Entertainment

Paramount’s Ellison underscores his pledge to make 30 films a year when his company buys Warner Bros.

Published

5 days ago

May 4, 2026

Paramount’s Ellison underscores his pledge to make 30 films a year when his company buys Warner Bros.

Paramount Skydance Chairman David Ellison defended his commitment to release 30 movies a year once his media company swallows Warner Bros. Discovery — a goal that some industry observers view as overly ambitious.

During a Monday call with analysts to discuss Paramount’s first-quarter earnings, the tech scion said the target was achievable because his management team would maintain current levels of production. Paramount has doubled its film release capacity to 15 films this year, matching the number of theatrical releases planned by competing Warner Bros.

“The two companies are actually making 30 films to date,” Ellison said. “We really view our pending acquisition of Warner Bros. Discovery as a powerful accelerant to our strategy.”

The company said it was on track to finalize its Warner takeover by the end of September. The $111-billion deal would transform the smaller Paramount into an industry titan with prestigious programming, including Harry Potter, “Game of Thrones,” “Euphoria,” as well as its current slate of Taylor Sheridan-produced franchises, including “Yellowstone” and “Landman.” The combined company also would own dozens of popular TV networks, including CBS, CNN, Comedy Central, Food Network and HGTV.

But the proposed merger would saddle the combined company with $79 billion in debt, stoking fears that Paramount would need to make steep cost cuts to balance such a large debt load. During the quarter, Paramount lined up banks and other institutional investors to provide bridge financing to help pull off the transaction, the company said.

“We’re pleased with the momentum and will continue to take the necessary steps to bring this deal to completion,” Ellison told analysts.

Late last month, Warner Bros. Discovery stockholders overwhelmingly voted in favor of the deal, which will pay $31 a share to Warner investors. The company now must secure regulatory approvals in the U.S. and abroad, and that process is well underway, Paramount said.

Paramount has asked the Federal Communications Commission for permission to exceed a cap on foreign ownership for U.S. media companies. Ellison’s company is expecting $24 billion from three Middle Eastern royal families, who would become part owners of the combined entity. Those total funds will represent about 49% of equity in that new company, exceeding the current foreign ownership cap of 25%.

More than 4,000 filmmakers, actors and industry workers, including Bryan Cranston, Connie Britton, Kristen Stewart, Jonathan Glazer and Jane Fonda, have signed an open letter asking California Atty. Gen. Rob Bonta and other regulators to block the deal, saying it “would reduce the number of major U.S. film studios to just four.”

Late last week, a small group of consumers sued to block Paramount Skydance’s acquisition of Warner Bros. Discovery and unwind Ellison’s Skydance Media’s takeover of Paramount, alleging that both deals reduce marketplace competition.

For the January-March quarter, Paramount’s earnings beat Wall Street’s expectations. Revenue grew 2% to $7.3 billion compared with the first quarter of 2025.

Adjusted earnings before interest, taxes, depreciation and amortization (EBITDA) reached $1.1 billion, helped in part by growth in its streaming services unit. Paramount+ increased its revenue by 17% to nearly $2 billion, compared with the year earlier period when it generated $1.7 billion. The service added 700,000 subscribers, bringing the total to nearly 80 million.

With Warner’s HBO Max streaming platform, the combined service would boast more than 200 million subscribers.

Paramount reported first-quarter net earnings of $168 million, or 15 cents per share, compared with $152 million in 2025, which occurred before Skydance acquired the media company in August.

Executives pointed to “Scream 7,” a late February release that has topped $200 million in global ticket sales, as a success story. Studio revenue grew 11% to $1.28 billion for the quarter.

Television networks revenue declined 6% to $3.7 billion as Paramount’s cable channels continue to contend with the loss of cable cord-cutters, which reduces the company’s collections from pay-TV providers. Nonetheless, Paramount pointed to the strength of Sheridan’s “Landman,” starring Billy Bob Thornton, Ali Larter, Sam Elliott and Demi Moore, and the strength of the CBS television network, which currently has 13 of the broadcast industry’s top 20 prime-time shows, including “60 Minutes,” “Marshals,” and “Tracker.”

The company told analysts it would achieve $30 billion in revenue for the full year and $3.8 billion in adjusted EBITDA. Paramount said it would also make $2.5 billion in cost-cuts by the end of this year and reduce expenses by $3 billion in 2027.

Paramount said it ended the quarter with $1.9 billion in cash and cash equivalents. It also was carrying $15.5 billion in debt. The company had to draw $2.15 billion from its revolving credit facility to pay Netflix a $2.8-billion termination fee that Warner Bros. Discovery had agreed to pay under a previous deal to sell the company to Netflix.

Paramount released its earnings after Monday’s trading day. Its shares closed at $11.13, basically unchanged.

Entertainment

Writers Guild staff union reaches deal, ending strike after nearly three months

Published

7 minutes ago

May 9, 2026

Press Room

Writers Guild staff union reaches deal, ending strike after nearly three months

The union representing workers employed by the Writers Guild of America has reached an agreement on its first contract, ending a strike that lasted nearly three months.

The pending contract includes seniority and layoff protections, higher wages and outlines provisions for progressive discipline and a stepped grievance process, the Writers Guild Staff Union said in a statement Friday.

The union represents 116 members, who work in areas including legal, communications and residuals. They will vote on proposed contract in the coming days.

“Once ratified, the WGSU strike will end and Writers Guild staff will return to doing what we do best: defending the writers’ hard-fought gains and helping them build collective power,” the WGSU Bargaining Committee said in a statement.

WGA also said in a statement that they “are pleased to have reached a tentative agreement” with the union for its first collective bargaining agreement.

If ratified, members would see a minimum of 12% increases in pay for all Writers Guild staff over the course of the three year term. The salary floor would rise from $43,000 to $57,000. The staff would also see better protections against AI.

The strike began in February, weeks before the WGA was set to enter negotiations with the major studios, with the workers accusing their employer of bargaining in bad faith.

Over the last several months, tensions have been high between the two unions. In March, WGA had to cancel its Los Angeles-based award show, as it could “not ask our members or guests to cross a picket line.” The staffers also lost access to their healthcare in April, as they were no longer eligible.

Last month, Hollywood writers officially ratified their newest contract with the Alliance of Motion Picture and Television Producers, with more than 90% voting in favor of the deal. The union represents 11,000 members.

Movie Reviews

Movie Review: AFFECTION – Assignment X

Published

10 hours ago

May 9, 2026

Press Room

By ABBIE BERNSTEIN / Staff Writer

Posted: May 8th, 2026 / 08:34 PM

Rating: Not Rated
Stars: Jessica Rothe, Joseph Cross, Julianna Layne
Writer: BT Meza
Director: BT Meza
Distributor: Brainstorm Media
Release Date: May 8, 2026

AFFECTION is an odd title for this tale. While it is about a number of topics and emotions, fondness isn’t one of them. Obsession, definitely. Love, possibly. The kind of general warm fellow feelings associated with “affection”? No.

There have been a lot of movies lately in which characters – mostly women – are grappling with false identities and/or false memories imposed upon them, mostly by men.

Let us stipulate that the protagonist (Jessica Rothe) in AFFECTION is not an android or in an artificial reality. However, we can tell something is way off from the opening sequence. A car is stalled on a tree-bordered highway. Rothe’s character is lying face down on the asphalt beside it, possibly dead.

But then the young woman rises, dragging a broken ankle. She experiences a full-body seizure. Fighting to recover, she sees oncoming headlights and tries to run, only to be hit by a car.

The woman wakes up in a bed she doesn’t recognize, next to a man (Joseph Cross) she likewise is sure she’s never seen before. One big confrontation later, the man says his name is Bruce – and that the woman is his wife, Ellie.

Ellie insists that her name is Sarah Thompson, and she is married to someone else, with a son. When she sees her reflection in a mirror, she doesn’t relate to the face looking back at her.

Bruce counters that Ellie has a rare neurological condition that causes her to block out her waking life and believe her dreams are real. This is why they agreed, together, to move to this isolated house, without the kinds of interruptions that can hinder Ellie’s recovery.

The set-up is presented in a way where we share Ellie’s skepticism. But Ellie and Bruce’s little daughter Alice (Julianna Layne) immediately identifies Ellie as “Mommy!” Alice appears to be too young to be in on any kind of deception, so what is going on here?

AFFECTION eventually explains this via a helpful videotape, though it’s so convoluted that viewers watching on streaming may want to replay the sequence to make sure they understand the exposition.

Writer/director BT Meza musters a sense of menace and lurking weirdness, as well as making great use of his location.

We still have a lot of questions, many of which are still unanswered by the film’s end. It may not matter to the points AFFECTION is trying to make, but a better sense of exactly how all this started might help our investment.

As it is, despite a heroically versatile performance by Rothe, a credible and anguished turn by Cross and appealing work from Layne, we’re so busy trying to piece together what’s important and what’s not and how we’re supposed to feel about all of it that it can be hard to keep track of the action as it unfolds.

Agree or not, Meza’s arguments are lucid and illustrated clearly by AFFECTION’s events. However, the movie is structured in a way that becomes more frustrating as it goes. We comprehend it intellectually but can’t engage viscerally.

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Entertainment

Amazon MGM Studios executive solicited kickbacks for postproduction contracts, lawsuit alleges

Published

12 hours ago

May 9, 2026

Press Room

Amazon MGM Studios executive solicited kickbacks for postproduction contracts, lawsuit alleges

An Amazon MGM Studios executive allegedly solicited kickbacks from an aspiring vendor in exchange for post-production contract awards on shows, according to a recently filed lawsuit.

Joe Eckardt, owner and president of Hollywood-based postproduction services firm Unbreakable Post, alleged that the studio’s head of postproduction, Frank Salinas, told him during a business lunch in 2023 that Salinas could “ensure” Unbreakable Post would be included as an approved vendor to bid on Amazon-affiliated projects.

Salinas would give Eckardt the target budget number for his company’s bid and “effectively guarantee that Unbreakable would be awarded the work,” the lawsuit states.

After the contract was awarded, Eckardt would then pay Salinas a percentage of the project value as a kickback, the lawsuit says.

After Eckardt refused, he alleges that his contract opportunities with Amazon dried up.

He states in the lawsuit that although he had done “substantial” work, served as a postproduction consultant or selected vendor on shows such as the Mexico, Brazil and Argentina productions of the reality series “Temptation Island” and the third season of documentary series “Coach Prime,” he was not selected by Amazon for a contract with those projects.

In 2025, Eckardt alleges that he reported Salinas’ conduct to Amazon and after six months of information gathering, the company told him that “its investigation had concluded and that the allegations were ‘not substantiated.’”

Amazon MGM Studios did not respond to a request for comment. Salinas declined to comment.

Eckardt’s lawsuit was filed Wednesday in Los Angeles County Superior Court. He alleges that he lost more than $1 million in contracts, income and future business opportunities. He is seeking a jury trial.