Every Labor Day weekend, tens of thousands of people from all over the world congregate in Atlanta to go to DragonCon, a science-fiction and fantasy convention. DragonCon attracts everyone from scientists and puppeteers to celebrities like George Takei and has a storied history, including “cults” dedicated to an old carpet in the downtown Marriott Marquis and another one for a UPS cutout from years ago. The annual parade attracts not only con-goers, but other Atlanta citizens, and traffic downtown is even worse than usual during the weekend. I was able to attend DragonCon for the fourth time this year, and as always, I loved it. There were panels on the cryptids of Georgia, “Legends of Tomorrow,” “Firefly,” and “The Lord of the Rings,” as well as themed parties like “Last Night on Alderaan” and “Heroes and Villains.” On Saturday night, attendees could visit the Georgia Aquarium and see the whale sharks and Belugas, food and drink in hand. However, this year, some things were different. Due to the ongoing SAG-AFTRA strike, actors attending the convention were not allowed to talk about their projects, past or present. Only actors in video games could discuss their work, though that might change in the future as the SAG-AFTRA national board has voted to send a strike authorization to video game union members. But what does it look like when you’re attending a panel with Sean Astin and Elijah Wood, but they can’t mention anything about Middle Earth? Or when George Takei can’t say the words “Star Trek”? You get Matt Ryan and Adam Tsekhman from “Legends of Tomorrow” discussing the best way to trim ear hair, or Sean Astin singing Jimmy Buffet to the audience as a tribute to the last musician. References to “The Lord of the Rings” instead became references to a long trip to New Zealand, where the movies were filmed, where everyone did a lot of walking and hiking. Typically, these panels feature questions that have been asked ad nauseam—how was it working on this set, what is your favorite line you said in this movie or show, et cetera, and it was refreshing to hear more creative questions like, “What is your favorite way to eat a potato?” The audience seemed to enjoy this change of pace, and some even came dressed as Fran Drescher, the president of SAG-AFTRA and face of the strike, from her days in the television show “The Nanny.” Astin especially has a strong connection to the strike. His mother, Patty Duke, served as president for SAG in the 1980s, where she prevented a television and film strike with keen negotiating tactics, though she also oversaw strikes for commercials and animation when agreements couldn’t be reached. Astin himself is part of SAG’s negotiating committee and has been vocal on social media and the picket lines. At DragonCon, he was noticeably somber when talking about the strike, especially as the convention came not too long after the Writers Guild of America and the Alliance of Motion Picture and Television Producers once again failed to reach an agreement. Still, Astin emphasized that all the actors striking are in “lockstep,” and that SAG will continue to fight for fair streaming residuals and guarantees against AI replacement. He encouraged attendees to support the strike however they could, even if it was just by retweeting or liking a post on social media. This was met with raucous applause, as Atlanta has rapidly gained popularity as a place to film and work due to its production tax breaks, and thus possesses a significant portion of SAG (and even WGA) members. Luckily for us DragonCon attendees, the ongoing strikes did not seem to impact the number of actors attending the convention, and some likely view “cons” as a way to maintain a source of income while they are unable to work. But how long can these actors survive working the convention circuit? What about those who can’t go to cons? Astin encouraged anyone with the means to donate to the SAG-AFTRA Emergency Financial Assistance and Disaster Relief Fund, which has recently seen an influx in cash from the likes of Dwayne Johnson, Oprah Winfrey, Matt Damon, Leonardo DiCaprio, Meryl Streep, and others. But, there seems to be little hope for a swift resolution at this point, and donations can only do so much. Nevertheless, seeing the solidarity between the actors at the convention and the support from the audience, it seems that most stand behind SAG when it comes to the strike. Though not a conventional DragonCon, it was no less enjoyable for the attendees and served as a stark reminder of how the strike won’t just affect the movie or TV release calendar, but everyone who makes a living in the entertainment industry…and those who just want to have a fun weekend in downtown Atlanta.

My involvement with FUTURE NOW began in the summer of 2022, when a family friend and FUTURE NOW board member, Jessica Masters, encouraged me to attend the annual Media & Entertainment Conference, which was held virtually that year. Despite the remote setup, the 2022 conference had a strong sense of community that I had been craving in my early professional life. Eager to contribute, I contacted FUTURE NOW's Founder & CEO, Peggy Kim, to discuss ways I could give back to the organization. I joined The NOW newsletter team, putting my journalism background to use. I write articles covering the FUTURE NOW Leadership Talks and Meet the Recruiter Info Sessions, as well as the latest media and entertainment news. I also joined the Marketing Committee, actively participating in discussions about content creation and marketing strategy and ideating ways to expand FUTURE NOW’s audience reach. This was the first time I was exposed to social media marketing. In June, I attended the 2023 FUTURE NOW Media & Entertainment Conference, which was in person in New York City. My favorite part about this whole experience was seeing the conference come to fruition from start to finish. Being with the organization from pre-production to the final execution of the event was informative and fulfilling, as it allowed me to see and feel all of the tiny details coming together. While the articles I’ve written and the graphics I’ve created may only be a small piece of this large puzzle, being able to take part in this major annual event as an alum, speaker, and volunteer have been powerful. This year's conference marked a series of firsts for me. It was not only my first in-person FUTURE NOW conference, but also my debut on-stage as a moderator. Peggy entrusted me to moderate a keynote session featuring Anne del Castillo, the then-commissioner of the New York City Mayor’s Office of Media and Entertainment (NYC MOME). As the head of NYC MOME, Commissioner del Castillo shaped policies that advance the city’s role as a global media center, ensuring the health of creative sectors while generating revenue. During the keynote, Commissioner del Castillo shared about her career journey, which included personal stories of dedication, perseverance, and many helping hands. Our conversation spoke closely to the theme of this year’s conference, “Innovation, collaboration, and transformation”, shedding light on the role of community as the heartbeat of media and entertainment. Taking on this role as moderator was one of the most daunting yet rewarding experiences of the conference, giving me an opportunity to contribute directly to the event’s programming. As nervous as I was, being surrounded by supportive peers and professionals helped me step up to the plate and get out of my comfort zone. The conference was also a long-awaited chance for me to meet the dedicated FUTURE NOW volunteers I had collaborated with over the past year. After spending extensive time volunteering solely through screens and Zoom meetings, finally coming face-to-face with this team was truly heartwarming. I still remember the way our faces lit up as we gathered to set up the venue in preparation for Day 1. It was a defining moment that brought me so much joy and a much-needed surge of energy for the busy three days ahead. The genuine connections I formed over those 12 months carried through the entire event, enhancing our teamwork. I am forever grateful for FUTURE NOW, Peggy, and the wonderful friends and mentors I have met through this network. From seeing my on-stage debut to fostering many friendships and mentorships, FUTURE NOW has witnessed so much of my personal and professional growth. In fact, following the conclusion of the 2023 conference, the stars aligned in my favor, as I received a job offer from a video game company in Los Angeles. The experience and connections I gained through FUTURE NOW undoubtedly played a pivotal role in this exciting new chapter of my career. As much as I will miss New York, I am looking forward to the sunshine and many career firsts that await me on the West Coast.

From comic book artist and creative designer to business leader and technology strategist, Marc Siry has had a dynamic and multi-faceted career. In his current role at Meta as a leader in Strategic Partnerships, Siry works with partners in the ISP (Internet Service Provider) and consumer connectivity space to enable emerging Metaverse experiences in people's homes, offices, and other shared environments. In a recent Leadership Talk, he sat with FUTURE NOW Founder & CEO, Margaret “Peggy” Kim, and shared about his remarkable career journey, insights on the ever-changing media landscape, and the opportunities and challenges he sees on the horizon. Siry remarked, “It is both thrilling and terrifying to see all the changes that are coming through.” Siry broke into the industry right out of high school working at Marvel Comics as an intern and assistant editor. After attending the School of Visual Arts, he went on to work in various roles as an artist, designer, programmer, and creative director at corporate media giants like Fox, Disney, AOL, and NBCUniversal. When Comcast acquired NBCUniversal, Siry pivoted from content to distribution. He immersed himself in business and technology and thinking more holistically and strategically about the future of the industry and how companies can best position themselves for success. Kim remarked that in recent years, the industry has seen an unprecedented rate of change due to technological advancements. “It feels like everything has sped up in the last 5 years. We have not seen this rate of change before, and there is so much stress right now in the industry.” Siry agreed, but noted, “The entertainment industry is remarkably durable. Entertainment has been here since the beginning of time, and it will be here at the end of time.” At the same time, he acknowledged that this rapid pace of change can lead to anxiety and despair within the industry, but noted the importance of looking beyond the immediate challenges and focusing on adaptation. “It has to do with where you place your vision and what you're following as you advance in your career. Make sure that in the face of the unknown, you are moving forward and learning and adapting rather than letting that pace of change scare you into submission.” One of the most significant challenges facing the media industry is the emergence of AI and its potential implications: “The most unknowable thing is what AI will do to the media business and the people who work in it. It’s going to drastically change the way businesses and deals are structured.” Siry highlighted the power of AI-driven platforms like Midjourney, which can generate entire visual worlds within seconds. While this technology opens up exciting possibilities, it also raises concerns about ownership and authenticity: “Every one of these images was remixed from the hard work of an actual artist somewhere. Someone who is now not being compensated for their work is not being recognized for their work. What we have now is a plagiarism machine.” He hypothesized that the integration of AI into our society “will spawn a new segment of the business that is focused on authenticity and origination and tracing the provenance of creativity in a way that we never had to worry about before.” Kim brought up that AI has already been disrupting the music industry, where it enables the reimagination of hit songs with the AI-generated voices of celebrities and artists. Siry raised questions about how artists and their families can benefit from AI-generated content based on their original works. For example, “If you want your movie narrated by Morgan Freeman you don’t need to talk to Morgan Freeman anymore. The question is, how does Morgan Freeman benefit from that? How do his family and his estate once he has passed on benefit from that? How do you put that IP genie back in the bottle? “Swipes, homages, inspiration, and fair use have always existed, but now it’s all getting thrown into this cloud where the usage of it is so much more widespread that the harm can also be commensurately greater to the livelihood of the folks who relied on the scarcity of creativity”, Siry explained. Kim asked, “With blockchain, NFTs, and generative AI, what is the intersection of these assets at this point? Does blockchain help with provenance?” Siry underscored the significance of these technologies in registering that the concept of an image is the property of someone and assuring that that person will be compensated. “When NFTs first started to hit the public consciousness, there was a lot of ridicule because of the form they were taking like bored apes. People would look at these things and say, ‘It’s just a jpeg,’ but when you think about how you trace ownership, IP, and provenance of an image on the internet, NFTs are the way forward with that." Siry discussed the evolving nature of media consumption, highlighting the shift towards personalization and placing the viewer at the center of the experience: “The next step is where media will become generative, where not only will you be able to inhabit a world, you will be able to create that world.” Immersive media platforms such as Oculus, Roblox, and Fortnite enable users to embody themselves within virtual worlds, fostering an even deeper level of personalization and blurring the line between audience and creator. Siry warned that this trend carries the risk of isolating individuals within their own generated realities, hindering broader societal discourse. “That sounds exciting at the surface level, but it is also terrifying because we’re then at risk of becoming a nation of people who have withdrawn into their own generated worlds. We’ll be cutting each other off from the discourse that I think people miss from the old days of everybody experiencing the same media at the same time.” “We already see a form of this on social media, where you start to really connect with people who are more like-minded and block people who might be challenging your assumptions.” The rise of generative media poses challenges to traditional media companies as well. Companies must adapt and find ways to create value by engaging individuals on a more personalized level. “Immersive media didn’t replace social media, online media, or linear media. CBS, NBC, ABC, and New York Times still exist. They have all, in certain ways, inhabited and moved on through each of these levels of media. The question is how do you move your model from one level to the next and retain your audience and your ability to monetize your audiences?” This is the biggest question and the biggest pain point for traditional media companies as we transition from one form of media consumption to another. With concerns over AI replacing jobs in the creative industry, Siry encouraged artists and designers to shift their perspective: “Get yourself out of the tool and into the result. Think to the next level about how you can manage that tool and what that tool can do for you. Take yourself out of worrying about being replaced by this tool and instead be relieved that the tool is going to do the work for you. Now you can become the manager, strategic director, or owner.” So how can we use AI as a tool instead of seeing it as our enemy? Siry responded, “I would use it as a thought starter and swipe file. Once you have an idea, you should be able to reference it for inspiration to kickstart your own creativity.” Rather than viewing AI as a competitor, he suggests embracing it as a powerful tool that can augment and enhance their work. By leveraging AI as a thought starter, artists can elevate their creativity to new heights. “The people who are thinking about that now are going to be the ones moving forward in the world with confidence. The folks who are trying to prevent it from happening are unfortunately going to be overtaken by events.” Siry concluded the talk with advice for the early professionals in the audience: “What I hope everyone takes away is to not be afraid to ask for help from people who have been there before because everybody else has gotten help too. No one got to where they are 100% on their own.” “If you look at where I started and where I am now, I owe a lot to the people who have mentored me and who have helped me see what the next big thing is. It’s so easy to get focused on what's right in front of you and so easy to over-index on what you're hearing now that you lose sight of the horizon that’s farther down the line.”

This year, the in-person FUTURE NOW Media & Entertainment Conference was just… so unbelievably awesome on every level. FUTURE NOW's Founder, Peggy Kim, asked me if I would be willing to moderate the first panel which was on The Power of Storytelling: Creating Fire with Fandom. As an aspiring screenwriter and life-long fanboy, I was incredibly delighted but also stunned that Peggy chose me for such a task. To be honest, I didn’t have complete faith in myself that I could do it. I’d never moderated a panel before. But, the fact that she thought I could do it gave me the confidence I needed. That’s the part of FUTURE NOW that continues to inspire me. Even though we’re young, we are future leaders, and Peggy and the FUTURE NOW community already see us that way and build us up to become the best that we can be. To be seen and believed in within an industry that’s so competitive and hard to break into is just the most invaluable aspect you can’t find anywhere else. The panel consisted of a wonderful group of speakers including Joel Chiodi (Head of Documentaries, Scout Productions), Sowon Sawyer (VP, Editorial Programming, Paramount+), Eric Feldman (Reporter, Spectrum News/NY1), and Andrew Flores (Social Creative Director, Nickelodeon). They shared their perspectives on "creating fire with fandom" from their diverse roles in the industry. It was fascinating to hear about shows like “Avatar: The Last Airbender” and the behind-the-scenes process of bringing that story to audiences. We learned how Sowon and her team strategically planned marathons to help gain a larger following (before the age of streaming), and how that passionate fanbase was integral to the development of new "Avatar" projects coming soon. Another special moment was meeting Stu Feldman in person for the first time and catching up during the Networking Lunch. Stu was my mentor in the 9-month-long FUTURE NOW Mentoring Program. He is an assistant director on Tina Fey's “Girls5eva" and a writer, and I cannot say enough about him. He was so kind and generous with his time and advice, and even took the time to read over some of my scripts. To have a mentor in the industry like Stu, who takes the time to hear you, see you, and enjoy connecting with you, is amazing. I also reconnected with so many FUTURE NOW alumni that it felt like a school reunion in the best way imaginable. I loved hearing how FUTURE NOW has continued to lead them to success surrounded by a community that truly cares about them. It was such a heartwarming experience. The Media Tours were another wonderful reflection of our FUTURE NOW sponsors' support as they quite literally opened their doors to us and welcomed us in. I had the great fortune of visiting both AMC Networks and Warner Bros. Discovery, where we were able to see the Food Network studios. It's always been a dream of mine to work at Warner Bros. Discovery surrounded by so much iconic imagery and talented storytellers. It truly was an unforgettable experience. I first learned of FUTURE NOW at a pivotal time in my life when I was feeling very low about my career prospects in media and entertainment. I had experienced numerous rejections from internships I had applied to and had begun to wonder if the naysayers had been right all along that I just wasn’t meant to work in this industry. I’m not even exaggerating a little when I say that FUTURE NOW completely changed my life in a way I never expected and in such a short amount of time. My first experience with FUTURE NOW was attending the virtual conference in 2022 as a junior at the University of Rochester. The conference helped me see a wider range of opportunities in the industry, taught me the importance of networking, and helped me develop the skills to connect with others, boosting my confidence so I felt ready to enter the industry. I was so awe-inspired by the founder Peggy’s selflessness and determination to lift others alongside her that I jumped at the chance to volunteer as a contributor to The NOW monthly newsletter and a Co-Director of the Campus Ambassador Program. I helped manage, coordinate, and support, the student representatives who were responsible for sharing about FUTURE NOW on their campuses. I was able to connect with other talented volunteers as we worked together to get the word out about FUTURE NOW's mission and invite students to apply to attend this year's conference. I even recruited some from my school, and we were able to attend the conference together! That was such a fulfilling full-circle moment. I can’t even begin to express what a unique, revitalizing, and fulfilling experience FUTURE NOW offers. I am excited to continue giving back to the FUTURE NOW community, and I hope more students and alumni will join me in engaging with FUTURE NOW in as many ways as you can. From volunteering to reading the monthly newsletter to listening to the podcast to staying connected on social media to attending leadership talks and other events...there are so many ways to continue setting up your future now (sorry, I never could resist a good play on words) and follow in the footsteps of the inspiring leaders that helped make it all possible.

I have always heard about the importance of networking in my pursuit of a career in media. Even for those with the gift of gab, it can be a daunting task— what if the other party doesn't want to engage? And, how do I actually do it? It’s one thing to attempt but successful execution can be difficult. I have discovered that attending conferences is one of the best ways to network and connect with people who share similar interests and passions. The most impactful conference that I have attended thus far is the FUTURE NOW Media & Entertainment Conference back in May 2019. While it wasn’t my first conference ever, it would be the last I’d attend as an undergrad student and the most important and meaningful one as an aspiring media professional. My initial interest came from seeing the conference announced in a media-oriented newsletter highlighting recent media events and opportunities for students. As a junior rapidly approaching graduation, it was imperative for me to put myself in the right environment to cultivate a career in media and figuring out where I could fit in. The FUTURE NOW Media & Entertainment Conference wasn’t just a day session, it was a three-day immersive experience. And, it was made for me. Founded by Margaret “Peggy” Kim, a media powerhouse in her own right, the conference is an exciting annual multi-day event, linking students and recent graduates passionate about pursuing careers in media to influential professionals and leaders in the industry. I applied for and got a scholarship from FUTURE NOW to cover the registration fee and was able to attend right in my hometown of New York City. The application experience also helped me hone my skills in telling my own story, as I conveyed why I was interested in attending the conference and pursuing a career in media. I also learned from the scholarship application question about what diversity means to me. Personally, this tool of storytelling to communicate is one of the things that enchants me about a career in media. With my newly acquired resources, I prepared to plunge myself into this new professional endeavor, meet new people, and do media tours at different companies. I was excited about this part the most! The Welcoming and Network Reception hosted by NBCUniversal at 30 Rock officially opened the conference. Over sparkling water and classy hors d’oeuvres, I could listen to NBCU employees and chat with Peggy as she made her rounds. Socializing felt seamless, and my nerves were calmer because everyone was gathered for the same purpose. Before I knew it, I was deep in conversation and sharing laughs with some new faces from New Jersey to California as I met my peers from all over the country. By the end of the night, I was assisting with directions in the city and was pumped up to meet everyone again in the morning. Day 2 began with a keynote on the State of Industry, followed by various panels on storytelling, streaming, and sports entertainment, and an inspirational and memorable keynote speech from Anne del Castillo, the Commissioner of the NYC Mayor’s Office of Media and Entertainment. In the afternoon, there were workshops like The Art of Networking and panels like Millennial Perspectives, and Speed Mentoring Sessions where attendees could chat with industry leaders and professionals in small groups. And, I have to mention the Recruiters Tell All panel! One of the things I remember most was the powerful LinkedIn tips shared by a recruiter from A+E. The final day transported me to my most anticipated segment, the media tours! Attendees could sign up for our two media tours. I chose A+E Networks and Spectrum Networks. At A+E, we got to meet and chat with the president & CEO of the company, Paul Buccieri. At Spectrum, the reporter who escorted us was down to earth and her story made me feel like my goals were attainable, plus we all left with some serious swag! With a total of 300 participants, 15 topics, 15 sessions, and 56 speakers, there was so much to gain from the FUTURE NOW conference: the content, the peers, the experts, their insights and encouragement, the stories of trial and error, shortcomings, and rewards. By the end of the three days, I felt immensely gratified and empowered! So much so that four years later, I continue to stay connected, attend events, and volunteer with this beautiful organization. This year’s conference will be back in-person for the first time since the pandemic. I am thrilled for this year personally, as I have just landed a dream gig within media as a Page at NBCUniversal starting this June 2023. It feels very surreal, especially considering I chatted with one of their representatives for the first time four years ago at the conference. The support and community that FUTURE NOW provides are immeasurable. There is a commitment to excellent programming which attendees can expect, and a warm atmosphere to network, connect, and start your career journey in media. I hope to meet you there!

Top right counterclockwise: Aslam Hussein; Janelle Boyd; Melissa Huyter; Lydia Chen In the ever-evolving technology industry, jobs have expanded beyond traditional engineering roles. This month, FUTURE NOW hosted a panel with DoubleVerify, a digital media measurement, analytics, and verification company. Through an interview moderated by DV recruiter Janelle Boyd and FUTURE NOW founder Peggy Kim, the audience gained insights from four DV employees who shared valuable tips for charting a career path in the tech industry. Titled “Tech Jobs for Techies and Non-Techies”, the forum exemplified the diversity of DoubleVerify by showcasing employees in seemingly non-traditional tech jobs. The panel included Senior Product Analyst Lydia Chen, who helps promote a healthier online community by preventing ad revenue from inappropriate content such as hate speech; Aslam Hussein, an Associate Account Manager who oversees billing and reporting initiatives; Melissa Huyter, who improves company culture and organizes company-wide cultural initiatives in her role as a Workplace Experience Socialist; and moderator Boyd, a Senior Technical Talent Partner. Kicking off the panel, Boyd emphasized that the tech industry welcomes professionals from various backgrounds, regardless of their educational experiences and history of employment. “It doesn’t matter if you went to school for art or architecture, you can be in technology. There are so many paths to get to this, and I want to encourage you all to consider this industry if there's something about it that interests you.” Janelle encouraged the audience to explore the industry and called attention to the unique avenues for professional growth at DoubleVerify. During the interview, the DoubleVerify employees shared their favorite aspects of the company and their respective roles. Aslam highlighted the autonomy he enjoys in developing scalable financial processes in alignment with the growing company, which he finds to be the most rewarding aspect of his role. Similarly, Chen appreciates the startup-like atmosphere within DV, where she is given both autonomy and trust. “Even though it’s a big company, DoubleVerify still has that startup vibe. You get to have ownership over different projects, and there is flexibility to work on a variety of platforms.” Boyd added, “We went public in April of 2021, and the company is valued at over $5 billion, but it still feels like a startup. It feels like we’re making something new with this cutting-edge technology, and everyone here has the ability to grow and stretch within their role, which speaks to the culture at DV.” Huyter finds fulfillment in partnering with nonprofits, such as FUTURE NOW. “Partnering and developing relationships with nonprofits like FUTURE NOW is my favorite part of my role. Being able to make a meaningful impact is huge, and it’s unique and rare.” Huyter’s role in promoting a more inclusive work environment attests to DoubleVerify’s commitment to diversity and investment in employee satisfaction. The DV employees gave advice to those planning to make that career leap into the tech industry. Huyter told the audience not to be afraid, explaining that their skills and experiences from different industries remain valuable. “Don’t be afraid. Every hiring team is looking for something new, and I think this makes this world more diverse and interesting.” Huyter also underlined the importance of trust for healthy company culture. “Building trust is really important and is a super valuable skill. Learning how to trust your teammates, your manager, as well as yourself opens the door to taking action on the changes that need to be made.” Hussein expanded on Huyter’s comment: “If you can trust your manager and have open communication with them, it makes solving problems easier. If a mistake is made and you’re not scared to go to them for support, it’s easier to fix the issue.” Hussein encouraged continuous learning and leveraging that acquired knowledge to your advantage. “Never stop learning. Whatever knowledge you gain can be used in whatever role you land, especially in tech.” Chen chimed in, “Be curious and take initiative. Even if you studied technology, most of these roles require you to continuously learn and adapt. For example, there are always new versions and operating systems coming out that you have to constantly update your knowledge on. Taking the initiative to talk about it and ask questions is important in any job you may find yourself in.” The panel came to a close with a question from one of the attendees: “What is one thing you wish you did differently earlier in your career that the audience can learn from?” Boyd stressed the importance of betting on yourself and embracing change: “I didn’t think I was enough. I thought I needed more. I didn’t take chances. When you’re young, apply, go to networking events, and reach out to that person on LinkedIn. Just do it. If you want it, go after it. People are super forgiving when you’re young.” The DV employees discussed the significance of networking. “This was advice I got when I was a new grad, but I didn’t really take advantage of it until now,” Chen said. “People want to help. Just ask. There’s LinkedIn and so many other social media platforms where you can connect and expand your network.” Boyd advised individuals to find a sponsor within the company who can advocate for their growth and development in rooms they may not have access to: “Find your sponsor within the company. Find that person who will talk about you in rooms that you don’t have access to. And they will do that when you are excelling in the role that you are in.” Hussein suggested networking both within and outside the company, emphasizing the merit of building relationships with colleagues within their team as well as professionals outside their immediate circle: “Don’t go to the job, do the job, and go home. Make connections with people within your team and outside of your team because you never know what doors will open up for you.” If the tech scene seems intimidating, just remember that “it’s all a part of your exploration,” as FUTURE NOW CEO Kim said. “These relationships will be so additive to you as a human being, as well as professionally.” Even if you have limited tech experience, you can still find and excel within a role at companies like DoubleVerify, which have ads to run and people to manage—all things that can be done without anything like a computer science degree. Above all, however, Boyd advocates for simply doing your best. “People are always watching, and if you put your best foot forward, they will always notice.”

Recently, Founder & CEO of the FUTURE NOW Media Foundation, Peggy Kim, hosted a Leadership Talk featuring David Eilenberg, Head of Content for Roku Media. Eilenberg, a well-known creative executive who previously held top positions at ITV, Turner, and Mark Burnett’s company, is responsible for the overall vision, creative strategy, and go-to-market execution for The Roku Channel, a free ad-supported streaming service. Roku was founded in 2002 as a tech company selling hardware and software licenses to other companies. A few short years later, in 2008, it launched its first streaming player. And, today, Roku is the #1 TV streaming platform in the United States. While Eilenberg’s new role is evolving in real-time, his current objective is to unify the vast library of scripted, unscripted, original, and licensed content under the broader Roku ecosystem. Eilenberg explains, "Users come to the Roku platform to stream Netflix and HBO Max, and we work with all of their marketing teams to drive people to their content. The whole goal of the company is to create the best content experiences for viewers, and the thesis behind this is that eventually, all TV will be streaming.” And that also includes Roku's own free, ad-supported streaming channel, The Roku Channel, offering free Roku Originals, live TV, and favorite TV and movies. The process of development for Roku is similar to the traditional network model, with separate teams dedicated to scripted and unscripted originals. “As much as we’re trying to devise systems that are producer-friendly, more efficient, and can be forward-thinking in terms of how we approach the content landscape, the structure is familiar to a television network elsewhere,” says Eilenberg. Roku actively seeks out pitches from producers, production companies, and agencies while also tasking the content acquisition team with finding content to bring into the Roku libraries. Known IPs with fandom and brand equity, for example, are one of the most commissionable types of content. The question of what makes content appropriate for Roku is complex and ever-changing because of the growing size of its addressable audience. “With 70 million people on the platform, it’s not a single genre audience like certain cable channels,” he stated. “I think it’s great that we get to program food competition shows to people who love unscripted food programming, but then also take a shot on something like ‘Weird: The Al Yankovic Story,' which is a feature film that has been Roku’s biggest breakthrough piece of content to date.” At the same time, striking the balance of serving such a broad audience with a wide range of tastes in genres can be challenging. “On the one hand, you don’t want to be so dispersed that users get distracted, but on the other hand, you don’t want to neglect the subgenres that are outside the mainstream.” Once the content is made, the next challenge is discoverability and capturing the attention of the viewer. Eilenberg explains that one of the most important tenets of development is conceptual clarity, and that extends to Roku's most powerful tool...the clickable grid on the home screen. “What I think about all the time is, if all I have at my disposal is the title of the show, a single image, and the tagline, what are these three components? Because that’s my one chance on the home screen to get people in.” It is clear that Eilenberg loves what he does. He has always had an affinity for the arts, performance, and storytelling. He grew up in a theater family and knew early on that he wanted to be a writer. He graduated from Harvard with a degree in history and American literature and obtained an MFA in screenwriting at USC, and got his first big break as a writer on an MTV animated show called “Head Trip." Throughout his career, writing has been his superpower...whether writing a stand-out pitch, selling projects to buyers, or creating a memorable script. He advises young leaders to stay in touch with who they are at their core: “Who you are right now is really important, and the strengths that you have right now will continue to be strengths that you refine as you go forward, whatever role you may end up finding yourself in.” After several years working for various companies as a producer, writer, and director, Eilenberg became the Head of Development for producer Mark Burnett, whose shows he had produced in the past. He then found his calling as a creative executive, developing, producing, and selling award-winning hits like “The Voice” and “Shark Tank." Then, Eilenberg transitioned to the buyer side at Turner, the seller side at ITV America, and then back to the buyer side for Roku. Speaking on his multi-faceted experience of being a seller at major production companies to a buyer on the corporate side, Eilenberg says, “Spending time selling has made me a better buyer… It creates empathy to have done both things because I’ve had the chance to be on the other side of the table.” When asked which he enjoys more, Eilenberg replies, “Both," and explains that the great joy of being a seller comes from having an idea that breaks through, while the great joy of being a buyer comes from getting to empower creative voices. Eilenberg shares that there are emotional hardships to both roles as well: “The hard thing about being a seller is that no matter how good you are, you have to spend a lot of time hearing the word ‘no’. The hard thing about being a buyer is that no matter how good the stuff that's coming in is, you have to say ‘no’”. According to Eilenberg, there are three traits that make a successful buyer. The first is honesty. Producers can benefit from honest feedback by applying the critiques to future projects. The second is velocity. “A quick no is the second best answer to a yes.” Finally, to be a successful buyer, you have to honor the audience that you have. “There are great shows that are great shows but may not be great shows for that specific platform.” Discussing the current content landscape and the future state of streaming, Eilenberg predicts that there will be a growth in audiences wanting free ad-supported streaming television (FAST). FAST channels like The Roku Channel are perhaps the fastest growing environment in digital media. “It’s very interesting to see the growth of FAST channels…. We’re talking all the time about why people want a linear viewing experience because I think the industry, at a certain point, once on-demand technology existed, assumed that linear would die off, and the opposite is happening.” Eilenberg speculates that choice overload and news consumption inform part of why people want a linear viewing experience. As a final thought, Eilenberg shares that relationship-building is the most critical skill that young leaders need to succeed, especially in a fast-changing industry. “I think that the most important advice that I can give is to hold onto each other when you find people with whom you collaborate and communicate well. Those people can dictate the course of your career and your life… I have now had creative relationships of 20 years standing. Those are the people I started out working for and who then worked for me. People who I’ve pitched, who’ve then pitched me.” He adds, “The quality of your relationships is incredibly important, and they require maintenance… If you can start working on that early, you're all going to be better for it.”

Brendan Kneeland is a Vice President at MediaLink, a strategic advisory firm at the intersection of Madison Avenue, Silicon Valley, Hollywood, and Wall Street. Brendan works with Fortune 100 CEOs, CMOs, and other top leadership across advertising, tech, and media companies to accelerate business opportunities, maximize the value of their ad agency ecosystems, and evolve internal and external brand strategies in a way that keeps his clients at the 'bleeding edge' of the media landscape. He prides himself on the relationships he builds with clients and is a strong believer in 'never forget where you came from' and paying it forward (and meaning it). Brendan has been a dedicated MENTOR in FUTURE NOW's nine-month Mentoring Program and in the Speed Mentoring events held throughout the year. We asked him to give us his take on MENTORING and best practices for MENTEES to maximize their experience with their MENTORS. Why are you so passionate about mentoring? For me it’s not worth it to be in the business of media or creativity if you don’t have people you admire, people who inspire you, people you have fun with. Mentorship – not just top-down, wisdom-from-a-cloud mentorship, but real down-to-earth and empathetic advice from people who give a sh*t about you – THAT has been the bedrock of my career. The business ecosystem is not fair and I think it’s vital to help anyone who’s motivated to have a career or a start somewhere. Being able to do it for other people who are motivated, people who are unsure of what they want, and everywhere in between – it makes me feel my most human. It’s a virtuous circle that feeds itself. Try it! How does one find a mentor? How did YOU find people to mentor you? I found mentorship initially in my career through the International Radio and Television Society (IRTS). Things that have been of interest to me – media/marketing summits, and networking events for LGBT young professionals – were some early spots that I picked. Honestly, if you take a couple of your biggest passion points and Google those nouns with ‘young professionals’ next to them, you’re likely to find something. FutureNOW is of course an excellent forum for this, whether it’s the annual event or speed mentoring…but I would just say that mentors are all around you. Lots of folks I’d consider mentors of mine are mentors of different ‘sectors’ of my life. I get a lot of motivation to be creative from a friend of mine, my age, who works as a data engineer but is writing his first novel, for instance. Some of my other mentors are more experienced coworkers or even old bosses with whom I’ve maintained contact after moving on to the next gig. I think it’s important to not fall into the trap of thinking that a ‘mentor’ has to come in a certain package and be a certain age above your own. Find people who have some experience and perspective and the motivation to be interested in providing that perspective, even if it’s in a limited time. When reaching out to a potential mentor, what should that first email or LinkedIn message say to best catch the person’s attention? I think if you can convey that you are reaching out in an informational capacity, explain how you came to know who that person was, and couch it (sincerely) with the idea that you want to, for instance, ‘learn more about them and their professional journey thus far as I hope to enter this field or that company at this time,’ people will be surprisingly responsive. This works much better though if you have an ‘angle’ of knowing them either via a 2nd or 3rd party connection. And please please please take command of the scheduling and make it easy for them. They are doing their day-to-day job, living their day-to-day life with their family/friends/other loved ones, and you’re asking for a piece of their time, so make it easy and then make it count! And don’t get discouraged if they don’t answer, especially on LinkedIn. One follow-up suffices – usually after that doesn’t hit I move on. What are the top 3 TO DO's on how to have a great mentoring experience? Candidness – you don’t have to share your life story but being open about what you’re motivated by or worried about or dealing with helps your mentor better cater the experience for you. Consistency – have goals, set them, and be methodical. Keep your meetings as regularly as possible and help them help you with strong organization. Proactivity – clue us into what you’re looking at / reading / consuming in media that are relevant to you and excites you and spurs a strong point of view. What do you think? How do you want to affect whatever it is you’re interested in? What does success look like or an ideal creative output look like? What are the top 3 DON’T DO's? These are more or less the inverse of the Do’s 😉 Don't be demanding – there is a difference between being candid about what you aspire to do and expecting folks to drop everything or to stick their neck out and use ‘relationship capital’ for a half-baked ask. Don't be inconsistent – not showing up when expected or otherwise wasting people’s time is something I as a mentor try very hard to avoid and my hope would be that whoever is approaching me for advice or an intro within my network would do me the same courtesy. Don't expect your mentor to have all the answers – mentors aren’t vending machines, nor are they mind readers. Help us, help you. If you’re not motivated to seek things out, how are we supposed to be on your behalf? How do I set goals, especially if I'm not sure what I want to do yet? I had a really hard time with this myself – I’d say, take stock of what you’re passionate about, what aspect of culture you consume or thing you want to be involved with, as well as what you’re good at, and plot all of it on a piece of paper. See where the intersections might be! Also, I would say it’s ok if your first job is not your ‘forever home.’ Sometimes goals and motivations reveal themselves to you as you do things.

Theft can look like many things: a nameless hacker stealing your personal information, a pickpocket nabbing your wallet, or even just a guy with a notepad copying your intellectual property. Throughout history, women often depended on the men around them for social status and respect, which made them easy targets for co-opting or taking credit for their ideas. It is time to give credit where credit is due. Here are three remarkable women to recognize this Women's History Month. Margaret Keane Margaret Keane is now known and celebrated for her famous "Big Eyes" paintings of women, children, and animals with very stylistically large eyes. However, the credit due her was long in coming. Keane’s husband, Walter, claimed the pieces as his own and began selling them in the 1950s. As more and more paintings were sold, he began mass-producing the paintings and merchandise and forced his wife to create more and more. The "Keane Eyes" grew in popularity. So did his abuse of her and her and her daughter (from a previous marriage). Keane finally filed for divorce and walked away from the millions of dollars her ex-husband earned in her name. It wasn't until five years later that she revealed that the paintings were indeed her handiwork. Her story hit the big screen in 2014 in a film called, “Big Eyes," directed by Tim Burton and starring Amy Adams as the artist. Keane passed peacefully in July 2022 and her memory lives on through her work. Sister Rosetta Tharpe When you think of “pop music,” you think of Michael Jackson. When you think “gravity,” you think of Issac Newton. When we think “rock and roll,” we ought to think of Sister Rosetta Tharpe. Dubbed The Godmother of Rock and Roll, she pioneered the genre. Tharpe's performances, even down to her cadence and enrapturing stage presence, are the hallmarks of rock and roll, though few even within that music genre know of her influence. Seeing a black woman in her church dress work the stage with such a huge personality and her ability to play the guitar with such talent and skill was unheard of at the time. Even today, it's not the first image that comes to mind when thinking about rock and roll. She enchanted audiences all throughout the 40s and 50s and inspired the likes of Jerry Lee Lewis, Johnny Cash, Elvis Presley, and many others. Sister Rosetta Tharpe had an exuberant spirit and played the guitar with her soul. Sadly, she was buried in an unmarked grave with her legacy all but forgotten, while others borrowed from her and made their millions. She was finally recognized in the Rock and Roll Hall of Fame in 2018. Elizabeth Magie Families have enjoyed the beloved game of Monopoly all across the US since its patent in 1935. People played the game to alleviate stress and to distract them from the extreme poverty of the Great Depression. Charles Darrow, credited as its creator, lifted himself up from his bootstraps, sold the idea, and made millions. It is a perfect tale of American grit, an embodiment of the American Dream. In reality, the game was created as early as 1902 and patented in 1904 as "The Landlord Game" by a woman named Elizabeth Magie, who created it to criticize capitalism. The idea was stolen by a man named Charles Darrow who went off to make millions. Ironically, Magie's concept was turned on its head as the player's goal is to become rich while forcing opponents into bankruptcy by buying and developing pieces of property. The winner is the last one standing. Today the game is owned by Hasbro. Elizabeth had multiple patents, wrote poetry, and made great strides for women as a progressive, but she was never recognized for her most well-known creation. These are three examples of the many remarkable women who have contributed significantly to the entertainment industry throughout history. And, many more stories like these have yet to be told. _________ Campbell, Tori. “Stealing Art: When Men Took Credit for Women's Work.” Artland Magazine, 3 Aug. 2022, https://magazine.artland.com/stealing-art-when-men-took-credit-for-womens-work/. Karwatka, Dennis. “Elizabeth Magie and the Game of Monopoly.” Tech Directions, Nov. 2016, pp. 10–10. Lorusso, Marissa. “How One of Music's Biggest Stars Almost Disappeared, and How Her Legacy Was Saved.” NPR, NPR, 27 Sept. 2019, https://www.npr.org/2019/09/27/759601364/how-one-of-musics-biggest-stars-almost-disappeared-and-how-her-legacy-was-saved. “Margaret Keane.” Biography.com, A&E Networks Television, June 2022, https://www.biography.com/artist/margaret-keane. Pilon, Mary. “Monopoly's Inventor: The Progressive Who Didn't Pass 'Go' by NYtimes.” Nytimes.com, Admin Https://Www.hgsss.org/Wp-Content/Uploads/2019/04/HGS-New-Logo_2019_siteheader-300x77.Png, 23 Nov. 2015, https://www.nytimes.com/2015/02/15/business/behind-monopoly-an-inventor-who-didnt-pass-go.html?emc=eta1&_r=0. WALD, GAYLE F. “Cotton Plant.” Shout, Sister, Shout!: The Untold Story of Rock -and-Roll Trailblazer Sister Rosetta Tharpe, BEACON, S.l., 2023, pp. 1–3.

Back in 2019, a little movie called “Hair Love” won the Academy Award for Best Animated Short Film and shattered glass ceilings in the process. It follows the story of a little Black girl and her father as they attempt to style her hair for a special occasion. The Kickstarter to fund the film raised over $300,000—the goal was $75,000—and “Hair Love” quickly became a sensation. Last month, FUTURE NOW Founder and CEO, Peggy Kim, sat down with Carl Reed, one of the producers of “Hair Love” and Co-Founder of Lion Forge Animation. “I never thought that something we care so much about would resonate with other people,” Reed admitted about the film, calling the short’s Oscar win “amazing,” “crazy,” and “surreal.” Reed’s road to the Oscars started as a comic artist at age 15, when he hitched a ride with his brother out to San Diego Comic-Con on a whim, hoping to get some work. “I took the circuitous route,” he explained, starting as a comic book illustrator. Growing up as a big comic fan, Reed “didn’t realize [that] everyone didn’t just like comics or animation or things of that nature… I just assumed everyone did, because it’s pretty cool, how can you not like it?” Reed is completely self-taught. He didn't go to art school or take any art classes, but he did devour books on drawing and watched old VHS tapes from the library to sharpen his skills. He got jobs making art for commercials and eventually moved out to Los Angeles to do broadcast animation. He even started a marketing agency in addition to his comics work, where his team did everything from toy design to web design. “We did what we had to do to keep our office lights on.” “It’s a much better world [today],” Reed said. “I can’t imagine a better time to get started. There are no barriers to entry…. You can share your work instantly, and if someone likes it, you can have potentially millions and millions of people following your work and be generating revenue without the studio system [and] without taking the traditional route.” Reed shared some of the lessons he's learned throughout his career, especially the importance of community and feedback. “People have a really deep connection to things that they helped from the beginning.” He advised listeners to “build your own tribe” to give feedback and support. Reed also emphasized the imperative of getting things done. “Create content fast,” he said, explaining that improvement comes from feedback, and feedback only comes if you have delivered something. Many artists are plagued by crippling perfectionism, but “to pay bills… you have to get stuff out, and it won’t be perfect, but that’s the only way to grow.” Reed further commented that there is a time and place for passion projects, but they “will never, never be perfect. It won’t even be what you want—you’ll look at it and you’ll cringe,” even if no one else will. “You’re your own worst critic,” he said. The success of “Hair Love” has given Reed and Lion Forge a calling card with more open doors and people willing to take meetings, but he was quick to say that he and his partners still have to “prove ourselves every time,” and pitches remain nerve-wracking. “You have a very short time to basically infect the buyer or partner or whoever you’re pitching to with the love you have for the project,” and sometimes you have to boil a pitch down to the bare essentials. Reed seems to have found a good balance, especially considering that Lion Forge’s next big project, the television show “Iyanu: Child of Wonder,” has been picked up by HBO Max. On the topic of leadership, Reed admitted that he’s “still learning.” But, he believes that it is “crucial” to be “super upfront and super transparent and [to] have a lot of accountability…. Otherwise, you will never see your gaps and see where you can grow, and you won’t have the trust of your partners, employees, et cetera.” Reed has come a long way since he hopped in his brother’s van to go to Comic-Con. “I was the only Black person in the room,” Reed recalled of his earlier years. “There were these old-school philosophies about content [and] if it didn’t check these boxes, there was this perception that it wouldn’t work.” However, with hits such as “Black Panther,” “Crazy Rich Asians,” “Slumdog Millionaire,” and, yes, “Hair Love,” that mindset is shifting, slowly but surely. Reed values authenticity in his work: “I have a mission and a goal behind the type of content that I want to create,” he explained. “That content typically will be new and different… and will also represent diverse audiences and new voices and new perspectives.” “These old ways of doing things that are based on a lot of bias aren’t relevant,” Reed said. “You can’t quickly turn around a huge ship,” he acknowledged, but “you don’t necessarily have to ask for permission… The world is wide, wide open.” Three weeks after the Leadership Talk, Reed announced a new venture, Composition Media, an animation studio with an innovative approach to making animated film and TV content for a global audience, with much of the content highlighting minority and underrepresented communities. Reed continues on his road less traveled, paving a way for others, and he's not asking for permission.