Paramount Skydance Faces Office Shift And Streaming Turmoil

Paramount Skydance, the media powerhouse helmed by David Ellison, is at a crossroads. On one hand, the company is making a concerted effort to bring employees back into bustling office spaces, collecting feedback and tweaking the in-person experience. On the other, its streaming arm, Paramount+, is weathering a storm of creative turbulence that could shape the future of the brand and its place in the entertainment world.

On January 20, 2026, Paramount Skydance asked most of its employees to return to the office five days a week, marking a major shift from the hybrid arrangements that became the norm during the pandemic. The transition, according to a January 18 report by Business Insider, has been largely smooth. Four employees described the move from two days to five as manageable, even positive in some respects. "They've made an effort to be supportive of everyone returning, offering snacks and a distributed workforce of 'ambassadors' who help out with different office requests on each floor," one New York-based staffer told Business Insider. The allure of free snacks—protein bars and Oreos, no less—didn’t hurt either, with three New York employees specifically praising this perk.

But Paramount Skydance isn’t taking employee satisfaction for granted. The company sent out a detailed 12-question survey to hear how its staff is adjusting to the new routine, covering everything from parking availability to WiFi reliability, food options, and even bathroom cleanliness. Employees were asked to rate their satisfaction and provide comments, with the company promising to "contact you directly if needed to understand how to address your concerns," as stated in the survey obtained by Business Insider. To sweeten the deal, Paramount announced on January 16 that 10 lucky respondents would receive 100 "Paramount Celebrates" points, redeemable on Amazon or at the company’s own swag store.

Transparency, however, was a double-edged sword: employees were told their responses would not be anonymous and could be shared with the company’s Return-To-Office (RTO) task force, grouped by office location. Still, the early feedback was largely positive. Some staffers appreciated having assigned desks, which eliminated the daily scramble for a workspace. Despite the uptick in attendance, the New York office didn’t feel overcrowded, and many meetings remained virtual due to the company’s bicoastal teams. "It's nice to finally have my own desk every day and not fight for a spot," another New York-based employee said, reflecting a sense of relief at the improved office logistics.

Yet, as the in-person engine revs up, Paramount+—the company’s streaming platform—faces a different kind of reckoning. According to TV Fanatic and the newsletter Puck, Paramount+ is grappling with a creative identity crisis, exacerbated by its fraught relationship with Taylor Sheridan, the prolific creator behind hits like Yellowstone, 1923, 1883, Mayor of Kingstown, Tulsa King, Landman, and the anticipated Michelle Pfeiffer spinoff, The Madison.

Sheridan’s partnership with Paramount+ had been a golden ticket, delivering a string of successful series that not only drew massive viewership but also gave the platform a distinct creative voice. But that relationship soured after David Ellison took the reins, with Puck first reporting the tension and Sheridan’s eventual move to rival streamer Peacock. This strategic misstep, as TV Fanatic put it, left many fans and industry insiders puzzled. "It’s mind-boggling that anyone in this business would drop the ball on a relationship as fruitful as the one between Sheridan and Paramount," lamented the publication, highlighting the loss of a creative force whose shows had become synonymous with the Paramount+ brand.

The situation worsened with the arrival of Cindy Holland, a former Netflix executive, as Chair of Direct-to-Consumer at Paramount. Holland, who boasts an impressive resume with credits like Jessica Jones, Daredevil, and Stranger Things, was brought in to oversee content for Paramount+ and Pluto TV. However, her background in binge-release formats and her apparent reluctance to continue working with Sheridan have raised eyebrows. According to TV Fanatic, "She just doesn’t seem to want to be in business with him." Holland reportedly made the call to end Mayor of Kingstown and cut its final season from ten episodes to eight, moves that Sheridan opposed. Since Holland’s arrival in 2025, no new Sheridan projects have been greenlit, despite his three-year contract with the streamer.

These shifts have left Paramount+ in a precarious spot. The platform’s other offerings have struggled to gain traction: the latest Star Trek series failed to win over audiences, and NCIS: Tony & Ziva was canceled after just one season. While MobLand found some success, its green light was arguably a result of the Sheridan-shaped void in the lineup. Even School Spirits, another standout, needed a boost from Netflix to find its audience, underscoring the growing dominance of the streaming giant. Netflix’s recent acquisition of the Warner Bros. deal only intensifies the competition, leaving Paramount+ scrambling to define its place in an increasingly crowded field.

Meanwhile, rumors swirl about the fate of upcoming projects. The show NOLA King, starring Samuel L. Jackson, may have been renamed Frisco King, though this remains unconfirmed. The name change has drawn skepticism from fans and critics alike, with TV Fanatic quipping that the original title "is a whole vibe" and suits Jackson’s character perfectly—while the new name conjures images that don’t quite fit the show’s tone.

Despite the creative churn, some bright spots remain. Landman Season 2 saw a 50% increase in audience over its debut season, and the finale’s strong numbers suggest that Sheridan’s signature style still resonates with viewers. Yet, the uncertainty surrounding Paramount+’s release strategies—whether to stick with weekly episodes or switch to binge drops—signals a company unsure of its own strengths. As TV Fanatic observed, "They will never be Netflix. They shouldn’t even be trying." The implication is clear: Paramount+’s unique appeal lies in its serialized, appointment-viewing content, not in chasing the binge model perfected by its rivals.

As Paramount Skydance seeks to foster a productive, satisfied workforce in its offices, its streaming division faces an urgent need for creative stability. The loss of Taylor Sheridan’s steady hand, coupled with shifting leadership priorities and intensifying competition, has left Paramount+ at a crossroads. Whether the company can recapture the magic that made it a contender in the streaming wars—or if it will be forced to reinvent itself yet again—remains to be seen. For now, both employees and audiences are watching, waiting, and hoping that the next chapter brings more certainty than chaos.