Variety’s Women’s Impact Report 2025

Chief Content Officer
Netflix

As the final boss on all Netflix content matters, Bajaria spent the last year watching wise investments make huge returns in viewership. As the lead on the streamer’s expansion into live sports, Bajaria saw WWE move permanently into the Netflix Global Top 10 list. Its first-ever NFL games netted over 100 million eyeballs, with the Jake Paul v. Mike Tyson fight notching just above. On her watch, Netflix earned 120 Emmy nominations, and the year is far from over with the Q4 premiere of the “Stranger Things” finale and prestige titles “A House of Dynamite” and “Frankenstein.”

President, features & series,
Sony Pictures Animation, Sony Pictures Entertainment

Under Belson’s tutelage this year, Sony Pictures Animation produced “KPop Demon Hunters,” which debuted No. 1 in 26 countries on Netflix and reached No. 2 globally among English-language movies in its second week. You can’t get much bigger than that. It’s wildly original and very carefully crafted, but it goes beyond that. “It’s really universal and people just connected to it,” Belson says. “We talk a lot about the power of a story that is so very culturally specific but married to a really powerful universal and relatable theme and story. When you bring that together, it feels like you’ve hit the jackpot because you’ve got it all.”

President, chief content officer
Mattel Studios

Brenner was upped to her current post in June, and the Oscar-nominated “Barbie” producer has a full slate on deck, including the anticipated “Masters of the Universe” and “Matchbox.” Top talent continues to be drawn to Mattel Studios, including M. Night Shyamalan and Brad Falchuk (“Magic 8 Ball” TV series), Jon M. Chu (“Hot Wheels”) and Ayo Edebiri (“Barney”). Other pacts include partnerships with TriStar for a “Whac-A-Mole” hybrid feature and Illumination for an animated “Barbie” movie. “We wanted to make movies that felt intentional and authentic and unexpected, and wanted to work with authentic filmmakers,” she says. “There’s just so much great content out there that if you’re going to make content it really needs to stand out and it needs to feel wholly different than everything else.”

Exec VP, global creative director
Reservoir

Caseine was instrumental in Reservoir’s publishing deal with Snoop Dogg and Death Row Records last year, leveraging existing relationships she’d already forged — a blueprint and build she says “reinforces Reservoir’s focus on people over assets and our reputation as true creative partners.” She also continued to work with a roster of talented creators including Steph Jones, who co-wrote Sabrina Carpenter’s “Espresso,” and Khris Riddick-Tynes, whose work with SZA and Kehlani earned him recognition. “I love being able to support songwriters at every point of their careers and every stage of the creative process,” Caseine says.

President, DreamWorks Animation
NBCUniversal

Cohn has propelled animation to new heights at DWA, the only studio that will release three theatrical animated features in 2025 — “Dog Man,” “The Bad Guys 2” and “Gabby’s Dollhouse: The Movie,” all of which have been hits with critics and audiences alike. “We are always standing on a precipice, and we’re always thrilled when it all works out,” says Cohn. “One of the things I loved about this year was how diverse the projects were. I believe that that showed our strength as a studio, because we don’t have a house style, so projects can come from anywhere. They can look any way. But it all starts with passion.”

Producer

As a producer, Coogler’s superpower is her ability to listen. It’s a talent she discovered through her former work as a sign language translator. “In that role, you have to fully absorb information, understand it and then translate it,” Coogler says. “That practice of deep, active listening shaped how I work today.” Proximity Media, the company Coogler co-founded in 2018 with her husband, Ryan Coogler, and their longtime collaborator Sev Ohanian, has enjoyed one of its biggest years yet with “Sinners,” which earned $367 million at the box office. “There’s a level of candor and trust that comes from long relationships — a raw honesty that isn’t always appropriate or possible,” Coogler says of building a business with partners who feel like family.

Podcaster, Founder
Unwell Network

The Hulu docuseries “Call Her Alex” chronicled Cooper’s rise from podcast host to pop culture phenom. Since “Call Her Daddy” launched in 2018, Cooper has leveraged the hit talk show — where she’s interviewed guests ranging from Kamala Harris and Jane Goodall to Gwyneth Paltrow and Kim Kardashian — into Unwell, a multimedia and lifestyle company. In addition to a network of podcasts hosted by rising Gen-Z creators, the Unwell brand has expanded into film and TV development (Cooper is producing projects for Hulu and Netflix), advertising (an in-house creative agency), a beverage brand (Unwell Hydration), and a foundation to increase women’s access to mental healthcare.

Owner
By the Way

What drives and inspires DePersia’s vision? “To put it simply: women,” she says. “My goal is always to empower and support the women around me.” That goal has been in full-flex with client Gracie Abrams, who went from an emerging artist to a wildly successful global touring act with career-defining headline shows at Madison Square Garden and other huge venues in the span of four years. “Seeing those pieces fall into place was very powerful for me,” DePersia says of the headlining shows. “It showed how truly solidified [Abrams] has become as a strong touring act, with a stage presence that’s become a real force. Those full-circle moments make me so very proud of what we’ve built together.”

The Women of Disney Television

Gina Balian
President, FX Entertainment

Karey Burke
President, 20th Television, Disney Television Studios

Ayo Davis
President, Disney Branded Television

Shannon Ryan
President, DTC and Disney Entertainment Television Marketing

Balian has overseen some of the biggest franchises of 2025, including Noah Hawley’s “Alien: Earth.” “There’s so much media out there for consumers to choose from, and one of the benefits is that audiences seem more open to new types of storytelling, worlds and voices,” says Balian. “We are curating a brand that works to find stories that feel relevant but still manage to subvert audience’s expectations in ways that are entertaining, emotional and surprising.” Davis, who oversees original content in her role, looks forward to working with new talent as they enter their careers. “Whether it’s a young actor walking into the room and you know you’re witnessing the start of a future superstar or a writer finding their voice in a story full of heart, those moments of discovery remind me why I love this work,” says Davis. “We’re not just developing shows – we’re shaping the next generation of storytellers.”

Founder, Co-founder
MTW Live, MTW Agency

The Latin music executive, cultural strategist and entrepreneur helped lead her primarily female-led marketing agency into global terrain in 2025. “Over the last year, we’ve produced events or campaigns across five of the seven continents,” Dotel says, with standout moments including a global Grey Goose campaign with Zoe Saldaña in Lake Como, and a partnership between Karan Aujla and Patrón, which brought shoots and activations to both Jalisco, Mexico, and Mumbai, India. “The opportunity to connect talent and brands around the world continues to grow, and we’re proud to be at the forefront of that evolution,” she says.

Partner & co-head of domestic non-scripted TV
Range Media Partners

Three years ago, Draper launched the first domestic unscripted TV arm within a management company with Michael J. Kagan. Since then, the division’s roster of companies, producers and talent has been behind “The Secret Lives of Mormon Wives,” “Love Is Blind” and “The Kardashians,” among other hits. She partnered Jeff Jenkins Prods. with Alex Cooper’s Unwell Prods. and sold their dating series “Love Overboard” to Hulu. As for what’s coming up, a bullish Draper says, “We are going to continue to see a growth in subculture-based content, sports with a focus on the bigger unexpected events, nostalgia, reboots and general franchise revivals, opposed to just one-size-fits-all shows. We will also see formats with new twists to keep that core audience while also building a new one.”

Chairman/CEO
Warner Bros. Television Group, WBD U.S. Networks

Under Dungey’s leadership, Warner Bros. Television Group’s divisions have produced more than 80 projects for nearly 20 platforms as of Marchm, including such fan-favorite shows as “Abbott Elementary,” “The Pitt” and “The Penguin.” Dungey celebrated a historic award season when her division scored 60 nominations for the 77th Emmys — the most nods of any studio this year. HBO’s “The Pitt” is one of her proudest achievements this year, as it redefined the TV landscape with its broadcast-style approach of weekly releases, totaling 15 episodes. Going forward, Dungey hopes to see more of the industry continuing to break the mold. “We need to drown out the noise and focus on telling great stories that entertain, inspire, uplift and motivate audiences,” Dungey says. “We need to take more risks and more big swings and not rely so much on IP.”

VP, Creative A&R
Sony Music Publishing

In a job that Easley calls pretty much “a dream come true,” the Palm Springs native is championing a next generation of songwriters and artists who are reshaping music in unexpected ways. There has been the clear meteoric ascent of big names like Chappell Roan (“it’s been special to watch her carve out a lane that’s entirely her own”), and the evolution of PinkPantheress, who stepped into production and collaborative roles with other artists (“watching her unlock a new world in 2025 has been a defining moment”). But part of Easley’s magic lies in how committed she is to working with artists at every stage of their career; she signed loads of new talent including Addison Rae, Noeline Hofmann, Malcolm Todd and Sienna Spiro.

President, Skydance Animation
Paramount, a Skydance Corp.

With over two decades in animation, Edwards has been the force behind some of the movies we all love, having served in executive roles on big hits like “Kung Fu Panda” and “How to Train Your Dragon.” She brings that big-league know how to Skydance Animation, which is in production with Brad Bird’s “Ray Gunn.” “Although a good idea is always the start, we focus on the person directing and the filmmaking team to build the story and production structure around them to best nurture their ideas,” Edwards says. “Animation takes a lot of time and a lot of people, so when we put the right pieces together, we know we can tell a terrific and memorable story.”

Special counsel
Sheppard, Mullin, Richter & Hampton

The headline-grabbing portion of Eskigian’s job is the succession of deals she’s negotiated for Amazon MGM Studios, including Amy Pascal’s first-look deal (she signed on to produce the studio’s upcoming James Bond film); Stacey Sher’s producing deal for the feature “Verity,” based on Colleen Hoover’s bestseller; and Lizzo and Significant Prods.’ producer deals for “Rosetta,” Amazon MGM Studios’ feature film about gospel singer Sister Rosetta Tharpe. But behind the scenes she’s also very busy mentoring younger members of her legal team, many of whom were conditioned by their pandemic-era work experiences. “If we have to run through an agreement, it’s so different trying to explain to someone over the phone or even over Zoom,” she says.

The Women of Fifth Season

Sheridan Thayer
Exec VP, head of TV production

Kelly Todd
Exec VP, head of film production

Felice Contreras
Senior VP, production finance

April Barrett
Senior VP, production

After receiving 36 nominations at this year’s Emmys, Fifth Season has emerged as a growing content company specializing in the development, production and financing of projects such as “Severance,” “Slow Horses,” “Nonnas” and “Friendship.” “Fifth Season has a very integrated approach, where creative and physical production work closely from the most nascent stages of development to ensure that we are doing everything in our power to support and prioritize the vision of our filmmakers all the way through delivery of their movie,” says Todd. The shingle takes an artist-first approach to its productions. “Hiring Jessica Lee Gagné to direct her first episode of television on ‘Severance’ was so exciting [for Fifth Season]. She is a true artist, and it was thrilling to see her realize her dream,” Thayer says.

Global head of music business development
ByteDance/TikTok

In February, Gardner stepped into her role at TikTok and wasted no time pushing the needle forward. This past year saw her secure over 1 million tracks for inclusion in TikTok’s commercial music library (a selection of pre-cleared music for organic content and ad creation) and licenses with more than 250 independent labels for TikTok and editing tool Capcut, strengthening the platform’s relationship with indie labels. She also developed new ways to get songwriters some time in a real spotlight, including the TikTok Songwriter Feature. “As one songwriter put it, these new features allow songwriters to step out from behind the curtain and get the acknowledgment they truly deserve,” says Gardner.

Choreographer
Lady Gaga’s Mayhem Ball Tour

Goebel was “born with a passion and love for dance.” That passion led to her collaborate with the duo of Jennifer Lopez and Shakira and Rihanna on their repsective Super Bowl halftime shows in 2020 and 2023. “It doesn’t matter the scale, I give it my all,” she says. Goebel was brought on when Lady Gaga and executive producer/creative director Michael Polansky were conceiving the singer’s Coachella set and subsequent Mayhem Ball Tour. The show featured everything from a caged dress housing mayhem dancers to two queens facing off during “Poker Face,” but Goebel says “Paparazzi’s” rainbow cape, worn when Gaga emerged from a sandbox, representing a grave, was the most challenging element, and also deeply meaningful. “I think being an artist that can survive the test of time, which she is, is such a testimony to her resilience, and how fearless and unapologetic she is,” she says.

Partner, department head, worldwide comedy
Innovative Artists Entertainment

Goins, the only Black partner in comedy at any of the agencies, has nearly doubled the department’s size and revenue since she took over in 2017. This year, under Goins leadership, Jinkx Monsoon booked an AEG-presented 45-city tour and Tacarra Williams was named one of Variety’s 10 Comics to Watch. Other clients include comic Luenell, Thomas “Nephew Tommy” Miles and “St. Denis Medical” star David Alan Grier. “It’s not enough for a comedian to be funny, just as it’s not enough for your husband or wife to be cute. Do they have a unique point of view, a strong hustle, discipline and a solid marketing partnership? Are they realistic about expectations?” she says. “In 2026, creative multi-hyphenates will win. There will be opportunities for new voices and new content. However, I think the consumers will lean on live events as treasured experiences.”

Co-chair, chair
Paramount Pictures, Paramount Television Studios

No executive saw her fiefdom expand over the past year as much as Goldberg. Thanks to the Skydance-Paramount merger, the former Skydance chief creative officer now oversees a sprawling group of divisions across platforms. “I’m proud of how my team navigated through this transition, and now I’m honored to build on the incredible legacy of Paramount and to be doing so alongside a terrific partner in Josh Greenstein,” she says. She and co-chair Greenstein moved quickly to make their mark by nabbing “High Side,” a film that reteams “A Complete Unknown’s” Timothée Chalamet and James Mangold. (The project marks the first under a new overall pact between Mangold and Paramount that Goldberg orchestrated.) Other big Goldberg wins include helping lure the Duffer brothers from Netflix to Paramount.

Partner, media, entertainment & technology and mergers & acquisitions
Gibson, Dunn & Crutcher

Hathaway-Zepeda recently repped Stem Distribution founders Milana Rabkin Lewis and Kristin Graziani in the company’s sale to Concord Music Group, and the Peter Chernin-founded North Road Company in its acquisition of Mexican production company Perro Azul. She advised on the Times Square Casino project with backers including Caesars Entertainment and Jay-Z. Like everyone else, she’s contending with the rise of AI, allowing that while it’s occasionally used as “a guide or an initial resource that can provide a jumping-off point, it just can’t create real attorney work product yet.”

The Women of HBO and HBO Max

Francesca Orsi
Exec VP, HBO programming, head of HBO drama series & films

Amy Gravitt
Exec VP, HBO programming, head of HBO & HBO Max comedy series

Sarah Aubrey
Head of HBO Max original programming

After celebrating 142 nominations at this year’s Emmys, Orsi, Gravitt and Aubrey have helped spearhead original programming for the premium service with such hit series as “Hacks,” “The White Lotus,” “Task,” “The Penguin” and “The Last of Us.” “The development process is always most interesting for me because of the work we do with writers to crack thematic questions at the heart of the show that hopefully lend themselves to a timely cultural conversation once we bring the story to the world,” says Orsi. “Talking to our showrunners about story, character and tone, especially new showrunners, is the best part of the job,” says Gravitt, who will next be overseeing Rachel Sennott’s “I Love L.A.” “It’s an intimate process; the deeper those conversations get, the more the audience is able to connect to the characters.”

President
Starz Networks

Hoffman has taken over day-to-day management of Starz’s network operations in the year since the premium streamer was spun off from Lionsgate, as CEO Jeffrey Hirsch took on the added responsibilities of leading a public company. Hoffman has been the key architect of the Starz brand for more than a decade, and she has guided its ongoing transition from linear cable to subscription streaming. Hoffman’s 2026 to-do list includes “expanding our slate through strategic content acquisitions and driving new bundling partnerships and revenue streams in order to ambitiously serve our audience and drive long-term value for the company.”

Chair, direct-to-consumer
Paramount, a Skydance Corp.

In 2024, Holland took on a role as senior adviser to Skydance Media CEO David Ellison ahead of the expected close of the Paramount merger. Now, she is bringing her vast experience in streaming and series (18 years building original series at Netflix and a stint as global CEO at Sister) to Paramount+. One priority will be Pluto TV, which pioneered the FAST model and has proven that it is both scalable and profitable. Now it’s about optimizing every aspect of the experience to maintain and grow our leadership position. “We need to continue to expand our content slate in strategic ways while improving our product to deliver better results for brands,” she says. “We also need to do a better job of educating key constituencies on the massive offering and reach of Pluto TV, which includes up to 400 channels available across more than 30 countries around the world.”

Jinny Howe

Head of UCAN scripted series
Tracey Pakosta

VP, comedy series
Netflix

Pakosta and Howe’s rich slate of programming helped earn Netflix a whopping 120 Emmy nominations this year across 44 titles. Pakosta’s recent highlights include “Nobody Wants This,” “A Man on the Inside,” “Running Point” and “The Four Seasons.” She says she’s most proud of “the range of voices and perspectives these shows represent and the connection they have made with underserved audiences.” Howe’s portfolio of scripted dramas includes hits like “The Diplomat,” “Sirens,” “Monsters: The Lyle and Erik Menendez Story” and the upcoming final season of “Stranger Things.” “We’re always looking to be inspired by someone’s vision and personal passion,” says Howe, who also oversees overall deals with top talent.

Partner and leader of employment and labor
Manatt, Phelps & Phillips

In recent months, Hudson’s handiwork has been in the headlines via her role as lead counsel representing Blake Lively in her ongoing litigation against Justin Baldoni, Wayfarer Studios and related parties. She also defended the actress and her husband, Ryan Reynolds, in a related $400 million countersuit brought by Baldoni and Wayfarer, which she successfully motioned to have dismissed, invoking speech-related privileges. Hudson’s first case as a labor litigator was also a bit dramatic, but for different reasons. “[It] was the same month that I passed the bar, and I had to get sworn in by a court reporter in my law firm’s office because the swearing-in ceremony wasn’t until after my trial started,” says Hudson, who won the case.

Chairman, television studios
NBC Entertainment & Peacock Scripted

Already one of television’s most prominent executives, Igbokwe gained significant turf in January with her promotion to a role with a broad remit overseeing programming for NBC Entertainment, streamer Peacock and the busy Universal Studio Group. She is NBCUniversal chief Donna Langley’s hand-picked lieutenant to steer entertainment TV operations as the company undergoes a major transformation next year with the pending Versant spinoff of NBCU’s linear cable channels, with the exception of Bravo. “I enjoy the fact that I get to be involved in deciding not only what we are producing but how we will present it to the audience. I thoroughly enjoy being involved end-to-end,” she says.

Chair, entertainment labor
Loeb & Loeb

A veteran showbiz labor attorney, Bierman has been working on the bleeding edge of the entertainment-tech convergence, helping artificial intelligence companies such as Flawless AI work with the guilds and unions. “My role is to ensure that the clients that my team and I work with understand the AI provisions in the guild and union agreements,” explains Bierman, who also reps a diverse collection of (relatively) more traditional companies, ranging from Adult Swim and Google/YouTube to Village Roadshow and Warner Bros. Animation. “It’s a bit tricky because those are new provisions, so they’re subject to different interpretations.”

Co-director, “KPop Demon Hunters”

Kang has good reason to celebrate. Her film is nothing short of a cultural phenomenon. What does she think is behind all of that hoopla that it’s getting? “I think the theme of hiding parts of yourself that you’re not very proud of from those that you’re closest to is something that everybody can relate to,” she says. Although Kang thinks North American audiences tend to see animation as a children’s medium. “Our intention was never to just target children and have it be this kids’ movie. I think for kids, they tend to gravitate towards things that are a little darker and a bit more serious. They don’t want to be talked down to.”

Founder and CEO
Lighthouse Management + Media

“One of my guiding principles is that nothing is impossible,” says Keshishian, who more than delivered on that ethos with her roster of mega-star clients. Olivia Rodrigo headlined 23 festivals globally with record-breaking turnouts at Lollapalooza and Glastonbury (over 115,000 people at each); Jennifer Aniston continued nailing it in Apple TV’s “The Morning Show”; and Selena Gomez multi-hyphenated across music (a new album), film (Jacques Audiard’s “Emilia Pérez”), television (“Only Murders in the Building”) and business (Rare Beauty is projected to reach $400 million in revenue this year). Keshishian adds, “I believe in guiding stars to use their platforms to help make a difference and change the world” — a goal she also helped Gomez achieve with the Rare Impact Fund, which hit $20 million raised for mental health services to youth in underserved communities.

Partner
Mitchell Silberberg & Knupp

Kim is accustomed to making big moves. She immigrated to Orange County from South Korea with her family when she was 4, and moved across the country for her college years at Yale, where she earned both a BA and a JD. But when it came time to settle into a career, she chose Los Angeles as her forever home. “I have a large family here,” she says. “I like entertainment, and I love film and TV, so it’s kind of the natural place I would want to be.” At MSK, she specializes in copyright litigation, with recent wins that include successfully defending the producers of “Mixed-ish” against an idea theft lawsuit.

Sue Kroll
Head of global marketing

Courtenay Valenti
Head of film

Amazon MGM Studios

Warner Bros.’ one-time dynamic duo have taken their talents to Amazon, where they continue to leverage those longstanding bonds forged at the Burbank studio. Take, for example, Ben Affleck, who made “The Accountant” at Warners with Kroll and Valenti. When it came time for a sequel, he opted to take the project to Amazon to reunite with the executives who helped steer so many of his films, including best picture Oscar winner “Argo.” “Our whole business is relationship-based,” Valenti notes. “If you have strong relationships, it’s because you’ve treated each other well through the years with honesty, transparency and trust.” The move paid off for everyone. “The Accountant 2” became Amazon’s second most-watched streaming film ever and took in $103 million worldwide theatrically. Kroll and Valenti also are focusing their efforts on next-gen franchises like “The Summer I Turned Pretty.” Thanks to TikTok-friendly campaigns spearheaded by Kroll, the third season of the hit series generated nearly 10 billion social impressions. Enter Valenti, who will oversee a film adaptation of the property based on the Jenny Han books. “This summer was a standout for our YA and women-led programming, where we saw the power of franchise storytelling and fan engagement at scale,” Kroll says of the franchise while also singling out “The Better Sister,” “We Were Liars” and “The Girlfriend” as properties that “tapped into that same emotional connection through innovative social storytelling that resonated and sparked discovery.”

Dichen Lachman, Britt Lower
Actors

‘Severance’

Lower won an Emmy Award for her transfixing work on the Apple TV thriller, playing several layers as she kept audiences guessing if she was Helly or Helena or Helena-pretending-to-be-Helly. And Lachman broke hearts as audiences learned about her backstory, particularly in a tragic episode directed by Jessica Lee Gagné. Though a challenging performance, Lachman notes, “To collaborate with women who bring such distinct perspectives and strength, in front of and behind the camera was wonderful. I feel I’ve had the privilege to work with a lot of inspiring women; it’s wonderful to see.” Lower adds of the stellar cast, “[it was] inspiring to look around the room and see the freedom my castmates also have to create without the constraints of stereotypes.”

Chairman
NBCUniversal Entertainment & Studios

To speak plainly, you don’t get a more powerful woman in Hollywood than Langley. A dame of the British Empire, Langley is currently the only female studio head in the industry — not just in her long dominion over Universal Pictures but as chairman of NBCU’s entertainment and studios verticals. There she steers greenlight decisions across the enterprise and oversees all programming and marketing across Peacock, Bravo and NBC (including primetime and late night). After stomping through the summer box office with a $730 million global haul for “Jurassic World Rebirth,” Langley will close out the year with the final chapter in the Oz saga, “Wicked: For Good.”

Chief operating officer
Scopely

Lee played an instrumental role in closing the company’s acquisition of “Pokémon Go” maker Niantic’s games business in May and leading their rapid growth in the mobile gaming space. “For gaming, at the intersection of entertainment and tech, I feel really optimistic,” Lee says. “I think gaming is an amazing place to be and we continue to be a growing industry, and there continues to be more investment dollars coming into this space. We’re reaching this huge global audience that transcends geographies, age, gender. Scopely is on that mission, and we want to reach more players out there and bring them into our community.”

Chief marketing officer
Netflix

Over Lee’s four years at Netflix, the streamer has moved into new areas, including live sports and in-person experiences with Netflix Houses in Philadelphia and Dallas. She sees the expansion as part of the company’s commitment to delivering entertainment, escape and connection. “Fans crave deeper engagement with the worlds, stories and characters they love,” she says, pointing to the breakout success of “KPop Demon Hunters” as an example of harnessing word-of-mouth and social media. Lee says the key to thriving in a shifting industry is to “move beyond the screen to energize fandoms and reinforce the value of our brand.”

Founding partner
Lichter, Grossman, Nichols, Feldman, Rogal, Shikora & Clark

When Lichter was starting out in the 1970s, she initially wanted to be a director, but “there was not a single female director in Hollywood,” she says, whereas now, “lots of women get mainstream opportunities and independent films, as well.” Some of the credit for that should go to Lichter, who has spent her career advocating for female writers, directors and producers, including current clients Chloé Zhao (“Hamnet”), documentarian Irene Taylor Brodsky (“I Am: Celine Dion”) and producer Gail Mutrux (“Slow Horses”), as well as men such as writer/producer Ron Nyswaner (“Fellow Travelers”) and directors Matt Wolf (“Pee-wee as Himself”) and Josh Greenbaum (“Will & Harper”).

Senior VP, scripted programming & development
Lifetime

Lyall was tapped for her current post in January and has wasted no time in making her mark, with audience-pleasing originals including “Can You Feel the Beat: The Lisa Lisa Story,” “I Was Octomom: The Natalie Suleman Story,” “I Will Survive: The Gloria Gaynor Story” and “The Thirteenth Wife: Escaping Polygamy.” What makes great TV? “I go with my gut, both as a viewer and a programmer. Every brand has its own identity, but my approach is consistent: start with a clear idea that’s emotionally resonant and intellectually unpredictable. Great content captures the imagination, tugs at the heart and keeps audiences engaged by surprising them. It’s about finding the smaller human story inside the bigger one.”

Co-founder
Hyphenate Media Group

In 2023, Longoria added to her long list of accomplishments as an actor, producer, director, philanthropist and an investor in two soccer clubs by co-founding Hyphenate Media Group with veteran executive Cris Abrego. “It’s been very exciting to see the potential in people and to invest in them and provide the infrastructure they need to grow,” Longoria says about shifting focus from building her own businesses to supporting other women and people of color. Longoria’s upcoming film “Anita de Monte Laughs Last” is bestselling author Xochitl Gonzalez’s first adaptation to hit the big screen. “I can’t wait for the world to see her talent,” she says of Gonzalez.

Co-head
WME Independent

At present, the indie movie ecosystem is plagued by changing consumer habits and risk-averse financiers — not that you’d notice from the activity coming from McIntosh’s office. As co-head of WME’s film sales outfit, she fulfills the creative ambitions of clients and buyers (and provides an important pipeline of prestige and auteur event films for the annual awards race). McIntosh brokered the deal for Emma Stone’s “Bugonia” and Jennifer Lopez’s “Kiss of the Spider Woman,” as well as placing the lush period drama “Train Dreams” at Netflix (where she also set up one of the streamer’s biggest hits of 2025, Vince Vaughn’s “Nonnas”).

Founder
Castlight Media

McLean is a 20-year-plus music industry veteran whose company represents a wide slate of artists and songwriters, including country-leaning singer-songwriter Brittney Spencer, soul star Omarion, R&B producer Kenneth “KP” Paige and more. The company is also a promoter on the recent B2K tour (which reportedly grossed more than $100 million in ticket sales), Omarion’s Millennium tour with Trey Songz and Bow Wow, and the forthcoming bury-the-hatchet Brandy & Monica co-headlining tour. Castlight also recently received a $5 million investment from the Black Promoters Collective.

Hannah Minghella
Head of feature animation and live-action family film

Kira Goldberg
VP, film

Netflix

Netflix has quite a winning film team in Minghella and Goldberg. Minghella is behind the hugely popular “KPop Demon Hunters” and has another animated film, “In Your Dreams,” on the way. Meanwhile, the veteran Goldberg runs the show for live-action dramas and thrillers. Her slate is jam-packed with star-studded pics, including the survival thriller “Apex” with Charlize Theron, and the action-comedy “Bad Day” with Cameron Diaz. “We pride ourselves on having a very diverse portfolio,” Minghella says. “We define family [films] as films intended for co-viewing. For us, it’s an audience focus, not a genre focus.” For her part, Goldberg says she has seen a growth and larger acceptance of women in key positions in the industry. “Women in leadership have shifted the industry from simply including female voices to actually amplifying them,” she says. Among those voices are Oscar-winners Kathryn Bigelow, with the recently released “A House of Dynamite,” and Greta Gerwig, who’s in production with “Narnia” for the streamer. “[They] aren’t just some of the biggest female directors; they’re some of the biggest directors, period,” Goldberg says.

Partner and national co-chair of private wealth group
Willkie Farr & Gallagher

A top estate planner for high-net-worth individuals including actors, directors, writers, producers and artists and the rep for the trustees of the estates of Hollywood legends, Mulrooney was chosen for this list prior to her death in an e-bike accident while on vacation in Colorado on Labor Day. A fierce advocate for her clients, “she was so sharp and so insightful and so knowledgeable that she would eviscerate you with that knowledge in a way that was devastating for people that claim to be experts in the space,” says Alex M. Weingarten, managing partner of Willkie’s L.A. office. But she still found a way to make her children and grandchildren a priority. “Many times during her mentorship of me, she said, ‘Whatever happens in life is OK as long as you have your family,’” recalls Kathy Wunderli, the firm’s West Coast private wealth group co-chair. “She really, really focused on that.”

President, Paramount Animation
Paramount, a Skydance Corp.

Following Skydance’s acquisition of Paramount Global in August, Naito moved to focus solely on Paramount’s animated movies. Among the projects she shepherded are “Smurfs,” which was released in July, and “The SpongeBob Movie: Search for SquarePants,” which is set to be released in December and an upcoming all-new animated series, “Avatar: Seven Havens.” “When someone comes in with a fun, high-concept story with relatable characters, and a clear visualization of the world they’re building, that’s what draws me in,” she says. “These elements all together capture the voice and soul of a project — and you can feel it in the room when it’s working.”

The Women of NBCUniversal

Liz Jenkins
Chief business officer

Lisa Katz
President, scripted content, NBCUniversal Entertainment

Erin Underhill
President, Universal Television

Beatrice Springborn
President, Universal Television

Call them the Fantastic Four of NBCUniversal TV. A formidable group of female executives have been busy this year as NBCU restructured operations in preparation for the coming Versant spinoff. Jenkins drives business for the studio group at a moment of massive transformation for the industry. “The programming trend we’re leaning into is about creating shared experiences that unite and spark conversation,” says Jenkins. Katz steers all scripted content for NBC and Peacock, juggling high-wattage franchises and esoteric streaming shows. Notes Katz: “Five years ago, I worked only in broadcast. Now I work across linear and streaming platforms, which are less siloed, allowing for much more collaboration and synergy.” Springborn has a wide remit, producing shows for streaming and cable platforms and hunting for international co-production opportunities. “The industry has gone through warp speed and seismic changes. For me, it’s important to stick to the values that drew me to the business 20 years ago — don’t zig-zag to trends or the whims of the business,” says Springborn. Underhill is a seasoned studio senior manager who oversees a broad slate of dramas and comedies. “Necessity is the mother of invention. We’re pushing creative boundaries and drawing outside the lines to build mutually beneficial partnerships.”

Agent, endorsement & voiceover
UTA

For client Chris Pratt, Nogy secured a partnership with “Monopoly Go!” and Meta Ray-Ban — that included a Super Bowl spot. She’s also landed a deal for Juno Temple to appear in an Oikos’ Super Bowl ad, which is one of her favorites “because that was her very first television commercial,” she says. Nogy also handled deals for clients including Adam Scott, Anthony Mackie and Chloe Kim, always looking for “connection” and “authenticity” with a brand. She sees endorsements as a cornerstone of an actor’s career and brand. “Rather than just being a random person, you connect with that actor. It allows a dramatic actor to be funny, or a funny actor to be dramatic, so it allows them to be a little more creative, and to be involved in the creative process, too.”

Co-head, global motion picture marketing
Warner Bros. Pictures

Nussbaum leaped up the ladder this year on the storied WB lot, as she was named co-head of the vast studio marketing team alongside partner Christian Davin following the exit of Josh Goldstine. Warner Bros.’ remarkable sprint at the box office certainly owes its due to the marketing team for hyping projects like “Sinners,” “Superman,” “Final Destination: Bloodlines,” “F1” and the mighty “A Minecraft Movie.” Her campaigns helped three titles pass $500 million at the box office this year, a streak Nussbaum continues after memorable runs last year for the juggernaut “Barbie” and “Beetlejuice Beetlejuice.”

Actor, executive producer

Olson went from the huge successes of her comedic roles on “Hacks” and “It’s Always Sunny in Philadelphia” to headlining her own show, and in a twist, it’s a crime drama: ABC’s hit “High Potential.” But for “High Potential” exec producer Olson, there wasn’t really a shift of consciousness going from supporting player to the pressure of a lead role. “The strategy and the energy aren’t much different: show up prepared, be kind, try new things, encourage everyone else to do the same,” she says. “At the end of the day, I’m not responsible for making a hit; I’m only responsible for making sure I’m proud of what I’m putting out there.”

Co-president
Capitol Music Group

In her first year of co-leading Capitol Music Group, Parsa placed her focus on building a deep sense of trust with artists and making sure the label was humming with a kind of collaborative culture “where every individual’s creative impact is recognized and valued.” A defining example? Capitol’s work with Royel Otis, which involved working closely with the pair and their Australian label to evolve the indie-pop duo’s work into something that felt both evolved and ambitious. “We all were deeply involved in aligning the artistic vision across every touchpoint — from the music and lyrics to the visual storytelling, merchandise and marketing campaign, ensuring a cohesive and resonant narrative for the audience.” The end result yielded the group’s first Billboard No. 1 and a ton of industry buzz.

Mary Parent
Chairman of worldwide production

Blair Rich
Chief marketing & commercial officer

Legendary Entertainment

Parent oversees all films at Legendary, including “A Minecraft Movie,” which kick-started the 2025 box office, grossing $987 million worldwide. This was on the heels of the critically acclaimed blockbuster “Dune 2,” and sealing a pact with Paramount for worldwide distribution excluding China. That pact begins in 2026 with the anticipated “Street Fighter.” Parent is also producing Alejandro González Iñárritu’s upcoming film starring Tom Cruise. “I try my best to tune the noise out and just focus on the work and bringing stories to the big screen which make people feel something. The lineup of films coming to theaters in 2026 is incredibly exciting, there are so many I can’t wait to see. So despite everything, I am optimistic,” Parent says. Rich led the groundbreaking marketing campaign for “Minecraft,” turning the film into a worldwide pop phenomenon. “Hitting the nerve of youth culture through meme flooding and creator content. The words ‘chicken jockey’ forever have new meaning!” says Rich, who is excited about “Denis Villeneuve’s final installment of his epic ‘Dune’ trilogy. And ‘Street Fighter.’”

Singer-songwriter, entrepreneur, producer, actress

Parx has crafted hits for Justin Bieber, Ariana Grande, Bruno Mars, Janelle Monáe and other heavy hitters. After launching her career acting in 2007’s “Hairspray” and Nickelodeon’s “True Jackson, VP,” she transitioned into songwriting in her teens. As her music evolves, she remains focused on uplifting other musicians. “We’re in the age where artists, creatives and executives are all looking for this middle ground that puts the creative first because we understand that’s most necessary,” Parx says. “Let’s build the change that you want to see.” This year, Parx expanded her creative endeavors by developing Sage Estates, an off-grid Tennessee creative space that blends agriculture, music and community. Sage Estates joins her growing TaylaMade music empire, which includes Parx Publishing, 3020 Management, the Trailer Parx lifestyle brand, TaylaMade Records and Parx Studios.

Chief marketing officer
Tubi

Tubi continues to make big inroads into streaming, becoming the most-watched free streaming service in the U.S. This year, Parlapiano and her team oversaw a mega-successful Super Bowl stream and pre-show, earning the highest social chatter of any brand during the event. Focusing on building loyal fans, she cultivates audiences from Reddit horror fans to Black cinema lovers on TikTok to strengthen the brand’s voice. One area she’s eyeing in the future? The creator economy and its associated new deal structures. “Today’s creators aren’t just making content; they’re operating as media startups, producing episodic, studio-quality storytelling and cultivating dedicated fandoms,” she says.

Co-CEO and managing partner
Brillstein Entertainment Partners

Pett championed her roster of legendary and emerging talent to an exciting year of career milestones. Among them, Brad Pitt starred in and produced “F1: The Movie,” which became the biggest theatrical hit for Apple Studios, and Harris Dickinson wrote and co-produced his directorial debut, “Urchin,” which premiered at Cannes Film Festival to rave reviews. Pett emphasizes an optimistic approach to supporting clients and mentoring colleagues. “You’ve just got to keep pushing the boulder up the hill on stuff you believe in. It may rest a little bit, but it doesn’t mean it’s not going to happen at some point.”

Partner; co-chair of entertainment & media industry group
Covington & Burling

Polashuk has been at the center of several recent big media transactions. She repped Paramount as lead network distribution counsel in support of its $8 billion merger with Skydance Media and Disney on the media licensing side of the $8.5 billion merger of its Indian media assets with Reliance’s Viacom18, as well as assisted Roku in content and platform distribution matters in connection with its acquisition of Frndly TV. Her work has given her intimate knowledge of the changes to contracts dictated by new and anticipated tech advances. “I do think AI is coming into getting content to customers — how that gets optimized, how ads are served, how people’s preferences are chosen and what gets surfaced to them,” she says.

President
Sony Pictures Television Studios

Pope joined Sony Pictures Television Studios in August 2022 and has since learned to embrace Sony’s stance as an independent studio. “I’m honestly most proud to work at Sony, the last true independent studio,” she says. “It sounds like a slogan, but it informs and shapes everything we do every day. It keeps us totally connected to our mission — to make the best television series in the world.” Pope supervises the production of shows across several TV platforms including hits such as Prime Video’s “The Boys” Season 4, HBO’s “The Last of Us,” Apple TV’s “Dark Matter” and several others. Pope says she welcomes the shifting TV landscape with open arms, noting that disruption is part of the business.

President, game shows
Sony Pictures Television

Under Prete’s leadership, “Jeopardy!” and “Wheel of Fortune” maintained their top viewership rankings among non-sports programs. She also successfully expanded the franchises — and their reach — by securing next-day streaming deals with Hulu and Peacock, marking the first time current episodes became available on streaming platforms. “What makes these shows so powerful is their universality,” she says. “No matter your age, background, or where you’re from, these shows feel instantly relatable.” And she has a clear vision of the next big thing in game shows. “The next big opportunity I’m most excited about is live game shows. Formats that engage viewers who are playing along wherever and however they are watching.”

President, entertainment
CBS

CBS ended the 2024-25 TV season as the most-watched broadcast network for the 17th year — a new record — and that’s not just based on the perennial strength of sports and long-running franchises like “NCIS” and “Survivor.” Under Reisenbach, the Eye web has also been riding high on the strength of new series “Matlock” and “Tracker,” both of which landed in the Top 10 shows of the year in multi-platform ratings. “A big goal for the network has been to re-define what a ‘CBS procedural’ can be,” she says. “Shows like ‘Fire Country,’ ‘Tracker,’ ‘Matlock’ and ‘Elsbeth’ have really proven that we can lean into character, soap and comedy and still tell really satisfying closed-ended stories. And of course, Kathy Bates being in the Emmy conversation was a huge point of pride for everyone at the network.”

Salli Richardson-Whitfield
Director, EP

Sonja Warfield
Writer, EP

‘The Gilded Age’

The HBO costume drama hit new viewership highs for its third season, bringing in new viewers, while tackling such issues as women’s suffrage and divorce, all dressed up in gorgeous gowns. It also gave audiences a look at the East Coast Black elite through the story of Peggy Scott (Denée Benton). “After the first two seasons, we saw how deeply Peggy’s journey resonated, not just with the Black community, but with our entire audience. The world of the Black elite is a part of history that’s rarely shown on television. In Season 3, we wanted to lean into that even more, giving Peggy’s storyline the richness and historical weight it deserves,” says Richardson-Whitfield. Warfield adds: “I also wanted to confront the issue of colorism within the Black community, as that is not something I have seen film or television depict during that period in history. What was also specific to Newport is that, because it was so small, it was more integrated. … This is historically accurate, but not something we ever see in the 1880s — just 20 years after the Emancipation Proclamation.”

The Women of Searchlight Pictures

Michelle Hooper
Exec VP, head of marketing

Rebecca Kearey
Exec VP, head of international marketing, distribution & business operations

DanTram Nguyen
Exec VP, co-head of production

Katie Goodson-Thomas
Exec VP, co-head of production

Hooper, Kearey, Nguyen and Goodson-Thomas helped usher Searchlight Pictures to a stellar year at the Oscars. The team’s marketing mojo led to 10 Academy Award nominations for “A Complete Unknown” and “A Real Pain,” including a best supporting actor win for Kieran Culkin’s performance in the Jesse Eisenberg film. Searchlight’s adventurous choices and deep filmmaker relationships help the company weather the challenges of the business by “trusting [that] audiences still want films that entertain, challenge and provoke,” the team explains in a joint statement. The production side leans into this philosophy to back productions such as “Is This Thing On?” from Bradley Cooper and Martin McDonagh’s upcoming “Wild Horse Nine.” “We don’t aim to please everyone — we aim to reach the right audience for each film. That clarity allows us to make films at the right scale, give filmmakers creative freedom and therefore deliver a unique theatrical experience that hopefully can spark discourse, laughter and/or tears,” the team added.

President
Gersh Agency

Despite efforts to elevate female representatives, only one major agency in town is headed solely by a woman: Gersh’s Leslie Siebert. “It is shocking that I’m the only one,” she says. “But if my position helps others get there, that would be most important to me.” After seizing the reins this year, she’s made an indisputable impact. Gersh doubled in size, expanded its global footprint to 16 countries and beefed up its digital, voice and sports divisions. All the while, Siebert has continued to work for a roster that includes two-time Oscar nominee Angela Bassett, Kyle Chandler and “Frankenstein” star Jacob Elordi, now a James Bond frontrunner. Seibert’s noteworthy deals include a three-year “9-1-1” pact for Bassett that makes her longtime client the highest-paid Black actress in TV history.

The Women of ‘Sinners’
Jayme Lawson, Li Jun Li, Wunmi Mosaku and Hailee Steinfeld

While Michael B. Jordan may have pulled double duty as twins in Ryan Coogler’s smash hit, the vampire pic never would have worked without the fantastic women in supporting roles. What was it like to have so many great female roles in one film? Mosaku sums it up: “It was dreamy! Characters that are written with the full breadth of their humanity is any actor’s dream.” Agrees Steinfeld, “For so long, these types of roles have felt few and far between.” Li concurs, “How lucky am I to play a character who is flawed, real, nuanced and challenges the way Asian women have been portrayed throughout the history of cinema?” And Lawson notes that such representation is more necessary than ever. “In a time where media and government are actively looking to diminish and even erase people’s histories and current lived experiences, it is imperative as an artist to tell our stories loudly, boldly and unapologetically,” she says. “I expect nothing less in 2026.”

CEO
Barco

As audiences seek out better cinematic viewing experiences, exhibitors are racing to meet the demand. Barco is leading that race. The company launched HDR by Barco with Lightsteering technology, introducing what it calls “groundbreaking image quality” to the rave reviews of filmmakers and cinemagoers. Steegen says, “The reaction from audiences is remarkable. There is a huge appetite for high-quality cinema options. People are deliberate about how they spend their entertainment budgets, and they want to see movies the best way possible.” Steegen adds that all this is transforming and reinvigorating the industry. “Innovation is at the heart of everything we do. We’re always working on our portfolio roadmap to fuel a pipeline of solutions that are capable of powering the world of entertainment today and tomorrow.

Co-chairman
Disney Entertainment

Walden, who oversees Disney’s long list of TV networks, studios and streamers (other than ESPN), has been under more scrutiny than usual as anticipation mounts for the Disney board’s decision on its CEO succession plan. She faced a big public test this year with the firestorm that erupted around Jimmy Kimmel after the slaying of Charlie Kirk in September. Walden made the call to bench Kimmel at a combustible moment for the country, and it was her conversations with the host that led to his return after three nights. “From ‘Alien: Earth’ to ‘High Potential’ to ‘Mickey Mouse Clubhouse+’ and so many others, I’m most proud of the incredible diversity of excellent stories we’re bringing to our subscribers,” she says. “This has been a pivotal year for Disney+ and Hulu, with a pipeline of the highest quality and differentiated films and series driving their growth.”

Exec VP, sales & distribution, premium content
Sony Music Entertainment

Wegener has played a pivotal role in the global sales of some of Sony Music Entertainment’s most ambitious film and television projects to date. Among her 2025 standouts: a Toronto Film Festival world premiere of Baz Luhrmann’s “EPiC: Elvis Presley in Concert,” the Emmy-nominated doc “I Am: Celine Dion” and “Luther: Never Too Much,” which won the NAACP Image Award for documentary and directing. With Frank Marshall’s multi-part Barbra Streisand documentary and the wildly anticipated Oasis film coming in 2026, the hype shows no sign of slowing. Says Wegener: “The goal is to give global audiences an opportunity to experience the magic and emotion of the tour while giving even the most diehard fans access to something they haven’t seen before.”

Co-head, books
CAA

Led by Weiner — alongside Jennifer Joel and Sloan Harris — the CAA book department has seen significant activity this past year. Notable rights deals they’ve overseen include Evan Gershkovich’s forthcoming memoir about serving time in a Russian prison on fabricated espionage charges, and the third season of the Amazon Prime hit series “The Summer I Turned Pretty.” More than 50 client books are now in production. “While the film and television business continues to evolve, the value and relevance of great artistry and of those who tell original, compelling stories remain steadfast. Exceptional storytelling is always on trend,” she says.

Senior VP and head of A&R
Island Records

“The key ingredient has always been trust,” says Winkler of developing the career of Sabrina Carpenter, whom she personally signed to Island back in 2020. “There’s a real power in knowing when to lead and when to listen, and with Sabrina, it’s always been about trusting her to steer her own ship while ensuring she feels fully supported in her wildest ideas and visions.” Though there is no shortage of chart accolades to choose from, Winkler continues to define her and her clients’ successes beyond the numbers. “I’m driven by the possibility of creating impact that — even in the smallest way — could become part of music history.” This year saw her double down on the possibility of two new artists — the Two Lips and Asha Banks — whom she intuits as the future of the label.

President and head of urban A&R
Interscope Geffen A&M

Wyskoarko’s promotion last March cemented her as one of just a few women presidents helming a major label that had something of a record year. After wrapping 2024 with a 9.51% in current market share (up from 8.08% the previous year), Wyskoarko’s team kicked off 2025 with Kendrick Lamar’s five Grammy award wins and groundbreaking Super Bowl halftime performance. “My mission is to protect the legacy of hip-hop and R&B while pushing the genres forward, so their impact continues to grow on a global stage,” says Wyskoarko, who holds a JD from Brooklyn Law School. “I want my impact to be measured in the doors I open, for artists to be nurtured and invested in, and for the next generation of leaders — especially women and people of color — to see themselves reflected in positions of influence.”