The New York Times has hired top Axios national political reporter Jonathan Swan, who won an Emmy for his 2020 interview with then-President Donald Trump.
Swan will start out covering Capitol Hill, “where he will focus on the Republican party and its fragile coalition in Congress,” according to a memo from politics editor David Halbfinger and Washington Bureau chief Elisabeth Bumiller. Swan then will join the politics team next summer.
Halbfinger and Bumiller called Swan “one of the biggest news breakers and best-sourced reporters in Washington.” During the Trump administration, when many reporters landed non-stop scoops from the leaky administration, Swan’s exclusives stood out for their accuracy. His interview with Trump aired on Axios on HBO.
“Even if you have never met Jonathan, you know his stories. He first reported that Trump would recognize Jerusalem as Israel’s capital, that the U.S. would pull out of the Paris climate deal,...
Swan will start out covering Capitol Hill, “where he will focus on the Republican party and its fragile coalition in Congress,” according to a memo from politics editor David Halbfinger and Washington Bureau chief Elisabeth Bumiller. Swan then will join the politics team next summer.
Halbfinger and Bumiller called Swan “one of the biggest news breakers and best-sourced reporters in Washington.” During the Trump administration, when many reporters landed non-stop scoops from the leaky administration, Swan’s exclusives stood out for their accuracy. His interview with Trump aired on Axios on HBO.
“Even if you have never met Jonathan, you know his stories. He first reported that Trump would recognize Jerusalem as Israel’s capital, that the U.S. would pull out of the Paris climate deal,...
- 11/11/2022
- by Ted Johnson
- Deadline Film + TV
The challenge of understanding Donald Trump’s effect on America at large goes hand-in-hand with covering the 45th president of the United States. From big picture questions like, “What’s the story?” to more detailed queries like, “What’s the angle on the story?” and even “What are the appropriate adjectives to frame that angle within the story?” there’s no set handbook for reporters who are constantly being undermined by the authority figures they cover.
How do you convey facts in an era of fake news? “The Fourth Estate” aims to illustrate exactly that, as Liz Garbus’ four-part docuseries delves into the exhausting lives of New York Times’ reporters delivering exhaustive coverage of all things Trump. Starting with the newsroom watching his inauguration and running through April 2018, the engrossing series moves at the pace of its subjects: fast and efficient. Yet much like some of the inevitable mistakes of the paper of record,...
How do you convey facts in an era of fake news? “The Fourth Estate” aims to illustrate exactly that, as Liz Garbus’ four-part docuseries delves into the exhausting lives of New York Times’ reporters delivering exhaustive coverage of all things Trump. Starting with the newsroom watching his inauguration and running through April 2018, the engrossing series moves at the pace of its subjects: fast and efficient. Yet much like some of the inevitable mistakes of the paper of record,...
- 5/28/2018
- by Ben Travers
- Indiewire
A veil is lifted in the final episode of The Fourth Estate, Liz Garbus' new Showtime docu-series about the New York Times' coverage of the Donald Trump presidency. (It premieres on May 27th.) The Washington bureau's conservative politics correspondent, Jeremy Peters, is reporting on Roy Moore's failed bid for the U.S. Senate in Alabama. He links up with Steve Bannon, the former White House chief strategist and the Southern politician's most vocal national surrogate. It's clear the pair – a leader of the alt-right and a gay beat reporter with a book deal,...
- 5/26/2018
- Rollingstone.com
The 17th annual Tribeca Film Festival Closed on Saturday night with the World Premiere of the first part of Liz Garbus’ new four-part documentary series The Fourth Estate. The fly-on-the-wall doc offers an inside look at The New York Times during the first year of the Trump Presidency.
The screening was introduced by Tribeca Co-Founder Robert De Niro who berated Trump for his use of the term Fake News: “it’s a funny thing calling something ‘fake news’ just because you don’t like it. It’s still news and when it’s the truth, it’s the truth and when it exposes you as a liar, a scam artist and a criminal, that so called ‘fake news’ can lead you to doing real time. And I hope I can do that on Saturday Night Live, depose him, interrogate him, then I want to put him in handcuffs and I...
The screening was introduced by Tribeca Co-Founder Robert De Niro who berated Trump for his use of the term Fake News: “it’s a funny thing calling something ‘fake news’ just because you don’t like it. It’s still news and when it’s the truth, it’s the truth and when it exposes you as a liar, a scam artist and a criminal, that so called ‘fake news’ can lead you to doing real time. And I hope I can do that on Saturday Night Live, depose him, interrogate him, then I want to put him in handcuffs and I...
- 4/30/2018
- by James Kleinmann
- HeyUGuys.co.uk
The American press, or the “The Fourth Estate,” is under steady attack throughout the first episode of this documentary series for Showtime. Director Liz Garbus takes us inside the newsroom of the New York Times during the first months of the scandal-ridden Trump administration, and she reveals the challenges that the reporters face on a daily basis.
A lot of what we see in the first scenes looks like impotent wheel-spinning, as the journalists try to figure out how to cover a president who is openly hostile to them. We see them patting themselves on the back a lot, and this expresses the insecurity of their position. The New York Times is in competition with the Washington Post, and we watch how they try to beat each other on stories, but there is little genuine excitement in what we see these reporters doing; there is instead a constant low-level sense of dread.
The conversation we hear is peppered with the qualifying words and phrases that have crept into and degraded American vernacular: “kind of” and “sort of” turn up all the time in meetings. And the man who became president doesn’t qualify anything, unless he’s trying out one of his verbal evasions that are reliant on conspiracy theories or worse.
Also Read: How Tom Petty Became the Key to HBO's Elvis Presley Documentary
White House correspondent Maggie Haberman is heavily relied on in the Times newsroom as a source for Trump information and Trump character analysis because she has been covering him since she worked at New York tabloids in the 1980s. He used to give her quotes to “juice” her articles then, and it is clear that she is beyond tired of having to deal with him.
Haberman often openly admits to being drained of energy, and she is stuck in a disbelieving, defensive persona. What she really wants to do is get back to her children, and she talks about how she thought her coverage on the Trump beat would finally end when he lost.
Garbus shows Haberman having to take a call from one of her children while she tries to do an interview for a podcast, and the way Haberman crouches on the floor of the office while she attempts to reassure her child is an image of helplessness that epitomizes what most of the people in this movie are feeling.
Also Read: Gilda Radner Documentary 'Love, Gilda' to Open Tribeca Film Festival
If there is a star in “The Fourth Estate,” it may be Washington bureau chief Elisabeth Bumiller, a very tough, skeptical journalist who knows how to separate what is important from what isn’t, which turns out to be a particularly crucial skill for covering this particular White House. There’s an exciting scene where Bumiller reacts incredulously when she sees that her lede has been watered down, and we see her defiantly trying to get some of her original intent back into the top of the story.
It says something about this administration that the scandals covered in “The Fourth Estate” feel like they happened in an already distant past even though they occurred just a little over a year ago. There is the start of the scandal about Russian interference with the 2016 election, and then the turnovers and resignations of officials close to Trump, and the reporters write about these things in all seriousness and with all due diligence.
It is made clear that the New York Times needs money, and that Facebook and Google are eating into their business. “We’re not driven by clicks,” says Time publisher A. G. Sulzberger. “We think in decades.” But there is the very uneasy sense that the foundation of newspapers like the Times is fragile, especially when we see Trump attacking the press as any dictator would.
Also Read: Netflix Partners with BuzzFeed for New Documentary Series
Trump himself is seen giving speeches throughout, and we hear him on the phone with Haberman, who has to listen to his off-the-record profane anger. The thing that makes Trump so hard to fight is that he is such a comic figure on the surface. His face often takes on the supercilious look of a grand female dowager, like Margaret Dumont, before it folds back into the cartoonish grin of a minor fat-cat capitalist. Haberman says that Trump’s greatest dream is to be taken seriously, and she says that he is searching above all for respectability.
“The Fourth Estate” ends on a cliffhanger that is supposed to whet our appetite for future episodes, but surely many of us are waiting for this whole thing to be finished. Everyone in this movie seems to be wondering how long we have to wait for the end of this publicity stunt gone wrong. But if we are in for a long haul, it feels as if Bumiller is the one who can best lead us through it.
Read original story ‘The Fourth Estate’ Film Review: Inside Look at NY Times Reveals Low-Level Dread in Trump Era At TheWrap...
A lot of what we see in the first scenes looks like impotent wheel-spinning, as the journalists try to figure out how to cover a president who is openly hostile to them. We see them patting themselves on the back a lot, and this expresses the insecurity of their position. The New York Times is in competition with the Washington Post, and we watch how they try to beat each other on stories, but there is little genuine excitement in what we see these reporters doing; there is instead a constant low-level sense of dread.
The conversation we hear is peppered with the qualifying words and phrases that have crept into and degraded American vernacular: “kind of” and “sort of” turn up all the time in meetings. And the man who became president doesn’t qualify anything, unless he’s trying out one of his verbal evasions that are reliant on conspiracy theories or worse.
Also Read: How Tom Petty Became the Key to HBO's Elvis Presley Documentary
White House correspondent Maggie Haberman is heavily relied on in the Times newsroom as a source for Trump information and Trump character analysis because she has been covering him since she worked at New York tabloids in the 1980s. He used to give her quotes to “juice” her articles then, and it is clear that she is beyond tired of having to deal with him.
Haberman often openly admits to being drained of energy, and she is stuck in a disbelieving, defensive persona. What she really wants to do is get back to her children, and she talks about how she thought her coverage on the Trump beat would finally end when he lost.
Garbus shows Haberman having to take a call from one of her children while she tries to do an interview for a podcast, and the way Haberman crouches on the floor of the office while she attempts to reassure her child is an image of helplessness that epitomizes what most of the people in this movie are feeling.
Also Read: Gilda Radner Documentary 'Love, Gilda' to Open Tribeca Film Festival
If there is a star in “The Fourth Estate,” it may be Washington bureau chief Elisabeth Bumiller, a very tough, skeptical journalist who knows how to separate what is important from what isn’t, which turns out to be a particularly crucial skill for covering this particular White House. There’s an exciting scene where Bumiller reacts incredulously when she sees that her lede has been watered down, and we see her defiantly trying to get some of her original intent back into the top of the story.
It says something about this administration that the scandals covered in “The Fourth Estate” feel like they happened in an already distant past even though they occurred just a little over a year ago. There is the start of the scandal about Russian interference with the 2016 election, and then the turnovers and resignations of officials close to Trump, and the reporters write about these things in all seriousness and with all due diligence.
It is made clear that the New York Times needs money, and that Facebook and Google are eating into their business. “We’re not driven by clicks,” says Time publisher A. G. Sulzberger. “We think in decades.” But there is the very uneasy sense that the foundation of newspapers like the Times is fragile, especially when we see Trump attacking the press as any dictator would.
Also Read: Netflix Partners with BuzzFeed for New Documentary Series
Trump himself is seen giving speeches throughout, and we hear him on the phone with Haberman, who has to listen to his off-the-record profane anger. The thing that makes Trump so hard to fight is that he is such a comic figure on the surface. His face often takes on the supercilious look of a grand female dowager, like Margaret Dumont, before it folds back into the cartoonish grin of a minor fat-cat capitalist. Haberman says that Trump’s greatest dream is to be taken seriously, and she says that he is searching above all for respectability.
“The Fourth Estate” ends on a cliffhanger that is supposed to whet our appetite for future episodes, but surely many of us are waiting for this whole thing to be finished. Everyone in this movie seems to be wondering how long we have to wait for the end of this publicity stunt gone wrong. But if we are in for a long haul, it feels as if Bumiller is the one who can best lead us through it.
Read original story ‘The Fourth Estate’ Film Review: Inside Look at NY Times Reveals Low-Level Dread in Trump Era At TheWrap...
- 4/29/2018
- by Dan Callahan
- The Wrap
This year’s Tribeca Film Festival will again live-stream a dozen panels and events exclusively on Facebook for free — no ticket or trip to Manhattan required.
The 12 sessions from Tribeca include the April 19 panel with HBO’s “Westworld” co-creators/showrunners/directors Jonathan Nolan and Lisa Joy, along with cast members Evan Rachel Wood (pictured above), Thandie Newton, Jeffrey Wright, and James Marsden. They’ll be talking about the upcoming season 2 premiere, slated for April 22, after it screens at the festival.
Tribeca’s Facebook live-streams also are scheduled to include sessions with Spike Lee, Alec Baldwin, Jamie Foxx, Paris Hilton, Nathan Lane, Christine Baranski, André Leon Tally, Antonio Banderas, Terrance McNally and John Legend. The 2018 Tribeca Film Festival, presented by At&T, runs April 18-29.
The talks are available exclusively via Facebook Live on the Tribeca Film Festival Facebook page at facebook.com/tribeca. Tribeca also live-streamed 12 panels during last year’s fest on Facebook.
The 12 sessions from Tribeca include the April 19 panel with HBO’s “Westworld” co-creators/showrunners/directors Jonathan Nolan and Lisa Joy, along with cast members Evan Rachel Wood (pictured above), Thandie Newton, Jeffrey Wright, and James Marsden. They’ll be talking about the upcoming season 2 premiere, slated for April 22, after it screens at the festival.
Tribeca’s Facebook live-streams also are scheduled to include sessions with Spike Lee, Alec Baldwin, Jamie Foxx, Paris Hilton, Nathan Lane, Christine Baranski, André Leon Tally, Antonio Banderas, Terrance McNally and John Legend. The 2018 Tribeca Film Festival, presented by At&T, runs April 18-29.
The talks are available exclusively via Facebook Live on the Tribeca Film Festival Facebook page at facebook.com/tribeca. Tribeca also live-streamed 12 panels during last year’s fest on Facebook.
- 4/18/2018
- by Todd Spangler
- Variety Film + TV
The 17th annual Tribeca Film Festival has revealed its feature film lineup, including its closing night offering — Liz Garbus’ documentary series “The Fourth Estate,” which follows The New York Times’ coverage of the Trump administration’s first year — and a Centerpiece Gala featuring Drake Doremus’ sci-fi romance “Zoe.” As was previously announced, the spring fest will open with the Gilda Radner documentary “Love, Gilda.”
Standout titles include Desiree Akhavan’s Sundance winner “The Miseducation of Cameron Post,” Sebastian Lelio’s “Disobedience,” Marianna Palka’s latest “Egg,” Karen Gillam’s directorial debut “The Party’s Just Beginning,” and many more.
The 2018 feature film program includes 96 films from 103 filmmakers. Of the 96 films, 46% of them are directed by women, the highest percentage in the Festival’s history. The lineup includes 75 World Premieres, 5 International Premieres, 9 North American Premieres, 3 U.S. Premieres, and 4 New York Premieres from 27 countries.
“We are proud to present a lineup...
Standout titles include Desiree Akhavan’s Sundance winner “The Miseducation of Cameron Post,” Sebastian Lelio’s “Disobedience,” Marianna Palka’s latest “Egg,” Karen Gillam’s directorial debut “The Party’s Just Beginning,” and many more.
The 2018 feature film program includes 96 films from 103 filmmakers. Of the 96 films, 46% of them are directed by women, the highest percentage in the Festival’s history. The lineup includes 75 World Premieres, 5 International Premieres, 9 North American Premieres, 3 U.S. Premieres, and 4 New York Premieres from 27 countries.
“We are proud to present a lineup...
- 3/7/2018
- by Kate Erbland
- Indiewire
After announcing the opening night film, Lisa D’Apolito’s documentary Love, Gilda, the complete lineup for the 2018 Tribeca Film Festival has been unveiling. Along with festival favorites, including Disobedience, The Miseducation of Cameron Post, and Daughter of Mine, there’s a number of anticipated world premieres: The Seagull, starring Annette Bening and Saoirse Ronan, Kent Jones’ drama Diane, the documentary McQueen, Miguel Arteta’s Duck Butter, Ondi Timoner’s Mapplethorpe, the Ethan Hawke-led Stockholm, and more. The centerpiece of the festival will be Drake Doremus’ Zoe, starring Léa Seydoux, and closing night is Liz Garbus’ documentary The Fourth Estate.
“In a year that has reminded us more often of our divisions than our connections, this Festival’s program embraces film’s unique power to overcome differences – that connecting with stories not our own is the road into our deeply programmed human capacity for empathy and understanding,” said Cara Cusumano,...
“In a year that has reminded us more often of our divisions than our connections, this Festival’s program embraces film’s unique power to overcome differences – that connecting with stories not our own is the road into our deeply programmed human capacity for empathy and understanding,” said Cara Cusumano,...
- 3/7/2018
- by Jordan Raup
- The Film Stage
The Tribeca Film Festival on Wednesday revealed the feature film lineup for its 17th edition, which is set to take place in April in New York.
The festival's closing-night film will be the world premiere of Oscar-nominated director Liz Garbus' documentary The Fourth Estate, which follows The New York Times as it covers Donald Trump's first year as president. That screening will be followed by a conversation with Garbus and the Times' executive editor Dean Baquet, Washington bureau chief Elisabeth Bumiller, White House correspondent Maggie Haberman and Washington investigative correspondent Mark Mazzetti.
The Fourth Estate is set to air as...
The festival's closing-night film will be the world premiere of Oscar-nominated director Liz Garbus' documentary The Fourth Estate, which follows The New York Times as it covers Donald Trump's first year as president. That screening will be followed by a conversation with Garbus and the Times' executive editor Dean Baquet, Washington bureau chief Elisabeth Bumiller, White House correspondent Maggie Haberman and Washington investigative correspondent Mark Mazzetti.
The Fourth Estate is set to air as...
- 3/7/2018
- by Hilary Lewis
- The Hollywood Reporter - Movie News
New York Times’ Washington bureau chief Elisabeth Bumiller recalled a memorable encounter traveling with the late Nancy Reagan at TheWrap’s Power Women Breakfast on Thursday. Bumiller was covering Prince Charles’ last polo match before his wedding to Princess Diana. “I remember Nancy Reagan drove up in this long, huge motorcade on these polo grounds and then a short time later, Queen Elizabeth drove up driving her own Vauxhaull station wagon at the wheel and I remember saying, ‘Oh my God, the Queen is driving herself!'” Bumiller told TheWrap CEO Sharon Waxman. “Some British reporter heard me say that and it was in.
- 3/10/2016
- by Beatrice Verhoeven
- The Wrap
TheWrap’s Power Women Breakfast series expands to Washington D.C with feature speakers, Senator Amy Klobuchar of Minnesota; Maureen Dowd, columnist for The New York Times; Elisabeth Bumiller, Washington Bureau Chief of The New York Times; Adrienne Elrod, Director of Strategic Communications and Surrogates for the Hillary for America Campaign; Commissioner Julie Brill of the Federal Trade Commission and Commissioner Jessica Rosenworcel of the Federal Communications Commission. The March 10th breakfast is hosted by TheWrap’s CEO and Editor-in-Chief, Sharon Waxman; Svp of Industry Alliances of Box, Founder of Box.org, Karen Appleton; CEO of CreativeFuture, Ruth Vitale; CEO...
- 3/9/2016
- by Haley Davis
- The Wrap
The New York Times’ DC bureau chief Carolyn Ryan will step down, the Times announced Tuesday. Washington editor Elisabeth Bumiller will assume the role of bureau chief, while Ryan, who also serves as political editor, will now focus exclusively on the Times’ coverage of the 2016 Presidential election, according to Politico. Ryan has held the bureau chief position for less than two years. Before her, Pulitzer-Prize winner David Leonhardt held the title before moving on to head up the Times’ “Upshot” column. See video: New York Times' Charles Blow Accuses Ex-Cop of Racism in Explosive CNN Segment “ appointment as a senior editor for.
- 9/8/2015
- by Joe Otterson
- The Wrap
Now after a few weeks passed since President Obama successfully ordered the killing of Osama bin Laden, Chris Matthews wondered how much the act improved Obama's relationship with the military. Elisabeth Bumiller from the New York Times admitted it was a boost, but warned that Obama's proposed budget cuts to the military could jeopardize the warm feelings. Joe Klein, however, viewed the relationship as being in much better condition.
- 5/29/2011
- by Matt Schneider
- Mediaite - TV
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