Activity
Mon
Wed
Fri
Sun
Sep
Oct
Nov
Dec
Jan
Feb
Mar
Apr
May
Jun
Jul
Aug
What is this?
Less
More

Memberships

Master The Workflow

183 members • $9/m

3 contributions to Master The Workflow
Breaking News on Paramount/WB Merger
Paramount/Warner Bros. merger deal put on hold until next June. Here's a quick summary of where things stand: The Deal Paramount Skydance is acquiring Warner Bros. Discovery in a $110 billion mega-merger announced February 27, 2026. Paramount is paying $31/share in cash for all WBD shares, backed by the Ellison family and RedBird Capital Partners.[paramount] What Happened This Week On July 14, a coalition of 12 state attorneys general led by California's Rob Bonta (and including New York's Letitia James) filed an antitrust lawsuit to block the deal, arguing it would "extinguish competition" in film, television, and streaming.[latimes] On July 20, U.S. District Judge Araceli Martínez-Olguín in Oakland granted a 14-day temporary restraining order, saying the merger "raises serious questions" about antitrust violations. The order blocks the companies from closing or taking any integration steps.[usnews] The companies had been targeting a July 22 close. On July 22, the European Commission approved the merger (with conditions that Paramount exit its Universal distribution partnership in Europe), and the U.S. DOJ had already cleared it.[variety] What Happens Next - August 3: A hearing on the states' request for a preliminary injunction, which could extend the hold for months. - The states are seeking a trial date in April 2027. - Paramount has until June 4, 2027 to close the deal under its merger agreement. - If the deal hasn't closed by September 30, 2026, Paramount must start paying a "ticking fee" of roughly $7 million per day to WBD shareholders. If the deal is ultimately blocked entirely, Paramount could owe a $7 billion termination fee.[economictimes]
0 likes • 2d
So I'm not an expert on this at all, as I need to learn more about the business side of Hollywood. But I spent some time doing research last week on Hollywood Reporter, and here are my thoughts. As I understand it, one of the big pros of the merger according to Paramount is it will allow more money to be put into budgets and invested into film technology. It will also enable a studio like Paramount to stay completive with the bigger streaming companies like Apple and Prime Video. It would also help WB overcome its debts as I guess it's in a lot of trouble at the moment. On the flip side, the cons are that there's a belief this will lead to massive layoffs, as typically happens after a big merger like this or a large leadership change. According to the op ed by actors Benedict Cumberbatch, Benedict Wong, and Alan Cummings, it also puts the majority of (US?) historical news archives into the hands of one entity, as Paramount would control CBS and CNN, and that could be dangerous. Lastly, some theater companies argue it would hurt smaller theaters because reducing the owners of wide releasing high grossing films would lead to higher prices for consumers, and less diversity of content. So with my limited research, I'll do my best here - I guess it sounds like layoffs / loss of work could happen either way if WB is in so much debt that it might not survive. Though, I'm skeptical this is the ONLY way for WB to survive. The idea that this allows Paramount to put more money into budgets and tech investments is probably true, but I'm not sure that really matters right now in the current movie landscape. According to Hollywood Reporter, theatrical returns are up this year from this time in 2025, and some of the most successful films of the year were smaller budget ones like Backrooms and Obsession, while films like Mandalorian and Grogu and Supergirl underperformed at best and flopped at worst. I think younger audiences are proving they will still come to the movies (to SEE the movie, and not just for meme purposes like Minecraft or Madame Web), but they want something different, something creative, and not necessarily something expensive.
A Hard Truth For My MTW Friends.
I just spent two days at Amazon/MGM Studios in Culver City at AI on the Lot, the biggest AI filmmaking conference in the world. Paul Schrader, the man who wrote Taxi Driver, among other classics, stood up and walked the room through how he's writing with AI now. Studios that wouldn't say the word two years ago were on the main stage with their names on the work. Films are shipping. This isn't a prediction. It's happening, right now, in Culver City. And I want to say something to those of you who've been dragging your feet, or worse, nursing a grudge about it. I've made this argument before. When the Avid came out, I was one of the first to cut a studio project on it, and I spent a lot of time telling my friends to learn it before it passed them by. Some did. Some crossed their arms, said "That's not real editing," and waited it out. You know how that turned out. I'll be straight with you: the Avid was an easier sell. It obviously made our job better, faster, and more our own. This one's harder, because it doesn't feel like a new tool, it feels like it's coming for the job itself. I understand why that's scary. But hear me: it is not coming for you. Not if you're the one driving it. Here's the part nobody's saying: AI doesn't erase the editor. It puts the editor at the center. Everything becomes post. The person who knows story, rhythm, and how to finish a piece becomes more valuable when the tools get faster, not less. But only if you pick them up. You don't have to love it. You don't have to use all of it. You just have to stop pretending it's going away, sit down, and learn enough to have an opinion based on the tools instead of the fear. I wrote up the whole conference, every session, in this week's AIography newsletter. Read it. Not for the clicks, but so you can see with your own eyes that the people in our business are already doing this. Here is the link to the full newsletter.
3 likes • Jun 3
I appreciate a post like this. I've been one of those naysayers to this point, and largely, it's because the editors and creatives I've heard from have also been largely against AI. I went to an Editors Bootcamp in Boston last November and AI was very frowned upon there. But go on Linkedin and every CEO and tech bro is raving about AI (which kind of makes me hate it more to be honest). Therefore it's very refreshing hearing an editor give a perspective that's more optimistic about it. I remember reading Walter Murch in "In the Blink of an Eye" talk about how film was this emerging niche art form in the days of opera, and people largely dismissed it. 100 years later, film largely replaced opera as the kind of art the masses consumed. I often think about that passage now - I feel like we're in a similar time now with AI, and so whether we like it or not, it's probably wise to pay attention to it and get a jump on how this technology takes space in our field. That said.... the environmental impact of AI is supposed to be horrible, and I think everybody should be conscious of that. I myself definitely want to learn more about that side of the issue to know how to use it responsibly. Idk if that came up at all in the conference but I think it's important
If Things Are Slow, This Is a Market You Should Know About
I wanted to share something that’s come across my radar as a potential work opportunity, especially for anyone feeling the slowdown in traditional film and TV right now. There’s a new market exploding around vertical shorts / micro-dramas. You’ve probably seen pieces of this already on TikTok, ReelShort, DramaBox, ShortMax, etc., but what’s happening behind the scenes is interesting. These platforms are producing scripted, episodic content designed for mobile: - Episodes are typically 1–3 minutes - Seasons can run 30–75 episodes - Content is bundled and sold directly to users inside apps - And yes — these shows are being edited by real humans This isn’t a gimmick. It’s becoming a full-on production ecosystem with producers, production companies, schedules, deliverables, and post workflows. Different from long-form TV, obviously — but still very real work. Here’s a link to the search I did which gives you a broader overview of the space so you can get the lay of the land:👉 CLICK THIS LINK If things are slow for you right now, I’d strongly encourage you to: - Click through all the source links - Start noticing producer names and production companies - Look up where they’re based - And yes — do the footwork and get your resume in front of them Just like any other corner of our industry, opportunities don’t magically appear. You have to follow the breadcrumbs, make connections, and show up prepared. Is this the same as cutting a studio feature or prestige TV series? No. Could it be a way to stay working, build relationships, and gain experience in a rapidly growing sector? Absolutely. At the very least, it’s worth understanding where parts of the industry are heading — especially when audience behavior (mobile-first viewing) is driving real dollars and real production. Hope this helps some of you see another door that might be worth knocking on.
1 like • Feb 9
This is good to know. Perhaps Quibi was ahead of its time after all
1-3 of 3
Jonathan Arruda
1
1 point to level up
@jonathan-arruda-6176
Boston-based Video and Film Editor

Active 1d ago
Joined Jan 20, 2026
Boston
Powered by