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McKendrick, who’d been working on the film for several years, always believed in the film but wasn’t expecting so many people to connect with her. Her producers were always confident the movie would defy the odds. And it did. Now, months after the film premiered, it’s still holding strong.

Despite her belief in the material, McKendrick always had a seed of doubt that people just wouldn’t get it. “There always is a little of that worry and it is a trust fall,” she tells The Hollywood Reporter on a recent Zoom. Thankfully, as evidenced by TikToks of fans crying as they watched the film, people did get it.

Below, McKendrick speaks with THR about the film’s success, how she’s dealt with the reactions and how validating it’s all been.

What has the response been like?

It’s everything that I hoped it would be and more. As you prepare to release a movie that’s so personal to you, you dare not dream this big because you want to keep the relationship to your work pure. You try not to put too much emphasis on outside reaction. If you can just find your people and your weirdos, that will be enough. This isn’t my first movie, and I feel like in my previous films, I managed to find that little core group of people, and that has always been enough for me. But to have a film that connects on this scale was a totally new experience. They tell you how hard it is to receive criticism, but nobody tells you how hard it is to receive praise.

What have people been saying?

[I got] so many DMs and so much love. Honestly, my favorite part is probably the dance going viral because that’s something that I very much manifested, it was not accidental. That was always the goal. We reverse engineered it to make it something that you could learn at home, something that was fun, something that two little girls could have made up in their bedroom. It’s actually not that easy, I will tell you. It looks easier than it is. It took me a long time to learn it.

Was there anything that surprised you of the reaction?

I didn’t know people were going to cry like that.

Really?

Yeah. I knew that I cried every time I saw it. Este [Haim] and Amanda [Yamate], my composers, were some of the first people that got brought in to see it that weren’t editing it and on set with us. I knew that it was very emotional for them. But again, I’m like, that’s because we’re all weirdos. These are the core people that are connected to the film because we’re making it together. We did do a test screening and a bunch of people were leaving the theater crying. All the videos, that trend that started, “Here’s me before watching Voicemails for Isabelle, and then here’s me after.” I did not expect that.

How did that feel?

I love to cry. I’m such a crybaby about everything. I’m an artist, so I cry when I’m writing my scripts. I cry when I’m shooting my films. I cry when I’m on screen. I’m just a crier. It seemed like America really needed to cry. The world really needed to cry. I got a lot of DMs of people saying that they had lost somebody and that they hadn’t cried about it until my movie and that the movie somehow offered some sort of release or catharsis. I don’t know what could be better than that.

This seems like a personal story. Is it validating that so many people felt the way they did about the movie?

I do believe that humans respond to specificity, even if it’s not their own experience. Humans respond to something that feels real and authentic, whether or not they can relate in their own life to that exact experience. I’ve found that as an audience member, I’m interested in people’s stories. Wherever they are in the world, whatever their upbringing is, I am fascinated by that and humans and whatever their journey is. I’m not interested in slop. I’m not interested in corporate advertising to me through a narrative filmmaking. I’m interested in human stories, so I think I learned that at some point along the line that the truer I was to myself, the truer it would feel to audiences.

But there is always that sneaking suspicion that no one is going to get it. There always is a little of that worry and it is a trust fall, I guess. The more people that join you in the fight — whether it be your producers, your studio executives, your actors, your HODs, your composers, everybody, the artists, musicians that gave me their songs — and hop on the ship, the stronger you feel. The more confident you feel. But it does just begin with me and my laptop getting weird in a corner and semi sure that no one is going to get it. %!s()

To be sure, “60 Minutes” has tangled with corporate attorneys, politicians and other challenging subjects. But the program has never had to grapple with its own internal processes being undermined from within. When Weiss cut former executive producer Tanya Simon, executive editor Draggan Mahialvich, and Sharyn Alfoni and Cecelia Vega (with Scott Pelley exiled later), she did so at a critical moment (Anderson Cooper in February announced he would step away from the program after nearly two decades, marking another reduction in veteran staff). Most of the show’s personalities try to have a produced story on an evergreen topic like health, science or culture in the can before taking a vacation in July. This year, according to people familiar with the program, much of that work wasn’t approved, and therefore was not filed in timely fashion.

Now Nick Bilton, the new executive producer, could be left with less room to maneuver as “60 Minutes” prepares for its 59th season, slated to start Sunday, Sept. 13 — a few weeks earlier than the norm.

“Generally, the show has about a dozen or so evergreens in the bank by the season premiere. The expectation is, every producer should have one piece produced — one piece approved and in the bank — with a second one in production by the season premiere in September,” says one former longtime “60 Minutes” producer. Those stories will serve the show well as it steers into a new cycle. “The most critical and most demanding part of the year is from the end of August until the end of March, basically the NFL season into March Madness. It’s nonstop. Three new, fully vetted, 13-minute pieces each — minidocumentaries, really — week after week for months. The math is crushing. The deadlines are punishing.”

The start of the new “60” season will serve as a real-time test. Segments from the newsmagazine that have had time to marinate are proven to be appetizing. But what of stuff that is served, like most TV news programming, fresher from the grill?

Bilton has approved more than three dozen stories, according to a person familiar with the matter, with each in various stages of production, which include research, shooting, writing and more. This person says more than a dozen stories are in the editing process, either being screened or being prepared for screening. Bilton wants to continue and augment the show’s tradition of investigative reporting, this person says, and also sees an opportunity for “60” to weigh in heavily on the effects of AI on the world and all facets of society, much in the way “60 Minutes” featured coverage of the Vietnam War or the tobacco industry in decades past. More decisions tied to senior leadership are expected to be unveiled in days to come.

Bilton has assembled a new coterie of “60 Minutes” personalities, including former New York Times columnist Ross Douthat and author Sebastian Junger. Norah O’Donnell, a former “CBS Evening News” anchor, has been named to the correspondent team. And veterans Lesley Stahl, Bill Whitaker and Jon Wertheim were cajoled to stay despite the way their colleagues were treated.

Still, “60 Minutes” has its own way of ticking, according to people familiar with the show, and it’s not easy to get into gear.

A lot is at stake for Weiss, Bilton, CBS News and corporate overseers at Paramount Skydance as the show moves toward what may be its most unusual season yet. While Weiss and others at CBS News think “60 Minutes” needs to do more to appeal to digital audiences and employs too many producers working on too few stories, the simple fact of the matter is that the program is the jewel of the CBS network. “This is the biggest challenge that ’60 Minutes’ faces,” says Ben Bogardus, chairman of the journalism department at Quinnipiac University in Hamden, Connecticut. “The producers need to find a way to reach younger viewers where and when they consume news and information, but at the same time not turn away older viewers who still make up most of the show’s audience.”

That crowd helps bring ad dollars to Paramount’s coffers. “60 Minutes” snared $67.2 million in ad revenue in 2025, according to Guideline, a tracker of ad spending. And the audience for the program rose 9% during its most recent season — no small feat in the streaming era.

Also of note: “60 Minutes” serves as a conduit that brings audiences from CBS’ Sunday NFL showcase into its primetime lineup. Any decrease in ratings this season would undermine the luster of NFL games at a time when the league is already holding preliminary discussions with Paramount about the possibility of renewing the company’s current rights deal.

That’s a lot to put in the hands of less experienced personnel. The program has been holding talks with new producer candidates during the summer, even as correspondents are supposed to be filing new stories — all adding elements of potential disorder to the show’s off-season operations. Bilton is relying heavily on Maria Gavrilovic, a longtime producer who worked extensively with Pelley, and who has been elevated to a senior role, as well as dozens of longtime staffers familiar with the ways of the show, says the person familiar with the show’s work over the summer.  He is also working to find ways to make “60 Minutes” more relevant to a generation of news aficionados who might be more interested in podcasts and newsletters, this person says, and is examining ways to update internal proceses. Viewers should not see shocking changes to the look and feel of the program, this person says, but may notice what were described as “gentle” tweaks to its presence on air.

CBS News declined to make producers or executives available for comment for this story.

The looming season debut is just the latest in what has been a surreal string of events surrounding the newsmagazine. The show was turned into a bargaining chip between Paramount’s previous managers and the Trump administration, which leveraged a $16 million settlement to President Donald Trump to end what had been viewed in many legal circles as a flimsy lawsuit tied to a pre-Election Day interview between Bill Whitaker, a “60 Minutes” correspondent, and former U.S. Vice President Kamala Harris. Paramount made the deal as it sought to complete its sale to Skydance.

As a result, two senior CBS News executives — Bill Owens, the former executive producer of “60 Minutes,” and Wendy McMahon, the former CEO of CBS News, local stations and syndication — suggested in remarks that they could no longer push back against corporate mandates they felt would weaken the newsroom. Both left CBS News last year.

There is a lot of skepticism about how well the staff can proceed in weeks to come. When former “60 Minutes” executive producers like Jeff Fager or Owens “had to crash a story in the middle of the season, it took everything they had to keep the show on the rails,” says one person familiar with the workings of the show. “I have no idea how this team is equipped to do something like that.”

Having a broad array of stories at the ready can only help. “Every Sunday, you want a mix — a hard-hitting lead, an international story, a lighter feature. The idea is, if some viewers aren’t interested in the piece about climate change or the war in Ukraine, they’ll stick around for the profile of Christopher Nolan or Lady Gaga. That kind of variety only works if you’ve got a bank to draw from,” says the former producer. Besides, there can often be an emergency need for a back-up story, particularly if a subject backs out of a timely report or a story that was supposed to be ready requires last-minute changes. “It doesn’t happen every week, but it’s not a hypothetical either.”

For decades, “60 Minutes” personnel have been steeped in the ways of the program. Getting a segment on air “is a whole gauntlet,” the former producer recalls, involving meticulous research and rounds of scripting. Stories also go through multiple screenings with the staff. “Sometimes it gets heated — loud arguments, especially in the old days, people practically ready to throw a phone across the room. But everyone wants the same thing in the end: making the story better. And that just takes time,” the former producer says. “It takes time to get there.”

The off-season interruptions will take a toll, says the former producer. “With thin experience at the top and no real bank of stories to fall back on, the staff is going to have to work like hell just to get the show on the air every week. And they’ll be doing it in an atmosphere where a lot of people still feel underappreciated and still haven’t gotten over how badly Tanya and Draggan were treated,” this person says. “The producers’ professionalism will carry them forward. But that’s a lot to ask of people.”

Other media moguls have sought to update beloved journalism properties by weaning them away from long-held traditions. After Rupert Murdoch’s News Corp. snatched the Wall Street Journal away from its longtime owners, the Bancroft family, in 2008, Robert Thomson, named to lead the paper, famously complained that its signature front-page “leders” took too long to produce. Many of the pieces, Thomson joked, had “the gestation of a llama.” The Wall Street Journal of 2026 features a wider array shorter stories along with snappier headlines, but in some cases, critics would argue, less depth.

The debate may be moot. News Corp. in August said its Dow Jones segment, which contains The Journal, saw revenue increase by 7%, driven by circulation, subscriptions and advertising.

But discussion continues. Both Stahl and Whitaker at a recent party held for Tanya Simon, the former executive producer, were heard acknowledging their trepidation about staying with the show, according to people who were present at the event. Even so, Whitaker, whose remarks were previously reported by the media newsletter Status, indicated he intended to do his best to stick to “60” traditions. And Stahl has been hard at work, according to one of the people familiar with the show.

Some news aficionados may watch new episodes to see how their efforts hold up. “Initially, the television versions of stories will probably look more or less the same, in order to avoid alienating the program’s audience with jarring changes,” says Bogardus. “But viewers may start to notice an increased presence on social media, with vertical-video versions of stories that play well on Instagram and TikTok, audio and video podcast versions of interviews that are longer and less edited than the ones used in the TV broadcasts, more on-demand streaming options online and on YouTube, and stories told about topics that interest a younger audience, instead of the generally older demographic that is still loyal to the over-the-air version of the show.”

The facts are in: At summer’s end, “60 Minutes” has no time left for immediate self-improvement, and a season of shows that need to be filled. %!s()

Fortunately, I've been able to visit all 10 of its provinces. And with so many options, I know it can seem overwhelming to choose where to explore next.

Although I enjoyed learning and experiencing what makes each province unique, a few places stand out — and they aren't in Ontario, Canada's most-touristed province.

Here are the three Canadian provinces I loved visiting, plus highlights I experienced that'll make you want to plan your own trip to each.

Explore the Earth's mantle and freshwater fjords in Gros Morne National Park in Newfoundland and Labrador.

Humans tread on the Earth's crust, but it's not every day that you experience the second component below it, the mantle.

However, in the Tablelands in Gros Morne National Park, parts of the Earth's mantle are exposed, and visitors get a rare chance to admire this distinct structure without any digging.

When I explored the south end of this UNESCO World Heritage site, the rust-colored terrain made me feel as if I were on Mars. I loved learning about the local carnivorous pitcher plants and feeling the texture of the rusty rocks.

There, I opted for a guided group walk along the beautiful Tablelands Trail, which is around 5 miles out and back.

After walking on the mantle, I headed north of the park to visit Western Brook Pond. This freshwater fjord was carved thousands of years ago by retreating glaciers, and it's nothing less than breathtaking.

I took a guided boat tour through the fjord and learned all about it. If you want a panoramic view of it, take the day to hike to the top of the Western Brook Pond Trail.

Take in the scenery while cycling along Prince Edward Island's numerous trails.

Prince Edward Island is famous for its potatoes, red-sand beaches, and picturesque countryside.

The red sand is due to the soil's rich iron content, which oxidizes (turns reddish) when exposed to air. During the summer, there are usually more than 20 supervised beaches on the island.

Instead of admiring the area by car or on foot, my family and I have enjoyed exploring it by bicycle. Biking allowed us to slow down, be present with where we were, and get a taste of the laid-back island lifestyle.

We chose to pedal along the Confederation Trail, which stretches from one tip of the island to another and covers about 278 miles. It helped us connect to special towns like Cardigan, where we visited Canada's smallest library.

The Confederation Trail has labeled stretches that range from easy to hard, so you can choose your own cycling adventure. If you're looking for a strenuous trail, I recommend gearing up on the Gairloch or O'Leary Mountain Bike Trail.

But if you're not confident in your cycling skills, consider taking a guided ride or renting an e-bike to help you go the distance.

British Columbia is a popular province in Canada for a reason.

British Columbia is an adventurer's playground with impressive natural beauty. It's hard to get bored with the beautiful Pacific coastline and legendary old-growth forests.

Johnstone Strait, a glacier-carved channel between mainland British Columbia and Vancouver Island, is especially beautiful — and you might even see a humpback whale in the water if you visit at the right time.

One of my favorite experiences on the province's Vancouver Island is kayaking around the shores in the morning. I watched Steller sea lions glide through the water, and a river otter play on a nearby dock.

Once you're done with the water, venture to nearby picturesque communities like Telegraph Cove and Hanson Islands. Or perhaps find your footing and try the Haddington Beach Trail (just under 2 miles out and back) or the Salmon River Estuary Trail (under a mile out and back).

While there, I suggest learning about the area's diverse ecosystem — and there's perhaps no one else better to teach you than members of the Tlowitsis Nation, a group acknowledged as being among the first to originally live on this stretch of land.

Taking time to learn about Indigenous cultures in the area and booking experiences through Indigenous tour guides can also enrich your trip, helping you learn the history of the land you're visiting and why it's so important to protect it.

This story was originally published on July 11, 2024, and most recently updated on September 2, 2026.

Read next

Claire Bradbury is a Canadian freelance writer. Her work focuses on travel, mental health, and the environment. She loves to watch baseball with her family and plan her next adventures.Connect with her on LinkedIn or visit her website: https://clairebradbury2.journoportfolio.com/#/ 

• Canada
• Travel

Author Brian Krebbs is a computer and internet security expert who was a Washington Post reporter for 14 years before working for several other publications as a cyber security expert. Krebbs was tipped off on this story because it was brought to his attention that his Virginia driver's license was used as a free sample in the dark web site's sales thread on Exploit, a Russian cybercrime forum. U.S. Defense Secretary Peter Hegseth's driver's license was also found for sale on the site.

Krebbs' reporting found common potential sources for the data leaks

Joe Raedle/Getty Images

The service was called Nexus, and Krebbs found identity records in the form of driver's licenses, identification cards, marijuana dispensary cards, government identification cards, medical cards, and other travel documents, but no passports. Each file on Nexus showed a date and timestamp, which allowed Krebbs to narrow down potential sources of his own leaked information, as well as some of his friends and family members.

Krebbs got permission from over a dozen of his friends and family members to search for their licenses on Nexus, and found nine of their licenses on the site. He was able to confirm that each person had traveled on or very close to the dates and timestamps attached to the images, and he also found correlations to the frequently controversy embroiled car rental company Hertz. He found that three of his connections whose licenses were on Nexus had not used their license to fly, but only used them at Hertz to rent cars, and he found that the timestamp on one of his license photos corresponded with one of his mother's license, and that they both handed their licenses over to Hertz just moments apart from each other.

Krebbs contacted idscan, which said it was investigating the matter but has not yet shared an official statement or substantive reply. He also spoke with Larry Baldwin, principal intelligence researcher at cybersecurity firm Cybera, who said, "the Nexus identity theft service presents multiple serious security and privacy threats, noting that state-issued driver's licenses are commonly used as proof of one's identity when opening new lines of credit. Baldwin said the service could also dangerously expose many people who do not wish to be found but who cannot meaningfully change their appearance (or at least not enough to fool today's AI-based image matching tools)."

The latest update regarding this massive leak of sensitive personal information is still that the Nexus website was no longer visible on the dark web, but we will continue to monitor the situation for updates. %!s()

Scott Strazzante | Getty Images

Stan Kroenke has agreed to buy the Los Angeles Angels from the Moreno family in a deal that values the MLB team and its regional sports network, Angels Broadcast Television, at $4 billion.

The record MLB valuation for the Angels is equivalent to 10 times the team's 2025 revenue, according to CNBC's MLB valuations published earlier this year. In comparison, the $3.9 billion sale of the San Diego Padres to José Feliciano and Kwanza Jones, approved by the MLB last month, had a multiple of eight times revenue.

CNBC has updated its MLB valuations based on the Angels deal, focusing on valuation-to-revenue multiples, market and stadium economics.

The average MLB team is now worth $4.04 billion, 37% more than our MLB valuations in March. The New York Yankees top the list with a value of $12 billion, 28% more than in March. The least valuable MLB team is still the Miami Marlins, but we now value the team at $2.2 billion, a 57% increase from March. The New York Mets, now worth $5.4 billion, jumped to fifth on our list, leapfrogging the San Francisco Giants and Philadelphia Phillies.

Bankers CNBC spoke with regarding the Angels deal stressed that location is a big factor in the trophy appeal of owning a sports team. To wit: The recent announcement that Josh Kushner and Bob Iger have agreed to buy the NBA's Los Angeles Lakers at a $12.5 billion valuation.

We did not adjust the value of the Los Angeles Dodgers from our March rankings, keeping it at $8 billion, due to the controversy surrounding the team's owner, Mark Walter.

CNBC’s Real-Time MLB Valuations

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