Travis Scott is stepping into television.
Scott has signed a first-look deal with Paramount Pictures, marking a new phase for his creative company Cactus Jack. The agreement gives Scott the freedom to develop projects across film, television, theatre and other experiential formats, signalling a clear move toward becoming a significant voice in big-screen storytelling.
The partnership builds on a relationship that had already begun to take shape. Cactus Jack previously worked with Paramount on consumer products, releasing limited-edition SpongeBob SquarePants and Scream apparel that sold out almost immediately. This new deal expands that connection from merchandise into full-scale content creation, tapping into the cultural influence Scott has developed through a decade of collaborations. Paramount co-chair Josh Greenstein praised Scott’s instincts, saying his taste level moves culture.
For Paramount, the timing is important. The studio is entering a new chapter focused on drawing younger audiences back to cinemas, and Scott’s ability to connect with fans makes him a valuable partner. Early discussions between Scott, Greenstein and Cactus Jack general manager David Stromberg revolved around shared creative interests, including their mutual appreciation for The Warriors. Paramount hinted at the growing relationship earlier this year in a Tom Cruise narrated reel shown at CinemaCon.
Scott’s interest in filmmaking has been building for years. He told Variety that his music video budgets often resembled independent film productions, which pushed him to explore longer-form storytelling. He said the central question became how to take ideas that work in a few minutes and expand them into something more lasting. His goal with Paramount is to bring back strong films, strong visuals and creative ideas, and he praised the studio for being willing to take risks.
Scott has not announced any projects yet, but he has already described the type of stories he wants to pursue. He is drawn to slow-building suspense instead of conventional horror, arguing that modern scary films feel more like high-energy dramas. He wants tension, sharp writing and unexpected casting. Above all, he wants to protect the theatrical experience, calling moviegoing a communal act worth preserving. Streaming may be convenient, he said, but sound design and scale are meant for the cinema.
Scott’s first-look deal positions Paramount as the home for this next stage of his creative evolution, setting up a crossover that could reshape how music and film intersect.
