Profound transformations are coursing through the global media landscape, and at the center of this seismic shift stands one unmistakable surname: Ellison. Among the constellation of powerful figures shaping the future of entertainment and journalism, David Ellison has emerged as a particularly disruptive force, driven not merely by a hunger for prestige or political leverage, but by an audacious determination to reconfigure how stories are created, distributed, and consumed in the digital age.
As the son of tech magnate Larry Ellison—one of the most affluent and influential individuals in the world—David Ellison has inherited both extraordinary resources and a forward-looking approach that bridges Silicon Valley agility with Hollywood grandeur. His ambitions, however, extend far beyond the traditional objectives of ownership or influence. Ellison is methodically reorganizing long-established cultural and journalistic powerhouses, endeavoring to turn Paramount Global into a formidable, multifaceted media empire. What makes his expansion particularly remarkable is not only its speed but also its bold disregard for industry convention, reflecting an urgency emblematic of the tech world’s “move fast and break things” ethos.
Perhaps the clearest demonstration of Ellison’s willingness to challenge orthodoxy came on a Monday that will likely be remembered by media observers for years to come. In a surprising move, he installed Bari Weiss as the new editor-in-chief of CBS News—a nearly century-old institution synonymous with American broadcast journalism and the trusted home of figures such as Walter Cronkite and programs like “60 Minutes.” In doing so, Ellison signaled his readiness to reimagine even the most sacred institutions of journalistic credibility.
Weiss, a former New York Times opinion writer known for her departure from the publication in 2020, subsequently established The Free Press—a digital-first, subscription-driven journalism venture that consciously distances itself from what its founders perceive as ideological groupthink in mainstream media. Under her leadership, The Free Press developed a distinctive editorial voice, one often described as anti-establishment or anti-woke, and unabashedly delves into contentious issues ranging from the ongoing war in Gaza to academic freedom on American campuses. That Weiss would now helm CBS News represents more than a personnel shift; it is a symbolic collision between the old media order and a rising wave of direct-to-consumer, commentary-rich journalism.
Ellison’s acquisition of The Free Press for roughly $150 million and his concurrent decision to entrust Weiss with the stewardship of CBS News constitute a public declaration of intent. The message is unmistakable: Ellison is not content to be merely a financier or facilitator, but rather an architect of a new media ecosystem, one potentially capable of rivaling legacy players on every front. Reports have even suggested that Warner Bros. Discovery—home to storied entities like CNN and the Warner Bros. film studio—may be his next acquisition target, as revealed by a Wall Street Journal account indicating that the Ellison family has shown active interest in taking control.
This brash expansionist strategy—fueled by paternal billions and fortified by Silicon Valley’s culture of perpetual innovation—has generated a mixture of awe, apprehension, and anxiety among both employees and industry insiders. For some within Paramount, Ellison’s arrival has provided the clarity of vision that had been missing under previous leadership, igniting hope for a more focused, visionary direction. For others, however, the pace and scale of his restructuring—particularly with plans to slash roughly $2 billion in expenditures—foreshadow uncertainty and potential upheaval.
The reach of the Ellison family’s media ambitions could soon extend far beyond the boundaries of Hollywood studios or cable networks, potentially influencing everything from social media policy to cinematic production. Former U.S. president Donald Trump has even suggested that Larry Ellison might play a major role in the future American spin-off of TikTok, further intertwining technology infrastructure with storytelling platforms. Yet many fear that these consolidations—if allowed to continue unchecked—could accelerate an already worrisome trend: fewer studios, fewer creative outlets, and massive layoffs that threaten the livelihoods of thousands of entertainment professionals.
Observers have not hesitated to use explosive metaphors to describe the magnitude of what may occur. “It’s like an asteroid hitting Hollywood,” remarked comedian and labor advocate Adam Conover, articulating a widely felt dread that the merging of powerhouses like Paramount and Warner Bros. Discovery could hasten the decline of the traditional entertainment industry and permanently reshape the creative landscape of Los Angeles.
When news first circulated in 2023 that Ellison was contemplating the purchase of Paramount, there was, paradoxically, a collective sigh of relief across many corners of the film industry. Paramount, long considered one of Hollywood’s most prestigious studios, had been struggling mightily under Shari Redstone’s leadership, mired in protracted internal conflicts and strategic stagnation as competitors like Disney and Netflix surged ahead in the streaming era.
At 42, Ellison brought not only youth and vigor but also undeniable credibility through his previous success with Skydance Media, his own production company behind blockbuster franchises such as “Top Gun: Maverick” and multiple “Mission: Impossible” entries. Those achievements, combined with his father’s virtually limitless financial backing, imbued investors and executives with a renewed sense of optimism. As one veteran talent agent put it during the deal’s finalization in August: “You can’t underestimate the world’s second-richest man. If Larry Ellison is committed, anything becomes possible.”
True to that sentiment, David Ellison wasted no time in deploying vast sums toward revitalization. He recruited top executives, most notably Cindy Holland—renowned for transforming Netflix into the juggernaut of global streaming—and committed to nearly doubling Paramount’s film production schedule. Notably, Ellison also made a $7 billion play to acquire U.S. broadcasting rights to UFC events and successfully lured high-profile creative talent such as the Duffer brothers, acclaimed creators of “Stranger Things.” Analysts took note. “Everywhere you look, he’s spending aggressively and strategically,” observed Rich Greenfield of LightShed Partners. “That’s precisely the kind of energy Hollywood hasn’t seen in years—and that’s why people are paying attention.”
Yet as Ellison’s grand vision unfolds, the original excitement among employees has evolved into a more anxious vigilance. Paramount staff members now describe an atmosphere of “nervous energy,” heightened by the expectation of sweeping layoffs. Some say they have been “bracing for impact” for months, aware that even bold reinvention comes at a steep human price. Should the Ellisons proceed with acquiring Warner Bros. Discovery, the resulting megastudio could forever alter the structure of Hollywood—eliminating competition, consolidating creative control, and possibly merging influential journalistic institutions like CBS and CNN under one cohesive but controversial leadership.
The financial upside of creating a more resilient, better-capitalized Paramount is undeniable, analysts concede. However, they also warn that over-consolidation poses dangers of its own. “On the surface, strong financials and leadership offer stability,” said Greenfield. “But if this is step one of massive multistudio consolidation, it could signal the erosion of diversity and independence across the entertainment ecosystem.”
Apart from his financial maneuvers, David Ellison’s technological sensibilities distinguish him from many of his Hollywood peers. In an industry historically tethered to legacy studio lots and artisanal production processes, Ellison envisions AI-enhanced “studios in the sky,” capable of streamlining filmmaking through technology, reducing costs, and accelerating production cycles. This perspective symbolizes a willingness to bridge the creative pulse of Hollywood with the computational precision of Silicon Valley—a synthesis that could redefine not only workflow, but artistic authorship itself.
Still, questions about the political dimensions of the Ellison empire remain. Larry Ellison’s outspoken support for former president Donald Trump contrasts notably with his son’s more ambiguous stance. David Ellison, who contributed to Joe Biden’s presidential campaign as recently as the previous year, remains an enigmatic figure in this respect. His appointment of Bari Weiss—whose publication is often regarded as sympathetic to both conservative sensibilities and billionaire power structures—has heightened unease among journalists and political commentators alike.
The anxiety surrounding such consolidation in media power is not unfounded. Legendary CBS anchor Dan Rather recently voiced his concern on air, warning that Americans should be vigilant about “massive concentrations of ownership” that could threaten the plurality of voices fundamental to democracy. For many observers, the Ellison strategy represents both an opportunity and a risk: while it promises renewed vitality for struggling legacy institutions, it also concentrates unprecedented authority in the hands of a few.
Ultimately, even those skeptical of Ellison’s methods recognize that the forces compelling change in Hollywood are existential. The decline of traditional television consumption, combined with the explosive growth of streaming, YouTube, and social media platforms, has permanently transformed audience behavior. Paramount’s underperforming linear networks—such as Comedy Central and Nickelodeon—are clear casualties of this shift, signaling a structural adjustment that any new leadership, not just Ellison, would likely have to enact.
Financial analysts have described Ellison’s approach as pragmatic, if ruthless. Raymond James’ Ric Prentiss suggested that the realignment might even yield political advantages if CBS were perceived as more balanced or less politically tilted under a potential second Trump administration. Meanwhile, Jessica Reif Ehrlich of Bank of America remains cautiously optimistic, describing the merged entity as a potentially “dynamic global media company,” while also acknowledging that “no easy fixes exist” for the monumental challenges faced by legacy media.
Whether hailed as an emblem of innovation or decried as a harbinger of creative homogenization, David Ellison’s transformation of the media industry captivates for one reason above all: in an era defined by uncertainty, he offers a vision—controversial though it may be—that refuses to accept decline as inevitable. The question now confronting Hollywood, policymakers, and audiences alike is whether that vision will lead to renewal, or to the definitive end of an era.
Sourse: https://www.businessinsider.com/david-ellison-paramount-skydance-bari-weiss-media-hollywood-2025-10
