Kim Masters talks to Hannah Einbinder, who is up for another supporting actress Emmy for Hacks. But her role in the new film Teenage Sex And Death At Camp Miasma takes her far from the lavish Las Vegas home of Deborah Vance, to a weird and gory place. Einbinder tells Masters about coming-of-age as the child of two show business professionals, making the segue from stand-up comedy into acting, and her belief that fame obligates her to speak up on behalf of the oppressed.  Plus, Masters and Matt Belloni discuss Paramount hinting they will move out of California if their proposed merger with Warner Brothers is delayed beyond October. Paramount is playing hardball with the state Attorneys General, whom they will square off against in court in March 2027 if no settlement is reached.  

Kim Masters talks to Lilly Wachowski, co-creator of The Matrix movie franchise, about her new artist-owned, non-profit studio. They discuss how Lilly juggled multiple international film and TV productions while she was transitioning, why she stepped away from the business, and how she’s working to launch the studio, Anarchists United, to showcase marginalized talent. [ In part two of the interview, which will air in a few weeks, Lilly will share behind-the-scenes tales of The Matrix movies, and Bound, the first movie she co-directed with her sister Lana. ] Plus, Masters and Matt Belloni discuss the impact of pushing the trial against the Paramount-Warner Brothers merger to March 2027. This will mean the Ellison family will have to pay a “ticking fee” for months, as well as further halt any plans to blend the companies.   

Eric Deggans talks to Hiro Murai, lead director and executive producer of the Apple TV horror-comedy series Widow’s Bay. They discuss how Murai helped maintain the tricky tone of the Emmy-nominated series, his work with Donald Glover on the FX series Atlanta, and how he keeps the initial spark of creativity alive when dealing with the realities of TV production. Plus, Kim Masters and Bloomberg’s Lucas Shaw discuss last week’s halt to the Paramount-Warner merger. What the Ellison family once considered a done deal may be a little less certain at the moment.  

Kim Masters talks to Kori Adelson, whose company produced Backrooms, and Roy Lee, producer of Weapons, about the hunt for the next hit YouTube IP. Adelson and Lee share their observations about the effect movies like Backrooms, Obsession, and Iron Lung have had on what studios are looking for; the filmmakers behind those three had large followings on YouTube. Adelson and Lee also explain how those same studios need to embrace creative risks–at the smaller budgets those films operated under– while taking care to understand the Gen Z audience.   Plus, Masters and Matt Belloni discuss a federal judge pausing the Warnermount merger, and Peacock’s newfound profitability. Peacock’s numbers are believed to be due, in part, to having streaming rights for the NBA playoffs, and the Spanish-language broadcast for the World Cup. [NOTE: This episode was posted after Paramount announced that they will halt the merger until next June, at the latest, while the court weighs its decision.]

Kim Masters talks to Dale Cohen, special counsel to PBS's Frontline, and director of UCLA Law School's Documentary Film Legal Clinic, about the threat of litigation filmmakers face from the wealthy and powerful people they choose to cover, such as Donald Trump. Cohen laments that so few investigative films are being produced right now, a situation that wasn’t helped when Disney and CBS paid up to settle dubious lawsuits from Trump.  Cohen is hoping that Disney’s recent willingness to do battle with the FCC signals a growing realization that appeasement doesn’t work.   Plus, Masters and Matt Belloni discuss the latest developments in the legal battle over the Paramount-Warner Brothers merger. California Attorney General Rob Bonta sued to stop the merger this week, but has also potentially signalled some conditions that would satisfy his objections.  

Kim Masters talks to LA Times Awards Columnist Glenn Whipp about the Emmy nominations announced this week. Whipp thinks this was not a stellar year in television, meaning that top nominees, The Pitt and Hacks, are likely to feast at September’s Emmys. But Whipp is pleased that stand-out new shows, Widow’s Bay and Pluribus, got some nods. And he says give Harrison Ford an Emmy already! Plus, Masters and Matt Belloni discuss the UK possibly intervening in the Paramount-WBD merger, and CAA’s criticism of Meta’s opt-out policy for AI images.  

This week, an encore presentation of Kim Masters’ interview with Alexandria Stapleton, the DGA Award nominated director of Sean Combs: The Reckoning. The Netflix docuseries 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 why Netflix proved to be the ideal partner for this project, and how its legal team vetted controversial pre-arrest footage that Combs had commissioned himself.   Plus, Masters and Matt Belloni discuss Comcast’s surprise decision to break up the company. The cable/internet giant, which also owns NBCUniversal, could find an attractive suitor for its parts in Netflix.  

Kim Masters talks to John Carney, who after his 2006 indie breakout film Once, has made a career of making movies about musicians making music. Generally, the ones who never got famous. His new film, Power Ballad, stars Paul Rudd as a wedding singer alongside Nick Jonas, who plays a flawed former pop star. Carney discusses his struggles to raise money for his films, and reveals what he says to - or maybe shouts at -  buskers in Dublin who have their amps cranked up to 11.   Plus, Masters and Matt Belloni discuss why Amazon dropped out of distributing Artificial, a movie critical of Open AI. Although initial reactions to a cut of it have been lukewarm, there may be other reasons why Amazon pulled out.  

Kim Masters talks to screenwriter David Koepp about Disclosure Day, his latest collaboration with director Steven Spielberg. After Spielberg sent Koepp a 40 page treatment for the movie, which Koepp gave notes on, Spielberg emailed him back that “it’s your problem now.” Koepp also reveals the downside of his early success, which included writing the Jurassic Park screenplay when he was just 29. He also explains why he’s not that scared AI will replace him, and offers his very dark pitch for one final Tom Cruise-led Mission Impossible movie (Koepp wrote the original 1996 release).    Plus, Masters and Matt Belloni discuss Fox Corp’s acquisition of the streaming company Roku. Roku is used by over a 100 million people, giving Fox access to countless homes, and a lot of consumer data.  

This week, Kim Masters talks to Alvaro Bedoya, a former FTC Commissioner, about why he objects to the Paramount-Warner Brothers merger. Bedoya says it will mean fewer jobs, higher subscription fees for consumers, and more censorship when the Ellison family - who own Paramount Skydance - control both CBS News and CNN. Bedoya also addresses a surprising accusation from Paramount’s Chief Counsel against some who oppose the merger.  [Editor’s note: this episode first aired before the Department of Justice announced on Friday afternoon that they would not challenge the Paramount-Warner merger.] Plus, Masters and Matt Belloni discuss the box office prospects for Steven Spielberg’s new movie Disclosure Day. Can the director, who popularized the summer blockbuster, still bring people out to the theaters?