David Ellison is supposed to be close to President Donald Trump.
So why is Paramount still pushing left-leaning content like nothing has changed?
Ellison has met privately with Trump at the White House and has been a repeated visitor during his second term. His company has also described maintaining “a good relationship with the administration,” and Trump has referred to Ellison’s father, Oracle founder Larry Ellison, as a “good friend.”
None of it shows up on screen.
That level of access is direct and sustained, which is exactly why the lack of any corresponding shift stands out as much as it does.
The company’s own rollout of its “Changemakers” initiative makes the direction clear from the start.
“Paramount+ today announced ‘Changemakers,’ a new global content initiative spotlighting diverse voices and stories that drive social impact.”
That language does not just live in a press release. On the platform itself, the same themes begin to appear across its programming, not as isolated decisions but as a pattern in its biggest titles.
Paramount+ is still building major parts of its lineup around identity politics and progressive social messaging, reflected in the shows it continues to promote as part of its core offering.
“The L Word: Generation Q follows a group of diverse LGBTQ+ characters as they experience love, heartbreak, sex, setbacks and success in Los Angeles.”
This is not tucked away as niche programming or treated as something separate from the rest of the platform. It sits alongside other major titles, and the same approach carries into franchises that once had a very different tone, where that shift has been layered in over time rather than introduced all at once.
“Star Trek has featured an increasing number of LGBTQ+ characters in recent years, reflecting a broader push for representation across the franchise.”
The pattern is clear. And for all the talk about Ellison’s ties to Trump, nothing on screen suggests anything has changed.
Taken together, those choices do not feel scattered. They feel consistent, and that consistency is what makes the contrast harder to ignore, especially since the expectation surrounding Ellison has not changed.
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The expectation is still there that it should translate into something different. If anything, that expectation only grew when Ellison brought in Bari Weiss to help reshape CBS, a move read as a signal that something inside the broader Paramount ecosystem might begin to shift.
That shift is hard to find. The platform’s messaging has nFot changed. The programming mix has not changed either, and across flagship shows and new initiatives alike, the tone keeps moving in the same direction it already was, leaving a gap that only becomes more obvious the longer you look at it.
Ellison’s proximity to Trump suggests one trajectory, while the content coming out of Paramount points in another, and right now, it is the content, not the perception, that defines the company.
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