President Trump wants a very different kind of CNN if the cable news channel’s parent Warner Bros. Discovery changes hands.

As details emerge on the battle between Netflix and Paramount over control of the historic movie studio and its streaming and TV assets, Trump acknowledged he’s made it clear he wants new ownership and leadership at the network that has been the prime target in his attacks on the mainstream media over the last decade.

“I think the people that have run CNN for the last long period of time are a disgrace,” Trump told reporters Wednesday. “I don’t think they should be entrusted with running CNN any longer. So I think any deal should — it should be guaranteed and certain that CNN is part of it or sold separately.”

White House Press Secretary Karoline Leavitt echoed Trump’s sentiment Thursday from her lectern after a testy exchange with CNN anchor Kaitlan Collins. “Their ratings have declined, and I think the president rightfully believes that network would benefit from new ownership with respect to this deal,” Leavitt said.

Trump has said he will be “involved” in the government‘s regulatory review of a WBD deal. Injecting the president’s animus toward CNN — which goes back to his presidential campaign in 2016 — into the process has insiders at the network worried that journalistic independence will be sacrificed for the sake of a Warner Bros. Discovery deal.

CNN declined to comment.

A Wall Street Journal report said Paramount Chief Executive David Ellison has signaled to Trump administration officials he would make “sweeping changes” to CNN if his company took control. (A representative for Ellison declined comment.)

Ellison has said he would combine CNN’s newsgathering operations with Paramount’s CBS News, where conservative-friendly Bari Weiss has been installed as editor in chief. Such a move would follow the $16-million settlement Paramount reached with Trump earlier this year resolving a dispute over a “60 Minutes” interview featuring then-Vice President Kamala Harris.

But Trump said he wants to see a new CNN owner even if Netflix prevails. Netflix’s $72 billion offer does not include CNN or WBD’s other basic cable properties. Paramount has countered with a $78 billion offer.

What Trump desires is more favorable news coverage. But pandering to the White House could have a dubious outcome from a business standpoint for the next CNN owner.

The cable news landscape has evolved over the last decade as the country’s politics have become more polarized and tribal.

The trend helped the conservative-leaning Fox News and progressive MS NOW (formerly MSNBC), both of which have seen their audiences grow over that time even as the number of pay-TV homes has declined dramatically.

CNN has tried to stake out the middle ground, although its aggressive coverage of Trump’s first term created a perception it had moved left, especially as more commentary was added to its prime time programs.

CNN already saw the impact of attempting to bring more right-leaning voices to its program under Chris Licht, the executive brought in to run the network in 2022. He was under a mandate from Warner Bros. Discovery Chief Executive David Zaslav, who publicly said the network needed to appeal more to conservative audiences.

The network experienced an immediate exodus of viewers, putting it in third place behind MS NOW. CNN was generating $1.2 billion in profit earlier in the decade. This year, the figure is expected to be in the range of $675 million.

Jon Klein, a digital entrepreneur and former CNN president, said it would be folly for his former network to blatantly court conservatives again.

“You’re not going to convince all those Fox News viewers that suddenly CNN is friendly to them and their way of life,” he said. “These are much older viewers who don’t change their habits so easily. There has been mistrust that has been fostered over many years.”

Klein noted that even upstart right-wing networks that provide unwavering support of Trump — Newsmax and OAN — haven’t made a dent in Fox News’ dominance. MS NOW would be the beneficiary of any rightward shift by CNN, he added.

“It would accelerate the ratings slide and they become completely irrelevant,” said another former CNN executive who did not want to comment publicly.

Fox News does more than provide largely sympathetic coverage and commentary for Trump. Rupert Murdoch’s network has worked at forging a deep connection with viewers, which has made it the ratings leader since 2002.

The lineup of highly paid Fox News personalities is reliably in sync with the audience’s values and the hot-button issues that keep them tuned in. Viewer loyalty has helped the network attract hundreds of new advertisers in recent years, with some integrating patriotic messages into their marketing efforts.

“Fox is an incredibly well-oiled machine,” Klein said.

Klein said CNN and other legacy news organizations are better off focusing on developing an effective digital strategy to insure their future as traditional TV viewing declines, instead of chasing ideological balance.

Attempting to satisfy Trump’s desire for more positive coverage is a slippery slope. While Paramount appointed an ombudsman to CBS News and brought in Weiss — moves aimed at clearing the regulatory path for its merger with Skydance Media — Trump is still lashing out at coverage he doesn’t like.

After a “60 Minutes” interview with Rep. Marjorie Taylor Greene (R-Ga.) aired Dec. 7, in which she was highly critical of Trump, the president said the program is “worse” under new ownership.

The only significant move to attract conservative viewers under Weiss is her prime time interview with the widow of slain right-wing activist Charlie Kirk that airs Saturday.

“I think the prevailing wisdom over there is this notion that at least if they stay out of the clutches of Paramount, some rich philanthropist will buy them and they’ll be fine,” said the former CNN executive.

But if Netflix gets WBD without CNN, there is no guarantee it would not end up with a Trump-friendly owner if the network were spun off separately. The rank and file may wish for Laurene Powell Jobs, chair of the Atlantic, but could end up with a deep-pocketed right winger.

CNN Chairman Mark Thompson’s message to the troops is keep calm and carry on. “I know this strategic review has been a period of inevitable uncertainty across CNN and indeed the whole of WBD,” Thompson told staff in a recent memo. “Of course, I can’t promise you that the media attention and noise around the sale of our parent will die down overnight. But I do think the path to the successful transformation of this great news enterprise remains open.”

Trump’s anger toward CNN has become more personal as time has gone on. He has insulted reporters during press briefings and reportedly has told people he wants to see the firing of anchors Erin Burnett and Brianna Keilar.

Oddly enough, it was Burnett’s journalism that provided Trump with video for his most effective commercial of his 2024 campaign.

Burnett conducted the 2020 interview with Kamala Harris where the former vice president expressed her support for providing medical care to prisoners undergoing gender-affirming care. A clip of the segment was used in the commercial that said “Kamala’s for they/them, President Trump is for you.”

An orphaned girl hires her hitman next-door neighbor to kill the monster under her bed. This R-rated action/horror movie mashup has lots of violence but surprisingly little gore. However, there are still many gruesome moments, even if they’re just offscreen. And some language and a strange portrayal of Christian worship come up, too.

One of the downsides of our movie-mad filmmakers — the Quentin Tarantinos who happily plunder from cinema’s illustrious past — is that their worldview can be myopic beyond what’s up there on the screen. For all their technical acumen, the hum and whir of life remains absent in their work, which merely mimics the semblances of behavior they’ve observed from other films. These directors can synthesize the architecture of cinema but not the underlying humanity that transforms movies into something that resonates.

What’s so impressive about Bi Gan’s excellent third feature is that he manages to have it both ways. The Chinese director behind 2015’s “Kaili Blues” and 2018’s “Long Day’s Journey Into Night” makes movies besotted with the act of making movies. They include accomplished long takes and sensuous riffs on well-defined genres.

And yet he’s never lost sight of the fragile characters at the center of his spectacles. With “Resurrection,” Bi delivers something uncommonly rich, boldly conceiving his latest as a salute to the history of film. Still, his focus remains on people — whether they be in his stories or watching in the theater.

Premiering at Cannes, where it won a Special Award, “Resurrection” imagines a fantastical alternate reality in which society has chosen to stop dreaming in order to live forever. However, an unnamed “deliriant” (Jackson Yee) rejects that arrangement, preferring the chaos and pain of a human life. He escapes into a mystical realm that is shown in a series of short films which span the 20th century, each vignette starring him in a different guise. In one, he plays Qiu, who is accused of murder as part of a noirish thriller. In another, he’s Apollo, a small-time crook celebrating New Year’s Eve in 1999, lured by a temptress, Tai Zhaomei (Li Gengxi), who’s also a vampire.

Traipsing through genres and time periods, these excursions are an opportunity for Bi and his creative team to frolic in various cinematic sandboxes. When we meet Yee’s shifting character, he first resembles a hideous beast reminiscent of F.W. Murnau’s title character from 1922’s “Nosferatu.” The segment expertly samples the jagged production design and theatrical lighting of German Expressionism’s heyday.

But Bi is after more than elaborate dress-up, conceiving each episode as an exploration of how movies amplify and comment on life’s cavalcade of emotions. Later, Yee’s monster is reborn as a stoic con artist who recruits a young girl (Guo Mucheng) to be his partner in crime. This wistful chapter evokes classics like “Paper Moon,” but Bi lands on a resolution that’s uniquely heartbreaking, connecting the illusion of movies with the delusions we cling to in the real world.

As he has done in his previous films, Bi creates a climax for “Resurrection” that culminates in a masterfully orchestrated long take, one lasting just under 30 minutes, as we follow Apollo and Tai Zhaomei on an electric adventure through a New Year’s Eve involving gangsters, karaoke bars and random bloodsucking. The segment is easily the film’s showiest, Bi’s camera snaking through streets and darting into different buildings. But the audaciousness is always in service of capturing the headlong rush of new love, the characters as giddy as the filmmaking. Even here, though, “Resurrection” drills down into something unbearably moving, turning the century’s end into an apocalyptic occurrence, the future perilously uncertain for these impetuous lovers.

The 20th century that “Resurrection” chronicles was a pivotal period for China, bringing to a close the Qing Dynasty and ushering in the rise of a communist superpower. It was also a century that heralded cinema’s ascension as the dominant popular art form worldwide. Bi is far more invested in that latter revolution and consequently, “Resurrection” can be seen as an elegy for a medium whose cultural relevance has somewhat slipped. No wonder, then, that the film’s genre-hopping dexterity is laced with a hint of melancholy.

It’s a cliché to say that movies are a form of dreaming, but people who love them understand that as a foundational truth. The wonder of being alive is to grapple with mortality — to know that everything, including a movie, fades away. Bi throws his lot in with the monsters and “Resurrection” concludes with a personal and artistic reckoning that’s as defiant and emotional as anything cinema has produced in recent years.

Turns out, the world did not, in fact, stop spinning when we entered the 21st century. But Bi’s journey through cinema’s past argues that a movie’s greatness stems not from spectacle but, rather, a belief that we can see ourselves in its story. “Resurrection” is the work of a vivid soul who has kept the faith. He invites us to dream along.