Madeleine Carlisle, the recently-ex 60 Minutes associate producer and daughter of Stephen Colbert, has landed a new job: Staff writer at The Atlantic.

The magazine yesterday announced that Carlisle is one of two new staff writing hires, along with Danyel Smith, who for three years has been a contributing writer to The New York Times Magazine and was previously the editor of both Vibe and Deadline sister publication Billboard. Smith is the the author of Shine Bright: A Very Personal History of Black Women in Pop.

Carlisle’s new job, the magazine’s announcement notes, marks “a homecoming”: She was an Atlantic editorial fellow in 2018 and 2019 before moving to Time magazine and most recently 60 Minutes, which she joined in 2022.

In a memo sent yesterday to Atlantic staffers, editor in chief Jeffrey Goldberg noted, “A bunch of us sensed that, sooner or later, she would be coming back to us. Maddie was a very successful member of the 2018–19 fellowship class who went on to cover politics, law, and gender issues for Time magazine. She then joined the 60 Minutes team, where she worked with correspondents Scott Pelley, Anderson Cooper, and Cecilia Vega on their stories, including one about crypto billionaire Changpeng Zhao that earned an Emmy nomination for outstanding investigative coverage.”

Goldberg said that Carlisle, when she was a fellow on the Atlantic’s Politics team, wrote about a Florida woman whose nephew was killed in the Parkland shooting, and about President Trump’s unfulfilled promises to GM workers in Ohio.

“We’ve been so happy to watch her become an outstanding journalist, and we’re thrilled that she’s rejoining The Atlantic,” he said.

Carlisle is the latest 60 Minutes staffer to depart the show since the arrival of CBS News editor-in-chief Bari Weiss, and the latest to recently land elsewhere: Scott Pelley and Sharyn Alfonsi, two of the 60 Minutes correspondents ousted in a shakeup at the top-rated CBS newsmagazine, were named this week as journalists in residence at Columbia University.

Other departures from 60 Minutes include executive editor Draggan Mihailovich, correspondents Cecilia Vega and longtime producer Henry Schuster.

60 Minutes recently announced the new hires of New York Times columnist Ross Douthat, Perfect Storm author Sebastian Junger, and former Vice News correspondent Gianna Toboni.

Spider-Man: Brand New Day keeps flying high, as Sony Pictures‘ superhero blockbuster starring Tom Holland and Zendaya has more reasons to celebrate with its second weekend at the box office.

Filmmaker Destin Daniel Cretton‘s movie grossed $43 million on Friday as it looks to collect $143 million for its sophomore frame and remain atop the chart, with a weekend decline around 60 percent. If that projection holds, Spider-Man: Brand New Day will nab the third-best domestic second weekend ever. The studio is estimating that the film will bring its North American total to $653 million by Sunday, giving it the highest 10-day domestic sum in box office history.

Star Wars: The Force Awakens holds the record for the best domestic second weekend after collecting $149.2 million in 2015. Avengers: Endgame looks to remain at No. 2 with its follow-up frame of $147.3 million after opening in April 2019.

Spider-Man: Brand New Day has soared with its record-setting launch, having landed the highest-grossing first week in domestic box office history. The film surpassed $500 million in North America in its first seven days, becoming the fastest title to reach that half-billion milestone by supplanting Endgame, which hit the threshold in eight days.

Brand New Day scored the best-ever domestic box office sums for a Monday and a Tuesday on its way to becoming the second-fastest feature to cross the billion-dollar mark globally after reaching the threshold in six days, bested only by Endgame. It also set records for Thursday previews and its opening Friday domestic sum, and it was Sony’s best debut frame.

After a tight battle with Endgame throughout its opening weekend, Spidey emerged on Monday morning with the biggest domestic opening weekend ever, at $360 million. This surpassed Endgame’s $357.1 million domestic start, although the latter’s $1.2 billion global launch still held the record for its worldwide opening weekend. 

Sadie Sink, Jon Bernthal and Mark Ruffalo also star in the story of Marvel’s signature hero as he faces a lonely existence before an invisible enemy targets him. Hailing from producers Marvel Studios and Amy Pascal, Brand New Day carries a $225 million production budget.

Holding onto second place at the box office in its fourth weekend is Universal’s The Odyssey with around $30.5 million to bring its domestic cume to $460.1 million. Christopher Nolan’s mythological epic crossed the billion-dollar global mark Thursday, becoming the director’s third film to accomplish the feat after The Dark Knight and The Dark Knight Rises.

Universal also has the weekend’s No. 3 title with the romantic comedy One Night Only, which is expected to notch $6 million in its opening weekend from 3,012 North American screens. Earning a B+ CinemaScore from audiences, the movie stars Monica Barbaro and Callum Turner as two single New Yorkers attempting to find a partner on the one night per year when premarital sex is permitted.

One Night Only is getting off to a similar start to director Will Gluck’s previous feature, Anyone but You, which starred Glen Powell and Sydney Sweeney and opened to $6 million in 2023 before word of mouth carried it to sleeper-hit status. Reviews for One Night Only have been mixed, as the movie holds a 48 percent approval rating from critics on Rotten Tomatoes. In his review for The Hollywood Reporter, chief film critic David Rooney wrote that the leads’ “easygoing chemistry makes us root for them to get over the many contrived hurdles.”

Newcomer Super Troopers 3 is looking to open in fifth place with an estimated $3.9 million from 2,760 North American screens. Earning a B- CinemaScore from audiences, the Searchlight release is director Jay Chandrasekhar’s latest sequel in the comedy franchise about Vermont state troopers that launched with the 2001 original. Critic Frank Scheck’s review for THR noted that, for viewers who are not already fans of the series, the third one is “unlikely to bring you into the fold.”

Toy Story 5 occupies fourth place with an eighth frame of around $4.1 million to bring the Pixar animated sequel’s domestic total to $470.5 million.

Also debuting this weekend is director Eli Roth’s slasher film Ice Cream Man, which is expected to serve up $2.1 million domestically from 1,090 screens. It has a 28 percent Rotten Tomatoes critics score, with Scheck writing in his review that the movie “can only be described as sick and twisted.”

More to come.

The Brunch Club, maybe?

Anthony Michael Hall, one of the stars of the generation-defining John Hughes film The Breakfast Club, says the director had discussed with him an eventual sequel to the 1985 hit teen film, perhaps building a re-visit around the lives of the since-grown characters.

“It was something that was on his mind, the idea of bringing back the Breakfast Club,” Hall said this week during an interview on The Rich Eisen Show. “Like, those five characters reunited somehow later in their life and they’re in the workforce and they’re in their 30s.”

Hall said he last spoke to Hughes – who died of a heart attack in 2009 – several years after Breakfast Club. “He called me with John Candy on the phone, and it was about 1988, and we just hung out on the phone for a couple hours, and he talked about [a sequel] at that time.”

“So I think that it was something he was playing with,” Hall continued. “I don’t know if he had written it or not.”

Hall co-starred with Molly Ringwald, Emilio Estevez, Judd Nelson and Ally Sheedy in the film, portraying Brian “The Brain” Johnson, one of five high schoolers of disparate types who form an alliance after being placed in Saturday morning detention.

Hall also appeared in Hughes’ films Sixteen Candles (1984) and Weird Science, and in the interview recalls the creation of the latter film which, like Breakfast Club, was released in 1985.

Hall says that two weeks into filming Breakfast Club, Hughes approached him with a pitch. “He goes, ‘I just came up with another idea for our next film.’ He goes, ‘It’s going to be you and this other kid. You’re going to create a girl in the computer.’ I’m like, ‘What?’”

The other kid in Weird Science would eventually be played by Ilan Mitchell-Smith, and the girl they create (with help from a hacked government computer) was played by Kelly LeBrock.

Watch the interview below. The conversation about Hughes arrives about 7 minutes in.