From KCRW, I'm Kim Masters, and this is The Business.

Amazon's new Latina serial killer series, The Horror of Dolores Roach, is turning heads and stomachs.

Executive producer Gloria Calderon-Callet explains why equitable storytelling matters to marginalized groups.

We've been here a long time. We've seen a lot of the same stories again and again.

I mean, I make jokes that there are banners with the same guy every year, but it's a new show.

I'm like, oh, this guy is a cop again? We've seen that show five times. Like, I'm so bored.

Calder on Collette talks to NPR TV critic Eric Deggins about the challenges of making a screen adaptation of a hit

Spotify podcast. She also explains how important residuals were to her in her own career and why

she thinks writers need a better deal in the streaming age. But first we banter. Stick around. It's

the business from KCRW.

I am joined by my associate in banter, Matt Bellany. Hello, Matt. Hello.

So, finally, the theaters have caused to rejoice, the phenomenon of Barbenheimer. Both opened absolutely huge. And I will be honest that I thought

maybe Barbie would be absolutely huge. I didn't think so many people would fall for the

Barbenheimer idea that so many people wanted to go to, I mean, it's Chris Nolan, I get it,

but three-hour R-rated movie, no star in the poster, not this riding the roller coaster fun ride.

So I was surprised. I don't know. Were you?

Well, you clearly were not on TikTok where this phenomenon really took off. And the Barbie stuff especially.

And we saw stats that 6% of the audience for Oppenheimer, the opening weekend, saw it because

Barbie was sold out.

So clearly these movies helped each other.

The phenomenon helped both of them.

The problem for Hollywood is that, yay, get excited.

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