Too Much TV: 'White With Fear' Shines A Light On How We Got Here

Here’s everything you need to know about the world of television for Tuesday, March 24th, 2026:

THIS WILL ANSWER A LOT OF YOUR QUESTIONS. BUT IT WON'T MAKE YOU FEEL ANY BETTER
If you find yourself looking around the United States and wondering how we got here, the documentary film White With Fear is a must-watch.

Written, produced and directed by Emmy Award-winning filmmaker Andrew Goldberg, the film tells the story of how some American conservatives and political operatives have successfully weaponized racism and fear for decades.

The story begins during the 1968 presidential campaign, in which then candidate Richard Nixon called for "law and order" in the midst of sometimes violent anti-war protests. The film traces the growth of that strategy of fear through the presidential campaigns that followed, including reflections on the impact of 9/11 and the insurrection at the Capitol on January 6th, 2021. It's a fascinating look at how divisive narratives and policies were strategically implemented by some politicians and media outlets to earn power and profit.

There are a large number of interviews from all sides of the conversation, including Steve Bannon, Hillary Clinton, former Fox News reporter Carl Cameron, The Lincoln Project founder Stuart Stevens, Rep. Jamie Raskin, Rick Gates, former Breitbart writer Katie McHugh, and many more.

I recently had the opportunity to speak with Andrew Goldberg about the film and how important it was to tell this story in as non-partisan way as possible.

The conversation has been lightly edited for clarity.

Rewatching the film again yesterday, it struck me that in some ways we are living in the endpoint of the strategies you discuss in the film. All of these decades of effort by some conservatives has led us to the moment we're in now. When you were putting this film together, did you have a sense that you were capturing something so relevant and in some ways, historic?

Andrew Goldberg: This guy and this administration keep adding more Miracle Grow and steroids to the effort to scare white voters. I am regularly surprised by the lengths
that they'll go. That's not to say that I am automatically opposed to him, his policies or what have you. Some people assume that because I made a film critical of - I don't know if critical is even the right word - that looked carefully at the behavior and performance of our political parties that I am somehow opposed to him or that I am some sort of super Lefty.

Not at all. I wanted to do some good, honest and fair reporting. And it is very hard when doing fair and honest reporting about this guy - Trump and his administration - to not believe they are accelerating, amplifying, enhancing, increasing, add your adjective here, this campaign to basically make white voters terrified 24 hours a day that there is an
enemy in their midst and that that enemy are generally people of color who live here in the United States.

One of the things that struck me watching this is that the balancing act you have to do in the film. It's really difficult because you have true believers. You have people who truly believe replacement theory, this is a horrible thing. You have a lot of very cynical people who are embracing it just because it's good for their power. And then you have a fair amount of people who, at least at the time, or clueless or semi-clueless.

I think Tim Miller was one of the ones that struck me. Because he expresses this combination of regret and "Well, I did what I had to do" which expresses a common theme from a set of people you spoke with. So when you are putting this thing together, what was that balancing act like for you? Looking at the edits and deciding "Oh, it's too much in this direction" or "I over-corrected here." Because you want to show the entire universe of what was going on.

Andrew Goldberg: That's a very good question. And I think that's the challenge as a journalist. I see people all the time on TV or in other journalistic outlets referring to phrases like "the objective truth," as if there's an objective truth that was created by God and sits there and it cannot be tarnished.

Years ago, I was in some academic testing. I don't remember what it was for. And the testing person had a Rubik's Cube on their desk. And he said to me, "These tests show your subjective view on things." And my response was "Oh, give me a break. We both look at that Rubik's Cube and I see the same thing you see."

And his response was, "Not at all. We see vastly different things when we look at a Rubik's Cube." And I thought to myself, "That's the dumbest thing in the world. It's an objective truth. It's just a square with colors. How could he see it differently than me?"

And yet, now as an adult and after having been a journalist for 30 years, I can tell you that we see very different things. I see something that stressed me out because I couldn't solve it. I see something that was a letdown birthday present I got one year when I really wanted a Game Boy. I see something that my friend was really, really good at and I was jealous. That's three sets of emotions tied up in that little cube.

He might have looked at it and thought "This is something that I give to my kids to get them to shut up when they're in my meeting." Who knows? But we did see it very, very differently.

So that brings us to your question about journalism. How can I decide to myself, "Well, am I a little too biased here? Am I telling the truth here? Am I doing this in a fair way?" All these things are real to some extent. None of them are made up completely. If Trump told us that broccoli and cauliflower were killing us because they were invading our homes and taking our jobs, nobody would go ... Well, I'm sure a few people would, but most people wouldn't go off and throw their broccoli in the garbage. The fact of the matter is some jobs are taken by immigrants. Yeah, they have jobs. That means someone didn't get a job. Sure. Some Democrat liberal progressives are happy that brown people are coming in because they think long-term, yeah, that's good for me electorally. Sure, they think that.

That's okay. But is there a global plan or an American plan to replace the electorate? Of course not. So we are always trying to find, as journalists, where we point our trajectory and
aim. Do we hit 100% of the time? No. But are we close? Do we do our best? Can we put it forward? Can we admit our mistakes and move on? That answer is yes. And I think that we did a, what I would call as a very reasonable, responsible and fair job as we tried to look at these issues and present the people as accurately as they tried to present themselves. I don' t ever take people out of context. I don't sniff little soundbites to only show a point. If a person doesn't make the point throughout their interview, then I won't make a point they made in a little way. If they didn't mean it in the big picture, I don't use it. And that way I have a film that I can feel real good about when I'm done.

White With Fear premieres tonight (Tuesday) on your local PBS station and is also available on PBS Passport.

REALITY TV CONFRONTS A HARSH TV REALITY
NY Times reporter John Koblin takes a thorough look at a story I have been hearing for awhile from people in the reality TV space: things are getting brutal out there. I've been reporting for awhile about the drop in new programming at HGTV and the Food Network and that is reinforced in this piece:

In interviews, executives attributed the steep drop-off in total series to three issues: the rapid decline of cable, the continued momentum of YouTube and other digital outlets, and the industry’s nearly endless consolidation.

“There are so many things converging to squeeze the money for all practitioners,” said Paul Telegdy, a former chairman of entertainment at NBC and a longtime unscripted-TV executive.

The decline in cable ratings and revenue over the past few years has been the most significant culprit. Even though reality series cost less to produce than scripted shows, vast budget reductions at all the cable networks have curtailed ambitions.

In 2019, HGTV, the home of “Fixer Upper” and “Property Brothers,” had as many as 78 original unscripted series. That number fell to 35 last year, according to Luminate. Food Network used to make about 70 reality shows a year. That figure has been halved.

ODDS AND SODS
* E.W. Scripps is launching a 24/7 FAST sports channel. The network's programming will include live matchups and game replays, exclusive original series, acquired content and other sports-focused programming.

* Apple TV has renewed For All Mankind for a sixth and final season.

* Roku is expanding its Howdy $2.99 monthly ad-free subscription streaming service to the Prime Video Channels platform in the U.S. 

* Untold: Jail Blazers premieres Tuesday, April 14th on Netflix. Here is the official logline: "The early 2000s Portland Trail Blazers were a team unlike any other, a roster stacked with All-Stars and undeniable talent, poised to make their mark on the NBA. But while their on court performances dazzled fans, their off court lives became the subject of scandal, controversy, and relentless media attention. Through firsthand accounts from Rasheed Wallace, Damon Stoudamire, Bonzi Wells and more; archival footage; and insider perspectives, the film offers a nuanced, unflinching look at a team caught between brilliance and notoriety, and examines how culture, race, and media shaped one of the most infamous chapters in NBA history."

* The documentary film Sports Heaven: The Birth of ESPN will premiere Monday, April 6th on ESPN. Here is the official logline: "The documentary film tells the remarkable story behind the creation of the network that would transform sports media, following Bill Rasmussen, his son Scott Rasmussen, and their early partners as they set out to build a cable television network dedicated entirely to sports — an idea widely viewed as improbable at the time. "

* In a bit of welcome yet surprising news, Disney+ has renewed Wonder Man for a second season.

* Epic Games is laying off over 1000 people and shutting down three Fortnite modes: Rocket Racing, Ballistic, and Festival Battle Stage. 

* Season two of the animated series Devil May Cry premieres Tuesday, May 12th on Tuesday, May 12th on Netflix. Here is the official logline: "A war between worlds ignites as Dante must battle the only force that mirrors his own: his estranged twin brother Vergil. Dante must confront his own devils and the feeling of family he lost as a child. With the reemergence of Vergil, will Dante lay to rest old demons or fall victim to them?"

* Season nineteen of Criminal Minds: Evolution premieres Thursday, May 28th on Paramount+. The streamer has also ordered season twenty, which will premiere in 2027.

* HBO Max has signed a first-look deal with Movistar Plus+ alum Domingo Corral (The Anatomy of a Moment, Sirât) for exclusive TV services in Spain.

THE ONGOING EVOLUTION OF THE HOLLYWOOD REPORTER
Back in July of 2024, I wrote a piece for AllYourScreens reporting on owner Penske Media's plans to move The Hollywood Reporter to more of an entertainment/lifestyle brand, in order to differentiate it from sister publications Variety and Deadline:

THR would shift to what was described to me by multiple sources as a "Rolling Stone of the TV and movie industry." Additional shopping and sponsored product pages have been rolled out over the past few months and sources tell me that while THR would still include a TV and movie industry bent, there would be an increase in entertainment lifestyle coverage. One person who works in the marketing arm of a major studio told me on Wednesday that the potential shift had been described to them as seeking to frame THR as being the home for "aspirational Hollywood."

No, I'm not quite sure what that means, either. 

I was reminded of that piece today when I saw this THR cover:



And this is the way the issue is being described by THR: "THR has put together its first ever Travel Issue, presented by Boden. From jet-setting hotspots to star-approved hideaways to the new ways film and TV are reshaping how we vacation, this is your guide to where Hollywood is sending the world next." 

FWIW, here is a link to the stories from the issue, which feel more like pieces you might read in Vanity Fair or Travel & Leisure than a traditional Hollywood trade publication. To be fair, I think it's probably a smart move if THR can regularly execute it, because luxury ad money is always going to be available and that framing of THR does provide a unique sales point for Penske. But as a longtime reader, the move is also a bit depressing.

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