axanar team of profiting from the production by paying themselves salaries, among other things. Abrams, who directed 2009’s Star Trek and 2013’s Star Trek Into Darkness, promised during a fan event back in May that the lawsuit would be going away at the behest of Justin Lin, the Beyond director who has sided, surprisingly, with Axanar over Paramount. But despite Abrams’ promise, the lawsuit rages on, and in the meantime, other Trekkie filmmakers have had to adapt. Federation Rising, the planned sequel to Horizon, pulled the plug before fundraising had even started, and Star Trek: Renegades, the follow-up to Of Gods and Men that raised more than $132,000 on Indiegogo, has dropped all elements of Star Trek from the production and is now just called Renegades. (Amusingly, this transition seems to have involved only slight tweaks, with the Federation becoming the Confederation, Russ’ character Tuvok becoming Kovok, and so on.) Other projects are stuck in limbo, waiting to hear from CBS whether they can boldly go forth with production—or whether this really does spell the end of the golden age of Star Trek fan films.

Axanar may very well have crossed a line, and CBS and Paramount are, of course, entitled to protect their properties. But in the process, they have suffocated, intentionally or otherwise, a robust and long-standing fan-fiction tradition, one that has produced remarkable labors of love like Star Trek Continues, which meticulously recreated the look and feel of the 1960s show, and an hourlong stop-motion film made by a German fan in tribute to Enterprise—a project almost eight years in the making. It’s a tradition that gave us web series like Star Trek: Hidden Frontier, which was exploring same-sex relationships in Star Trek well before the canon was ready to give us a mainstream, openly gay character."