Paramount Reportedly Pivots to Blockbusters, Ditches Awards-Bait Films

Paramount is undergoing a major shift under its new leadership, moving away from awards-focused films and putting its energy into big, commercial projects. Sources familiar with the studio say this change is part of a larger strategy to focus on well-known intellectual properties and blockbuster movies.

Recent leadership changes at Paramount have been dramatic. Executive Latoya Naito, who oversaw several animated films, including the poorly performing Smurfs movie, was let go in October. She was replaced by Jennifer Dodge from Spin Master, the company behind PAW Patrol. Sources say Naito had seen the signs that her time at Paramount was limited.

The new regime, led by David Ellison and key executives from Skydance, has made it clear that they are less interested in niche, awards-bait projects. Instead, they want films that can draw large audiences and generate strong box office returns.

One source explained, “They have no interest in anything but down-the-middle IP. It’s all about commerciality.”

Paramount has already made moves that reflect this approach. Several female-driven or critically ambitious projects, including adaptations like Eloise and Winter Games, have been canceled or sold off. Meanwhile, the studio is pushing forward with large-scale blockbusters and franchise projects, such as Rush Hour 4, a new Call of Duty movie, a motocross action film starring Timothée Chalamet, and a live-action Teenage Mutant Ninja Turtles film. R-rated comedies and horror franchises are also part of the plan, but the priority is always commercial appeal.

The focus on big IP films mirrors Ellison’s strategy in other industries. Sources say he wants movies that can be major events, just like his approach to CBS News. Paramount insiders insist that the studio is aiming for films that will make money and reach wide audiences, rather than chasing Oscars or critical acclaim.

This shift has caused some tension within the studio, particularly among holdover staff from the previous regime.

Executives like Tom Greenstein and Josh Goldstine, who were brought in from Skydance, have been reworking the film slate aggressively. Some projects have been cut, while others are being restructured to fit the blockbuster-first vision. Sources say morale has dropped as staff adjust to this new approach, which emphasizes profitability over prestige.

Paramount is also making strategic partnerships to strengthen its blockbuster output. Deals with high-profile talents like Will Smith, Johnny Depp, and the South Park creators Trey Parker and Matt Stone reflect the studio’s goal of leveraging recognizable names and franchises. Even controversial figures like Brett Ratner have been tapped for commercial projects that promise financial returns.

Despite the focus on large-scale, male-driven action films, the studio is not ignoring other audiences entirely. There are still plans for horror films, comedies, and genre films that can appeal to different demographics. But insiders say the guiding principle is clear: every movie must be a commercially viable event.

The shift is already changing how Paramount operates. The small internal awards team was laid off, and projects like Roofman have seen their awards campaigns drastically scaled back. Sources say the new leadership is committed to generating hits at the box office first, and awards and critical acclaim come second, if at all.

Paramount’s move is bold, but risky. While big-budget IP projects can deliver massive profits, canceling a large number of smaller, riskier projects could alienate talent or reduce diversity in the studio’s offerings. Sources note that Ellison’s team has the freedom to remake Paramount in their image, with the goal of releasing 15 films a year by 2026, all with commercial appeal at the forefront.

From a broader perspective, this shift signals a major change in Hollywood strategy: studios are betting on guaranteed crowd-pleasers rather than chasing prestige. It remains to be seen whether audiences and investors will embrace this approach, or if the lack of awards and critically acclaimed films will eventually backfire.

Paramount’s move makes sense from a business standpoint, they are prioritizing movies that can make money consistently. But it’s a bold gamble, and it could change the types of films Hollywood produces for years to come. What do you think about Paramount ditching awards-bait films to focus on blockbusters? Share your thoughts in the comments.