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.