Welcome back to What I’m Hearing, a little later than usual.

So let’s begin…

• Touring now beats a talk show: Trevor Noah’s surprise exit from Comedy Central’s The Daily Show isn’t really a surprise. He signed a five year deal in 2017; he makes eight figures a year, a salary that kinda doesn’t make sense in a cratering TV environment; Paramount Global likely wanted it reduced (it declined comment); and Noah is a huge draw in touring. The Daily Show will continue, I’m told, but one thing’s for sure: His replacement isn’t getting anywhere near that money.

• Elon’s Hollywood text chain: A few notable entertainment figures popped up in the Elon Musk texts revealed today in the Twitter litigation. Musk ID’s these people as potentially having “knowledge” relevant to the claims, and many exchanged texts with him: Ari Emanuel (Elon doesn’t just get hosed down by Ari; he was on the Endeavor board), producer Ben Silverman, Gayle King (she texted “what do i need to do??” for an interview) Jonah Nolan, Michael Kives, Rupert Murdoch, Sean Combs, Joe Rogan and Dinesh D’Souza (!).

• Billy out on the street: Bros is tracking in the single digits this weekend. Not great. I never understood why Billy Eichner and Universal promoted it as a “groundbreaking” LGBTQ rom-com. That may work for a small, bicoastal audience, but the masses don’t want a Judd Apatow-produced comedy to be important, they want it to be funny. And this one is, apparently. (I haven’t seen it but it’s at 95 percent fresh.) I’ve always been a big Eichner fan, but Universal’s push for this movie, while admirable, seems stuck in the Hollywood bubble.

• Trek into development hell: It will never not be funny that Paramount Global enlisted producer J.J. Abrams in February to tout a fourth Star Trek movie with the Chris Pine-led cast… without said cast knowing it was coming. Now, of course, planned director Matt Shakman has departed for Disney’s Fantastic Four, requiring Par to take Star Trek 4 off the Dec. 2023 calendar. Ironically, it was Abrams who bailed on his Par deal back in 2017 to make Star Wars: The Rise of Skywalker for, yes, Disney.

Yet it’s funny, Hollywood people don’t want to talk about that. With Amazon, they only seem to discuss what’s going on at MGM, who might be getting the long-vacant film studio job, what’s taking so long, and whether, given the $8.5 billion that Amazon paid for the company and the investment required to compete in Hollywood, C.E.O. Andy Jassy might be looking at the new asset and saying to his senior V.P. Mike Hopkins, Wait, why again did you buy this?

Amazon closed the MGM deal in March, after having 10 months to plan for it during the approval process. And, shortly thereafter, Hopkins announced that Mike De Luca and Pam Abdy, who had run the studio since early 2020, would exit. Yet now here we are, nearing October: De Luca and Abdy have long since started at Warner Bros, and the MGM film job is still open. MGM staff hasn’t even been fully assimilated into the Amazon Borg yet, though that’s finally happening this month, I’m told. In the interim, several lower-level people have started to leave, with many wondering about the actual strategy for MGM.

Some of the delay is just Amazon digesting the MGM financials, which are said to be more concerning than they realized, pre-close. Plus there’s Amazon’s infamous “leveling” process, where new employees are evaluated and assigned a number from 4 to 12 to determine salary and reporting structure (there’s no 9, for some reason known only to Jeff Bezos). That takes time, especially since Amazon is still primarily filled with tech people, and all these MGM employees are definitely not tech people. The 4s are lower-level employees, like administrative assistants, for instance, and Amazon Studios head Jennifer Salke is a 10. Everyone at Amazon is an at-will employee—no contracts, no sparkly golden parachutes—another contrast from MGM.

But a big reason for the delay in finding a film studio leader is the sheer difficulty of the hire. Amazon wants 10-12 movies a year from MGM, most of them headed for theaters before Prime, so it needs a seasoned executive who can actually put together greenlight-able theatrical projects, has good taste as well as filmmaker relationships—and, most importantly, can work within Amazon’s insular, data-driven, no-frills culture. They want experience, but, oh yeah, the person has to be willing to report to Salke, who has very little film experience of her own. She has mostly taken over the search process, while her deputy, movies head Julie Rapaport, helps run MGM day-to-day. The Salke reporting structure has eliminated a host of the usual-suspect candidates.

So, who will it be? Not Emma Watts, late of Paramount, who went through the process and either dropped out or was told she should drop out. And Scott Stuber is staying at Netflix (for now). A couple others have engaged, the latest being Courtenay Valenti, who is leaving Warner Bros. as president of production and development. It would be funny, if not a little depressing (and very Hollywood), if Warners and MGM just swapped executives—and even funnier since De Luca formerly ran Warners’ New Line division in his pre-MGM days. Is there really no star exec out there in their 30s on whom Salke could take a chance? Of all the studios, Amazon seems like it could do this because its other businesses give its content group such a cushion. But that would require actual risk-taking, once a hallmark of the film business. These days in Hollywood, we usually just see an executive version of musical chairs.

Not with the Broccolis: Anyone from Amazon. Hopkins was seated with his executives at the table in front of Barbara (Salke was on vacation and not there), while executive chairman Bezos, who okayed the MGM acquisition in the first place, appeared only in a tribute video—holding a martini glass, of course.

It might seem trivial, but these are highly choreographed and telling decisions. The Broccolis are relationship-driven producers, they alone decide when and how to make Bond movies, and the Amazon people just don’t have that relationship. “I’ve never spoken to Jeff Bezos,” Broccoli said bluntly in December, though I’m told that has since changed. Glickman’s speech at the event drove that point home; if the Broccolis like you, they will engage, he told the crowd. And at this point, Hopkins—and, importantly, whoever takes that MGM film job—kinda needs them to engage.

After all, a key justification for Hopkins paying all those billions for MGM was a pipeline of new Bond movies, and, at this point, the Broccolis are looking at 2025 as the earliest for the next installment. Anytime Barbara or Michael do press, as they did for the Will Rogers honor, there’s a new round of dumb speculation about the timeline and the next 007. But everyone at MGM knows they aren’t even close to a new film. Starting next year, the Broccolis will map out a plan, according to multiple sources. They’ll commission a script, decide on a filmmaker, and start meeting with actors, likely younger than even Craig was when he took over the role at 34. The Broccolis want the next Bond to similarly commit to multiple movies and play the role for 10 to 15 years in success. By the end of his run, Craig was 50 years old and had injured himself on set in Jamaica, forcing costly delays.

That said, the Broccolis know that this is the family business. New Bond movies drive Eon, their production company, and allow it to do smaller movies like Till, about Emmet Till’s mother Mamie-Till Mobley, which Amazon will release next month. Plus, Wilson is now 80, so Broccoli will soon be fully in charge, to the extent she isn’t already.

Amazon, which isn’t used to the lack of control over a major asset like this, would love to alter the relationship, to expand the franchise and better incorporate it into Prime Video, and there have been rumors that the company is prepared to write Barbara and Michael a massive check to make that happen. I’ll believe it when I see it. To that end, Amazon has also shifted into full courtship mode, plugging the hell out of Bond movies on the Prime Video interface and launching a 60th Anniversary activation, which seems to be aimed at an audience of two.

The MGM film hire is key to that courtship, as well as helping make the next Bond movie good. To put it bluntly: Barbara needs to like this person. Amazon has smartly pivoted from its initial years as a bespoke prestige platform to a broad-as-possible offering with content like Jack Ryan, Coming to America 2, and, now, Rings of Power. Bond fits squarely in that wheelhouse. This week, Amazon announced that Epix, the MGM-owned movie channel, will be rebranded MGM+ and continue as a separate service offered through Prime Video—the Hollywood version of a You May Also Like button.

Sure, fine, whatever. Despite the recent revamp of its interface, the whole platform still feels like a video shopping experience rather than a curated streaming service. Ten to 12 decent MGM movies a year, and one blockbuster Bond movie every few years, could pair very nicely with the NFL and Lord of the Rings. And that would be a very good talking point for Amazon.

Got a question, comment, complaint, or info on whether Bezos drinks gin or vodka martinis? Email me at Matt@puck.news or call/text me at 310-804-3198.