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Politics take center stage as Paramount submits new offer for Warner Bros. Discovery

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Politics take center stage as Paramount submits new offer for Warner Bros. Discovery

As Paramount moved Monday to sweeten its bid for Warner Bros. Discovery, a high-stakes political battle is playing out behind the scenes.

Paramount’s latest offer enhanced its earlier $30-a-share bid, valued at $108 billion, said a person familiar with the process who was not authorized to comment publicly. Details of the revised proposal, first reported by Bloomberg, were not immediately available.

The firm is leveraging both the dynastic wealth of Larry Ellison’s empire and his ties to the Trump administration to dismantle Netflix’s rival $82.7-billion deal for Warner, which owns CNN, HBO and the premier Hollywood film and television studios, according to people close to the auction.

Over the weekend, President Trump turned up the heat, demanding that Netflix “IMMEDIATELY” fire Susan Rice — a former Obama and Biden administration official — who serves on Netflix’s 13-member board or “pay the consequences.”

Trump, in a Saturday night social media post, called the former ambassador “deranged … She’s got no talent or skills — Purely a political hack!”

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Trump previously said he would not get involved in the pivotal Warner Bros. auction, instead leaving the matter to the Department of Justice, which is investigating whether a Netflix takeover, or Paramount’s alternative bid, would harm competition. Trump has been an outspoken critic of CNN and many of its on-air hosts.

Netflix won the bidding for the storied studio and HBO in December, prompting the spurned Paramount executives to launch a multipronged strategy to scuttle the Netflix deal.

Netflix co-Chief Executive Ted Sarandos sought to downplay the latest controversy, saying during a BBC interview Monday: “This is a business deal, it’s not a political deal.”

But Paramount, which declined to comment for this article, has not been shy about playing its political cards.

Warner Bros. Studio in Burbank.

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(Myung J. Chun/Los Angeles Times)

The company, overseen by Larry Ellison’s son, David, is trying to convince Justice Department regulators and Warner Bros. shareholders that the Netflix deal is too dicey and that they should instead side with Paramount, said sources who were not authorized to comment publicly.

Paramount has attempted numerous maneuvers to gain the upper hand.

“This deal was never going to be decided on the merits of the offer or rigid antitrust considerations,” said Gabriel Kahn, a professor at the USC Annenberg School for Communication and Journalism. “This was a classic Trump administration deal where proximity to the president counts a lot more than financial terms.”

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Trump’s Saturday night outburst came after Rice, during a podcast interview last week, said that “it is not going to end well” for corporations, media outlets and law firms that “bent the knee” to Trump should Democrats regain control in Washington.

The comments of Rice, a Netflix director for eight years, came as Paramount-owned CBS was involved in a headline-grabbing dust-up with late-night talk-show host, Stephen Colbert, over Trump’s Federal Communications Commission chair‘s threat to modify a rule requiring that broadcasters to give political candidates equal time. Colbert has accused his company of kowtowing to Trump, which CBS has denied.

Netflix’s Sarandos and Paramount’s David Ellison have made separate treks to the White House.

In October, Paramount hired a former Trump administration official, Makan Delrahim, who oversaw the Justice Department’s antitrust division during Trump’s first term, to quarterback Paramount’s campaign to win over regulators and politicians.

A formidable ally — Sen. Ted Cruz (R-Texas) — recently visited Delrahim on Paramount’s Melrose Avenue lot in Los Angeles. While there, Cruz said he was a fan of the CBS show “NCIS,” which prompted Paramount executives to put together an impromptu tour of the “NCIS Origins” soundstages, according to a person familiar with the visit.

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In December, Delrahim made a tactical move to apply for Justice Department approval of Paramount’s deal — despite the absence of a signed agreement with the Warner Bros. board and the consent of its shareholders. The gambit was meant to speed the agency’s approval should the Netflix deal crumble. Warner stockholders are expected to vote March 20.

Last week, Paramount announced that a major deadline had passed without pushback from the Justice Department. “There is no statutory impediment in the U.S. to closing Paramount’s proposed acquisition of WBD,” Paramount said in a regulatory filing.

Paramount faces a separate deadline late Monday to improve the finances of its proposed takeover to shake the support of Warner Bros. Discovery’s board members for the Netflix deal.

Paramount wants to buy all of Warner Bros. Discovery, including CNN.

Netflix, in contrast, does not want the bulk of cable TV channels beyond HBO, and has offered $27.75 a share. It has the right to match any improved Paramount proposal.

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Warner is planning to spin off the bulk of its channel portfolio, including HGTV, TBS and Cartoon Network, in a separate company. Its shareholders will receive stock in that entity, slated to be called Discovery Global.

Concerns over Netflix’s deal have been mounting.

Department of Justice regulators have sent inquiries to the three companies, according to one senior executive who was not authorized to speak publicly. The department is said to be looking at Netflix’s historic business strategy of steering most of its film releases to its streaming platform, often bypassing movie theaters. Sarandos has promised to maintain a 45-day theatrical window for Warner Bros. films.

Bloomberg has reported that regulators also are trying to determine whether Netflix has exerted leverage over creators in negotiations when acquiring programming to build its catalog.

This month, Republican lawmakers blasted Sarandos during a Senate Judiciary Subcommittee on Antitrust, Competition Policy, and Consumer Rights hearing to explore antitrust implications of the Warner Bros. sale. Sen. Mike Lee (R-Utah) sent Netflix a series of pointed follow-up questions, including: “If allowed to proceed, what effect will the merger have on future competition?”

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Ted Sarandos, left, and David Zaslav at the 2026 Golden Globes.

Ted Sarandos, left, and David Zaslav at the 2026 Golden Globes.

(Allen J. Schaben / Los Angeles Times)

The hearing also veered into culture wars, with Sen. Josh Hawley (R-Mo.) suggesting Netflix was promoting a “transgender ideology” to children, which Sarandos denied.

Another Missouri Republican, Sen. Eric Schmitt, accused Netflix of making some of “the wokest content in the history of the world.”

“Netflix has no political agenda of any kind,” Sarandos told the lawmakers.

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David Ellison also was invited to appear at the Feb. 3 hearing, but he declined — which raised the eyebrows of some members of the panel.

Skydance Media founder and CEO David Ellison

Skydance Media founder and Chief Executive David Ellison, who leads Paramount, is shown in 2023 in New York.

(Evan Agostini / Invision / Associated Press)

Sen. Cory Booker (D-N.J.) challenged Ellison for failing to answer lawmakers’ questions under oath, including about his dealings with the president.

Ellison instead responded with a statement but Booker and other lawmakers wrote back, saying Ellison’s statement “failed to address” the issues raised by Booker.

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“The pattern of evasion, combined with Paramount’s apparent confidence that a politically sensitive transaction will clear without difficulty warrants serious scrutiny,” Booker, Senate Minority Leader Chuck Schumer and others wrote in the Feb. 19 letter.

The Democrats instructed Ellison “to preserve records related to the proposed Paramount-Warner Bros. Discovery transaction.”

The move came days after Gail Slater, the Justice Department’s antitrust chief, was bounced from her job, reportedly after becoming a thorn in the side of some business interests. Slater’s former top deputy, who also left the Justice Department, publicly warned that antitrust decisions are being influenced by corporate lobbyists — not in the interest of ordinary Americans.

“We see this happen again and again,” USC’s Kahn said.

“Let’s not forget that Larry Ellison’s Oracle was part of the consortium that purchased the U.S. operations of TikTok. Repeated complaints from the FCC about content at CBS have been heeded by the Ellison regime,” Kahn said, adding: “This is the reality of trying to do any business in the Trump administration: It’s about payoffs and proximity.”

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Movie Reviews

Film Review: Mother Mary – SLUG Magazine

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Film Review: Mother Mary – SLUG Magazine

Arts

Mother Mary
Director: David Lowery
A24, Topic Studios, Access Entertainment
In Theaters: 04.24.2026

“Hail Mary, full of grace, the Lord is with thee,” or whatever the fuck those silly little Catholics say. With David Lowery’s ninth feature, our dear Mother Mary is anything but full of grace. Though she is full of something … g-g-g-GHOSTS! 

Mother Mary follows a distraught pop star (take a wild guess at her name), played by the always lovely Anne Hathaway (The Princess Diaries, The Devil Wears Prada), who dramatically ends up on the doorstep of her ex-best friend and costume designer, Sam Anselm (Michaela Coel, Chewing Gum, Black Mirror). She confesses to Sam, after barging her way into her secluded design studio, that she needs a dress that feels like “her.” This is something she feels her current team of designers can’t do and is very important, as she’s performing a new unreleased song to celebrate her comeback. During the creation of the gown, the two women reminisce and catch up, all in the same haunted breath. During their heart-to-heart (pun intended), they both realize that at some point since their separation, they each have been taking turns experiencing a haunting by the red, shapeless form of a (what they both determine is at least female) “ghost.” 

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Now, not to sound like a broken record, kids, but what is my favorite saying? That’s right, “there are no perfect movies,” and Mother Mary is an example of a very complicated and imperfectly okay movie. Lowery’s writing is, at times, far too abstract or obtuse, which can lead to quite a bit of confusion for about 100 of the film’s 112-minute runtime. Before it’s clarified, the relationship between the two female leads is hard to decipher. Are they best friends, former lesbian lovers or a secret, worse, third option? Does this red ghost actually have anything to do with unresolved feelings these women still have for each other, or is it just aesthetic? 

There are also interesting “visions” Sam gets when talking things through with Mother Mary that feel somewhat like they tangle the film’s overall seam. It also lacks a lot of raw edges you would normally see when two women discuss a “friendship break-up.” Mary Mother also has yet to break the curse of the inaccurate on-screen popstar portrayal. I’m not sure why, but for some reason, Hollywood cannot get the feel of a popstar just quite right on screen. Mother Mary is supposed to be Lady Gaga, yet it feels like her on-stage scenes are what dads imagined watching Hannah Montana must’ve looked and felt like to their daughters. This is something that seems unfathomable when you have Jack Antonoff and Charli XCX to help write the soundtrack. 

That being said, once the ending hits you in the face and you finally get the full picture that Lowery is painting, the film saves itself. Lowery does something interesting and unique when it comes to the haunting genre of horror, as his characters are not haunted by ghouls and goblins but by emotional moments or memories in time. This is something that, when done right, is the epitome of beauty and is frankly more terrifying than any jumpscare by a James Wan demon. What’s more haunting than the what-ifs and what-could-have-beens of an intense connection with another human being, romantic or platonic? What’s more punishing than being the one who committed the sin that severed your red thread connection? Lowery also puts the infamous Bechdel Test to shame, as there is not a single male character with dialogue for the entirety of the film.

Do I love what Lowery is trying to do here? Yes. Does he stumble and fumble along the way? Absolutely. I’m not saying that you shouldn’t see Mother Mary, but also if you miss it … you’re not missing much. —Yonni Uribe

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Read more film reviews by Yonni Uribe:
Wasatch Mountain Film Festival Review: Protecting Our Playground

Film Review: The Drama

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Entertainment

Anderson Cooper bids ’60 Minutes’ a final goodbye

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Anderson Cooper bids ’60 Minutes’ a final goodbye

Anderson Cooper has signed off from “60 Minutes” for the last time.

After two decades as a correspondent on the CBS’ news magazine, he officially ended his run Sunday night.

Cooper, who also hosts a news program on CNN, announced in February his plans to leave CBS, months after an internal shake-up that followed the arrival of editor-in-chief, Bari Weiss.

“Things can always evolve and change, and I think that’s awesome, and things should evolve and change, but I hope the core of what ’60 Minutes’ is always remains,” Anderson said on-air. “I think the independence of ’60 Minutes’ has been critical.”

Throughout the farewell segment, the 58-year-old journalist, who was hired in 2007, reminisced about some career highlights, like speaking with Holocaust survivors and people battling malnutrition in Niger, as well as interviewing A-listers like Lady Gaga and Prince Harry. He also said he hopes the show continues to be a reliable source of investigative journalism.

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“I think the trust it has with viewers is critical to the success of ’60 Minutes.’ When you see a ’60 Minutes’ story, and you’re like, ‘That was a really good story.’ It was a good story because it requires time, it requires patience, it requires money,” he said. “I hope that’s known and honored and valued and continues.”

His departure comes at an uncharted time for CBS, as the company undergoes several leadership changes. Last year, billionaire David Ellison successfully merged his company, Skydance Media, with Paramount, CBS’s parent company. Soon after, Ellison hired Bari Weiss as CBS News editor-in-chief.

Two months after taking on the new role, Weiss made the widely panned decision to pull a “60 Minutes” episode that examined the alleged abuse of deportees sent from the U.S. to an El Salvador prison. The decision earned Weiss heavy criticism and accusations that the move was politically motivated, which CBS has denied.

Cooper said that he’s leaving the program to spend more time with his young children. He will remain as an anchor for CNN.

He added, “I hope ’60 Minutes’ is around for when my kids grow up and have kids of their own, and they can watch it with their kids.”

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Movie Reviews

Review | Paper Tiger: Adam Driver and Scarlett Johansson lead dark gangster movie

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Review | Paper Tiger: Adam Driver and Scarlett Johansson lead dark gangster movie

3.5/5 stars

Back in official competition at the Cannes Film Festival for the sixth time, writer-director James Gray returns to his roots with Paper Tiger.

The American filmmaker started his career with 1994’s Little Odessa, starring Tim Roth as a Russian-Jewish hitman operating in the Brighton Beach area of New York. His next two films, The Yards (2000) and We Own the Night (2007), kept him ensconced in the world of low-life criminals.

Paper Tiger also casts the Russian mob as the antagonists. Set in 1986 in Queens, New York, it stars Miles Teller and Adam Driver as the Pearl brothers, Irwin and Gary.

Irwin (Teller), an engineer, is married to Hester (Scarlett Johansson) and has two teenage sons: Scott (Gavin Goudey), who is about to turn 18, and the younger Ben (Roman Engel), who is diligently studying for his exams.

Adam Driver (left) and Miles Teller attend the 79th Cannes Film Festival for the screening of Paper Tiger on May 17, 2026. Photo: AP

Gary (Driver), a former policeman who still has connections on the force, encourages Irwin to team up and create an environmental clean-up business involving the filthy Gowanus Canal.

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