Nick Bilton, a tech journalist and filmmaker with no broadcast TV experience, is the new executive producer of “60 Minutes,” CBS News editor-in-chief Bari Weiss and president Tom Cibrowski announced on Thursday. He replaces Tanya Simon, who was appointed executive producer of the program last year after 30 years at the program.
“Nick is one of the most entrepreneurial journalists of our time and the perfect leader for one of the most entrepreneurial news brands of all time,” said Weiss. “We have huge ambition for ‘60 Minutes’ to reach new heights through deep, revelatory journalism that breaks news, exposes wrongdoing, widens public understanding and forces accountability from every institution and every center of power. Nick shares this mission and will bring his deep investigative experience and understanding of the technological moment we’re in to ‘60 Minutes’ so that its important journalism comes to life for all audiences.”
Bilton has written investigative features for The New York Times and Vanity Fair, and wrote and directed the 2021 HBO documentary “Fake Famous” about influencer culture.
Bilton is also writing the script for a 20th Century Studios Hawaii-set crime thriller that will star Leonardo DiCaprio, Dwayne Johnson and Emily Blunt, and will be directed by Martin Scorsese. The project is based on a book he is co-authoring with Johnson.
“Hiring Nick represents a deliberate vision for ‘60 Minutes’ to go beyond an hour on Sunday evenings to become a 360-degree product that reaches audiences wherever they consume information,” added Cibrowski. “Our ambition is to do hard-hitting journalism that respects our existing audience, brings in new audiences and enables viewers to proactively devote their attention to our work across every platform and medium.”
“It is an extraordinary honor to lead the next chapter of ‘60 Minutes,’ one of the most important journalism institutions in this nation’s history,” said Bilton. “The mission of the program remains as vital as ever: pursuing the truth, holding power to account and remaining fearless in the face of any external pressure or influence.”
Simon, in a note to staff, addressed her exit saying, “while leadership has decided it is time for a new chapter – I want to be unequivocally clear about one thing: it has been an immense privilege to lead this broadcast, and I could not be prouder of what we have built, fought for, and delivered together over the last year. ‘60 Minutes’ has always been more than just a broadcast: it is an institution built on independence, grit, andrigorous search for the truth. That is work we did together – and with ratings up 9% over last year no less. You should all be proud.”
“‘60 Minutes’ is part of my DNA,” she added. “I have been on staff for over 25 years, but the broadcast has been in my life for much longer, as has CBS News. I am today – and will always be – immensely grateful to my senior team and to the producers, associate producers, editors, technicians, crews and all of our correspondents who put this show together every week.”
In a not to staff, Bilton wrote that he’s “here to lead the show, not preserve it under glass. That means honoring what works and being honest about what doesn’t. I have a notebook full of ideas. Some are about the show itself. Some are about the next generation of correspondents. Some are about the strange fact that we produce one extraordinary hour for one night a week in a world that consumes content around the clock.”
He continued: “On the very first episode of ‘60 Minutes’ Mike Wallace said: ‘If this broadcast does what we hope it will do it will report reality.’ I can’t think of a better north star for ‘60 Minutes’ than that. Above all, that means a commitment to fairness — in story selection, in the edit room, and in the broadcast.”
Bilton is only the fifth executive producer in “60 Minutes” history, and his hiring comes as Weiss and Cibrowski are looking to shake up the storied news program after it wrapped its latest season. Turmoil loomed large over the first season overseen by Weiss, whose decision-making rankled longtime staffers and led to a tussle with Sharyn Alfonsi, who publicly challenged Weiss’ decision to hold a story she produced on CECOT just hours before its broadcast.
On Wednesday, Alfonsi disclosed that her contract with “60 Minutes” had not been renewed.
“This was not a routine corporate transition; it was a deliberate choice to penalize a journalist for refusing to sanitize factually accurate reporting, and it sends a chilling message to the entire newsroom,” she said.
On Thursday, Alfonsi was fired from CBS News altogether.
You can read Bilton’s full note to CBS staff below.
Hi everyone,
I’m Nick. Some of you I’ve met. Most of you I haven’t.
Walking into this building and putting my name on this job is the honor of my career. Though I don’t need to tell you, 60 Minutes is, without exaggeration, the most important television journalism brand this country has ever produced. The fact that it has held that position for almost six decades is not an accident. It’s the result of generations of producers, correspondents, editors, researchers, and crews who decided that the work mattered more than the noise.
You are those people. I’m grateful to be working alongside you.
I am here because the world outside this building has changed a lot since this show was conceived—and we have to talk honestly about what that means.
Think back to September 1968, when the first episode of 60 aired. A gallon of gas was thirty two cents. The first pocket calculator wouldn’t go on sale for another two-and-a-half years. If you needed money, you went to the bank, stood in line, and asked a human being for it. Long distance calls were billed by the minute and you thought twice before making one. There were three networks. Most people watched the first episode of 60 Minutes in black and white. If you missed it, you missed it.
Every part of how we lived back then has been transformed since then. The cars, the phones, the music, the movies, the medicine, the money, the way news gets made and the way news gets consumed. The phone you are reading this on is more powerful than every computer that existed on the planet in 1968 combined.
The audience that watched that first episode is not the same audience watching us now. They have unlimited channels to choose from, not three. They are stalked by algorithms that they wake up to and go to sleep to. Algorithms that have figured out that anger is the only way to make sure they come back day after day after day. They have lost faith in almost every institution that used to hold the country together.
And yet here we still are. Same stopwatch. Same tick. Same Sunday night. Same form. The trusted correspondents are our guides through all of it.
There is something genuinely incredible about that. The fact that this show has remained a fixed point in a culture is part of why this show still matters as much as it does. I don’t want to lose that.
But the world we are reporting on, and the world we are reporting to, where people consume their news, has moved. And if we don’t move with it, in the ways that matter, we won’t be here for the next sixty years. I want to do everything humanly possible to ensure that we are.
How? I’ve spent most of my career writing about exactly this kind of moment. I started as a technology reporter at The New York Times, then an investigative journalist at Vanity Fair, covering industry after industry that got obliterated by these technological changes. I was a regular voice on CNBC, ABC, and CNN trying to make sense of it as it happened. I wrote books about it. I made documentaries about it for Netflix and HBO. And I watched (as we all did) newspapers and magazines and taxi companies and travel agencies and video stores and entire industries go under. Only a few survived. The ones that did all had one thing in common: They saw it coming, and they adapted before it was too late.
Over my time covering these disruptions, nothing compares to this one. Between AI rewriting how information is made and everyone with a phone calling themselves a media company, this is the most precarious moment for journalism (and society) I have ever seen. There was a time I would have written the story about what happens to television news next. Instead, I am here to make sure that story doesn’t get written about us. That is why Bari hired me. Evolving or dying isn’t a threat. It’s simple math.
My responsibility is not just technological transformation. It is also our trust with the public.
On the very first episode of “60 Minutes” Mike Wallace said: “If this broadcast does what we hope it will do it will report reality.” I can’t think of a better north star for ’60 Minutes’ than that. Above all, that means a commitment to fairness—in story selection, in the edit room, and in the broadcast.“
Now, what happens next? I’m here to lead this show, not preserve it under glass. That means honoring what works and being honest about what doesn’t. I have a notebook full of ideas. Some are about the show itself. Some are about the next generation of correspondents. Some are about the strange fact that we produce one extraordinary hour for one night a week in a world that consumes content around the clock. I’m excited to share them, and I’m confident you’ll be excited by them, too.
But not yet. The first thing I want to do is meet you. Hear what you’re working on. Hear what isn’t working. Hear what you’ve been waiting to do and haven’t been able to. In about thirty days I’ll come back to all of you with where we go from here. It will be a conversation that we have together.
This is the best job in journalism. I can’t wait to introduce myself and meet each of you. See you tomorrow.
