Variety’s L.A. Women’s Impact Report 2020

(The women of) Amazon

Andi Frieder, head of theatrical and home entertainment advertising

Julie Rapaport, co-head movies, Amazon Studios

Amazon’s movie division under Jen Salke has been turning heads with recent deals including “Coming to America 2,” starring Eddie Murphy and originally planned for theatrical release by Paramount, plus the “Borat” sequel, which debuted last week, and “One Night in Miami,” Regina King’s feature directorial debut, which premiered at the Venice Film Festival in September and will get a theatrical debut in December. “Films should reflect the same diversity that makes our world vibrant and beautiful,” says Rapaport. “I’m humbled to get to work with some of the brightest talent, emerging and established filmmakers, to tell their stories to a global audience.” Frieder’s team partners with major studios to engage audiences across Amazon’s suite of media and marketing channels. Acknowledging that it has been a challenging year to promote moviegoing, the former Spotify exec says “it has also been a year of unprecedented innovation in bringing customers new ways to enjoy premium feature-length content, whether that be in theaters or in the home via the new premium VOD model.”

Gina Balian

President, original programming, FX Entertainment

In her first full year as original programming president, Balian launched several critically acclaimed series on the linear FX networks and the newly created FX on Hulu streaming platform. Highlights for her include “Devs” from Alex Garland, the multi-Emmy-nominated “Mrs. America” from Dahvi Waller and Noah Hawley’s highly anticipated new season of “Fargo.” “These shows have something to say, but the way they say it is very unique and in their own voice,” Balian says. “I don’t want us to ever be pinned down to doing one type of tone or one this or that. I think the breadth is what is exciting.”

Ivy Kagan Bierman

Partner, Loeb & Loeb

When the pandemic hit hard in March, Bierman put her decades of dealing with Hollywood unions and guilds to work for clients, first assisting them with the shutdown of their productions, then advising them how to restart safely and legally. She advised Time’s Up on guidelines for intimate and simulated sex scenes and Fremantle on SAG-AFTRA investigations of Gabrielle Union’s allegations against it. She also recently advised AMPAS on its new standards of conduct. “Instead of going into defense mode, I like to say let’s get to the facts and resolve this as quickly and painlessly as possible,” Bierman says.

Karey Burke

President, ABC Entertainment

The COVID-19 pandemic required Burke to pivot from her plans “to bring the swagger back to broadcast” and double-down on eventized programming, tailoring “The Disney Family Singalong” to audiences largely stuck at home and shooting the upcoming season of “The Bachelorette” “in a bubble.” “It is a perfect example of the kind of ingenuity that this situation has begat,” she says of the latter. “The challenge will be for us to take what worked out of these new, innovative ways of making of television and imbue them in the work going forward so TV does feel refreshed.”

Rebecca Campbell

Chairman, direct-to-consumer & international, Walt Disney Co.

Campbell stepped into her current role in May and soon presided over the hit streaming release of “Hamilton” on Disney Plus. With theme parks shuttered and so many multiplexes still dark due to the pandemic, streaming is more important than ever to Disney, which shuffled “Mulan” to an exclusive premium VOD release on the service last month. “Whether it’s continuing to launch Disney Plus into new markets or bringing iconic, culturally significant programming to fans on Disney Plus, ESPN Plus, Hulu and Hotstar, I’m incredibly proud of the hard work and dedication of our teams,” says Campbell, previously president of the Disneyland Resort, who reports directly to CEO Bob Chapek on international matters.

(The women of) Capitol Music Group

Britney Davis, VP of artist relations, marketing & special projects, Capitol Music Group

Cindy James, head of commercial marketing, Caroline Music

Davis arrived at Capitol Music Group shortly after Lil Baby signed there three years ago and worked on his double-platinum album, “My Turn,” as well as his powerful single “The Bigger Picture,” released after the killing of George Floyd, with proceeds partially benefitting Black Lives Matter. “He is a true storyteller,” she says of the artist. “He was speaking purely as a Black man of 25 — it was so emotional and raw and authentic.” As head of commercial marketing, James strives to build connections and create repeat listens. Beyond the reign of Lil Baby, who held the top album spot for five consecutive weeks, she’s pleased with the performances of singer-songwriter Clairo and Texas band Surfaces, two acts she’s been developing over the past year. During the second quarter, with lockdown measures in place, “paid subscription revenues grew significantly faster than they did in the first quarter,” James says of streaming services. “So that’s really encouraging.”

Nicole Clemens

President, Paramount Television Studios

Clemens is especially proud of how her team has not only maintained its collaborative and inclusive culture, but also nurtured it throughout the pandemic. “Our team is closer than ever and we’ve continued to keep our development and production pipelines full and stay optimistic about the future.” Clemens points to Paramount Television Studios’ renewals, pilot orders and 2021 series “The Offer” —as well as the success of “Defending Jacob” and “The Haunting of Bly Manor”— as evidence that content is king. A new series for HBO Max, “Station 11,” examines humanity in the wake of a pandemic. “Who knew how prescient that would be?”

(The women of) City National Bank

Linda Duncombe, EVP and chief marketing, product and digital officer

Martha Henderson, EVP and manager of entertainment banking

Faced with an unprecedented crisis brought on by the coronavirus pandemic, Henderson called on her 40 years of experience in entertainment banking, not to mention her ability to navigate government red tape, and secured nearly 6,000 Paycheck Protection Program (PPP) loans totaling more than $800 million for her show business clients. At the same time, Duncombe, who joined City National Bank in January 2019, directed the bank’s philanthropic efforts, quadrupling its support for industry charities and orgs including Broadway Cares, MusiCares, SAG-AFTRA, ACM Lifting Lives and the Actors Fund, as well as favored causes such as Project Angel Food. She also launched major sponsorships of the Tribeca Film Festival and Nashville’s Bluebird Cafe, while continuing its role as the official bank of the Tony Awards. “It was very important that we showed our support,” says Duncombe. “This is the time when character is tested, and we’re standing up to it.”

Liesl Copland

EVP, advisory, non-scripted group, Endeavor Content

Copland specializes in music docs and sold “Beastie Boys Story” to Apple TV Plus, she oversaw the team that brought “Hamilton” to Disney Plus for a hefty price. She helped launch Endeavor Content’s investment practice and nailed the Amazon Studios deal for Rihanna’s documentary (reported to be $25 million). “My reason for being in documentaries in the first place is that these are crazy, inspirational, true stories, and they can actually impact change,” she says. Copland sits on the advisory board of One Community, which invests in projects including “Just Mercy” and calls that work “the best thing I do all day.”

Tara Duncan

President of Freeform

Named Freeform president in May, Duncan spent the summer getting to know her new colleagues virtually while also focusing on “articulating our vision for the Freeform brand and reimagining what our future could look like in the larger Disney ecosystem.” Prior to joining Disney’s young adult cabler, Duncan served as an executive at AMC and Netflix, overseeing “Orange Is the New Black” and “Narcos” at the latter. “You have to be willing to take risks when it comes to storytelling,” says Duncan, who signed an overall deal for Hulu in April and is developing an adaptation of “The Other Black Girl” for the streamer. “I’m passionate about narratives and characters that challenge convention.”

Jane Gowen

EVP of product development & marketing, Universal Music Enterprises, Universal Music Group

As U.S. head of A&R and marketing for the catalog division of the world’s largest music company, Gowen works with music’s top acts day in, day out. “In the past year there’s been projects from Bob Marley, Paul McCartney, the Rolling Stones, John Lennon and Cat Stevens, and U2 and Elton John are coming up,” she says. “I’m very lucky.” In the streaming age, the sky’s the limit for catalog sales: “Now, it’s really about finding the story around a catalog,” says the Los Angeles-based U.K. transplant, who started her career at Virgin Records in London. Listening hasn’t dipped with so many people stuck at home. “In fact, it’s thriving.”

(The women of) Grey’s Anatomy

Debbie Allen, EP, director, recurring actor

Ellen Pompeo, actor, producer

Krista Vernoff, showrunner

Chandra Wilson, actor, director

One of the first major shows to halt production during the pandemic, ABC’s long-running medical show ended its 16th season early and debated whether to tackle the pandemic in its upcoming season before deciding to lean in and dedicate it to first responders. From the Nov. 12 season premiere on, it tackle the pandemic as experienced by the show’s doctors — all while filming under strict COVID-19 protocols. As EP, director and recurring star Allen puts it: “COVID is No. 1 on the call sheet right now.” For her part, star and producer Pompeo hopes that the global health crisis will help change Hollywood’s attitude toward production. “I hope post-COVID nobody ever goes back to 24 or 22 episodes a season,” she says. “It’s why people get sick.”

Alison Hoffman

President, Domestic Networks, Starz

Starz has experienced exceptional growth, especially in the OTT realm, according to Hoffman. But she’s also excited by the network’s ongoing commitment to telling women’s stories. “Eleven of our 16 showrunners are women, a third of those are women of color,” she says, including those behind renewed series such as “Hightown,” “P-Valley” and “Power Book II: Ghost,” as well as upcoming comedy “Run the World.” “Almost 70% of our shows feature women in a leading role, and half of those are women of color.” Per Hoffman: Starz will continue providing viewers with premium programming while supporting and amplifying women’s voices and diverse voices.

(The women of) Hello Sunshine

Sarah Harden, CEO

Lauren Neustadter, head of film & TV

Reese Witherspoon, founder

Any lingering doubts about Hello Sunshine’s producing acumen have surely faded with the streamer launches of “The Morning Show” on Apple TV Plus and “Little Fires Everywhere” on Hulu, which garnered 13 Emmy nominations between them. The second season of HBO’s “Big Little Lies” also received five noms, bringing Hello Sunshine’s nomination haul to 18 this year. “Morning Show” co-star Billy Crudup ultimately snagged a supporting actor Emmy, the first Emmy win for the fledgling Apple TV Plus service, while Jennifer Aniston won a SAG trophy for her performance. A second season of “The Morning Show” is in the works, with key talent returning.

Witherspoon, who co-starred in all three, founded Hello Sunshine four years ago to focus on female-led stories. And it turns out having a woman propel a narrative — be it a novel, a television show or a film — isn’t such a bad idea from a financial or creative standpoint. Hello Sunshine has projects in the works at Amazon, Apple, Hulu, Netflix HBO, MGM, Starz and HBO Max. Books — some of which are selected for Witherspoon’s affiliated book club — are often the basis of television projects or movies produced by the company.

“When we set out to build the company, we knew we had a worthy mission that was important,” says CEO Harden. “But we also knew it was good business.”

“When I started Hello Sunshine, I often found myself talking to people about female representation and saw blank faces staring back at me,” Witherspoon says. “That doesn’t happen as much now, and there’s definitely momentum in Hollywood to diversify storytelling.”

The company has doubled down on optimistic storytelling in the wake of the pandemic. “As quarantine has made clear, people want to be entertained and sometimes need a reprieve from bad news,” Witherspoon says. “We want to give them uplifting and hopeful TV shows and films.” Adds Neustadter: “Hope is an essential ingredient. The character can go through really challenging stuff, but we always want to show our audience that there is light at the end of the tunnel.”

— Addie Morfoot

(The women of) Hulu

Kelly Campbell, president

Beatrice Springborn, VP, content development

This strange year had its upside for Hulu, home to Emmy nominees including “Normal People” and “Little Fires Everywhere.” “Hulu’s grown to 35.5 million paid subscribers, and 3.4 million of those are live subscribers,” Campbell says. TV might seem frivolous compared with COVID and the never-ending news cycle, Springborn says, but it’s essential. “What’s important is to remind ourselves that there is still art being made, people need comedy to let off steam, and when we can’t hug our loved ones, being able to experience the intimacy of ‘Normal People’ is actually a lifesaver. We may not be doing God’s work, but if we’re able to bring moments of joy, reflection and levity during this strange time, then I know my job has meaning and light.” Campbell says advertisers are following consumers to streaming. “They’re looking at streaming TV as an essential part of their marketing mix, not an afterthought.”

Pearlena Igbokwe

Chairman, Universal Studios Group, NBCUniversal

Elevated to her current role in NBCU’s September reorg, Igbokwe counts maintaining human connections and figuring out how to safely resume production during the pandemic among her most significant accomplishments of 2020. She says adaptability proved vital. Pitching shows via Zoom, establishing safety protocols and remote productions including the “Parks and Recreation” and “30 Rock” specials and NBC’s new series “Connecting,” helped create other production models. Igbokwe hopes societal inequities brought to light this year will ultimately improve representation among industry decision-makers. “We went through the #MeToo era seeing more women empowered, and now, more people of color being empowered in from of the camera as well as behind it,” she notes.

Laura Karpman

Composer

Karpman won her first primetime Emmy for music in the documentary series “Why We Hate” in September and found ways to record orchestral film scores remotely during the pandemic, culminating in an operatic sequence for HBO’s “Lovecraft Country.” Next up: Marvel’s animated “What If?” series for Disney Plus. The co-founder of the Alliance for Women Film Composers is also the first female music governor in the Motion Picture Academy. “When you do advocacy work, you create a community of people that cares about each other. Whether it’s recording musicians, or promotion of women, we’re a family and we need to help each other,” she says.

Regina King

Actor, director

Already on an awards tear, King made her feature film directorial debut with “One Night in Miami,” which premiered at the Venice Film Festival, and then proceeded to pick up her fourth Emmy — this time for her performance in “Watchmen” — two weeks later.

There are normal mid-career Hollywood renaissances, and then there’s whatever you call King’s past half-decade. A working actor since the mid-1980s, with roles in “Boyz N the Hood,” “Friday” and “Jerry Maguire,” King has won a Golden Globe and an Oscar for acting in addition to her Emmys within the past five years.

Adapted from Kemp Powers’ play, “One Night in Miami” features a speculative imagining of a real-life 1964 meeting of the minds between Malcolm X, Sam Cooke, Jim Brown and boxer Cassius Clay, soon to change his name to Muhammad Ali. King had directed TV episodes before, but her debut feature offered plenty of fresh wrinkles.

“The biggest challenge was to make it not feel like a play,” King says. “That outcome may have been inevitable in certain moments. But I felt Kemp’s dialogue was so powerful that with the right actors those moments, if they came up, would be forgiven. We spend quite a bit of time in one room. So we decided to use artistic license and make the room considerably bigger than what the actual room would have been. To help lean into the vitality of these men, we decided to keep the camera moving at all times throughout the film.”

Featuring discursive, playful and, at times, incendiary exchanges between these four famous men, “Miami” often can’t help but feel like it’s speaking directly to the present moment, which was something King didn’t hesitate to lean into. “The discussions between Malcolm and Sam were happening before anyone knew about a Malcolm X or a Sam Cooke, so for Black people the moment is always now, regardless of what year the conversation is taking place.”

And for that reason, King felt it important to move full-steam ahead with the film’s rollout — it will receive a limited Christmas release before hitting Amazon Prime in early January — despite the pandemic.

“With all of the devastation we are in the midst of, I believe we are at a precipice,” King says. “We felt strongly that if this film can have a positive impact on anyone at this juncture, we should get it out there.”

— Andrew Barker

Jennifer Lane

EP, “Queer Eye”

Last month, Lane won her third consecutive Emmy for structured reality program as EP of Netflix’s revived “Queer Eye,” the gold standard of nonscripted series. (It’s snagged 17 noms and eight wins overall since its Netflix debut in 2018.) Lane has led the Fab Five in their quest to transform lives, and throw a spotlight on the people who comprise the diversity of modern America. “As these kinds of shows become more popular, I think it’s because it’s kind of nice to just see real human interaction,” she says. As for the next season, it’s been put on hold because of COVID. “I’m proud of our great American cities and their diversity.”

Donna Langley

Chairman, Universal Filmed Entertainment Group

Langley tackled the pandemic’s challenges head-on in her leadership role at Universal, as the studio made the bold decision to release “Trolls World Tour” direct to PVOD and forged a deal with AMC that will allow Universal titles to premiere in the home as early as three weeks after their theatrical debut. She also ran the working group for film and TV on the L.A. County Economic Resiliency task force to help get production back up and running. “Distribution is incredibly dynamic, and the trends that were happening pre-COVID have just been accelerated,” says the British native. “But theatrical will continue to be the bedrock of our business model.”

Annie Lee

CFO, Interscope Geffen A&M

With artists including Lady Gaga, DaBaby, Selena Gomez and Juice WRLD on its roster, Interscope Geffen A&M is a market-share leader this year. And Lee, promoted to CFO in 2019, is at the financial and operational helm of the Universal Music Group label. The daughter of immigrants from Taiwan, Lee credits her parents for their “tenacity and drive to create a life in a foreign country. It’s a reminder that I can overcome any task.” Lee has been an advocate for diversity and inclusion at IGA, determined to lead by example and to mentor up-and-coming executives.

Jennifer Lee

Chief creative officer, Walt Disney Animation Studios; writer-director, “Frozen 2”

Beyond her executive duties, Lee wrote and directed “Frozen 2,” which has become the highest-grossing animated film of all time since its November release, a title it seems unlikely to surrender any time soon. And yet, having taken the top job of chief creative officer at Walt Disney Animation Studios just two years ago, we may only be seeing the beginning of Lee’s stewardship. Up next, the Southeast Asia-set “Raya and the Last Dragon,” about which she says: “I’m most proud of our studio for making an entire animated feature from over 400 different homes and, while apart, finding ways to be just as connected.”

Pam Lifford

President, global brand and experiences, Warner Bros.

Lifford heads DC Comics, central to the studio’s virtual fan event this summer. DC FanDome generated 22 million views across 220 countries and territories over a 24-hour period in August, engaging fans at a time when so many in-person events have been curtailed due to the pandemic. Beyond DC, Lifford also oversees brand experiences for themed entertainment (including the Wizarding World of Harry Potter at Universal Studios) and consumer products for all Warner Bros. properties. She calls fans “the lifeblood of our business” and maintains that, “with the current environment, reaching fans today has become more important than ever.”

Carianne Marshall

Co-chair and COO, Warner Chappell Music

Marshall and CEO Guy Moot have used the lockdown to reimagine what a publishing company can be. They’ve leaned into virtual songwriters’ camps, launched a royalties app and inked deals with Quincy Jones, Frank Ocean, Thomas Rhett, Mike WiLL Made-It, the Pop Smoke estate and Duran Duran. “Doing all this during a pandemic has been a bit like fixing a plane while it’s flying,” she says. “But we’ve successfully transitioned to become a fully remote company, and, for better or worse, all these Zoom calls have enabled us to deploy our new strategies all at once, rather than through a series of town halls. A lot of teams that were previously siloed are now really excited about bringing ideas to the whole company.”

Jennifer McDaniels

G.M., Music, SB Projects

A full slate of stars — including Justin Bieber, Ariana Grande, J Balvin and Demi Lovato — keep McDaniels busy at SB Projects. In May she helped orchestrate Bieber and Grande’s hit “Stuck With U,” which raised funds for the First Responders Children’s Foundation. “Our whole team just really came together and felt like we were doing something great and very special at that moment,” McDaniels says of the song. Her next focus: The presidential election, with the release of Lovato’s politically charged single “Commander in Chief” and the creation of March on Ballot Boxes, which has partnered with HeadCount and Black Voters Matter to increase registration and fight against voter suppression.

Lisa Joseph Metelus

Co-head, basketball marketing and servicing and board member, CAA

Metelus handles all the off-court deals for players. For a client such as retired NBA star Dwayne Wade, that includes everything from brand partnerships, a second book for HarperCollins and his wine company D Wade Cellars to his role as Lamont in a Zoom table read of “Sanford & Son.” She also reps Zion Williamson, Jaren Jackson Jr. and Collin Sexton. “The conversation is always, are you doing this because it’s something you’re excited about or is it just because of a check?” she says. “Nine out of 10 times, if it’s just because of a check, it doesn’t bode well for either side.”

(The women of) MGM

Pamela Abdy, president, motion picture group

Lori Silfen, EVP and head of music

Abdy joined MGM in April and is working with new chairman Michael De Luca to beef up the venerable studio’s lineup. Acquisitions include Ron Howard’s “Thirteen Lives” and Tommy Kail’s “Fiddler on the Roof”; Abdy, who produced last year’s “Queen & Slim,” is also overseeing the newly relaunched Orion Pictures with president Alana Mayo; the label is focused on fostering underrepresented voices in film. “I believe there is space for bold stories with real authorship from underrepresented voices,” Abdy says. “We are living in an era where art and content will directly reflect what the world looks like.” Silfen oversees MGM’s music operations across film and TV; notable developments include Billie Eilish’s theme song for the next Bond movie, “No Time to Die,” and gaining rights to iconic Aretha Franklin songs for “Respect.” A recent high point, she says, was “getting to watch Jennifer Hudson perform those songs on set, which was very special given the fact that Aretha had handpicked Jennifer to play her.”

Vanessa Morrison

President, streaming, Walt Disney Studios Motion Picture Production

In March, Morrison segued from Fox Family to Disney, where she oversees some of the same film projects — but they will now be distributed on Disney Plus, an even bigger corporate focus thanks to the pandemic. Among her upcoming projects: a multiracial version of “Cheaper by the Dozen” from Kenya Barris; “Godmothered” with Isla Fisher; an adaptation of “Flora and Ulysses”; and an animated version of “Diary of a Wimpy Kid.” “When you’re in family content, you look at Disney from afar and see the power of that brand and the power of what it means to people all around the world,” she says, “and now to be a part of it is really exciting.”

(The women of) Netflix

Bela Bajaria, VP of global TV

Amy Reinhard, VP of studio operations

Bozoma Saint John, CMO

The pandemic has been a boon to Netflix, which landed a record 160 Emmy noms (winning 21), and continued to pump out programming for domestic and international audiences. Bajaria expanded her duties in September and now oversees all English- and local-language scripted and unscripted series. Among the notable offerings: Emmy-nominated “Unorthodox,” shot in Brooklyn and Berlin. “Accomplishments during the pandemic are a tall order,” says Bajaria. “But I do feel proud that we’ve been able to bring the world some comfort and entertainment this year.”

Also elevated to her new role in September, Reinhard oversees physical production for all original programming as well as IP management. She closed deals for “Avatar” and “Seinfeld”; a “Stranger Things” drive-into experience will enable fans to interact in a socially distant manner. “Over the last year, audiences around the world have turned to entertainment for moments of escape, nostalgia, laughter and everything in between,” Reinhard says.

Saint John, named CMO in June, recently launched Netflix’s first global brand campaign, “One Story Away,” about the power of stories to stir emotions and create bonds among viewers. “My biggest accomplishment this year is in simply being,” she says. “If you aim to disrupt the disruption of the global pandemic compounded by racial and social unrest, you may find yourself and your brand irrecoverably damaged. So this year, it has been much more of a positive accomplishment to be human.”

(The women of) ‘Never Have I Ever’  

Lang Fisher, co-creator

Mindy Kaling, co-creator

Maitreyi Ramakrishnan, actor

When Netflix approached Kaling about doing a show based on her memoirs, she chose to update it from Boston in the 1990s to a teen living in today’s San Fernando Valley. The biggest challenge was finding the right girl to play Devi, the teen at the center of the drama. Ramakrishnan, a Canadian of Sri Lankan descent, was discovered after a massive search, and made her professional debut in the series. But beyond Devi, Kaling and co-creator Fisher also wanted to create a strong maternal character, played by Poorna Jagannathan.

“Both Mindy and I have moms who are doctors,” says Fisher. “We both were very close to our moms who were incredibly smart women and we wanted to embody Nalini with that kind of well-rounded strong, smart persona. Kind of an homage to our own mothers.”

The series debuted in late April, and quickly became a pandemic hit. Ramakrishnan has a simple explanation for its success: “If you are South Asian you can relate to Devi, but there are other things you can relate, too, like the loss of a parent,” Ramakrishnan says. “That’s not something that just South Asian people go through. All people go through that. And even the teen angst of just being a high-schooler. We’ve all been 15 at one point, right? Devi, her character is very relatable, but so are the rest of the characters.”

Kaling and Fisher, who both gave birth to sons in the past 12 months, have since been working on Season 2, slated to go back into production in November. Zoom writers’ room are more efficient and have led to Zoom table reads, they say.

— Shalini Dore

Catherine O’Hara

Actor

O’Hara won the lead actress in a comedy Emmy last month after presenters Jimmy Kimmel and Jennifer Aniston lit the card on fire — and she now owns that charred card. “My name was read, and that was the beginning of a crazy, dreamy, are-we-making-this-up, night of happy tears and fearless embraces,” says the “Schitt’s Creek” star. As former soap star Moira Rose, O’Hara parodied the shallow, self-centered world of Hollywood while also creating a character that audiences came to love. Though O’Hara was born and raised in Toronto, Canada, she’s also a longtime Angeleno, where she makes her home with her husband, production designer Bo Welch, and has previously stolen scenes in films from “Beetlejuice” to “Best in Show.” What recent achievement is she most proud of? “I voted! I hope that counts.”

(The women of) ‘The Old Guard’

Dana Goldberg, producer

Beth Kono, producer

KiKi Layne, actor

Gina Prince-Bythewood, director

Charlize Theron, actor, producer

Netflix hit action movie “The Old Guard” busted stereotypes onscreen and off: The director is a Black woman, both lead actors are women, and most of the heads of the departments and post crew were women.

Was that intentional? “It was all intentional — 100% — to go in and disrupt the genre, not only the film on screen, but who put it together,” says director Prince-Bythewood.

Theron got the script for “The Old Guard” while shooting “Bombshell,” and signed on to star and produce, joining producing partner Kono and Skydance’s Goldberg in that capacity. Layne, best known for “If Beale Street Could Talk,” jumped at the chance to play Nile, the unwitting new recruit to the team of immortals led by Theron’s weary Andi, calling it “super dope to be an action star.”

The film was “really showing what so many of us are capable of doing, and have a desire to do but have not been given the opportunity because of false narratives that have been perpetuated for years” — namely that women don’t like action films, don’t want to make them and are not capable of making them, Prince-Bythewood says. “So I was absolutely grateful for the opportunity.”

The movie debuted mid-pandemic and Greg Rucka is working on a script for a planned sequel, Theron acknowledged to Variety recently, but it’s unclear when that might move forward due to COVID-19.

“For me, in my work, my hope is that in doing films like the ‘Old Guard,’ women, girls, teens can look up on screen, see themselves reflected in a way that inspires them,” says Prince-Bythewood.

— Carole Horst

Wendy Ong

President, TaP Management

Ong oversaw the opening of the London-based company’s Los Angeles office and worked extensively on two major lockdown releases — Dua Lipa’s “Future Nostalgia,” considered a top Grammy contender, and Ellie Goulding’s “Brightest Blue” — as well as the forthcoming release of Lana Del Rey’s sixth album in eight years, “Chemtrails Over the Country Club.” “One skill I honed in doing international marketing is how to be a diplomat — how to get other people to do what you want them to do, and also how to spend their money for them wisely,” says Ong, who became president of TaP in 2018.

Bruna Papandrea

Founder-CEO, Made Up Stories

Normally based in L.A. with her family, Papandrea has temporarily moved back to her native Australia, where she’s gone back into production on projects her company had on the runway prior to the industry’s COVID-19 shutdown. Post-“Big Little Lies” projects include HBO’s “The Undoing,” with Nicole Kidman and Hugh Grant; Hulu’s “Nine Perfect Strangers”; and “Pieces of Her” for Netflix. “Penguin Bloom,” starring Naomi Watts, debuted at the Toronto Film Festival. Earlier in the pandemic, she co-founded It Takes Our Village, an industry initiative that raised almost $1 million for below-the-line workers. “Even in Australia, where there’s very little COVID,” new precautions guarding against its spread have quickly become normalized, Papandrea says. “People adapt, because they’re so excited to work.”

Vanessa Pappas

Interim head of TikTok

The pandemic boosted TikTok’s popularity even further, creating viral stars ranging from comedian Sarah Cooper to a guy skateboarding to Fleetwood Mac’s “Dreams” while drinking Ocean Spray. “TikTok has become a home for these cultural zeitgeist moments,” says Pappas, who became interim chief following Kevin Mayer’s exit in August. “No one could have been able to predict the impact TikTok has had in such short order.” The silver lining: “Despite being physically separated from the office, we’ve embraced the humanizing moments — whether it’s your 4-year-old making an appearance on a video conference or your dog who simply won’t stop barking — that help us connect in a more real and personal way.”

Susan Rovner

Chairman, entertainment content for television and streaming, NBCUniversal

Earlier this month, Rovner left her perch as co-president of Warner Bros. TV for NBCUniversal, attracted by the opportunity to work in a more horizontal structure.

“I really liked the ability to come in here and really focus on, what is the best content? And what is the best way for us to distribute it?” says Rovner, who sold shows to myriad buyers during her 22-year run at Warner Bros. “Distribution systems are going to constantly change; obviously, right now everything is moving to streaming and on demand.

“But what will never change is the need for great content. That is always going to be a constant. And that’s how I approach things because I think, however, wherever, you watch it, if it’s a great show, you’ll find it.”

At Warner Bros., she oversaw development of more than 70 live-action shows, and counts Emmy-winner “Watchmen,” Apple TV Plus’ “Ted Lasso” and “You,” a show that segued from Lifetime to Netflix, as three standouts from the past year, noting that all three were backed by strong writers.

During the end of her WBTV run, Rovner spent a lot of time focused on COVID-19 safety protocols, and she expects the pandemic to have permanently altered how the entertainment industry will approach production. “I think productions will never look the same,” she says. “I think we will take what we’ve learned in all these COVID protocols into the future.”

Working at home since the pandemic shutdown, Rovner has been getting to know her new colleagues via Zoom calls and will soon begin socially distanced forays to her new studio home.

While NBCU has begun to start back production of scripted programming such as “This Is Us,” she doesn’t really expect the industry to settle back into a new normal until after a vaccine has become widely available.

“We’re testing a lot, and every time your stomach drops if you get a positive and what that means. But I’m so happy that we’re back in production,” she says. “It’s the first step towards some normality.

“Until there’s a vaccine,” however, “everything’s going to be a little more challenging.”

— Diane Garrett

Ann Sarnoff

Chair and CEO, WarnerMedia Studios and Networks Group

Under a massive WarnerMedia shakeup in August, Sarnoff gained expanded duties, now overseeing a newly formed studios and networks group that combines original production and programming across Warner Bros., HBO and HBO Max, and basic cable channels TNT, TBS and TruTV. Her elevation came one year after she officially took the reins as the first female chair-CEO of Warner Bros. “I’ve never been shy at taking risks and taking on challenges,” says Sarnoff. One of the highlights of the past year? Seeing Joaquin Phoenix win best actor, both at Golden Globes and the Oscars. “Those were big moments because ‘Joker’ was a challenging movie,” she says.

Sarah Schechter

Chairman and partner, Berlanti Prods.

Elevated to her newly created role in February, Sarah Schechter oversees film and TV projects for the prolific production company, serving as EP on shows including “Riverdale,” “You” and “All American.” Its first documentary project, “Helter Skelter: An American Myth,” premiered on Epix this summer and its second, “Equal,” for HBO Max, debuted last week. “The market is ever-changing,” says Schechter, whose father is a documentarian. “We want to just keep working with people that we love, that we believe in and tell stories that haven’t been told.”

Nicole Sexton

President and CEO, Entertainment Industry Foundation

Since the COVID-19 pandemic, EIF has disbursed more than $10 million in grants to those in need, including first responders. Sexton was also an executive producer of Graduate Together, a star-studded telecast created in tandem with XQ Institute that celebrated 3 million high-school seniors and drew some 20 million viewers in May. “Seeing all of this kindness and people coming together, it really has been so beautiful, like this kind of unbelievable symphony,” says Sexton, who has headed the charitable org since 2017. “Our role, and our hope, is that EIF will continue to be the go-to organization to help those in need.”

Tiffany Smith-Anoa’i

EVP of entertainment diversity & inclusion, West Coast, ViacomCBS

Now charged with leading diversity and inclusion initiatives for CBS Entertainment, Showtime and Paramount, Smith-Anoa’i began developing diversity programs for CBS more than a decade ago. Among the initiatives: annual symposiums with casting directors to improve diversity and Eye Speak to foster female empowerment. “I took a deep breath, trusted and valued my voice and believed in something that had never been presented to the network,” says Smith-Anoa’i, who joined CBS as a publicist in 2000. To foster greater inclusion, she recruits community college students for intern openings and invites every employee to executive meetings. “Talent is universal, but opportunity is not,” she says. “And we change that by inviting young people to challenge our outdated system and values.”

Cathleen Taff

President, Production Services, Franchise Management & Multicultural Engagement, Walt Disney Studios

Taff oversaw a record-setting $11 billion haul at the global box office last year, fueled in part by the latest “Star Wars” movie, live-action version of “The Lion King” and “Frozen 2.” Then the pandemic hit, upending the theatrical business; “Mulan” eventually debuted on Disney Plus domestically. “We’re monitoring the virus and are incredibly optimistic about returning the movies to cinemas as soon as we can,” says Taff, who just segued to new duties following a massive studio reorg. In her new role, she leads a production services group that includes operations, technology and labor relations, and will continue to oversee franchise management and multicultural engagement.

Robin Thede

Creator, showrunner, performer, “A Black Lady Sketch Show”

Thede calls the three Emmy noms for her HBO comedy “such a reward for so many people who worked incredibly hard to help me make my dream of a cinematic, narrative, all-Black woman sketch show come true.” She’s eager to get back for Season 2 of “A Black Lady Sketch Show” “when it’s safe to do so” and has also entered into an overall TV deal with Warner Bros. If anything, the shutdown has made her more passionate about her work. “The time for voices like mine and other Black women is now. More people are listening, but there’s still a long way to go.”

Karen Rupert Toliver

EVP creative, Sony Pictures Animation

Toliver calls working on the Oscar-winning “Hair Love” a highlight of her career, not just the year. “For me, it signaled a strong embrace of depicting positive Black images and normalizing the Black experience,” she says. Toliver is hoping success will inspire filmmakers to be bold in depicting different ethnicities and experiences, and show studios what audiences really want. She is excited for the studio’s first musical, “Vivo,” with Lin-Manuel Miranda, and about using animation to tell relevant and diverse stories. “We’re just starting to scratch the surface of where animation can go, and I’m looking forward to being surprised by what that looks like.”

(The women of) UTA

Andrea Nelson Meigs, partner

Cheryl Paglierani, partner and agent, music

Toni Wallace, co-head of music brand partnerships

Nelson Meigs exited ICM Partners for UTA last week, repping a diverse stable of clients ranging from music superstar Beyoncé to Oscar-winning 80-something actress Ellen Burstyn. A onetime child actress, she eventually became the second Black talent agent in CAA’s history. Other clients include Oscar-winning writer-director Matthew A. Cherry (“Hair Love”) and actor Aunjanue Ellis (“Lovecraft Country”). “You’re really starting to see a lot of the talent say how meaningful it is to have representatives that look like them, so they have a shorthand where they can say, ‘You know what I’m talking about, right?’” she says. Paglierani, recently promoted to partner, orchestrated Post Malone’s livestreamed Nirvana tribute in April, which raised half a million dollars for COVID-19 relief, and with Wallace helped organize the Offset & Friends benefit, which provided more than 300,000 meals for an Atlanta food bank. “Everyone is more than ready to get back on the road, and I believe we will see an increase in the amount of people looking to attend live shows once it is safe to do so,” Paglierani says. Wallace also struck a partnership between Chance the Rapper and Verizon to raise money for small businesses, plus a pact between rapper 21 Savage and mobile banking provider Chime to create a financial literacy program for underserved youth. “Since COVID-19 struck in March, we have secured over 200 partnerships with emerging and established artists across all genres of music,” Wallace says. “And we have built an eight-figure business for UTA and our clients.”

Katie Vinten

Founder of Black Diamond Artist Management and co-founder and partner of Facet House, Facet Records and Facet Publishing

The paint was barely dry on the walls of West Hollywood-based Facet House, the label and publishing venture Vinten launched with hitmaker Justin Tranter in 2018, when COVID-19 hit. But while Vinten, a mother of two, has been working from home since then, the new space has been put to good use: Facet is cobbling together the soundtrack for “Happiest Season,” the first LGBTQ holiday film from a major studio. “The past couple of months have been insane because producers have been working day and night to meet the deadline,” says Vinten. “I’m more optimistic than ever because I’ve realized the positive impact we can make. As a woman in this industry, that’s the kind of confidence I’ve needed to keep going.”

Dahvi Waller

Creator, “Mrs. America”

Waller’s FX on Hulu series about the estrogen-fueled battle over ERA ratification in the 1970s received 10 Emmy nominations, including for limited series, and won a supporting actress trophy for Uzo Aduba’s portrayal of 1972 presidential candidate Shirley Chisholm. Waller, who grew up a political junkie in Canada, devoted installments of “Mrs. America” to feminists such as Gloria Steinem and Chisholm in addition to conservative leader Phyllis Schlafly, highlighting gender issues that seem eerily relevant today. “Anytime you take a period in history, and you’re doing it for today’s audiences, you choose the stories to tell that are going to resonate for today,” says Waller, a vet of “Mad Men” and “Halt and Catch Fire.”

(The women of) WarnerMedia

Sarah Aubrey, head of original content, HBO Max

Amy Gravitt, EVP and head of comedy, programming, HBO

Corie Henson, EVP, head of unscripted programming, TNT, TBS, truTV

Francesca Orsi, EVP and head of drama, programming, HBO

Collectively, this quartet has overseen the launch of a streaming service and buzzy shows including “Watchmen,” “Succession” and “I May Destroy You.” At HBO Max, Aubrey has assembled a team that’s 81% female, developing original offerings with a slant toward Gen Z, millennial and female audiences. Early offerings include “Class Action Park,” “An American Pickle” and “Love Life.” “It is incredibly gratifying to see our HBO Max originals break through and connect with viewers,” says Aubrey. “And this is just the beginning.” Gravitt’s comedy lineup at HBO includes “I May Destroy You” and Issa Rae’s “Insecure,” while Orsi’s drama-focused team won Emmys for “Watchmen,” “Succession,” “Euphoria” and “I Know This Much Is True.” “We are incredibly proud of the diverse slate of high-quality programming our teams have delivered, and will continue to deliver, despite the obstacles that COVID-19 has presented,” Gravitt says. “Curation is in our DNA,” Orsi adds. Among the Turner networks unscripted offerings in the works for Henson: a revival of “Wipeout,” and “Go-Big Show” with Snoop Dogg as one of the hosts. “Finding shows that offer joy and escape during a pandemic like ‘Wipeout’ and ‘Go-Big Show’ requires greater teamwork and a more decisive and compassionate leader,” says Henson.

Emma Watts

President, motion picture group, Paramount Pictures

The former Fox exec, who joined Paramount over the summer, is looking forward to building the next slate of Paramount films, the safe return of movies to theaters and actually setting foot on the Paramount lot. She says creative ways of addressing the pandemic — from her informal water-cooler Zoom sessions in lieu of office conversations, to finding ways to get people back to work safely — are spurring innovation. “There’s a benefit from really trying to figure out the balance between streaming and theatrical, and how they can both serve each other and create an even better theatrical experience for audiences.”

Cori Wellins

Partner, TV scripted, WME

A longtime key player at the agency, WME scripted television partner Wellins represents a broad array of producers and talent. Wellins’ clients Bruna Papandrea, Amy Schumer, Lilly Singh, Leah Fong and Carla Kettner all had new series ordered this year. Clients that negotiated fresh overall deals include Alan Yang, Adam Goldberg, Liz Meriwether, Lee Eisenberg, Lizzie and Wendy Molyneaux, Liz Flahive and Zander Lehmann. Wellins’ program Femtor, which pairs 44 female mentor television executives with women at the beginnings of their careers, also extended into its third year. “It is incredibly important to me that women coming up know that there are many paths to success in this business,” Wellins says. “I was inspired to start the L.A. Femtors program because I wanted to be a part of a change.”

Jana Winograde

President of entertainment, Showtime

Showtime planned ahead for a work stoppage due to Writers Guild negotiations, so was well-prepared when COVID-19 hit. Having leaned further into docuseries, the network had a high volume of titles (such as “Outcry” and “Love Fraud”) for prime Sunday night spots previously reserved for scripted fare. “The Chi’s” third season ticked up in its ratings and social conversations, while new limited series “The Good Lord Bird” and “The Comey Rule” also captured zeitgeist discussions. Showtime’s success, Winograde says, comes from “distinguishing ourselves and really trying to be the boutique, bespoke operation amidst the big-box stores.”

Zendaya

Actor

Zendaya made history when she became the youngest woman to win the lead actress Emmy for drama series, besting stars such as Jennifer Aniston, Sandra Oh and last year’s victor Jodie Comer for her performance as Rue Bennett, a teen grappling with bipolar disorder, in HBO’s “Euphoria.” Zendaya, the second Black woman to win a trophy in that category, is reprising her “Euphoria” role for a second season, and is starring in “Malcolm and Marie,” written and directed by “Euphoria” creator Sam Levinson, as well as “Dune” opposite Timothée Chalamet; another “Spider-Man” installment is also in the works. Now 24, the former Disney Channel star began producing while still a teen, and told Variety earlier this year that she hopes to work behind the scenes to uplift voices “that aren’t necessarily mine.” Her advice Emmy night: “Take your time and be easy on yourself.”

UP NEXT: Zelda Barnz

Writer, EP, “Generation,” HBO Max

Barnz was just 17 when she sold the pilot for her scripted series “Generation” to HBO Max. A year later, the dramedy about high schoolers exploring modern sexuality, which she co-created with her father, Daniel, became the first pilot the fledgling streamer ordered to series. Raised in Los Angeles, Barnz was co-leader of Oakwood Secondary School’s Rainbow Alliance. Accepted by Yale, she deferred going until fall 2021 to shoot “Generation.”

UP NEXT: Marley Dias

Host and EP, “Bookmarks: Celebrating Black Voices,” Netflix

Just 15, Dias is host and executive producer of a Netflix series that addresses difficult topics about the Black experience through children’s books written by Black authors. Dias also has launched her own movement, #1000BlackGirlBooks, to collect and donate children’s books that feature Black girls as the lead character. An outspoken activist for social justice and equality, Dias commanded the spotlight over the summer with her speech on the first night of the Democratic National Convention.

UP NEXT: Tabitha Jackson

Director, Sundance Film Festival

The pandemic struck a month after Jackson was named long-time director John Cooper’s successor, tapped for the role after six years running the fest’s documentary film program. She immediately set about reimagining the event, which typically runs for 11 days and attracts upward of 120,000 people to Utah. Next year’s shortened fest will revolve around a custom-built digital platform, complemented by arthouse cinema screenings around the country. Its mantra with Jackson at the helm: We’re doing things a bit differently in 2021.

UP NEXT: Milana Rabkin Lewis

Co-founder and CEO, Stem

Lewis’ mission is to help artists run their businesses independently – and lucratively. In February, the financial platform, which allows music creators to track monetization streams, launched Scale, a $100 million advance fund that allows artists to set their own payback terms. Stem also includes an option to donate a percentage of their profits to charitable organizations. Says Lewis: “I just want the music business to behave in a more forward-thinking way.”

UP NEXT:Jenna Santoianni

EVP and head of development, Paramount Television Studios

Second in command to division president Nicole Clemens, Santoianni has built out the division’s development team since joining Paramount Television Studios in March 2019, now leading a team of 10. The studio has been on a selling spree, with a handful of series orders lined up for early 2021, including “Devil in the White City” for Hulu, while HBO Max will debut “Made for Love” and “Station 11.” Santoianni also oversaw the launch of “Paradise Lost” for Spectrum Originals and “When the Street Lights Go On” for Quibi.

UP NEXT: Sarah Streicher

Creator, “The Wilds”

Streicher is the creator of the much-ballyhooed TV series “The Wilds,” debuting in December on Amazon. The buzz around the show – an uplifting look inside the mind and struggles of teenage girls and the flagship title in Amazon’s YA push – has been so great that Season 2 is already in the works. Streicher, who has an overall deal with ABC Signature, worked on Domee Shi’s next Pixar feature and was previously a staff writer for “Daredevil.”

UP NEXT: Alice Wu

Writer, director, “The Half of It”

Wu wrote and directed “The Half of It,” a Netflix coming-of-age drama about a lesbian Chinese-American high school student, as a love letter to her own mother. “I sent [Ellie] to do the things I’m scared to do and face the failures I’m terrified by,” says Wu, who previously wrote and directed “Saving Face.” “I sent her to show my mom how much I understand how much she loves me.”