Matt Belloni and Lucas Shaw dive into the impressive Q3 earnings posted by Netflix… And whether the streamer can fine tune its film strategy to achieve even further world domination.

Plus, Kim Masters speaks to Chris Sanders, the writer and director of The Wild Robot. The veteran animation director acknowledges the good and not so good impact of CG animation, talks about his experience of working at Disney during the studio’s famed Renaissance period, and explains why he left the studio to work at Dreamworks after John Lasseter took over Disney Animation in 2006. Plus, Sanders discusses his very special relationship with Stitch, of Lilo and Stitch.

As David Ellison’s Skydance merger with Paramount begins, studio executives have been given some serious incentives to stick around through the transition process. Matt Belloni and Lucas Shaw examine the latest happenings at the studio.

Then, Kim Masters wraps a two-part conversation between The Apprentice writer Gabriel Sherman and Briarcliff Entertainment founder Tom Ortenberg. Sherman shares how billionaire Trump supporter Dan Snyder helped finance the project without reading the script… And he also shares how Snyder was bought out of the project once he saw an early screening and realized that the film was far too critical for his taste. Plus, Ortenberg reflects on the death threats he’s encountered over the years due to his propensity for distributing controversial movies.

Kim Masters and Matt Belloni examine MSNBC’s decision to hold Errol Morris’ immigration documentary Separated until after the 2024 presidential election. They also unpack the various factors that led Todd Phillips’ Joker sequel to flop.

Plus, Masters speaks with writer Gabriel Sherman and Briarcliff Entertainment founder Tom Ortenberg in the first of a two part conversation about The Apprentice. Sherman tells us about the risks he’s undertaken in making a movie about prominent attorney Roy Cohn’s mentorship of a young Donald Trump. And he describes how a cease and desist letter from Trump put the project’s future in jeopardy. Plus, Ortenberg talks about the sprint to get the film to theaters just a month after establishing the distribution deal with his company.