Welcome back to What I’m Hearing, home safe in L.A. after quite an experience at the
Correspondents’ Dinner. So much has been said about the assassination attempt, I’ll just add that in the room, it was surprising how calm and measured the reaction was. No screaming, nobody near me freaking out, few even visibly upset. We’re all desensitized.
Anyway, I’ve never been a fan of WHCD weekend (sooooo many lame media people pretending to be Hollywood stars), so no, I won’t be back if it’s rescheduled. But before the dinner, at the very nice
Puck preparty, I did congratulate Gavin Newsom on California Democrats finally discovering that a) the entertainment industry exists, b) it’s based in L.A., and c) the industry is in need of help. Newsom told me he’s strategizing how to pass an expanded above-the-line credit—which, along with raising the cap significantly on those credits, would help immensely. He also
revealed that he sat down with David Ellison earlier this month (at Ellison’s home) to discuss his plans for Warner Bros. and Paramount. No details, but I’m betting David hit the incentives issue hard.
Tonight, Kim Masters is back with a look at the effectiveness (or ineffectiveness) of the anti-WarnerMount movement. Plus: Kim’s amusing email chat with Michael Ovitz, anguish in the C-suite at Warner Discovery, and CAA scores a needed win
in its battle against Range.
💫💫 P.S.A.: Kim’s Showrunners panel is set for Puck’s Stories of the Season Emmys event on May 5. Join Lee Eisenberg (Jury Duty Presents: Company Retreat), Bruce Miller (The Testaments), and Geneva Robertson-Dworet (Fallout) for a lively chat. TV Academy and guild members can secure a seat (and drinks!) by emailing Fritz@puck.news.
Programming note: This week on The Town, Lucas Shaw and I debated the latest Peacock losses, M&A guru Liz Hoffman parsed
the Zaslav golden parachute backlash, and producers Jerry Bruckheimer and Emma Thomas explained why they didn’t sign the anti-WarnerMount petition.
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Discussed in this issue: David Zaslav, Jimmy Kimmel, Lucian Grange, David Ellison, Linda McMahon, Joe Drake, Ari Emanuel, Dave Bugliari, Greg Peters, Bill Ackman, Casey Bloys, Blair
Levin, Bryan Lourd, Tish James, Graham King, Adam Fogelson, Pete Micelli, Antoine Fuqua, Jack Whigham, Steven Spielberg, Ilissa Samplin, Alex Jones, Larry Ellison, Jamie Raskin, Alvaro Bedoya, Michael Ovitz, Chris
Murphy, Bari Weiss, Andy Gordon, Rob Bonta, Mick Sullivan, Ted Sarandos, Gunnar Wiedenfels, Bob Iger, David Geffen, Ted Cruz, Elena Baca, Michael Eisner, Werner Herzog, Elon Musk, and… Michael Glantz’s burrata salad.
But first…
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Who Won the Week: Mike Cavanagh
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The newly promoted Comcast co-C.E.O. pulled in a shocking $71.8 million in compensation in 2025, per a new
filing, despite the company’s stock price plummeting 20 percent during the year and losing more than $1 billion on Peacock alone.
For those keeping media C.E.O. salary score (me)…
Ari Emanuel, TKO: $67.3 million David Ellison, Paramount Skydance: $63.2 million (from August to December) Ted Sarandos and Greg Peters, Netflix: $53.9 million and $53.2 million, respectively Bob
Iger, Disney: $45.8 million
David Zaslav’s 2025 pay will be revealed later this week. Start the countdown…
Runner-up: Graham King, the Michael producer, whose nine-year, hurdle-plagued crusade to make a Michael Jackson biopic finally pays off with a $219 million opening and a certain greenlight on a sequel.
Ancillary winners: Joe Drake, the former Lionsgate film chief, who
brought the project in when other studios (including Sony, which has the M.J. music) passed because it was radioactive, and Adam Fogelson, the current studio chief, who got the call in late 2024 that the entire third act had to be reshot and still managed to land the troubled plane.
Honorable mention: Gotta be Michael Glantz, the CAA agent for Wolf Blitzer, who
went viral for calmly eating his burrata salad during the WHCD chaos. (In his defense, he’s got a very bad back, and the salad was decent!)
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Quote of the Week
(Kimmel/Melania edition)
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“We should come together—and be best.” —Jimmy Kimmel, invoking the first lady’s slogan in
his monologue tonight after her call that he be fired for joking last week that she had “a glow like an expectant widow.”
Runner-up, on R.F.K. Jr. being whisked from the WHCD room as wife Cheryl Hines looked on: “He cut out of there like he saw a raccoon penis on the side of the road!”
Second runner-up, on Glantz going viral: “Get that agent an
agent!”
Now a little news…
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Range May Be Held in
Contempt in CAA Fight
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CAA, still reeling from its recent arbitration loss to the defectors at Range Media Partners, just picked up
a win that could be costly and embarrassing for the Range guys. In a new ruling, the judge found that Range and its co-founder and C.E.O., Pete Micelli, failed to turn over scores of material subject to a subpoena.
Back in 2024, Range and Micelli were ordered to produce documents in connection with the formation of the company. (Remember, CAA and the four defecting agents are brawling over the cancellation of their equity in the agency when they abruptly left.) Range and
Micelli then showed up at the arbitration last March with zero documents, only 300 pages of objections. Range and Micelli “willfully failed to bring those documents as ordered … and as such, willfully disobeyed this court’s order,” the judge found.
Range later agreed to hand over about 80,000 pages of documents responsive to 11 or 12 requests, and those materials were used during the now-concluded arbitration. That’s why Range lawyers at Gibson Dunn maintain that anything not already
turned over is immaterial—mostly schedules and inconsequential emails. But CAA, repped by Paul Hastings, believes the additional documents show Micelli and others were conspiring to harvest CAA secrets for the new company in 2019, well before they gave notice to CAA in 2020. If the judge finds Range or Micelli in contempt, he could impose stiff fines, or even provide fodder to revisit the arbitration panel’s ruling, which CAA is already appealing. (A tentative decision threatened $3 million in
penalties, but that number was not in the final ruling.) “We are pleased that a Los Angeles Superior Court has now called Micelli and Range before it to account for their conduct,” CAA attorney Elena Baca told me today in a statement. “They must explain why damning documents that were ordered to be produced in CAA’s arbitration with Jack Whigham, Dave Bugliari, Mick Sullivan, and Michael Cooper are just now
surfacing. The court’s order of today has made clear: The court believes Micelli and Range disobeyed its order.”
The judge set a July 8 hearing, during which Micelli and the others will likely be forced to testify. “We respectfully disagree with the court’s order,” Range attorney Ilissa Samplin told me today. “Range participated fully and faithfully in the arbitration process. We look forward to presenting the evidence of Range’s compliance in July.”
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$15 million Additional fee that Michael director Antoine Fuqua,
who was already paid $10 million, scored from the Jackson estate when legal issues required reshooting the third act. [Bloomberg]
10.4 billion Global viewing hours for Paramount+ in 2025, up 22 percent year over year, per internal company slides presented last week. Pluto TV, its free streamer,
grew viewing hours 21 percent, to 9.5 billion. [Business Insider]
1.2 trillion Hours of audio streamed on Spotify since its launch 20 years ago, enough time for Artemis II to travel around the moon and back more than 5 billion times.
[Spotify]
20 percent Share of hours watched on Netflix that came from book-based titles, racking up 9 billion global views in 2025. [Netflix]
$81,000 Monthly
fee The Onion’s parent will pay to lease Alex Jones’s Infowars.com from a court-appointed receiver, as it plans for a comedy and satire platform. [NYT]
Now here’s Kim…
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David Ellison’s long, contentious slog toward a Warner Bros. takeover has engendered a sense
of inevitability—and dread. Plus, Michael Ovitz is back and he’s replying to email. And Gunnar gets emotional.
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“I wish the attorney general in California would get off his ass,” one unhappy Warner Bros. Discovery
executive told me recently. Or, this person continued, maybe European regulators would slow things down enough to test Larry Ellison’s endurance, or “maybe it’s the midterms” that could somehow turn things around. Is there a chance that the war will lead to trouble with the financing? What about a strongly worded
letter?
Yes, the opposition to Paramount’s impending acquisition of Warner Bros. is grasping at several straws, though some might have more tensile strength than you might expect. I haven’t seen this level of broad opposition to a deal—in Hollywood and beyond—in all my years covering this industry. Okay, when Sony acquired Columbia Pictures in 1989 and Matsushita took over MCA in 1990, there was some panic that the Japanese were buying up American culture. But the industry wasn’t in
dire straits then, and the fate of a very flawed but essential 24-hour news channel wasn’t on the line, with Pete Hegseth publicly licking his chops in anticipation of the Ellisons’ takeover.
Most industry insiders I canvassed glumly admitted that they don’t believe the $110 billion deal can
be stopped. And yet, I’ve been wondering whether the Ellisons’ over-the-top embrace of the Trump administration could be a mistake. Yes, they want fast regulatory approval from the feds, but haven’t they gotten that locked up by now? Was it necessary to host a private dinner honoring Trump on the eve of the benighted White House Correspondents’ Dinner weekend? They only had to wait a few weeks to be front and center with Trump at their UFC event on the White House
lawn.
That coziness has given Democrats a bit of a toehold. The day of that private dinner, Rep. Jamie Raskin appeared at a protest, where he said the evening was “designed to cement the Ellisons to the president in their years-running corrupt merger scheme.” Sen. Chris Murphy tweeted: “Ellison and the information oligarchs should enjoy it while they can because when Democrats win power we are going to break these anti-consumer, anti-free speech media
conglomerates into pieces.” Maybe not all publicity is good publicity.
Former F.T.C. commissioner Alvaro Bedoya, a Biden appointee who departed last year after Trump attempted to fire him (illegally, at least until the Supreme Court majority says otherwise), told me that the cancellation of Late Show With Stephen Colbert and Disney’s subsequent suspension of Jimmy Kimmel primed people outside Washington and Hollywood “to understand that what they
watch at home at night can be controlled by these centimillionaires and billionaires. That’s kind of radicalizing. You saw it with Ted Cruz throwing a flag on the Kimmel thing.” As I write, the first lady and her husband have once again called for Kimmel’s cancellation because everyone seems to be doubling down on everything these days.
Then there’s the prospect of Bari Weiss remaking CNN after her overhaul of CBS News. Interfering with the 60 Minutes
CECOT report sent a chilling message, and Weiss is now reportedly preparing to revamp the show. It takes a special kind of confidence to
have a go at America’s number one news program for more than 50 years—especially after having only taken matters from bad to worse at ailing CBS News. Even if Weiss limits her meddling, it’s a valid question whether she can hold on to her remaining talent. When, and if, she brings that confidence to remaking CNN, her every move will be leaked and Democrats will be lying in wait.
Despite the blowback, the Ellisons are projecting inevitability. In early March, Andy Gordon,
Paramount Skydance’s C.O.O. and chief strategy officer, told investors, “There’s no statutory impediments to close in the United States, [and] as an example of our progress, Germany and Slovenia have already given their approval to proceed.” Not quite—the nod came from those countries’ foreign direct-investment authorities and was unrelated to a broader regulatory review.
The E.U. isn’t likely to block the deal but still may not be in a rush to move it along. “The E.U. is not
Trump-friendly or Ellison-friendly, but I think those instincts will affect the timing more than the up-or-down decision,” Blair Levin, policy advisor to New Street Research, told me. “The E.U. is still a ‘rule of law’ kind of bureaucracy.” The process “could affect the deal’s economics because it would likely extend beyond the September 30, 2026, deadline, when
ticking fees begin accruing for WBD shareholders.”
At home, California A.G. Rob Bonta appears ready to challenge the deal, which he has already said raises “red flags everywhere.” A slew of other states that are production hubs might also join. “Not only can a Rob Bonta or [New York A.G.] Tish
James jump in, but they have a range of arguments,” Alvaro said, “and all you need is one to stick.”
A Paramount source insists that nothing—literally no power on Earth—can stop this deal. But an antitrust lawyer who’s been connected to another recent high-profile battle told me, “In normal times the fact that the D.O.J. approves a deal is a hurdle for the states. But that’s not true now.” In fact, the very appearance that the fix looks like it’s in at the federal level could
actually be wielded as a weapon against the deal before a state court—though how effectively remains to be seen.
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The state A.G.s aren’t the only ones who are unhappy about the WarnerMount deal. According to a WBD source,
C.F.O. and green-eyeshade man Gunnar Wiedenfels was so distraught when the Ellisons finally prevailed in their bid for the company that one insider thought he may have shed actual human tears. After all, the deal doomed David Zaslav’s plan to spin off the cable channels into a new company that Wiedenfels was set to run. Said this person: “He wants to be a C.E.O. He’d been counting on it. He and David Zaslav didn’t necessarily want to become rich, retired men.”
Wiedenfels may get a consolation prize, as many observers expect him to be a key player in the slashing of debt when and if the deal goes through. It doesn’t appear that Paramount Skydance has anyone to match his experience.
Agent-world also thinks it knows who emerges as the monarch of streaming, giving the advantage to HBO’s Casey Bloys over Netflix vet and Ellison hire Cindy Holland. Both have proved brilliant at prestige programming, but Bloys has had
a long and successful run, and he’s also made it abundantly clear that he will report to Ellison, period. He’s also been overseeing HBO Max originals (The Pitt), international programming, acquisitions, and so on. “It would be a crime to take him out,” said one industry observer. “He’s just too good.”
Another WBD veteran told me he thinks he knows what Zaslav is planning to do when (if) the deal closes—and what he isn’t doing. “Some of the people around him have, as the drumbeats
about his compensation have gotten louder, advised Zaslav to counter the narrative by setting up a foundation.” this person told me. Seems like he might have about 800 million reasons to consider that idea but according to this source, Zaslav passed: “I don’t think we should hold our breath to see a Zaslav Foundation. He’s probably saving some of his money to put in a fund—to raid another company and destroy it.” Ouch, but can you really blame people for being bitter? A source close to Zaslav
said he hasn’t made any decisions regarding his future yet. (Standard disclosure: Zaslav became a de minimis investor in Puck as a result of our acquisition of Air Mail.)
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I was surprised to read last month that the supremely self-confident billionaire (is there any
other kind?) Bill Ackman had tapped Michael Ovitz, now 79, to be the potential chairman of Universal Music Group as part of his $65 billion bid for the company. And I was baffled when the materials created by Ackman’s Pershing Square Capital Management listed, among Ovitz’s achievements, that he “successfully built and sold three major Hollywood studios.” Sure, he was involved in some major deals, but which ones did he build? I posed the question to
Pershing Square, which referred me to Ovitz.
I haven’t been on the Ovitz beat for some years now, but back in the day, I gleefully chronicled many of his exploits. At the height of his power, he took himself very seriously—which was catnip to me. It’s fair to say we didn’t get along well. He liked to control what was written, which didn’t work for me—especially when his sworn enemy, David Geffen, was feeding me all sorts of unflattering intel. Ovitz and I tried the
occasional makeup meal. He sent me a note after one of them saying, “Lunch today proves that Jews and Arabs can get along.” (Maybe an unfortunate analogy because the ceasefires never lasted.)
To give him his due, as co-founder of CAA in 1975 (well before my time, thank you very much), Ovitz transformed the very dressed-down agency business into a disciplined, Armani-suited army, for better or worse. He amassed power by signing stars, and if you weren’t around as he reached his
peak of power, you probably won’t be able to grasp how terrifying he was to almost every studio exec in Hollywood. He then made himself into a deal broker and helped guide Sony to its purchase of Columbia Pictures and Matsushita to its acquisition of MCA/Universal. In both cases, he tried to install himself at the head of the target company despite a lack of studio experience. (He denied that he had pursued the top job at Columbia.)
Ovitz’s ambition had grown, and the kids at CAA (three
of whom—Bryan Lourd, Kevin Huvane, and Richard Lovett—still run the place) were getting eager for him to move on. When Ovitz’s supposed best friend, then-Disney chairman and C.E.O. Michael Eisner, offered to hire him as president of the company in 1995, he took the gig, with famously disastrous consequences. With Eisner undercutting him from the start, Ovitz lasted only 18 months, though he did pick up a cool $140 million
consolation package when he left. He then started management and television production firms that failed. That was back in the very early 2000s, and I hadn’t seen or spoken to him since—until I emailed him last week, at the direction of Pershing Square.
“Hello again,” I wrote in an email. (What’s 20-odd years of silence between old frenemies?) “I’m aware you were involved in the sale of MCA and Columbia Pictures and I assume this refers to those, but which is the third? Also, can you
explain how you ‘built’ those two studios?”
I soon got a surprisingly cordial response.
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Hi Kim,
Been a long time, but I am always reading your work.
This
is the first I have heard of this “built” reference and I appreciate your pointing it out. It is inaccurate, but what can one expect from financial people. 😊
I will have it corrected, but most likely moot at this point as we have made our offer and will not be using any of these materials anymore.
For your refreshment and a drive down Memory Lane, some of the deals I was prominently involved with were:
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- CBS RECORDS sale to SONY
- COLUMBIA and TRISTAR PICTURES sale to SONY
- MGM STUDIOS clean-up of bad debt portfolio for CREDIT LYONNAISE BANK as inherited from Mr. [Giancarlo] Peretti.
- MGM STUDIOS REBOOT hiring John Calley to run UA and Frank Mancuso and Mike Marcus from CAA to
run MGM
- TIME WARNER stock purchase of 20% by SEAGRAM
- UNIVERSAL STUDIOS sale to MATSUSHITA ELECTRIC
- UNIVERSAL STUDIOS sale to SEAGRAM from MATSUSHITA
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Happy to answer any questions you may have that are not related to restricted
subjects…
Having worked in technology for the past 25 years, I find it so déjà vu to be talking to entertainment people again, but the good news is that my focus remains high tech/A.I. And if we are lucky enough to achieve a result, that experience will be applied to support [UMG chairman and C.E.O. Lucian Grange] and his team and their efforts to navigate the good, and the bad, of A.I.
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Maybe there’s hope for the Middle East after all.
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No big deal, just an F.C.C. filing revealing “indirect foreign ownership of equity in Paramount will be
approximately 49.5 percent.” Seriously, why are you concerned? The Ellisons and RedBird will have 100 percent control. Why would they listen to the investors who own nearly half the company? The Saudis, Qataris, and Emiratis will have zero influence here, got it? Got it?? [THR]
Letterboxd
is for sale, so Elon will probably buy it and make it terrible. [Semafor]
Unsealed depositions reveal how Disney dealt with its Ron DeSantis problem in Florida.
[Florida Politics]
Whip out your tiny violins to play a eulogy for Saudi Arabia’s first big-budget megaflop, Desert Warrior. [Vulture]
Come for the Linda
McMahon profile, stay for the Werner Herzog quotes about WWE. [New Yorker]
If you’re waiting seven years to join Raya, maybe you shouldn’t be on Raya. [Wired]
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Young people care about Scary Movie, and Spielberg’s Disclosure Day has an
awareness problem, according to the latest early film tracking chart from The Quorum…
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Have a great week, Matt
Maya Tribbitt contributed
research for this issue.
Got a question, comment, complaint, or your own awareness problem? Email me at Matt@puck.news or call/text me at 310-804-3198.
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Puck fashion correspondent Lauren Sherman and a rotating cast of industry insiders take you deep behind the scenes of
this multitrillion-dollar biz, from creative director switcheroos to M&A drama, D.T.C. downfalls, and magazine mishaps. Fashion People is an extension of Line Sheet, Lauren’s private email for Puck, where she tracks what’s happening beyond the press releases in fashion, beauty, and media. New episodes publish every Tuesday and Friday.
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Ace media reporter Dylan Byers brings readers into the C-suite as he chronicles the biggest stories in the industry:
the future of cable news in the streaming era, the transformation of legacy publishers, the tech giants remaking the market, and all the egos involved.
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