Anderson Cooper turned down an opportunity to keep working there. Stephen Colbert recently became vocal about his relationship with attorneys at the same company. And Seth Strickland, a UFC fighter, didn’t think the league’s critical ties to the corporation would suffer if he threw out some profanity and disparaged celebrities while trying to promote a coming bout on the conglomerate’s streaming service.
The business in question is Paramount Skydance, owner of CBS, Paramount+ and cable networks like MTV and Comedy Central. And just as the organization careens toward one of the more pivotal chapters in its short existence, it seems to have talent problems.
While Paramount Skydance “may easily be able to sign up talent that appeals to a MAGA base, what will be PSKY’s ability to sign talent that appeals to a bigger and more profitable audience?” asked Blair Levin, a media analyst for New Street Research in a note issued earlier this week. He sees a parallel with events taking place at the Kennedy Center, which artists have deserted as President Trump has sought a heavier hand in the types of shows and events taking place there. “The dynamic of talent migration leading to customer migration and then repeating in a vicious cycle downward could be repeated,” he cautioned.
Paramount Skydance is in the midst of a seven day window during which it can make a “best and final offer” in its effort to pry Warner Bros. Discovery out of an agreement already in place to sell its studio and streaming assets to Netflix, then spin off its TV assets into a separate publicly traded concern. The negotiating window with Paramount ends Monday, Feb. 23. Netflix, which granted Warner a waiver to hold new talks with its rival, would have four days to make a counteroffer in the event Paramount puts forward a higher bid.
While the scene has played out on Wall Street, the company hasn’t seemed, um, paramount in the minds of some of its key personalities. A spokesperson for Paramount Skydance did not immediately respond to a query seeking comment.
Anderson Cooper on Monday surprised the industry by issuing a statement on his own that he planned to leave CBS News’ “60 Minutes” to focus on expanding duties at CNN and spend more time with his young children. Even so, the move has been interpreted in media circles as the result of dissatisfaction with how the venerable newsmagazine has been treated in recent months, with senior executives pressing the show to cut back on its hard-news and investigative stories. One such segment — a piece by correspondent Sharyn Alfonsi — was delayed for a few weeks by the new editor in chief of CBS News, Bari Weiss, after she said it required more response from Trump administration officials. When the story aired, it did so without edits, though some commentary was added in a preamble and an afterword.
Having an anchor walk off a major news program without a statement at the ready by the news division or its corporate parent is exceedingly rare. CBS News required nearly four hours to respond to news of Cooper’s exit — a sign that it was unexpected. CBS later said that for Cooper, “’60 Minutes’ will be here if he ever wants to return.”
Later that evening, Stephen Colbert took the company to task. In remarks delivered on his February 16th program, the late-night host told viewers that network executives told him an interview with Democratic Texas Senate candidate James Talarico should not run on CBS, due to concerns it would run afoul of new guidance from the Trump administration that would hold talk shows to what is known as TV’s “equal time” rule, which requires broadcast networks and radio stations to give equal time to candidates in an election after one has made an appearance.
“I was told, in some uncertain terms, that not only could I not have him on, I could not mention me not having him on,” Colbert said. The show subsequently made the interview made available on YouTube.
CBS pushed back on the matter, noting later that Colbert and his staff were given “legal guidance” but were not “prohibited” from broadcasting the interview. This sparked another round, with Colbert retorting Tuesday that “I don’t even know what to do with this crap.”
Strickland, who has developed a reputation for making outrageous statements, dropped some more Wednesday, hurling insults and offensive language at Bad Bunny and female athletes such as Ronda Rousey. He made the remarks during a media event to tout a UFC fight streaming Saturday on Paramount+
Paramount hasn’t been shy about its zeal to align itself with the Trump administration. But doing so may make its operations harder to monetize, says Levin, in his research note. “Telling talent that management’s top priority is to please governmental officials is a sure path to redirect them to entertainment platforms where management prioritizes supporting talent that knows how to attract customers,” he says.
In decades past, talent squabbles largely took place behind the scenes, but Parmount executives must realize that anchors, actors and sportscasters feel increasingly empowered to on screen and tell viewers when they are unhappy with the TV life. Pat McAfee, the colorful ESPN commentator and Rachel Maddow, the studious MS Now news analyst, would seem to have little in common. Both, however, have taken their media employers to task with blunt language on screen. So too have Joe Scarborough and Mika Brzezinski and Chuck Todd, among others.
What gives the talent such confidence in criticism? Perhaps the rise of social media and creator forums like newsletters and video podcasts, where telling it like it is (or at least appearing to) is the tone of the day. Paramount Skydance should probably expect more of the same in months to come — even when the company is not trying to put its best foot forward to acquire a major media property.