Most people entering the job market hope for job stability. However, for creative executive Dee Turman , taking risks has been a cornerstone of her career, even if it has meant foregoing stability. Turman, a self-described “content girl through and through,” shared in a recent Leadership Talk with FUTURE NOW Founder and CEO Peggy Kim. As the Head of Inclusive Programming at Audible, she describes herself as “the strategic creative tissue between the creative development and marketing teams,” helping to “connect the right content with the right audiences at the right time.”  She focuses often on minorities and other underserved groups across all genres—podcasts, nonfiction, romance, and more—and collaborates with high-profile figures like Usher, the Obamas, and Ronan Farrow to ensure Audible reaches and resonates with the broadest possible audience. Before entering the world of audiobooks and podcasts, Turman cut her teeth on shows like The Ellen Show and at places like ESPN, where she produced Sportscenter. “The first ten years of my career, my only job was to get a show on and off air on time.” As a producer, she was responsible for everything from ferrying guests to and from the dressing room to making sure the control room pushed the right button to run a commercial break.  While other teams were doing the marketing and creative strategy, Turman watched and learned. “I cared about whether my clips were getting posted on social [media] after I did my show,” she admitted.  Turman saw the rising tide of digital media and jumped ship from ESPN to Spring Hill, LeBron James and Maverick Carter’s entertainment company, where she worked on their YouTube show, The Shop.   “I hadn’t really formally worked in branded content,” Turman said, “but I had worked at ESPN, and I had worked with high-level talent like Stephen A. Smith and Jemele Hill.” She immersed herself in branded entertainment and learned “how content can make money for a company.”  She discovered an aptitude for understanding and navigating the numbers…potential profits for views and budget considerations. ”My brain was able to do that even though I definitely considered myself more of a creative,” she said. “I knew budgets because I had worked in production for a while.”  From there, Turman pivoted again to Hello Sunshine, Reese Witherspoon’s production company, where she built a branded content strategy. “I got exposure to whether or not we were meeting what we promised, and I was able to dictate that and manage expectations around that sort of thing.”  This experience prepared her for her next role at Amazon Music in the marketing department, which required both creative and writing talent as well as skill with data analytics. “I noticed really quickly I had no problem finding the data, writing the doc, and then going and getting buy-in” from executives. Noticed for her data-first approach, Turman was promoted to her current role as Head of Inclusive Programming at Audible, one of Amazon’s subsidiaries. Turman is passionate about her work and role at Audible. “We know that multicultural customers are revenue-generating customers, and that multicultural customers are the reason why the audio industry is what it is today, or really the entertainment industry.” By serving those multicultural customers, Turman is significantly boosting Audible’s profits and cultural reach.  Turman’s goal is to create “ways of connecting content in a super authentic way with audiences.” In fact, in February—during Black History Month—Black creators and Black pages on Audible had the most consistent traffic, a data point that Turman is proud of. “That helps our industry reputation,” she said.  “I was never afraid to pivot and learn a new skill based on either an interest or a superpower, [a skill] that I noticed I might have if I just sharpened it,” Turman explained of her varied career. “Early on, when I could afford to do so from a money standpoint, I wasn't afraid to take breaks and…also build my own identity as a creative and as a storyteller, and make and take breaks so that my identity wasn't just tied to where I worked or what job was available.”  Gen Z workers have often been called job hoppers, but Turman was doing it before it trended on TikTok. Her ability to pivot enabled her to make connections across multiple companies and in different facets of the industry. As she put it, her multitude of jobs “meant I was a Swiss Army knife.”  While this benefited her early in her career, as she’s transitioned to more executive-level jobs, Turman has had to adapt once more, this time to be a leader and manager of people. “If I want to be the kind of executive that I want to be, [that] means… being okay, not doing everything, knowing how to manage people and delegate to people and [trusting] other people to do the things that I also know how to do.”  Of course, that doesn’t mean Turman is holding back—far from it. She advised the audience, “Be ready…when you’re expressing that you want to change….When somebody says, ‘Well, what do you want to do?’…Be able to answer that…I think that has also set me apart”. Turman left listeners with one final piece of advice that has served her well throughout her career. “It's definitely connecting your skill sets for the next thing, and so… don't be too traditional and too much in a box.”

On April 10 and every day, encourage a young writer.

Every year on April 27th, National Tell A Story Day is celebrated to encourage people to share stories. Storytelling has been an essential part of human history, used to pass down traditions, entertain, educate, and inspire. This special day highlights the power of stories and their ability to connect people across generations and cultures.  It doesn’t take an expert to write a compelling story. My storytelling journey started around age 10, when I was far from a master writer. I began journaling, chronicling my day-to-day activities. This allowed me to have a creative outlet to think outside the box and write anything I could imagine—and, as a 10-year-old, I could imagine quite a lot.  Inspired by the Roxy Hunter series, I wrote about being a spy. After watching The Adventures of Sharkboy and Lavagirl , I wrote as if my daydreams could become reality. From there, my writing kept improving, and in high school, I took two electives—creative writing and dystopian literature—which set the trajectory of my career. After these classes, I knew I wanted to write and share stories for a living…stories through poems about love, fiction stories that I wish were my life, and even nonfiction, sharing what was true to my life.  Why National Tell A Story Day Matters Preserving Culture and History Storytelling is one of the oldest ways of preserving history and cultural heritage. Myths, folktales, and personal narratives help keep traditions alive and give future generations a glimpse into the past. Having reminders of the past is vital to correcting mistakes, spreading knowledge, and preserving memories.  Strengthening Connections Whether it’s a bedtime story for a child, a personal anecdote shared among friends, or a family history lesson passed down through generations, storytelling brings people together. It fosters empathy and understanding by allowing people to see the world from different perspectives. The beauty of life is that we all come from different backgrounds and places, but stories connect us. Born and raised in New Orleans, I was told about the “swamp monster,” a folk story derived from “Näkki” in Finnish folklore. How amazing to be connected to a culture from across the globe through storytelling.  Enhancing Creativity and Imagination Telling and listening to stories sparks creativity and encourages imaginative thinking. For children, storytelling nurtures cognitive development, while for adults, it can be an engaging way to think critically and problem-solve. It’s been said that “therapists need therapists.” Similarly, I like to say, “readers need readers” and “authors need authors.” Sharing our own stories inspires others to tell theirs. One author's memoir can encourage another to write their own. Further Developing Communication Skills Sharing a story requires clear expression and organization of thoughts. Practicing storytelling improves language skills, public speaking, and even emotional intelligence. This can serve as a way to motivate others. Growing up, I was always told if I wanted to get ahead in the grade level I was currently in, I needed to read. If I wanted to educate myself and learn new words, I had to read. If I wanted to provide insight, knowledge, and change to the world, I had to write. Today, sharing our stories is easier than ever With the rise of content creation and distribution tools and digital media platforms (social media, podcasts, videos, blogs, and interactive websites), storytellers of all ages are unlimited in their ability to tell stories and reach new audiences. Stories drive change, and National Tell A Story Day reminds us of the magic and power of storytelling. Whether through spoken word, written text, or even digital media, stories help us connect, learn, and grow. This April 27th, take a moment to share a story and appreciate the impact of storytelling in our lives. It’s more than entertainment: stories are fundamental to how we shape our understanding of life and how we shape the world around us. It’s easier now than ever to create your own story through digital media, films, podcasts, or audiobooks—there is always an outlet ready to share your story.

Past issues of the full newsletter 2025 MARCH 2025 FEBRUARY 2025 JANUARY 2025 2024 DECEMBER 2024 NOVEMBER 2024 OCTOBER 2024 SEPTEMBER 2024 JULY/ JULY / AUG 2024 APRIL 2024 MARCH 2024 FEBRUARY 2024 JANUARY 2024 2023 No December issue NOVEMBER 2023 OCTOBER 2023 SEPTEMBER 2023 AUGUST 2023 JUNE / JULY 2023 MAY 2023 APRIL 2023 MARCH 2023 FEBRUARY 2023 JANUARY 2023 2022 DECEMBER 2022 NOVEMBER 2022 OCTOBER 2022 SEPTEMBER 2022 AUGUST 2022 JULY 2022 JUNE 2022 MAY 2022 APRIL 2022 MARCH 2022 FEBRUARY 2022 JANUARY 2022 2021 DECEMBER 2021 NOVEMBER 2021 OCTOBER 2021 SEPTEMBER 2021 AUGUST 2021 JULY 2021 JUNE 2021 MAY 2021 APRIL 2021 MARCH 2021 FEBRUARY 2021 JANUARY 2021 2020 DECEMBER 202 0 NOVEMBER 2020

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.