Certainly at Mattel, there was a lot of talk of four quadrant films. You know, you want

to hit all of the possible demographics. You need it to be broadly commercial, theatrical,

and really hit all the beats. And you know, even the slogan of the Burby movie, if you love

Burby, this is for you, if you hate Burby, this is for you, it seems like an almost impossible

thing to hold in one film.

I'm Mary Long, and Matt's Alex Bearish, a writer at the New Yorker magazine. I caught up

with Bearish to discuss the IP to movie pipeline and Mattel's asset light approach to filmmaking.

The new bargain that directors have to make for big budget movies and the potential cinematic takes

for hot wheels, masters of the universe, and, you know, today kicks off our entertainment focused

weekend of shows. Tomorrow is our next installment of the Motley Full Money Book Club,

where we'll dive in to Bob Eiger's memoir, The Ride of a Lifetime.

Joining us now is Alex Bearish, a writer at the New Yorker who specializes in entertainment

and culture. Alex, thanks for being here.

Thank you for having me, excited to be here.

Of course, we're going to talk about the IP to movie pipeline that seems to be taking over

Hollywood these days. But first, let's tackle something a bit more timely.

The screen actor's guild recently joined the Hollywood writers on strike. How might this affect

the IP cycle loop? Yeah, I mean, it's a great question. I think, you know, we'll see how it affects

what's already in the pipeline, but we've been in this moment of real risk aversion and conservatism

in Hollywood generally, and I have to imagine this is only going to compound that as, you know,

they try to make up for lost time if and when things do resolve themselves. So maybe it makes

it worse, but we'll see. But Ty will tell. Yes. So I would say that you wrote the book or the

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