Deborah Barak

President, Business Operations, CBS Entertainment, CBS Television Studios and CBS News

Barak led recent negotiations including cast agreements for “NCIS” — the No. 1 drama on television — and other Eye web stars including Tom Selleck, Kevin James, Matt LeBlanc and Joel McHale, and for franchises with Stephen Colbert and James Corden, the first late-night shows to be produced by CBS TV Studios. She also helped establish new business models to finance original scripted series in the summer with lower network license fees and unique in-season streaming windows. “Our business is moving at a very fast pace,” Barak says. “It’s exciting to be part of a company, and an industry, that continues to develop new models to grow the business and support a wide range of programming.”

Aline Brosh McKenna and Rachel Bloom

Co-Creator/Showrunner and Co-Creator/Executive Producer/Star of “Crazy Ex-Girlfriend”

Loved by critics and finding a dedicated audience, “Crazy Ex-Girlfriend” was something new for the CW, and TV in general: a real musical with a diverse cast of great singers with comic chops that explored relationships and love. Bloom won a Golden Globe for the show last year. “Even the darkest shows view romantic love and, often, obsession as this magic thing, but as creators we take a very realistic, almost scientific perspective,” Bloom says. Running the schedule of the show has been the most challenging part for her, “but this is the most artistically fulfilling experience of my life so I am happy to make sacrifices.” McKenna likes that there aren’t other shows on the air similar to “Crazy.” “What sets us apart is we do two musical numbers per episode.” The first season had 49 original pieces of music and they want to expand that in season two. Fans are certainly ready for more.

Susan H. Bodine

Partner and co-head of the entertainment practice, Cowan, DeBaets, Abrahams & Sheppard

“Aspirational problem solving” is how veteran attorney Bodine defines negotiating. “Put what you want out there, and then solve the issues in the way of getting it. I enjoy fitting the specific strategy to the deal and the people involved,” she says. As a partner and the co-head of Cowan, DeBaets, Abrahams & Sheppard’s entertainment practice in Manhattan, she reps both individuals — with clients including James Schamus and Jose Padilha — and companies — such as Amazon Studios and A&E Television Networks. The industry’s transitional era means her deals cover all platforms and have a global reach. The increasing number of women in entertainment law is encouraging. She explains, “When I started, decades ago, one of my mentors was one of the first and only women in the field —Floria Lasky — a great theater lawyer in New York. Now, my firm of 30 lawyers is majority women owned.”

Francie Calfo

President, Imagine Television

Calfo, in her five years as president of Imagine Television, has played a key role in growing the small-screen arm of the Ron Howard-Brian Grazer production company, and in showcasing new, diverse voices, such as in the hit Fox series “Empire.” Calfo has upcoming Fox limited series “Shots Fired” on tap, while shepherding a family comedy at Fox (with pilot commitment) starring comedienne Ms. Pat. Calfo expanded Imagine’s reach into cable, developing Nat Geo’s first scripted series, “Genius.” The first episode, directed by Howard, stars Geoffrey Rush as Albert Einstein. “The wide-ranging market aligns with my personal drive to be even more thoughtful, passionate, and fearless in developing unique voices and rich, relevant stories,” she says. “It’s rewarding to see this reflected in our current series and development slate.”

Gabrielle Carteris

President, SAG-AFTRA

Earnings gender parity, diversity, and ageism are hot topics for the 160,000-member SAG-AFTRA labor organization and its first female president, actress Carteris. She assumed the top spot in March after then-president Ken Howard died. She was elected to the post in April. In 2012, she worked to implement merger of the two guilds. “Our TV/theatrical negotiations are coming soon and we are focused on engaging our members on the issues that concern them through our wages and working conditions process,” she says. Women’s issues are also on her full agenda: “We want to bring meaningful support to efforts aimed at increasing awareness of unconscious bias and enhancing inclusive hiring practices.” Carteris credits her mother as a key mentor. “She gave me strength and the knowledge that there are no limits to fulfilling my dreams.”

Priyanka Chopra

Actress

“It’s been pretty amazing,” says Chopra, star of ABC’s “Quantico,” of the net’s new hits last season. She attributes its success to the “amalgamation of a very fast-moving plot and at the same time you have relationships, music, plot and everything you want.” Beyond her spy series, Chopra in the past year has voiced Kaa in Disney’s “Jungle Book” and also toplined Bollywood hit “Bajirao Mastani” for director Sanjay Leela Bhansali. She also wrapped production on the “Baywatch” movie in April. Next up for Chopra is season two of “Quantico,” which she reports will be “a little darker, slower.” She would like to keep her career busy in both Hollywood and Bollywood. “I don’t know if I have enough time,” she says, already planning next year’s hiatus from the TV show. “I’m figuring out which [project] I would like to do. My schedule is so tight.”

Ayo Davis

Senior VP, talent and casting, ABC Entertainment Group

Davis was named to her current position in May and is dedicated to making ABC’s programming reflect the multicultural reality of contemporary American life. “By focusing on finding the best talent, we have the ability to cast rich, multi-dimensional actors of all shapes, sizes and colors.  And it is this reality that rings true to the human experience.” Davis’ 13 years of experience has allowed her to oversee some of the biggest shows ABC has produced including “Lost,” “Desperate Housewives,” and “Grey’s Anatomy.” Going forward, Davis is excited to be a part of a cultural shift in the entertainment industry with the help of ABC’s Discovers program, Talent Showcase and Digital Talent Competitions. “My approach has always been focused on inclusivity, a willingness to take risks and make out-of-the box casting choices.”

Sam Donnelly

Executive Producer, “America’s Got Talent”

Tasked with keeping the long-time hit “America’s Got Talent” from FremantleMedia North America/Syco Entertainment fresh well into its 11th season — and already looking toward season 12 — means Donnelly and her team are constantly tweaking the format and changing things up. This year, the addition of “AGT” creator Simon Cowell to the judge’s panel boosted ratings. “Network television has never been more competitive, nor faces stiffer competition for eyeballs from alternate platforms, so you can never sit still for a second,” she says, noting there’s no substitute for hard work. “We’ve had a great year, but our focus is already on the mountain we have to climb again next season. The moment you start thinking ‘we’re so great’ is the moment you’re failing.”

Jane Francis

Executive Vice-President, Creative Affairs, Fox 21 Television Studioes

With such critically lauded shows as “The Americans” and multiple Emmy wins for “The People v. O.J. Simpson: American Crime Story,” Francis is on a roll. She’s hoping to add to build on those successes with the studios’ first Hulu series, “Chance,” which lured Hugh Laurie back to the episodic grind, and “Genius,” a straight-to- series order from National Geographic Channel — it’s also its first scripted series. “I’m really looking forward to seeing how ‘Chance’ launches because I don’t know how the metrics of the streaming world work yet, but we’re proud of the show,” Francis says. “And being in business with Nat Geo at such a high level and with such a premium show is great.”

Pamela Fryman

Director

Fryman’s sense of humor is infectious — a useful trait to have for one of episodic comedy’s most prolific directors. Fryman has directed more than 500 episodes of TV comedy from loads of pilots, including the Netflix reboot of “One Day at a Time,” to a nine-year stint at “How I Met Your Mother,” from the pilot to the series finish in 2014. This year, she’s gone on to direct episodes of “The Odd Couple,” “Man With a Plan,” and several pilots. “I am a TV kid: I grew up being a fan, thinking about living and working in Los Angeles was a dream,” says the helmer, who contends, even with all her successes — including Emmy and DGA directing nods — that she doesn’t take anything for granted. “It truly is like living a dream and I’m wildly grateful,” she says of her career. Her job, she finds, “is never boring and always challenging in so many ways.” 

Dany Garcia

Co-Founder, Seven Bucks Prods. and Founder, The Garcia Cos.

Dwayne Johnson’s box office and TV star-power is undisputed, and Garcia, who’s known Johnson since their college days, has been an integral part of shaping his career trajectory — whether that’s in films, TV, digital platforms, or social media — via their Seven Bucks Prods. Her company, the Garcia Cos., also manages several high-profile actors, including Henry Cavill. Her next adventure? “I’m excited to tackle the health and lifestyle space in a greater way from content creation to the development of products and services,” Garcia says. “Health and well-being are at the foundation of who I am, not only as it pertains to my professional bodybuilding career but as it touches every aspect of my life and the person I am for my family, co-workers, and clients.”

Erica Huggins

President, Image Entertainment

Huggins seems to effortlessly balance her managerial duties as president with the creative processes on the development and production fronts. Starting production on “The Dark Tower” is especially rewarding to her considering its nearly eight-year gestation. “It’s very exciting and novel to identify the quest part of the [Stephen King] books, which became the movies, and take the backstory of the characters and make a television series out of it.” The idea sounded crazy at first, “but now, years later, it’s in the zeitgeist of what people are doing because content has become more agnostic.” Having five movies scheduled for release within 12 months isn’t bad, either.

Brie Larson

Actor

It’s been a stellar year for Larson, who won an Oscar for her heartbreaking lead turn in “Room,” was cast as Marvel’s biggest female superhero Carol Danvers in “Captain Marvel,” and signed on to direct her first feature film, “Unicorn Store,” in which she will also star. “A lot of this last year has felt like a blurry dream,” says Larson. “I still haven’t fully processed what happened. I remember being backstage at the Oscars waiting to do my press conference with the statue in my hand. My brain was doing backflips.” When it comes to her debut directorial effort, Larson mines her experience as an actress for inspiration. “I’m grateful to have gone through the maddening and glorious journey of the creative process before,” she says of helming the comedy. “Every performance I feel proud of came from spending lots of time riding different waves in my mind. Feeling inspired, feeling terrified, feeling sure. I know I cannot force my muse. It comes when it comes.”

Laurie Jordan

Executive, Walt Disney Imagineering Creative Entertainment Studio

The vet Disney exec built the Shanghai Disney Resort entertainment organization from the ground up, including staffing and casting strategies that delivered the largest entertainment program any Disney theme park has ever opened with. Global responsibilities include overseeing ongoing development of all entertainment experiences, from theatrical shows to parades, fireworks, water shows, and other spectaculars for guests, totaling more than 1,300 individual performances daily, and leading a team of more than 15,000. “Having worked at Disney theme parks around the world, I feel so fortunate to now be leading those on the forefront of creating new and innovative shows and spectaculars for millions of guests each year,” she says.  

Nancy Kanter

Executive VP and General Manager, Disney Junior Worldwide

Not content to be a powerhouse with the under-11 set, Kanter and her team recently launched the highly anticipated animated series “Elena of Avalor,” Disney’s first princess who reflects Latin cultures, to strong ratings. She and her team also launched the STEM-focused series “Miles From Tomorrowland,” while series such as “The Lion Guard,” “Sofia the First” and “Jake and the Never Land Pirates” continue to score. Her upcoming programming slate includes “Mickey and the Roadster Racers,” “Vampirina,” and “Fancy Nancy.” “The appetite for change and the pace of it in our industry has never been higher, and yet some things deservedly remain constant — tell a good story, work with those you admire and trust, aspire to make a difference,” Kanter says.

Sharon Klein

Executive VP, Casting, Fox Television Group

Klein — who was promoted in September — now leads the casting efforts of Fox’s three media and content creation companies. She previously oversaw Fox Television’s casting team, which counts Emmy nominees and winners such as “Empire,” “This Is Us,” “The People v. O.J. Simpson: American Crime Story,” “Modern Family,” “Glee,” “How I Met Your Mother,” “New Girl,” and “Homeland” among its successes. “We’ve done a good job of discovering TV stars and luring top talent to the studio companies, and Fox has a history of some of the greatest finds,” she says. “The challenge is the enormous volume. Every show and each showrunner has their own creative identity and they all deserve my full attention.” 

Shari Levine

Executive VP, current production, Bravo Media

As the woman behind Bravo’s impressive slate of original, genre-defining reality series — not just the “Housewives” franchise, but “Top Chef,” “Below Deck,” and more — Levine can’t reveal much about several series Bravo has in development, but she’s excited for them to air. About her job, Levine says, “Nothing ever goes the way we think it might, which creates all kinds of storytelling issues. My job is to make sure they all get solved. Each day is different. Each set of problems is a bit different. At the end of the day, I get to look at shows that make me smile. It’s the best!” 

Jennifer Lopez

Executive Producer, “Shades of Blue,” “The Fosters,” “World of Dance”

For a producer, performer, and a fashion designer, 2016 has been unusually busy for Lopez, who always puts her children first. “Looking back at last year my head spins with the amount I had on my plate,” she says. Meticulous scheduling helped her juggle family life with the final season of “American Idol,” a Las Vegas residency, producing multiple TV shows, and starring in “Shades of Blue,” renewed by NBC for season two, developing projects for her Nuyorican production company, and her designing duties. “I believe anything is possible, and if you have the dream, and the talent, and the will to work — really work — the possibilities are limitless.”

Naketha Mattocks

VP, original movies, Disney Channel

Mattocks, who oversees creative development for the hugely successful Disney Channel Original Movie franchise, had lots to celebrate over the past year or so, with “Adventures in Babysitting” taking the crown as the No. 1 cable TV telecast of 2016 to-date among kids and tweens, and the No. 1 cable TV movie of 2016 to-date in total viewers. She also oversaw creative development of the channel’s 2015 home run “Descendants” and is now shepherding its sequel. “I’m really proud to be a driving force in telling stories that entertain and empower young people all over the world,” she says.

Julie McNamara

Executive VP, Original Content, CBS All Access

Instead of developing shows for CBS Television Studios as she’s done for the past decade, McNamara’s new mission is developing streaming content for CBS All Access, including two highly anticipated projects, “Star Trek: Discovery” and a spinoff of “The Good Wife,” which she’s confident will deliver on their promises. “All Access is a dream job. I feel like I’m working at an exciting new start up but with the resources of a big, successful corporation behind us. I’m getting to help define a new brand,” McNamara says. “Plus after 20 years in the business, I no longer have to worry about Broadcast Standards and Practices!”

Audrey Morrissey

EP/Showrunner, “The Voice.” Owner, Live Animals

Morrissey credits teamwork and trust with helping her make “The Voice,” which just won another Emmy for reality competition series, run smoothly and stay fresh and exciting for viewer, but it’s her steady hand that guides the colossal ship. She also heads her own production company, Live Animals, which recently sold a songwriting show “Songland” — created in partnership with “The Voice” judge Adam Levine and Dave Stewart of the Eurythmics — to NBC. “It’s a big deal to me to have my own production company,” Morrissey says. “It means that I have the opportunity to try to refocus some of the success and momentum of ‘The Voice’ into new projects that I really believe in.”

Tonia O’Connor

Chief Commercial Officer and President of Content Distribution Univision Communications

O’Connor — who now holds dual roles at UCI — is excited by the success of Univision Now, the streaming service her team launched late last year, but never stops looking for smart, creative ways to draw more users to UCI’s digital portfolio. “I’ve worked with many great leaders who have provided extremely valuable nuggets of wisdom which allowed me to develop my own voice and point of view,” she says. “But I’m most fortunate because today I work for a CEO who lets me put all those learnings to practice, always encouraging my dreams, celebrating my boldness, and reminding me that he hasn’t given me anything I didn’t earn on my own.” 

Elaine Paul

Chief Financial Officer, Hulu

Working closely with CEO Mike Hopkins, and with a team of over 100, Paul has played an instrumental role in efficiently driving growth over past year thanks to strategic decisions including a no- commercials service besides its ad-supported service, the addition of exclusive streaming rights to network content including “The Strain,” “Seinfeld,” and content from the major networks and cablers, plus originals such as “Casual” and “Difficult People,” and Showtime content. It’s launching a digital MVPD where Hulu will offer traditional broadcast and pay TV channels live and on demand. “Hulu is at the nexus of the entertainment and technology,” says Paul. “There is a dynamic, major shift in the media ecosystem, and Hulu is on the right side of that.”

Blair Rich

President, Worldwide Marketing, Warner Bros.

Rich is a 19-year vet of the studio, named to oversee all the studio’s marketing campaigns in June. And it’s some schedule: Upcoming are “Fantastic Beasts and Where to Find Them,” the J.K. Rowling-penned fantasy, and awards-season hopeful “Collateral Beauty,” with Will Smith and Helen Mirren. Rich is particularly pleased with the creative advertising efforts behind the invigorated New Line Cinema label and the mega grosses for its films with relatively low production budgets. Such features as “Central Intelligence” and “Lights Out” give “us the opportunity to experiment and to drive business in new and different ways,” she says. Innovative campaigns allow the studio to maximize the digital space while providing greater efficiency, something marketers always strive for, notes Rich. Among her influences, she credits her father, Lorimar Prods. co-founder Lee Rich, with teaching her “how to think about advertising, in a way that was aggressive, to innovate and break the mold.”

Jennie Snyder Urman

Executive Producer, “Jane the Virgin”

Told by her father to create something “a little out of the box,” Urman came up with “Jane the Virgin.” “Take more of a risk in your storytelling and show more of who you are” is the advice that stuck with her as she worked on creating the series, inspiring her to tell the stories she has always wanted to. Telling the story of Latinas in America with minority actors has been central to Urman’s goal for more diversity on TV. “I think the more the better in terms of representation, because then every individual doesn’t have to carry the mantle of representation.” For Urman it’s more important to tell different kinds of stories, “ones like being a Latina, transgender or anyone that’s different than who has been traditionally seen on TV.” 

Alicia Vikander

Actor

Vikander has the kind of career actors dream of: she won an Oscar for her supporting role in “The Danish Girl,” played one of the most charismatic robots of all time in the critically acclaimed “Ex Machina,” and is now to play the latest iteration of Lara Croft in “Tomb Raider,” set for 2018. She’s starring opposite Michael Fassbender in “The Light Between Oceans,” which tackles the themes of miscarriage and parenthood. “I actually had two journalists that were surprised that I took on the role of Lara Croft,” says Vikander, who also runs her own production company. “Part of me thought, well, l guess that’s a good thing, to keep surprising people, because that’s what I want to continue to do.” 

Digital Brand Architects

The brainchild of media gurus Karen Robinovitz, chief creative officer, and Raina Penchansky, chief strategy officer, Digital Brand Architects has grown from a tiny, apartment-run operation that began in 2010 to a global-wide digital talent management company with over 40 employees and offices in New York, Los Angeles and Milan. “We really do cover all genres — from fashion and beauty, to lifestyle, food, home, DIY, content creators,” says Robinovitz, who spent a decade as a journalist for such publications as The New York Times and Marie Claire and produced a pilot for Bravo. “Whatever the client, we still take the same approach: it’s very much about who does somebody what to be? What is that person’s point of view? It’s about looking at the content with a traditional sense of strategy but with a modern sense of execution.”

 “One of the things I think we did well very early on is that we were singular with what the vision was with DBA,” adds Penchansky, who has built awards campaigns and created product launches for Jimmy Choo and Juicy Couture. “We always knew we wanted to be traditional managers of nontraditional talent, and we’ve stayed on that path.”

No matter what the brand or product, content always comes first, says Penchansky.

“After you determine what your content is, it’s a matter of what figuring out what content is right for what platform,” she says. “Sometimes people make the mistake of thinking more is more, when actually, in most cases, less is more. Not everybody should be on Pinterest. Not everyone should be on Twitter. What we’ve honed in on at DBA is really understanding what someone’s skill set is, and then we take that skill set and translate that into a brand, both online and offline.”

But the growth of DBA has not come without its challenges along the way, notes both women. Six years ago, nobody wanted to have a conversation about digital influencers. There just wasn’t a market.

“A lot of people, when we first started, they said no,” says Robinovitz. “They said, this is not an area to take on. And I think the number one piece of advice I always give to any budding female entrepreneur is that you have to jump out of the nest. You will not crash. And even if you do, you’ll just pick yourself up and you’ll do something else.”  

‘Bad Moms’ Team

Suzanne Todd, Mila Kunis, Kristen Bell, Kathryn Hahn, Christina Applegate, Jada Pinkett-Smith, Annie Mumolo

The maternally driven comedy “Bad Moms” was not only a commercial success, but also was seen as one of the most relatable films of the year. According to the film’s producer Todd, the triumph of the film was in both the humor and the accuracy of its depiction of motherhood.
“Looking back on it now, it’s amazing to see how many women I know, or women I don’t know, reaching out on Twitter or Instagram saying they felt it was ‘their story,’” says Todd. “I felt that way as well when reading the script.”
With issues regarding gender equality a big talking point in Hollywood, the success of “Bad Moms” as well as other female comedian-driven projects have been remarkable. Kunis says the positive changes women have seen in the entertainment industry is a result of the hard work they strive for.
“I think it all starts the ground up,” says Kunis. “The only way change will happen if one makes change for themselves.”
And it’s not only women who are recognizing the changes in Hollywood. Adam Fogelson, chairman of STX Entertainment Motion Picture Group, which made “Moms,” embraces female empowerment.
“I’m not sure about a fair, easily reduced answer other than I haven’t met anyone in this town who doesn’t hope to see continuing progress with all forms of diversity both in front and behind the camera,” says Fogelson.

Janet Healy, Gail Harrison, Natalie Fischer, Barbara Zipperman

In 2015, Illumination’s “Minions” raked in more than a billion dollars worldwide at the B.O., and this year, the animation house’s “Secret Life of Pets” hit $847 million worldwide, continuing the company’s hit parade. Harrison, Healy, Fischer, and Zipperman are four key figures helping to keep Illumination tooned up. Healy produced all the shingle’s pics. She’s based in Paris at Illumination Mac Guff, collaborating with the 850 artists and developers there. “I am thrilled to have contributed to the diverse, entertaining and comedic slate of Illumination Entertainment films since they have provided so much happiness to audiences of all ages in all parts of the world,” she notes. Promoted to president of marketing and branding at Illumination Entertainment in March, Harrison was at the head of advertising and product design for “The Secret Life of Pets” and “Sing,” the story of a koala and a sheep who decide to host a singing competition.

Harrison attributes her success to her parents’ DNA. “My mother is an artist and my father is a perpetual student,” she says. Fischer has worked closely with Meledandri as the original business plan took shape before Illumination launched in 2007. “Establishing Illumination as a household name,” says Fisher, is still on her goal list. Zipperman, who, like Fisher, helped grow the company from a startup, is responsible for negotiating all the deals surrounding Illumination projects, whether live action or animated. And despite all her success at the shingle, there one thing she’d like to achieve: “Celebrating an Illumination win for best animated film.”

Jennifer Danielson

President, Above Average

With Danielson at the helm, Above Average, the digital comedy studio formed by Lorne Michaels’ Broadway Video, in the past 18 months has grown from a YouTube channel to a digital powerhouse, with 2.6 billion views across its YouTube network. Danielson shepherded the launch of its sports comedy vertical “The Kicker” last October, and led Above Average’s foray into long-form content. In July, Danielson got a vote of confidence with a tranche of $15 million in funding from Turner Broadcasting and Advance Vixeid Partners, the independent investment arm of Advance Publications and Conde Nast. “This funding allows us to continue to support and elevate emerging talent and new ideas as well as increase our vault of high quality content, while also expanding our relationships with partners in the premium space.”

Jessica Lacy

Partner/Head of Independent & International Film, ICM Partners

“For me, the emergence of Netflix and Amazon has completely changed my business, my department, and the independent film market in general. It’s created disruption, but also a ton of opportunity,” says Lacy, who leads her department in structuring and arranging financing, packaging and securing distribution for independent films. Deals she has brokered in the past year include Woody Allen’s “Cafe Society,” Jim Jarmusch’s “Paterson,” Sian Heder’s “Tallullah,” and Daniel Kwan and Daniel Scheinert’s “Swiss Army Man.” At Toronto, “half of my films were directed or produced by women,” she says. “I have put together and sold over 20 films by female directors in the last year. … We need to help women to take that leap into the big Hollywood projects.”

Laura Lewis

Agent, Film Finance & Sales Group, CAA

Long an advocate for female filmmakers, Lewis is able to put her beliefs into action as she specializes in the packaging, financing, and sales of independently financed feature films. She’s also on the teams of Ava DuVernay, Amy Berg, Emma Thompson, and Queen Latifah’s Flavor Unit. She has worked on independently financed film projects on behalf of such agency clients as Julia Roberts’ Red Om. In the past year, Lewis was central to the sales of writer-director Rebecca Miller’s “Maggie’s Plan,” Catherine Hardwicke’s “Miss You Already,” Jocelyn Moorhouse’s “Dressmaker.” Lewis helped in the sale of Lynne Ramsay’s “You Were Never Really Here,” and Jeff Nichols’ “Loving” to Focus Features. She also helped put together the financing for “Jackie,” and serves on the board of Women in Film.  “We are proud of our female actresses that develop material and don’t wait to have material given to them,” says Lewis, who adds on gender equality, “What this conversation is doing is forcing people to pay attention and to agents and managers and fix it and keep an eye out for females filmmakers.” 

Linda Michaelson

Partner, Sheppard Mullin

As a partner in both the Transactional Entertainment, Technology and Advertising Practice Group, and the Corporate Practice Group, Michaelson has her thumb on the pulse of showbiz’s biggest dealmakers. She represented Tang Media Partners, active in the development, financing, production and distribution of entertainment content focused on the intersection between China and Hollywood, in its acquisition of a majority ownership in IM Global, the international sales and production finance business headed by Stuart Ford. That deal closed in June. She also represented Lionsgate Entertainment in its acquisition of a controlling interest in Pilgrim Studios last November, and also reps networks, studios, indies, and other fashion and entertainment entities. “The best part of my career is the surprise of something new and different each day,” Michaelson says.  “Providing advice on M&A and other corporate deals and playing a role in my clients’ decision-making is exciting, challenging, and satisfying.  I am fortunate to work with very talented and smart clients who know their business and are looking to me for my expertise and creativity in the deal-making process to guide them.   I love partnering with clients and being part of their deal team. Having worked in London for two years, I also enjoy the mix of increasingly complex and global deals that offer me the daily opportunity to expand my perspective.   And, as a woman partner in an AmLaw 100 firm, I love the time I spend mentoring our next generation of women lawyers, which is very gratifying.”

Theresa Peters

Talent Partner, UTA

Client Alicia Vikander won an Oscar this year, and launched Vikarious Prods., which just wrapped its first feature, “Euphoria,” which also stars Vikander. “I find that when actors want to be producers, the community can sometimes be skeptical. With Alicia, she’s about creating stories,” says Peters, noting that Vikander wanted to keep her foot in the European market. Her client Kirsten Dunst nabbed an Emmy nod for “Fargo.” “When ‘Fargo’ came along, it was like, ‘You have to do that role!’ She hadn’t done television since she was a kid.” Her list includes Aaron Paul, James McAvoy, Jamie Dornan, Nick Robinson, Ewan McGregor, Sam Heughan, Shailene Woodley, and Jeffrey Dean Morgan. “I love my clients and have learned over the years, for me I have to believe in them as an artists — and there has to be a connection.”

Elyse Scherz

Partner and Talent Agent, WME

As Hollywood discusses gender equality, Scherz’s client Charlize Theron set a new standard for onscreen feminism as she roared through 2015’s “Mad Max: Fury Road” while her client Blake Lively showed her range as the resourceful heroine in “The Shallows” and shone at Cannes in Woody Allen’s “Cafe Society.” Other Scherz clients hitting on all cylinders include Gael Garcia Bernal, Javier Bardem, Rebecca Hall, Chloe Moretz, and Diego Luna.  “My personal philosophy is based on some of the things that my incredible mother inspired in me. No. 1: Be passionate and love what you do and who you do it with. No. 2: Be curious and fearless, and never take no for an answer; don’t let anyone hold you back. No. 3:  Dream big and be imaginative; there is no such thing as a circle or a box. No. 4: You can always come home. This is something I never took my mother up on, but it gave me the safety and security to jump without a net, which is what we do every day. These are the things that I think about in my daily representation of these wildly talented artists that I have the privilege of working with.” 

Stacey Snider

Chairman and CEO, Twentieth Century Fox Film

After being named co-chairman of Fox in 2014, Snider’s ascent to the top job at the film studio was accelerated this summer when Jim Gianopulos stepped down early, Sept. 1. As chairman and CEO, she oversees the studio’s five production divisions, global marketing and distribution and home entertainment. Snider started out as a secretary after getting her law degree, then began hitting milestone after milestone, breaking barriers for female executives across Hollywood as president of TriStar and then chairman of Universal Pictures. More recently, she served as CEO and co-chairman of DreamWorks Studios. “The most important message I would give to young women is to live and lead your life fully. Go for it at every level,” she told the Atlantic in a video interview.

Lindsey Collins

Producer, “Finding Dory”

Collins began her career as a production assistant with Disney in their animation department right after she graduated from college. She was blown away by the work that surrounded her every day and went on to join Pixar in 1997. There she worked on “Finding Nemo,” “Toy Story 2,” “Wall-E,” and “Finding Dory,” before being named vice president of development and new media last year. She’ll work now with artists to develop unique ways to tell stories. “The spirit here is that we want to continue to take risks and that’s exciting to me,” says Collins.

Jane Goldman

Screenwriter/Producer

Before making the permanent jump to screenwriting, Goldman dabbled in a plethora of odd jobs. The Brit was once the host of a paranormal TV show, reporter, author of both fiction and the occasional how-to guide for teens. By the early 2000s, Goldman drew the notice of comic-book guru Neil Gaiman, who introduced her to helmer Matthew Vaughn to aid him in the adaptation of his novel “Stardust.” Now almost a decade later, the partnership of Goldman and Vaughn still thrives as the duo put the finishing touches on their seventh collaboration, “Kingsman: The Golden Circle,” the sequel to their successful “Kingsman: The Secret Service.” She scored a big win at the B.O. recently with “Miss Peregrine’s Home for Peculiar Children,” and saw Juan Carlos Medina’s Victorian thriller “The Limehouse Golem” play the Toronto fest. “I’m extremely proud to be part of ‘Miss Peregrine’s Home for Peculiar Children,’ and also incredibly excited about the upcoming ‘The Golden Circle,’ ” says Goldman, “They share a joyful eccentricity of the kind that makes me very happy.”

Kathleen Kennedy and Lynwen Brennan

President, LucasFilm and Executive VP and General Manager, LucasFilm, President, Industrial Light and Magic

In their roles with LucasFilm, Industrial Light & Magic and Skywalker Sound, Kennedy and Brennan continue to grow and expand some of the most influential companies in entertainment. Brennan oversaw the expansion of ILM to include offices in Vancouver, London, and Singapore as well as the expansion of their offices in Northern California. “I want Lucasfilm and ILM to continue to be known for inspiring awe and wonder in audiences — which means that we need to be always ahead of the norm and pushing for the new but in an authentic and high quality way which best serves the creative,” writes Brennan in an email to Variety. Kennedy was charged with the delicate task of producing “Star Wars: The Force Awakens” to the satisfaction of fans and new audiences. The result was epic: the film made $2 billion. She also produced “Rogue One: A Star Wars Story,” which will be released later this year. “I’m most proud of the character of Rey, who has become a game changer for little girls around the world, who can now imagine themselves as heroic characters alongside Luke Skywalker,” Kennedy says.

Janice Lee

Managing Director, PCCW Media Group

PCCW Media Group is one of the largest media corporations in Asia. In addition to its pay TV, broadband internet, and phone services, the group expanded into OTT video service across Asia through Viu, which now has over 10 million subscribers in 17 countries, and the launch of free TV service ViuTV in Hong Kong over the past year. As a leader for the development of Viu, Lee says how audiences consume content has changed tremendously with proliferation of connected devices and increasing mobile and fixed broadband across markets in Asia. “However, compelling stories remain the key to success, whether they are scripted series or unscripted reality programs,” she says. “Local relevancy is very important and is central to our proposition of Viu.”

Stephanie McMahon

Chief Brand Officer, WWE

As a member of the first family of Wrestling — she is the daughter of chairman & CEO Vince McMahon — one would expect showmanship to be in McMahon’s blood. But it was her business savvy that made her a true superstar for WWE. The exec credits her experience with WWE as a valuable teaching tool for her success behind the desk.

“Live television, in front of an arena filled with thousands of people teaches you a lot about psychology, poise, and thinking on your feet,” she says.

McMahon went on to head WWE’s creative writing team. Now as the WWE’s first-ever chief brand officer, McMahon is a key figure for the organization, a global brand ambassador and spokesperson who builds partnerships and growth opportunities for the group. “[I became] responsible for generating awareness and positive brand perception for WWE,” she says. “In this role I have the ability to contribute in a bigger way than I ever have before; educating consumers and the marketplace on the true value of fulfilling our mission of putting smiles on people’s faces.” In addition to her pivotal role within the WWE, McMahon, along with husband Triple H, helped create Connor’s Cure, a campaign designed to fund pediatric cancer research named for an 8-year-old fan who died of medulloblastoma cancer. The effort leverages the popularity of the WWE by using its audience to raise awareness. “Connor’s Cure began at Children’s Hospital of Pittsburgh, where Connor was treated, and we have now expanded our efforts nationally by partnering with The V Foundation. To date, we have raised more than $1 million and helped more than 100 families.”

Margot Robbie

Actor, Producer

This isn’t the first time audiences took notice of the striking Aussie. After a stint in the short-lived “Pan Am,” Robbie caused a stir as Leonardo DiCaprio’s trophy wife in “The Wolf of Wall Street.” But it was her turn this year as Harley Quinn that made her a household name. From the moment the first trailer hit, it became clear why Robbie’s take on Mistah J’s main squeeze was quickly embraced by fans: from her thick high-pitched New York accent to her adorably murderous disposition, Robbie played Quinn to crazy, pig-tailed perfection. “She’s incredibly flawed and almost unredeemable in some scenarios but when you read her, see her, you get this feeling like you know her. Her character has so much depth; confident but vulnerable, intelligent but silly, villainous but open-hearted,” says Robbie. “We recognize her inner battle, we see it in the small parts of ourselves and our friends.” Robbie is also busy carving a space for herself behind the camera with her new production company LuckyChap, which just signed a first-look deal with Warner Bros. “I was starting to feel a bit like a pawn being pushed around a chess board and I wanted to have a more active role in finding the characters I would play and the movies getting made.” For you Harley fans out there, don’t despair. The DC Universe troublemaker will return in her own little outing for the WB. “Harley is the first character I’ve played that I haven’t been ready to let go of. I feel like we haven’t finished telling her story yet.”

Meridith Valiando Rojas

CEO, DigiTour Media

The concert promoter/digital media mogul made a name for herself by delivering YouTubers, Vine sensations and other stars of the small, small screen to their millions of fans with large-scale tours and unique events. “The platform was breeding YouTubers who had millions of fans.  Whatever was happening we needed some of that fairy dust,” says the exec. “My partner [who is also my husband, Chris Rojas] and I were inspired to create an IRL experience around the phenomenon. Iinstead of scouting talent in bars on the lower east side of Manhattan, I began trolling YouTube and Twitter. This was the future and the fans were in charge.” With DigiTour, Valiando Rojas has crafted exclusive experiences for a new generation of entertainment enthusiasts. And according to the CEO, these experience-seekers are just a small example of what to expect from this new era of femmes and fans. “I believe this generation of women is more empowered than ever before. The internet has brought many like-minded women together and the community aspect has helped to inspire change. I see more women of all ages following their passions, starting businesses, and challenging the status quo. All you need is Wi-Fi and dream.”

Melissa Rosenberg

Executive Producer/Creator, “Marvel’s Jessica Jones”

As showrunner for Netflix’s “Marvel’s Jessica Jones,” Rosenberg managed to turn one major first into two: She delivered Marvel its first headlining female superhero, who in turn, delivered Marvel Television its first Emmy.

After spending the better part of 10 years with serial killers and glittery vampires on the brain as the wordsmith behind Showtime’s “Dexter” and the “Twilight” franchise, Rosenberg has hit a career stride with “Jones,” a fractured superhero more broken than the folks she hopes to save. “I was attracted to ‘Jessica Jones’ because the source material was really rich. It was the character I wanted to write my entire career. She’s a tragic and deeply, deeply flawed person — complex but with a dry, funny sense of humor, a borderline alcoholic but a strong woman … I fully embraced the character,” says the scribe. Thanks to her deft hand, “Jones” transcended the normal superhero genre. “A lot of our audience is people who don’t necessarily embrace superheroes. You don’t get to see a lot of women like this, with all their faults and flaws on display.” In addition to her work with heroes, Rosenberg a bit of a superhero herself as a co-founding member of Dancing With N.E.D., a benefit dance party created to raise funds for early detection ovarian cancer research and to help women reach the goal of “No Evidence of Disease.”

Deborah Snyder

Producer

As a producer of the upcoming “Wonder Woman,” “Aquaman,” “Cyborg” and “Flash” movies (to name just a few), Snyder, working with partner and husband Zack, had a big hand in the creation of the Warner Bros.’ superhero slate, a path she’s been paving since 2007 with her first comic-book adaptation, “300.” Since then, she’s been a key player in bringing the DC Universe to the big screen with her production company Cruel and Unusual Films. Thus far, the endeavor has the powerhouse producer booked until 2020, as she ushers more and more Golden Age heroes to movie houses. Not bad for a woman who began her career in the ad world. “There isn’t a clear path in this industry like there is for a doctor or a lawyer,” she says. “You don’t go to school and then to a practice. Everyone finds their own path. When I started, I didn’t know anyone or have anyone who could guide me, so I had to really understand my path and that helped me realize it.” But just because Snyder achieved massive success in her field, that hasn’t let certain issues behind the camera escape her notice.

“There is are definite obstacles to overcome, especially if you look behind the camera, where is it mostly men. In future productions, I would love to see more of a 50/50 split. Not everyone knows the roles behind the camera, and that is an issue of great importance to me. We are trying to make an effort to hire more women in these roles.”

Juanita Tiangco

VP, Commercial and Music Video, Dattner Dispoto & Associates

Upped to her current title in July, Tiangco has booked production designer Hannah Beachler on Beyonce’s “Lemonade” visual album and DP Malik Sayeed on Beyonce’s music video “Formation.” She’s also had her hand in multiple Apple commercials and other spots appearing on the Super Bowl and the Academy Awards. Tiangco loves the speed of putting together commercials. “We just have a few days to put together a team and we’re all thinking ‘Let’s do this thing,” she says. “The personalities also have to be a great match and I know who’s going to jibe.”

Cora Yim

Senior VP and Head of Chinese Entertainment, Fox Networks Group

Yim has been leading her team to develop local and regional content that speaks to a global audience. “We have the mission to produce new and innovative projects that make us the trendsetter,” she says. Over the past year, Yim spearheaded the development of a number of projects at a scale that has never been done in Asia before. Following the success of “Sara” (2015), a Hong Kong film addressing the issue of sex trafficking under the group’s Go Local initiative, Yim got involved in developing miniseries, telling local stories with high production values. Details of the miniseries productions are expected to be announced toward the end of 2016. “I want to take advantage of the network’s global platform and resources to bring local stories and talents to the world,” Yim says.

Sonia Friedman

Theatrical Producer

London-based Friedman is always busy, but this year she launched what’s arguably the biggest new stage property anywhere in the world: “Harry Potter and the Cursed Child,” which she and co-producer Colin Callender opened over the summer to a headline-grabbing frenzy of fans. “I think it might be the biggest project any theater producer has ever done,” she told the Times in July. Her recent West End revival of “Funny Girl” drew raves from critics, while play “Nice Fish” landed in New York just as its star and co-writer, Mark Rylance, took home an Oscar. On tap for 2017 is a revival of Edward Albee’s “Who’s Afraid of Virginia Woolf?,” starring Imelda Staunton and Conleth Hill.

HBO’s TV Team

HBO just launched its highest-rated series in two years with “Westworld,” plus recently debuted a critically acclaimed comedy in Issa Rae’s “Insecure,” not to mention the return of iconic TV star Sarah Jessica Parker with “Divorce.” And the premium pay cabler broke an Emmys record this year with “Game of Thrones” winning the most golden statues of any scripted series of all time. These feats have all come shortly after the arrival of newly promoted HBO prez Casey Bloys, but there are some ladies in the mix who warrant a well-deserved shout-out.

The pay cabler’s quintet of power women talk about what they’re most proud of this TV season. “I’d have to say Issa Rae’s new series ‘Insecure.’ There’s something very special about watching a new talent bring her first series to life,” says Amy Gravitt, exec VP, HBO programming.

Nina Rosenstein, exec VP, HBO programming, says, “John Oliver and Bill Maher are having brilliant seasons — the shows make for great entertainment, yet never let us forget how serious the issues are. I’m also proud of the reception for ‘High Maintenance’ and it’s smooth transition from web series to the network. And of course, I’m very excited about launching our ‘Vice News Tonight’ series.”

“ ‘Big Little Lies,’ which airs early 2017, has probably been the most rewarding,” says Francesca Orsi, co-head, HBO drama series. “I admit that my affection for the show also stems from how closely it mimics my own life and so many women I know. In a society that gives so much credence to the myth of perfection, this show will stand out in how it embraces the contradictions of marriage, sex, parenting and friendship.”

Nora Skinner, senior VP, HBO programming, says, “‘The Leftovers.’ I felt very lucky to be the creative exec on this final season, which is such a powerful, moving conclusion to this story.”

Notes Kathleen McCaffrey, VP, HBO programming: “I have the privilege of working with David Simon and his team on the premiere season of ‘The Deuce.’ … While one might think, at first blush, that this show is just about hookers and pimps, it actually acts as a meaningful contribution to the current conversation about what it means to be a working woman in any profession. Simultaneously, I have also spent the year working … to bring ‘Girls’ to a close after six seasons. I feel so lucky to have been the show’s first fan.”

Channing Dungey

President, ABC Entertainment

Dungey made history this year, becoming the first African-American president of a broadcast TV network. Six months after earning the top spot at ABC, the exec’s first season is off to a good start with “Designated Survivor” and “Speechless” marking two of this year’s biggest hits. Formerly the net’s head of drama, Dungey, a longtime supporter of Shondaland and a favorite of Disney/ABC boss Ben Sherwood, says her goal for the 2016-17 season is to “have our new comedy block on Tuesday find an audience.” As for the biggest challenge of her new gig, Dungey cracks, “Can I say lack of sleep?”

Liz Gateley

Exec VP, Head of Programming, Lifetime

Gateley joined Lifetime as exec VP and head of programming last year, and in that time, Lifetime launched 11 unscripted series, ordered two scripted pilots and aired more than 20 movies. “UnReal,” which she oversaw, garnered seven Emmy nominations and received a Peabody. Gateley also introduced brand campaign The Fempire, which positions the network as a curator of women’s content and conversation. She’s made hiring women a priority and 55% of the cabler’s scripted series were directed by women vs. 13% last year. Among scripted writers, the percentage has risen to 59% women from 33% in 2015 and 60% of its shows are produced by women.

“What a privilege to come to Lifetime and in just one year launch the first two seasons of the Emmy Award-nominated and Peabody Award-winning ‘UnRreal’, a show that has re-defined how women are perceived on television,” Gateley says. “That set us on an exciting course of a rebrand at Lifetime which focused us to develop projects crafted around strong women, such as ‘Surviving Compton,’ ‘Beaches’ and ‘Billboard Women in Music.’  It is incredibly satisfying to put women first in everything we do.” 

Michele Mulrooney

Partner, Venable

Mulrooney is tops in her field because she is extremely discreet. The veteran tax and wealth-planning lawyer represents the most recognizable names in entertainment and sports. In the past year, she’s worked on cases involving wealth and estate planning, child-custody, same-sex estate planning, and served as general counsel to showbiz heavyweights. “I care about all of them like family,” she says. Besides her work with Hollywood elite, she is being honored by the California Community Foundation with their Partners of Distinction Award, recognizing her contributuion to the foundation.

Martha Henderson

Head of Entertainment Division, Exec VP, City National Bank

Henderson, who has run the entertainment division for nearly 35 years, set the standard for private banking in showbiz. Last year, City National completed its merger with Royal Bank of Canada and she now oversees a team of more than 200 showbiz bankers in Beverly Hills, New York, Nashville, Atlanta and Daytona, Fla. “There’s never been a more exciting time to be at City National,” Henderson says. “We can now do even more for our clients, offering them more financial services, including corporate finance offerings. We’ve also expanded to more locations in the U.S.  as we truly grow to be the premier entertainment bank in North America and the world.” Outside of work, Henderson serves on the board of Friends of the Saban Free Clinic and is co-chair of the Geffen Playhouse.

Laura Kennedy, Chris Selak and Jennifer O’Connell

This year, Lionsgate Television generated buzz for successfully shopping the fan-favorite “Nashville” to CMT, and even more buzz inside industry walls for buying Starz for $4.4 billion. The unscripted side is growing with the recent stake in Pilgrim Studios, and as for scripted, “Greenleaf” marked OWN’s first hour-long drama. And don’t forget that “Orange Is the New Black” landed a whopping three-season renewal. “My biggest accomplishment has been juggling strategic initiatives that ranged in size from our targeted investment in Primal Media to the transformative Starz deal,” says Kennedy. “We have more series in production than we’ve ever had and our TV Group brought in more revenue than ever before. One of my favorite accomplishments was the launch of our new hit series ‘Greenleaf’ on OWN … it’s been gratifying to see a record-breaking number of viewers and TV critics embrace the show the way we did,” says Selak. “In the year since I joined Lionsgate, we’ve exponentially grown the alternative television slate across all platforms to include cable networks, new media platforms and soon, network broadcasters. … Two high-profile series that are coming soon are ‘Kicking & Screaming’ for Fox and ‘Revenge Body With Khloe Kardashian’ for E!,” says O’Connell.

Suzanna Makkos

Exec VP, Comedy Development and Programming, Fox

Fox took the biggest comedy swings this season across the broadcast networks from the hybrid animated/live-action “Son of Zorn” and the upcoming time-travel series “Making History.” The network’s head of comedy first heard the pitch for the former in fall 2013, saying, “This has been the longest, and most worthwhile, development process of my career.” Giving a nod to the “fulfilling” John Stamos and Rob Lowe vehicles “Grandfathered” and “The Grinder,” Makkos says, “straightforward shows don’t tend to resonate with Fox viewers the way we would hope. Our audience is looking for a hook or twist into shows that seems a little off kilter. These daring swings make development a lot more fun, but also carry a much higher degree of difficulty.”

Amy Siegel

Partner, O’Melveny & Myers

Siegel is an authority on acquisition, protection, and management of intellectual property and media-related assets that impact and influence today’s pop culture. Among her many recent achievements  was negotiating a complex licensing agreement for Warner Bros. that brought the Wizarding World of Harry Potter to Universal Studios Hollywood. She has also advised WB on similar agreements for Harry Potter in Orlando, Fla., and the expansion to Asia. Siegel’s other clients include Univision, Disney, and Alibaba. “Our entertainment clients continue to innovate in this market with developments like licensing successful film and television properties for theme parks and other entertainment attractions throughout the world,” Siegel says. “These are complicated deals from an intellectual property standpoint but present fantastic growth opportunities for our clients and exciting attractions for their consumers.”

Victoria Alonso

Executive Producer and Executive VP, Physical Production, Marvel

She oversees all physical production, post-production, and production technical operations at Marvel Studios, which this year includes “Captain America: Civil War” and “Doctor Strange,” with upcoming pics including “Guardians of the Galaxy Vol. 2,” “Thor: Ragnarok,” “Black Panther,” and “Avengers: Infinity War.” 

Bonnie Arnold, Mireille Soria, Margie Cohn

“Kung Fu Panda 3” garnered big B.O. worldwide, meanwhile Arnold and Soria are readying “Trolls,” set for Nov. 4, riding on the back of its mega-hit song “Can’t Stop the Feeling.” As part of Comcast’s recent acquisition of DreamWorks Animation, Universal Filmed Entertainment Group announced that Cohn will serve as head of DreamWorks and Universal’s combined television animation business.

Lorrie Bartlett

Partner, Co-Head of Talent, ICM Partners

Bartlett’s clients and their new and upcoming projects — highlights include Michael Keaton (“The Founder”), Ruth Negga (“Loving”), Kylie Bunbury (“Pitch”), Corey Hawkins (“Kong: Skull Island”), Regina King (Emmy winner, “American Crime”), Shameik Moore (“The Get Down”), and Anna Gunn (“Equity”) — attest to Bartlett’s impeccable taste and eye for talent.

Laura Ricciardi and Moira Demos

Filmmakers

The duo behind “Making a Murderer” not only collected a slew of Emmys for the Netflix series, they also created a national obsession and in the meantime, opened up conversations about the legal system. Indeed, one of the subjects in “Murderer,” Brendan Dassey, had his murder conviction overturned recently by a federal judge. His uncle, Steven Avery, remains in jail for the murder of Theresa Halbach, however. They’ll be back with a second series, featuring much new information about the case.

Dana Goldberg

Chief Creative Officer, Skydance Media

Goldberg served as producer for blockbuster “Star Trek Beyond,” and oversees the company’s film slate, which includes “Jack Reacher: Never Go Back,” with Paramount; “Life,” with Sony; “Geostorm” with Warner Bros. She was also named producer on what will be Skydance’s first Chinese co-production, “Flying Tigers,” with Alibaba. She maintains creative direction over Skydance Media’s rapidly growing TV division (“Grace and Frankie,” “Altered Carbon,” “Ten Days in the Valley,” “Condor,” “Red Mars”).

Wendi Green

Talent Agent, Paradigm

Her client Mckenna Grace will be in Fox feature “Gifted”’ and is a regular on ABC’s new drama “Designated Survivor,” while client Griffin Gluck is starring in “Middle School: The Worst Years of My Life,” and the upcoming “Why Him,” as Bryan Cranston’s son, alongside James Franco. Client Kyla Kenedy stars on new ABC hit “Speechless” while Judah Lewis had a breakout year with his turn in “Demolition.” 

Blair Kohan

Partner, Motion Pictures, UTA

Client Jill Soloway won an Emmy for “Transparent,” and Mike Mills’ upcoming “20th Century Women” is a highly anticipated fall title, while Seth Rogen and Evan Goldberg’s animated “Sausage Party” has become the highest-grossing R-rated animated movie of all time.

Sue Kroll

President, Worldwide Marketing & Distribution, Warner Bros

In June, Kroll extended her Warner Bros. contract — the studio saw global success with such blockbusters as “Batman v. Superman” and “Suicide Squad.” Last year was the ninth consecutive year Warner Bros. crossed the $3 billion mark at the worldwide box office, but it’s not just commerce: in 2015, WB films were nominated for 11 Oscars, with “Mad Max: Fury Road” winning six.

Donna Langley

Chairman, Universal Pictures

Last year was transcendent for Universal, with $2.4 billion at the worldwide box office — the highest ever in history — led by “Jurassic World” and “Furious 7.” 2016 saw animated blockbuster “The Secret Life of Pets” set the stage for another strong year.

Christina Miller

President and General Manager, Cartoon Network, Adult Swim, Boomerang

Miller led the successful launch of Cartoon Network’s “The Powerpuff Girls,” while Adult Swim continues to be the No. 1 basic cable network in total day with the 18-24 and 18-34 demos. Cartoon Network’s $30 million Steam initiative uses content and talent from its top shows to encourage kids to explore learning to code as part of the White House’s Computer Science for All initiative.

Courteney Monroe

CEO, National Geographic Global Networks

Busy Monroe helped expand Nat Geo’s scope in the last year with such deals as a production partnership with GE that brought to life the series “Breakthrough,” executive produced by Brian Grazer and Ron Howard; and anthology series “Genius” from Fox 21 Television Studios, Imagine Television, OddLot Entertainment, and EUE/Sokolow, the first scripted series for the network.

Diane Nelson

President, DC Entertainment & president, Warner Bros. Consumer Products

Nelson’s DC superhero universe keeps expanding, and her influence with WB colleagues has driven hits like “Supergirl” on the CW, while blockbusters “Batman v. Superman” and “Suicide Squad” thrilled audiences. DC comic-book numbers have broken records and its consumer products division launched girl-powered franchises.

Amy Poehler

Actor/Producer

Poehler’s  production company, Paper Kite Prods., has seen much success with Comedy Central’s acclaimed “Broad City” and Hulu’s dark comedy “Difficult People,” and also has a development deal with Universal Television.  Meanwhile Poehler’s website Smart Girls, which showcases real girls who are “changing the world by being themselves.”

Keri Putnam

Executive Director, Sundance Institute

Putnam worked with partners at Women in Film Los Angeles last November to mount a daylong, private meeting of 44 entertainment industryites to map a path for addressing gender inequality in Hollywood; helped create a VR residency program; bowed the second-time filmmaker program FilmTwo; and launched the Art of Nonfiction program, targeting documentary filmmakers.

Shonda Rhimes

Executive Producer

In addition to four Shondaland series on ABC — “The Catch,” “Grey’s Anatomy,” “How to Get Away with Murder,” and “Scandal” — Rhimes wrote bestseller “Year of Yes: How to Dance It Out, Dance in the Sun and Be Your Own Person.” Up next for Rhimes is “Still Star-Crossed,” a period drama that takes off from where “Romeo and Juliet” ended.

Susan Rovner

EVP, development, WBTV/co-president, Warner Horizon Scripted TV

In the past year, she oversaw development of Fox’s “Lethal Weapon,” the CW’s “Riverdale” and HBO’s “Westworld,” plus the anticipated Netflix series “Gilmore Girls: A Year in the Life.” She also developed NBC’s hit “Blindspot,” OWN’s “Queen Sugar,” as well as other series.

Leslie Siebert

Senior Managing Partner, Gersh

Siebert’s client Jeffrey Tambor won another Emmy for his starring role in “Transparent,” while clients Allison Janney and Kyle Chandler nabbed more Emmy noms this year; client David Schwimmer wowed in “American Crime Story: The People v. OJ Simpson.”

Dawn Soler

Senior VP of Music, ABC

Soler is still big in “Nashville,” even though the series has decamped to CMT and Hulu, sitting on the board of the Nashville Film Festival. ABC’s still a powerhouse with its Shondaland lineup, new hits “Designated Survivor” and “Speechless,” and “Dancing With the Stars.”

Sandra Stern

President, Lionsgate TV

Stern has been promoted to president of the Lionsgate Television Group. She negotiated a three-year renewal for “Orange Is the New Black,” along with renewals of “The Royals,” “Casual,” and OWN’s new hit series “Greenleaf.” Stern led “Nashville’s” move to CMT and Hulu.

Dana Walden

Co-Chairman/CEO. Fox TV Group, 20th Century Fox TV, Fox Broadcasting Co.

“Grease Live!” was a gamble that paid off handsomely, while “Pitch” looks to be shaping up strongly in the fall. Fox’s “Rocky Horror Picture Show” reimagining has already captured the audience’s imagination while Fox continues to take risks and score.

Sophie Watts

President of STX Entertainment

In August, STX acquired leading VR producer and distributor Surreal, and secured significant investment from Chinese Media giants Tencent and PCCW. The very busy company launched an unscripted TV unit and scored a summer hit with “Bad Moms.”

Cori Wellins

Partner and Television Agent, WME

Wellins’ clients are at the forefront of TV, including Ilene Chaiken (“Empire”), Alan Yang (“Master of None”), Adam F. Goldberg (“The Goldbergs”), and Liz Meriwether (“New Girl”), while writer Andrew Kreisberg’s DC Comics shows dominate The CW’s primetime.

Oprah Winfrey

OWN

With new hits “Greenleaf” and “Queen Sugar,” created by Ava DuVernay, adding to a stable of Tyler Perry successes, the former queen of daytime has cemented OWN as a destination for quality TV in the evening, and the spike in viewership shows audiences agree.

The Women of NBC

“We’re not a coven of women creating some power force against the men,” jokes Jennifer Salke, NBC’s president of entertainment. But even a quick glance through the halls of the network’s executive suite reveals an impressive lineup of accomplished women under CEO Bob Greenblatt who are making key creative decisions — from Salke to Pearlena Igbokwe, president of Universal Television, to Meredith Ahr, president of Universal Television Alternative Studio. (Not to mention: drama exec VP Lisa Katz, comedy exec VP Tracey Pakosta, casting exec VP Grace Wu, senior VP of alternative Jenny Groom, and senior VP of diversity Karen Horne.)
NBC Universal is on an upswing. Salke, who since joining the network five years ago has helped lead NBC out of last place, points to the new hit drama “This Is Us” as her proudest accomplishment. She says she fell in love with the script by Dan Fogelman the moment she read it. “I could not even take for one second the idea that it was not going to be our show,” she says. The drama was just picked up for a full season.
Ahr returned from maternity leave Feb. 1 — and a week later, had one of those “aha” moments where she realized where the business needed to go. By June, she’d been handed the reins of the studio’s new unscripted development arm. “There were a lot of people who thought it was going to be a hard thing to get up and running,” she recalls. “For me to make such a seismic shift in our team and get people on board has blown my mind.” Salke credits Ahr’s efforts — witness such continuing triumphs as “America’s Got Talent,” “Little Big Shots,” and “The Voice,” as well as sleeper newbie “Better Late Than Never” — with fueling the network’s success.
Igbokwe has had what she calls a “bifurcated” year — promoted from the network’s head of drama to head of the studio in June. The new role isn’t without its challenges, she admits. “Finding those great visionaries who still believe in broadcast is harder and harder,” she says. “[But] I don’t think NBC goes from No. 4 to where it is now if people aren’t working together.”
Now her goal is to develop a hit drama with inclusivity at its core. “I am aware that I’ve spent a lot of time developing shows with men at the center of it. Now I want to develop shows with women at the center.”

Universal Music Group

As the highest-ranking of Universal Music Group’s bevy of powerful music executives, Universal Music Publishing Group chairman and CEO Jody Gerson recognizes that there are still cultural obstacles for women in the music industry, even if they are subtle.
“They talk about our business as a boys’ club, and it’s a club I never wanted to be in,” Gerson says, “I don’t know that any guy wants to sit with me at a basketball game. Or even be on the golf course with me, if I played golf. And the thing is, I don’t really want to do those things either.”
Fortunately, she has plenty of company in a club of her own. Alongside her is UMG’s exec VP of recorded music Michele Anthony, who this year oversaw the creation of the Verve Label Group. Motown Records president and UMPG president of urban music Ethiopia Habtemariam is developing a spate of new talent. Michelle Jubelirer, COO of Capitol Music Group, has seen her slice of UMG’s holdings beef up its promotion ranks in 2016, as well as sign a new agreement with a particularly famous Capitol alumnus, Paul McCartney. Wendy Goldstein, Republic Records EVP/head of urban A&R, is on fire with such artists Arianna Grande and The Weeknd.
As for Gerson, her year saw her sign emerging hitmakers like Shawn Mendes and Halsey, lure the likes of Don Henley, Maroon 5 and Pearl Jam back to the publisher, and extend UMPG’s deals with Coldplay, Adele, and Mumford & Sons. “I think that having a group of women where we have shared experiences is very important,” Gerson says. “I think it’s been important to develop a camaraderie with other women — not to the exclusion of anyone else, of course, but it’s important.”