The Business

This week, Kim Masters speaks with Ben McKenzie about his documentary Everyone Is Lying to You for Money, which examines fraud in the cryptocurrency world. The actor discusses leaning into his popularity as Ryan on The OC as a narrative device in the film—one that helped get him in the room for a cringe-inducing interview with now-convicted crypto figure Sam Bankman-Fried. McKenzie also explains how he bet against crypto to help finance the project and shares some thoughts on the celebrities who profited from crypto endorsements. Plus, as the White House Correspondents’ Dinner approaches—with Donald Trump expected to attend and a mentalist booked instead of a comedian—Masters and Matt Belloni examine concerns about the event’s legitimacy, media boycotts, and the broader political entanglements facing outlets like CBS News under David Ellison’s leadership.

This week, Kim Masters speaks with Riz Ahmed about his modern retelling of Hamlet. The actor and producer discusses the decade-long journey of adapting the Shakespeare classic and how the project evolved from a planned Netflix streaming release to securing theatrical distribution with Focus Features. He also jokes about family members misinterpreting the significance of his Oscar-nominated performance in Sound of Metal and traces the origins of the “Riz Test,” a Bechdel-adjacent measure of Muslim representation in storytelling. Plus, as theater owners and studio executives share their views on the Paramount–Warner Bros. deal at CinemaCon, thousands of industry professionals—including Ben Stiller, Kristen Stewart, and J.J. Abrams—have signed a petition to block the merger. Kim Masters and Matt Belloni examine Hollywood’s opposition and consider whether the growing outcry will have any real influence as the company seeks approval from regulators and shareholders.

This week, Kim Masters sits down with Drew Goddard to discuss adapting Andy Weir’s novel Project Hail Mary for the big screen. He reflects on how his early days writing on Buffy the Vampire Slayer, Alias, and Lost trained him to move fast, as he did when he was tasked with turning around the script for Cloverfield after Paramount greenlit the project from an outline. He also talks about being brought in to rescue World War Z, and shares the advice he gave Andy Weir about a potential Project Hail Mary sequel. Plus, Masters and Matt Belloni dig into the fallout from Jeff Shell’s exit as Paramount president, tied to allegations of leaking company information. The banter partners also spotlight a bit of good news in the industry following last week’s box office report: the Writers Guild’s unexpected four-year contract extension with studios, which could help build momentum ahead of SAG-AFTRA negotiations set to resume later this month.

The Academy Awards are behind us, but we’re sharing unheard stories from Kim Masters’ interviews with some of the recently minted Oscar winners. That includes director Joachim Trier, who shares how he landed on casting Elle Fanning in his Best International Feature winner, Sentimental Value. Trier also talks about getting to a place where he can cast well-known actors who sign on to his films without reading a script, just because it’s him. And we hear more from Autumn Durald Arkapaw, the first woman to win an Academy Award for Best Cinematography. She breaks down the challenges of shooting Sinners for IMAX, and recalls Christopher Nolan’s advice to Ryan Coogler about the best way to shoot the movie. Plus, Masters and Matt Belloni dig into the theatrical bounce-back, with the box office up 23% from last year. They point to big wins like Project Hail Mary and The Super Mario Galaxy Movie, which is on track to pull in $200 million domestically and $350 million worldwide. The banter partners also unpack a stacked summer slate from Universal and Disney, and weigh in on superhero fatigue, with the latest Avengers movie set to drop this December.

And just like that, Josh D'Amaro’s first week as CEO of The Walt Disney Company proved challenging, to say the least. From a brewing Bachelorette scandal to the abrupt cancellation of Sora by OpenAI, and fresh turmoil at Epic Games amid layoffs, Matt Belloni and Lucas Shaw unpack the challenges facing Disney’s new chief. Plus, we revisit our conversation with Daryl Hannah, who joined Masters last year to discuss her Neil Young concert film Coastal, which had a limited theatrical run in 2025. Hannah reflects on her years of acting and activism, pursued alongside figures like Willie Nelson, Joan Baez, and… Robert F. Kennedy Jr. She also recounts a painful experience with Harvey Weinstein during the Kill Bill press tour, and reveals what prompted her to proclaim “Slava Ukraini” at last year’s Academy Awards.

This week, Kim talks to Diane Becker and Ted Tremper about The AI Doc: Or How I Became an Apocaloptimist. The producers discuss how they managed to land big names in machine learning, including the CEOs of OpenAI and Anthropic. Becker and Tremper also explain how they nearly got Elon Musk—until, surprisingly, he ghosted. They also share how they kept their brains from melting while tackling a subject as overwhelming as AI. Plus, Masters and Matt Belloni break down the first week of Disney’s new CEO, Josh D’Amaro, who outlined his goals for the company in a memo to employees, emphasizing creative storytelling and the embrace of new technology. Meanwhile, the banter partners examine Wall Street’s negative reaction to the Paramount–Warner Bros. merger and why California Attorney General Rob Bonta has vowed to scrutinize David Ellison’s acquisition of the legacy studio.  

This week, Kim talks with Tilly Norwood creator Eline Van der Velden, who defends her controversial synthetic character. Van der Velden argues that Tilly Norwood is simply another character, an extension of herself, not so different from others she’s created during her years as an actress. The Particle6 Productions co-founder explains why she believes entertainment built with generative AI will find a place in the industry and predicts that more agents will follow CAA’s lead in signing synthetic characters. Plus, Kim Masters and Matt Belloni discuss Ben Affleck’s investment in AI through his company Interpositive, which he sold to Netflix in a deal that could reach $600 million. The banter partners also address Live Nation’s ticketing practices, including a lawsuit with evidence of employees joking about price gouging fans — comments that later prompted the company to distance itself from those involved.

This week, Kim talks with SAG-AFTRA president Sean Astin about stepping into the job during a tumultuous year for Hollywood. His early tenure has already included an FCC clash involving Jimmy Kimmel, the arrival of synthetic “performers,” and some wonky legal maneuvering from OpenAI. Astin discusses the most pressing issues facing the union as bargaining is underway, including wages and working conditions as well as the challenges posed by AI companies scraping copyrighted material. Plus, David Ellison has unveiled plans to merge Paramount+ and HBO Max into a single streaming platform. Kim Masters and Matt Belloni dig into the proposal – which comes with about $80 billion in debt and the strong likelihood of layoffs –  and the familiar promise that “synergies” in tech, ad sales and platforms will do the heavy lifting. They also examine how the shake-up may affect HBO leadership, the uncertain future of CNN, and how Donald Trump’s influence could complicate an already fraught moment for media companies.

This week, Kim sits down with Brazilian writer-director Kleber Mendonça Filho to discuss his Oscar-nominated political thriller The Secret Agent. A former film critic, Mendonça explains why he still reads every review of his work. He also reflects on the backlash that followed his 2016 Cannes red carpet protest against Brazil’s leadership and the fallout that complicated the Oscar hopes for Aquarius. Plus, a special guest drops in for a brief chat. Meanwhile, in an unexpected turn of events, Netflix has dropped out of the Warner Bros. bidding war, leaving Paramount as the winner. Masters and Matt Belloni dive into the streamer’s decision to bow out, what could lie ahead for Warner Bros. and its news networks, and the legal hoops Paramount may expect with the Department of Justice. Do you love listening to The Business? We want to hear from you! Please take a moment to share your feedback in this survey so we can make your listening experience better. Thank you!

This week, Kim sits down with Academy Award–nominated cinematographer Autumn Durald Arkapaw, who made history with Sinners as the first woman of color nominated for the Oscar for Best Cinematography. She discusses her work on the film and how it evolved from a scrappy 16mm concept into a full-scale IMAX spectacle at the studio’s urging. She also addresses the mounting strain on crews as production continues to leave Los Angeles, and why meaningful opportunities for women in film remain notably scarce. Plus, Masters and Matt Belloni unpack a less than ideal week for Paramount as the company continues its effort to win over shareholders at Warner Bros, beginning with CBS pulling the plug on Stephen Colbert’s planned interview with Texas state rep James Talarico. Network lawyers cited new FCC guidance on political candidates appearing on talk shows, a move that drove Colbert to post the segment on YouTube, outside the regulator’s reach. The banter partners also examine the departure of Anderson Cooper after nearly two decades at 60 Minutes, another high-profile shift inside the David Ellison led news division. 

This week, Kim Masters sits down with Academy Award nominated Iranian filmmaker Jafar Panahi to discuss his Palme d’Or winning film It Was Just an Accident. Panahi explains why he self finances his films, bringing in partners only after he decides the work is worthy of his signature, and how he has continued to shoot in secret despite years of arrests, censorship, and government bans. He also reflects on his decision to return to Iran after the awards season, even as he faces the possibility of another prison sentence. Plus, Masters and Matt Belloni dig into the latest twists in the Warner Bros. sale, including Paramount’s new concessions aimed at winning over regulators and shareholders. They weigh the limits of President Trump’s influence over the deal, and how a major investor group’s shifting position could reshape the bidding landscape and spark further legal battles.  

This week, Kim Masters is joined by Scott Feinberg, The Hollywood Reporter’s Executive Editor of Awards, for a deep dive into the 2026 Oscar nominees. Feinberg unpacks the debut of the new Best Casting category and explains the strategy behind Warner Bros.' support for its Best Picture frontrunners One Battle After Another and Sinners.   Plus, Masters and Matt Belloni dig into the power shifts at Disney, including Josh D’Amaro’s appointment as CEO and Dana Walden’s elevation to president and chief creative officer of The Walt Disney Company. They also unpack Netflix co-CEO Ted Sarandos’s trip to Capitol Hill for a Senate antitrust hearing, and why Paramount’s David Ellison chose to sit this one out during his own trip to Washington.   

This week, Kim speaks with Alexandria Stapleton, the DGA Award nominated director of Sean Combs: The Reckoning, a Netflix docuseries that examines the rise and fall of the hip hop mogul. Stapleton discusses partnering with executive producer 50 Cent, her approach to telling the story without turning it into a hit piece, and the care required when working with the alleged victims of Combs. She also explains how Netflix’s legal team vetted controversial pre arrest footage that Combs had commissioned himself. Plus, Masters and Matt Belloni break down the final Sundance Film Festival hosted in Park City, and try to make sense of the $40 million+ Melania Trump documentary, including a reported $35 million marketing spend. The banter partners also dig into newly unsealed messages in the Blake Lively and Justin Baldoni dispute, including Ryan Reynolds’ not-so-subtle emails to Sony executives.

This week, Kim sits down with former Viacom CEO and MTV co-founder Tom Freston to discuss his memoir, Unplugged: Adventures from MTV to Timbuktu. From his vagabond youth to the birth of MTV and his years working under billionaire mogul Sumner Redstone, Freston reflects on a career spent shaping modern media, and weighs in on the Warner Bros. succession fight, arguing that Netflix may be the legacy studio’s best-fit suitor.  Speaking of the streamer, Masters and Matt Belloni break down Netflix’s stock stumble despite reported subscriber growth, as Co-CEO Ted Sarandos reiterates the company’s commitment to honoring theatrical windows for Warners. To wrap things up, the banter partners dig into CNN’s potential spin-off value within Warner Bros. Discovery’s cable portfolio, pushing back on claims that the asset is worthless amid intensifying merger scrutiny.  

This week, Kim Masters sits down with writer-director Joachim Trier to discuss his Cannes Grand Prix–winning film Sentimental Value. Trier explains how he structures his financing to preserve creative control while allowing for longer shooting schedules — and still delivering returns for his investors. He also reveals why he broke his own “no-begging the talent” rule when he persuaded newly minted Golden Globe winner Stellan Skarsgård to join the project. And the filmmaker shares why Sentimental Value takes a playful jab at a certain streamer’s reluctance to embrace theatrical exhibition. Plus, Masters and Matt Belloni take aim at the Golden Globes’ awkward corporate promos — from online betting to a tone-deaf UFC cameo. The pair then break down the latest in Paramount CEO David Ellison’s showdown with Warner Bros. as Netflix weighs an all-cash bid to cut through the drama.

Listen to a special preview of Kim Masters’ conversation with Joachim Trier about his film Sentimental Value. 

Kim Masters talks with Tim Blake Nelson about his wide-ranging career in entertainment. Best known for his breakout role in O Brother, Where Art Thou?, Nelson is also a director, screenwriter, and playwright, and he’s now out with a second novel, Superhero—a black comedy about the making of a big-budget comic-book film that follows executives, cast, and crew caught in the pressure cooker of a chaotic production. He also shares his perspective on the Warner Bros. sale and explains how his fascination with the entertainment business informed the book. Meanwhile, Warner Bros. has once again formally rejected Paramount’s latest offer, favoring a deal with Netflix. As the streamer moves closer to acquiring the legacy studio, theatrical exhibitors have taken their protest to Congress, warning the sale would have a “direct and irreversible negative impact on movie theaters around the world.” Masters and Matt Belloni break down the latest developments in the battle for Warner Bros.

Kim Masters rings in the new year with Matt Belloni and Lucas Shaw to forecast what 2026 could hold for Hollywood. The trio debates Disney’s long-simmering succession question, the impact of Trump administration tariffs on the industry, and YouTube’s growing ambitions in original programming. Plus, we revisit a conversation between Masters and Jesse Eisenberg about his award winning film, A Real Pain. The writer, director, and actor talks about the challenges of capturing the complicated feelings of the descendents of holocaust survivors while still including humor. They also talk about the special relevance that Majdanek–the concentration camp the two cousins visit in the film–has for Masters.  

This week, Kim Masters is joined by Matt Belloni and Lucas Shaw for a year-end Megabanter, looking back at a messy 2025. From the devastating Los Angeles fires to the shadow cast by the Trump administration over Hollywood, the trio digs into the Skydance-Paramount deal, a surprise Warners-Netflix upset, and Disney’s move to partner with OpenAI.

This week, Eric Deggans speaks with Vince Gilligan about his new series, Pluribus. The creator of Breaking Bad and Better Call Saul explains how he felt being at the center of his first-ever bidding war, and how a long-standing partnership with Sony ultimately brought the project to Apple. Gilligan also reflects on why the days of writing episodic television on The X-Files shaped his love of serialized storytelling. And after years of explaining his work to fans and critics alike, Gilligan shares why he’s learning to let audiences decide what his shows mean for themselves. Plus, with the Academy set to bring the Oscars to YouTube in 2029, Hollywood’s biggest night is moving to a very different kind of stage. Kim Masters and Matt Belloni unpack why the Academy made the deal—and what it reveals about how the industry is rethinking where, and how, audiences show up.

With Netflix’s bombshell move to acquire Warner Bros. still reverberating through the town, Paramount has gone fully hostile–bypassing Warner leadership and taking its case straight to shareholders. Matt Belloni and Lucas Shaw break down the latest maneuvering in a saga that seems to sprout new twists by the day. Also, with Kim Masters sidelined by a bug this week, Belloni presents a few bonus stories from Masters's recent conversations: Wake Up Dead Man writer-director Rian Johnson and producer Ram Bergman talk about the green room they devised for the first Knives Out–a space that became so essential to the ensemble’s chemistry that trailers sat mostly empty. And Stranger Things executive producer Shawn Levy explains why, despite the runaway success of Deadpool & Wolverine, he’s not sprinting toward a sequel just yet.

Producer’s note: This week’s banter segment was recorded before news broke of Netflix acquiring Warner Bros. This week, Kim Masters sits down with writer-director Celine Song to talk about Materialists, her rom-com that became a surprise commercial hit worldwide. Song explains how a stint as a New York matchmaker schooled her in the economics of modern dating—and how those real-world dynamics shaped the film’s story. She also reflects on the privilege of a robust theatrical release through her fruitful partnership with A24, which also backed her Oscar-nominated debut Past Lives. And she gets into why certain elements of Materialists trace back to 19th-century novels, whether audiences realize it or not. Plus, the lingering question of what a Netflix-owned Warner Bros. would mean for theatrical may be coming into focus. As the bidding war between Paramount and Netflix heats up, Netflix insists its WB films would still hit theaters, though a two-week run instead of the traditional 45 days raises concerns. Kim Masters and Matt Belloni break down the latest in the Warners race.  

This week, Kim Masters talks to writer-director Rian Johnson and producer Ram Bergman about their latest Knives Out installment, Wake Up Dead Man. Johnson opens up about leaning on his producer when he panics during the writing process—and why, oddly enough, he never hit that wall on The Last Jedi. Bergman explains why he and Johnson prefer to bankroll early development themselves rather than put up with studio input. And they dive into the Netflix of it all: a global megaphone for Benoit Blanc mysteries, but not much of a run in theaters. Plus, in a truly baffling twist, Paramount is set to distribute Rush Hour 4—with the once-canceled Brett Ratner back in the director’s chair. Even stranger, reporting from Semafor suggests President Donald Trump pushed Larry Ellison to revive the Jackie Chan–Chris Tucker franchise. Kim Masters and Matt Belloni attempt to make sense of the latest happenings at Paramount.

This week, Kim Masters talks to filmmaker Shawn Levy, who takes a short break from the London shoot of his Star Wars film to talk about the final season of Stranger Things, including Netflix's surprising decision to give the finale a limited theatrical release. He also weighs in on his work from Night at The Museum through Deadpool & Wolverine, and he shares his bittersweet feelings about an industry that’s undergoing very painful contraction. Meanwhile, the bidding war for Warner Bros. Discovery offers no especially comforting scenario: Paramount’s deep-pocketed Ellisons, a studio-and-streamer play from Netflix, or a cautious Comcast—each facing the hurdle of FCC approval. Kim Masters and Matt Belloni dive into what each bidder’s move could mean for the town.

This week, Kim Masters talks to Judd Apatow about his memoir, Comedy Nerd, a scrapbook that chronicles his journey from a stand-up-obsessed kid to one of Hollywood’s most influential comedy voices. Apatow shares stories from his early days interviewing his heroes on his high school radio station, to his years as an uncredited screenwriter on the films of Adam Sandler and Jim Carrey. He also reads the infamous letter he wrote at age twelve to Steve Martin, demanding an apology after being turned down for an autograph. Plus, Paramount has released its first earnings report under new chief David Ellison, and the message is clear: tighten up. The studio says it’s targeting $3 billion in savings by 2026 following a substantial round of layoffs. Meanwhile, Netflix is pouring serious money into video podcasts, chasing a rival’s success in the space. Kim Masters and Matt Belloni break down what’s behind the streamer’s latest splurge—and what Ellison’s belt-tightening reveals about the studio’s priorities.

This week, Kim Masters talks with documentarians Andrew Jarecki and Charlotte Kaufman about their film The Alabama Solution. The filmmakers reveal how an invitation from an unwitting warden to film a religious revival at an Alabama prison opened the door to their investigation. They met desperate prisoners who shared allegations of abuse and even murder. The film includes evidence that the prisoners captured on their cell phones, which were smuggled in and sold to them by prison guards. Plus, after turning down Paramount’s latest buyout offer, Warner Bros CEO David Zaslav is teasing a Christmas announcement about the company’s future. With Comcast, Netflix, and Amazon rumored to be circling, questions over FCC approval and strategic stakes loom large. Kim Masters and Bloomberg’s Lucas Shaw break down the latest in the Warner Bros. bidding war.

This week, Eric Deggans talks with Brad Falchuk about his Netflix series Famous Last Words. The longtime Ryan Murphy collaborator talks about adapting a Danish format built around deeply personal conversations that air only after the guests have died. He also explains why working with streamers isn’t so different from his days in cable television, and how living with dyslexia has made him a stronger writer and creative partner.   Plus, NBCUniversal has snatched up Taylor Sheridan from Paramount, marking the latest shift in Hollywood’s talent landscape. The Yellowstone creator will start a film deal at NBCU in 2026, with his TV projects following in 2029. His departure comes as Paramount faces layoffs and budget tightening under CEO David Ellison, who has spent heavily on sports and South Park rights since acquiring the media company. Kim Masters and Matt Belloni dig into how Sheridan’s exit has amplified the growing tension between creative power and studio belt-tightening.  

Warner Bros. stock is up after CEO David Zaslav confirmed the company is on the market and open to offers. Following Netflix’s moderate Q3, dragged by an unexpected Brazilian tax hit, speculation is growing over the streamer’s possible interest in Warners. Netflix co-CEO Ted Sarandos has dismissed talk of buying legacy media networks, though the studio and streaming divisions may still be in play. Matt Belloni and Lucas Shaw break down why Netflix might consider a partial acquisition, and what it could mean for Hollywood. Plus, Kim Masters talks to Kelly Reichardt about her new film, The Mastermind. The veteran independent filmmaker recalls launching her career by partially financing her first film on credit cards and selling it to a reluctant distributor for a dollar. She shares how Todd Haynes urged her to teach at Bard College, and the years she spent juggling full-time teaching with summer shoots before shifting to part-time. Reichardt also explains why she still insists on theatrical releases especially since she, like other filmmakers, doesn’t care for the way her films look on TV.

This week, Kim Masters talks to Aziz Ansari about his directorial debut, Good Fortune. After his 2022 project Being Mortal was shut down following a misconduct complaint involving star Bill Murray, Ansari regrouped. He gathered cast members Seth Rogen and Keke Palmer for a new film and added Keanu Reeves to the mix. He’s filling us in on how he overcame production delays and Reeves’ on-set injury. Plus, he addresses his controversial appearance at the Riyadh Comedy Festival. Meanwhile, and also on the topic of accepting Saudi money, producer Erik Feig has raised roughly $1 billion for his new venture, SNK Studios — funded in part by Saudi Arabia’s crown prince Mohammed bin Salman. The move marks the latest bet on Hollywood by the kingdom and raises questions about the industry’s willingness to overlook human rights concerns in pursuit of capital. Partners in banter Kim Masters and Matt Belloni examine the ethics of doing business with regimes accused of human rights abuses.   

This week, Kim Masters speaks with The Road Between Us director Barry Avrich and retired Israeli General Noam Tibon, the latter of whom drove straight into the October 7 massacre to rescue his family. Despite the third-rail nature of anything involving Israel and Gaza, the pair hopes that the documentary can be viewed as a story about family. But politics were inescapable — the film was pulled from the Toronto Film Festival, reinstated after protests, and then greeted with protests from the other side before going on to win the festival’s People’s Choice documentary prize. Plus, as predicted on recent episodes of The Business, Paramount has acquired The Free Press and hired founder Bari Weiss as editor-in-chief of CBS News. Partners in banter Kim Masters and Matt Belloni break down the potential impact on news coverage at the network. 

This week, Kim Masters talks with Benny Safdie about The Smashing Machine, his first solo feature since parting ways with his longtime creative partner (and brother) Josh. He recalls the immediate spark he felt when Dwayne Johnson approached him to play UFC fighter Mark Kerr, and why the story fits his ongoing fascination with characters who don’t quite win. He also reflects on his biggest lessons gleaned while working as an actor for luminary filmmakers like Paul Thomas Anderson and Christopher Nolan. Speaking of Anderson, the director just scored a career high opening weekend with One Battle After Another. The film has earned universal acclaim among critics and an “A” CinemaScore, but with a reported budget of $140–160 million Warner Bros. faces a steep climb to profitability. After a run of surprise hits at the studio, does One Battle After Another carry more value as an awards contender and an “auteur-friendly” statement piece for CEO David Zaslav? Kim Masters and her partner in banter Matt Belloni investigate.

This week, Kim Masters talks to director Mike Figgis about Megadoc, his fly-on-the-wall chronicle of Francis Ford Coppola's self-financed $160 million dream project, Megalopolis. Figgis captures Coppola’s battles on set, including the turmoil that followed when the director’s improvisational style collided with the art department’s meticulous planning — a story Masters covered with her former colleagues at The Hollywood Reporter. Figgis was there to immortalize it all as it unfolded.    Plus, Jimmy Kimmel’s return to late-night (in most markets) was greeted with strong ratings and warm audience reactions. But behind the scenes, the decision to put him on indefinite leave has become another headache for Bob Iger. The Disney CEO, already navigating a difficult chapter, now faces questions about whether the move could leave a lasting mark on his legacy. Kim Masters and her partner in Banter Matt Belloni weigh in on the fallout — including what it might mean for his heir-apparent Dana Walden.  

ABC has indefinitely suspended Jimmy Kimmel Live! following pressure from Nexstar and Sinclair, which own affiliated stations across the country. The move comes after Kimmel’s recent monologue about the assassination of Charlie Kirk prompted FCC Chairman Brendan Carr to issue a warning to Disney regarding the late-night host’s presence on ABC. What’s next for Kimmel and how has the industry responded to the suspension? Kim Masters and Matt Belloni break down the unfolding story.  Plus, we revisit Masters’s conversation with recent Emmy-winner Matt Wolf, director of Pee-wee as Himself. The HBO documentary draws from more than 40 hours of interviews with the late actor Paul Reubens, and Wolf explains how his interest in overlooked artists and forgotten stories led to his portrait of the man behind Pee-wee Herman. He also talks about the actor’s struggle with his sexuality and reveals why HBO pushed for a two-part series to tell the late actor’s story.

The 77th annual Emmy Awards will air this Sunday night (Sept. 14) on CBS and Paramount+ — hosted by a first-timer, comedian Nate Bargatze. Kim Masters is joined by Scott Feinberg, Executive Awards Editor for The Hollywood Reporter, and they’re making predictions.  Plus, money wins? Masters and her partner in Banter Matt Belloni unpack the latest Murdoch family lawsuit… And the increasing possibility of a Paramount Skydance purchase of Warner Bros. Discovery.  

At 84, veteran mogul John Malone is still a power broker, hinting at “further consolidation in the media industry” following a recent sit down with David Ellison. Should we be on the lookout for a Warner–Paramount merger? Meanwhile in Vegas, the Sphere’s $100 million Wizard of Oz reimagining leans on AI to expand the visuals and even slip in cameos of David Zaslav and James Dolan. The Directors Guild did not take kindly to the stunt. Partners in Banter Kim Masters and Matt Belloni pull back the curtain on the Sphere's Emerald City sideshow.   Plus, Masters speaks with Runway co-founder Cristóbal Valenzuela about the role of artificial intelligence in Hollywood. The Chilean-born developer acknowledges that AI may lead to some job losses, but he argues it will ultimately benefit filmmakers. He explains why studios including Lionsgate, Netflix, and Disney are already using Runway’s tools. Plus, he compares the current backlash against AI to the upheaval that followed the introduction of sound in film.  

It’s official, KPop Demon Hunters’ sing-along screenings were a resounding success. The film about a KPop girl group who also hunt… well, you know… became an immediate global phenomenon via streaming on Netflix when it was released in June. Now that the desire for communal experiences has been made abundantly clear, what will this mean for the franchise going forward? Kim Masters and her partner in Banter Matt Belloni get into it. Plus, in an encore conversation from January, Masters speaks to The Brutalist co-writer & director Brady Corbet and co-writer Mona Fastvold. The pair talk about the seven-year battle to get their post war epic to the big screen. They also explain their audacious decision to make a three and a half hour film with an intermission, share thoughts on the state of the country, and Corbet reveals his thoughts about Trump’s plans to demolish brutalist federal buildings.  P.S. Expect to hear much more from Fastvold as the current awards season shapes up, her forthcoming, Amanda Seyfried-led film The Testament of Ann Lee is sure to be on everybody’s lips.

This week on a special episode of The Business, Kim Masters talks with Shrinking co-creator and star Jason Segel, recorded live at KCRW’s Annenberg Performance Studio. Segel looks back on highlights from Freaks and Geeks, Forgetting Sarah Marshall, and The Muppets. He also discusses how Shrinking, now nominated for five Emmys, came together with co-creators Bill Lawrence and Brett Goldstein. Plus, after closing the $8 billion Paramount Global deal with David Ellison’s Skydance, Shari Redstone tells her story in a New York Times interview: boardroom drama, her doubts about the Ellisons, and the Trump settlement that cleared regulatory hurdles. Matt Belloni and Lucas Shaw dig in.

David Ellison’s Paramount is off to a loud start, rolling out a James Mangold/Timothée Chalamet crime drama and a $7.7 billion, seven year UFC deal. Will the studio’s bold strategies play out as intended? Kim Masters and Matt Belloni break down Paramount’s next act. Plus, Masters talks to documentarian Petra Costa about Apocalypse in the Tropics, a follow-up to her Oscar-nominated 2019 film The Edge of Democracy. What started as a look at Brazil’s COVID response became an investigation into how religious fundamentalism, conspiracy theories and foreign influence have undermined democracy in her home country. She also recounts documenting the rise and fall of Jair Bolsonaro and the risks her crew faced while covering the country’s January 8th attempted coup.  

This week, Kim Masters speaks to Severance director and cinematographer, Jessica Lee Gagné. The Quebecois filmmaker reflects on her collaboration with Severance executive producer Ben Stiller, which began on the Showtime limited series Escape at Dannemora. She discusses becoming the first woman to be Emmy-nominated in the same year for both cinematography and directing in a drama series, and the major leap of faith it took to transition from a successful career as a DP into the world of directing.  Plus, Disney is reshaping its sports strategy, launching a standalone ESPN app, and making billion-dollar deals with WWE and the NFL. Will the NFL's new stake in ESPN bring scrutiny from the Trump-led DOJ? Also, the Skydance-Paramount deal is done, and the Ellisons may have their sights set on Warner Bros. Kim Masters and Matt Belloni break it all down.

Kim Masters speaks to Platonic co-creators Francesca Delbanco & Nicholas Stoller about what inspired their show about the comedy and complications of grown-up friendships. They talk about the challenge of writing characters—played by Rose Byrne and Seth Rogen—with none of the underlying sexual tension that has propelled so many television comedies to success. They also remember the time that Netflix boss Ted Sarandos sat through a lengthy table read of their first series, Friends from College.   Plus, as FCC Chairman Brendan Carr ramps up scrutiny of major media players, Comcast’s NBCUniversal appears to be his latest target. Is the company’s cable spinoff Versant a calculated play to dodge the Trump administration’s media witch hunt? Kim Masters and Lucas Shaw dig in.  

[Editor’s note: this segment was taped before news broke of the FCC approval of the Paramount-Skydance merger.]   New details from the ongoing Paramount-Skydance merger reveal a $20 million agreement to deliver public service announcements for the Trump administration. And following from the cancellation of The Late Show with Stephen Colbert, CBS News braces for potential changes in leadership. Kim Masters and Matt Belloni dive into what’s unfolding behind the scenes. Plus, an encore of Eric Deggans’ conversation with Lauren LeFranc about her Emmy nominated HBO mini series, The Penguin. The writer discusses the challenges of adapting a well known comic book villain into a complex, three dimensional character and she shares why her perspective as a woman writing a show about a middle-aged crime boss makes for interesting storytelling. And of course, she talks about the joys of working with Colin Farrell, who is both the star of the show and an involved executive producer.

In the conclusion of Kim Masters’ two-part conversation with Barry Diller, the veteran businessman reflects on his time helping build Rupert Murdoch’s Fox empire. Diller also criticizes studios for spreading misinformation—citing Oliver Stone’s JFK in particular—and weighs in on the now-resolved Trump-Paramount dispute, and the prospect of a David Ellison-led studio. Plus, Paramount’s looming merger with Skydance has South Park creators Matt Stone and Trey Parker lawyering up. The duo is eyeing legal action over billion-dollar licensing deals they claim are being undercut. At the center of it all: South Park’s future on Paramount+. New execs Jeff Shell and David Ellison are feeling the heat; Matt Belloni and Lucas Shaw are on hand to explain what’s at stake.

Kim Masters talks to Barry Diller about his memoir, Who Knew? The legendary studio exec reflects on his quick rise at ABC and how helped transform the third-ranked broadcast network into a force to be reckoned with. He also remembers a much happier time at Paramount, where he presided over a studio staffed with future industry stars. He also opens up about why none of his friends in the business are having much fun these days.   Plus, summer movie season is heating up, with F1, Jurassic World: Rebirth, and a highly anticipated Superman reboot staking their claims at the box office. But is there room left for Disney’s big bet with Fantastic Four: First Steps? Kim Masters and Matt Belloni break down the wins and worries shaping Hollywood’s high-stakes summer.  

Kim Masters talks to writer & director Larry Charles about his new memoir Comedy Samurai. He shares stories about writing for Seinfeld, directing Curb Your Enthusiasm, and his chaotic experiences working with Sacha Baron Cohen on Borat and Bruno. Charles also tells the story of an early morning call from Ari Emanuel that pulled the plug on his Larry David documentary the day before its HBO premiere.   Also, it’s official: Paramount has settled with Donald Trump over a long-disputed 60 Minutes segment. The company agreed to pay $16 million, a move that could clear the path for David Ellison’s long-anticipated Skydance merger. Kim Masters and Matt Belloni break down what this means for Paramount’s future… and what an Ellison-led studio might look like.  

Eric Deggans chats with veteran sitcom showrunner Phil Rosenthal about the current state of the industry. The creator of Everybody Loves Raymond and host of the unscripted Netflix series Somebody Feed Phil reflects on how studios shape viewership data to fit their narratives. Rosenthal recalls challenging flawed testing at CBS early in his career and he reflects on the success of Raymond. He also shares how he pitched his food and travel series as: “Anthony Bourdain if he was afraid of everything.”     But first, we banter! As the Donald Trump-Paramount Global lawsuit continues, a mediator has floated a proposed settlement: $20 million, including a $17 million donation to Trump’s presidential foundation, plus legal fees and anti-semitism PSAs. Kim Masters and Matt Belloni unpack the latest chapter in the president’s standoff with Shari Redstone.  

Disney and Universal sued generative AI company Midjourney last week over claims that the startup plagiarized characters from their movies and shows, such as The Simpsons and Star Wars. After remaining mum on the use of AI in movies and shows so far, studios are getting involved in this debate. But why now? Kim Masters and Matt Belloni break it down.   Plus, Masters talks to GLAAD CEO Sarah Kate Ellis about the organization’s 2025 Studio Responsibility Index, which evaluates studios on LGBTQ inclusivity in films. Ellis discusses the rise of mid-budget films as spaces for queer stories and shares why she feels optimistic about the newly elected Pope Leo.  

Warner Bros Discovery is breaking into two entities: one dedicated to streaming and studios (HBO, DC, and Warner Bros Pictures) and another for global networks (CNN, TNT, TBS). What does this mean for the future of both divisions and CEO David Zaslav’s standing in Hollywood? Kim Masters and Matt Belloni unpack it all.    Plus, Eric Deggans talks with Adam Arkin about his career on both sides of the camera. Arkin shares what it was like executive producing and directing episodes of the second season of Poker Face, and the challenge of preserving the show’s distinctive tone. Plus, as the son of a legendary actor, he gets candid about the enduring nepo baby conversation.  

A shareholder revolt is underway at Warner Bros. Discovery… meaning, a 60% vote against CEO David Zaslav’s $52 million pay package for 2024. What drove the investor backlash? Meanwhile, Disney is back in layoff mode, with hundreds affected in the latest wave of budget cuts. Kim Masters and Matt Belloni explain what’s behind both moves.   Plus, Masters talks to Late Night host Seth Meyers about how his years at SNL both shaped and traumatized him. The comedian also shares how fatherhood has given him plenty of material for his standup specials — Lobby Baby and Dad Man Walking. 

As the Trump administration moves to slash NPR’s federal funding, the network and three Colorado stations have fired back with a First Amendment lawsuit. Meanwhile, Hollywood’s theatrical business is booming. Memorial Day weekend raked in $326 million — up from $132 million last year — thanks to a packed release slate. Who was the biggest box office winner over the holiday weekend? Kim Masters and Matt Belloni dive in.   Plus, Masters talks to veteran film analyst Kevin Goetz about pivoting from a steady career in acting to a decades long journey in entertainment research. Goetz sheds light on the science and art behind audience testing, and he and Masters swap stories from some infamous test screenings over the years.  

CBS News president Wendy McMahon has stepped down from her post as tensions escalate over ongoing Paramount Global-Trump settlement talks. With the deal already under scrutiny from senators, what’s in store for Shari Redstone's Skydance merger? Kim Masters and Matt Belloni dive into this and more major media shake-up stories. Plus, Masters talks to director Matt Wolf about Pee-wee as Himself, which looks beyond the iconic character to the complicated man who created him. The two-part series draws from more than 40 hours of Wolf’s interviews with Paul Reubens, who spent much of his life guarding his privacy. The filmmaker also explains how those conversations revealed Reubens’ inner conflicts and why HBO pushed for more when it came to telling the late actor’s story.

Warner Bros. Discovery has renamed its streaming service once again. Beginning in the summer of 2025, “Max” will be “HBO Max” again. The company dropped “HBO” from its name in 2023, a move which was widely recognized as the company’s attempt to become more competitive with a company like Netflix in its programming variety. The name change signals a renewed focus on the associations between HBO and a certain caliber of TV. What’s next for WBD and the streaming landscape writ large? Kim Masters and Matt Belloni are on deck to talk it through. Plus, NPR TV critic Eric Deggans talks with comedian and actor Ramy Youssef on creating #1 Happy Family USA. The new series marks Youssef’s first foray into animation. His latest comedy shares a lot of DNA with the award-winning series Ramy — drawing even more inspiration from childhood memories of growing up in a Muslim family in New Jersey post-9/11. 

President Trump stunned Hollywood over the weekend with his announcement of a 100% tariff on films produced outside the U.S., framing it as a move to revive domestic production and counter foreign incentives. The industry responded with confusion and concern, warning that such tariffs could sharply raise production costs, reduce the number of films made, and hit moviegoers with higher ticket prices. Kim Masters and Matt Belloni dig into the details. Plus, the papal conclave recently concluded to reveal the next pope — 69-year-old Chicago-native Pope Leo XIV. Masters revisits her interview with Edward Berger about his latest film, Conclave. The German director tells us how studying filmmaking at NYU in the 90s led him to an internship at the indie production company Good Machine. He also sings the praises of Netflix, which he reveals was the only financier daring enough to pay for his grim German-language war film All Quiet on the Western Front. The film went on to receive four Academy Awards, including Best International Feature Film.

The Trump administration’s scorched-earth media strategy has claimed new casualties at the Corporation for Public Broadcasting, including Sony Film Chief Tom Rothman. Meanwhile, the president’s $20 billion lawsuit against Paramount Global continues to force Shari Redstone into what could be a legacy-defining moment. But how will the CBS News staff react to a settlement with Trump? Kim Masters and Matt Belloni investigate. Plus, NPR TV Critic Eric Deggans chats with Bosch star Titus Welliver about his journey from supporting roles on police procedurals, to portraying detective Harry Bosch for a decade. He talks about his reaction when the spinoff series, Bosch: Legacy was abruptly cancelled after three seasons, and explains how he puts his executive producer credit to good use.  

60 Minutes executive producer Bill Owens has resigned amid mounting pressure on Paramount Global to settle a $20 billion lawsuit from Donald Trump. What could a deal with the president mean for Shari Redstone’s legacy? Kim Masters and Matt Belloni dive in. Plus, Masters speaks to Jared Hess about his pop-culture-shifting filmography which includes cult classics Napoleon Dynamite, Nacho Libre. He’s currently enjoying the wild success of A Minecraft Movie, as that 2025 video game adaptation careens towards a billion dollar box office haul. Hess reflects on the unpredictable nature of success in filmmaking, and says he’s especially grateful to producer Mary Parent for understanding his oddball comedic sensibilities and inviting him into the world of Minecraft.  

After opening investigations into several media companies in recent months, The FCC has found its latest target– MSNBC. Why did FCC chairman Brenan Carr claim that specific broadcasts on MSNBC were not in “public interest?” Also, what’s behind the Writers Guild’s decision to block members from working on a Martin Scorsese produced film? Kim Masters and Matt Belloni investigate.  Plus, Masters speaks with actress, activist, and filmmaker Daryl Hannah, whose new concert film, Coastal, offers an intimate look at her husband, the legendary Neil Young, on his 2023 solo tour. Hannah also recounts a painful experience with Harvey Weinstein on the Kill Bill press tour, and reveals what prompted her to proclaim “Slava Ukraini” at this year’s Oscars.

Listen to a special preview of Kim Masters’ conversation with Daryl Hannah about her documentary Coastal. The film will be in theaters worldwide for one night only, on April 17th.

As the Trump administration announces (and delays) tariffs, Hollywood is bracing itself for industry disruptions. What’s on the horizon for the entertainment industry amid erratic stock market fluctuations? Kim Masters and Matt Belloni investigate. (The Banter runs from 00:01:01 to 00:07:48.)  Plus, Masters speaks to Michael Shannon about his directorial debut, Eric LaRue. The actor tells us how the film's producers managed to quickly pack up and relocate from Little Rock to North Carolina after Arkansas enacted a strict abortion ban. Shannon also admits that despite the movie's dark subject matter, he found making it surprisingly fun. Plus, we get a taste of his R.E.M. cover band, which just wrapped a nationwide tour. (The interview segment begins at 00:07:49.)

Lionsgate touts a live performance from The Weeknd, Leonardo DiCaprio unveils explosive footage from his new Paul Thomas Anderson film, and James Gunn teases his take on Superman; Matt Belloni reports the big bets being placed by studios at CinemaCon in Las Vegas. Also, what led to the ousting of Amazon MGM Studios chief Jen Salke? Kim Masters and Matt Belloni dive in with a heaping helping of banter.     Plus, Masters speaks to Rebecca Rhine about the Entertainment Union Coalition’s fight to keep film and television productions shooting in California. Rhine explains how local production incentives work, and how they differ from the ones luring studios to spend their money in other states and overseas. She also lays out the coalition’s plan to create a surge of middle class production jobs in the golden state, and tells us how she’d feel about meeting with Trump’s special ambassadors to Hollywood: John Voight, Sylvester Stallone, and Mel Gibson.  

It’s no surprise that a majority of Gen Z prefers content creators over traditional entertainment, but can the Hollywood establishment find a way to feed the next generation’s media diet? Matt Belloni and The Hollywood Reporter’s Alex Weprin investigate.    Plus, we revisit Kim Masters’ conversation with Rob Reiner and Albert Brooks about Reiner’s HBO documentary, Albert Brooks: Defending My Life. The legendary filmmakers talk about their early years in the industry and they talk about the drastically changing landscape of entertainment.    

In Hollywood’s latest changing of the guards, Jeremy Zimmer has announced that he will be shifting from his post as CEO of United Talent Agency to executive board member. What’s behind the shuffle?  Plus, longtime Warner Bros partner, Village Roadshow recently filed for bankruptcy — even as arbitration continues over alleged financial losses due to the WB’s decision to release the Village Roadshow backed The Matrix Resurrections (2021) simultaneously in movie theaters and on Max. Kim Masters and Matt Belloni are here to unpack.   Masters also speaks to documentarian Alex Gibney about his mysterious new HBO project — The Dark Money Game. Gibney shares some big news about a change within Jigsaw (his production company). Plus, he reveals a very busy slate that includes projects on college culture wars, Luigi Mangione, and an ever-expanding documentary series about Elon Musk.   

Disney is dialing back the rollout of its upcoming live action Snow White remake starring Rachel Zegler and Gal Gadot.  Why is the studio pulling its talent from red carpet press appearances at the film’s US premiere? Kim Masters and Matt Belloni are on the case.  Plus, Masters speaks to director Lesli Linka Glatter about her Netflix limited series, Zero Day. Glatter, whose work in television includes Twin Peaks, Mad Men, and The West Wing, shares stories of being mentored by George Miller, Steven Spielberg, and David Lynch. She also reveals some of the more absurd aspects of directing for streamers.

The 97th annual Academy Awards broadcast saw a 1% increase in viewership from last year’s telecast. What’s behind the ratings boost? Might this have any  effect on where the awards show lands after ABC’s deal with the academy ends in 2028? Also, is the Disney CEO succession race heating up? Kim Masters and Matt Belloni investigate. Plus, Eric Deggans speaks with Muslim Matchmaker creator Smriti Mundhra about her diverse body of work. She has a slew of dating series spread across streamers, and has made a couple of Oscar nominated documentary shorts, including last year’s I am Ready, Warden. She also talks about working as a production secretary for the Coen brothers on the films O Brother Where art Thou? and The Man Who Wasn’t There.

Lucasfilm CEO Kathleen Kennedy has announced she will step down from her post at the end of 2025. How will this affect Star Wars? Also, Barbara Broccoli, heiress to the James Bond franchise, has sold the rights to Amazon. What could this mean for the 007 legacy? Kim Masters and Matt Belloni investigate.    Plus, NPR’s Jeff Lunden speaks to songwriters Clément Ducol and Camille about creating the musical world of Emilia Pérez. After director Jacques Audiard handed the married songwriting team a 20-page treatment, they undertook a months-long collaboration on the full script. They also speak about the multiple controversies surrounding the film — including the criticisms from GLAAD and Mexican citizens, and lead actress Karla Sofía Gascón’s bigoted social media posts.  

The ongoing Murdoch family drama is ramping up again; this time coming in the form of courtroom details released from a private trial in Nevada. Also, why is Harvey Weinstein suing his brother? Kim Masters and Matt Belloni investigate.  Plus, Masters speaks to Pamela Anderson about starring in The Last Showgirl. The actress, who says she was a shy girl from a small town in Canada, shares how a chance appearance on a jumbotron at a football game catapulted her into the world of entertainment. She also recalls that her now-former agent nearly cost her the starring role in The Last Showgirl, which has brought her a SAG-AFTRA nomination for Best Actress.

The Trump administration’s hostility toward DEI initiatives has led companies like Disney and PBS to reevaluate their stance on advocating for these principles. How will the pendulum swing affect Hollywood under the new presidential administration? Kim Masters and Matt Belloni investigate.     Plus, Masters speaks to Nick Park and Merlin Crossingham, the co-directors of Wallace and Gromit: Vengeance Most Fowl. Park and Crossingham share how they balanced claymation, a notoriously time-consuming medium, with modern filmmaking tools in the latest Wallace and Gromit adventure. And the pair explains why animating even a mostly motionless character — like the menacing criminal mastermind Feathers Mcgraw — is surprisingly difficult.  

Listen to a special preview of Jeff Lunden's conversation with Clément Ducol & Camille on their songwriting process for 'Emilia Pérez.'

The FCC has published the raw transcript of a 60 Minutes interview with Kamala Harris following Donald Trump’s claims of CBS commiting “election interference.” What’s behind the president’s attack on the network? Also, Kim Masters and Matt Belloni dive into the Emilia Pérez controversy as the film’s director speaks out against his leading actress.      Plus, Masters speaks to Jesse Eisenberg about his Oscar nominated A Real Pain. The film's writer, director, and co-star talks about the challenges of capturing the complicated feelings of the descendents of holocaust survivors while still including humor. They also talk about the special relevance that Majdanek–the concentration camp the two cousins visit in the film–has for Masters.  

Matthew McConaughey and Woody Harrelson star in an ad asking Texas legislators to create incentives for productions to shoot in their home state. What’s behind the decision to drop the video, which pulls no punches against Hollywood, as Los Angeles seeks to rebuild after the devastating fires? Kim Masters and Matt Belloni investigate.   Plus, Masters speaks to producer Marc Platt about his Oscar nominated film, Wicked. Platt shares how his career as an entertainment lawyer led to running studios like Orion Pictures, Tristar, and Universal Pictures. He also talks about producing the original broadway production of Wicked, and the long journey that led to him hiring Jon M. Chu to direct the show’s film adaptation.  

Netflix had a strong fourth quarter, adding 19 million subscribers to the streaming service before raising subscription prices across the board. Also, leaked footage muddies the water in the ongoing Blake Lively/Justin Baldoni war, and Trump announces a $500 billion AI initiative with Larry Ellison and Sam Altman. Will the project help or hurt Ellison’s stake in his son David’s purchase of Paramount? Kim Masters and Matt Belloni investigate.  Plus, Masters is joined by Scott Feinberg, The Hollywood Reporter’s Executive Editor of Awards, to break down who’s in and who’s out in this year's Oscar nominations.

Hollywood responds to a perceived lack of urgency from Los Angeles Mayor Karen Bass, a new twist develops in the Blake Lively/Justin Baldoni feud, and Donald Trump is unhappy with Comcast after comedian Seth Meyers makes fun of the incoming president. Kim Masters and Matt Belloni are here to help us all make sense of this relentless week.    Plus, we revisit our conversation between Masters and Sing Sing director Greg Kwedar. Everyone involved in the production was paid the same daily rate, a model that Kwedar hopes could bring more parity to film sets. The movie stars Colman Domingo as a wrongly-convicted man staging a play inside the real Sing Sing prison. Much of the cast includes formerly incarcerated actors playing versions of themselves.  

Warner Bros. has parted ways with its marketing chief and president of international distribution. What’s behind the shakeup at the studio and how does that affect the company’s slate of 2025 releases? Kim Masters and Matt Belloni dive in.    Plus, Masters speaks to The Brutalist co-writer & director Brady Corbet and co-writer Mona Fastvold. The pair talk about the seven-year battle to get their post war epic to the big screen. They also explain their audacious decision to make a three and a half hour film with an intermission, share thoughts on the state of the country, and Corbet reveals his thoughts about Trump’s plans to demolish brutalist federal buildings.  

The feud between Blake Lively and It Ends with Us director Justin Baldoni continues to unfold. What's going on here? Kim Masters and Bloomberg's Lucas Shaw investigate.Plus, Masters speaks to Nosferatu writer-director Robert Eggers and Focus Features chairman Peter Kujawski. The pair talk about their long partnership, which spans the director's entire career. Eggers also talks about winning over seasoned crews who have years more experience than he does, and why a little humor goes a long way in a movie like Nosferatu.

As 2024 comes to an end, we want to thank you, our listeners! We asked you to send us your burning questions about the industry, and you delivered – from around the world. Kim Masters and Matt Belloni dish it out over everything from the mind numbing amount of trailers before movies, to the surprising reason behind FYC billboards – we’re looking at you, studio execs. Did we answer your question in our first ever listener mailbag? Tune in to find out!

As 2024 comes to an end, we want to thank you, our listeners! We asked you to send us your burning questions about the industry, and you delivered – from around the world. Kim Masters and Matt Belloni dish it out over everything from the mind numbing amount of trailers before movies, to the surprising reason behind FYC billboards – we’re looking at you, studio execs. Did we answer your question in our first ever listener mailbag? Tune in to find out!

It’s that time of year again and we are serving up a heaping plate of 2024 Megabanter! The Paramount–Skydance merger finally lands, streamers and legacy studios duke it out for sports rights, Bob Iger makes his moves while the Disney board ramps up its succession race, and linear television continues to decline — what’s the story of the year? Banter buddies Lucas Shaw and Matt Belloni join Kim Masters to figure it out.

Rupert Murdoch wants to update his family trust in favor of his son Lachlan, who runs the Fox News empire. What’s behind Nevada commissioner Edmund J. Gorman Jr.’s decision to block the move? Kim Masters and Matt Belloni investigate.  Plus, Masters talks to documentarian Nic Stacey about his Netflix film, Buy Now! The Shopping Conspiracy. The London-based filmmaker tells us how he managed to pull together an impressive roster of whistleblowers from top companies such as Amazon, Adidas, and Apple. He also says that working with Netflix’s U.K. team was a breeze, despite the documentary’s focus on tech giants. Stacey also explains why he chose to use an AI narrator named “Sasha” to guide viewers through the film.

Gail Slater is Donald Trump’s pick to head the Justice Department's antitrust division. As she gears up to oversee cases against major tech companies like Google and Apple, how will the veteran antitrust lawyer view future mergers in Hollywood? Kim Masters and Matt Belloni dive in.  Plus, Masters speaks to journalist Jacob Soboroff and documentarian Errol Morris about their film Separated, a sobering look at the Trump Administration’s 2017 child separation policy. They have a lot to say about those who were complicit in tearing thousands of children away from their families. Plus, Soboroff weighs in on Comcast’s refusal to release the film before the election.

Kim Masters and Matt Belloni take a look at the forthcoming Thanksgiving weekend box office projections and examine the unauthorized use of screenplays to fuel AI learning models. Plus, Eric Deggans sits down with Grammy-winning songwriter Evan Bogart to discuss the state of the music industry — which Bogart assures us is “not all bad.” Bogart goes on to detail how independent artists are benefiting from major label consolidations and reorgs. Plus, he tells us the story of how he discovered Eminem while as a 19 year-old Interscope Records employee.  

Comcast is set to spin off a slew of cable channels including E!, SYFY, MSNBC, and CNBC. What’s behind the move? Plus, the big announcement also brings with it the news of a long anticipated promotion for NBCUniversal executive Donna Langley. What does she have in store for the company in her new role?  Kim Masters and Matt Belloni dive into the latest at Comcast.  Plus, NPR’s Jeff Lunden speaks to playwright Winnie Holzman and composer Stephen Schwartz about the long-anticipated film adaptation of their hit stage show Wicked. Among other pressing topics, they’re sharing what drove the decision to split the story into two movies.

Disney’s streaming numbers soar as announced in the company’s earnings report earlier this week, but questions remain in the ongoing search for a new CEO. Also, what’s next for the company’s Film and Parks divisions? Matt Belloni and Kim Masters break down Disney’s Q4 earnings report. Plus, Masters speaks to Edward Berger about his latest film Conclave. The German director tells us how studying filmmaking at NYU in the 90s led him to an internship at the indie production company Good Machine. He also sings the praises of Netflix, which he reveals was the only financier daring enough to pay for his grim German-language war film All Quiet on the Western Front. The film went on to receive four Academy Awards, including Best International feature film.

Brian Jordan Alvarez and Stephanie Koenig made the jump from YouTube to Hulu's 'English Teacher.' Introducing a KCRW original podcast we think you'll enjoy, The Sam Sanders Show. Watch the full episode on YouTube or follow the show here. 

Warner Bros. unceremoniously released Clint Eastwood’s Juror #2 in less than 50 theaters nationwide, but the mid-budget film has exceeded expectations. After a strong limited opening, the film will see a modest expansion and a light awards push from Warner’s. What prompted the studio to bury what could potentially be the last film from the 94 year old director? Kim Masters and Matt Belloni investigate.  Plus, Eric Deggans talks to Lauren LeFranc about creating the HBO mini series, The Penguin. The writer discusses the challenges of adapting a well known comic book villain into a complex, three dimensional character and she shares why her perspective as a woman writing a show about a middle-aged crime boss makes for interesting storytelling. And of course, she talks about the joys of working with Colin Farrell, who is both the star of the show and an involved executive producer.

As Greta Gerwig prepares to dive into production on her adaptation of The Chronicles of Narnia, the director is attempting to persuade Netflix to release her film on thousands of IMAX screens worldwide. Will the streamer bite? Also, Gavin Newsom proposes an increase in tax credits for California productions. What hurdles does the California governor face? Kim Masters and Matt Belloni talk us through it.  Plus, Eric Deggans talks to comedian Roy Wood Jr. about hosting the American version of the long-running British current events quiz show, Have I Got News For You. Wood also addresses the ongoing paradigm shift in late night comedy — telling us why he thinks old-school ratings matter, but social virality and streaming numbers matter more.

Matt Belloni and Lucas Shaw dive into the impressive Q3 earnings posted by Netflix… And whether the streamer can fine tune its film strategy to achieve even further world domination.  Plus, Kim Masters speaks to Chris Sanders, the writer and director of The Wild Robot. The veteran animation director acknowledges the good and not so good impact of CG animation, talks about his experience of working at Disney during the studio’s famed Renaissance period, and explains why he left the studio to work at Dreamworks after John Lasseter took over Disney Animation in 2006. Plus, Sanders discusses his very special relationship with Stitch, of Lilo and Stitch.

As David Ellison’s Skydance merger with Paramount begins, studio executives have been given some serious incentives to stick around through the transition process. Matt Belloni and Lucas Shaw examine the latest happenings at the studio.  Then, Kim Masters wraps a two-part conversation between The Apprentice writer Gabriel Sherman and Briarcliff Entertainment founder Tom Ortenberg. Sherman shares how billionaire Trump supporter Dan Snyder helped finance the project without reading the script… And he also shares how Snyder was bought out of the project once he saw an early screening and realized that the film was far too critical for his taste. Plus, Ortenberg reflects on the death threats he’s encountered over the years due to his propensity for distributing controversial movies.

Kim Masters and Matt Belloni examine MSNBC’s decision to hold Errol Morris’ immigration documentary Separated until after the 2024 presidential election. They also unpack the various factors that led Todd Phillips’ Joker sequel to flop. Plus, Masters speaks with writer Gabriel Sherman and Briarcliff Entertainment founder Tom Ortenberg in the first of a two part conversation about The Apprentice. Sherman tells us about the risks he’s undertaken in making a movie about prominent attorney Roy Cohn’s mentorship of a young Donald Trump. And he describes how a cease and desist letter from Trump put the project’s future in jeopardy. Plus, Ortenberg talks about the sprint to get the film to theaters just a month after establishing the distribution deal with his company.

As Sony Pictures CEO Tony Vinciquerra prepares to step down from his post in 2025, Kim Masters and Matt Belloni take a look at the company’s succession plans.  Plus, Masters speaks to Academy Award winning actress Kate Winslet about producing and starring in Lee, the true story of pioneering photojournalist Lee Miller. Winslet discusses the nine year uphill battle of getting the film off the ground — including sourcing financing and pulling together a cast that includes Alexander Skarsgård, Andrea Riseborough, Josh O’Connor, and comedian Andy Samberg in his first dramatic role.

With news of Lionsgate partnering with an AI mining firm and Meta’s new AI chatbot voiced by celebrities, Matt Belloni and Lucas Shaw break down the latest industry forays in the world of artificial intelligence.  Plus, Kim Masters speaks to Demi Lovato and Nicola Marsh about their new documentary, Child Star. The co-directors explain the challenges of persuading some of the best known former child stars—including Drew Barrymore, Raven-Symoné, and Kenan Thompson—to share their deeply personal experiences as young performers.

In the wake of Disney’s big night at the Emmys, Kim Masters and Matt Belloni take a look at the New York Times article chronicling the chaotic succession endeavors at Disney. Plus, Masters speaks with writer-director J.T. Mollner and producer Roy Lee about their cat-and-mouse thriller Strange Darling. The film currently sits at 95% on Rotten Tomatoes and was called a “clever masterpiece” by Stephen King. But the road to such acclaim was not an easy one for the filmmakers. Mollner and his producers faced constant pushback from studio executives at Miramax, including having production shut down two days into shooting. Plus, the pair tells us about editorial clashes in post-production that would ultimately result in Mollner being given final cut.

Kim Masters and Matt Belloni break down a letter signed by hundreds of SAG-AFTRA members calling on union leaders to protect Pro-Palestine members from being blacklisted.  Plus, Masters speaks to Warsaw-based filmmaker Maciek Hamela, whose documentary In The Rearview traces the stories of refugees fleeing Ukraine. The film originated from Hamela’s personal experience of repeatedly driving into the war-torn country in a small van, picking people up, and driving them to safety in his native Poland.

Kim Masters and Matt Belloni examine the secret battle for succession among the family of billionaire Rupert Murdoch. They also take a look at a curious Wall Street Journal profile on Disney Parks Chairman Josh D’Amaro.  Plus, we revisit Masters’ conversation with writer Justin Kuritzkes about the rollout of his first screenplay, Challengers, now a full-fledged film directed by Luca Guadagnino. He talks about how the Zendaya-led project was inspired by a US Open match that eventually led to him becoming a tennis obsessive. And he shares how he and his wife Celine Song — who experienced a similar career whirlwind last year with her Oscar-nominated feature Past Lives — manage to keep their work separate from their relationship.

Kim Masters and Matt Belloni banter about the summer box office, noting that it started with a whimper but is ending with a bang thanks to a sequel and two superheroes. Edgar Bronfman Jr. has withdrawn his bid for Paramount, and as the Venice Film Festival kicks off, Italy's increasingly right-wing government is courting Hollywood productions. Additionally, Meg LeFauve and Dave Holstein, the writers of the Pixar megahit Inside Out 2, join Kim Masters to discuss the importance of putting animated movies in theaters instead of only on streaming platforms — as former Disney CEO Bob Chapek did during his tenure. They also address whether the culture at Pixar has changed since John Lasseter’s 2018 departure amid misconduct allegations.

Matt Belloni and Alex Weprin discuss Edgar Bronfman Jr.'s unexpected bid for Paramount Studios, challenging the existing agreement with Skydance Media. Plus, Slow Horses kicks off its new season with nine Emmy nominations, including Best Drama Series and Best Actor in a Drama for Gary Oldman. Eric Deggans revisits his interview with Oldman, where the actor shares insights into his career, the challenges of his craft, and what drew him to his latest role. This conversation offers a fascinating glimpse into the life of one of Hollywood's most acclaimed actors.

Kim Masters and Matt Belloni discuss recent Hollywood developments, including Joaquin Phoenix's sudden exit from a film just days before shooting and Paramount Pictures' decision to shut down a studio and layoff 2,000 workers. The industry grapples with uncertainty as Paramount and other major players navigate shifting dynamics.  Plus, NPR’s TV critic and media analyst, Eric Deggans speaks with ‘Dear White People’ creator Justin Simien. His new docuseries Hollywood Black chronicles over a century of Black experiences in Hollywood, exploring the contributions of Black actors, writers, and directors. Simien discusses the pivotal pioneers like Donald Bogle and Oscar Micheaux while sharing personal insights on navigating racial barriers in the industry. 

Kim Masters and Matt Beloni discuss Hollywood’s second quarter earnings reports. Disney turned an early profit for streaming service ESPN+, but amusement park attendance still worried Wall Street. Meanwhile, Warner Bros. Discovery cites struggling TV business for $9 Billion loss.  Plus, Kim Masters speaks with filmmaker Greg Kwedar about his new film “Sing Sing.” Everyone involved in the production was paid the same daily rate, a model that Kwedar hopes could bring more parity to film sets. The movie stars Colman Domingo as an wrongly-convicted man staging a play inside the real Sing Sing. Much of the cast includes formerly incarcerated actors who play versions of themselves.

Kim Masters banters with Bloomberg’s Lucas Shaw about the future of Apple’s place in the streaming landscape. Apple TV+ has produced some of the most expensive series and movies in recent years. Now, the company wants to reign in spending after struggling to grow their audience. Plus, The Daily Show’s Jordan Klepper joins us to talk about mining comedy from the increasingly “bonkers” political news. These days, he travels with a security team to report on MAGA rallies, a situation he never anticipated as an improv comedian. Klepper also shares his thoughts on the future of late night television. Episode Photo: (Full sentence caption + credit) Photo captions should be formatted as "Photo by __" whoever took the photos. Or "Photo courtesy of ____" if the person provided the photo and or did not take the photo.

It’s been more than two years since anyone watched the second season finale of HBO’s “Euphoria.” Season three was delayed by the strikes that shut down Hollywood, and a series of dramatic events surrounding the creator Sam Levinson. The network has confirmed its return, but will the audience stay tuned-in? Plus, Comcast and its streaming service Peacock are hoping the Olympic games can reverse a recent subscriber shrinkage. It’s just one example of the television industry’s troubles. Low production, delayed premieres and a sense of uncertainty have plagued T.V. land this year. Kim Masters speaks with the Hollywood Reporter’s Scott Feinberg about what the latest Emmy nominations say about the state of the industry. Then NPR’s Eric Deggans breaks down what he learned at this month’s gathering with the Television Critics Association.

The 2024 Emmy nominations are here, with lots of record-breaking nods and surprises to unpack — along with the strategy behind Disney’s acquisition of FX. What does the success of Shōgun and The Bear say about streaming? And does a new Bank of America report on Warner Bros. Discovery suggest… “unbundling”? Kim Masters and Matt Belloni break it down.  Plus, in honor of Shōgun’s 25(!) Emmy nominations, Masters revisits her conversation with creators Justin Marks and Rachel Kondo. The series made history this week with its Emmy nomination for Outstanding Drama, becoming only the second non-English show ever considered. The husband-and-wife creative team talk about how they’ve been granted more control writing for television over feature films, and explain why FX took the risk on their very expensive, and heavily subtitled, period epic.

Kim Masters and Matt Belloni discuss the Paramount-Skydance merger. They also look at CNN’s digital future after the company lays off 100 employees, and weigh in on Kevin Costner’s sad “Horizon” rollout.  Plus, Masters speaks to Muta’Ali, director of the HBO documentary “MoviePass, MovieCrash.” The filmmaker talks about his desire to center the story of the company’s two Black founders, while detailing the complex business dealings that led to MoviePass’s meteoric rise and fall.  

Kim Masters and guest Banterer Lucas Shaw of Bloomberg News discuss the latest twist in the Paramount saga: Just after billionaire Barry Diller raised his hand as a potential buyer, the Skydance-Paramount deal is resurrected from the dead. Plus, Masters returns with an encore of her 2021 interview with Paul W. Downs and Jen Statsky, two of the three showrunners behind the award-winning HBO Max series "Hacks." Downs and Statsky talk about how lead actress Jean Smart insisted the cameras keep rolling when her husband passed away with a week of shooting the first season left.

Kim Masters and Matt Belloni discuss the tentative deal reached by the major Hollywood studios and IATSE, the union representing below-the-line workers. They also break down NBC’s effort to boost streaming numbers with Olympics recaps from an A.I.-generated version of sports broadcaster Al Michaels. Plus, Masters speaks to Lance Oppenheim, director of the new HBO docu-series Ren Faire, about honing his intimate, uniquely collaborative style of filmmaking, and his interest in subjects who become “entombed” by their own fantasies. The filmmaker also talks about how he cold emailed his way into director Darren Aronofsky’s inner circle. 

Kim Masters and Matt Belloni examine the dissolution of the Paramount-Skydance merger after Shari Redstone calls it quits on the deal. They also discuss Sony’s purchase of Alamo Drafthouse theaters. Plus, Masters speaks to Rob Reiner and Albert Brooks about Reiner’s HBO documentary, Albert Brooks: Defending My Life. The legendary filmmakers talk about their early years in the industry and they talk about the drastically changing landscape of entertainment. 

Kim Masters and Matt Belloni examine the complicated situation developing at Paramount as controlling shareholder Shari Redstone determines the future of the company.  Plus, Eric Deggans speaks to comedian and Chappelle’s Show co-creator Neal Brennan about his Netflix standup special, Crazy Good. Brennan talks about what he and friends Dave Chappelle and Chris Rock have taught each other about their craft over the years, and he argues that people shouldn’t always care what comedians have to say.

Kim Masters and Matt Belloni break down the latest NBA news at Warner Bros. Discovery. They also discuss activist investor Nelson Peltz’s decision to sell his entire stake in Disney, and why Netflix CEO Ted Sarandos thinks last summer’s biggest theatrical hits would have fared as well on the streamer.  Plus, Masters speaks to the head of domestic distribution at Paramount, Chris Aronson. The long-serving executive explains why he believes that movie theaters will survive despite industry-wide gloom over waning box office numbers, and he argues that the lack of consensus about the length of the theatrical window isn't helping consumers or studios.

A frighteningly lackluster summer box office, human ScarJo dukes it out with OpenAI’s ‘definitely-not-supposed-to-sound-like-ScarJo’ ScarJo, and the movies making noise at this year’s Cannes Film Festival–not necessarily in a good way. Kim Masters and Matt Belloni break down this week’s news in a special Spring Megabanter episode of The Business.

Kim Masters and Matt Belloni break down the biggest stories to come out of the 2024 Upfronts. They also take a look at the latest streaming bundle announcement between Netflix, Apple TV+, and Peacock. Plus, Masters speaks with Jane Schoenbrun about their film, I Saw the TV Glow. The director talks about how growing up in the suburbs was the inspiration for the sinister setting in their A24-backed film, produced by Emma Stone and husband Dave McCary. Schoenbrun also shares why the nuances of gender and identity play a major role in their work, and how they realized they were transgender after taking a mushroom trip with friends.

Kim Masters and Matt Belloni discuss the latest at Warner Bros. Discovery following the company’s Q1 earnings report. They also dive into the announced streaming package bundling Max, Disney+, and Hulu. Plus, Eric Deggans speaks to writer Russell T Davies about the new season of Doctor Who on Disney+. Davies talks about casting Sex Education’s Ncuti Gatwa as the latest Doctor, why having Disney on his side is such a big deal, and he explains why he thinks writing Doctor Who is one of the hardest jobs in television.

Kim Masters and Matt Belloni discuss why Comcast’s proposed bid for NBA TV rights put Warner Bros. Discovery in a tight spot. They also get into the latest at Paramount as a potential merger inches closer.  Plus, Eric Deggans speaks to legendary actress Pam Grier about her storied career in filmmaking and appearing in Prime Video’s horror anthology series, Them. The pioneering female action star explains the origins of the term “Blaxploitation” and shares how she accidentally left Quentin Tarantino hanging for three weeks after he sent her his script for Jackie Brown.

Kim Masters and Matt Belloni examine the surprising decision made by the New York State Court of Appeals to overturn Harvey Weinstein’s 2020 rape conviction.  Plus, Masters speaks to writer Justin Kuritzkes about the rollout of his first effort at writing a movie, Luca Guadagnino’s Challengers. He talks about how the Zendaya-led film was inspired by a particular US Open match that turned him into a tennis obsessive. And he shares how he and his wife, Celine Song — known for her Oscar-nominated Past Lives — manage to keep their work separate from their relationship.

Kim Masters and Matt Belloni take a look at Jeff Skoll’s decision to close Participant Media after 20 years. And the banter partners break down why two congress members sent a letter addressed to the heads of Disney, Fox, and Warner Bros. Discovery about their in-development joint sports streamer affectionately nicknamed “Spulu.”  Plus, Masters speaks to Mary Robertson and Emma Schwartz about their investigative documentary series, Quiet on Set: The Dark Side of Kids TV. The filmmakers talk about working with Business Insider contributor Kate Taylor to uncover years of inappropriate behavior that took place on the sets of Nickelodeon producer Dan Schneider. They also share how Investigation Discovery went from ordering a three episode series to five episodes with more on the way as the cameras continue rolling.

Kim Masters and Matt Belloni dive into the challenges faced by legendary filmmaker Francis Ford Coppola as he struggles to find distribution for his self-financed passion project, Megalopolis. The Banter partners also take a look at the risks behind David Ellison’s bid to acquire Paramount parent company National Amusements. Plus, Eric Deggans speaks to comedian Mike Birbiglia and documentary filmmaker Eddie Schmidt about their new special, Good One: A Show About Jokes. They share how they approached adapting a popular Vulture podcast into their Peacock special, and talk about sticking with the truth in autobiographical comedy following allegations that Hasan Minaj falsified elements of his award-winning special Homecoming King.

Kim Masters and Matt Belloni take a quick look at Ari Emanuel-led Endeavor going private, and the banter partners break down the outcome of the long battle between Nelson Peltz and Disney.  Plus, on this special episode of The Business, Kim Masters speaks to director James Hawes about his film One Life, which tells the story of Sir Nicholas Winton, who saved more than 600 children, including Masters’ own mother, from Nazi-occupied Czechoslovakia. Hawes talks about how after years as a television director, he found his feature directorial debut in One Life, and Masters shares her deeply personal family stories connected to Winton’s rescue efforts.

Kim Masters and Matt Belloni report on the latest in the Disney proxy battle, and the banter partners examine the outrage of NBC staff following the brief, yet confounding, hiring of former RNC chair Ronna McDaniel. Plus, Masters speaks to writers Justin Marks and Rachel Kondo about their FX limited series, Shōgun. The husband and wife creative team talk about how they’ve been granted more control writing for television over feature films. They also explain why the risk FX took on their very expensive—and heavily subtitled—period epic tops any hurdles they experienced on the show’s massive production.

Matt Belloni and Lucas Shaw examine four Disney executives poised to take the throne in 2026 following CEO Bob Iger’s proposed retirement.   Plus, we revisit our conversation with Steven Yeun, who joined Kim Masters to talk about his Emmy winning limited series, Beef. The actor talks about his initial fears of not living up to expectations after being cast in what would become an Academy Award-nominated performance for Minari, why he and his Beef co-star Ali Wong broke out in hives after production wrapped, and how Netflix approached the A24 limited series with an offer that was too good to turn down.

Kim Masters and Matt Belloni discuss the alleged years of abuse and inappropriate behavior on Nickelodeon sets as shown in ID’s new docuseries, Quiet on Set: The Dark Side of Kids TV.  Plus, Eric Deggans talks to actors Andrew Lincoln and Danai Gurira about reprising their breakout roles as Rick and Michonne Grimes on The Walking Dead: The Ones Who Live. Gurira shares why writing an episode of the new spinoff series opened her eyes to the challenges of writing for television, and co-star Lincoln talks about how streaming affected the flagship show’s viewership over the years.  

Kim Masters and Matt Belloni examine the latest developments in the Disney proxy fight. They also take a look at a peculiar lawsuit filed against CBS Studios and Paramount.  Plus, Masters speaks to writer Tony McNamara about his Academy Award-nominated screenplay for the Yorgos Lanthimos film, Poor Things. He talks about how he and Lanthimos managed to take a book about Scottish nationalism and turn it into their film, which is nominated for 11 Academy Awards this weekend. He also shares why he likes splitting his time between film and TV, and why the voices he hears in his head dictate how he writes a screenplay.

Kim Masters and Matt Belloni break down the latest executive hires at Netflix and Disney. They also take a look at Kevin Costner’s ambitious plans to theatrically release a four-part film saga set in the Old West.  Plus, NPR contributor Jeff Lunden speaks to composer Laura Karpman about her work on two vastly different 2023 films: the Disney juggernaut The Marvels, and Cord Jefferson’s sharp comedy-drama, American Fiction, which led to her first Academy Award nomination.

PREVIEW: Kim Masters speaks to writer Tony McNamara, who adapted a 1992 Alasdair Gray novel into the Oscar nominated Yorgos Lanthimos film, Poor Things. Tune in to The Business on March 8th to hear the full interview with McNamara, where he shares how his toddler inspired him to write Emma Stone’s favorite line in the Academy Award nominated screenplay.  

Kim Masters and Matt Belloni examine FuboTV’s $1 billion lawsuit seeking to halt the development of the recently announced Fox, Disney, and Warner Brothers Discovery sports streaming service. They also take a look at Sony’s struggles with live action Marvel films. Plus, Masters speaks to filmmaker and war correspondent Mstyslav Chernov about his documentary, 20 Days in Mariupol. The BAFTA-winning director shares how an Associated Press assignment in war-torn Ukraine turned into a devastating Oscar contender for best documentary. He also talks about the importance of keeping the world’s eyes on the war in Ukraine.

Kim Masters and Matt Belloni examine the latest updates in the Disney proxy vote saga. Also, has peak TV officially ended? The banter partners break down FX chairman John Landgraf’s recent remarks on the current state of television.   Plus, Masters speaks to Oppenheimer writer and director Christopher Nolan and American Prometheus co-author Kai Bird about adapting the film’s Pulitzer Prize winning source material. Bird talks about the 25 years it took to complete the sprawling biography with co-author Martin Sherwin, and Nolan shares how he approached adapting their 700-page book into a summer blockbuster hit.

Kim Masters and Matt Belloni take a look at the big surprises revealed during Disney’s Q1 earnings call. They also dive into the announcement of ESPN, Warner Bros. Discovery, and Fox’s joint sports streaming service set to debut this year. Plus, Masters speaks to writer-director Ed Zwick about his new memoir, Hits, Flops and Other Illusions: My Fortysomething Years in Hollywood. The filmmaker shares lessons learned from his decades-spanning career in the industry, and he reads excerpts from the book, including stories from the making of the 1989 film Glory and how he nearly directed an early iteration of Shakespeare in Love, which he would later end up producing and winning an Oscar for Best Picture.

Kim Masters and Matt Belloni examine media mogul Byron Allen’s offer to acquire Paramount Global. They also take a closer look at the Netflix-WWE deal in the wake of WWE founder Vince McMahon’s resignation following allegations of battery and sex trafficking. Plus, Masters is joined by The Hollywood Reporter’s Executive Awards Editor Scott Feinberg to discuss the frontrunners, surprises, and snubs of the 2024 Academy Awards.

Kim Masters and Matt Belloni examine the latest happenings at Netflix and Jon Stewart’s surprise return to The Daily Show.  Plus, Masters speaks with Matthew Heineman about directing American Symphony. The filmmaker describes the process of documenting musician Jon Batiste and his wife Suleika Jaouad through her battle with leukemia. Heineman also shares how he snuck into the Grammys to film Batiste’s big night, and how he whittled down 1,500 hours of footage into the film that ended up being acquired by Netflix and the Obamas’ production company, Higher Ground.

Kim Masters and Matt Belloni look into the Tom Cruise-Warner Bros. deal and what that means for his projects at Paramount.  Plus, Masters speaks to Jon Batiste about being the subject of American Symphony. The musician explains how the documentary was originally conceived to follow his composition and performance of a symphony, but following his wife’s recurrence of leukemia, the project evolved into an intimate portrait of the couple coping with a life-threatening illness. Batiste shares how director Matthew Heineman spent eight months with the couple, resulting in over 1500 hours of footage, a premiere at Telluride, and distribution by Netflix.

Kim Masters and Matt Belloni take stock of layoffs at Amazon as a result of consolidation and reorganizing across its studios. Eric Deggans speaks to Fargo creator Noah Hawley about the fifth season of his anthology series. The writer and director talks about the challenges of writing 51 hours of television based on the Coen Brothers film of the same name. He also teases his upcoming FX series based on Ridley Scott's Alien franchise.

Eric Deggans speaks to Gary Oldman about starring in Apple TV+’s spy thriller series, Slow Horses. He also talks about the joys of briefly reuniting with Christopher Nolan in Oppenheimer, how he worked around being typecast in over-the-top roles, and why he’s considering stepping away from acting after Slow Horses wraps.  Plus, the Disney proxy fight continues, with CEO Bob Iger gearing up to stave off advances from activist shareholder Nelson Peltz, former Marvel chairman and CEO Ike Perlmutter, and former Disney exec Jay Rasulo. 

What will 2024 hold for Paramount, Warner Bros. Discovery, Disney, Netflix, and mega-agencies CAA and Endeavor?

Hollywood’s messy year: Strikes disrupted show biz, the box office surprised, studios and execs struggled, and streamers started licensing. Kim Masters, Matt Belloni, and Lucas Shaw look into the main Hollywood events of 2023.

Netflix released its first report revealing viewership patterns. Why does it matter? What does the data reveal — and what happens next? Then, Past Lives writer-director Celine Song and producer Christine Vachon discuss Song’s foray into filmmaking, their partnership, and the journey of the awards circuit.

SAG-AFTRA members ratify a three-year contract with studios. Plus, actors promote work post-strike, studios license content, and streamers bundle services. Then, Kim Masters revisits a 2014 conversation with legendary television producer Norman Lear, who died Dec. 5 at the age of 101. The force behind TV shows like All in the Family, Maude, Good Times and Mary Hartman, Mary Hartman, among many others, Lear discusses his memoir Even This I Get to Experience, and shares stories about how he got his first job in television and the line that almost caused CBS to pull the plug on All in the Family.

Disney CEO Bob Iger talks about the company’s many struggles, including his succession, selling ABC, and Marvel troubles during the New York Times’ DealBook Summit. Then, we’re taking it to Broadway: Contributor Jeff Lunden speaks to Tony-winning producers Stewart F. Lane and Bonnie Comley about their streaming platform, BroadwayHD. Lunden also talks with Waitress star Sara Bareilles and producer Jessie Nelson about the live capture and theatrical distribution of their hit musical show.

Kim Masters and Matt Belloni discuss what’s shaping up to be a lean holiday box office and what success for movies looks like — and how it’s perceived — when it comes to theatrical versus streaming releases. Then, filmmaker and SAG-AFTRA generative AI advisor Justine Bateman joins to share her concerns over the union's new contract, while Chief Negotiator Duncan Crabtree-Ireland explains why it’s the best deal possible.

WBD is looking for a buyer for its Coyote vs. Acme film. Can it find one? Plus, an AI-generated Édith Piaf biopic is in the works at Warner Music. Filmmaker Kristoffer Borgli talks with Kim Masters about his Nicolas Cage-led film, “Dream Scenario,” directing commercials, and how the Norwegian Film Institute unknowingly funded his projects conceived in LA.

SAG-AFTRA reaches a tentative deal with studios after 118 days on strike. Was the deal a win? What is in it? Plus, WBD and Disney earnings news. Legendary sitcom director James Burrows talks with Eric Deggans, NPR TV critic and guest-host on The Business, about the revival of Frasier, his directing career, and whether sitcoms can endure on streaming services.

First, HBO CEO Casey Bloys asked staffers to create fake Twitter accounts to fight critics of the network. What’s all the attention about? Plus, Disney is finally buying Hulu. Actress-comedian Leslie Jones discusses her tell-all memoir, overcoming personal and career obstacles, and her relationship with ‘SNL’ creator, Lorne Michaels.

The actors’ strike forges on as Hollywood reckons with the impact of the Hamas-Israel conflict and streamers raise prices — again. NPR TV Critic Eric Deggans talks with comic-book-author-turned-showrunner Robert Kirkman about the new animated adaptation of his print series Invincible, modernizing the superhero genre, and why he’s not worried about comic book adaptation fatigue.

The CEO of Endeavor, Ari Emanuel, attacked rival Bryan Lourd, head of the talent agency CAA, at Bloomberg’s Screentime conference. What’s behind the feud?  Documentarian Ken Burns talks about his latest project, The American Buffalo,  his career, financing projects, and controversies, including a recently surfaced photo of him posing along Clarence Thomas and David Koch.

Taylor Swift’s The Eras Tour concert film is out in theaters. Was this a good deal for Swift and AMC? And will this become a trend with other artists? This week on The Business, Kim Masters revisits an interview with Sterlin Harjo, co-creator of the hit comedy series Reservation Dogs on FX.

As the actors’ strike continues, Netflix announces a price hike. What does this mean for subscribers and the streamer?  Then, Oscar-winning costume designer Ruth E. Carter talks about her new book, collaborating with Spike Lee and Steven Spielberg, and the joys and challenges of costume designing for Black Panther.

WGA leaders reached a deal this week with Hollywood studios, ending 148 days of work stoppage. What did they get? Where did they compromise? And will SAG-AFTRA be next? Plus, director Gareth Edwards discusses his new AI-centric film The Creator and its timeliness within our current cultural climate. He also gets real about behind-the-scenes drama on Rogue One: A Star Wars Story.

First, Rupert Murdoch has announced that he is stepping down as the head of both Fox Corp. and News Corp. What will this mean for the Murdoch family line of succession? Plus, Warner Brothers Discovery announces a new paid tier to offer live sports coverage on Max. Then, Ladies First executive producer Dream Hampton talks to NPR’s Eric Deggans about why she doesn’t hesitate to call out misogynists by name in her new documentary series spotlighting women in hip-hop. Plus, she gets real about initially not wanting to do the project at all.

First, what lasting damage to the entertainment industry will the extended impasse between striking Hollywood creatives, and the Alliance of Motion Pictures and Television Producers leave in its wake?  Then, in an encore interview, Navalny director Daniel Roher and investigative journalist Christo Grozev discuss how they came to pursue a film about Alexei Navalny, Russian opposition leader. They also talk about the risks they faced to make the Oscar-winning documentary, and the eventual arrest and sentencing of the politician in Russia. 

First, the Walt Disney Co. has pulled all programming from Charter Spectrum in early September. What ripples does this create for Disney, other networks, and the cable industry? Then, Reservation Dogs director Danis Goulet talks about working on the final season of the FX hit, representation in Hollywood, and Taika Waititi’s integral role in creating a platform for Indigenous stories.

First, Warner Bros. CEO David Zaslav hires former New York Times executive Mark Thompson to head CNN. Will Thompson turn the struggling network around? Then, directors Sam Lipman-Stern and Adam Lough talk with NPR TV critic Eric Deggans about their HBO documentary, Telemarketers and share how their work helped investigate fraudulent charitable organizations. They also discuss how the Safdie brothers came on board to executive produce the series, and how HBO came to be at the helm.

First, the AMPTP released its latest offer to the WGA in a press release this week. Will the studio’s move work or backfire? Then, actor, comedian, musician, and producer Steve Martin and co-creator of Only Murders in the Building, John Hoffman, explain how they met and what it took to get this idea from paper onto the screen.

First, Hollywood strikes throttle on, despite recent talks between AMPTP and WGA, complicating industry plans for the season ahead.  What will this mean for upcoming film festivals and fall television?  Then, Jason Blum, founder and CEO of Blumhouse, discusses the latest on the work stoppages, and the (spooky) current state of Hollywood. But it’s not all horror talk with one of our leading experts on the genre — the powerhouse producer has advice on amplifying profitability across the industry.

The 2023 Emmy ceremony has been rescheduled for January 2024. How will it contend with the NFL playoffs? And Disney presents more changes via its latest investor call. Political analyst Bill Kristol joins to break down an FCC petition to deny a Fox Corp. affiliate’s license renewal and his larger role in seeking accountability for the organization.

After months of stagnation, the AMPTP has asked the Writers Guild back to the negotiating table. Is there a deal to be made? Plus, Disney re-hires some familiar faces as consultants. Then, director Sam Pollard discusses his new doc The League, which pairs his love of baseball with his ongoing examination of Black history, and discusses working with producer Questlove and the “uphill climb” of documentary filmmaking. 

Barbie and Oppenheimer have proven to be massively successful at the box office, but where does that leave the comparatively underwhelming performance of Mission: Impossible – Dead Reckoning Part One and other tentpole hopefuls?  Then, The Horror of Dolores Roach Executive Producer Gloria Calderón Kellett talks to NPR TV critic Eric Deggans about the challenges of making a screen adaptation of a hit podcast. She also explains the significant impact of residuals throughout her career, and why she thinks writers need a better deal in the streaming age.

On the strike lines, rhetoric from studios and guilds makes it difficult to reach a resolution, while Disney’s CEO digs in. Plus, Netflix and streaming services face growth challenges.  Then, Emmy-nominated VFX specialist and AI expert Mike Seymour talks about the various ways Hollywood has benefited from AI. He discusses the risks of human misuse of the technology and the need for regulation, and explains how AI can be harnessed — and in some cases, already is — to help rather than hurt creatives. 

The Business analyzes SAG-AFTRA’s strike, which will effectively shut down Hollywood at an already perilous time. Plus, Bob Iger announces a contract extension until 2026, and the summer box office heats up.

Amazon CEO Andy Jassy asks for detailed budgets of all the biggest shows made by its Hollywood studios. Why now? Plus, another polemic involving David Zaslav. Oscar-nominated screenwriter and director Billy Ray talks with Kim Masters about the guilds' battle surrounding AI, its limitations and dangers in the workplace, and whether it can really take over the WBD CEO’s job. 

Following the decision to fire top execs at Warner Bros. Discovery’s TCM, WB’s CEO David Zaslav feels the blowback and is forced to reverse the channel’s course. Plus, Netflix’s union busting tactics, exposed. Kim Masters and Matt Belloni discuss.  Plus, diving into her debut book ‘Burn It Down,’ journalist Maureen Ryan dispels myths about Hollywood, exposes industry misconducts and coverups, and offers fixes.

To pay debt, Warner Bros. Discovery CEO David Zaslav is licensing HBO original series to Netflix, and fires the head of TCM. Meanwhile, Disney/Pixar’s “Elemental” underperforms at the box office. Kim Masters and Matt Belloni break down what it all means and the potential impacts. NPR contributor and guest interviewer Jeff Lunden talks to music supervisor Randall Poster about his career in film and television, his work with Martin Scorsese over the years, his long relationship with Wes Anderson, and why finding the right music for a project is a deeply collaborative process.

A summer banter: Will the season bring the big box office returns studios are hoping for? Plus, Disney pushes back franchise releases, and The Golden Globes undergoes another massive change. Kim Masters and Matt Belloni break it down. Then, as the 2023 Emmy Awards voting begins — with nominations announced July 12 — Masters and Scott Feinberg, The Hollywood Reporter’s Executive Director of Awards Coverage, talk about the award show’s recent voting changes, and Feinberg gives a special preview of what to expect.

CNN CEO Chris Licht is out from the network following a damning article in The Atlantic reporting his “alienating” behavior towards his staff. Was he a bad match for the job?   Then, Kim Masters speaks to legendary actress, singer, writer, and comedian Carol Burnett about her sprawling career in entertainment, her close relationship with friend and mentor Lucille Ball, how she created her long running CBS variety show, and why she says working with "Better Call Saul" creator Vince Gilligan was one of the greatest experiences she’s ever had.

While the WGA strike continues in the U.S., many writer-directors, actors were off promoting their films at Cannes. Did that weaken the WGA effort?  Then, former National Association of Theatre Owners CEO John Fithian speaks about the industry navigating the pandemic, and why he is optimistic about its future. 

As week three of the writer’s strike continues, other unions and guilds show solidarity while studios cut costs to see quarter stock increase. Plus, we revisit our long pre-strike conversation with Tony McNamara, whose viciously satirical series “The Great” has just returned for its third season on Hulu. McNamara talks about his fascination with Catherine the Great, working with Hulu, and how he transported a world he originally created for the theater stage to the small screen.

“Wild Life” directors Jimmy Chin and his wife Chai Vasarhelyi discuss mortality, making the film, and its uncanny parallels with their own lives.  Plus, guest host Matt Belloni of Puck News speaks with Lucas Shaw, head of entertainment at Bloomberg, about the stakes for streamers and striking writers at the 2023 Upfronts in New York this week.

Director Allen Hughes discusses his five-part FX documentary series “Dear Mama: The Saga of Afeni and Tupac Shakur,” his relationship with the late rapper, and why examining the life story of Tupac’s mother, Afeni Shakur was integral to the documentary series.  Plus, after a dismal Q1 earnings report, Paramount’s shares fell 30%. It shut MTV News and cut 25% of its network staff. Will the company break?

“Tiny Beautiful Things” series creator and showrunner Liz Tigelaar and author Cheryl Strayed discuss the kismet of their collaboration and adapting the acclaimed book into a Hulu limited series. First — you might have heard — the Writers Guild of America is on strike. How will other guilds react? And when and how could the strike end?

Scandals! Legal duels! Ousters! Looming strikes! Even by Hollywood standards, this week’s industry news has been fit for, well, Hollywood. To make sense of it all, The Business presents a special spring Megabanter in which host Kim Masters teams up with Banter compatriot and Puck News founder Matt Belloni and Bloomberg entertainment and media head Lucas Shaw to break down some of the biggest Hollywood stories of 2023 so far — from a misconduct shakeup at NBCUniversal and Disney’s tête-à-tête with Florida Governor Ron DeSantis to Tucker Carlson’s Fox departure  and the latest on the impending writers’ strikes. 

This week, The Business revisits a conversation with actor Aubrey Plaza and director John Patton Ford about their film “Emily the Criminal.” When Plaza’s colleague handed her the script for the drama thriller, she was immediately struck by it. “It was just one of those scripts that I started to read, and I just flew through it,” she says. “It's so readable and fun … it has this momentum that propels you forward.” While Plaza had found her next great project, Ford explains why it took 12 years to write the story. With Plaza, they discuss the struggles of making “Emily The Criminal” and independent movies in general, and the film’s unexpected success. First, Kim Masters and Matt Belloni look into how the Writers Guild of America has voted to authorize strike, while Netflix details its plans for a crackdown on password sharing in the United States, and Fox News and Dominion reach a settlement. 

This week, The Business revists a conversation with the creators of “Marcel the Shell With Shoes On.” After almost an eight-year hiatus, actor Jenny Slate and director Dean Fleischer-Camp are bringing their lovable Marcel the Shell back to life. This time audiences will see the seashell with two pink shoes and one plastic eye, who babbles insightful and funny life-observations, in the stop-motion, feature-length mockumentary, “Marcel the Shell With Shoes On.”

Steven Yeun discusses his fears in taking “Minari,” why he and his “Beef” co-star broke out in hives after production wrapped, and how Netflix’s offer for the series was too good to turn down. First, Amazon Studios’ lack of vision, and unlimited resources sets up a brandless streaming service. Does Amazon care about the bang that they're getting for their buck?

This week, The Business revisits a conversation with Ashley Lyle and Bart Nickerson, co-creators and co-executive producers of the series “Yellowjackets,” just out with its second season on Showtime. 

“Daisy Jones & The Six” co-writer and co-creator Scott Neustadter talks about his early career, writing book adaptations, and the making of the sprawling rock ‘n’ roll limited series for Amazon. First, Kim Masters and Matt Belloni look into Disney’s announcement of a LGBTQ+ summit in Florida in September. Is Disney’s CEO Bob Iger clapping back at Governor Ron DeSantis?

New York Times Presents’ reporters and producers Rachel Abrams and Liz Day discuss “Sin Eater: The Crimes of Anthony Pellicano” two-part documentary on FX and Hulu. They explain the infamous Hollywood private investigator’s rise and fall, his 15-year sentence for illegal wiretapping and other crimes, campaigns of intimidation, and how almost all of his powerful clients walked away unscathed.

Director-producer Elizabeth Banks understood the challenges of making the mixed-genre horror-comedy “Cocaine Bear.”  “I knew that if we could just create inside the movie the sense of chaos that the bear represented, that the title represented, that the ride was for theater goers, the comedy really came second to me,” she states. “I didn't want to make a comedy, if you will. It ended up being really funny, though.” Banks talks about hearing the call of destiny with “Cocaine Bear,” releasing the raunchy R-rated horror-comedy in theaters, working with Ray Liotta, and how she has dealt with failures in her career. But first, Fox Corporation CEO Lachlan Murdoch defends company against Dominion Voting Systems’ defamation lawsuit. Kim Masters and Matt Belloni discuss if his justification is surprising.

Director Daniel Roher is over the moon with the Oscar nom for his bio-doc “Navalny.” “How bittersweet this experience has been for me personally, as [a] filmmaker,” he affirms. “This film has put my life on a rocket ship, [and] has empowered creative career opportunities I never could have dreamed of.” Investigative journalist Christo Grozev, however, took one of the biggest risks imaginable: working on a film about Alexei Navalny, Russian opposition leader, has landed him on Putin’s wanted list. “When Navalny and I were saying our goodbyes, when he was about to leave for Berlin, he literally turned to me and said, ‘Well, until now I was number one on Putin's list, and from now on, you're number one on Putin's kill list.’ And it seems that he was not joking,” Grozev says. Roher and Grozev discuss how they came to pursue a film about Navalny, the risks they faced, and the eventual arrest and sentencing of the politician in Russia. 

For director Shaunak Sen documentary filmmaking is like a “fever dream,” in that when he starts he “sort of jumps off a cliff.” The same goes for his latest documentary “All That Breathes,” as he didn’t know where the film “would land.” “Everything that has happened with the film was utterly and entirely outside of my orbit of predictive reasoning as well.” In this interview, Sen discusses the creation of “All That Breathes,” the rescue work of black kites in New Delhi, the challenges of filming it, and the recognition it has received. But first, Kim Masters and Matt Belloni look at the possible exit of Kevin Costner from “Yellowstone.” Where does the franchise go without him? 

Irish actor Brendan Gleeson has received his first Oscar nomination for Best Supporting Actor for playing Colm Doherty in the black tragicomedy “The Banshees of Inisherin.” “It's a thrill… I'm not in the springtime of my career,” he notes. In this in-depth conversation, the 35-year TV and film veteran discusses his early acting career, two of his four sons becoming actors, fame from the “Harry Potter” movies, and his award-nominated role in The Banshees of Inisherin.” First, Kim Masters and Matt Belloni look into Steven Spielberg and Tom Cruise’s rekindled friendship. Is it genuine or a marketing stunt? Plus, a new book about the Redstone family empire.

Michelle Yeoh is the first Asian woman to receive a Best Actress Oscar nomination for her performance in the sci-fi action-fantasy “Everything Everywhere All at Once,” an unexpected feat for the veteran. In this extended conversation, she talks about the film and its success, and delves back into her life-long career spanning from her aspirations to becoming a ballerina as a child, to the evolution of acceptance for Asian-represented movies. First, Disney CEO Bob Iger has announced he is open to selling Hulu, just a day after the company’s Q1 earnings call. 

Jerry Bruckheimer has credits on some of the most successful TV shows and movies of the last five decades. One thing he’s learned is that this business is unpredictable, so much that even he couldn’t have guessed that “Top Gun: Maverick” would be a breakout hit.

Writer-director Sarah Polley had a successful career as a child actor. By eight, she had appeared in several TV series and films and was cast to play Sally Salt in the notorious “The Adventures of Baron Munchausen,” Terry Gilliam’s adventure fantasy film. While Polley’s family was thrilled about it, she recalls an out-of-control production, with “unsafe and scary situations” on set. 

Before “Glass Onion: A Knives Out Mystery” saw a limited theatrical release last November, Producer Ram Bergman wasn’t sure if audiences would be back in theaters. Bergman is grateful that Netflix decided to premiere it on 600-odd screens for a week, and hopes the experiment moves the needle.  

With “Avatar: The Way of Water” charting a course for a $1.9 billion international gross, co-writer, producer and director James Cameron can now continue working on the following three sequels of the franchise, a project he compares to having kids. “Once you've done that, you're kind of stuck,” he jokes. 

Filmmaker James Cameron started pre-production of “Avatar: The Way of Water” in 2014. Though sequels two and three to the 2009 “Avatar” had been greenlit by then 20th Century Fox head Jim Gianopulos, Cameron knew change was coming. In early 2019, The Walt Disney Company acquired the studio and with it, Cameron’s latest project. “We sort of were led to believe that the ‘Avatar’ overall [intellectual property] was one of the jewels in the crown of what Disney was acquiring, so we expected them to be leaning forward and wanting to see what we were all about,” says Cameron. “They were excited by the potential of the new films, especially as it was planned out to be a series of films, a saga over time played out in four movies.” In the first installment of a two-part conversation with Cameron, the filmmaker shares what changes affected the production of the movie, and why what he calls an “arranged marriage” with Disney turned out better than expected. He also discusses the importance of theaters and repeat views for the film’s success, and how he views streaming services. But first, Kim Masters discusses with Matt Belloni how the “Avatar” and “Top Gun” sequels brought droves to the theaters. Will audiences go back in 2023, or will studios continue to focus on streaming?

The Business revisits its most popular episode of 2022: part two of a conversation with multi-hyphenate Bradley Cooper. To get a shot at directing his remake of “A Star is Born,” Cooper passed on an upfront payday in exchange for a piece of the profit. And that gamble paid off. But as Cooper is painfully aware, the movie business has changed. “Those days are completely gone,” Cooper says. “So, there is trepidation I have with that, no question. And I have thought: I really have to actively start thinking about other ways of making revenue that have maybe nothing to do with movie making.” In part two of this interview with Cooper, he shares his worries about the streaming future. He also remembers picking up filmmaking tips on the set of “Alias.” And he shares how he created the memorable voice of Marvel’s Rocket Raccoon.

It’s time for The Business’ annual year-in-review Megabanter. Kim Masters, Matt Belloni, founding partner of Puck News, and Lucas Shaw, entertainment reporter at Bloomberg, discuss the biggest Hollywood stories of 2022. 

Ruben Östlund’s latest film “Triangle of Sadness,” a satirical dark comedy that takes  place in a luxury yacht, has gained considerable recognition since it came out, including a Palme d’Or at the 2022 Cannes Film Festival in the spring. Now, Östlund delves into his directing, shooting during the pandemic, funding, and the aftermath of the film’s success, while Filipina actress Dolly De Leon discusses her career and how being in the film has changed her life. But first, the “Avatar” sequel premieres worldwide, including a coveted theatrical release in China. Can it gross more than $2 billion to succeed? Plus, Warner Bros. Discovery pulls the plug on “Minx” season 2. Matt Belloni and Kim Masters analyze.

Italian filmmaker Luca Guadagnino stays busy with his projects, which lately have stacked up on top of each other throughout their production cycles. After recovering from a broken foot, he’s flown to Brazil, Argentina, the United States, and around Europe in a months-long global press tour to promote two most recent films that he produced and directed.  

When actor, writer, and producer Kumail Nanjiani was 18, he moved from Karachi, Pakistan - a city of more than 9 million people - to the United States to attend Grinnell College, a small, private liberal arts college in Iowa in 1997. The town of Grinnell’s population was about 9,000 then. Though he had visited New York as a teenager, and “sort of knew America the way it is in movies,” he was not prepared for the cultural shock. 

After writing and starring in the film “The Big Sick” in 2017, actor and comedian Kumail Nanjiani says writer-director and producer Robert Siegel (“Pam and Tommy,” “Big Fan,” “The Wrestler”) approached him with an idea to make a drama film about the American stripper troupe Chippandales. At the time, Nanjiani turned it down.

For Peter Kujawski, chairman of Focus Features, it was “very simple and easy” to greenlight James Gray’s drama “Armageddon Time.” Gray had written the script before the pandemic shut down of March 2020. By that Summer, Kujawski got a call from Roeg Sutherland, a talent agent from CAA, saying he had something that he should look at. Sutherland knew Kujawski was a “gigantic fan” of Gray’s work and he was in a position to say yes to the project. “I was predisposed because of my fanship,” Kujawski reveals. “The movie literally could have been about young James Gray just building a model rocket, and I would have wanted to do it.” Gray, who also produced and directed the film, says he didn’t know of Kujawski’s admiration. “This is fabulous to hear!” Now Gray and Kujawski discuss “Armageddon Time,” the challenges of making the film during the pandemic, their careers, and Gray’s bad experience working with former film producer Harvey Weinstein. But first, Kim Masters and Matt Belloni talk about another producer, Eric Weinberg, the criminal charges against him, and the “club” culture of complicity that allowed him to keep getting jobs in Hollywood.

Actor, comedian, writer, and producer Larry Wilmore has been in show biz for four decades. He has written for dozens of iconic TV shows, including “In Living Color,” “The Office,” and “Black-ish.” But early in his career, he says a Black comedian who didn’t fit a stereotype didn’t have a job. 

This week, The Business revisits a conversation with filmmaker Sharmeen Obaid-Chinoy, who is now being tapped to direct an upcoming “Star Wars” movie, along with Damon Lindelof, who will develop and co-write it. Obaid-Chinoy will be the first woman and person of color at the helm of this movie franchise. Recently, the two-time Academy Award winner directed two episodes of Disney’s limited series “Ms. Marvel.” She shares with Kim Masters her path from making intimate documentary shorts in her home country of Pakistan, to animated features, to “Ms. Marvel” – her first live-action, narrative fiction series. “I know what ‘Black Panther’ did for communities across the world. And this is exactly what ‘Ms. Marvel’ is going to do for South Asian communities,” says Obaid-Chinoy. The mini series portrays a teenage, Pakistani-American superhero, and within its first week on Disney+, it received a 97% score – the best reviewed Marvel series and film production on Rotten Tomatoes, a record previously held by “Black Panther.” The filmmaker also talks about how the real life heroes she has depicted over the years in documentary form are tied to “Ms. Marvel.” “Kamala Khan/Ms. Marvel is a superhero who … is very much in line with the other characters that I had been filming throughout my career,” she explains, adding she desires to continue telling important stories in the future. First, Masters and Matt Belloni have a fresh banter about Lucasfilm and how its leadership’s lack of creative vision is running the franchise into the ground. Plus, Peacock has growing problems. 

Documentary filmmaker Margaret Brown was born and raised in Mobile, Ala., and has had an absorbing interest in the American South, including her 2004 documentary “Be Here to Love Me: A Film About Townes Van Zandt.” But only while filming “The Order of Myths,” in 2008, she learned of the last known slave ship brought to the United States in the late 1850s, and the nearby community former slaves formed. “I didn't remember learning about that in school. That was the first time I had heard of the Clotilda [ship] or Africatown,” she states. That was the moment when she came across the topic of her newest project, the film “Descendant.” Now, Brown shares how she created partnerships to make the film, and got Questlove, Netflix and the Obamas to become involved in it. But first, Kim Masters banters with Matt Belloni about Warner Bros. Discovery’s unpredictable decision to hire filmmaker James Gunn and producer Peter Safran to run the DC Universe. 

It’s been five years since The New York Times and Ronan Farrow, contributing writer for The New Yorker, broke Havey Weinstein’s story of criminal conduct. “There was a lot of frustration in the national conversation about gender and sexual violence, and then, Harvey's place in Hollywood changed, and maybe in some subtle ways Hollywood started to change,” he says. 

After AMC acquired the rights to Anne Rice’s major literary works in 2020, the network tasked producer Mark Johnson (“Breaking Bad” and “Better Call Saul”) to oversee its ambitious new project of making shows out of the author’s 18 supernatural novels. First is “Anne Rice’s Interview with the Vampire” on AMC+, telling the love story of two vampires, Louis de Pointe du Lac (Jacob Anderson) and Lestat de Lioncourt (Sam Reid) in early 20th century New Orleans. For the more sensual scenes, an intimacy coordinator was hired. “They make all of us feel just what they're supposed to do, get more comfortable,” Johnson says, “then it's up to wonderful actors who make it all seem ad lib, spontaneous.” For Anderson, who played Grey Worm on the HBO series “Game of Thrones,” having an intimacy director to guide his character’s more sizzling sequences has been an important asset. “[Johnson and I] were talking about demystifying the idea of storytelling as being just purely magic and in the moment and all about feeling, but I think when it comes to intimate scenes, you can't do that,” he says, “there’s things that can really get into your head if you don't prepare properly.” IWTV’s Executive Producer, Johnson, and actor, Anderson, discuss the making of the new AMC series with Kim Masters. But first, Warner Bros. Discovery CEO David Zaslav laid off about a quarter of the company’s television division staff this week. What does this mean for the company’s future? Matt Belloni discusses with Lucas Shaw. 

Steven Levitan was still working on his ABC’s hit-show “Modern Family'' when the network decided to revive the sitcom “Roseanne” after a 20-year hiatus. But after finishing its 10th season, the show was canceled under a cloud of internal rift between cast members and turmoil with ABC executives. That incident made Levitan reflect on the industry. “It made me think about what an interesting situation it is for people to come back together again after many years, and [how] in this business, sometimes when a project ends everybody has high hopes about what's up for them next, and maybe there are some deep feelings about each other,” he says. From that reflection, Levitan used the behind-the-scenes drama as inspiration to create “Reboot.” Now, he talks about some of the challenges of launching the show, having Hulu as its home, and the joys of having his show live on a streamer versus network television. First, Kim Masters and Matt Belloni look into Apple’s decision to release the film “Emancipation” starring Will Smith, as well as the “Rust” civil lawsuit settlement.

Mike Rinder spent most of his life as a member of the Church of Scientology International. He joined as a child, and by the age of 18, he signed the organization's Sea Org contract, pledging loyalty and allegiance to the church, while committing all of his future lifetimes to it as well. But after years of emotional and physical abuse, he left the organization in 2007. “I didn't make it all the way through to the end, that's for sure,” he says. Now, Rinder discusses his just released memoir “A Billion Years: My Escape From a Life in the Highest Ranks of Scientology,” in which he exposes a harrowing account about the church that only someone of his former high rank could provide. But first, Netflix has made several adjustments recently due to competition. Kim Masters and Matt Belloni look into whether they will need to make more changes to survive. 

Comedy is not exactly in vogue among big studios, so when filmmakers Judd Apatow and Nicholas Stoller approached actor Billy Eichner about making ‘Bros,’ the first big-studio, big-screen LGBTQ+ rom-com for Universal Pictures, he was skeptical. “I have an openly gay man in comedy for over 20 years,” he said, “and I am telling you that even the most gay-friendly execs at a major studio are not going to greenlight this movie. And even if they do, they're not going to let me tell it in an authentic, honest way.” The movie was greenlit, and now Eichner talks about starring on a feature film for the first time, the thrill of co-writing the script with Stoller and how a major movie studio came on board to make a gay romatic comedy came to life. But first, Kim Masters and Matt Belloni look into the return of The Golden Globes to NBC in 2023, and what it means for next year’s awards season.

When Aubrey Plaza’s colleague handed her the script for “Emily the Criminal,” she was immediately struck by it. “It was just one of those scripts that I started to read, and I just flew through it,” she says. “It's so readable and fun…it has this momentum that propels you forward.” While Plaza had found her next great project, director John Patton Ford explains why it took 12 years to write the story. With Plaza, they discuss the struggles of making “Emily The Criminal” and independent movies in general, and the film’s unexpected success. But first, Kim Masters talks to Matt Belloni about her 15-minute interview with Disney’s head Bob Chapek at the D23 Expo, as well as the PR effort to give the embattled CEO an image reboot at the event.

In 1994 Kevin Smith wrote, produced, and directed his first feature “Clerks.” The movie became a cult classic, and Smith introduced the audience to Jay and Silent Bob, the fictional friends portrayed by Jason Mewes and Smith, respectively. Despite the film’s success, the filmmaker reveals he didn’t necessarily have a plan moving forward. “There's never been a career path,” he says. “There's never been, ‘One day I'll get to the Oscar.’ No, not at all.” Almost three decades later, Smith discusses his latest movie “Clerks III,” his work in animation, and changes in the movie industry. First, Kim Masters and Matt Balloni detail yet another setback for Warner Bros. Discovery on its quest to find a head to run DC Films. And, more about Disney+ perks.

Documentarian Alex Pritz didn’t have a background in film. He studied environmental science in college and was certain he wanted to be a scientist to “work on these big problems plaguing our planet,” he says. But at the end of his time at university, he realized that film was a better way to engage with big issues. “I have always been interested in participatory video working with communities that are experiencing conflicts and challenges to help them use film as a method of advocacy and also self expression,” he remarks. With that approach in mind, he went to the western part of Brazil’s Amazon rainforest to direct “The Territory.” The filmmaker discusses how he was introduced to the Uru-eu-wau-wau people, a small indigenous community that is fighting to protect their land, the challenges and accessibility issues he faced to make the documentary. But first Kim Masters and Matt Belloni look into the competition between Amazon and HBO for more viewers. Which series will win: ‘The Rings of Power’ or ‘House of the Dragon?’

This week, The Business revisits a conversation with Danny Strong, writer, producer, and creator of “Dopesick,” which has 14 Emmy nominations for the portrayal of the evils of Purdue Pharma. Before co-creating the hit show “Empire,” Strong won accolades for writing two HBO movies based on real events: “Recount” and “Game Change,” as well as “Lee Daniels’ The Butler.” So when he decided to make a series about the opioid epidemic based on Beth Macy’s book “Dopesick,” he thought he’d be met with open arms. “I was going around to these pitches like, ‘I’m coming back to my nonfiction roots, like ‘Recount’ and ‘Game Change,’ and I’ve got a bestselling book,” he recalls. But the reaction he got was, “No one cares. ‘Oh, ‘Recount?’ Cute. That was 14 years ago’... if no one cares who you are, or what you've done… or if they don't want the project, they're not going to engage. It's not it's not an easy business. It's a tough racket.” Hollywood can be cold, but “Dopesick” eventually found a home on Hulu. Strong tells Kim Masters about falling down the Sackler family rabbit hole while researching Purdue Pharma and its deadly drug, OxyContin, and the many challenges he faced to get the show made. First, KCRW has fresh banter with guest-hosts Matt Belloni and Lucas Shaw about how two major theater chain operators AMC and Regal have recently made desperate financial moves to stay afloat.

Ashley Lyle and Bart Nickerson are co-creators and co-executive producers of the series “Yellowjackets” on Showtime. The married team say they bonded over a revision class and have been collaborating ever since, but they write the series from the retreat of their own spaces. “We definitely cannot be in the same room when we're working,” Lyle quips. Writing this complex show is a joint effort where they pick a different starting point, and repeatedly review each other’s work. But their thinking is not always fully aligned, so Nickerson explains that with the back and forth process, “we kind of find a shared point of view.” With Yellowjackets’ seven Emmys nominators, the duo is now working on season two of the hit series. They join The Business to discuss the show’s conceptualization, their hit-and-miss pitches, and how Showtime proved to be the right home for their vision.  First, Kim Masters and Matt Belloni, founding partner of Puck News, delve into the latest decisions Warner Bros. Discovery CEO Zaslav has made, and how the industry is responding. 

Filmmaker Peter Jackson was 3 years old when The Beatles first appeared on “The Ed Sullivan Show” on February 9,1964. His family didn’t own a television and he didn’t see the original airing because he believes New Zealand didn’t broadcast the TV show. “Even though I was born in 1961, I kind of don't really have a story or any memory of The Beatles in the ‘60s, which is crazy because I lived all the way through that period,” Jackson remarks. His parents were not “rock and rollers,” he says, but he recalls hearing the band “endlessly through ‘65, ‘66, ‘67 because the radio was playing nothing else.” Sixty years later, he produced and directed the Disney+ docuseries “The Beatles: Get Back,” about the making of the 1970 documentary “Let It Be.” Jackson’s series has been nominated for several Emmys, and the award-winning director discusses what led him to tackle this documentary project, and how his labor of love morphed from being a feature film to a series. But first, Kim Masters and Matt Belloni, founding partner of Puck News, discuss the Disney+ positive quarterly results, and what the decision to raise subscription prices mean for consumers, and the future of its streaming services. 

Actor, comedian, musician, and producer Steve Martin had been invited to one of talent manager’s Sandy Gallin’s showbiz parties in New York. There, he recalls seeing a lot of actors, including three older ones, when Gallin suggested he should write something for them. “I thought, ‘That's a good idea: three older guys who live in a building and solve murders because they don't have anything else to do,’” Martin recalls. His premise was: “They're too tired to go downtown to investigate things, so they limit it to only murderers in the building, so they could just stay home to solve the crime.” From that idea, Martin was introduced to John Hoffman and the two created “Only Murders in the Building,” the biggest comedy hit on Hulu. Now, the duo share how they met, and what it took for them to get Martin’s idea from paper onto the screen. But first, Warner Bros. Discovery CEO David Zaslav cancels “Batgirl.” Kim Masters and Matt Balloni discuss what this means for the DC brand and the studio.