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Show Notes
<p dir="ltr">Warner Bros. stock is up after CEO David Zaslav <a href="https://www.hollywoodreporter.com/business/business-news/warner-bros-discovery-stock-high-deal-options-paramount-1236406168/">confirmed</a> the company is on the market and open to offers. Following Netflix’s moderate Q3, dragged by an <a href="https://www.hollywoodreporter.com/business/business-news/netflix-stock-q3-earnings-kpop-demon-hunters-merchandise-1236406795/">unexpected</a> Brazilian tax hit, speculation is growing over the streamer’s possible interest in Warners. Netflix co-CEO Ted Sarandos has <a href="https://www.hollywoodreporter.com/business/business-news/netflixs-bidding-warner-bros-discovery-1236406352/">dismissed</a> 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.</p>
<p><strong id="docs-internal-guid-78c14358-7fff-31f1-e340-d3fe337390e3"><br></strong>Plus, Kim Masters talks to Kelly Reichardt about her new film, <em>The Mastermind.</em> 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, <a href="https://www.hollywoodreporter.com/movies/movie-news/martin-scorsese-christopher-nolan-launching-filmmaker-mode-tv-setting-1234968/">like other filmmakers</a>, doesn’t care for the way her films look on TV.</p>