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Apr 23, 2026

What I'm Hearing...
Matthew Belloni Matthew Belloni

Welcome back to What I’m Hearing, headed to D.C. this weekend for the White House Correspondents’ Association dinner and Puck’s preparty on Saturday evening with Amazon. I heard a rumor that the president is planning to speak for over an hour at the dinner, which is why you might see me drinking heavily beforehand at the Puck event. Please don’t judge.

Tonight, I pose the question of why more Hollywood people aren’t leveraging their access and knowledge to make dumb money on prediction apps. Plus, trouble on Brett Ratner’s Rush Hour 4, a big Yellowstone firing, and CAA’s Bryan Lourd preps a grand Cannes party with… a surprising co-host.

💫💫 P.S.A.: The unscripted TV producers panel is set for Puck’s Stories of the Season event on May 5 in Hollywood. Come see Jack Burgess (The Traitors), Chris Coelen (Love Is Blind), and Dylan Redford and Harrison Fishman (Neighbors) spill secrets with Julia Alexander. TV Academy and guild members can attend by emailing Fritz@puck.news.

Discussed in this issue: Brett Ratner, Bryan Lourd, Chad Feehan, David Zaslav, Chris Tucker, Timothée Chalamet, Simon Rich, David Geffen, Tarak Ben Ammar, Callum Turner, Lorne Michaels, Graydon Carter, Taylor Sheridan, John Oliver, Dario Amodei, the Clooneys, Jacob Elordi,Luca Guadagnino, Les Moonves, Kate Hudson, Sam Altman, Robert DeNault,Will Angus, Elon Musk, Cole Hauser, Demi Moore, Kelly Reilly, David Ellison, Tina Fey, Arthur Sarkissian, David Glasser, Jackie Chan, and… former Venezuelan president Nicolás Maduro

Not a Puck member yet? Just click here. Got a news tip or an idea for me? Just reply to this email, text me, or message me on Signal at 310-804-3198.

Let’s begin…

 

Thursday Thoughts…

  • Zaslav plays the Geffen card…: Is anyone surprised that today’s shareholder approval of the Warner Bros. Discovery sale to Paramount came with a full-wind-up slap in the face to C.E.O. David Zaslav? Fully 82 percent of shareholders followed the advice of top advisory firms and voted to reject his grotesque, $500 million-to-$886 million golden parachute for selling off a company that shrunk during his tenure. The vote is nonbinding, but Zaslav and his P.R. team clearly knew this was coming and trotted out pal David Geffen to defend him in advance. Geffen, whose 30 million shares of Warner Discovery will soon deliver his own $700 million windfall, insisted to Variety that Zaz was “succeeding at everything he was doing” and “if you asked him if he’d rather have the job or the money, there’s no doubt about that: He’d rather have the job.”

    Yeah… Let’s put aside the claim that a guy whose entire thesis for the WBD merger—Discovery’s populist shows plus HBO prestige and Warners movies equals Max, a true Netflix competitor—was quickly proven wrong and abandoned. Or that Zaz justified taking on about $54 billion in debt based on a flawed projection of $14 billion in adjusted EBITDA, a number the company never hit and revised downward each year of its existence. Sure, Zaslav would love to stay behind Jack Warner’s desk forever, but arguing that he didn’t want to sell the company ignores that he and John Malone engineered Warner Discovery and later its planned split into good (studio and streamer) and bad (TV networks) precisely in the hope that a tech company would find its library and/or subscribers useful in the streaming wars. The only wild card was that Larry and David Ellison wanted it all. So yeah, he’ll take the money. (Usual disclosure: through our acquisition of Air Mail, Zaslav is a de minimis investor in Puck.)
  • Bryan Lourd’s A.I. Cannes party: Zaslav is notably not involved in a dinner and party that CAA’s Bryan Lourd is throwing on May 19 at the Hotel du Cap-Eden-Roc during the Cannes Film Festival. I’m told his co-hosts are Vanity Fair/Air Mail alum and first-ballot du Cap party hall of famer Graydon Carter and Dario Amodei, C.E.O. of Anthropic. Maybe not the best look for Hollywood’s top agent to put himself on a party invite with a major A.I. figure as content creators wage war on vampiric L.L.M.s and deepfakes. But Amodei is considered the lesser evil of the A.I. ghouls, and since invites to the party went out this week, stars like the Clooneys and Demi Moore have already RSVP’d yes, I’m told. (Also funny: Luca Guadagnino, a CAA client, is directing Artificial, the upcoming Sam Altman movie that heavily features Dario—though I’m told he’s played by Will Angus, who is not at CAA. I’ve read that script, by Simon Rich, another CAA guy, and Amodei is definitely portrayed as the good guy, at least when compared to Altman and Elon Musk.)
  • ‘Dutton Ranch’ creator taken to the train station: It wouldn’t be Yellowstone without drama behind the scenes. Ahead of the May 15 premiere of Dutton Ranch, the follow-up series that picks up where Taylor Sheridan’s original show stopped, its creator and showrunner has been quietly let go. Chad Feehan, the veteran writer-producer who created the Sheridan-produced Lawmen: Bass Reeves before taking on Dutton Ranch, finished the first season but has been told he won’t return for the second, per three sources. (I think the feeling was mutual and Feehan likely would have bailed anyway.) This was less of a pure creative issue, I’m told—the scripts were good, and after some work on the cut, Paramount is confident in the show—and more about how Feehan ran the production. He’s a relative newcomer to the Yellowstone franchise (Sheridan wrote and ran all five seasons of the original and its prequels 1883 and 1923), and clashed on set with stars Cole Hauser and Kelly Reilly and other key players, many of whom have been working on Yellowstone for nearly a decade. Sheridan, producer David Glasser, and the stars weren’t happy, so Feehan’s out, and Sheridan and Glasser will likely elevate another Season 1 writer to the showrunner gig.
  • ‘Rush Hour 4’ now scrambling for September shoot: Speaking of Paramount, when I last checked in on Brett Ratner’s Rush Hour 4, the auteur was understandably beaming after President Trump nudged the Ellisons into giving the film a wide release, which triggered approval from rights-holder Warner Bros. and the independent financing that would make the film possible. Alas, the planned shoot in China, Africa, and Saudi Arabia this spring or summer has been pushed to September at the earliest, per multiple sources, and it’s unclear if the planned $115 million to $120 million in production financing is solidly lined up. Producers Arthur Sarkissian and Tarak Ben Ammar still do not have deals with stars Chris Tucker and Jackie Chan (initial offers of $8 million each were rejected, I’m told; both made around $20 million for Rush Hour 3 in 2007, with Tucker making more than Chan). And producers are so far not offering pay-or-play deals, which can be a sign that financing is not locked. It got me wondering whether the turmoil in the Middle East, where Ben Ammar had raised money, might be endangering Ratner’s big post-Melania comeback, even as Paramount, which would be a passive distributor of Rush Hour 4 and collect a 12 percent distribution fee, says it has secured its $24 billion from funds in the region to buy Warner Discovery. Sarkissian and Ben Ammar both declined to comment.
  • Box office over/under: Michael is finally here! The troubled Lionsgate/Universal production, which cost about $200 million when you include the nearly $50 million in additional shooting (Variety’s $15 million figure was silly) to replace the legally fraught third act, is tracking for about $70 million domestic. This would’ve been an easy over pick, but the reviews are bad. Still, judging by the crazy enthusiasm at the premiere and on social media, I think the fans will show up. I’ll take the over.

Now for your next moneymaking scheme…

Kalshi & Hollywood’s Inside Edge

Kalshi & Hollywood’s Inside Edge

In the prediction market era, almost anyone can bet on anything—from Nicolás Maduro’s ouster to the Outer Banks release date—even if they have privileged knowledge that makes betting a sure thing. And while some studios and platforms are taking steps to thwart insider betting, it’s next to impossible to enforce.

Matthew Belloni Matthew Belloni

I know a guy who does work for a CBS competition show (you can guess which one), and he’s been making a little side money on the prediction apps. It’s actually pretty easy. Polymarket, Kalshi, and the others are available and legal in California and feature tons of “markets”—their word for gambling lines—on everything from sporting events to political elections to, yes, entertainment outcomes.

There’s a bunch of obvious Hollywood questions on these apps. Who’s the next James Bond? Callum Turner, who seems to be telling anyone who’ll listen that he wants the role even though Amazon and the creative team won’t make a decision until they get the script later this spring, has a far-too-large 47 percent chance on Kalshi, and Jacob Elordi is second at 22 percent. Will Paramount close its deal for Warner Bros. Discovery? That’s sitting at just 70 percent yes on Polymarket, despite today’s shareholder approval. Who will replace Lorne Michaels at SNL? Seth Meyers (53 percent) is currently beating Steve Higgins (45 percent) and Tina Fey (19 percent), per Kalshi.

There’s also a bunch of extremely niche and—this is key— knowable queries. Will Netflix release new episodes of Outer Banks before July? Will Timothée Chalamet show up at the Met Gala? And yes, who will win Survivor 50? (Aubry Bracco currently has a 79 percent chance, per Kalshi, with Cirie Fields at 11 percent.)

Silly stuff, but thousands and sometimes millions of dollars are being wagered, despite the fact that many of these markets can be gamed by people in the entertainment industry who have access to the exact information at issue—people like you and me and, say, a guy who does some work for a certain CBS competition show and thus knows which contestants are eliminated each week.

Take Outer Banks. Hundreds of people, both at Netflix and on the representative teams of its cast and creators, have access to release dates for the new season. How many of those recently laid-off marketing people at Disney know when the Avengers: Doomsday trailer will drop? There’s a 60 percent chance on Kalshi of that happening before June, so if you know it’s attached to Mandalorian and Grogu over Memorial Day weekend, that’s easy money. Chalamet’s team (and their assistants), brand coordinators, event planners, seating arrangers, people at Vogue—they’re all familiar with whether he’s going to the Met Gala. Plans can change, but throwing some money on that market seems like a no-brainer. And so on.

It’s kinda amazing that these markets exist, considering there’s a news story almost every day about some alleged abuse of the system. Just today, a U.S. soldier who helped capture Venezuelan president Nicolás Maduro was charged by the feds for winning more than $400,000 on Polymarket by betting on that outcome. There’s widespread suspicion that Trump friends and even people in the administration are wagering along with professional traders on markets associated with the president’s erratic moves on everything from tariffs to Iran to whether he says “Ozempic” or “fat shot” at a healthcare press conference. (That last one was a real market today.) Nothing matters these days, everything is rigged, members of Congress are allowed to buy and sell stocks that their decisions impact, and these prediction markets exist to let anyone participate in that game. So the real question is why, given how tough the entertainment industry is these days, more Hollywood people aren’t profiting off them?

Unique Knowledge

It’s not quite that simple, of course. As that soldier learned, the answer to the question Is this allowed? is kinda no and kinda yes. Bets on these apps are public, meaning the companies know who’s doing what. Kalshi, which is regulated via the Commodity Futures Trading Commission, says it functions similarly to the regular stock market and thus has specific policies against “insiders” and those bound by nondisclosure agreements using unique knowledge to profit. So if someone from the Academy or PwC places a bunch of huge bets on the Oscars on the morning of the show, a red flag goes up. “If the person knows by virtue of having a special access point, then yes, that would be considered a violation of their duty and not allowed,” Robert DeNault, head of enforcement at Kalshi, told me yesterday, just after three congressional candidates were fined and suspended by the platform for betting on their own races. In the entertainment space, an editor at MrBeast’s company was outed earlier this yearby Kalshi for suspicious bets and subsequently fired.

But… enforcement actions are rare, given all the activity on the platforms, and they’re often triggered by extremely high-value and one-time bets—obvious stuff. Kalshi says the average trade is $200, so suspicious, out-of-the-ordinary action is relatively easy to spot. About 70 percent of activity is on sports, excluding parlays, and in the past 10 months, entertainment and culture bets have totaled only about $1 billion, a relatively small percentage of the overall action. It’s pretty simple to fly under the radar with a wager here and there, or have a friend or relative place the bets—though Kalshi says that’s verboten too if, like with the real stock market, the friend knows they’re trading on inside info. “We take it on a case-by-case basis,” DeNault added.

Polymarket is regulated under U.S. laws as well, but it also operates an offshore platform with more exotic bets and almost no oversight. In fact, John Oliver just aired an amusing segment quoting Polymarket’s C.E.O. basically encouraging insiders to bet. People like Timmy’s assistant or a disgruntled Disney publicist making wagers on outcomes they know are gonna happen, he’s argued, do a public good by bringing new information to the market. Okay…

It sounds crazy, but until states or the federal government make this stuff illegal, it’s a bit of a free-for-all. Even the C.F.T.C. is run by a very Trumpy, pro-prediction-markets cheerleader, not a guy who seems like he’s itching to crack down. Which means, if the bettors are smart and relatively incognito, it’s up to individual companies in Hollywood to police their actions. Most employers around town require that company information remain private, of course—though I’d argue that quietly betting online is different from publicly disclosing secrets. And most productions require that participants sign nondisclosure agreements, which often outlaw gambling based on inside knowledge. CBS cast and crew agreements contain that language, for instance, though I’m told the company is discussing adding specific mention of the Kalshi/Polymarket prediction markets for future production cycles of Survivor. Others are getting more specific and draconian about it. WWE, which is especially susceptible to prediction markets because the wrestling matches are scripted, has informed its key producers and writers that anyone caught betting on an outcome will be swiftly piledriven out of the company.

Don’t get me wrong, the gamification of everything is extremely gross, as is the willingness of news outlets like CNN and Fox News to accept large bags of cash in exchange for incorporating prediction markets into coverage. Forbes ran a news article recently on a mass shooting that included a ”ForbesPredict” widget encouragingbets on upcoming gun control regulation. Yuck. Lots of people in town thought the Golden Globes incorporating Polymarket odds into January’s show was super tacky, even for the Globes.

Despite the grossness, insider wagering is definitely going on, though I couldn’t find anyone willing to discuss it on the record. (One friend admitted that he bet on the next Bond being Aaron Taylor-Johnson based on what he thought was inside info, but it turned out to be B.S.) The reasons are simple: People are very pissed off about the state of the entertainment industry, and many of us see the rampant corruption in the federal government and the seemingly rigged markets elsewhere and start wondering, Why shouldn’t I get a piece?

To be clear—very clear, Mr. C.F.T.C.—I haven’t made any of these insidery trades, even though it’s unclear whether, by definition, information is secret when a journalist knows it. Most media outlets forbid such profiteering from the job. I remember back in the summer of 2018, when I found out Ronan Farrow’s exposé of Les Moonves in The New Yorker would drop the next morning, I joked with Kim Masters in my officeat The Hollywood Reporter that we both could make a lot of money shorting the CBS stock. (We didn’t.) But I have been betting a little on awards shows this season under the theory that I have a better idea of who’s gonna get nominated and win than most people. I won a few hundred bucks on Kate Hudson, but Ariana Grande totally screwed me by getting shut out for Wicked: For Good.

That’s different than having actual knowledge of the voting results, of course, but these days, it seems like nobody cares if anyone in Hollywood lives or dies or goes bankrupt, so maybe we might as well benefit a little from the access this industry provides.

 

See you Monday,
Matt

Got a question, comment, complaint, or a Kalshi market for what Graydon Carter will wear to his Cannes party? Email me at Matt@puck.news or call/text me at 310-804-3198.

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