The News

LA Times Executive Editor Norman Pearlstine Exits After Weekend Of 78th Birthday

“Los Angeles Times Executive Editor Norman Pearlstine announced that he would soon step down and that the paper was launching a search for a new top editor who could chart a digital future and unite a newsroom that has been torn by controversies. Pearlstine, who celebrated his 78th birthday over the weekend, made the announcement during a meeting with top editors and in a note to staff members. Pearlstine said he agreed to stay on until Dr. Patrick Soon-Shiong identifies a successor who can amplify the journalism produced by the 542-person newsroom, push further into video storytelling and other digital distribution platforms to attract more digital subscribers and return the paper to profitability. In his nearly two and a half years at the top, Pearlstine sought to stabilize a newsroom that had been battered by years of layoffs, cost-cutting and mismanagement under its former owner, Tribune Publishing, which also called itself Tronc. Pearlstine led a dramatic hiring spree, replenishing the paper’s beleaguered ranks, recruiting top editors and working to improve technology used to generate a larger audience for its journalism. During his tenure, The Times’ journalism became stronger, in part, due to the increased resources from the Soon-Shiong family. Amid nationwide unrest over Floyd’s May 25 killing in Minneapolis by police, staff members at The Times began questioning newsroom leadership for its failure to better diversify during a hiring surge as more than 120 journalists joined the staff since late 2018. The Times is attempting to atone for its history of failures in covering communities of color and a newsroom culture that has resulted in mistreatment and underrepresentation of Black and Latino journalists. Last month, the paper elevated Angel Jennings — who had been the lone Black reporter in the Metro department — to the masthead as the newspaper’s first assistant managing editor for culture and talent. During the introspection over race and coverage decisions, the newsroom separately became roiled by revelations of ethical breaches and management missteps.”

No Responses to “LA Times Executive Editor Norman Pearlstine Exits After Weekend Of 78th Birthday”

Comments are closed.

MCN Commentary & Analysis See All

THB #93: The Batman (no spoilers)

David Poland | March 6, 2022

THB #76: 9 Weeks To Oscar

David Poland | January 26, 2022

THB #73: Netflix Is Chilled

David Poland | January 24, 2022

The News Curated by Ray Pride See All


May 1, 2022

The New York Times

"Netflix, the great disrupter whose algorithms and direct-to-consumer platform have forced powerful media incumbents to rethink their economic models, now seems to need a big strategy change itself. It got me thinking about the simple idea that my film and TV production company Blumhouse is built on: If you give artists a lot of creative freedom and a little money upfront but a big stake in the movie’s or TV show’s commercial success, more often than not the result will be both commercial (the filmmakers are incentivized to make films that will resonate with audiences) and artistically interesting (creative freedom!). This approach has yielded movies as varied as Get Out (made for $4.5 million, with worldwide box office receipts of more than $250 million), Whiplash (made for $3.3 million, winner of three Academy Awards), The Invisible Man (made for $7 million, earned more than $140 million) and Paranormal Activity (made for $15,000, grossed more than $190 million).From the beginning, the most important strategy I used to persuade artists to work with me was to make radically transparent deals: We usually paid the artists (“participants” in Hollywood lingo) the absolute minimum allowable by union contracts upfront, with the promise of healthy bonuses based on actual box office results—instead of the opaque 'percentage points' that artists are usually offered. Anyone can see box office results immediately, so creators don’t quarrel with the payouts. In fact, when it comes time for an artist to collect a bonus based on box office receipts, I email a video clip of myself dropping the check off at FedEx to the recipient."
Jason Blum Sees Room For "Scrappier" Netflix

The New York Times | April 30, 2022

"As a critic Gavin was entertaining, wry, questioning, sensitive, perceptive"
Critic-Filmmaker Gavin Millar Was 84; Films Include Cream In My Coffee, Dreamchild

April 29, 2022

The New York Times

Disney Executive Geoff Morrell Out After Less Than Four Months

The New York Times | April 29, 2022

The Video Section See All

Mike Mills, C’mon C’mon

David Poland | January 24, 2022

The Podcast Section See All