In a move to reshape the Hollywood landscape, David Ellison, Chairman and CEO of the newly created Paramount, a Skydance Corporation, recently announced a sweeping blueprint to restore the company as No. 1 in worldwide entertainment.
This announcement was made during the August 13, 2025, Q&A session with the media on the Paramount Pictures lot in Hollywood. The session, which was the first major look at the strategic vision of the company under new ownership and leadership, took place one week after the official closure of the Skydance and Paramount merger of $8 billion.
"One of our biggest priorities is restoring Paramount as the No. 1 destination for the most talented artists and filmmakers in the world. Very simply, great filmmakers make great movies," Ellison said.
Ellison's presentation to the press and investors was positioned as more than a business update. It was a statement of intent to recreate the purpose of a century-old studio in the rapidly evolving media landscape.
Paramount: Reviving franchises and expanding content strategy

David Ellison, reaffirming his commitment to the big-screen experience, made it clear during the Q&A session that his vision for the company would prioritize theatrical releases over streaming debuts.
Now in full control of a range of properties he previously worked on at Skydance, Ellison intends to revive various long-standing franchises. Some, such as Star Trek, have not appeared in the theaters in years, and others, like Terminator and Transformers, have failed to sustain their previous success.
Paramount+ chief and former Netflix exec Cindy Holland echoed Ellison, but in a more direct tone.
"Streaming movies are not a priority for me," she said.
Co-film chief Josh Greenstein affirmed that restoring these franchises would become a priority moving forward, planning to release 15 movies a year and eventually up to 20 films a year. He called out Star Trek and Transformers by name, but also announced a surprise comeback to World War Z, the 2013 zombie thriller starring Brad Pitt.
Greenstein also hinted at a desire to diversify the company with more horror films, like A Quiet Place and Smile, and R-rated comedies. Since the last Star Trek film, released in 2016, the franchise has largely been overseen by Alex Kurtzman through an extensive lineup of Paramount+ series.
Instead, company leaders have now decided to pursue the franchise with a shared vision, breaking down the barriers between film and television, according to co-chief Dana Goldberg.
"We're going to make sure those conversations are happening together so that we can do what's best for the brand as a whole," she said.
On the streaming front, David Ellison noted how crucial Yellowstone creator Taylor Sheridan had been in sustaining Paramount+'s subscriber appeal.
"He is literally a singular genius with a perfect track record. If we can make this his home as long as he wants to tell stories, we want to do that," he said.
Cindy Holland reiterated the theatrical release-first priority, pointing out the difference between movies that were theatrically released and those that were streaming-reserved. During her tenure at Netflix as EVP of Scripted Content, she had contributed to the platform's growth and led key Netflix original productions, including The Crown, The Queen's Gambit, and Orange is the New Black.
Paramount: Expanding beyond film with sports and technology
With the new expansion strategy, the company is also increasing its presence beyond traditional film and television with high-value live sports. At the core of this shift is a seven-year, $7.7 billion media rights agreement with UFC parent company TKO Group Holdings to make Paramount+ the exclusive U.S. streaming home to 13 numbered UFC events and 30 Fight Nights annually.
CBS will also broadcast some of the key cards, providing the company with premium streaming content and expanded broadcast coverage. The company is aiming for around $2 billion in cost savings through streamlining and restructuring its workforce and technology infrastructure.
The company will also incorporate the use of AI-enabled production tools to enhance visual effects, refine scheduling, and for post-production workflows. David Ellison made it clear that these tools were not aimed at replacing filmmakers, but rather at empowering them.
Stay tuned for more updates.