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VARIETY: Paramount-Skydance merger collapsed in the final moments, and will lead to layoffs and austerity measures

Citiprime

Fleet Captain
Fleet Captain
The cover story for the latest issue of Variety paints Shari Redstone's handling of Paramount as something akin to the way the characters on HBO's Succession covet control of their family's media empire. According to Variety, Redstone pulled out of an imminent deal with Skydance Media on June 11 only 2 minutes before the start of a meeting meant to confirm the terms of what lawyers and executives had already hammered out through negotiations. Per the report, representatives from Skydance were sent a message that a deal was untenable and there would be no point in any further negotiations, leaving Skydance officials "floored" and angry.

According to sources within Paramount, Redstone's reasons for rejecting the deal basically amount to pride in her control of what she consider the "family business" and greed, since she didn't feel the Skydance offer of just a $2.1 billion personal profit for her shares was enough.

This entire episode has potential major implications for Paramount productions, such as Star Trek, since in absence of a deal with outside parties, Paramount seems on track to initiate a plan of massive layoffs, seeking buyers for some assets, and austerity measures to cut spending.

Paramount-Cover-FORWEB.jpg


Among other tidbits in the story:
  • If Paramount is not sold or fails in finding a suitor for any sort of merger, the current planning foresees the company sustaining its future with massive cuts in corporate spending, staff layoffs, and "asset sales" that are hoped to save $500 million annually.
  • Paramount+ has lost the company $3 billion in the last two years. Even so, Paramount executives are still outwardly claiming to investors a belief that Paramount+ can be profitable by 2025, pointing to an upward trend in the streaming service's subscriber growth. However, that subscriber growth was helped along by heavy spending on original content, which may not be possible if the company overall is in austerity mode.
  • Given the austerity measures, if no merger or sale occurs, current plans hope that "an investor or joint-venture partner" can be found to take on some of the financial load for Paramount+.
  • Paramount is $14.6 billion in debt. This is actually down from a $20 billion debt load in 2020. However, at the same time profits have slowed from four-years ago as well.
  • Paramount currently has THREE CEOs who come from different aspects of the company's media holdings, with the unusual corporate setup giving a certain amount of consternation to investors and industry analysts. The concern being that, if the collaboration between the three should break down, the company may devolve into separate "fiefdoms" that maneuver to protect their own agendas.
 
Paramount currently has THREE CEOs who come from different aspects of the company's media holdings, with the unusual corporate setup giving a certain amount of consternation to investors and industry analysts. The concern being that, if the collaboration between the three should break down, the company may devolve into separate "fiefdoms" that maneuver to protect their own agendas.

Kind of feels like it is already there.
Such a scenario could be a repeat of the 2005 Viacom-CBS divorce in which Paramount's TV and movie divisions were under different umbrellas competing with one another again--with Trek divided up between them.
 
Somehow doubting Paramount+ will be a thing in 2026.

I hope we all enjoyed our little Trekkake boom period!
Please don't call it that.

However, the writing does seem to be on the wall for the recent content steaming content boom, regardless over Paramount's incipient self-destruction. The land-rush is ending, and new, high-grade original shows and movies were already falling off, and then the double-strike slammed the brakes on them. Star Trek isn't the only franchise or genre that's benefited from this explosive blip, and even if everything went with Paramount's sale from now on and P+ (or it's successor service) was doing fine, I'm sure they'd think one Star Trek show in production was plenty for the return they get from them in '26. I'd be surprise if we see a big pile-up of Marvel and Star Wars shows again the way we did a few years ago.
 
It was always about money.
Yes and no.

Shari Redstone's control of Paramount has an interesting backstory.

Most people believe HBO's Succession is based on Rupert Murdoch and the Murdoch family. But the series also, arguably, takes some of its inspiration from the Redstone family too, since how Shari Redstone came to control Paramount was really ugly and about as dysfunctional, with as many absurdities as the fictional Roy family in Succession.
  • Going into the 2010s, Sumner Redstone had 80% control of the holding company which controls CBS/Viacom, and by extension Paramount, with Shari having the other 20% control. Sumner attempts to buy out Shari, but she refuses.
  • Sumner Redstone, Shari's father and the patriarch of the family, is reported to have voiced objections to Shari taking control of the company over a long period, with Shari reportedly telling her son in 2015: "Your grandfather says I will be chair over his dead body."
  • The animus between Shari and her father became so bad that at one point in 2016 he entrusted the then Viacom CEO with health decisions about his care, specifically blocking Shari from having any say in medical decisions if an emergency were to occur.
  • Shari also had to battle Sumner Redstone's "companion," Manuela Herzer, in court for some of these decisions. Herzer, who was almost 50 years younger than the 92-year-old Sumner Redstone at the time, claimed it was Sumner's wish that she be in control of those decisions.
A geriatric Sumner Redstone trying to steal his grandson Brandon Korff’s dates, including once at the MTV Video Music Awards, is also icky — and fateful. It led Korff to hire matchmaker Patti Stanger to find his grandfather a companion. That match turned out to be Sydney Holland, who, with another Sumner girlfriend, Manuela Herzer, wound up with a combined $150 million of the mogul’s wealth before eventually being exiled.​
  • Shari is said to have gotten back into her father's good graces and secured her succession to his company after Sumner lost confidence in CBS-Viacom executives. Former CBS head Les Moonves actually took Shari Redstone to court to block the Redstone plan to reunite CBS and Viacom under one house. But Moonves's influence waned after he was hit with sexual assault allegations during the #MeToo movement.
So, the money is probably a huge factor, but arguably there's a huge pride element at play here too. If I had to guess, after going through all of the above, there's gotta be some piece of her that doesn't want to let go of their family's legacy after having to fight to get it for so long.
 
Yes and no.

Shari Redstone's control of Paramount has an interesting backstory.

Most people believe HBO's Succession is based on Rupert Murdoch and the Murdoch family. But the series also, arguably, takes some of its inspiration from the Redstone family too, since how Shari Redstone came to control Paramount was really ugly and about as dysfunctional, with as many absurdities as the fictional Roy family in Succession.
  • Going into the 2010s, Sumner Redstone had 80% control of the holding company which controls CBS/Viacom, and by extension Paramount, with Shari having the other 20% control. Sumner attempts to buy out Shari, but she refuses.
  • Sumner Redstone, Shari's father and the patriarch of the family, is reported to have voiced objections to Shari taking control of the company over a long period, with Shari reportedly telling her son in 2015: "Your grandfather says I will be chair over his dead body."
  • The animus between Shari and her father became so bad that at one point in 2016 he entrusted the then Viacom CEO with health decisions about his care, specifically blocking Shari from having any say in medical decisions if an emergency were to occur.
  • Shari also had to battle Sumner Redstone's "companion," Manuela Herzer, in court for some of these decisions. Herzer, who was almost 50 years younger than the 92-year-old Sumner Redstone at the time, claimed it was Sumner's wish that she be in control of those decisions.
A geriatric Sumner Redstone trying to steal his grandson Brandon Korff’s dates, including once at the MTV Video Music Awards, is also icky — and fateful. It led Korff to hire matchmaker Patti Stanger to find his grandfather a companion. That match turned out to be Sydney Holland, who, with another Sumner girlfriend, Manuela Herzer, wound up with a combined $150 million of the mogul’s wealth before eventually being exiled.​
  • Shari is said to have gotten back into her father's good graces and secured her succession to his company after Sumner lost confidence in CBS-Viacom executives. Former CBS head Les Moonves actually took Shari Redstone to court to block the Redstone plan to reunite CBS and Viacom under one house. But Moonves's influence waned after he was hit with sexual assault allegations during the #MeToo movement.
So, the money is probably a huge factor, but arguably there's a huge pride element at play here too. If I had to guess, after going through all of the above, there's gotta be some piece of her that doesn't want to let go of their family's legacy after having to fight to get it for so long.
Nice write-up, but I was just referring to the idea that Star Trek, like any intellectual property, operates on how much money it can make.
 
Shari Redstone's tenure as head of Paramount has been a story of just pure ego. I can't imagine Paramount's fortunes will improve in the next few years, especially after layoffs, and I think she'll be in for a rude awakening if she's disappointed in the money they're offering now.
 
If she was disapointed with 2.1 Billion.. She'll be REALLY disapointed in the future.. Probably in the end with a big fat Zero.
 
The same thing that happened before. Existing shows and movies are available on physical media and digital downloads, and bounce between different streaming services as one contract lapses and another begins. New shows and movies are produced if and when the studio that owns the rights and a distributer determine they can be made profitably.
 
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