Tag: Entertainment-Variety

Sabrina Carpenter’s glamorously felonious behavior continues in her latest video, for “House Tour,” the third single from the singer’s 2025 album “Man’s Best Friend” — except this time she’s got two accomplices, actors Margaret Qualley and Madelyn Cline.

In the clip, which was directed by Carpenter and Qualley, we see the singer pulling up to a luxorious mansion in a pink van emblazoned with the words “Pretty Girl Cleanup.” She’s soon joined by her pals, and the three proceed to have a wild girls’ night out while they ransack the house, taking baths, trying on clothes, swimming in the pool and even stealing a Grammy (possibly a winking reference to Carpenter being shut out at this year’s awards, although she won two last year).

While it initially looks like they’re just partying, the clip closes on a dark note as police arrive, inexplicably oblivious to the girls’ presence, and the three drive off in the van as the camera pans around the empty house. As they’re leaving, the van, driven by Carpenter, hits a man as he’s crossing the street; they shrug and keep going.

The video for “House Tour” comes in anticipation of Carpenter’s headlining performance at Coachella this weekend. She previously lit up the festival’s main stage in 2024, when she foreshadowed that she’d one day take top billing during a custom outro for her hit “Nonsense”: “Made his knees so weak he had to spread mine / He’s drinking my bathwater like it’s red wine / Coachella, see you back here when I headline.”

Carpenter is taking the main stage at Coachella following a busy few years. She kicked off her “Short ‘n Sweet” tour — her first arena trek — in September 2024 following her breakthrough success. In August 2025, she headlined Lollapalooza in Chicago and released “Man’s Best Friend,” resuming another Stateside leg of the “Short ‘n Sweet” tour in October 2025. She later brought the whole thing to a close with six nights at Los Angeles’ Crypto.com Arena, just a week before she was celebrated as Variety‘s Hitmaker of the Year.

Amid it all, Carpenter released a handful of singles from “Man’s Best Friend,” including “Manchild” and “Tears.” The album and “Manchild” picked up six nominations at the 2026 Grammys, where she performed the single on a set that resembled a bustling airport. It marked the second consecutive year that Carpenter performed on the Grammys stage, making her debut in 2025 with a cheeky rendition of her smash hits “Espresso” and “Please Please Please,” faking stage errors and pulling performance gags.

Taylor Frankie Paul is leaving the Mormon church.

The star of “The Secret Lives of Mormon Wives” and Season 22 of “The Bachelorette,” which ABC pulled amid a domestic scandal involving her ex-boyfriend Dakota Mortensen, shared the personal news on Easter Sunday.

“The last 40 days felt like hell on earth. Through every panic attack I prayed for strength as I could feel my body breaking down and out from the distress of it all,” Paul wrote in an Instagram caption. Along with the beginning of Lent, the 40-day window before Easter lines up with the incident between herself and Mortensen that led production on “Mormon Wives” Season 5 to go on pause, kicking off the scandal that led to “The Bachelorette” being pulled. Though specific details about the late February incident have not been made public, police investigated domestic violence allegations both parties made against each other.

The caption was posted under a video stitching together various images of Paul taking notes on the Bible, texting people about her faith and dealing with physical symptoms of her stress. Paul continued, “And HE sent just that in various ways along with so many undeniable signs saying ‘I am with you’ which I can’t wait to share that part. I’ve prayed since I was young and never strayed away because I believe he wants us to ask for help especially during our lowest points. However, instead of just asking I switched over to thanking him at the end of each day no matter how low I felt.”

And in an Instagram story, Paul more directly addressed her religious affiliation: Though she remains a Christian, she’s no longer a Mormon.

“Born and raised Mormon (lds) and I’ll always have love and respect towards it. I’ll even continue to go with my family at times, with that being said, it’s time to detach myself from it,” Paul wrote. “I strongly believe in Christ, God, the bible, the divine. I believe we are loved whether we are praying in church building or from a bathroom floor at home. I’ve also experienced grace and love from amazing people that aren’t sure what they believe if at all and that’s okay too. Point being there is more out there to learn. And I’m writing this out as a release.”

Days after news broke that “Mormon Wives” was on pause because of the late February incident between Paul and Mortensen, TMZ published footage from a 2023 domestic incident that showed Paul throwing metal chairs at Mortensen while one of her children from a previous marriage was nearby. Though the footage was new, the incident had been public knowledge and was discussed in Season 1 of “Mormon Wives”; with Paul pleading guilty to aggravated assault and being put on probation. Still, Disney pulled Paul’s season of “The Bachelorette” in response to the video leaking, saying that the company’s “focus is on supporting the family,” with a spokesperson for Paul later saying that “after years of silently suffering extensive mental and physical abuse as well as threats of retaliation, Taylor is finally gaining the strength to face her accuser and taking steps to ensure that she and her children are protected from any further harm.” Soon after, Mortensen was granted a temporary restraining order against Paul as well as temporary custody of their son. Mortensen has also alleged that a third domestic violence incident took place in 2024. A hearing regarding Mortensen’s restraining order and the allegations between the two is set for Tuesday.

The scheduled three-night headlining appearance by Ye, formerly Kanye West, at July’s Wireless Festival in London is only growing in controversy. The festival’s primary sponsor, Pepsi, announced Sunday that it is withdrawing from its decade-plus co-branding with Wireless, and was followed later in the day by Diageo, owner of the Johnnie Walker and Captain Morgan alcohol brands, stating that it too was pulling out of its sponsorship. Although the statement did not mention the rapper by name, it came hours after Ye’s booking was roundly condemned by the U.K.’s prime minister, Keir Starmer.

On Monday, two more sponsors pulled back, with sources telling Variety that Rockstar is withdrawing its sponsorship, and the BBC reported that Paypal will no longer allow its branding to be used, although it apparently has not pulled out completely.

However, all of the brands were still present on the festival’s website as of Monday morning (April 6). Remaining festival sponsors include Budweiser, Beatbox and Drip.

Either way, the festival’s future seems to be in question.

The festival had officially been known as “Pepsi MAX Presents Wireless,” as part of a partnership that had been in place since 2015. Although many music fans welcomed Ye’s return to the stage there, Pepsi had also widely tagged in outraged tweets protesting the company’s apparent support for him as sole headliner

Prime Minister Starmer had made it clear that he, for one, was not ready to normalize Kanye West yet, now that the hip-hop superstar is seemingly returning to touring business as usual in other countries.

“It is deeply concerning Kanye West has been booked to perform at Wireless despite his previous antisemitic remarks and celebration of Nazism,” Starmer said in a statement to the British newspaper the Sun. “Antisemitism in any form is abhorrent and must be confronted firmly wherever it appears. Everyone has a responsibility to ensure Britain is a place where Jewish people feel safe.”

Starmer was not the first political figure in the U.K. to raise an objection to the scheduled London appearance by Ye. Liberal Democrat leader Ed Davey expressed his view Thursday that Ye should be banned from entering the U.K., saying that “we need to get tougher on antisemitism.”

And London mayor Sadiq Khan on Wednesday made statements distancing the city’s government from the festival at Finsbury Park on July 10-12. “We are clear that the past comments and actions of this artist are offensive and wrong, and are simply not reflective of London’s values,” a spokesperson for the Mayor said. “This was a decision taken by the festival organizers and not one that City Hall is involved in.”

The alarm in some circles overseas follows what is being seen as the beginning of a successful comeback by Ye in the U.S. He just played two nights at SoFi Stadium in the Los Angeles area, where he was joined by guest stars including Lauryn Hill, Travis Scott and Don Toliver, performing from atop a giant half-globe in the middle of the enormous venue.

Ye published a full-page apology ad in the Wall Street Journal in January, acknowledging disturbing behavior that has made him a pariah in recent years. The hip-hop titan said in the ad that he has been getting treatment for a brain condition after last year suffering “a four-month-long manic episode of psychotic, paranoid and impulsive behavior that destroyed my life.”

He followed that with an interview in Vanity Fair expressing similar sentiments of contrition. However, the magazine acknowledged that the Q&A was conducted by email and not live, leading some to believe ad advisor was writing the answers for him, on top of suspicions that the WSJ ad may have been ghost-written as well. Ye has yet to make any of these penitent statements in anything other than written form.

It has been less than a year since Ye released the song “Heil Hitler,” which was banned from all major streaming platforms when it came out last May. He subsequently announced he was “done with antisemitism” and issued a new version of “Heil Hitler,” now renamed “Hallelujah,” with references to Nazism changed to Christian lyrics. Previously in 2025, he had sold swastika T-shirts on the web before the site was taken down.

There was some thought that Ye might address the issues in his SoFi Stadium appearances, but he stuck to the tenor of triumph. ““That’s what 80,000 people sound like, ladies and gentlemen,” he told the crowd at his second SoFi show on Friday. “They said I’d never be back in the States. Two sold-out concerts, baby!”

He also told the audience, “I want to thank y’all for sticking by me all these years. Through the hard times, through the low times. I love you for that.” The SoFi Stadium shows were his first substantial U.S. solo shows in five years.

Ye’s three-night appearance at the Wireless Festival are being billed as his first U.K. appearance in 11 years. Some Jewish leaders in the U.K. immediately slammed the booking as “deeply irresponsible,” like the Jewish Leadership Council, which said in a statement to the Guardian, “West has repeatedly used his platform to spread antisemitism and pro-Nazi messaging … Any venue or festival should reconsider before providing their platform to Kanye West to spread his antisemitism.”

Pepsi has been prominent on the Wireless Festival branding as the “headline partner,” but the festival website also lists a number of other “partners” that may find themselves under similar pressure to stand with or against the Ye booking, including PayPal, Rockstar Energy Drink, Budweiser, Johnnie Walker, Drip, Beatbox, Drip and Big Green Coach. As of this writing none had yet followed Pepsi in staking a position.

Ye’s latest album, “Bully,” was announced as debuting at No. 2 on the Billboard 200 chart when results were announced Sunday. Critics have noted the album is on the benign side for the artist, as controversial lyrics go, without any of the disturbing content that made its way into recent projects like “Vultures 1,” his 2024 collaboration with Ty Dolla $ign, which debuted at No. 1, or his unreleased but leaked 2025 “Cuck” project, which was to have included the withdrawn “Heil Hitler” single.

As Mitski played a five-night engagement at Hollywood High School this past week, any teachers who might have made it into the school auditorium for the shows must have been insanely jealous of how hushed her audiences were, at least between songs, when a hush was called for. Surely no school assembly ever held on the same premises was met with such polite silence. This was particularly notable given the very high level of Mitski Mania surrounding the underplays, which sold out in a virtual instant. Once inside, fans kept their hysteria on the inside, to the point that even Hollywood High’s librarians might have approved of their behavior.

It doesn’t hurt that her fans have been known to do their own shushing, without the need for any outside authoritarian intervention. I still worry about the fate of the poor soul who shouted “Mother is mothering!” at a concert a few years ago, drawing the scorn of everyone inside a huge hall, and going down in internet infamy; I can only presume he’s still in hiding.

This is not to say that the artist herself, and her band, were as quiet as church mice, or that there was anything unduly precious about the performance. Mitski gives good dynamics, and there were plenty of cathartic moments when some kind of solemnity gave way to a wail or a guitar squall, met with near-equal amounts of volume from a crowd that suddenly felt liberated to let it all out. I’d like to think that Mitski’s fans’ holding their tongues isn’t because they’re in fear — of her, each other, or a teacher who might suddenly intervene to rap their knuckles. She does engender a certain enrapturing, as well as healthy respect, and it’s music that exists at the highest level of quiet-core, when she’s not noisily harking back to her indie-rock roots.

It’s also possible that the cat got their tongues. Maybe it would go without saying that Mitski people are largely cat people, but the singer definitely cemented the connection when she brought out her latest album, “Nothing’s About to Happen to Me,” with cat cover artwork, and included felines in the titles of two of the songs. (Downstairs at Hollywood High, in a school cafeteria that had been turned into a photo-op installation, you could even have your picture taken with a reproduction of the cover painting of a white cat with mismatched eyes.) In her very few interviews or explanations for the new album, Mitski has talked about how cats are often popularly identified as girls, and associated with unapologetic independence — two traits that can become demonized when they’re paired up. It’s not entirely a cat concept album, but you could leap to saying that her love is feline, all feline.

Mitski’s 2026 album and live show both differ in interesting ways from their immediate predecessors. The most obvious difference is in her performance style on this tour. (Calling the U.S. portion of it a “tour” is a bit of a misnomer, since so far it consists mostly just of two residencies, this one and a seven-night stand at the Shed in New York City. But presumably she’ll be back, after a lot of scheduled foreign dates.) On her 2024 tour behind the album “This Land Is Inhospitable and So Are We,” she adopted some of her older material to that record’s Americana-influenced, countrypolitan style, with rootsy multi-instrumentalist Fats Kaplin as a featured accompanist. This tour, however, is no-Fats and also no-fat, with her and just a basic guitar-bass-drums lineup. She’s said that barer-bones setup was originally going to be the m.o. for the new album, before she changed course and decided most of the tracks required orchestration or other additional instruments. But in this live setting, you get a strong sense of what the current album’s songs might’ve sounded like if she had stuck closer to that basic indie-rock ethos. The good news is, you could make a strong case that she made the right choice with the way the album offered expansive arrangements… and that she also made the right choice by stripping things back live. You can love the way the record turned out and also hope that she might put out a digital live album of the same material.

As proof of somewhat more raucous concept, Mitski at one point Thursday pointed to her producer/band leader/guitarist, Patrick Hyland, and remarked, “He’s actually bleeding. There’s blood on his hand from rocking too hard.” He did not hold any red digits up for us, but we took her word.

A few of the tracks on “Nothing’s About to Happen to Me” left off the piano, strings or steel and stuck fairly close to the original concept of a straight rock-band album. It was no surprise those were among the highlights when she brought the material to the stage with this basic and tight a unit. That would very much include “Where’s My Phone?,” the perhaps deceptively loud and grungy single, and also the slow-burning, loud-erupting “If I Leave,” along with “Rules” and “That White Cat.” It’s fun how “Rules” is allowed to go off the rails at the end, as Mitski lets the counting go past 4 or 5 all the way up to an unruly 11, and in how “That White Cat” clangs hard and rough enough to leave a mark, just like the territory-claiming stray of the title is out to mark its territory.

Visually, the difference between this and the ’24 tour is much vaster. Then, she was a study in one-woman choreography, constantly striking photogenic poses with her arms, without and without a single chair at center stage that provided a sole prop to move around or stand on. On this tour, the postures struck are much fewer and farther in-between, or less planned and deliberate-seeming. In Thursday’s show, there was a section in the middle of “Dead Women” that she spent very, very, very slowly hiking her dress up, from beneath her knees nearly to crotch level, like the world’s slowest (and, if it fits in with the nature of the lyrics, angriest) act of foreplay. I figured that was a nightly stage mannerism, but then saw photos from other nights in the run where she wasn’t wearing a dress at all, so evidently not.

There is production design and a few props, but not to any overwhelming purpose, other than perhaps to suggest the house where a lady who loves rescue kitties might be thinking all these alternately independent and co-dependent thoughts about love and trust. For “Cats” (not to be confused with “That White Cat”!), she sat at a desk with a tiny lamp, musing about whether or not to transform herself back into “someone you still like.” For “Where’s My Phone?,” she literally picked up the pace, pacing back and forth and twirling until finally, as the song reached a frenzied climax, she threw herself face-first into a plush armchair at stage right. During “Heaven,” she twisted her body at a 45-degree angle. For the always crowd-pleasing “Washing Machine,” she pointed at herself, kind of hilariously, as she beseeched, “Baby will you kiss me already?… Why not me?” In “Dan the Dancer,” to match the fun, furious drumming, she danced around like… well, like a schoolgirl.

But these were more like performance anomalies than the showy rule of the evening. Much of the time, she just stayed centered, content to know she didn’t have to do much than deliver a vocal, with or without a dramatic stare into the balcony, to bring a rapt audience into her calmness. And then you’re doing a bunch of songs that kind of seem to be about mortality near the end (the new “Lightning,” definitely, and the encore of “Pearl Diver” from her debut album, probably), some stillness is probably in order.

“My Love Mine All Mine,” her biggest hit, was saved for the penultimate number of the main set. It might be shorter than just about anyone else’s signature song is, but she made the most of it, letting spotlights train on a pair of disco mirror half-balls affixed to the stage, briefly turning the Hollywood High auditorium into the site of a star-filled prom.

An even bigger difference in Mitski’s live show this time around is the sheer amount of film footage put up on screen behind her and the band, all of it chosen with some apparent thought toward the song being illustrated. “Where’s My Phone?” featured amusing scenes from the 1950s of women answering or talking on telephones; whoever compiled this footage actually managed to find a scene of a woman reaching out and searching for a missing phone — a landline, obviously, in those days — on her nightstand. The waltz “Heaven” was presented as a woman’s dream of dancing with a frilly-shirted flamenco dancer. “Rules” sported footage from instructional videos for etiquette for kids (“Thank the hostess!”). “Stay Soft,” a song Mitski has described as being “about hurt people finding each other, and using sex to make sense of their pain,” was amusingly accompanied by footage of Bela Lugosi and his female conquests (or sex-starved, willing victims?) in “Dracula.” The rocker “Francis Forever,” with its lines about “you don’t see me,” used footage from “The Invisible Man,” meanwhile, naturally. And the new song “I’ll Change for You,” which extols the merits of women drinking in bars without male companions, used footage of Ann Sheridan at a San Francisco bar in the classic 1950 film noir “Woman on the Run.”

Some of these visuals were used for comic or ironic effect, but there were spookier or more abstract moments in the juxtapositions, too. “A Horse Named Cold Air” mostly showed widescreen flowing water, albeit with a flash of a white horse, as quick and unnerving as David Lynch’s use of the same passing image in “Twin Peaks.” Possibly the best use of visuals all night came with the most basic: “I Leave You” was accompanied just by blank but scratched-up film stock — but, in the raging mid-section of the song, the scratches themselves got faster and more furious, before both the music and the film calmed down again. It was a simple but ingenious effect.

Mitski can come off as such a mystery during each performance segment that it comes almost as an abrupt surprise when she breaks the fourth wall and talks to the audience a few times in the course of a performance… and reveals herself to be kinda a normal hang of a human being. At one point, she explained her intentions for having the show here, or at least what she hoped the result would be.

“It feels like cheating to do these shows at a high school,” she said. “We’re basically bringing y’all to possibly one of the most traumatizing places, get you all in emotional turmoil, sit you down, and then unleash this music on you. Ha ha ha ha. I got you primed.” But, she added encouragingly, “it’s dark in here. No one can see you. You can cry. I’m crying on the inside.”

As things came to a close, she prepped the audience: “The next song will be our last song.” Awwwww. “I know,” she responded, “but it’ll be nice to go home.” I can’t remember the last time I heard a performer assure her audience that leaving would be as enjoyable as coming. What good is sitting alone in your room? Plenty, in Mitski’s world, which, once again, she’s found a transformative way to put on stage.

The UCLA women’s basketball team has scored the school’s first-ever women’s NCAA championship title, dominating the South Carolina Gamecocks 79-51 in a hard-fought Easter Sunday game that capped several years of momentum for the Bruin squad that features superstar player Lauren Betts.

Betts, the team’s 6’7″ center, and guard Kiki Rice led the Bruins to overwhelm the Gamecocks throughout the game. Going into the fourth quarter, UCLA had a 29-point (61-32) lead over the Gamecocks, a formidable team who have earned three championship titles in the past 10 years (2017, 2022 and 2024) under the leadership of respected coach Dawn Staley.

UCLA women’s basketball team had yet to earn a national championship in the more than 45 since the NCAA women’s basketball tournament was established in 1982. On the contrary, UCLA is the reigning champ with 11 wins in the NCAA men’s basketball tournament, which dates back to 1939. UCLA women made it to the Final Four stage for the first time last year but lost to UConn.

In the 2025-26 season, UCLA seniors Betts, Rice and others played with an intensity that demonstrated the team’s hunger to make UCLA history. As Sunday’s game ended without any suspense given UCLA’s lead, the seniors on the team took a final emotional bow on the court.

Cori Close, in her 15th season as UCLA women’s basketball coach, has seen her profile rise along with the program’s fortunes. Close is known for her bluntness and passion that has endeared her to fans and to her players.

On April 3, after UCLA defeated University of Texas in the Final Four, Close apologized to the fans in an ESPN interview about how the two teams brawled over each point.

“It wasn’t the sport I thought I was coaching,” Close said. “I think it was more rugby than it was basketball. I wanted to apologize to all the fans that we couldn’t give them a cleaner game, with 23 turnovers.”

But Close has also been effusive about how special the UCLA squad of the past few years has been given the leadership of talented players such as Betts, Rice, Gabriela Jaquez and Charlisse Leger-Walker. The hard work put in over several years paid off with a miracle season that included only one regular-season game loss. That was to Texas, which UCLA came back to defeat in the Final Four to secure its championship berth against South Carolina.

“The preparation that they have put in this — I’ve been doing this for 33 years this is the most intentionally hard-working group of people in terms of being prepared for the pro level as well as being prepared for our team that I’ve ever worked with,” Close said earlier this month at a news conference.

Betts, Rice, Jaquez and Leger-Walker are heading off to begin their professional basketball careers with the WNBA draft that is scheduled to be held on April 13.

Kam Patterson played Professor Snape from “Harry Potter” during “Weekend Update” on “Saturday Night Live.”

Patterson’s casting as Snape is a reference to HBO’s upcoming “Harry Potter” series, in which the previously white character is being played by Black actor Paapa Essiedu.

After being introduced by Colin Jost, Patterson’s Snape began by speaking overly formally, saying “Good evening, Mr. Jost — nah, I’m playing. I don’t talk like that, bro. It’s called code-switching. Codio switchio!”

When Jost asked how his year at Hogwarts had gone, Snape said, “Not great. We got this new kid. His name is Harry Potter, and he’s racist as hell. Harry Potter — or, the Proud Boy Who Lived — spent the whole year telling everybody that the school’s only Black teacher was secretly evil.”

Jost said, “I think he’s just worried because he knows someone’s trying to steal the Sorcerer’s Stone.” “So somebody stole something, and the number one suspect is Black Snape? They didn’t even look at the white guy in the turban. So offensive. He’s got a wizard on the back of his head,” Snape said, referencing how the villain Voldemort appears on the back of Professor Quirrell’s head at the end of the first “Harry Potter” story.

“I’m really sorry that he just jumped to conclusions like that,” Jost said. Snape replied, “All good. It happens all the time. I showed up at Hogwarts, and on the first day they looked at me and said, ‘You’re the professor of the Dark Arts.’ I never even studied that! I majored in African Muggle Studies.”

“The whole wizarding world is racist,” Snape continued. “There’s one other Black guy, Kingsley Shacklebolt, a name I’m guessing they got out of the Wu-Tang name generator. Everyone’s in these dignified robes. They dressed him up like he was selling cocoa butter incense out of a barbershop.” When Jost asked, “That’s kind of a cool outfit, right?” Snape said, “Yeah, for a Haitian cab driver. And why they got to put ‘shackle’ in his name? That’s crazy, man. Shackle? Shackle!”

Jost said, “Well, for the very first time, I’m starting to think J.K. Rowling might be problematic.”

Snape went on, “The whole wizarding world is messed up. We have magic, we have wands that can do anything, and people in my world still have slaves.” He rejected Jost’s assertion that they’re actually called “house elves.” “Yes, some folk got house elves. I bet you didn’t know they got field elves too. They didn’t put that in the book, huh, Colin?”

Patterson’s cameo concluded with Snape calling out a final message for Harry: “Your mama was thick as hell, dog. I miss her so much.”

Watch the sketch below.

Longtime “60 Minutes” correspondent Steve Kroft recently told Bill O’Reilly on his “We’ll Do It Live!” podcast that he “hated” his time on the CBS news show.

“’60 Minutes’ was really appealing, and I thought I wasn’t really sure I was ever going to get there. I didn’t really seriously think about it. When I did, there’s so many things that, first of all, the job is just 24 hours a day,” Kroft said. “I mean, you may get a couple hours of bad sleep. Beepers going off, getting on jets, going here and there, the whole thing, then coming back and spending, you know, three or four days writing the script, and then going to the screenings and then getting on, starting it all over again.”

Kroft explained that he was attracted to “60 Minutes” because the leadership appreciated “good stories.” He also said that it was “exhilarating” because of how much exposure, good or bad, his work got. After reporting on some particularly dangerous subjects, Kroft said he and the other journalists would be “excited about the fact that you’re alive.”

Kroft also recalled how competitive it was to join the “60 Minutes” newsroom, and how his fellow journalists were jealous after he landed the job.

“I can remember when I was tapped to go to ‘60 Minutes,’ I thought this was fantastic and I expected a lot of people would just come up and say, ‘That’s really great, I’m really happy for you,’” Kroft remembered. “And then you realize after a while that not everybody was happy that I got this job. There were other people that wanted it. And so then you’ve all of a sudden made a bunch of enemies… It’s a snake pit.”

After joining “60 Minutes” in 1989, Kroft retired from CBS in 2019 at age 73. After 30 seasons, he was the show’s longest tenured correspondent. Some of his career highlights include inteviewing Hilliary Clinton, who was then the spouse of future president Bill Clinton. When asked about rumors of an extramarital affair, Hillary Clinton infamously said, “I’m not sitting here some little woman standing by my man like Tammy Wynette. I’m sitting here because I love him, and I respect him.” He also published a story on insider trading in the U.S. Congress that led to major reform and interviewed President Barack Obama 11 times.