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.