The Brief

Warner Bros. Discovery's blockbuster announcement Thursday that it would accept Paramount Skydance's takeover bid shouldn't be thought of simply as seeking to unify two major Hollywood players, two big streaming platforms and two leading TV news divisions under one roof.

It is certainly that. The nearly $111 billion Paramount-Warner marriage would unite their studios — and their back catalogue of shows and movies. It would add such franchises as D.C. Comics, Harry Potter and Game of Thrones to Paramount's Top Gun, Mission Impossible and Star Trek powerhouse. Paramount+ and HBO Max. CBS and CNN.

But there's more to it.

Paramount Skydance Chairman and CEO David Ellison is relying largely on the financial backing of his father, Larry Ellison — the co-founder of software giant Oracle, the lead investor in TikTok US, and one of the richest people on the planet.

The Ellisons have staged what appears to be a lightning-swift ascent through social and legacy media relying heavily on their connection to the Oval Office.

Should the Ellisons receive a green light from regulators to proceed with the deal, the minnow will have swallowed the whale. Warner currently has more than five times the market value of Paramount.

That's on top of acquiring Paramount itself and a major stake in TikTok US — all in less than a year. And that's in addition to Oracle, which runs much of the digital backbone of the nation's commerce and government.

Oracle co-founder Larry Ellison, right, sits next to media mogul Rupert Murdoch as they listen to President Donald Trump speak in the Oval Office.

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"It's tech giants becoming media giants," argues Jon Klein, a former top executive at CNN and CBS News.

But history shows such mega-mergers often end in tears. The movie business is expensive. Cable television is highly profitable but in steep decline as viewers cut the cord. The combined company will be saddled with debt. So why would the Ellisons spend their billions this way?

David Ellison has sought to be a force in Hollywood for years. He helped to produce movies with Tom Cruise at his family's company Skydance Media. But for his father, Larry Ellison, it's about more than just making his son's very expensive dreams come true.

"Beyond any dollars that they can derive — it's the data about consumer habits, down to the specific identity," Klein says.

He says the push into artificial intelligence by Oracle creates a thirst for more insight into how people view news and entertainment and what products they buy online. The streaming channels and social media giant both offer greater and more granular information.

"That's the prism that you've got to look at this Paramount/WBD deal through," says Klein, co-founder of HANG Media, a Gen Z social video engagement platform. "Oracle... wants to be one of the major players in AI. That's what Oracle wants to get out of media."

The deal still hinges on acceptance from antitrust regulators in Washington and Europe, who can seek to block the transaction. California's attorney general made clear Thursday night he would also give the acquisition tough scrutiny.

"If a merger substantially reduces competition in any market, it's illegal. Courts sort of take that literally," says University of Chicago law professor Eric Posner, who held a senior antitrust position in the U.S. Justice Department under former President Joe Biden.

"But in practice, the Justice Department has discretion on whether to challenge these mergers," Posner tells NPR. "And the courts have discretion on whether to block them."

Friendly ties to Trump

President Donald Trump's Justice Department is a wild card. Last year, the department's then antitrust chief, Gail Slater, took an aggressive stance against Google in court. Last month, the Justice Department sued to block Hewlett Packard Enterprise's $14 billion acquisition of a wireless tech competitor. Slater resigned under duress this month, however.

The Federal Communications Commission is unlikely to intervene, as no broadcast licenses would change hands in the Paramount takeover of Warner. But its chair, Brendan Carr, may well advise the Justice Department and he has lauded David Ellison's moves at CBS.

Even before sweetening its offer this week, Paramount proclaimed its "confidence in the speed and certainty of regulatory approval for its transaction."

Publicly, it argues that such consolidation is needed to take on streaming giants, very much including Netflix but also Amazon Prime, Apple, Disney and YouTube.

Behind the scenes — and sometimes in not-so-hidden ways — the Ellisons have become cozy with President Trump. Larry Ellison is a backer and adviser.

On Tuesday night, David Ellison attended Trump's State of the Union address as a guest of the president's ally, Senator Lindsey Graham, a South Carolina Republican. Graham tweeted out a photo of the two men making Trump's signature "thumbs-up" gesture ahead of the speech.

The president cares deeply about TV news. He has publicly said he wants new owners for CNN — which he has blasted repeatedly as "fake news" — and has proven willing to interfere in corporate matters in his return to the White House.

Netflix CEO Ted Sarandos departs the White House on Wednesday. Sarandos was there to discuss Netflix's bid for Warner Bros. just hours before Warner announced its preference for Paramount.

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Netflix chief Ted Sarandos met Thursday with administration officials at the White House — though notably not with Trump, according to an aide — in a last-gasp effort to salvage his company's competing bid. By the end of the night, Netflix had given up the fight.

The shadow cast over the process by the president has inspired sharp criticism of the path that Paramount and the Ellisons took to land the Warner deal.

"A handful of Trump-aligned billionaires are trying to seize control of what you watch and charge you whatever price they want," Democratic Sen. Elizabeth Warren of Massachusetts said in a statement. "With the cloud of corruption looming over Trump's Department of Justice, it'll be up to the American people to speak up and state attorneys general to enforce the law."

"It is not just the seemingly open corruption of this entire process that leaves me shaken," writes Jeffrey Blehar in the conservative National Review. "I am shaken by how little people will care."

Said Seth Stern, head of the Freedom of the Press Foundation, "Ellison will readily throw the First Amendment, CNN's reporters and HBO's filmmakers under the bus if they stand in the way of expanding his corporate empire and fattening his pockets."

CNN's future hangs in the balance

The Ellisons' acquisition of Paramount followed a similar path.

Last summer, the previous owners of Paramount announced the end of late night host Stephen Colbert's CBS show as they sought federal approval to sell the company to David Ellison.

While they cited economics, Colbert's was the top-rated late night show on network television — and he has been a lacerating satirist of the president. Colbert called the cancellation a "big fat bribe."

Ellison subsequently made additional pledges to the FCC's Carr to win support. Among them: he promised the cessation of diversity, equity and inclusion initiatives throughout Paramount and the addition of an ombudsman to field complaints of ideological bias. He named the former head of a conservative think tank to that role.

Carr blessed the sale. He has since praised the shifts made at CBS News.

The question of what happens to CNN hovers prominently over the Warner sale. The network has undergone rounds of cuts under a series of owners seeking to reduce debt; Paramount would be its fourth corporate parent in under a decade.

Other elements are in play as well.

CBS's new editor in chief is Bari Weiss, founder of the center-right opinion and news site The Free Press. Ellison bought the site and added it to Paramount's portfolio.

Bari Weiss, CBS News' editor in chief, interviews conservative activist Erika Kirk in a CBS town hall event in December.

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Weiss has contended CBS and much of the rest of the media has been too reflexively hostile to conservatives and the president, and she's sought to revamp the newsroom.

CNN's Anderson Cooper, who has also served as a correspondent for CBS's 60 Minutes for two decades, recently announced that he would leave the show, citing the desire to spend time with his small children. Associates, speaking on condition of anonymity because they were not authorized to disclose internal network matters, say he was concerned about the approach that Weiss has taken at CBS.

She is considered likely to have a role over CNN as well, should the deal go through.

CNN CEO Mark Thompson urged colleagues to focus on their news coverage. "Despite all the speculation you've read during this process, I'd suggest that you don't jump to conclusions about the future until we know more," he wrote in a memo Thursday.

Perceived value beyond the bottom line

The deal David Ellison struck for Warner is valued at nearly $111 billion. The new company would carry substantial debts and have Saudi and Emirate backing. The profits are currently relatively modest.

Yet Klein contends larger motives are in play. Just look at Google, he says, which owns what many consider the dominant media company, YouTube.

"They want to know what you watch, and where you come from, and what you buy when you watch, and where you go after you buy, and what you post in the comments and what you like and love and all that," Klein says.

"And if you can combine that with your streaming content and your studio decisions and your marketing for all the content product you're creating," he adds, "you're in a very very powerful position."

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It’s about the size of a park bench and made of steel and wood. The bench’s arm rests are formed by the letters “L” and “A” in a design that’s unmistakable to any sports fan. But the welder-artist who created it says it’s not a Dodgers bench.

“This is about civic pride, L.A. pride. I made a design statement saying that it has nothing affiliated with the Dodgers,” said Steve Campos.

Campos grew up near Dodger Stadium, raised by parents who were die-hard Dodgers fans. So much, that they named him after Steve Garvey but that legacy doesn’t keep him from confronting how the Dodgers benefitted from the mass displacement of working-class people from Chavez Ravine after World War Two. That’s why he calls it an L.A. Bench, and not a Dodgers Bench.

The logo may be synonymous with the city's beloved baseball team, but the design of the interlocking letters was used by the L.A. Angels minor league baseball team before the Dodgers moved to L.A. in 1958.

“The monogram was here before the Dodgers,” Campos said.

A second-generation welder

Welding is the Campos family business. His father created gates and security bars for windows and doors for L.A. clients. That was the foundation for the work Campos has done for two decades since graduating from Lincoln High School, L.A. Trade Tech College, and enrolling in a summer program at Art Center in Pasadena.

The inspiration for the L.A. Bench came last year while he was playing around in his shop creating versions of the L.A. logo. A friend he hangs with at Echo Park Lake asked Campos to make him a piece of furniture.

“I was trying to figure out what my friend Curly wanted. He liked Dodgers and drinking and getting into fights, so I was like, 'Let me make something with the LA monogram,'” he said.

Welder-artist Steve Campos created whimsical steel sculptures with the LA logo.

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It didn’t design itself. He said he had to lengthen the legs on the “A” and lean the back of the “L” in order to make the bench functional. In the process, he’s made a piece of furniture with a ubiquitous logo that he’s embedded with his own L.A. pride, as well as city history past and present.

LA civic pride travels to Japan

Campos vacationed in Japan the last week of April and took advantage of the trip to reach out to people who may be interested in the L.A. Bench. He was caught off guard by people’s reaction when he showed them pictures of it.

“They look at it and they go, 'Oh, Ohtani bench,'” he said.

For them, it’s still a bench embedded with pride, he said, but centered around Dodgers star Shohei Ohtani, an icon in his native Japan.

Campos has made four L.A. benches and is selling them fully assembled, he said, for $2,500 each — taking into account his labor and how costly the raw materials have become. For now, he’s offering the metal parts as a package for $500, which requires the buyer to purchase the wood for the seat and the back — an easy process, he said.

While he has no plans to mass produce the L.A. Bench, he does have one goal in mind that shows how hard it is for him to separate L.A. civic pride and the Dodgers.

“I would love to get a couple of them installed at Dodger Stadium,” he said.

The Venice Boardwalk after sunset has generally been a no-go zone for tourists and locals alike, as the beachside bars and restaurants close on the early side and safety is often an issue. Now, a group of artists is out to bring some vibrancy to the creative neighborhood with a series of new installations that will include live evening performances – and even a “Venice Opera House.”

“Let's play with light and let's play with sound and give people a reason to come to the Boardwalk after sundown,” said artist and entrepreneur Stefan Ashkenazy, who is curating the project and owns the buildings housing them. “I mean, let's just be open 24 hours a day.”

The concept doesn’t have an official name yet, but he’s been calling it “See World.”

Artist James Ostrer's space looks out from a bed through the fence to the ocean at Venice Beach.

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William Attaway, a longtime Venice artist, created a gallery space filled with various paintings and sculptures.

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The pair of modern buildings on the Venice Boardwalk at Thornton Ave. – with their big balconies, floor-to-ceiling glass windows, and seven open garage-style retail spaces – have sat mostly empty since Snapchat vacated their beachside offices in 2019. Ashkenazy recently bought the building and recruited artists to fill those front-facing spaces with creative work until a full-time tenant comes in.

Over the past several weeks the installations have been created in real-time, in public.

All of the projects are loosely along the theme of “home,” with each artist claiming a “room” in the two buildings that stretch across a full block on the Boardwalk. Several local Venice artists are featured, including William Attaway, whose intricate mosaic work is recognizable on the Venice public restrooms along the beach. Attaway’s space features a floating larger-than-life-sized statue and various works in a mini-gallery. In the next room is Robin Murez’s pieces, featuring carved wooden seats from her beloved neighborhood Venice Flying Carousel.

Ashkenazy is no stranger to wild (and wildly successful) art ideas. He’s the owner of the Petit Ermitage hotel in West Hollywood, a longtime haven for visiting artists, and the founder of the decade-old Bombay Beach Biennale, where artists install all kinds of work in an annual event near the Salton Sea. Many of the artists from that community are featured at the Venice project.

A "Venice Opera House" will host pop-up music events throughout the summer.

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New York-based artist Greg Haberny's paintings on the wall of his Venice space.

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New York-based artist Greg Haberny and London-based artist James Ostrer have brought some of their work in the Bombay Beach Biennale to the Venice project. Their windows on the Boardwalk both speak to a child-like sense of wonder and creativity.

“I think it's just kind of exploring and playing a little bit, to have the freedom to be able to do that,” Haberny says of his imagined child’s bedroom space, which includes a fort made out of puffy cheese balls. “It's a big space, too.
It's beautiful.”

Ostrer is experimenting with a performance art idea where he sits in bed amongst a room full of his own artwork, which he describes as “happy art with an edge.” Looking out at the ocean from the bed, he’s invited passersby to sit and have chats with him about his work or anything else they want to talk about.

“It’s a very intimate space, so you have a different kind of conversation,” he said. “I use art to channel human creativity, and [talk about] dark things.”

While there are open fences that block off the spaces, they aren’t sealed up at night. Both Ashkenazy and the team of artists seemed open to the idea that anything could happen and that the installations are a conversation with the public – and with that comes some risk.

Greg Haberny (right) works with his assistants on an installation featuring kid-inspired graffiti art and a "cheesy puff" fort.

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“I don't really know if I [would] say worried, but I guess it's just the cost of doing business,” Haberny said. “I don't really make things to get damaged or broken, sure. But I have done [things like] burned all my paintings and then made paint out of ash.”

While he’s felt safe – and even slept overnight in the installation – Ostrer has been collaborating with a local female artist who performs in a pig mask in front of his installation some nights. Watching her perform, he said, has taught him about the vulnerability of women in public spaces like the Boardwalk. “I've started to, on a very fractional level, have seen how scary that is. Because I've sat in the bed behind her performing at the front here… the way in which men are approaching her and shrieking at her … it's shocking.”

Ashkenazy says he will keep the artists in the space, potentially rotating new ones in, until a fulltime tenant takes over.

“This is an experiment … and after acquiring the building, the intention wasn't, ‘let's open a bunch of public art spaces,’ he said. “It is kind of …what the building wanted and listening to what the Boardwalk needed. Let's play, let's have the artists that we love and appreciate have a space to play and engage and give the locals and the visitors to the Boardwalk something to experience.”

A new trail across the beloved natural area of Elephant Hill in Northeast Los Angeles is officially opening this weekend.

The route is years in the making, and it's a big milestone in the decades-long conservation efforts to preserve this local jewel in the community of El Sereno.

The hiking trail connects one side of Elephant Hill to the other — from the corner of Pullman Street and Harriman Avenue all the way across to Lathrop Street.

It's 0.75 miles in total, but packs a punch.

"It's a pretty straight shot, but because of the terrain — the trail is kind of twisty and curvy. There's switchbacks — and great views," Elva Yañez, board president of the nonprofit Save Elephant Hill, said.

People have always been able to access the 110-acre green space, but Yañez said the new trail provides a safe and easy way to navigate the steep hillsides.

The El Sereno nonprofit has been working for two decades to preserve the land. Illegal dumping and off-roading have damaged the open space over the years. And the majority of the 110 acres are privately owned by an estimated 200 individual owners.

Mountains Recreation and Conservation Authority (MRCA) joined the efforts in 2018, spurred by a $700,000 grant from Los Angeles County Regional Park and Open Space District, in part, to build the trail. The local agency received some $2 million in grants from the Santa Monica Mountains Conservancy to add to the 10 acres of Elephant Hill it manages and conserves. This year, MCRA acquired an additional 12 parcels — or about 2.4 acres.

And the spiffy new footpath — with trail signage, information kiosks and landscape boulders — is not just a long-sought-for victory but a beginning in a sense.

"We know that it means a lot to the community," Sarah Kevorkian, who oversees the trail project for MRCA, said. "We're wrapping up the trail, but it really feels like the beginning of all that is to come."

A hint of that vision already exists — for hikers traversing the new route, courtesy of Test Plot, the L.A.-based nonprofit that works to revitalize depleted lands.

"They're able to see at the end of the trail, at the 'test plot' — exactly what a restored Elephant Hill would look like," Yañez said.

Here's a preview:

A coalition of residents from across the San Gabriel Valley are mobilizing over a battery storage project and possibly more industrial development in the City of Industry they say could pollute communities next door.

A protest is scheduled today in neighboring Rowland Heights, targeting a 400-megawatt battery energy storage facility sited on about 9 acres that was approved by the City of Industry leaders in January.

Such Battery Energy Storage Systems, or BESS, are used to keep the power grid stable, especially as output from renewable energy sources like solar and wind fluctuate. But fires involving lithium batteries at some sites have heightened environmental and public health fears.

Because of the City of Industry’s unusual, sprawling shape stretching along the 60 Freeway, it borders on more than a dozen communities, meaning what happens there can have far-reaching impact.

“Pollution does not end right at the border,” said Andrew Yip, an organizer with No Data Centers SGV Coalition. “Pollution travels.”

Some local activists with the Puente Hills Community Preservation Association have challenged the approval of the battery facility under the California Environmental Quality Act.

Beyond environmental concerns, locals have also been frustrated with how decisions are made by officials in the City of Industry, a municipality that’s almost entirely zoned for industrial use and has less than 300 residents.

Organizers say they’ve struggled to get direct responses from city officials whom they say have replaced regular meetings with special meetings, which under state law require less advance notice.

A city spokesperson has not responded to requests for comment.

The so-called Marici Energy Storage System Facility would be run by Aypa Power. The fact that the battery storage developer is owned by the private equity giant Blackstone, a major investor in AI and data centers, has only fueled concerns that a battery storage facility would lay the groundwork for data center development.

A request for comment from Aypa was not returned.

Today’s protest is taking place at Peter F. Schabarum Regional Park in Rowland Heights across the street from the Puente Hills Mall, a largely vacant “dead” mall, which activists fear could be redeveloped into a data center and bring higher utility costs and greater air and noise pollution.

Yip pointed out that industrial developments make a lot of money for the City of Industry.

“But none of these surrounding communities receive any of those benefits,” Yip said. “Yet we have to put up with all the harmful effects and impacts from this city that does all this development without really reaching out.”