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      in Television

      ‘Like Choosing a Pope’: How Succession Got Messy at ‘Jeopardy!’

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      The decades-old game show, TV comfort food for many, has been rocked by drama over who would replace the late Alex Trebek.When Ken Jennings arrived at the “Jeopardy!” studios in November for the first day of his audition to become the new host of the long-running quiz show, he found a gift waiting for him: a pair of Alex Trebek’s cuff links, along with a handwritten note from his widow, Jean.Mr. Trebek, the “Jeopardy!” galaxy’s central star, had died of pancreatic cancer three weeks before, setting off a frenzy in Hollywood: one of the greatest jobs in television was available for the first time in 37 years.For some members of the “Jeopardy!” crew, the cuff links validated their assumption that Mr. Jennings, a genial Utahn who rose to fame in 2004 after winning a record 74 consecutive games, had been Mr. Trebek’s preferred successor. (“Jeopardy!” producers had arranged for a phone call between Mr. Jennings and Mr. Trebek two days before he died.) But “Jeopardy!,” while a beloved cultural icon, is also a lucrative asset of Sony Pictures Entertainment, and in the television industry, sentiment only goes so far.“Jeopardy!,” whose first iteration began in 1964, is one of TV’s last bastions of comfort food, a place where politics don’t matter and the real world is easily digested in just-the-facts bites. Then its succession drama got messy. After a cattle call of guest hosts, including Anderson Cooper, Robin Roberts, Aaron Rodgers, LeVar Burton and even Dr. Mehmet Oz, the announcement of the winner sent fans into a tailspin. The new weekday host would be Mike Richards, the show’s obscure executive producer and the man initially charged with finding Mr. Trebek’s replacement.Mr. Richards, it seemed, did not have to look very far.Critics accused Mr. Richards of rigging the contest à la Dick Cheney, who led the vice-presidential search for George W. Bush. Old lawsuits surfaced from Mr. Richards’s previous job, at “The Price Is Right,” involving his treatment of female staff members. (He denies wrongdoing.) After Sony said the “Big Bang Theory” actress Mayim Bialik would host the show’s prime-time spinoffs, her past skepticism about vaccines recirculated. (Her team said “she is not at all an anti-vaxxer.”)Mike Richards, the show’s executive producer, was named Mr. Trebek’s weekday replacement.Carol Kaelson, via ReutersUnder the retro, feel-good surface of “Jeopardy!,” the succession battle is a story of television’s dwindling real estate in American life and the strenuous efforts to occupy one of its remaining desirable plots.“It is a little like choosing a pope,” Mr. Jennings said, in his first interview since the new hosts were announced. “If you don’t watch ‘Jeopardy!,’ you don’t understand, but people take this very seriously.”In an age of atomized audiences, “Jeopardy!” still averages 8.8 million viewers a week, according to Nielsen — not quite “NCIS” territory, but roughly comparable to a network evening newscast. Its audience skews older: Last year, about four viewers out of five were over age 55.And the job itself is, as any Hollywood agent would tell you, a pretty sweet gig.When the “Jeopardy!” cast and crew gather on the Sony Pictures stage in Culver City, Calif., they film five 30-minute shows in a single day, the equivalent of one week of syndicated television. The host works roughly two days a week, two weeks a month — and toward the end of his tenure, Mr. Trebek’s salary was estimated at $16.5 million. Sony would not disclose Mr. Richards’s compensation, but several people familiar with internal discussions said it was significantly less.There are other perks to being the face of a show that is still watched by a broad audience on local network affiliates, a rarity as the nation divides into ever-more-partisan extremes and as traditional TV is supplanted by niche streaming services.“It’s appointment television, which is rare,” said George Stephanopoulos, the ABC News anchor, who guest hosted for a week. “It’s the kind of thing you can watch with your whole family.”Plus there is the reflected glow of always having the right answers.“It’s absolutely iconic,” said Rick Rosen, the TV superagent at Endeavor. “Everybody knows the show and has played along with it. And it’s not the type of show where you’re just a genial host — there’s a perception of intelligence that goes along with it.”Unlike his rivals, Mr. Richards, 46, had a deep background in game shows. Born in Burbank, Calif., he started his career as a stand-up comedian and went on to host game shows like the mid-2000s concoction “Beauty and the Geek.” He hosted and produced numerous series on the Game Show Network before auditioning to replace Bob Barker on “The Price Is Right.” Drew Carey got the job, but Mr. Richards was brought on as executive producer; his successful 11-year tenure revived the wilting franchise into a hit.By “Jeopardy!” standards, though, he was a newcomer.He started as executive producer at both “Jeopardy!” and “Wheel of Fortune” in May 2020, replacing Harry Friedman, who oversaw both shows for 25 years. Mr. Richards overlapped with Mr. Trebek on set for only 15 shoot days before the host stepped aside, 10 days before he died.Sony said that while Mr. Richards initially led the hunt for Mr. Trebek’s replacement, he moved aside after he emerged as a candidate.But as executive producer, Mr. Richards retained a key role in selecting which appearances by each prospective host would be screened for focus groups, whose reactions weighed heavily in Sony’s decision-making, according to three people familiar with the show’s internal deliberations. The other supervising “Jeopardy!” producers were excluded from that process, the people said.Asked about Mr. Richards’s role, Sony referred to a memo from its TV chairman, Ravi Ahuja, who told staff that after the company began considering Mr. Richards as a potential host, “he was not part of” the selection process. The ultimate decision was made by Tony Vinciquerra, the chairman of Sony Pictures Entertainment.As questions mounted, Mr. Richards sent a memo to “Jeopardy!” staff that was distributed by Sony’s publicists.“The choice on this is not my decision and never has been,” Mr. Richards wrote. He said the “Price Is Right” litigation — which included an allegation that he made insensitive comments to a pregnant employee — “does not reflect the reality of who I am.” (Sony said it had “spoken with Mike about the issues raised in these cases and our commitment to maintaining a workplace environment where our employees are respected and supported.”)Mayim Bialik was announced as a co-host.Carol Kaelson, via ReutersOn Thursday, Sony announced Mr. Richards and Ms. Bialik as co-hosts, although for now, only one prime-time special featuring Ms. Bialik is scheduled. “What started out with my 15-year-old repeating a rumor from Instagram that I should guest host the show has turned into one of the most exciting and surreal opportunities of my life!” Ms. Bialik said in a statement.Mr. Jennings, who remains a consulting producer at “Jeopardy!,” praised Mr. Richards’s performance. “Mike was the only person up there with any game show hosting chops, and it showed,” he said.Some fans argue that a relatively bland, little-known host was always a better outcome than a celebrity. “The game is the star, and the contestants are the stars,” said John Podhoretz, the editor of Commentary magazine and a 1987 quarterfinalist in the “Jeopardy!” Tournament of Champions. “The host should be a secondary figure.”For his part, Mr. Jennings agreed. “What was great about Alex was we didn’t know anything about him: He came into our homes every night and he hosted ‘Jeopardy!,’” Mr. Jennings said. “Today, it’s very hard to find a broadcaster whose priors and opinions you know nothing about.”Mr. Jennings, who guest hosted six weeks’ worth of shows, said he harbored no hard feelings about the outcome.“I knew ‘Jeopardy!’ was in a spot this year, and I mostly wanted them to have a smooth transition,” Mr. Jennings said. “I was not going to lobby for that job in the media, ever. I was not going to plant stories about what a promising young candidate I was. I wasn’t interested in doing any of that. I am a company man.”Marc Tracy More

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      in Music

      Times Newsletters Director Announces Changes

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      A new portfolio from Opinion and the newsroom will expand our ambitions in an age-old medium.Times Insider explains who we are and what we do, and delivers behind-the-scenes insights into how our journalism comes together.Newsletters have a history even longer than newspapers, and email is several decades older than the web. Despite this lengthy pedigree, email newsletters are having a very buzzy moment — and here at The New York Times, we’re striving to bring even more depth, ambition and scale to our lineup.This summer marks 20 years since The Times published its first newsletters. We started off in 2001 covering technology, books and finance, among other topics. Some of those newsletters are still thriving, in various incarnations, as part of a portfolio that reaches some 15 million people every week — a number that has surged over the last two years. Flagships such as The Morning and DealBook serve as a destination for readers and a crucial gateway and guide to our journalism, while offering original reporting and analysis.As the editorial director of Times newsletters, I’ve been thinking with my colleagues about what comes next. How can we break new ground in the inbox and deliver sophisticated coverage of the topics that our readers care about most? Newsletters are already a core part of our subscriber experience: Nearly half of our subscribers engage with a newsletter every week. This week, we’re pulling back the curtain on a new kind of Times journalism: more than 15 newsletters that will be available only to our subscribers. The goal is to continue developing the inbox as a destination for our journalism, and to add value to a Times subscription.The first batch focuses on topics that our readers are passionate about, is staffed by journalists with deep expertise and features exciting, diverse new voices. It includes newsroom favorites Well, On Tech, At Home and Away, On Soccer and Watching, and columnists like Paul Krugman and Jamelle Bouie.It also features a new set of newsletters in Opinion (which remains a completely separate, independent entity, apart from our news operation):John McWhorter, a Columbia University linguist, will explore how race and language shape our politics and culture.Kara Swisher, host of the “Sway” podcast, will open her notebook to track the changing power dynamics in tech and media.Tressie McMillan Cottom, a professor at the University of North Carolina at Chapel Hill, will offer a sociologist’s perspective on culture, politics and the economics of our everyday lives.Tish Harrison Warren, an Anglican priest, will reflect on matters of faith in private life and public discourse.Peter Coy, a veteran business and economics journalist, will use his decades of expertise to unpack the biggest headlines.Jay Caspian Kang, a wide-ranging cultural critic and New York Times Magazine contributor, will tackle thorny questions about politics, culture and the economy.Jane Coaston, host of “The Argument” podcast, will offer context to and analysis on the biggest debates in sports, politics and history.All of these subscriber-only newsletters represent a unique collection of talent and expertise in Opinion and the newsroom, assisted by editors, designers, developers, product managers and other specialists.We’ve spent most of the last year working toward this launch, and more new and revamped newsletters — including a new version of On Politics and a revamped Smarter Living focused on back-to-work issues — will join this initial batch in the coming months.You can subscribe to Times newsletters here. More

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      in Theater

      Following Theater Graduates Who Were Left Without a Stage

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      The Times’s theater reporter tracked drama students who emerged from a well-regarded North Carolina conservatory into a world with performance on pause.Times Insider explains who we are and what we do, and delivers behind-the-scenes insights into how our journalism comes together.I’m the theater reporter at The New York Times. But for more than a year, there was very little theater.So what have I been doing? Well, at least in part, I’ve been writing about the people whose lives, and livelihoods, have been upended by the pandemic-prompted shutdown.That means actors, of course, and fans, too. But I’ve also been intrigued, almost since the start of the coronavirus pandemic, by what the widespread layoffs and absence of productions would mean for aspiring theater artists,. That’s what led me to report the article that appeared in Sunday’s paper about a group of drama students who graduated last year from the University of North Carolina School of the Arts.Over time, I was able to talk to 22 of the 23 drama students in the class of 2020, and they reminded me of so much that I love about journalism, and about artists — they were open and generous and self-aware, and sometimes uncertain about how to think about what this strange and unexpected time would mean for them. And it seems like the article has resonated with readers, for which I am grateful.I started pitching the story to The Times’s culture editors last summer. Then, in January, prompted by the annual what-do-we-want-to-do-this-year meetings, I moved it to the top of my wish list.But how to proceed? I started by reaching out to a number of leading drama programs in New York and around the country, and by talking with educators and students about what was happening with the class of 2020. I was just trying to get my head around what a story might look like.As I gathered reporting, my editors and I resumed a debate we have over and over: breadth versus depth. Was the best way to proceed to write in a sweeping fashion about the most interesting graduates from a variety of programs, or to go deep on a single program that could stand in for the larger universe?Once we decided to focus on one class, it was time to select a school. This is the kind of multiple-choice question for which there is no single right answer. We wanted a well-regarded program, but maybe not one of the schools right in our backyard, and we wanted a group of students with a variety of back stories and a range of pandemic experiences.The University of North Carolina School of the Arts appealed because it met those criteria, and I just had a gut feeling, after talking with the program’s dean, its communications director and a few of the students, that I would find the level of candor that might make a story succeed.As has been true for much of my work over the last year, the reporting was largely by phone — the students have scattered, with one in England, one in Australia and the others all over the United States and often on the move. But I did get to meet some of them.In May, I took my first reporting flight since the pandemic began, to Winston-Salem, to tour the campus and attend the 2021 commencement, which members of the class of 2020 were invited to attend, and two did. (One bonus: I got to see what a Fighting Pickle, the school’s mascot, looks like.)I visited with three members of the class. David Ospina, who is now working as a real estate photographer, met me for cold brew coffee on a very hot North Carolina morning; Lance Smith showed me around his mom’s apartment, where he’s been making music and self-taping auditions during the pandemic; and Sam Sherman joined Mr. Smith and me at a picnic table on campus to debrief the morning after commencement. And over dinner with the dean and several faculty members, I learned more about the school’s programs and how it had weathered the pandemic.It’s been great to start reporting in person again. It just leads to better conversations and richer material, and I’m so grateful to all the students for their thoughtfulness. As I sat with Mr. Smith and Mr. Sherman, one memory prompted another — the student production of “Pass Over” they worked on, the alumni panels they attended, the books they’re reading and the survival jobs they’re taking and the dreams they’re trying to hold on to. “I’m starving to be in a room with people, playing with each other, having fun and goofing off and seeing what works and maybe having a breakthrough one day,” Mr. Sherman said. Mr. Smith agreed. “I miss being in it,” he added. “I miss doing it.” More

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      in Music

      Rolling Stone Hires Daily Beast Editor as Its Top Editor

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      Noah Shachtman, an experienced online journalist with a newsy sensibility, will lead the pop music bible founded in 1967.Rolling Stone has chosen Noah Shachtman, the top editor of the news site The Daily Beast, as its next editor in chief, the magazine announced on Thursday, calling on him to continue the transformation of the 54-year-old pop music bible into a digital-first publication.Mr. Shachtman, 50, said in an interview that he plans to bring along The Daily Beast’s newsy approach and web metabolism when he starts his new job in September.“It’s got to be faster, louder, harder,” he said. “We’ve got to be out getting scoops, taking people backstage, showing them parts of the world they don’t get to see every day.”Mr. Shachtman will succeed Jason Fine, who stepped down in February after five and a half years as the top editor to take a job overseeing Rolling Stone’s podcasts, documentaries and other media ventures.The selection of Mr. Shachtman was driven by Gus Wenner, Rolling Stone’s president and chief operating officer and a son of Jann S. Wenner, who co-founded the magazine as a 21-year-old college dropout from a San Francisco apartment.The elder Mr. Wenner sold a majority stake in Rolling Stone to Penske Media, the publishing company led by the auto-racing scion Jay Penske, in 2017. Two years later, Penske Media bought the remaining stake from BandLab Technologies, a music technology company based in Singapore.“I love that his strength is in an area where we need to get stronger,” Gus Wenner, 30, said of Mr. Shachtman. “But he’s certainly got the skill set on long-form pieces, and that’s going to continue to be super important, too.”“Five years from now, I want Rolling Stone to be at the forefront of content creation across any platform: films, podcasts, the website, the magazine,” Mr. Wenner added. He cited, among other things, the Rolling Stone channel on the gaming platform Twitch.Before becoming the top editor of The Daily Beast in 2018, Mr. Shachtman covered technology and the defense industry as a freelance journalist and an early blogger. He later founded and edited the Wired blog “Danger Room,” a winner of a National Magazine Award in 2012.He brought to The Daily Beast a hard-hitting style reminiscent of New York’s tabloids. In recent years, the site, which the editor Tina Brown and the media entrepreneur Barry Diller started in 2008, kept a close watch on the Trump administration, the Jeffrey Epstein sex-trafficking case and conservative media outlets.Tracy Connor, The Daily Beast’s executive editor, will serve as interim editor in chief after Mr. Shachtman’s departure next month, the chief executive, Heather Dietrick, announced in a staff memo. Ms. Dietrick added of Mr. Shachtman: “Under his guidance, we made a bigger impact and reached more people in diverse formats than ever before. He was at our helm but also in the trenches every day.”Mr. Shachtman said that Rolling Stone would continue to cover pop music, digital culture and the entertainment industry, and that its outlook would often be skeptical. Some critics have contended that the magazine has sometimes veered away from journalism into fandom.“Rolling Stone’s at its best when it’s both celebrating great art and taking down bad actors,” Mr. Shachtman said, adding that he has little interest in cozying up to celebrities.In a statement, Mr. Penske said of Mr. Shachtman: “His experience, journalistic integrity and thought leadership make him the ideal choice to take this iconic brand into the next phase of growth and innovation.”Mr. Shachtman in Brooklyn with Rolling Stone’s chief executive, Gus Wenner, who said the magazine had become profitable again.Guerin Blask for The New York TimesA money-losing enterprise as recently as three years ago, Rolling Stone is now profitable, Mr. Wenner said. The monthly print edition, with a circulation of roughly 500,000, according to the Alliance for Audited Media, is profitable by itself, he added.In 2018, the magazine returned to its old large-size format, 10 inches by 12 inches, after a decade on newsstands in the more common 8-by-11 size. Rolling Stone started charging for online access last year. It attracts around 30 million unique visitors each month, Mr. Wenner said.Mr. Shachtman and Mr. Wenner are white men at a magazine known for publishing in-depth articles on white male rock gods like John Lennon, Bob Dylan, Pete Townshend and Mick Jagger when the baby boom generation was ascendant.“We’re in a different era now,” Mr. Shachtman said. “No one appreciates the legacy of Rolling Stone more than me. But legacy is very different from future.”Mr. Wenner said he had considered “a very diverse and wide range of candidates” for the job of leading the magazine.“Diversity continues to be one of our biggest priorities, and it’s something Noah and I and Jay discussed at great length,” he added. “Continuing to bring in incredible leaders within the staff from all backgrounds will be a top mandate and priority of Noah’s.”Although he is a longtime journalist, Mr. Shachtman knows his way around a chord progression. From college into his 30s, he played bass in a series of ska, reggae and dub bands, including the 3rd Degree and Skinnerbox NYC. Along the way he played New York’s CBGB, Washington’s 9:30 Club and other storied venues.“He was good at appreciating the groove and holding things together,” said Jon Natchez, a saxophonist in the rock group the War on Drugs, who played alongside Mr. Shachtman in a ska band called Stubborn All-Stars.Mr. Shachtman, who lives in Brooklyn, said he had kept tabs on the latest in youth culture through his two sons, noting the social gaming platform Roblox as an example.“Getting into the spaces that are too weird, too confusing and too dangerous for parents to be in — that’s where Rolling Stone’s got to be,” he said. More

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      in Television

      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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      in Television

      AT&T's WarnerMedia Group to Merge With Discovery

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      AT&T’s WarnerMedia group is merging with the reality programmer Discovery. What does that mean for your favorite shows?It’s as if Logan Roy, the fictional patriarch of the Waystar Royco media empire on HBO’s popular series “Succession,” masterminded the deal himself: AT&T has thrown in the towel on its media business and decided to spin it off into a new company that will merge with Discovery Inc. More

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      in Television

      Bill McCreary Dies at 87; Blazed Trail for Black Journalists on TV

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      He was hired at what became the Fox flagship station in New York in 1967, when there were few Black faces on the air, and became an Emmy-winning anchor.Bill McCreary, an Emmy Award-winning reporter who was one of the first Black television journalists in New York, and whose perspective helped fill a noticeable gap in local public affairs reporting, died on April 4 in Brooklyn. He was 87.The cause was a neurological disease he had for many years, said O’Kellon McCreary, his wife of 62 years and only immediate survivor.His death, which had not been made public earlier by his family, was announced this week by WNYW, the flagship station of the Fox television network. He was hired in 1967 when the station, Channel 5, was owned by Metromedia and known as WNEW, and he remained a familiar on-air presence until he retired in 2000.As a co-anchor, Mr. McCreary helped build the station’s 10 O’Clock News into a ratings powerhouse. He became the managing editor and anchor of the weekly program “Black News” in 1970 and of “The McCreary Report” in 1978, when he was also named a vice president of Fox 5 News.As the civil rights movement exploded on television screens, a demand also grew for Black journalists to be seen and heard. Mr. McCreary, Bob Teague on WNBC, and Gil Noble and Melba Tolliver of WABC were among the few seen on local newscasts in New York at the time.“There was no such thing as ethnic television, because none of us were on TV,” Mr. McCreary told The Daily News of New York in 1997. “So it happens that along came the inner-city thing, places like Bed-Stuy and Harlem, and the news directors suddenly realized, ‘Hey, we don’t have any connections in these Black communities.’ There were less than a handful of us on television back then.”William McKinley McCreary was born on Aug. 8, 1933, in Blackville, S.C., to Simon and Ollie McCreary. He moved to the Lower East Side of Manhattan as an infant with his mother, who became a teacher’s assistant.A graduate of Seward Park High School and Baruch College in Manhattan, he served in the Army from 1953 to 1955. His first broadcasting jobs were in radio, as an announcer at WWRL in Queens and a general-assignment reporter and news director at WLIB in Manhattan.He began reporting for WNEW on March 13, 1967, the first day of the station’s nightly newscast.He won a local Emmy for “Black News” and shared an Emmy for anchoring with John Roland on the 10 O’Clock News — a program preceded every night (as it still is) by the somber signature intonation “It’s 10 p.m. Do you know where your children are?”Mr. McCreary and Dr. Gerald Deas of Kings County Hospital and SUNY Downstate Medical Center shared a commendation from the Food and Drug Administration for alerting the public, on “The McCreary Report” in the 1970s, to the dangers of consuming Argo brand starch. In 1987, Mr. McCreary was given the N.A.A.C.P.’s Black Heritage Award.Among the figures he interviewed over the course of his career were Rosa Parks, the Rev. Dr. Martin Luther King Jr., Malcolm X and Nelson Mandela.“Unlike a lot of TV journalists today, Bill gave you the news, not his opinions,” his former colleague Judy Licht said by email. “Straight and to the point, you never knew where he stood on any issue.”He was also a mentor to a generation of Black journalists. Cheryl Wills, an award-winning reporter for the news channel NY1 who met Mr. McCreary when she was a production assistant at Fox 5, said: “Black newscasters were frowned upon for telling the truth about discrimination and other societal ills in urban America. Bill McCreary told the unvarnished truth, and that’s what set him apart. He told it with tremendous dignity and integrity.” More

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      in Television

      Bob Abernethy, Longtime Host of PBS Show on Religion, Dies at 93

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      He conceived and produced “Religion & Ethics NewsWeekly” and was its face for 20 years, after four decades as an NBC News correspondent.Bob Abernethy, who capped a four-decade career as an NBC News correspondent by injecting religion, one of the most under-covered subjects on television, into national programming with a weekly series that ran for 20 years on PBS, died on May 2 in Brunswick, Maine. He was 93.His death, at a heath care facility, was confirmed by his daughter Jane Montgomery Abernethy. The cause was Alzheimer’s dementia.The grandson of a Baptist minister in Washington whose congregation included President Warren G. Harding and Chief Justice Charles Evans Hughes, Mr. Abernethy had retired from NBC in 1994 after covering the collapse of the Soviet Union, the nascent space program and Congress.He was not ready to stop working, though. Armed with his deep faith, intellectual curiosity and a theology degree he had earned from Yale Divinity School during a one-year leave of absence in 1984, he persuaded WNET, the PBS station in New York, to produce “Religion & Ethics NewsWeekly,” a half-hour nonsectarian series that Mr. Abernethy hosted and presided over as executive editor beginning in 1997.Within 10 years of its launch, the show — which Mr. Abernethy had described as “a news program, no preaching” — was airing on 250 public stations nationwide, winning some 200 industry awards. He and his collaborators went on to broadcast regularly until 2017, when he was 89.With the journalist William Bole, Mr. Abernethy edited “The Life of Meaning: Reflections on Faith, Doubt, and Repairing the World,” (2007), an anthology of interview transcripts from the PBS program.“Nothing I have done has been as personally satisfying as founding and working on” the program, he wrote in the introduction to the book, adding, “The main reason for that is the many opportunities the show provides for sitting down with the likes of Archbishop Desmond Tutu — extraordinary men and women who speak as naturally about their faith and doubt and spiritual practices as they do about the weather.”Mr. Abernethy in an undated photo. He persuaded PBS to produce “Religion & Ethics NewsWeekly,” becoming its host and executive producer.David HollowayOther guests included the Dalai Lama, President Jimmy Carter, the Rev. Billy Graham and Jonathan Sacks, at the time the chief rabbi of the United Kingdom.The series covered a wide range of topics, including atheism, abortion, assisted suicide, sexual abuse by clergy and organ transplants.“Finding this line between sensitivity to the spiritual dimensions of a story on the one hand and objective, traditional skepticism is a constant struggle and a very appropriate one, but I think we’ve got it right,” Mr. Abernethy told The Washington Post in 2000. “This is a matter of good reporting. Unless you get the spiritual element of the story, you’re missing something very important. It’s like interviewing Babe Ruth and not asking about hitting.”When “Religion & Ethics NewsWeekly” was approaching the end of its run, Jerome Socolovsky, the editor in chief of Religion News Service, was rueful, telling the news service Current in 2016, “The media landscape will miss this crucial provider of video stories about religion that didn’t favor one or the other but gave viewers a full perspective on religious news developments.”Robert Gordon Abernethy was born on Nov. 5, 1927, in Geneva to Robert and Lois May (Jones) Abernethy. His father worked for the Y.M.C.A.’s international newspaper. After Bob was born, the couple returned to the United States. His father began to teach religion at the Hill School in Pottstown, Pa., but died of complications of appendicitis in 1930.Bob and his mother moved in with his paternal grandparents in Washington, where his grandfather was senior minister of Calvary Baptist Church. She taught piano at the National Cathedral School.After graduating from the Hill School, he enrolled in Princeton University but interrupted his studies to serve with the American occupying Army in postwar Japan, where he hosted a program for Armed Forces Radio. Returning to college, he earned bachelor’s and master’s degrees from what is now the Princeton School of Public and International Affairs.Coming from a family of pastors, he felt “a certain amount of pressure on me to become a minister, too,” he told the website Resources for Christianity in 2013, “but I never heard a call.”Mr. Abernethy married Jean Montgomery in 1951; she died in 1980. In addition to their daughter, Jane, he is survived by his second wife, Marie (Grove) Abernethy, whom he married in 1984; their daughter, Elizabeth C. Abernethy; and four children from Ms. Abernethy’s first marriage. He had homes in Brunswick as well as in Washington and Jaffrey, N.H.Mr. Abernethy was a member of the United Church of Christ. His wife is a member of the Russian Orthodox Church.He joined NBC News after receiving his master’s from Princeton in 1952. Early on he wrote and hosted “Update,” a program for young people, and was later a Washington interviewer for the “Today” show. He anchored the evening news for KNBC in Los Angeles among other assignments.One posting was to Moscow, after he had completed his leave from NBC News to study theology in 1984. Before he left, he recalled: “I ran into a guy I had known who asked me, ‘What’s new?’ I said, ‘I took a year’s leave from NBC and went to divinity school. I got married and we had a baby. What’s new with you?’”He never stopped working. At his death, he was hoping to document the lives of homeless people through video interviews, for a future broadcast. More