The Business

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. Acmefilm. 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 fundedhis projects conceived in LA.