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      How Anderson Cooper Deals With Grief and Memorializes His Family at Home

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      How do you memorialize the people you loved and lost? Object by object, the CNN anchor is trying to figure it out.It took Anderson Cooper more than a year after his mother’s death to begin clearing out her apartment. It was an emotionally draining task, one that he put off — something his mother may have anticipated, because she left him a road map.He began finding notes she had left him, tucked away in drawers and sealed containers. Written in her hand on heavy stationery, they acted as a kind of treasure hunt to their shared grief.Mr. Cooper’s mother, the heiress and fashion designer Gloria Vanderbilt, was one of the most famous women in the world, courted by Frank Sinatra and Marlon Brando, photographed by Richard Avedon, and a muse to Truman Capote, who is believed to have based the character of Holly Golightly in “Breakfast at Tiffany’s” partly on her.Just sorting through her personal papers would have been challenging for her son after her death at the age of 95 in 2019.But the apartment was also the final resting place of objects that belonged to Mr. Cooper’s father, Wyatt Emory Cooper, an author and screenwriter who died in 1978 when Anderson was 10, and his older brother, Carter Cooper, who died in 1988, when they were both in their 20s, after jumping from his mother’s balcony.Next to a pair of satin trousers, Mr. Cooper came across a piece of paper: “These are Daddy’s pyjamas.”“Daddy’s glasses,” read another, left on top of a stack of spectacles tied with a ribbon.And then, tucked away in a plastic container, he found a white silk shirt next to a knitted skirt. “Blouse and skirt I was wearing when Carter died,” read the sheet of paper lying on top.Anderson Cooper, 56Occupation: CNN anchor, author and podcast hostOn processing the past: “I’m the last one left from this sort of interesting family that existed,” he said. “I just find it sort of haunting this idea that everyone just disappears.”When a person you love dies, you are left with memories, a mental film reel of the experiences you shared, the lessons they taught you and the refracted light of their love. And at the most basic level, you are also left with their stuff — often more stuff than you can keep.Among the notes Anderson Cooper found when he went to clean out his mother’s apartment was this one, left on top of a stack of glasses that had belonged to his father.Maansi Srivastava/The New York TimesMr. Cooper, 56, began keeping voice memos on his phone as he was sorting through his mother’s belongings in 2021. They grew into a podcast on grief, “All There Is With Anderson Cooper,” which began its second season in November.For decades, the longtime anchor of CNN’s “Anderson Cooper 360°” has chronicled other people’s suffering. Now, he has become a correspondent from the land of his own grief.He recently invited a reporter to his Manhattan home, in Greenwich Village, where he has displayed some of the objects he retrieved from his mother’s apartment on the Upper East Side.Ms. Vanderbilt, whose fashion designs were the subject of numerous magazine features, was fond of saying that “decorating is autobiography.” For her son, decorating has also been an exercise in choosing what to remember.The doors of his home — a historic firehouse he bought for $4.3 million in 2009 — open onto the space where the fire truck once stood. When he bought the building, there was one way to get upstairs — a steel spiral staircase — and two ways to get back down: that narrow staircase or a fireman’s pole.The cherry-red spiral staircase was initially the only way to get upstairs in the former firehouse. Mr. Cooper preserved it, but added another staircase.Maansi Srivastava/The New York TimesA living room bookcase is filled with antique books, including some that belonged to Mr. Cooper’s mother, his father and his Vanderbilt ancestors.Maansi Srivastava/The New York TimesMr. Cooper worked with an architect to subdivide the four-story, warehouselike space into rooms. Both the spiral staircase and the fireman’s pole were preserved. But now, a wide staircase zigzags upstairs. The wall next to the main staircase serves as a gallery of his mother’s paintings, as well as portraits of her signed by well-known photographers.It’s a celebration of Ms. Vanderbilt’s much-publicized life: At the age of 10, she became a tabloid sensation after a custody battle pitted her wealthy mother against her wealthy aunt. As the heiress to the Vanderbilt fortune, she inherited millions. But she was also a self-made woman, creating a line of jeans and a fashion empire that generated $100 million a year in revenue. She was married four times and had affairs with some of Hollywood’s leading men, including Gene Kelly and Frank Sinatra, who sent her adoring telegrams signed “The Feller on the White Horse.” She also wrote numerous books and painted prolifically, in a faux-naïf style.To the casual observer, there are only happy memories of her in Mr. Cooper’s home — of her legendary beauty, her talent and her connections to the famous people of her day.In the basement of the firehouse, Mr. Cooper is working his way through the last 70 or so boxes of his mother’s belongings. Maansi Srivastava/The New York TimesBut laced throughout are also hints of grief: On a side table is a Victorian calendar, made of intricately fashioned bronze, with three little windows for a day, date and month. “Friday,” says the first window. “22,” says the second. “July,” says the third.Mr. Cooper found the calendar on a shelf next to his mother’s bed. Then he realized what the date referred to: It was on July 22, 1988, that his brother jumped off the balcony of their mother’s 14-story apartment building, as she pleaded with him not to.After her son died, Ms. Vanderbilt moved multiple times, and the calendar went with her. But its dial never moved again, forever marking the moment of tragedy. “I was getting rid of my mom’s apartment, and I just didn’t want to let go of everything,” said Mr. Cooper, who now displays the calendar in his living room.It was three years after his brother’s death, in 1991, that Mr. Cooper discovered war reporting: After graduating from Yale University, he worked briefly as a fact checker for Channel One, a daily news program broadcast to schools. He lasted mere months before convincing a colleague to make him a fake press pass and loan him a Hi8 camcorder. In late 1991, he sneaked into Myanmar, where insurgents were fighting to overthrow the military dictatorship and sold his first TV story.The Victorian calendar that Mr. Cooper found near his mother’s bed, which still shows the day of his brother’s death: July 22, 1988.Maansi Srivastava/The New York TimesMaansi Srivastava/The New York TimesIn 1992, he covered famine in Somalia. In 1993, Sarajevo. In 1994, he crossed a bridge into Rwanda. When he looked down, he saw bodies caught on the rocks, their arms flailing in the water. It was at the edges of the world, in places of extreme suffering, that he discovered he could feel again, he said.When he was 10 and his mother came to tell him that his father had died of a heart attack, he remembers crying — a little, he said. And then almost never again.He pulled inward, learning to control his emotions, he said. Among his earliest impulses was the desire to be fully independent. One of his first appearances in the pages of this newspaper was in a story about a lemonade stand he helped run. He got his own bank account, and after his father’s death, he began working as a child model for Calvin Klein and Ralph Lauren.He retreated even further after his brother’s death, when Mr. Cooper was 21.Tracing two lines in the air, he said: “I sort of live in this middle ground of no high highs and no low lows.”He continued: “The only time I felt stuff is when things were so extreme that you couldn’t help but feel — where it was so overwhelming, terrifying, tragic that through, like, osmosis, it overcame all of the sort of things I had worked up to prevent myself from feeling,”But it was a fleeting solution. “I would come back home,” he said, “and I just felt dead.”The death of his mother and the subsequent birth of his sons — who are now 3 and almost 2 — made him take stock. (Mr. Cooper is co-parenting his children with his former partner, Benjamin Maisani, 50, an entrepreneur and nightclub owner.) He described the sadness that he used to see in his mother’s eyes. He doesn’t want his sons to see that in him.Photographs of Carter Cooper, Mr. Cooper’s brother who died when they were in their 20s.Maansi Srivastava/The New York TimesBy now, he is down to the last 70 or so boxes of his mother’s belongings. Unpacking them has meant unboxing the real estate in his mind.A few months ago, he was in the basement of his townhouse, working his way through the containers, when he opened a box of his father’s papers and discovered an essay his father, who died of a heart attack at 50, had never published. Its title: “The importance of grieving.”Among Mr. Cooper’s earliest memories is of falling asleep curled up like a puppy on his father’s lap, while his father typed late into the night.Alone in the basement, Mr. Cooper began to read the essay. A few pages in was a description of what happens to a child who doesn’t grieve: “When a person is unable to complete a mourning task in childhood, he either has to surrender his emotions in order that they do not suddenly overwhelm him, or else he may be haunted constantly throughout his life with a sadness for which he cannot find an appropriate explanation.”Mr. Cooper stopped midsentence, taking off his glasses. For several seconds, he was silent.“I read this quote and I realized,” he said finally, his voice breaking, that “this is exactly what I’ve done.”Last year, he invited his podcast listeners to share their stories of loss. The hotline he created filled up with more than 46 hours of voice mail messages. Listening in his basement, alone, as he unpacked his mother’s boxes, he was overwhelmed.He has arrived at a new stage of grief, he said. He now feels “a welling,” he said, “that is underneath me at all times.”Mr. Cooper shows off the gallery of his mother’s paintings and photos that he created in the stairwell of his townhouse.Maansi Srivastava/The New York TimesAnd for once, he is feeling it in the city where he was born, mere miles from the Upper East Side, where his father and brother both died too young. He is feeling it without needing to go to a foreign country.“Here,” he said, “just in regular conversations with people.”For weekly email updates on residential real estate news, sign up here. More

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      Drew Griffin, CNN Investigative Journalist, Dies at 60

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      His reporting on delayed care for military veterans at Veterans Affairs hospitals led to the resignation of the secretary of the department.Drew Griffin, an investigative journalist whose reporting for CNN on delayed care at Veterans Affairs hospitals prompted the resignation of the secretary of the department, died on Saturday at his home in the Atlanta area. He was 60.Chris Licht, CNN’s chief executive, announced the death in an email to staff members on Monday. The cause was not immediately made public, but Mr. Griffin had cancer.“Drew’s death is a devastating loss to CNN and our entire profession,” Mr. Licht said. “Drew’s work had incredible impact and embodied the mission of this organization in every way. He cared about seeking the truth and holding the powerful to account.”Mr. Griffin joined CNN in May 2004. During his time with the network, he covered a range of issues, including sexual assault allegations against Uber drivers, fraud claims against Trump University during Donald J. Trump’s 2016 presidential campaign, and the aftermath of the Jan. 6, 2021, attack on the United States Capitol. His work on the Capitol attack was cited in court filings by the U.S. Department of Justice, according to CNN.Mr. Licht noted that Mr. Griffin “was even working on an investigation until the day he passed away.”In January 2014, Mr. Griffin led a team that investigated the deaths of at least 19 military veterans after their appointments at Veterans Affairs hospitals had been delayed. Thousands of other veterans were experiencing similar delays for treatment.After CNN’s report, Eric Shinseki resigned under pressure as secretary of the Department of Veterans Affairs, and other department officials were later fired.“We don’t have time for distractions,” President Barack Obama said at the time. “We need to fix the problem.”CNN’s report earned a Peabody Award, one of the most prestigious recognitions in television and radio, in 2014. The reporting also earned an Edward R. Murrow Award.“Our goal in this reporting wasn’t just to shed light on this problem,” Mr. Griffin said when accepting the Peabody Award. “We wanted to effect change, to hold these politicians and bureaucrats responsible.”Mr. Griffin also earned a National Press Foundation Award in 2007, and Emmy Awards in 2005, 2006 and 2007, according to CNN.Though Mr. Griffin’s work centered on investigations, he also volunteered to cover breaking news stories, CNN said.In 2017, Mr. Griffin was about to do a live report on Hurricane Harvey from Beaumont, Texas, when a man nearby drove a truck into floodwater. Mr. Griffin and a photojournalist ran to rescue the man from the truck as it began to sink, a moment that was aired live.Andrew Charles Griffin was born on Oct. 21, 1962. His father, Michael James Griffin, served in the Army and later worked as a civil engineer with the Cook County, Ill., Highway Department. His mother, Judith Anne Griffin, was a lawyer.Mr. Griffin earned a bachelor’s degree in communications from the University of Illinois at Urbana-Champaign and began his career in journalism as a reporter and cameraman for WICD-TV in Champaign, Ill. He went on to work in Florida, South Carolina, North Carolina and Washington, according to CNN.In January 1994, Mr. Griffin joined CBS 2 News in Los Angeles, where he was a reporter and anchor, and helped create an investigative reporting team. While working for that organization, Mr. Griffin reported from New York City to cover the Sept. 11, 2001, terrorist attacks, and he earned a number of local awards for his investigative reporting.Mr. Griffin is survived by his wife, Margot; his children, Ele, Louis and Miles; his brothers Peter and Michael; and two grandchildren.Sheelagh McNeill More

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      Ken Bode, Erudite ‘Washington Week’ Host on PBS, Dies at 83

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      Beginning in 1994, he brought to the moderator’s role credentials as a political activist, an academic and a national correspondent for NBC News.Ken Bode, a bearded, bearish former political operative and television correspondent who, armed with a Ph.D. in politics, moderated the popular PBS program “Washington Week in Review” in the 1990s, died on Thursday in Charlotte, N.C. He was 83.His death, in a care center, was confirmed by his daughters, Matilda and Josie Bode, who said the cause had not been identified.Beginning in 1994, Mr. Bode (pronounced BO-dee) coupled congeniality and knowledgeability in steering a Friday night discussion among a rotating panel of reporters about the issues of the day coming out of Washington. His role, as he saw it, was to “bring in people who are really covering the news to empty their notebooks and provide perspective, not to argue with each other,” he told The Washington Post in 1999.As host of the program, now called “Washington Week,” he succeeded Paul Duke, who had helmed that roundtable of polite talking heads for two decades, and preceded Gwen Ifill, a former NBC News correspondent who died in 2016 at 61. The program, which debuted in 1967, is billed as TV’s longest-running prime time news and public affairs program. The current host is Yamiche Alcindor.The program’s loyal and generally older viewers were so brass-bound in the 1990s that when Mr. Bode took over, even his beard proved controversial. He proceeded to introduce videotaped segments and remote interviews with correspondents and bring more diversity to his panel of reporters.He also took more liberties with language than his predecessor.Mr. Bode moderating an episode of “Washington Week in Review.” He hosted the program from 1994 to 1999 while teaching politics at DePauw University in Indiana. PBSEnding an interview with Bob Woodward of The Washington Post about President Bill Clinton’s economic policies, Mr. Bode quoted a British newspaper’s snarky prediction that the president’s impending visit to Oxford, England, would present people with an opportunity to “focus on one of the president’s less well-publicized organs: his brain.” He described a vacancy on the Supreme Court as constituting “one-ninth of one-third of the government.”Still, Dalton Delan, then the newly-minted executive vice president of WETA in Washington, which continues to produce the program, wanted to invigorate the format. He proposed including college journalists, surprise guests and people-on-the-street interviews and replacing Mr. Bode with Ms. Ifill (she said she initially turned down the offer) — changes that prompted Mr. Bode to jump, or to be not so gently pushed, from the host’s chair in 1999.Kenneth Adlam Bode was born on March 30, 1939, in Chicago and raised in Hawarden, Iowa. His father, George, owned a dairy farm and then a dry cleaning business. His mother, June (Adlam) Bode, kept the books.Mr. Bode in his office in 1972, when he was involved in Democratic politics.George Tames/The New York TimesThe first member of his family to attend college, Mr. Bode majored in philosophy and government at the University of South Dakota, graduating in 1961. He went on to earn a doctorate in political science at the University of North Carolina, where he was active in the civil rights movement.He taught briefly at Michigan State University and the State University of New York at Binghamton, and then gravitated toward liberal politics.In 1968, Mr. Bode worked in the presidential campaigns of Senators Eugene McCarthy and George S. McGovern. He became research director for a Democratic Party commission, led by Mr. McGovern and Representative Donald M. Fraser of Minnesota, that advocated for reforms in the selection process for delegates to the 1972 Democratic National Convention. He later headed a liberal-leaning organization called the Center for Political Reform.His marriage to Linda Yarrow ended in divorce. In 1975, he married Margo Hauff, a high school social studies teacher who wrote and designed educational materials for learning-disabled children. He is survived by her, in addition to their daughters, as well as by a brother and two grandsons.After working in politics, Mr. Bode began writing for The New Republic in the early 1970s and became its politics editor. He moved to NBC News in 1979, encouraged by the network’s newsman Tom Brokaw, a friend from college, and eventually became the network’s national political correspondent. In that role he hosted “Bode’s Journal,” a weekly segment of the “Today” show, on which he explored, among other issues, voting rights violations, racial discrimination and patronage abuses, as his longtime producer Jim Connor recalled in an interview.Mr. Bode left the network a decade later to teach at DePauw University in Indiana, where he founded the Center for Contemporary Media. While at DePauw, from 1989 to 1998, he commuted to Washington to host “Washington Week in Review” and wrote an Emmy-winning CNN documentary, “The Public Mind of George Bush” (1992).Beginning in 1998, he was dean of Northwestern University’s Medill School of Journalism for three years and remained a professor there until 2004.Mr. Bode said he retired from broadcast journalism for family reasons. “I was raising my kids from 100 airports a year,” he said. As he told The New York Times in 1999, “I knew then that my problem was, I’ve got the best job, but I’ve also got one chance to be a father, and I’m losing it.” More

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      The Murdochs, From Page to Screen

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      A documentary series uses new material and archival footage to expand on a New York Times Magazine investigation.Times Insider explains who we are and what we do, and delivers behind-the-scenes insights into how our journalism comes together.Greed. Betrayal. Family backstabbing. The rise of the Murdochs, the world’s most powerful media family, which was chronicled in a three-part, 20,000-word investigation published in The New York Times Magazine in 2019, had all the right ingredients for a gripping documentary series. Some might say it had “Succession”-level drama.The drama was brought indeed in “The Murdochs: Empire of Influence,” a new documentary series that premiered on CNN+ last month and will be broadcast on CNN later this year.The series relied on the reporting of the two journalists behind the magazine article, Jonathan Mahler and Jim Rutenberg, who served as consulting producers. For more insight, the team at the production company Left/Right, which partnered with CNN and The New York Times, used new voices and archival footage to expand on the magazine article across six hourlong episodes. The team even enlisted Mr. Mahler and Mr. Rutenberg to appear on camera.“It can be easy to go off track or speak a little loosely in ways that we wouldn’t in an actual written and edited piece,” said Mr. Rutenberg. “So a lot of the challenge is getting used to sticking to our reporting when we’re sitting in a chair riffing.”Work on the series began in the fall of 2020, said Kathleen Lingo, The Times’s editorial director for film and TV and an executive producer on the project. “It was an opportunity not just to retell the story as it appeared in the magazine, but to expand the timeline into additional events,” she said. “You really get to see how the Murdoch family’s presence in world events played out over so many decades.”Mr. Mahler and Mr. Rutenberg met weekly with the showrunner of the series, Erica Sashin, and a team from Left/Right to work on the script. They took an expanded look at the formative years of the family patriarch and founder of News Corp, Rupert Murdoch, in Toorak, a neighborhood of Melbourne, Australia. The show also grew to include developments since the magazine investigation was published, such as the 2021 Capitol riot and how Fox News, which Mr. Murdoch founded and is now run by his son Lachlan, covered the events that day.The television editing process took some getting used to, Mr. Rutenberg said.“It’s much harder to go in and tinker,” he said. “If we wanted to edit anything, we had to get in touch with their editors, who’d have to rearrange the timing of the whole episode.”But there were aspects the two men relished about the documentary format.“With a documentary, you can be a little more expansive,” Mr. Mahler said. “We hadn’t had room to get into things in the magazine series that were just a little too tangential, like the strike at Rupert’s plant in Wapping,” he added, citing a workers’ dispute in London, “or the story of the daughter, Elisabeth Murdoch,” Those are topics that they are able to explore in the series.The TV format also lent the opportunity to transport viewers to important scenes in the Murdoch family history via archival images and video footage.“In the section when Rupert first moves his family to New York, you’re able to see that era of New York City’s skyline and the streets while you’re also learning about his personal goals,” Ms. Lingo said. “I love how a documentary can transport you to a specific era or time in a visceral way while also giving you information.”When Mr. Mahler and Mr. Rutenberg began to work on the documentary, it had been a few months since they were knee-deep in the nuances of the investigation. But fortunately, Mr. Mahler said, the fact that they had written the article collaboratively meant they had kept more organized notes than they otherwise might have.Both men watched the documentary about half a dozen times each during the editing process. Their takeaway?“It’s better than ‘Succession,’” Mr. Mahler said of the HBO drama whose Roy family is said to have been inspired by the Murdochs.Mr. Rutenberg wouldn’t go quite that far, but he was certain of one thing: “You can’t watch this and not think ‘Succession’ is overwhelmingly based on the Murdoch family,” he said.Stream “The Murdochs: Empire of Influence” on CNN+. More

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      Can CNN’s Hiring Spree Get People to Pay for Streaming News?

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      The network’s boss, Jeff Zucker, tries to make up for lost time by signing Chris Wallace, Audie Cornish and Eva Longoria.A couple of months ago, CNN’s forthcoming streaming channel was perceived as little more than a curiosity in the television news business: just another cable dinosaur trying to make the uneasy transition into the digital future.In fact, the plan to start CNN+, which is expected to go live by late March, amounted to a late arrival to the subscription-based streaming party, more than three years after Fox News launched Fox Nation.Then the hirings began.In December, Chris Wallace, Fox News’s most decorated news anchor, said he was leaving his network home of 18 years for CNN+. Next came Audie Cornish, the popular co-host of “All Things Considered” on NPR, who said in January that she was leaving public radio to host a weekly streaming show.Alison Roman, the Instagram star and author of a popular cooking newsletter, will get her own cooking show. Eva Longoria will head to Mexico for a culinary travelogue documentary series. Rex Chapman, the sports podcaster and former basketball player with more than a million Twitter followers, signed on, too.Audie Cornish, the popular co-host of “All Things Considered” on NPR, is leaving public radio to join CNN+.Brad Barket/Getty ImagesThe prominent names represent a tier of talent that had previously been hesitant to commit to a news channel’s streaming service, especially an untested one. Agents and producers have taken notice, as much for the big salaries on offer as for the prospect of a news-based streamer with a range of nonfiction programming, relying on more than the usual political talking heads.“We do want a service that has a wider aperture and is broader than just today’s bleak news,” CNN’s president, Jeff Zucker, said in an interview.Recent Developments at Fox NewsFauci Comments: The Fox News host Jesse Watters used notably violent language in urging a gathering of conservatives to publicly confront Dr. Anthony Fauci.Jan. 6 Texts: Three prominent Fox News hosts — Laura Ingraham, Sean Hannity and Brian Kilmeade — texted Mark Meadows during the Jan. 6 riot urging him to tell Donald Trump to try to stop it.Chris Wallace Departs: The anchor’s announcement that he was leaving Fox News for CNN came as right-wing hosts have increasingly set the channel’s agenda.Contributors Quit: Jonah Goldberg and Stephen Hayes quit the network in protest over Tucker Carlson’s “Patriot Purge” special.He is gambling that CNN+ can entice new viewers — and bring back some old ones. CNN’s traditional broadcast viewership has dropped significantly from a year ago, thanks to a post-Trump slump and waning audience interest, and the network recently fired its top-rated anchor, Chris Cuomo, amid an ethics scandal.Mr. Zucker is turning to a strategy honed during his days as the executive producer of NBC’s “Today” show in the 1990s, mixing hard news with a heavy dose of lifestyle coverage and tips on how to bake a pear cobbler. In marketing materials, CNN+ has urged viewers to “grab a coffee” while flipping on shows promoted as “never finicky” and “the silver lining beyond today’s toughest headlines.”It remains an open question if CNN+ can actually draw the interest — and monthly payments — of viewers already overwhelmed with streaming options. Heavyweight services like Netflix and Hulu have struggled to find success with shows that riff on current events. One Netflix executive conceded in 2019 that topical programming was “a challenge” when it came to on-demand, watch-at-your-own-pace streamers.The Instagram star Alison Roman will host a cooking show on CNN+.Michael Graydon & Nikole Herriott for The New York Times. Prop Stylist: Amy Elise Wilson.CNN and Fox News are the two major news networks betting that viewers will pay an extra monthly fee for their digital content.Fox News introduced Fox Nation, a subscription-only streaming service, in November 2018. Like CNN+, it features a mix of shows hosted by familiar hosts (“Tucker Carlson Presents” and Brian Kilmeade’s history program, “What Made America Great”) along with programming from outside the parent network, including a revival of the police show “Cops” and a new program hosted by Piers Morgan.Still, paid services like Fox Nation ($6 a month) and CNN+ (which has not revealed its pricing) carry a higher barrier of entry for TV news content, which is available free of charge elsewhere. Fox Nation has not disclosed its number of subscribers, making its success hard to gauge, though Lachlan Murdoch, the executive chairman of the Fox Corporation, has touted the service to investors.NBC, ABC and CBS are pursuing a different strategy: free streaming news platforms supported by paid advertising. Their digital options predominantly focus on news, not lifestyle programming, and the networks have only recently taken more aggressive steps to expand the programming on offer.On Monday, CBS rebranded its platform as the CBS News Streaming Network and announced new shows inspired by the network’s history, including a program hosted by the anchor Norah O’Donnell with “a 2022 take on the classic Edward R. Murrow interview series.”The Choice From MSNBC, a channel on NBC’s Peacock streaming app, debuted in 2020. Its hosts include Mehdi Hasan, Zerlina Maxwell and, starting later this year, Symone D. Sanders, a former adviser to President Biden. (NBC News also has separate digital offerings for hard news and lifestyle coverage.)Eva Longoria is developing a culinary travelogue documentary series for CNN’s streaming service.Rozette Rago for The New York TimesFor news executives, finding a winning formula in the streaming game is now an urgent priority.Streaming has supplanted cable as the main home delivery system for entertainment, often on the strength of addictive series like “Squid Game.” For a while, though, old-fashioned cable news clung on, with CNN, MSNBC and Fox News attracting record audiences in recent years. In case of emergency — a pandemic, civil unrest, a presidential election, a Capitol riot — viewers still tuned in en masse.After former President Donald J. Trump left office, news ratings nose-dived and cable subscriptions continued to plummet — an estimated four million households dropped their paid TV subscriptions last year, according to the research firm MoffettNathanson.Fox Nation and CNN+ both rely on a business model dependent on paid subscriptions, hence the efforts by both to generate a wide variety of programming.“A subscriber every month only has to find one thing that they want,” Mr. Zucker said in the interview. “We don’t need the subscriber to be interested in everything we’re offering, but they need to be interested in something.”Mr. Zucker said CNN+ was aiming at three buckets of potential subscribers. He is seeking to entice loyal CNN viewers into paying for streaming programs featuring hosts familiar from the cable channel: Anderson Cooper will have two, including one on parenting; Fareed Zakaria is helming a show examining historical events; and Jake Tapper will host “Jake Tapper’s Book Club,” in which he interviews authors.The other would-be subscribers, Mr. Zucker said, are news and documentary fans who want more nonfiction television, as well as younger people who don’t pay for cable.CNN, though, is not ignoring the needs of its flagship cable network, which ranked third last year behind Fox News and MSNBC in total audience.Mr. Zucker recently reached out to representatives for Gayle King, the star CBS News anchor, about the prospect of her taking over the weekday 9 p.m. hour on CNN, said two people with knowledge of the approach. CNN has not named a permanent anchor for the prime-time slot since Mr. Cuomo was fired in December after revelations that he assisted with the efforts of his brother, former Gov. Andrew M. Cuomo of New York, to fend off sexual harassment allegations.CNN’s president, Jeff Zucker, is gambling that the network can entice new viewers and bring back some old ones with its streaming platform.Krista Schlueter for The New York TimesCNN+ is also expected to include the breaking news and political coverage that CNN viewers are accustomed to — a feature that could pose difficulties for the network down the road. CNN commands a high price from cable distributors, who may cry foul if CNN+ includes too much news programming that potentially competes with the cable offering. For instance, Wolf Blitzer, the host of “The Situation Room” on CNN at 6 p.m., will also appear on CNN+ to anchor a “traditional evening news show with a sleek, modern twist.”CNN’s parent company, WarnerMedia, which is on the verge of a megamerger with Discovery Inc., appears willing to take the risk. The company is placing a significant financial bet on CNN+, budgeting for 500 additional employees, including producers, reporters, engineers and programmers, said Andrew Morse, CNN’s chief digital officer. The company is also renting an additional floor of its headquarters in Midtown Manhattan to accommodate the hires.“What we’re building at CNN+ is not a side hustle,” Mr. Morse said. More

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      For Times Reporters Appearing on TV, Extra Prep Time Helps

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      Appearing on TV news shows lets Times reporters take their work to a wider audience. But the opportunities must be handled with care.Times Insider explains who we are and what we do, and delivers behind-the-scenes insights into how our journalism comes together.“What do you think?”The host looks to you. Hundreds of thousands — even millions — of television viewers await your answer. What do you say?Annie Karni, a White House correspondent for The New York Times who is a regular guest on MSNBC, said she has been asked some version of that question often during her TV news show appearances over the past few years.“You’re there to talk about your reporting, even if the host is pushing you to offer an opinion,” she said.Ms. Karni is one of approximately 20 Times reporters who make regular appearances on television networks like CNN, CBS and MSNBC. Although most appearances are unpaid unless a journalist has signed a contract with a network, Ms. Karni and others see substantial pluses in the appearances.“Sources in Washington watch, and maybe someone starts to recognize you more and is more likely to return your call on your next story,” she said.“It’s also another way to bring the work of The Times to people watching a program who might otherwise not have seen it,” said Zolan Kanno-Youngs, a White House correspondent for The Times and a CNN contributor.Reporters are generally asked to appear on a show a few hours in advance, Ms. Karni said. They are given topics of discussion, along with any relevant articles to read, though producers do not supply precise questions.Before an appearance, Ms. Karni said she sometimes makes extra calls to her sources to get additional context.Katie Benner, who covers the Justice Department for The Times and recently signed on as a contributor at MSNBC, said she makes an extra effort to consider how to contextualize any topic she discusses for an audience that may be unfamiliar with it.“If there’s a major shooting and the Justice Department has deemed it a possible hate crime, the public should probably know what constitutes a hate crime,” she said. “Are they on the rise? Are we seeing a trend? If someone else addresses that, great. If not, I want to make sure it’s said.”Ms. Karni said the best way for reporters to learn how to present their work for a television audience is simply to do it repeatedly, but first-time guests aren’t completely on their own. The Times’s communications department offers media training for its reporters, which can include mock interviews. One thing that Ms. Karni said surprised her when she began appearing on TV was the streamlining and repetition necessary when summarizing reporting.“You want to come up with one or two things you want the audience to know and really emphasize those,” she said. “Even if it’s not the exact answer to the question you’re asked, it’s better than trying to think on your feet.”Even though a reporter may be on camera for only five minutes, the time required for TV appearances is hardly brief, Ms. Karni said. In addition to getting to and from the studio (during normal times, that is), reporters must catch up on all the news of the day, not just their specific stories. That can be the most difficult part, Ms. Karni said: the ability to pivot and to be prepared to speak on any pressing topic after a 15-minute cram session on the car ride over.But journalists have been appearing remotely since March 2020, which enables them to commit more like 10 minutes of their time rather than two hours. And reporters can make late-night appearances on shows like “Nightline” without worrying about catching a late car ride home.“It’s been a totally new world since the pandemic,” Ms. Karni said. “I bought a ring light for my bedroom, do my own makeup, and the whole thing is much quicker.”Ms. Benner agreed but said she missed one big perk: the hair and makeup team.“I normally don’t really wear any makeup, but they make you look amazing,” she said. “They’re also the funniest people and always make me laugh.”Mr. Kanno-Youngs, however, has become a little self-conscious about dialing in from his apartment. His dog stares at him from the couch, just waiting to bark; people tramp by in the hallway outside his door; and he ends up eyeing artwork in his background, wondering if it’s slanted.“That makes me nervous,” he said. “It’s like: ‘Geez, is this painting crooked in my background? Is Room Rater going to completely expose me because I didn’t wipe the kitchen counter?’”Aesthetics aside, Ms. Benner pointed out one critical rule to her appearances. “If, because of your schedule, you have to choose between reporting and being on TV, you should always choose reporting,” she said.But while Times journalists can spend months — or even years — reporting a single story, an appearance on a news show is, by comparison, over in a heartbeat.“There’s always a moment right after the host finishes and they go to the next guest,” Ms. Karni said. “You’re like, ‘Oh, wait, I have one more thing I want to say — come back!’” More

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