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Last month, over 1,000 members of the children’s entertainment industry gathered in San Diego for Kidscreen, an annual conference overlooking the waterfront. Delegates mingled with colleagues, industry leaders hosted insightful panels, and creatives pitched their ideas to anyone willing to listen. I was fortunate to attend my second Kidscreen in a row, where I deepened existing relationships, forged new connections, and expanded my industry knowledge. My journey to this point started with the FUTURE NOW Media and Entertainment Conference. I was a rising senior at Emory University in 2020, and it was the first conference I ever attended (unless comic conventions count). FUTURE NOW provided a safe and supportive space to exercise and hone my elevator pitch, develop networking skills, and gain confidence in public speaking. What once felt intimidating—introductions, first impressions, and professional conversations—became growth opportunities, allowing me to approach industry events like Kidscreen with confidence. Back in college, I knew I wanted to work in media and entertainment, envisioning a future at companies like NBCUniversal, HBO, or A24. I had no idea an entire industry focused solely on children’s media existed. Names like HappyKids and Kidoodle weren’t on my radar. But thanks to FUTURE NOW, I found my way into the world of children’s entertainment—first at Cartoon Network, then at Moonbug Entertainment—where I manage distribution and content partnerships. The Marriott Marquis where Kidscreen was held was packed to the gills, and no matter what part of the industry you were in—production, distribution, ad sales, brand partnerships—there was always a panel to attend or a colleague to chat with. Nominated for Best Animated Series across three age group categories at 2025 Kidscreen Awards The conference kicked off with a Super Bowl party on Sunday night before getting down to business Monday morning with a slew of panels, ranging from how to achieve success on Roblox to a discussion on how SVOD (subscription video on demand, such as Netflix) partners have cut back on spending, and speed pitching sessions. Days three and four featured speakers from Netflix, Warner Bros. Discovery, and Disney Branded Television, to name a few, and even a panel on Skibidi Toilet (yes, you read that right). While the panels offered valuable insights into the state of the industry and tips for success, I spent most of my time meeting directly with clients. As part of Moonbug’s distribution team, it’s vital to maintain friendly relationships with our partners, and Kidscreen is the perfect place to ensure those bonds stay strong. I helped plan dinners and grabbed more coffees than I can count, but each trip to Starbucks paved the way for future success—and whenever my nerves flared up, I just reminded myself that everyone at Kidscreen wanted the same thing: to make good content and ensure it gets seen. Once I remembered that common ground, it was less nerve-wracking to pitch our upcoming shows and discuss what kind of deal they deserved.  Conferences like Kidscreen reinforce the common adage that the entertainment industry is built on networking, and that’s why organizations like FUTURE NOW are so important. Being a part of FUTURE NOW introduces you to both your future peers and possible mentors, and opens the door to an industry that might otherwise seem impossible to break into.  You may even find a way into a role you had never considered before like I did.

Beyoncé wins Best Country Album The 2025 Grammy Awards broke records and highlighted innovative women across all categories. In honor of Women’s History Month, here are some of the impressive women who brought home the trophies:  2025 Grammy Winners:  Beyoncé:  As the most Grammy-nominated artist of all time, Beyoncé became the first Black woman to win Best Country Album with her 2024 chart-topping, history-making release Cowboy Carter . She went on to win Best Country Duo for “II Most Wanted,” featuring Miley Cyrus, and finally won Album of the Year after being nominated  for Album of the Year six times. Chappell Roan - Best New Artist Chappell Roan: Chappell Roan received six nominations and won the award for Best New Artist. Her debut album, The Rise and Fall of a Midwest Princess,  was praised by critics, stayed at the number two spot on the Billboard 200 Albums chart for two weeks, and continued to chart for 21 weeks after. Roan took the opportunity to advocate for new and upcoming artists to make a more livable wage and ensure they are given healthcare insurance by their labels.  Doechii - Best Rap Album Doechii: The first-time Grammy nominee and winner became the third woman to ever win Best Rap Album! With the rap category being a male-dominated scene, Doechii was the only woman nominated with her mixtape, Alligator Bites Never Heal . Doechii’s acceptance speech touched upon the importance of representation in the media as she said, “Don’t allow anybody to project any stereotypes on you that tell you that you can’t be here. You are exactly who you need to be to be right where you are and I am a testimony.” Sabrina Carpenter - Best Pop Vocal Album; Best Pop Solo Performance Sabrina Carpenter: Sabrina   Carpenter was another first-time Grammy nominee and winner! She took home the award for Best Pop Vocal Album for Short n Sweet , which captivated the music scene with hits like “Please, Please, Please,” which debuted on the Billboard Hot 100 at number one. “Taste” and “Espresso” followed behind, having charted at two and three. The album spent four weeks at number one on the Billboard Hot 200 Albums chart. These women were not the only ones honored, with additional awards going to Shakira, SZA, and Tems.  All of the winners challenge stereotypes and help to break down barriers. As we celebrate Women’s History Month, let’s continue to encourage female artists to dominate in their fields and succeed in their passions.

Abby Greensfelder From the tearful bridal fittings of Say Yes to the Dress  to the high-stakes drama of The Real Housewives of DC , Abby Greensfelder has been one of the driving forces of reality TV. But after years of producing unscripted series, she has traded high-volume entertainment for high-impact storytelling.  Now, through Every Woman Studios, she’s flipping the script—championing female creators, amplifying untold stories, and proving that documentaries can do more than entertain; they can inspire real change. In a recent Leadership Talk with FUTURE NOW Founder & CEO, Margaret “Peggy” Kim, Greensfelder reflected on her journey, the evolution of the media landscape, and how she’s leveraging storytelling as a catalyst for social impact. Greensfelder’s journey began in the early days of cable television at Discovery Channel, a time when documentary programming was a staple. “Reality TV didn’t exist in the way we know it now,” she recalled. Early in her career, her work focused on developing one-off documentaries and series—until the rise of reality television changed everything. As cable networks scrambled for high-volume, low-cost content, unscripted reality TV became the new gold rush. Sensing an opportunity, Greensfelder co-founded Half Yard Productions  in 2006, a company that would go on to produce some of the era’s biggest hits, from Say Yes to the Dress  to The Last Alaskans  and the Real Housewives  franchise. “We were making 300 to 400 hours of TV per year,” she explained. “To put that into perspective, when I was running programming and development at Discovery, we would premiere 500 to 600 hours of content annually. So for a single production company to produce that volume shows just how much demand there was.” The shift was seismic. Practically overnight, the industry needed production companies that could churn out high-volume content efficiently. Greensfelder found herself moving from a buyer and commissioner of shows to a producer at the forefront of the reality TV boom, navigating an industry that was growing at breakneck speed. Eventually, she sold Half Yard Productions . Greensfelder remained as CEO but eventually decided to pursue a more purpose-driven path.  "I’ve been in this business for so long—first as an executive at Discovery for well over a decade, then leading my own production company for almost a decade and a half. I thought, you know, I’d love to do something that’s a little more impact-driven at this stage in my life." So, she founded Every Woman Studios to amplify female creators and produce documentary content centered on women’s stories.  "I’m very passionate about supporting women in the business, particularly on the production side of things. So I decided that’s really where I wanted to spend the next part of my career—supporting women creators." Every Woman Studios operates on multiple fronts. It develops, creates, and produces impact-driven content, often collaborating with female storytellers through programs like its accelerator initiative with Realscreen. The company also partners with Banijay to expand its reach, helping women pitch, develop, and bring their ideas to life in an industry where breaking in remains a challenge. Greenfelder's decision to start Every Woman Studios was also inspired by the changing landscape of the unscripted industry. With the rise of streaming platforms like Netflix and Amazon Prime, one-off documentaries found a new home.  "There really was no vehicle for one-off docs to be on cable because we were all looking for volume in series,” she explained. “But in streaming, some of these standalone films could find an audience. That’s part of why I oriented this company [Every Woman Studios] to be more in the premium documentary side of the business, which was less about cost and more about quality."  She likens her career transition to moving “from Walmart to a boutique craft shop,” embracing a shift from high-volume production to curating high-quality work. "I left the high-volume, low-cost business because I could see it was becoming more about volume and cost-cutting rather than creative risk-taking and quality," she said. "I moved into the 'shiny gem' business because it aligns with the passion work that I want to do. I’m interested in making more quality, artisanal, crafted content. And there still is a market for that." During the conversation, Greensfelder was asked what makes a documentary “shiny” enough to sell, who defines shiny, and how is that determined—data, audience, market trends?  She explained that the definition of “shiny” has changed significantly in recent years due to the fluctuating state of the entertainment industry. When she first founded Every Woman Studios, streaming platforms like Netflix, Hulu, Max, and Peacock were in a fierce race to dominate the market, aggressively investing in new content. This meant that projects with high-profile IP (intellectual property) tied to celebrities or major cultural moments had strong selling power. Greensfelder’s documentary LFG  (Let’s F**king Go), which chronicled the U.S. women’s soccer team’s fight for equal pay, was an attractive prospect for buyers due to its access to key figures like Megan Rapinoe, who had risen to international prominence during the 2019 World Cup.  “It was like riding a rocket ship—seeing her become famous and navigating the lawsuit [against U.S. Soccer for unequal pay],” Greensfelder recalled. HBO Max, eager for premium content, bought the film as one of its first major documentary acquisitions. “We were able to sell it off the back of the growing, streaming market,” she concluded.  But fast forward to 2025, and the industry looks very different. With streaming platforms now prioritizing profitability over expansion, their spending habits have shifted. “Everybody threw so much money into the market, and they overspent,” Greensfelder explained. “Now they’re trying to do more high-volume, low-cost content—the same way cable networks used to operate.”  Today, only projects with built-in audiences, big-name celebrities, or highly sensational topics are sellable. “Think Beckham  on Netflix,” she noted. “It’s a fantastic film, but it sold because it’s Beckham. Everyone’s going to watch that.” Filmmakers working on niche subjects must now get creative with financing and distribution. Greensfelder's upcoming documentary, The Pink Pill , which explores the search for a female Viagra, is a case in point. Instead of pitching it to streamers, she secured brand funding and used Canadian tax incentives to reduce production costs.  For those passionate about social impact documentaries, Greensfelder encouraged an entrepreneurial mindset. “If you have a project that doesn’t fit the current mold, think outside the box. Find alternative funding, leverage partnerships, and be strategic about distribution.”  When asked how she got her start in the industry and for advice for recent graduates, she replied, "I got an internship." She began as a writer-researcher intern at Discovery Channel, a position that allowed her to gain hands-on experience and make industry connections. She was hired for a full-time role, and after some time she left to work for a production company in London.  Some considered her leaving a good network job a risky move, but it was a growth opportunity.  She maintained her contacts at the network while in London when a former colleague invited her to help establish Discovery’s development department. It was an opportunity to build something from scratch.  Greensfelder had to take a pay cut and accept a lower title, but she negotiated to attend every development meeting and pitch. It was a short-term sacrifice for long-term gain as she quickly rose through the ranks.  Greensfelder credited her mentors and the supportive environment at Discovery for her success, explaining that working with great leaders and being part of a culture that fosters learning can be far more valuable than immediate financial rewards. When asked about balancing creativity and business acumen, Greensfelder stressed that while mastering a craft is important, it’s not enough on its own. The ability to sell ideas and push them forward is equally critical. “You have to be a hustler in this business,” she explained. Even if someone possesses a rare creative voice, without the skills to promote their work, their projects may never reach the big screen. Not everyone excels at both creativity and business strategy, but Greensfelder pointed out that forming partnerships can bridge the gap. She spoke about her successful collaboration with her co-founder at Half Yard Productions, where she handled business operations while her partner focused on creative aspects. As the conversation turned to the ever-evolving entertainment landscape with digital platforms offering both challenges and opportunities, Greensfelder observed that today’s industry allows for both mass distribution and niche content aimed at passionate audiences.  She encouraged aspiring professionals to stay adaptable and leverage various platforms to distribute content. The key is recognizing where audiences are and how to deliver compelling stories in formats that resonate with them.  “This industry is always evolving. When I started, reality TV was just becoming a thing. Now, we’re seeing a shift toward self-distributed content on TikTok and YouTube. There are always opportunities—you just have to be willing to pivot.”  As content creation becomes more accessible, the opportunities for filmmakers are growing—but so are the challenges. The industry, truly "unscripted" in its unpredictability, demands that filmmakers think on their feet and embrace change.

Ian Chernichaw with Elmo Ian Chernichaw is a creative director with over 25 years of experience in children’s media and has worked with some of the most iconic brands in the industry, including Nickelodeon, Sesame Workshop, and MarcoPolo Learning. From an early age, he seemed destined for a career in children’s media. “I really feel like it was what I was meant to do,” he revealed in a conversation with FUTURE NOW Founder & CEO Peggy Kim. “My mother is a fine artist, photographer, and painter, and my father was in the entertainment industry. He was an executive producer and director. So, I’ve always been drawn to the arts—no pun intended.” Chernichaw’s passion for art began in childhood when he spent his free time making miniature clay characters from Sculpey, paper-mâché creations, and developing photography in his mother’s darkroom in the basement. He also loved watching cartoons after school, but nothing compared to Saturday mornings. “There was no feeling like waking up on a Saturday morning [to watch cartoons]” he told attendees. Chernichaw turned his passion into an internship with Nickelodeon the summer between his junior and senior years of college. He joked that “a lot [of the internship] was sitting around playing solitaire at the computer in the supply closet.” But, he was proactive and showed initiative by talking to people in the office and volunteering for assignments. “It was important to always walk around and ask people, ‘Can I do anything for you?’” And, doors began to open for him. He got to work with writers, producers, directors, animators, and art directors. He even had the opportunity to work on storyboards, edit videos, and create rough animations for on-air promotional campaigns as he ran around “doing whatever they needed,” including prop and wardrobe runs.  Chernichaw made such an impression that, when one of the assistants went on vacation, Nickelodeon hired him for a two-week gig after college. “That two weeks turned into almost ten years at Nick.” He officially began his professional career at Nickelodeon On-Air Promotions as an executive assistant, assistant production coordinator, and art department assistant.  Then, an opportunity at a little show called Blue’s Clues opened up.  Chernichaw jumped at the chance and soon became a model maker for the groundbreaking preschool show. The shift from working in live-action production to an animated series took some getting used to, but as he pointed out, “The storytelling is something that's very similar in each. You're always trying to tell a story.”  For anyone looking to transition from working in live-action to animation or vice versa, Chernichaw recommends having portfolios of your work ready to go. “Work on your own projects, work on your own films, work on your own videos, just create content, create artwork, have a nice reel. Have a nice portfolio,” he advised.  So, what exactly did Chernichaw do as a model maker at Blue’s Clues ? “Everything that you saw [on the show], we made,” Chernichaw explained. “We had an art room. It was like an arts and crafts room. It was incredible. We had fabrics, we had popsicle sticks, we had clay, we had paint….Everything that you saw in Blues Clues was actually designed and built out of clay, out of popsicle sticks, out of all the arts and crafts materials because…we wanted the kids to feel like they could make the things that they see on screen themselves.” Chernichaw’s years of sculpting clay in the basement during his childhood finally paid off. That said, it wasn’t just Chernichaw’s artistic skills that helped him land the gig, it was his persistence. He made a point to visit and speak to the Blue’s Clues team whenever he had some free time, following up with them, even though putting himself out there didn’t come easily to him.  “Naturally, I'm a shy person. I'm an introvert. I have to force myself…to seem like I'm this confident guy,” he admitted. And when you are interviewing for a job, that is not the time to be timid. “You definitely have to talk about what you've done, what your strengths are… don't feel shy to show off.” Even on the job, Chernichaw would always make sure to make the most of it. “I always have that fear…‘Am I going to be let go?” he admitted. “So I would just make the most of every day that I was there, especially early on. I would work most nights. I would stay late after everybody would go home. I would stay there to get a better grasp on things, to learn the software, and just to get a better idea of what was going on. And then back early in the morning.”  His determination to succeed and commitment to his job “gave me the skills… and understanding that I needed to move up the ladder.” His passion was evident to everyone, and he was eventually promoted to Senior Art Director . In that role, Chernichaw was in charge of two teams (aptly named Salt and Pepper after the characters in the show), each assigned to different episodes. The teams would present art and models for the episodes, take his notes, and tweak as needed; these designers and model makers created model sheets for the characters, the backgrounds, and all the artwork. Chernichaw also directed a digital design team explaining,  “We cut all of the elements that we created in Photoshop and set them all up to be ready for the animators who worked in After Effects,” referring to the production process. He oversaw everything from storyboards to animation. No two days looked the same, and he enjoyed it that way. “That keeps things interesting and exciting.” As the senior art director, Chernichaw had to provide constructive criticism to team members, which could sometimes be challenging. “Artists tend to… get really attached to their work because you're proud of what you're doing,” he said.  “I learned early on that you could really care about your work, but you could also separate that from your feelings… I cannot get upset when things change, because things just change all the time, and people do have difficulty with that, especially people earlier on in their careers.”  On a show like Blue’s Clues or Sesame Street , Chernichaw was responsible for maintaining the visual consistency of the show and ensuring that individual styles didn’t impact its overall look. He would remind his team that they were hired to create work in the style of the show and that following directions was essential. While each person’s style brought something unique and valuable, his role was to ensure all artwork stayed on-brand. Chernichaw explained that accepting this kind of feedback and learning to compromise were crucial to fostering a healthy work environment. It didn’t mean that one shouldn’t advocate for their own ideas, quite the opposite. Those ideas could be used to enhance the greater vision, but it was important to always keep the show’s visual integrity in mind. Chernichaw has experienced significant success in his career, but despite his varied experience and skill, he still battles with imposter syndrome on many new projects. “I always get nervous,” he confessed. “I always feel, to a certain extent, that I have to pretend.”  So how does he combat that? It all goes back to that proactivity. “If I go into a project that I'm not too familiar with, I will work overnight. I'll learn it. I'll watch the tutorials… I'll do whatever I can in order to learn whatever I need to know… to fulfill that task.”  Sometimes, when feeling shy or nervous about an interview or talk (it happens to the best of us!), Chernichaw finds that preparation helps steady his nerves. That way, “I'm not going into it blind.” He explained that he does extensive research on the company and the people he’s interviewing with-their background, where they went to school, their job experience. With a laugh, he added, “I stalk people before an interview, because I just want to know everything, and that… helps calm me down.”  Even between jobs, Chernichaw stays proactive by honing his craft.  Recently, he taught himself Adobe Character Animator to assist with an animated podcast he created with a friend, which ultimately led to a freelance gig that he might not have gotten without that skill. “It's all about learning and… adding to your toolkit of information,” he said. Before the conversation ended, Chernichaw offered attendees a piece of advice that has guided him throughout his career: "You can’t be afraid… to take risks. Don't be afraid to make decisions." Acknowledging his own tendency, he continued, "A lot of people have trouble making decisions because they're scared they're going to be wrong." Chernichaw has never let fear hold him back from taking action, and this proactive approach continues to serve him well today. As he put it, “It's better to just make a decision” rather than to make no decision at all.

By Kleeyah Khan and Alex Jiménez Everyone has their reasons for enjoying a show, movie, video game, or any other kind of entertainment. Things like popularity, relatability, great characters, and good representation usually play a big role. I’m a comic book enthusiast who grew up in New York, raised by my Haitian-Dominican-American mother and Trinidadian-American father, and what’s always been important to me is seeing more stories and characters that I can relate to. My co-writer Alex is a nature-loving athlete raised in Michigan by his Mexican-American parents and he’s always understood the importance of representation. Kleeyah: Think about your favorite childhood memory. It could be chasing the ice cream truck after a long summer day, or maybe it's the freshly baked goodies your grandmother made for no other reason than to see you smile. Mine is the Saturday morning routine my brother and I had. We would wake up, brush our teeth at lightning speed, grab our cereal bowls, and run to sit at the coffee table to hear the opening theme to 4Kids TV. X-Men , Yu-Gi-Oh , Justice League , Transformers , Teenage Mutant Ninja Turtles , you name it…we watched them all! We were glued to the TV for hours until our mother realized we weren’t diligently cleaning the living room like we were supposed to.  I bonded with my siblings and classmates over these cartoons and kid shows.  The fact that some of the characters either looked like me or someone I knew affirmed something in me that I didn't realize at the time. Representation has a profound effect.  Justice League (2001)  and Justice League Unlimited (2004) were my first introductions to superheroes other than Batman, Superman, and Wonder Woman. I was exposed to heroes like “Vixen,” aka Mari McCabe, and “Green Lantern,” aka John Stewart.  Mari McCabe was DC’s first African-American heroine, debuting in Action Comics #521 (1981) .  She was born in a small African village and was gifted the Tantu Totem, a priceless family heirloom, by her father. The Tantu Totem is an ancient necklace imbued with the powers of the animal kingdom and a powerful artifact people desperately wish to possess. One of those people is her very own uncle. After witnessing her parents’ murder at the hands of her jealous uncle, 17-year-old Mari flees to America, becoming a supermodel by day and a crime-fighting vigilante known as Vixen by night. We don’t get a detailed backstory on her in the animated series but we do see her in her natural element, flawlessly using the power and strength of various animals.  It was awesome. Seeing someone who I could relate to as a person of color and who could hold her own alongside the world’s greatest heroes connected something in my young mind. I learned that I could do anything I set my mind to.  John Stewart had an even greater impact because of his superhero affiliation: The Green Lantern Corps. There was nothing cooler than being able to manifest anything you can imagine with a power ring. There are various colored Lantern Corps that exist for when a person showcases an overwhelming amount of that specific emotion (e.g., pink for love or red for rage.) Green represents willpower and The Green Lantern Corps was created to protect the universe from intergalactic threats.  John Stewart was a retired U.S. Marine and became Earth’s first Black Green Lantern after fighting off an alien robot invader with zero hesitation. He was born in a poor neighborhood in Detroit, Michigan, and always aspired to be a helpful, kind individual who gave back to his country and community. He chose not to wear a mask because he wanted young people with similar backgrounds to see that they could be strong and that they don’t have to stay in the boxes others may try to put them in. John Stewart was portrayed as an honorable man in his character-centric episodes where he was put on an intergalactic trial for “blowing up” an entire planet during a mission. He accepted responsibility for his actions, even though it was an accident, and was willing and prepared to face the consequences. Luckily, the Justice League launched their own investigation and learned that John was set up and that the planet in question was still intact, just hidden with special alien technology.  This particular set of episodes meant a lot to me as a kid because it showed the importance of integrity and accepting responsibility for yourself and your actions, and also exemplified true friendship. The Justice League was newly formed at this point but there was no hesitation to defend their friend, refusing to give up until they learned the truth. Alex: Like a lot of Mexican kids, I liked Spider-Man. Peter Parker’s Spider-Man is probably the most popular superhero in mainstream media, so any successor was always going to have a tough act to follow. The character, Miles Morales, made his debut as Spider-Man in 2011.  His appearance, highly influenced by Donald Glover, modernized Marvel to a more diverse audience.  Miles is an Afro-Puerto Rican teen from Brooklyn, New York, with an African-American father and Afro-Puerto Rican mother, and his introduction was subject to much scrutiny, especially online as readers accused the character—the first Black Spider-Man—of being a diversity token. This, combined with the mixed reactions to his debut and early comics, meant that Miles as Spiderman had to be exceptional or he would keep facing backlash. Seven years after his debut, that exceptionalism was given an opportunity on the big screen. Spider-man: Into the Spider-Verse was released in 2018, grossing $394 million worldwide, and was the first non-Disney/Pixar film to win Best Animated Feature at the Academy Awards since 2011. Critical acclaim and financial success led to the development of a trilogy with Across the Spider-Verse  released in 2023 and Beyond the Spider-Verse currently in production. These films were in many ways trailblazers for what would ultimately be a string of multiverse movies across the superhero genre in the early 2020s, as seen with Avengers: Endgame and Doctor Strange in the Multiverse of Madness .  The first movie follows Miles grappling with what it means to be Spider-Man. This gets boosted tenfold in the sequel when Miles gets labeled an anomaly that jeopardizes the continuity of Spider-Man as a whole. In some ways, this also reflects the backlash Miles initially received before his silver screen debut, and the final film may emphasize this narrative even more if it continues honing in on the theme of “anyone can wear the mask.” Anyone can be Spider-Man. While we still have one more movie to go, Miles has already shown that a Black lead, a Latino lead, can be successful at the box office. Miles will always be known as one of the first, but not the last. Kleeyah: Speaking of upcoming blockbuster hits, John Stewart will be making his live-action debut soon in the new DC Studios’ cinematic universe that is currently being built by award-winning director, producer, and screenwriter James Gunn. That universe will include a variety of movies, live-action, and animated TV shows all focused on telling the nostalgic stories we all know and love while also introducing audiences to new characters.  Gunn announced back in October of 2024 that he found “an incredible John Stewart” in Aaron Pierre, best known for his recent role as Mufasa in Disney’s Mufasa: The Lion King . Pierre will be joined by Kyle Chandler as Hal Jordan, Nathan Fillion as Guy Gardner, and Ulrich Thomsen as Thaal Sinestro in the HBO Max original series titled Lanterns , which is expected to be released in 2026.  The entertainment industry has always stood for storytelling. Whether it’s heard through music, read in a book, seen in movies, or poured onto a canvas, there is always a story to tell, and sometimes telling that story means someone out there feels less alone in theirs.  Characters like Miles Morales, John Stewart, Mari McCabe, and others help people feel seen and heard, not alone in their struggles. Representation recognizes and values different experiences, reminding us that we all matter and are in this together.  As consumers, we  are a vital part of the entertainment ecosystem. We have the power to support the films and shows we love through our wallets, viewership, ratings, and reviews. So, let’s go to the movie theater, download that streaming app, and share our opinions on social media…all for the love of great entertainment. Our voices count.

By the time Peacock’s VP of Title Creative Marketing, Eric Jones , graduated from Syracuse University with a B.S. in Television Radio, and Film Management, he already had nine years of experience in the television industry.  A self-described troublemaker in his youth growing up on the Lower East Side of Manhattan, where burning cars and drug dealing were part of the everyday tableau, Jones credits the programs at his school for redirecting his energy and helping him discover his passion for storytelling. In a recent Leadership Talk with FUTURE NOW Founder & CEO Peggy Kim , Jones shared how it all started with a tour of the Showtime offices when he was in middle school.  “A bunch of people from different departments came and spoke to the class. At the end of it  someone asked, ‘Does anyone have  any questions?’ And I shot my hand up in the air, and when they called on me, my first question without skipping a beat was ‘When can I get a job here?’ And this one lady…her name was Faith…with her little Jamaican patois accent, she said, ‘You know what? When you get your work in papers, why don't you call me.’”  A few months later, Jones turned 14 and got his working papers. “And I called her the next day, and I called her the next day, and I kept calling her, because, you know, kids don't know etiquette, so I just kept calling her.”  His persistence paid off. “That summer was my very first job ever. At that time all I did was make xeroxes and send faxes.” Jones worked at Showtime for several summers.  “I worked in operations, providing service to the creative team,” he explained. “So I would hand deliver tapes for edit rooms for producers for their edit sessions.  One day, he dropped off some tapes and overheard Spanish in the background. “I got curious. I had never heard Spanish in an office before. I followed the voice, and there was a team of producers watching a monitor, listening to a boxer speak Spanish. As they were listening, the VP of Creative said ‘What is he saying?’  Standing at the door, Jones answered, “He said, ‘He’s gonna get in the ring.’”  Surprised, the executive invited him to stay and help them with the translations. ”That was my first time in an edit room. I helped them produce this piece - I must have been like 16 at the time. I did all the translation for Spanish.”  They were so impressed that they asked Jones to join their team the next summer, and then, the next three summers after that.  Two weeks after graduating from college, Jones started a full-time job as a production assistant for Showtime’s boxing broadcasts. He rose through the ranks as an Associate Producer, Writer-Producer, and eventually Senior Writer-Producer.  “I worked there for eight years… It was amazing. I was traveling the world, a kid from the Lower East Side who’d never been on a plane. I went to Vegas–my very first fight was Mike Tyson vs. [Evander] Holyfield when he bit him in the ear.” After 16 years at Showtime, Jones decided it was time for a change. “One day as I was putting my reel together, I realized every single spot and piece of creative that I had was boxing. I was concerned I would get pigeonholed as a boxing guy. If I continued working in boxing I’d only be able to work in boxing.”  Jones wanted to expand his horizons. “So I made the decision to leave Showtime, which was a hard decision for me. I had known people there for 16 years. I made a lateral move as a Senior Writer-Producer at Showtime to Senior Writer-Producer at Spike TV.”  The move from sports to unscripted programming and reality shows was challenging, but Jones quickly learned to apply the storytelling skills he’d learned at Showtime to his new role. “End of the day, what we do is tell stories. Given I’ve been working in boxing for so long, storytelling is very important.  At the end of the day, you have two guys fighting. You have to find the heart, the purpose, the reason they’re fighting, and that in itself is the creative challenge.” At Spike, Jones was soon promoted to Executive Producer, and then, to Creative Director.  After five years, Jones got the itch again to make his next move.  “When I started to put my reel together, I had a lot of boxing and now a lot of unscripted. If I stay where I am now, I’m gonna be pigeonholed when my passion is scripted [content]. So, I made a lateral move, from creative director at Spike to creative director at Sundance TV, overseeing scripted, unscripted, films, and branding.” Jones worked at Sundance for five years until he heard that Peacock had picked up Bel-Air , a r e-imagination of the beloved sitcom "The Fresh Prince of Bel-Air.” Click for trailer “I was hell-bent on working at Peacock to work on  Bel-Air . So much so that after making a bunch of phone calls and getting an opportunity for an interview, in the interview I told my [future] manager, I told them, ‘I want to work on Bel-Air .’”  Jones got the job. “And on my very first day at Peacock, I had five Bel-Air  meetings.” As the Vice President of Title Creative Marketing at Peacock, Jones oversees promotions and creative marketing output not only for Bel-Air but for all of the streamer’s titles.  “Whether they’re series, scripted or unscripted, film, or our library content if we’re promoting [a single] title, that’s under my team’s purview.”  Jones and his team have their hands on everything from movie trailers to 30-second promos on social media to creating key art, secondary art, and graphic designs, for various needs throughout a marketing campaign. They collaborate closely with the company’s marketing, operations, press, and activations teams.  Jones described his 32-person creative team and their day-to-day. “So I have a team of creative directors and they lead the creative campaigns. Working with them is a team of producers, designers, and art directors. Throughout the course of the day, we’re working closely with our marketing counterparts and creative operations to really develop a strategy for the title and the creative brief and the creative execution for each of those. We work really closely together to get that done. We work really closely with showrunners and EPs. The way we usually kick off a campaign is we sit in a Zoom room and listen to the showrunners and EPs so we can hear what their vision of a particular show is. We take their thoughts and the scripts and the visuals and the episodes and we start to pull marketing hooks and themes that are unique and important to the series. And from those marketing hooks and themes, we start to develop the creative strategy, and based on that creative strategy, we start to develop creative tactics that ladder up to the strategy.” Jones cites his contributions to Bel-Air  as his proudest work. “It was the first time in my career I was able to work on a title with people that looked like me...I hadn't been fortunate enough to have that experience where I could work on titles with people who looked like me, who’d gone through the same experiences that I had gone through, who had similar stories that I had. So it was a dream being able to work on that and it ended up being one of Peacock’s most successful shows of all time.”  “I loved being able to bring my culture and my background into the creative myself. There were a few times when I had to say to a room full of people who didn’t look like me, ‘Listen, Black people are going to love this. We should do this.’ And God bless them, they listened to me.” Jones attributes his success to passion. “I was just so passionate about the job, I would do anything and everything. Even if people didn’t ask, I would write scripts, I would help with edits. Not for the sake of getting a promotion. I was just excited about it. They saw that excitement and effort. I went from a PA to an AP because of that passion.”  To Jones, passion matters and sets someone apart from the pack. “We don’t talk about passion enough in our field. Yes, skills are important, but I do believe that there are many people that can do what we do, but we don’t want to work with just anyone. I’ve seen many people in this business who are creative geniuses but not the easiest to work with. I’ve seen people who are super collaborative and have positive energy, and I’ve seen how they’ve excelled. I’ve been more of the latter than the former.” Jones’ reverence for passion translates to his hiring practices as well. “If someone’s passionate about the job or the work, or entertainment, that I always gravitate towards. Someone approaches me with interesting questions or someone’s excited – I can teach you to write stronger, but I can’t teach passion. So if you start with that, ultimately I’m gonna want to work with you.” Jones imparted some final words of wisdom. “I encourage everyone to live by their core values. By doing so, you can rest assured that you are true to yourself and the work that you’ve done, and people will see that. I personally live by my core values. I discovered them within the last eight years. The irony is that I’ve had several career coaches and in each instance, my goal was to get a promotion. But with the last career coach I had, I told him, ‘Every time I did this, it was for a promotion. I want to create a work life where I’m happy with the work I’m making and the person I am.’ Through that journey with him, I leaned into four core values: relationship, collaboration, love, and success. Those are the four core values I live by. Finding what success means to you will help you in the long run.”

Netflix’s hit series Arcane , based on Riot Games' popular League of Legends , released its highly anticipated second and final season on November 26th, 2024. Blending stunning 2D and 3D animation crafted by French studio Fortiche, Arcane  has captivated both long-time fans of the game and new audiences, earning multiple Annie and Emmy Awards while breaking several Netflix records. Amirah Vann At the heart of Arcane’s  gripping story are two sisters, Vi (voiced by Hailee Steinfeld) and Jinx (voiced by Ella Purnell), navigating the contrasting worlds of the prosperous city of Piltover and the oppressed undercity of Zaun. Among the standout characters in this rich narrative is Sevika, a fierce and imposing enforcer for the crime lords of Zaun, brought to life by the powerful voice work of Amirah Vann . With over two decades of experience in film, television, and voiceover, Vann’s impressive career includes an NAACP Image Award nomination for her role in Underground  and her portrayal of Tegan Price in How to Get Away with Murder . In this exclusive interview with FUTURE NOW, Amirah Vann talks about her journey into voice acting, her approach to embodying complex characters like Sevika, and her advice for aspiring voice actors. Oyeku : Sevika is such a complex character. How was it portraying her through voice acting?     Vann : Portraying the character of Sevika was a great experiment in trusting. As a voice actor, I have only a few things at my disposal to offer—my voice, my intentions, my energy. Needless to say, I learned to trust our director and their excellent ear. The similarity to on-camera acting was the collaborative nature—knowing that we would discuss a scene until our intentions were being translated and then trust that the animators would marry the emotional and physical life seamlessly.  Oyeku : Besides not being on camera, what were some differences between in-person and voice acting? Vann : One of the main differences is not being in hair, makeup, and costume for the character. There’s so much that those elements offer immediately—a sense of self and a sense of supporting the imaginative story you’ve created that’s birthed from the text. Your imagination has to be firing on all cylinders. Oyeku : What were the most challenging parts of playing Sevika? How did you overcome them?                                 Vann : One of the most challenging parts of playing Sevika is a really technical challenge—that is, making sure that your voice is strong the entire time you’re in a session. Sometimes we would record the text first and then record the efforts. Efforts are basically all the grunts and screams and yells that are added onto potential fight scenes. The efforts could ruin the voice if not done correctly and with care.  Oyeku : Do you have any advice for those looking to break out into the acting industry and any audition tips?  Vann : My advice for anyone interested in breaking into the acting industry would be to join a theater company. It’s the best way to work on wonderful text and wonderful characters, learn how to let go of your own preconceived ideas, and start to think like someone else. It also allows you, night after night, to go deeper into a character—getting lost in that character and finding new things. It’s an exploration and journey that TV and film can rarely offer because it moves so very quickly and doesn’t necessarily afford you the same depth of process. Audition tips would be make sure the basics are done. Make sure you have good lighting. Make sure you understand that they need to hear you. They need to see you. You need to have read the script if it was offered to you. Those are the basics. The next step is to decide what your offering will be. Who do you think this character is? Don’t try to fit someone else’s idea—make an offering. And lastly, make sure you understand what the heck you’re talking about. A mentor of mine once said to me: “Do not open your mouth unless you actually understand what you’re talking about.” Oh, and enjoy your offering. If you’re excited, there’s a better chance someone watching will be too.

Darnell Strom, Partner, UTA College students and recent graduates often think that their first job will determine their career path for the rest of their lives.  That mindset can cause stress and paralysis because they don’t want to make a mistake…as if there is only one perfect step to the rest of their lives.  But, as Darnell Strom's career journey proves, a starting point is just that, a starting point. Where you begin is not where you end, and opportunities can come in the most unexpected ways. Strom is a Partner and the Head of the Culture and Leadership Division at United Talent Agency (UTA) , a leading global talent, sports, entertainment, and advisory company representing artists, athletes, storytellers, and brands whose voices and vision define culture and shape our world. But he got his start in politics. So, how did he end up in the entertainment business? “I was a political nerd. I loved politics. I thought it was really interesting,” Strom reminisced in a recent Leadership Talk with FUTURE NOW Founder & CEO, Peggy Kim. “I remember watching my first Democratic convention when I was seven years old. My parents were active, voted, and knowledgeable of all that was going on and made sure we were as well.”  Strom was plugged into politics ever since, but he also kept up with pop culture. “I loved TV, I loved film, I loved music, I loved sports…growing up in the 90’s…the Michael Jordan era…I was fascinated by all of those things.”  But, he never imagined a career in media and entertainment.  When it came time for college, Strom chose to study Political Science and Government at Florida A&M University. He was active in student government and college democratic politics.  He was later accepted to Berkeley Law School, but deferred his studies to do a fellowship in President Clinton's office in NYC, researching and fact-checking for Clinton’s autobiography and supporting the fundraising team for his presidential library.  One thing led to another, and he deferred law school again to work for the Democratic National Convention as an assistant to the COO. " That was the year that State Senator Barack Obama gave the speech that kind of put him on the map, and I was very fortunate working for the chair of the Convention committee that we had seats on the side of the stage, and the spouses and families of whoever was speaking on stage would sit next to us. And so, you know, Michelle Obama and Sasha, Malia, who were very small then, were sitting right next to us, watching their dad deliver this speech that would literally change their lives." Strom’s hard work eventually led him to become the director of the DNC chair’s office.  After the DNC, Strom—only 23 at the time—became Director of Operations in Florida for John Kerry’s presidential campaign, working 17-hour days. Storm joked that he was a “double loser” since Kerry would lose both Florida and his presidential bid. But, Strom's star was on the rise, and he got a call from the Clinton office to be his Deputy Director of Scheduling.  Darnell Strom with President Bill Clinton and Nelson Mandela For the next three years, Strom traveled the world with Clinton, interacting with world leaders and political figures and the titans of industry, people in media and entertainment, sports, and business. "And, it was where I really kind of saw how all these worlds collide and came together. And so, even to this day, when I work with a range of different types of clients, it does kind of remind me of what those rooms would look like back in my days of traveling with President Clinton.” Strom learned to navigate high-powered rooms with skill and ease. " I would never externally show that I was kind of overwhelmed with the experience, and I would always try my best to feel like or seem like I was comfortable in any situation that I was in, even though I was probably secretly having a panic attack inside." The values instilled in him by his family, particularly their emphasis on the importance of “seeing everyone in every room” became a cornerstone of Strom’s approach to leadership and connection, shaping his trajectory as he moved from politics to the worlds of philanthropy and entertainment. “I was always really good at connecting with people and always wanted to. I am  always fascinated by people’s backgrounds, people’s stories. I also had a very deep self-awareness of who I was, how I came off, what I was good at, what I wasn’t good at… It was always this kind of really delicate balancing act.”  During his time with the Clinton Foundation, Strom met Hollywood powerhouses like Jeffrey Katzenberg, Casey Wasserman, and Richard Lovett, the then-President of Creative Artists Agency (CAA), which would eventually lead to a career pivot from politics to entertainment.  “I would shake people down for money to donate to the [Clinton] Foundation, and that led to conversations like, ‘Maybe you should be an agent. Maybe there's something you should be doing in this business. because I think they were also kind of surprised by my knowledge of the business just because I would read about it and found it interesting.” CAA offered Strom a job…not in the mailroom, but on the foundation side, where he was a kind of social impact agent for clients like Dwayne Wade, Katy Perry, Will Smith, and others, helping them figure out what they wanted to do in the social impact space. Strom also joined the White House Entertainment Council. “So anytime there were clients that wanted to do something with the White House or the White House was trying to tap into the entertainment community to help push an initiative or something. I would help be the go-between on this committee to connect those dots. So I was able to use my experience to, you know, immediately kind of impact clients and high-profile clients of the agency.”  As he worked to connect top talent with meaningful projects, Strom was voracious in learning every aspect of the business. “So if you know Dwayne Wade, I wanted to know how his basketball contracts work, how his shoe deals worked, and how Katy Perry's touring worked, and you know every element. The thing that I was most surprised about when I got inside of an agency was just how much they do, and how many areas they have.” He began to notice a growing trend—the convergence of culture, fashion, sports, media, music, and film were increasingly overlapping, and he realized that no one was connecting the dots effectively.  Strom saw this as his opportunity and niche. “It’s the smart dot-connecting that will lead to the coolest projects.” He became fascinated by collaboration possibilities across industries, particularly with the rising influence of non-traditional voices in pop culture. Darnell Strom with Malala Yousafzai Knowing how lucrative President Clinton’s books and speaker fees were, Strom helped spearhead CAA’s speaker division, signing clients such as Malala Yousafzai, then-VP Joe Biden, and Gayle King. After nine years with CAA, Strom moved to United Talent Agency (UTA). “What I would love to do,” Strom remembered saying to UTA, “is represent some of the most interesting people in culture and then…build out opportunities for them to really grow their platforms…and make money…and I think that expands not only into individuals, [but] expands to brands and beyond.” “I became a partner about for years ago, and touch everything from our culture and commerce division, but also work in our luxury and fashion division that we continue to grow, and then I also oversee our UTA speakers division, which reports up to me, so I have my hands in a lot of things,” he explained. Strom joined UTA in 2019. The next year the pandemic hit, George Floyd was murdered, and protests shook the nation. Then, the Writers Guild and Screen Actors Guild strikes followed in 2023. It’s been a rocky time in the media and entertainment industry. However, Strom retains a positive outlook.  “Yes, you need to be thoughtful about what you say to people and how you come off,” he said, “and that makes the workplace a better place for everyone…. It’s a very challenging time in the business, specifically in the film and TV business. But I’m super optimistic about times like this.” “There’s all these other opportunities that are popping up that are interesting. I think there’s really cool opportunities at the convergence of sports and fashion. I think there’s really cool things in art. I think there's all these other businesses that we’ve all had access to before. But now we're really leaning into like, how do we drive these and make them bigger businesses?” So what does the future hold for Strom? “I’ve definitely planned it out,” he admitted, “but I think a lot of the moves that have happened in my career weren’t necessarily planned…. You want to have an idea of where you’re building towards. You want to know what your general interests are, but you also want to be open to opportunity happening.” For students who may be stressed about their own opportunities and plans for the future, Strom had some words of advice. “One of the connections that I see that’s similar between the entertainment business and in politics is that they’re both relationship businesses, right? It’s about the relationships that you build,” Strom told attendees.  “I don’t love the word ‘networking,’ because ‘networking’ sounds very transactional.” Instead, he encouraged listeners to attend any young professional entertainment events in their area of interest—including ones like this FUTURE NOW talk—and go there to make friends. Use those friends to “start filming your own stuff, you can start distributing, you can start building your own audience and fan base” with YouTube and TikTok. “You don’t need to wait for Hollywood!” He did warn attendees that the “word on the street” is that Gen Z doesn’t “want to work as hard,” and encouraged everyone to fight that stereotype. “You’re not entitled to anything in life. You have to work towards it, and you have to earn it, and that is something that I think is extremely important.” “What it comes down to is how do you differentiate yourself from everyone else? How do you work harder than everyone else? How do you make yourself useful when you do have those opportunities, when you are in spaces that could be beneficial to you in the future?” Strom then summed up his advice in three easy-to-remember words: “Make yourself undeniable.”