The Envelope, June 17, 2025

What’s inside

THE CONTENDERS

“Dark Winds” star Zahn McClarnon (p 12) shares why he “broke down” over his character’s Season 3 arc. Mike Schur and Ted Danson (p 13) explain how their show “A Man on the Inside” takes an optimistic view of aging and retirement.

COVER STORY

Actor Kaitlyn Dever sat down with The Envelope to discuss her much-talkedabout role in Season 2 of “The Last of Us” and the surrealness of filming while grieving her mother’s death. p20

THE SPOTLIGHT

Acloser look at five TV series that used “oners” to great effect this season (p 32). Six reboots that discovered the secret to Emmy success (p 33). Konrad Kay and Mickey Down (p 36) on slowly finding the soul of HBO’s “Industry.”

THE INDUSTRY

Judy Blume’s books have become a hot commodity in Hollywood. Mara Brock Akil (p 56), the showrunner of Netflix’s “Forever,” talks about updating a classic Blume novel for the digital age and why the author’s work is as relevant as ever.

Cover photo by Shayan Asgharnia For The Times

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FOR YOUR EMMY® CONSIDERATION

OUTSTANDING REALITY COMPETITION PROGRAM

OUTSTANDING HOST - ALAN CUMMING

“

HHHH”

THETELEGRAPH

“THE BEST SEASON YET. ”

DAILYBEAST

You can find all our picks at latimes.com/ buzzmeter

BuzzMeter

Our Emmy experts share their picks

DRAMA SUPP. ACTRESS

THE FIERCENESS OF THE DRAMA SERIES COMPETITION STANDS OUT IN THE RACE for supporting actress, with Katherine LaNasa of “The Pitt” barely holding on to the top spot Trey Mangum says, “Dichen Lachman’s remains one of my favorite ‘Severance’ performances, but I … also live fortherallybehindKatherineLaNasa.” ¶ LongtimeindiedarlingParker Posey edges out longtime Emmy darling Allison Janney for second, with three other “White Lotus” actresses Carrie Coon, Natasha Rothwell and Aimee Lou Wood not far behind. That leaves “Andor” on the outside, though Tracy Brown holds out hope for Genevieve O’Reilly as Mon Mothma.

GLENN WHIPP Los Angeles Times

KATHERINE LANASA, “THE PITT” PARKER POSEY, “THE WHITE LOTUS”

ALLISON JANNEY, “THE DIPLOMAT”

CARRIE COON, “THE WHITE LOTUS”

AIMEE LOU WOOD, “THE WHITE LOTUS”

NATASHA ROTHWELL, “THE WHITE LOTUS”

I’d be happy for one or two from “The Pitt”to earn nods while I wait for the cast to win the ensemble honor at next year’s SAG Awards.

MATT ROUSH TV Guide

KATHERINE LANASA, “THE PITT” PARKER POSEY, “THE WHITE LOTUS”

ALLISON JANNEY, “THE DIPLOMAT”

CARRIE COON, “THE WHITE LOTUS”

ISABELA MERCED, “THE LAST OF US”

NATASHA ROTHWELL, “THE WHITE LOTUS”

Veteran character actress Katherine LaNasa makes the most of a role of a lifetime as “The Pitt’s” supernaturally capable charge nurse Dana.

TREY MANGUM Shadow and Act

KATHERINE LANASA, “THE PITT” ALLISON JANNEY, “THE DIPLOMAT” DICHEN LACHMAN, “SEVERANCE”

ISABELA MERCED, “THE LAST OF US” PARKER POSEY, “THE WHITE LOTUS” TAYLOR DEARDEN, “THE PITT”

Dichen Lachman’s remains one of my favorite “Severance” performances, but I also live for the rally behind Katherine LaNasa and wish we could fit more from “The Pitt” in here.

LORRAINE ALI Los Angeles Times

PARKER POSEY, “THE WHITE LOTUS” ALLISON JANNEY, “THE DIPLOMAT”

KATHERINE LANASA, “THE PITT”

CHRISTINA RICCI, “YELLOWJACKETS”

CARRIE COON, “THE WHITE LOTUS” PATRICIA ARQUETTE, “SEVERANCE”

Parker Posey is one of the best things about “White Lotus” and arespected entity, so expect to see her nominated.

KRISTEN BALDWIN Entertainment Weekly

PARKER POSEY, “THE WHITE LOTUS”

AIMEE LOU WOOD, “THE WHITE LOTUS” CARRIE COON, “THE WHITE LOTUS” NATASHA ROTHWELL, “THE WHITE LOTUS” PATRICIA ARQUETTE, “SEVERANCE”

KATHERINE LANASA, “THE PITT”

The women of “The White Lotus” will have to fight it out Butvoters need to check out Karen Pittman’s magnificent performance in “Forever.”

TRACY BROWN Los Angeles Times

KATHERINE LANASA, “THE PITT” PATRICIA ARQUETTE, “SEVERANCE”

ALLISON JANNEY, “THE DIPLOMAT” ISABELA MERCED, “THE LAST OF US” CARRIE COON, “THE WHITE LOTUS” GENEVIEVE O’REILLY, “ANDOR”

Ihope at least one of the slots can be filled by a performance from “Andor.” Genevieve O’Reilly’s rousing speech is a standout among the show’s memorable monologues.

In The Studio

... Four podcast highlights

The arts have struggled since the pandemic to come back to where they were before that. Did this premise start message-forward?

SHERMAN-PALLADINO It’s been with us for a while, but it takes on an extra urgency in the times that we’re in, where the arts are completely under siege and theaters, especially small theaters, regional theaters, they’re being decimated. When we went to school, there were arts in school there was drama, there was dance, there was music and singing, and now that’s become unimportant, [but] it’s actually the most important thing. It’s the one way that humans can totally communicate with each other, past language barriers, past education barriers, past cultural barriers. Without it, we cease to be human. And I think, to me, you lose the arts, it’s game over. It’s time to just Big Bang this s— and move on with the human race

3

1

Where do you start with an undertaking like this? What was the first hurdle?

2

Scan to watch and listen to

The Envelope video podcast

with AMY SHERMANPALLADINO and DANIEL PALLADINO

THE MARRIED COLLABORATORS BEHIND “GILMORE GIRLS,” “Bunheads”and“TheMarvelousMrs.Maisel”havealways had a soft spot for the arts, but their latest series, “Étoile,” takes that affection to a whole new level. Set inside occasionally allied, occasionally rivalrous dance companies in New York and Paris that swap talent to drum up interest, the Prime Video comedy depicts the dancers, choreographers and administrators who keep ballet going, against the odds. ¶ ThepairrecentlystoppedbyTheEnvelopevideo podcast to discuss why the dance world was wary of the project, translating their rapid-fire dialogue into French and more. Here are highlights from that conversation.

What was the initial reaction from within the dance community?

SHERMAN-PALLADINO They were wary We had to do a lot of, “We come in peace” a lot. Because a couple things have happened in entertainment and ballet One is that, because you see all this fluid beauty onstage and a lot [of] tulle, it’s easy to think that the fun thing to lean into i s, “But offstage, they’re all vomiting and pushing each other off of buildings!” One of our big things when we approached our dancers is to say, “This is not a show about dance. This is a show about dancers. This is about you guys and your story.”

PALLADINO The biggest hurdle that’s unique to this was putting together a corps of 20 dancers to be the company in each of the cities. That took a long time. They’re real dancers a lot of them are still professional dancers that are taking some time off or just retired or feeling like they want a break from that world. We had to do international auditions to draw people from London or Paris or Stuttgart or New York That was painstaking. It paid off, though, because we had that great corps; that was the corps that was in most of the dances, that was the corps that were playing extras. We gave a lot of them lines, so they were real dancers talking. That was probably the biggest thing. Actually shooting, the scheduling thing we ran into with Paris is that they had this thing called, I don’t know if you’ve heard of it, the Olympics.

4

You’re known for the rapid-fire dialogue that’s often heavy on the pop culture references. Here, you’re trying to do that in English and in French.Talk to me about navigating that. PALLADINO Apparently French has one-sixth the vocabulary of English We have way too many words There are days when we went in and we were reading the script over, and I had written the scene, but it was in French and I’d forgotten what the scene was about, and I had to remind myself. And the actors are spitfiring all this stuff Sometimes at the end of a scene, we’d turn to our French assistants and say, “Was that funny?” [We’d ask], “Did they say all the words?”

Yvonne Villarreal Host

→Amy ShermanPalladino on the set of “Étoile ”

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Zahn McClarnon p12

‘A Man on the Inside’ p13

COVER STORY:

p20

Kaitlyn Dever

Photograph of Seth Rogen by Jason Armond

‘Blurred

lines between reality and pretending’

‘Dark Winds’ star Zahn McClarnon explains why his character’s Season 3 arc hit close to home

HEMAYHAVESTARTEDTHE third season of “Dark Winds” crawling across the desert in the dead of night with a wounded leg and a dart in his neck, but for Zahn McClarnon’s JoeLeaphorn,thingscanalwaysgetworse.

“There’s a lot at stake for Joe,” said McClarnon, whose Navajo police lieutenant contends with marital discord, childhood trauma and an FBI investigation.

“He’s made some mistakes and the people around him are suffering because of it.”

The AMC series, based on novels by Tony Hillerman, follows Navajo Nation

that causes him to revisit a sex abuse trauma from his past. Were those sequences filmed on a closed set?

The director, Erica Tremblay, closed the set down for one scene specifically, when I’m dealing with the priest and my young cousin. It was great to be around collaboratorswhomademefeelsafeinthesevulnerable moments. I could relate, since I’ve had events in my past very similar to what Joe’s going through.

Sorry to hear that.

No, it’s OK. It certainly doesn’t define me. But it’s the first time in my career where I walked into my producer’s office at one point and broke down a little bit because I was having a hard time with those blurred lines between reality and pretending.

Joe’s also trying to solve the murder of a Navajo boy while Jenna Elfman’s FBI agent looks into the mysterious Season 2 death of mining mogul B.J. Vines. WhenJoeleftB.J.Vinesinthedeserttodie, he kind of did [to him] what happened to the Navajo people in the 1800s when the government put them on “the Long Walk.” A lot of them starved to death, having to walk hundreds of miles in bare feet in the middle of winter. That was Joe’s justification: “OK, you can make it back to civilization on your own.” As a Navajo man, as a principled man, Joe finds himself in turmoil over that decision.

You’re No. 1 on the call sheet and most of your scenes are pretty intense. How do you decompress?

Usually after a season, I go up to my mom’s house in Nebraska and hang out with her. I’m 58 years old and a lot more healthy now than I was in my earlier life, when I struggled with addiction. I finally got clean and sober 25 years ago, with help from a lot of people, when I had my big moment of clarity that I deserved more than what I was doing to myself. I use those experiences in my acting today.

tribal cops Leaphorn, Jim Chee (Kiowa Gordon) and Bernadette Manuelito (Jessica Matten) in the 1970s as they solve crimes within a white power structure that devalues the lives of Native Americans.

McClarnon, speaking from Camel Rock Studios in Santa Fe, N.M., took a break from filming “Dark Winds’ ” fourth season to talk about head trips, authenticity and the power of understatement.

In the surreal episode “Ábidoo’niidęę (What He Had Been Told),” Joe gets injected with a ketamine-tipped dart

You recently appeared in “Reservation Dogs,” co-created by a Seminole Nation citizen, Sterlin Harjo, and you serve as an executive producer on “Dark Winds.” It must be heartening to make shows that put the Native American experience front and center. It’s critical that Native kids are finally seeing themselves on films and TV in an authentic, positive way. With “Dark Winds,” even though Tony Hillerman was a white guy,we’verecontextualizedhisbookswith aNativewriters’room,Nativeconsultants, Native actors, Native directors. “Dark Winds” is opening doors for people to see us in a different way than they’ve ever seen us before.

Story by Hugh Hart

Photograph by Jason Armond

Story by Hugh Hart

The lesson of their show? Call up your mothers

Mike Schur and Ted Danson’s ‘A Man on the Inside’ takes on the golden years with humor and optimism

SOME MIGHT SUMMARIZE

the takeaway from Mike Schur’s retirement home comedy “A Man on the Inside,” starring Ted Danson, as “We’re all gonna die… plus jokes.” Schur would beg to differ. “I might say it has a slightly more optimistic outlook,” he proposes. “Something like: ‘We’re all going to die so live the best life you can as long as you can plus jokes.’ ”

Schur dreamed up the Netflix series after his producing partner Morgan Sackett insisted he watch the Chilean documentary “The Mole Agent” about 83-year-old Sergio, who goes undercover at a nursing home to catch a thief. Sergio is small and Danson quite tall but Schur saw them as kindred spirits. “Having worked with Ted on ‘The Good Place,’ ” Schur says, “I knew whatkindofpartshelikes.AfterIwatched ‘The Mole Agent,’ I just saw the whole thing.”

And, he adds, “It’s a real joy to write for Ted in general but especially because he truly is a gifted physical comedian His movements are very delicate, very practiced;hewantstoworkthemoutandgetit right.”

Danson, 77, came on board after seeing thedocumentary.“Itwassoendearingand sweet,” the actor told The Envelope “Then IwentaroundtonursinghomesinLosAngeles and thought, ‘Oh no. This is not going to work.’ I was so sad and depressed walkingaroundbecauseitwasbringingup memories of my own grandparents. But some of the residents in these homes werewillingtotalktousandtheywerefull of funny things the sex life in those places is rampant! so I put my trust in Mike to make a show that was funny and sad and poignant.”

In separate video interviews, Schur and Danson discussed crafting senior-centric entertainment

Ted plays widowed ex-professor Charles, who joins a retirement community so he can figure out who stole a resident’s necklace. How did you approach the “whodunit” aspect of the plot?

SCHUR This isn’t “Knives Out.” The goal is

not to make people gasp in surprised dismay: “Ooh, let’s make it seem like it’s this personbutthenwerevealit’sactuallythat person.” There are chunks of mystery but this is a comedy about a 76-year-old man broadening his life at a moment when he’s been kind of shrinking down to a little tiny bubble.

DANSON It’s really about, “Let’s tell the truthaboutthejoysandsadnessandchallenges of end of life,” which is something we don’t talk about much in this country. We had to thread the needle of being real, not saccharine, while also finding the laughter.

SCHUR Ourstaffwrotedozensanddozens of excellent, well-constructed, funny, interesting,surprisingjokesthatwethrewin the garbage can because they weren’t right for our show’s particular tone

Which is?

SCHUR Basically,doesourshowcontribute to that feeling of making us want to call our moms?

“Man on the Inside” showcases some great older actors too.

SCHUR Sally[Struthers,whoplaysVirginia] blew the doors off the place she was so funny, so sharp. We accidentally gave her

an earlier version of a scene that we’d changed. She said “Fine, give me two minutes.” She read through it and memorized herlinesfasterthananyoneI’veeverseen.

DANSON Stephen McKinley Henderson, who plays Calbert, is one robust human being. I think it was his fifth or sixth day having COVID. He would much rather have been in bed, but on our first day of shooting, we took this walk through the redwoods and it just rejuvenated him. The depth of truth in Stephen’s eyes it’s hard to be a bad actor around him.

At the retirement home, everybody’s got problems — memory loss, cancer, loneliness but these darker scenes alternate with some very deft comedic moments.

DANSON The funny [idea] that I walked in withwasthatCharleswassoexcitedtobe a private eye, he’s like a little boy, but he’s horrible at it. Terrible. It was also fun to bounceoffofLilahRichcreekEstrada,who plays Charles’ boss, because she just can’t believe she has to put up with someone as lame as me.

Before his daughter Emily, played by Mary Elizabeth Ellis, gives him a nudge, Charles has pretty much given up on the idea of life as an adventure. How did you connect with that aspect of aging?

SCHUR We wanted to see Charles step outside the little cocoon he’s created for himselfwithhiscozyfireandtakeoutfood and crossword puzzles. He takes a tiny step outside and that leads to a bigger step and a bigger step. Along the way,he hurts people unintentionally and blunders throughthings,aswealldo,butthelesson by the end of the show that hopefully comes across is that living life and making mistakes is still better than not living life.

DANSON My wife, Mary Steenburgen, workedwithJaneFondaandDianeKeaton andCandiceBergenon[2018movie]“The Book Club.” I got to meet Jane when she was turning 80 and I was turning 70. I was saying,“Maybeit’stimetogetmyducksin order and find a nice soft landing place,” andJanewaslike:“No!Putyourfootonthe pedal and go, fast as you can, take big chunks out of life, keep living, keep being of service, keep being part of a community, keep trying to make a difference.”

Speaking of Mary, Ted, it’s been reported that she’s joining “A Man on the Inside” for Season 2.

DANSON And we are giggling with anticipation! Mary has a great character, we get to run lines and it’s delicious because, without giving anything away, this next season is funnier and the mystery has more at stake.

Photograph by Ethan Benavidez For The Times

By YV ONNE VI LLARREAL

Ph otographs by JA SON

ARMO ND

JEN STATSKY

SETH ROGEN

LAUREN LEFRANC

R. SCOTT GEMMILL

WWhen you gather the creative minds behind six of the mostentertaining and acclaimed shows of 2025, the conversation is destined for narrative intrigue. The writers who took part in this year’s Envelope Roundtable touched on social media blackouts, release strategies, runaway production and more. ¶ The panelists are Debora Cahn of “The Diplomat,” about an American foreign service officer thrust into a thorny web of geopolitics; R. Scott Gemmill of “The Pitt,” which focuses on frontline healthcare workers inside a Pittsburgh hospital during a single 15-hour shift; Lauren LeFranc of “The Penguin,” a reimagining of the Batman villain Oswald Cobblepot as a rising Gotham City kingpin, Oz Cobb; Craig Mazin of “The Last of Us,” an adaptation of the popular video game series about survivors of an apocalyptic pandemic; Seth Rogen of “The Studio,” a chronicle of the film industry’s mercenary challenges as seen through the eyes of a newly appointed studio chief; and Jen Statsky of “Hacks,” about an aging comic’s complicated relationship with her outspoken mentee. ¶ Read on for excerpts from our discussion.

Lauren, you’re making a series that is tethered to source material that’s really beloved by fans. I’m curious what the conversations are like with DC, or “The Batman” director Matt Reeves, when your series has to fit into a larger canon.

LEFRANC I knew where Oz ended in “The Batman.” I knew my job was to arc him to rise to power and achieve a certain level of power by the end. Outside of that, I was given carte blanche and I could just play. And that’s the most exciting thing to me. We both were in agreement that this should be a character study of this man.Ilovediggingintothepsychologyof characters.

So many people were like, “Do you feel pressure? What’s this like for you?” And I was like, “Am I numb as a human?” I don’t feelthatkindofpressure.Ifeelpressureto tell a great story and to write interesting, engaging characters that are surprising and to kind of surprise myself. I’m not the first type of person you would think who would get an opportunity to write a guy like Oz, necessarily, and to write into this type of world. I think there’s been a lot of crime dramas and a lot of genre shows or features that don’t have the lens that I haveonamanlikethat.SoItookthatseriously. And I also really wanted to pepper the world with really interesting, complicated women as well. I felt like, in some of thesegenres,sometimesthosecharacters weren’t as fully formed.

Craig, you know what it’s like working with source material, and we knew the fate of fan-favorite character Joel, who dies in Part 2 of the video game. Tell me about your experience of the death of Joel in the video game playing it and how that informed what you wanted to see out of Season 2 and where exactly it would fall.

MAZIN I was upset when it happened, but I wasn’t upset at the game. It was, narratively, the right thing to do. If you make a story that is about moral outcomes and the consequences of our behavior, and somebody goes through a hospital and murdersawholelotofpeople,andkindof dooms the world to be stuck in this terrible place, and takes away the one hope they have of getting out of it, yeah, there should be a consequence. If there’s no consequence or even a mild consequence, then it’s a bit neutered, isn’t it? It made sense to me and it made sense that ifweweregoingtotellthestory,thatwas the story we were going to tell. Sometimes people do ask me, “Was there any part of you that was like, ‘Hey, let’s not have Joel die?’ ” No. That would be the craziest thing of all time.

How quick were you watching the real-time reaction from fans?

MAZIN I don’t do that.

ROGEN But how do you get validation? How do you know to feel good?

STATSKY Can you teach me not to look?

MAZIN I think I’m looking for validation. Really what I’m looking for is to repeat abusive behavior toward me that’s what my therapist says. For all of our shows,millionsandmillionsandmillionsof people are watching these around the world. And if 10,000 people on Twitter comeatyouforsomething,thatisanegligiblenumberrelativetothesizeoftheaudience, but it sure doesn’t feel [like it]. So I made a choice. The downside is I do miss the applause. Who among us doesn’t love applause? I’ve just had to give that feeling up to not feel the bad feelings.

With a show like “The Studio” or “Hacks,” does it feel cathartic to lampoon the industry or show the ridiculous nature of the business and the

decision-makers sometimes?

ROGEN What’sfunnyis,aswewerewriting the show, we never used the word “satire.” To us, the goal was not to make fun of any element of the industry —honestly, it’s mostly based on myself and my own fears, assomeonewho’sinchargeofthings,that I’m making the wrong choices, and that I’m prioritizing the wrong things, and that I’m convincing my idols to work with me and then I’m letting them down, and I’m championing the wrong ideas That I’m making things worse and that I’m giving notes to people that are detrimental rather than exciting, and that I’m mitigating my own risks rather than trying to bolstercreativeswings.Thatwasthestartling moment where I realized I personally relate in my darkest moments to a studio executivemorethanIdoacreativeperson intheindustryinmanyways.Andthatwas kind of the moment where I was like, “Oh, that’s a funny thing to explore.”

STATSKY But it’s interesting when you put it like that, because of the part of showrunning where you become management and you’re much more on that business side [of] running a show We’re executives in many ways too.

MAZIN I have a question for you. How do youdealwiththefactthat aswekindof move through things as writers, we are always comrades, we are colleagues of people. When you become a showrunner, you don’tnoticeitatfirst,butthereisthisbarrier between you and everybody, and one day you wake up and realize, “Oh, it’s because they look at me and see someone who can fire them, who can elevate them, who can change their lives for better or worse.” And you start to feel very, very lonely all of a sudden.

STATSKY Oh, there’s a group text you’re not on.

MAZIN And it’s about you

STATSKY It’s about you It’s such a hard part of this job that I struggle with very much because as writers, we are empathetic to others, and we are observing the world, and we are trying to commune with peopleasbestaspossible.Butthenyoudo this thing and you’re like, “I like writing, I like writing, I like writing.” And they’re like, “Great. Now here’s a 350-person companytomanageandyoubecomeaboss.”I struggle with it a lot, the thinking of people’s feelings, thinking of people’s emotions, wanting to be in touch with them, butthenalso,attheendoftheday,having to sometimes make really difficult management-type decisions that affect people’s livelihood I find it very challenging. I need your therapist for that as well.

Debora, you have a character, a fe-

‘I FEEL PRESSURE TO TELL A GREAT STORY AND TO WRITE INTERESTING, ENGAGING CHARACTERS THAT ARE SURPRISING.’

Lauren LeFranc, “The Penguin”

male vice president, who’s been doing the bidding of an older president whose capabilities have been called into question, and spoiler alert, she becomes president. The season launched a week or so before the 2024 presidential election. What was that like? And how is it writing a political drama now versus when you were working on “The West Wing”?

CAHN Back in “The West Wing” days, we would have people come in, people who worked in the field, and we would say, “Whatareyouworriedaboutthatwedon’t know to worry about yet?” And that was a pretty good barometer for getting an interesting story that was likely to still be topical in a year. That’s all you want, really, istonotbecompletelylappedbythenews when you’re trying to tell a story that’s not goingtogotoairforayear.Now,we’rereleased from any boundaries of any kind. There’snothingthatwecandothat’smore absurd than what’s happening. Suddenly, we’redoingadocumentary,orwe’redoing a balm for what you wish government was like or what you vaguely remember it was like. But we’re trying to stay in the headspace of, “What is the foreign policy community going to be thinking about in the next two years?” and trying to find something that will continue to feel relevant. But more and more it’s like, “What are the conflicts that sane people have with each other in this field? What happens when you can look at two people and you feel like they both have good values and they are kind to children? What do they fight about?”

Let’s talk about release strategies. There’s the traditional, week-to-week model and the more modern, all-atonce model. There’s a mix of both in the marketplace. Scott, with “The Pitt,” you could just see the way peo-

ple rallied around every week to see what happened next. What do you like about the weekly release?

GEMMILL I’ve only ever done that. This is my first streaming show, and we are doing it in a traditional drop a week. So I’ve never had a show that was bingeable. I don’t know any other way. At one point, they weregoingtoreleasethreeepisodesatonce,butthey only released two [at the start]. I don’t have a dog in that fight I think my show, just because of the nature of it, would be very hard to binge.

ROGEN As someone who’s been bingeing it, I can attest to that. [To Cahn] Yours comes out all at once.

CAHN It does. I don’t love that. It’s not what I would choose.IthinkNetflixoffersalotofotherpluses.[It’s] got a big audience all over the world and that’s really nice. But I came up in broadcast television, and the ideathatyou’vecreatedthisthingandit’sastorythat you’veexperiencedovertime,andthenpeoplearelike two days and done, it just

MAZIN It’s weird.

CAHN And it changes the way that you write.

MAZIN Over the last few years, what’s happening is, for shows that are coming out week by week, people will now save up three at a time. So they don’t want to watch week after week. There’s this weird accordion thing going on, and I don’t know where this is going. I don’t think any of us do. I’m a little nervous about the week by week. I am just hoping that it remains I thought for sure one day Netflix would go, “Why arewedoingthis?”BecauseIreallydidn’tunderstand. I still don’t understand.

CAHN I have this question every three months.

ROGEN They don’t have an answer.

CAHN It works for them.

GEMMILL Wonder why they complain about grind. Becauseit’snotthere.Well,it’sbecauseyouputitallout at once.

MAZIN But then what I’m worried about is that they’re right. I’m just wondering if people are starting to lose their patience.

STATSKY Attentionspan.Ithinktheyare.I’veevennoticed,becauseweusedtodroptwoaweek.Inthisseasonfor“Hacks,”we’vedoneoneaweek.Isawacouple tweets where people were like, “Why are the episodes shorter this year?” I was like, “Well, they’re not.You used to watch two.” But I do think the one-a-week model, because now people are so trained [to binge] like you’re saying, the attention span, it’s scary I don’t think people want to watch like that anymore.

ROGEN I produced “The Boys,” and we actually went fromthemallcomingoutatoncetoweekly Anditdid not affect the viewership in any way, shape or form was what we were told. What it did affect, that we couldjustsee,wasitsustainedculturalimpact.People talked about it for three months instead of three weeks of incredibly intense chatter. It just occupied morespaceinpeople’sheads,whichIthinkwasbeneficial to the show.

CAHN When they’re coming out one a week, you can repeat things that you can’t when they’re coming outalltogether Youhavetolookatthemintermsof, did they each have the same rhythm? Are they each really featuring the same characters and storylines? You have to think about it in terms of, “If people do

threeatatime,what’stheirexperiencegoingtobe?” It’s terrible.

The talk of the town is runaway production and how to stop it. Scott, “The Pitt” is set in Pittsburgh and you did film exteriors there, but principal production happened on the Warner Bros. lot. Talk about why that was important for you. GEMMILL The show could have been shot in Moose Jaw.Butitwasimportanttobringtheworkhere,sowe fought really hard to get the California tax credit. The most important part of my job, besides writing produciblescriptsthatareontime,istokeepmyshowon theairaslongaspossible,tokeepeveryoneemployed as long as possible. And that’s the thing I like the best aboutit.ThisisthefirstshowthatNoah[Wyle]’sdone since he left “ER” that’s shot in Los Angeles. It’s a shame. There’s more production now, but when we firstwereatWarnerBros.forthis,itwasaghosttown It’s so sad because I’ve been in the business for 40 years and still get excited when I go on a lot. And to see them become unused just because it’s cheaper to shootsomewhereelse andthere’ssomanytalented people here, and it’s hard on their families if you have togotoAlbuquerqueforsixmonths.Idon’teverwant to leave the stage again.

MAZIN We did our postproduction on the Warner Bros. lot, but we shoot in Canada. And I love Canada. But, yeah, of course, I’d love to be home I like doing postproduction here. I’ll take what I get. The financial realities are pretty stark, that’s the problem If you are making a smaller show, the gap is not massive. If you’re making a larger show, every percentage becomesabiggeramountofmoneyandalsorepresents a larger amount of people to employ. But what’s good is it seems like they’re starting to get their act together in Sacramento. I do worry sometimes it’s a littlebittoolate,becausetherestoftheworldseemsto be in an arms race to see how many incentives they can give to get production to go there

I’m hoping that at least we can start to move the needle a bit because, listen, that Warner Bros. lot, when I was a kid starting out, I would go on that lot, I would see the little “ER” backlot with the diner and all of it. And I was like, “That’s on TV. It’s here.” And now I walk around the Warner Bros. lot and it’s just a single tram full of tourists and no one else. And it’s so, so sad.

LEFRANC It’s really heartbreaking You used to be able to write what you’re doing, produce, do post all on the same lot. You had a family that you were able to form, and you could mentor writers. I would not be able to be a showrunner if not for all the people who came before me who mentored me, and I could walk to set, produce my own episode, and then I can walk to post. It’ssohardnowwhereyou’reaskingwriters,especially if networks aren’t paying for writers to go to set, “Can you pay for yourself to fly to New York?” It just makes itsohardtobeabletoeducatepeopleinthewaythatI feellikeIwasprivilegedenoughtobeeducated.What are we going to do about that?

GEMMILL Mistakes get made. The best part about the whole business is it’s collaborative. But when you’re separated by thousands of miles, sometimes there’s a disconnect

DEBORA CAHN

CRAIG MAZIN

BYGLENNWHIPPPHOTOGRAPHSBY SHAYANASGHARNIA

ZOMBIES?

KaitlynDeverknowsshe’sstrong. With"TheLastofUs"andan upcomingmonstermovie, theworldwilllearnthattoo

GODZILLA? BRINGKONG?ITON

knows the words to the “Bob the Builder” theme song. She’s singing it we’re singing it which isn’t something I expectedwhenpreparingtotalkwithheragainafterwetook adeep dive into the season finale of “The Last of Us.” But then, even the most meticulous research had failed to turn up that Dever’s father, Tim, voiced Bob the Builder, as well asanothericonofchildren’stelevision,BarneytheDinosaur.

“

I KNOW

,

RIGHT?

”

Dever says, laughing. “Barney the Dinosaur. Crazy.”

Is it a reach to think that’s why Dever is having such a blast right now in Australia shooting “Godzilla x Kong: Supernova,” the latestentryintheMonsterversefranchise? After all, this isn’t her first rodeo with a dinosaur evenifthistimearound,thecreature isn’t purple or huggable or even tangible,justagreen-screendream.

“I want to meet Godzilla,” Dever says. “I justdon’tknowif,outsidemyimagination,I everwill.Butthat’sOK Myimaginationisa powerfulthing.”

DeverishomeinL.A.forafewdays,takingabreakfromfilming,enjoyingtimewith her dad and her younger sisters, anticipating her return for good in July when she’ll have enough time for, among other things, ameal or three at the venerable Valley MexicanrestaurantCasaVega She’sexperiencingserioustacowithdrawalrightnow.

‘GRIEF DOES A REALLY IN TERESTI NG THING WITH YOUR BRAI N. IT MESSES WITH YOUR MEMORY.’

If you’ve had even a casual relationship with televisionormoviesinthelast15years,youknowKaitlynDever, even if you don’t think you do. As a teenager, she got her start playing the gun-toting, pot-growing LorettaMcCreadyon“Justified”andTimAllen’sdaughter on “Last Man Standing.” She then starred opposite Beanie Feldstein in the thrilling, funny 2019 comingof-age comedy “Booksmart,” now part of the teen movie canon, and then gutted viewers portraying a sexual assault survivor in “Unbelievable” and an opioid addict on “Dopesick.”Earlier this year, she shined as a cancer-faking Australian wellness influencer in the limitedseries“AppleCiderVinegar.”

All that was a prelude to her turn as Abby Anderson on “The Last of Us,” playing the young woman who killed Joel (Pedro Pascal) to avenge her father’s death. Dever appears in only three episodes of the show’s second season, and in two of them, she has just one scene. But if you measured an actor’s work by the power emanating frombrief screen time, Dever would bethetelevisionseason’sMVP.

“I remember feeling like we were capitalizing on a quasi-secret that shouldn’t be a secret,” says “The Last of Us” co-creator and showrunner Craig Mazin. “It was the same feeling I had with Bella [Ramsey] You can’t wait to watch the reaction when everyone finally sees it.”

The second season served as a curtain-raiser for both Dever and her character, ending in a reset that will now follow Abby through the warring factions and fungal-infected hordes of postapocalyptic Seattle, bringing her back to that moment when she meets Ramsey’sEllieagain.

Both Mazin and Neil Druckmann, co-creator of “TheLastofUs”game,arepracticallysalivatingatthe prospect of spotlighting Abby, as it will force viewers to reckon with their reactions to her killing Joel.

“Our challenge now is to make you question whether you hate Abby at all and maybe make you start to love her and then be confused,” Mazin says. “Where are my loyalties? What is the concept of a hero? That requires an actor who can inspire those thoughts without sweating, and we have that in Kaitlyn.”

“That’s the experiment of the story,” Druckmann adds. “What if Abby isn’t so horrible? I’m thrilled to watch Kaitlyn bring her version of Abby to the screen because I think people can already see the force she brought to the show in such a short period of time.”

That Dever did all this amid the shattering grief of losing her mother, Kathy, to breast cancer is somethingthat,15monthslater,shestillcan’tquitefathom. Dever flew to Vancouver three days after her mom’s funeral. Her first day on set was the scene in which Abby kills Joel.

“When you have a moment like that with an actor, you are immediately bound to them,” Mazin says. “I would stand in front of a bullet for her.”

Kaitlyn Dever in the Season 2 finale of "The Last of Us."

Dever stars as disgracedinfluencer Belle Gibson in Netflix’s “Apple CiderVinegar.”

For Dever, everythingaboutthat dayis ablur,and when shefinally watched the episode this year, it was like seeing itfor thefirsttime

“Griefdoesa really interesting thing with yourbrain,” shesays.“It messes with your memory.”

Truthfully, Dever, 28,didn’t want to leavehomeafterhermother’sfuneral.She didn’t think she coulddoit. It took her father to remindher howexcited her mom waswhenshewonthepartofAbby.“Irealizedthere’snopartofmethatcouldn’tnot do this,” Dever says.“I hadtodoitfor her.”

Saying that she “won”the role isn’t entirely accurate.WhenMazin and Druckmannaskedhertodrivetocastingdirector Mary Vernieu’s Santa Monicaoffice in 2023, Dever went in thinking it wasgoing to be an audition,muchlikethe oneshe hadwithDruckmannyearsagowhenthere hadbeen talk about turning the game into amovie.

Devercameinprepared to read. It turned out allshe had to do waslisten. They were pitching her, detailingtheir plans forthe series and Abby’s arc and asking hertotrust them. Shewas so shocked thatshe spent most of the meetingjust trying toholdittogether until she could getback to her car, callher dadwith thenewsand listen to him freakout.

“Hecouldn’tbelieve it,” Dever says. “He

hadplayedthe game and loved Abby,sothiswas huge.” She remembers everything about that day,including the “really bigcookie” they gave her when she left.“Ithinkonlyjust now haveI been able to process that it actually happened,” she says, smiling.

Dever stands 5foot 3and bearslittle resemblance to thetall, muscular version of Abby seen in “TheLast of Us”game. Imposing, she is not.And that makes her work on “The Last of Us” all the more remarkable.

“Abby is so intimidating because of her strength,” Dever says. “Andthat comes from herdark and very sadpast and how longshe has been thinking about killing Joel.That’sthe energy Iwas hoping to put across.”

Does Dever consider herself astrongperson?

“Mmm-hmm, yeah,” she answersimmediately. “WhenIthink of strength, Ithink of what has brought youtothis moment,how much you’vebeen through andhow have you gotten here. It’smore emotional, what Iconsider strength.”

Afew minutes later,though, we stumble upon her kryptonite. Dever has two younger sisters, Mady and Jane.SheandMadyhavebeenmakingmusictogether foryears and just released asix-song EP, “I Think We’re Lost,”recorded under the bannerDevers. It’s beautiful folk pop featuring the kind of intuitive harmoniesthatonlysiblingscanpulloff.But,forawhileat least,you’llprobablyonlyhearitonstreamingservices andnot in aconcert setting. Dever hates performing in front of people.

“Whenyou ask if Ihave strength, Idon’t have strengthinthatregard,”shesays.“It’ssoscary.Maybe I’mworking up to it.I don’t know. My sister is so confusedbythenervesthatIhave.Shedoesn’tsharethat nervethingwithme.She’slike,‘Youliterallyperformin frontofpeopleforaliving.’Butwithacting,I’mplaying acharacter. Onstage with music, there’s nothing for me to hide behind.”

Butwhenitcomes to songwriting, Dever doesn’t want to hide. The last several weeks, she has been pullingoutheracousticguitarandwritingsongsabout hermom foranalbum she planstodedicate to her Shewrites during her downtime making “Godzilla x Kong”—there’salotofdowntimeonamovielikethat —and has come up with seven or eight songs, each playing off corememories. Most of them are upbeat andhappy because that’sthe kind of music that her momlistened to and loved.

“Everyoneusedtosaythatshewaslikea17-year-old stuck in a53-year-old body,” Dever says, laughing. “She had avery youthful quality to her that was magnetic.She approached life with alot of humor and just wanted to have agood time.”

“And Ihave to sometimes remember that,” Devers continues,“becauseasmuchasIlovethechallengeof doing serious stuff and find playing those types of characters therapeutic, there’saplace for aGodzilla movie, you know?”

The power of the ‘oner’ p32

Emmy-winning reboots p33

Gold Standard p34

Konrad Kay and Mickey Down p36

Illustration by Paul Blow For The Times

Their cover is blown: Here is the dossier on 6 new spy dramas

This season, agents are facing fresh complications in their line of work, from romantic entanglements to Big Tech executives gone mad with power

PARANOIA REACHES A fever pitch this Emmy season, with spy thrillers that imagine intelligence agencies as puppet masters working in opposition to, or in cahoots with, megalomaniac billionaires.

Conspiracy theories that once might have seemed outlandish now resonate as entirely plausible, especially when dramatized by the formidable casts charged with bringing these stories to life.

Here’s a dossier summarizing this season’s notable espionage series and the stars who drive them.

‘THE AGENCY’ PARAMOUNT + WITH SHOWTIME

HOOK Self-loathing spy. Michael FassbenderplaystheicyCIAagentnicknamed “Martian.” Quietly traumatized after six years undercover in Ethiopia, he’s now backatLondonStation,lyingtohisbosses about an affair with former source/current lover Samia (Jodie Turner-Smith) and trying to trick the in-house psychologist into thinking that he’s fit for duty.

MISSION Ambush a Russian general in Ukraine to rescue undercover agent Coyote and, for field agent Danny (Saura Lightfoot-Leon), gather intel on Iranian nuclear weapons by posing as a scientist.

SPY LINE “I believe there is only one type of agent: the insane,” Martian says. “The CIA sends us out into the world to behave in entirely unhealthy, deviant, dangerous ways.”

FAKE INTERROGATION Danny is kidnapped, beaten and questioned by aman acting on instructions from Martian to makesureshewon’tcrackunderpressure. Danny passes the test and promptly sleeps with her interrogator, Edward (Elham Ehsas).

INFIGHTING Martian clashes over tactics with his superior (Jeffrey Wright), who tussles with his superior (Richard Gere) while their superior, the director of the CIA (Dominic West), periodically beams in from Washington, D.C., to cast doubt over the entire high-risk operation.

‘BLACK DOVES’ NETFLIX

HOOK The killers are besties. Keira Knightley is Helen, a London mother of two who steals state secrets from her U.K. defense minister husband. She and Ben Whishaw’s wry hit man Sam both work for the private Black Doves company run by steely Reed (Sarah Lancashire).

MISSION Helen seeks to avenge the murder of her secret lover, a government employee eliminated because he knew too much about the accidental murder of a Chinese diplomat.

TWIST Crime family matriarch Alex (Tracey Ullman) secretly works with MI5 to cover up the would-be scandal, and too bad for anyone who gets in their way.

SPY LINE “This is much bigger than we thought it was,” Sam tells Helen.

‘SPECIAL OPS: LIONESS’ PARAMOUNT+

HOOK Wonder women at war. Zoe Saldaña portrays Joe, leader of the CIA’s covert “Lioness” program for female assassins, who hates being told what to do even more than she regrets leaving her kids and husband behind for weeks at a time.

MISSION Infiltrate a Mexican cartel by training Army helicopter pilot Josie Carrillo (Genesis Rodriguez) to spy on her money-laundering father.

WHOOPS Dozens die south of the border whenJoeleadsanoff-the-booksattackon human traffickers.

INFIGHTING For Joe’s testy overseers (NicoleKidman,MichaelKellyandMorgan Freeman), everything’s an argument.

SPY LINE Joe yells at an intrusive bureaucrat, “I choose the assets. I choose the cover. I build the plan. And I run it. Me!”

‘THE MADNESS’ NETFLIX

HOOK It’s not paranoid fantasy. It’s real life. Colman Domingo plays TV pundit Muncie, framed for the murder of a rightwing militant in the Pocono Mountains, who comes to realize he’s just a pawn in a game controlled by Big Tech moguls and their sociopath hit lady.

MISSION Prove he’s innocent and protect his family.

SPY LINE FBI agent Khalil (Ennis Esmer) tells Muncie, “When you stir up the madness,sometimesthemadnesscomesback and bites you.”

‘SLOW HORSES’ APPLE TV+

HOOK MI5’s island of misfit spies. Gary Oldman’s slovenly Jackson Lamb runs Slough House, where bickering loser agents compete to redeem their trashed reputations.

MISSION Catch the terrorists responsible for killing dozens of civilians in a London car bomb attack.

TWIST Agent River Cartwright (Jack Lowden) unravels the connection between himself and the CIA operative-turnedmercenary(HugoWeaving)who’sraiseda brood of psychopathic assassins.

INFIGHTING Oscar nominee Kristin Scott Thomas, as MI5’s “Second Desk” deputy director Diana Taverner, constantly undermines Lamb in order to bolster her own power.

SPY LINE Lamb says, “We’re all targets. Just like old times.”

‘ZERO DAY’ NETFLIX

HOOK Dementia at the top. Robert De Niro plays ex-president George Mullen, who comes out of retirement to head the Zero Day Commission while hiding his cognitive decline from wife Joan Allen, aide Jesse Plemons, ex-chief of staff Connie Britton and congresswoman daughter Lizzy Caplan

MISSION Hunt down the perpetrators of a cyberattackthatkilledthousandsofAmericans, even if it means torturing suspects with“enhancedinterrogation”techniques

TWIST Big Tech billionaire Monica Kidder (Gaby Hoffmann) executed the cyberattack in collusion with congressional leaders and their CIA-developed code.

SPY LINE “You’rejustgoingtograbpeople off the streets without warrants?” Mrs. Mullen asks her husband. “This is the greatest affront to civil liberties ever attempted.”

Story by Hugh Hart ■

Illustration by Paul Blow

For The Times

Story by Whitney Friedlander

How TV is tapping into the power of the ‘oner’

Creators from five series break down how they used continuous shots to crank up or slow down the action

IT USED TO BE THAT A“ONE shot,” or “oner,” was only associated with movies.

But the combination of prestige television and advanced technology has made it more common forthesmallscreentoshowcasetheballet of direction, cinematography, acting and more required to make it feel like an episode or scene is filmed in one continuous take.

Theshootoutgoneawryinthefirstseason of HBO’s “True Detective” garnered Emmys for cinematographer Adam ArkapawanddirectorCaryJojiFukunagaandis still talked about in cinephile circles with a hushed reverence. The technique is also what kept the adrenaline flowing for “Review,” the Season 1 episode of Hulu’s “The Bear” that garnered Emmys for director Christopher Storer and the show’s sound mixing and editing team members.

This season, though, Emmy contenders are taking it up a notch. Oners are omnipresent, used for grueling fight scenes (HBO’s “House of the Dragon” and Disney+’s “Daredevil: Born Again”); trippy mind warps (Apple TV+’s “Severance”); documentary-style realism (Max’s “The Pitt”) and brutal examinations of crime and its repercussions (Netflix’s “Adoles-

cence” and “Monsters: The Lyle and Erik Menendez Story”). In comedies, Apple TV+’s “The Studio” is filled with oners, including an episode-length example about a film production’s quest to achieve a perfect one shot at sunset. (The episode is, of course, called “The Oner.”)

“Wecallitadancewiththeactors,”“The Pitt’s” director of photography, Johanna Coelho,saysoftheseries’immersivestyle. “We have two camera operators, and they both really learn to know how the actors move.Buttheactorslearntoseehowthey move with the camera.”

The series’ camera crew is in the actors’ faces so much that they have to wear medical scrubs, lest they get caught in a background shot.

Theincreasinguseofonersalsoreflects rapid technological transformation. “Adolescence” director Philip Barantini says he would have struggled to film his four-part limited series in episode-length one shots as recently as three years ago. The crew shot with a Ronin 4D, an affordable and lightweight camera that could easily be handed to different operators. (Director ofphotographyMattLewisbecamesucha fan that he bought one for himself.)

The key to using the oner successfully andavoidingaccusationsofgimmickry

is to ensure the style doesn’t outshine thestory,saysBarantini,whoalsousedthe technique for his restaurant drama “Boiling Point.”

Indeed, though the oner is frequently associated with a fast pace, it also can slow things down, making it hard for audiences to look away. For instance, “The HurtMan,”thefifthepisodeof“Monsters,” is the shortest of the season at just 36 minutes. But director Michael Uppendahl uses that entire time to zoom methodically in on actor Cooper Koch’s Erik Menendez as he details horrifying stories about his family.

WorkingwithshowrunnersIanBrennan, who wrote the episode, and Ryan Murphy, as well as cinematographer Jason McCormick, Uppendahl brought in a large crane that could push the camera in so slowly that audiences wouldn’t immediately notice. It also could tilt the camera and recalibrate if speed or sound were off.

“Itdoestakeacertainkindofactortobe abletomaintainthatkindofstillnesswithout constricting performance,” Uppendahl says of Koch, adding, “He’s a young performer,andIdidn’tknowifhewasable to do that.”

They got the scene in10 takes.

“The Studio” co-creator Evan Goldberg, who also co-directed every episode with series star Seth Rogen, notes the techniquedictatesthattheplotcanfollowonly a single storyline. Once they decided to filmepisodesthisway,hesays,“Wehadto rewrite every single scene of every single episode to accommodate it.

“We knew we were going to film it that way before we wrote it,” Goldberg explains.“Butthenoncewehitthegroundon production and actually looked at the scripts, we realized that we had to make the jokes end when they leave a room and if there’s someone upstairs and downstairsyellingateachother,areweactually gonna be able to do that?”

A filming error also means a much bigger scene reset than a normal shot.

“Daredevil” director Aaron Moorhead has what he calls the Filmmaker’s Prayer: “Maythecamera,thescriptandtheactors all want to do the same thing. Amen.”

Moorhead and directing partner Justin Benson filmed three episodes of the action drama’s first season, including the premiereepisode,whichfeaturesaonerof a fight scene down a narrow hallway This helped establish the camera’s language for the show and how it would move. He saysit’s“notexactlyharder”tofilmaoner; “it’s just a very different skill set.”

“Almost every time we’ve ever tried a oner it succeeds,” Moorhead says, adding, “The thing that’s the most challenging about it is you have to commit to everything.” The Spotlight Behind the Scenes

→Sarah Polley, left, Catherine O’Hara and Seth Rogen in “The Studio.”

Story by Randee Dawn

These reboots won over Emmy voters

Revivals typically take a backseat to new shows during awards season. But these series earned plaudits from the TV Academy on their second go-round

EVERY YEAR, EMMY PROGNOSTICATORS WEIGH THE CHANCES OF TV’S NEWcomers. But what about newcomers that are also old-timers, like CBS’ “Matlock” reboot with Kathy Bates? ¶ When it comes to awards season, rebootsaren’tusuallyahotcommodity Herewelookbackonsixrethinks that bucked the trend

1

‘SHŌGUN’ (2024-PRESENT)

EMMY WINS: 18

With 26 nominations and an astounding 18 wins, the premiere season of “Shōgun” is the first Japanese-language series to take home an Emmy for drama series. In addition to the top prize, the adaptation of James Clavell’s 1975 historical novel won awards for stars Hiroyuki Sanada (lead actor, drama) and Anna Sawai (lead actress, drama) plus a raft of below-the-line Emmys The original miniseries’ take on Clavell’s story of colonialism and war in medieval Japan didn’t do so badly, either in 1980 it scored 14 nominations and won three Primetime Emmys, including one for limited series.

2 ‘QUEER EYE’ (2018-PRESENT)

EMMY WINS: 11

The fixer-upper series featuring five gay men zhuzhing up the lives of more staid straights was a phenomenon when it originally aired between 2003 and 2007but was comparatively overlooked by the Emmys, picking up a win for reality program in 2004 plus three other nominations. Meanwhile, Netflix’s reboot featuring makeovers of more than just straight guys, and a less snarky sensibility has earned 11 Emmys to date, including six wins for structured reality program (2018, 2019-23).

3

‘WESTWORLD’ (2016-22)

EMMY WINS: 9

“Westworld” stands out on this list because it reimagines afeature film, not an earlier TV series in this case, the 1973 movie written and directed by Michael Crichton and starring Yul Brynner. The film scored no top-line awards or nominations, but the HBO reboot, which premiered in 2016, landed 54 Emmy nominations and nine wins across its fourseason run, including a 2018 trophy for Thandiwe Newton (lead actress, drama) for her performance as the series’ cunning madam, Maeve Millay.

4

‘ONE DAY AT A TIME’ (2017-20)

EMMY WINS: 3

The story of a single mom raising her growing daughters earned three nominations during its original run from 1975 to 1984, including one in 1982 for star Bonnie Franklin (lead actress, comedy); director Alan Rafkin and supporting actor Pat Harrington won The Netflix reboot, which recast the Romanos as the Cuban American Alvarez family and shifted the action from Indianapolis to L.A., was nominated for each of its four seasons and won two, as well as aspecial Television Academy Honor

5 ‘BATTLESTAR GALACTICA’ (2004-09)

EMMY WINS: 3

In the decades between the original 1978-79 “Battlestar” and the full-throttle reboot, science-fiction storytelling on the small screen advanced at lightspeed, which may have helped the latter last far longer than the original. The story of human refugees fleeing space colonies destroyed by Cylon robots (who were now on their tail) earned the original series three nominations and two Emmy wins in below-the line categories. The reboot ended up with three Emmy wins of its own from 19 nominations, though all the wins were for special effects and sound editing. (A 2003 backdoor pilot became a three-hour miniseries and also earned three Emmy nominations.)

6 ‘THE CONNERS’ (2018-25)

EMMY WINS: 1

Let’s call this one an unplanned reboot. After ABC canceled its 2018 “Roseanne” revival due to star Roseanne Barr’s public flameout, the quick-thinking network teed up “The Conners,” which follows the titular family after its matriarch’s untimely death Falling somewhere between a traditional revival and a full-on reboot, “The Conners” hasn’t matched the original “Roseanne’s” Emmy haul, which included 25 nominations and four wins (three for Laurie Metcalf and one for Barr). But the series, which recently concluded its own seven-season run, has performed solidly with voters, earning six nominations and one win in 2021 for editing in a comedy series.

‘Mountainhead’ is alock for an Emmynod.But its stars have an uphill climb

While the HBO film’s four leads are convincing as self-importanttech oligarchs, having to share a categorywith limited series mayhurt their chances

EARLY ON IN “MOUNTAINHEAD,” TECH BROAND Elon Musk stand-inVenisParish (Cory Michael Smith) usesfilmhistory to put the glitches of his company’slatest AIrollout intoperspective. ¶ “Thefirsttimepeoplesaw amovie,everybody ranscreaming because they thought they were gonna get hitbya train,” Venis relates,shouting out theLumiere brothers’1895 film, “ArrivalofaTrain at La Ciotat Station.” “The answer to that wasnot stop themovies.The answer was: Showmoremovies.We’regonnashowusers asmuchs—aspossible,untileveryonerealizes nothing’s that f— serious.Nothing meansanything,andeverything’sfunnyand cool.” ¶ In themeantime, though, Venis’ social media platformhas given users the toolstocreatedeepfakes so realistic they can’t be identifiedasbogus.Immediately, people all overthe world areuploadingvideosoftheirenemiescommittingatrocities, inflamingcenturies-old animosities.Realityhascollapsedand,withit,globalstability.

But for“Mountainhead’s” quartet of tech magnates, playedbySmith,Steve Carell,RamyYoussefandJasonSchwartzman, everything is just fine. As venture capitalist RandallGarrett (Carell)notes, “Wehave plenty of calories stockpiled Western countrieshave strategic commodityreserves,canolaoil,lard,frozenorange juice.”

Later,Randallasks:“ArewetheBolsheviks of anew techno world order that starts tonight?”

“Mountainhead,” from “Succesion” showrunner Jesse Armstrong, is in many ways scarierthan the zombie apocalypse of “The Last of Us” because it feels like its premise is lurking right aroundthe corner. Armstrong cameupwith the idea for the two-hour movie in November, after immersing himself in podcasts and books aboutSilicon Valley. He shot it in March, edited it in April anddelivered it in May.It capturestheDOGEera,specificallyinthe casual cruelty expressed by its entitled characters.

“Doyou believeinother people?” Venis asksRandall.“Eightbillionpeopleasrealas us?”Randall’s reply: “Well, obviously not.”

→Cory Michael Smith,left, Steve Carell,Ramy Youssef and Jason Schwartzman in “Mountainhead.”

Illustration by StephanieJones

“Mountainhead” aspires moredirectly to comedy, but because we don’t havea historywiththesefourdeplorablemen,it’s often difficult to find the humor. “Like ‘Fountainhead’ Mountainhead?” Youssef jokes to Schwartzman about the estate’s title. “Was your interior decorator Ayn Bland?”There’saprocessionofput-downs like that. When they’re not roasting each other, they’re trying to boost theirown agendas —inthe case of the cancer-stricken Randall, it’s the quest to live forever as adisembodied consciousness.

ForallitsShakespearean drama, “Succession” was wildly entertaining,moreof acomedythan, yes, “The Bear.”KendallRoyperformingthe rap“Ltothe OG”at apartyhonoringhisfather’s

Glenn Whipp Columnist

half-century running Waystar Royco will be the funniest two minutes of television probably forever. But half the fun came from the characters’ reactions to this transcendent moment of cringe. We were deeply invested in this world.

For all their money and power, the “Mountainhead” moguls are, like the Roy children in “Succession,” not serious people. But beyond that, “Mountainhead” doesn’t have much of anything novel to say about its subjects As good as Smith is at channeling Musk’s alien, empathy-deficient otherness, you can come away with thesamelevelofinsight andentertainment by spending a few minutes watching Mike Myers on “Saturday Night Live.” I don’t need to watch a movie to knowthataguysittingonagoldtoiletisn’t prioritizing anyone’s interests but his own.

“Mountainhead” arrived on the last day of 2024-25 Emmy eligibility, less by design than from necessity. The paint’s still wet on this film. But this does mark the

←R ecent HBO Em my conten ders for TV movie , cl ockwi se from bo ttom left: “Oslo,” “Reality,” “Mo un ta inhe ad,” “The Su rvivor” an d “The Great Li llian Ha ll.”

third straight season that HBO has dropped a TV movie right before the deadline. Last year, it was “The Great Lillian Hall,”starring Jessica Lange as fading Broadway legend Two years ago, it was the excellent whistleblower thriller “Reality,” featuring a star turn from Sydney Sweeney. Both movies were blanked at the Emmys, though Kathy Bates did manage a Screen Actors Guild Awards nod for “Lillian Hall.”

Didthemovieslandtoolateforenough people see them? Perhaps. The late arrival time should mean they’d be fresh in voters’ minds when they fill out their ballots. But you have to be aware of them for that to happen.

Awareness shouldn’t be an issue with “Mountainhead.” Enough people will want to watch the new offering from the creatorof“Succession,”andthere’snotmuch else on television vying for attention right now. “Mountainhead” should score a nominationfortelevisionmovie,evenwith

the category being stronger than usual this year with audience favorites “Rebel Ridge,” the latest “Bridget Jones” movie and Scott Derrickson’s enjoyable, genrebending “The Gorge” competing.

But actors in these TV movies are at a competitive disadvantage as the Emmys lump them together with their counterparts in limited series, performers who are onscreen for a much longer time. This decade, only two TV movie actors have been nominated Hugh Jackman (“Bad Education”) and Daniel Radcliffe (“Weird: The Al Yankovic Story”). The lead actress category,meanwhile,hasbeencompletely dominated by limited series.

Not that there are any women starring in “Mountainhead” because tech bros. As for the men, Carell, Schwartzman, Smith and Youssef are very good at conveying delusional arrogance. I despised each and every one of their characters. If hate-voting were a thing, they’d all be nominated.

An essay

by Konrad Kay and Mickey Down

on

writing

‘Industry’ as first-time creators and finding the show’s soul

BILL GOLDMAN HAS A WELL-WORN LINE about Hollywood: “Nobody knows anything.” He meant that nobody involved in the making of a movie knows whether it’s going to work As first-time creators of a TV show for HBO, we made good on Bill’s words in the most literal sense: We knew nothing

When we first pitched the show to Casey Bloys and the creative team at HBO, we said it would be “glacially slow, with no big bang theory of dramatics.” Sit in the building that originated “The Sopranos” and “The Wire” and you feel a certain pressure to intellectualize your ideas, to overstress your originality. We should have just said, “Sexy graduate ‘Hunger Games’ on a trading floor.” But we were determinedtotellthemthattheshowwas more than this, that it had a soul. This was naive. We knew nothing because at that point there was nothing. We could only understand the show by making it.

So many choices that seem hardcoded into the show’s DNA are accidents or evolutions of choices totally out of our control. We watch early cuts of episodes and worry. The show is baggy, dour and a littleself-serious.Wehack,nip,tuck.Itbecomes kinetic and engaging —with the

breakneck pace that became its hallmark. Luckily, we cast well there was something undeniable about the young actors’ freshness and charisma. They made you lean in. Ken Leung made you lean in further Eric (Leung) and Harper (Myha’la) share a scene and something happens we don’t prepare for it, but we sense something: the touch-paper being lit. Next time we redraft, we lean into that feeling a yearning and it will sit underneath the words of everything we write for them going forward. Is that the show’s soul? We never could have communicated it in a pitch. We knew nothing. Now we know something.

The scenes feel a little inert. How to solvethat?WehireNathanMicay.Heoverlays them with his unique sound It’s a techno-forward, Michael Mann-coded balm for scenes that need juice. These scenesnowseemtoswell.Wait:There’sromance in this universe after all. Why don’t we write into that? What if the characters whopeoplereductivelycallmonstersactuallyloveeachotherbutarenotincentivized to express it? Have we fallen into saying something about capitalism? Maybe we foundanotherpieceoftheshow’ssoul.

We feel the show’s sound design could

be more immersive. We realize the show is too dry. We solve both problems at once. We decide that background chatter could be an avenue for comedy We write a secondary ADR [automated dialogue replacement] script and lay it so it falls between lines of featured dialogue. We find Rishi’s voice.WeroadtestitinthebackgroundbeforepushingSagar[Radia]andthecharacterforwardinSeason3.Thearconthewriters’ room wall gives you an illusion of control and intention, but the real road is unknowable.Whereyoulandisanactoffaith. We write a two-dimensional finance bro called Robert. He’s a cartoon who loves cocaine and thinks with his d—. We cast Harry Lawtey, who plays him with a boyish, broken quality The Robert we initiallywroteisdead.Theactor hissensitivity and skill rewrites the story. How quickly can Robert leave and at what cost to himself? People tell us they think this version of Robert, the one we didn’t envisage and don’t fully control, is the show’s soul. Maybe we are getting somewhere Themakingof“Industry”overfourseasons is a synthesis of many things. Our own development as creators: trying to be as impartial and brutal as we can, leaning into what we feel worked and doing away with what we think didn’t. The hive-mind of our writers’ room and cast: a back-andforth that writes and overwrites the characters and their choices, enriching the psychological stock of the soup. The brilliant minds of our department heads, who use all their ingenuity to make a show that operates on a fraction of the budget of most streaming-era shows look like an HBO Sunday night event. Our producers at Bad Wolf and collaborators at HBO, who gave the series time and space to grow, to find an audience and find a soul. Bad Wolf’s CEO Jane Tranter, who always called “Industry” “the little show that could.” Somehow, we continue to prove her right.

We are so buried in the moment that we know we can never fully grasp the totality of the work. We will never see it with fresheyes.Weknowthecontoursofevery turn and every compromise, and because we never experience it cold, there is a very real sense that ultimately its meaning and its soul has nothing to do with us. It is its own thing, experienced by you.

It’s a truism that working in TV is a collaboration, but the definition is usually limited to a collaboration between people, rather than between the people and the show itself a living organism that will guide you as to how it wants to be written. Our job is to be alive to transcribe its lessons, metabolize them through our process and put them onscreen We still know nothing, but now we have our faith. Things will be revealed in the making.

Photograph by Tom Jamieson For The Times

ENTERTAINMENT BUSINESS VISIONARIES

Who Keeps the Lights On and the Cameras Rolling?

While the show business spotlight shines brightest for the on-camera product, it’s easy to overlook the professionals working tirelessly behind the scenes to make it all fiscally, legally and logistically possible. The industry routinely makes headlines with its stars, red carpet premieres and award ceremonies, but it’s the quiet force of trusted advisors off-camera – the lawyers, accountants, business managers, wealth advisors and other trusted experts – who ensure that the show will go on smoothly and successfully. With recent challenges ranging from global trade conflict, emerging tariffs, supply chain complications, emerging tech innovations and constantly evolving protocols, it is these unsung heroes who handle the complex realities of the business. They are the ones fielding the urgent calls in the middle of the night, making sure payments clear, rights are secured and crises are averted. Without them, projects could falter before they ever make it to an audience.

LA Times Studios is excited to present this section profiling uniquely talented visionaries in the entertainment industry. The trusted advisors listed alphabetically below have demonstrated exceptional skills and achievements across the full spectrum of responsibility, exemplary guidance and contributions to the Southern Californian entertainment business community at large. It’s time they take a well-earned and overdue bow.

Belva ANAKWENZE

Abacus Financial Business Management Entertainment Business Manager

Belva Anakwenze, principal of Abacus Financial Business Management, serves as a trusted advisor to creatives, entertainers and tech companies across Los Angeles. With 24 years in the industry, she manages a growing roster of high-profile clients, including Jay Ellis and Kevin Frazier, and oversees operations at her firm, which continues to expand in both scale and staff. She partnered with Patreon to launch and produce The Earn Up, a financial YouTube series tailored to creators. Anakwenze was selected to speak at SXSW 2024 on “Wealth Creation for Creatives” and has been recognized by The Hollywood Reporter and Variety for her industry leadership. Prior to launching her firm, she had also held financial roles at Disney and the U.S. Securities Exchange Commission.

Tom ARA

Weil, Gotshal & Manges LLP | Partner

Tom Ara is a distinguished partner in the U.S. Private Equity Group at Weil, Gotshal & Manges LLP, specializing in entertainment, sports and media transactions. With 26 years of experience, he leads a top-rated legal practice, previously serving as global co-chair at DLA Piper. Ara advises a diverse clientele, including private equity firms and global entertainment companies, on complex M&A, financing and strategic deals, handling multi-billion-dollar transactions. Recognized by Forbes, Variety, and The Hollywood Reporter, Ara is a respected leader in the industry. He also contributes to industry boards and initiatives, including a fellowship for Black creators in partnership with Netflix. Ara is based in Los Angeles and is committed to expanding Weil’s footprint in the ESM sector.

Addie ALLISON

First Entertainment Credit Union SVP & Chief Experience Officer

Addie Allison is the senior vice president and chief experience officer at First Entertainment Credit Union, where she has led experience strategy and innovation since 2014. With more than 30 years in the credit union industry, she directed the disbursement of over $1 million per month in emergency relief during the 2023 Hollywood strikes, ensuring financial support for entertainment professionals. Allison spearheaded the credit union’s digital transformation, launching automated platforms that streamlined member transactions and improved service efficiency. Under her leadership, First Entertainment strengthened its financial infrastructure and updated key operational policies. The credit union serves as a primary financial partner to creators in the entertainment industry and Allison’s efforts have focused on tailoring services to meet their unique needs.

Bennett BIGMAN

Russ August & Kabat Partner

Bennett Andrew Bigman is a renowned partner and entertainment litigator at Russ August & Kabat.

He is a veteran litigator with over 40 years of experience, currently practicing at his firm for the past seven years. Bigman began his career at Sidley & Austin, where he worked alongside renowned copyright scholar Mel Nimmer and carved out a niche in entertainment and advertising litigation. He later developed a leading practice in profit participation disputes, representing A-list talent in high-stakes underpayment cases linked to vertical integration. He has handled IP and audit matters for properties such as “Survivor,” “Desperate Housewives,” “Suits,” “Star Trek: The Next Generation” and “La La Land.” Bigman’s practice also includes securing copyright reversions for legacy artists and heirs, including “This Is Spinal Tap” and Carl Sagan’s estate.

Tiffany Boyle is president of packaging and sales at Ramo Law PC, where she has led strategic film financing and distribution efforts for the past 15 of her 18 years in the industry. In 2024, she executive produced “Oh, Canada,” directed by Paul Schrader and starring Richard Gere and Uma Thurman, guiding it through financing, festival premieres and a Kino Lorber distribution deal. Under Vested Interest, the production company she co-founded, Boyle also executive produced Electra, Walden, Booger and Dead Shot, with upcoming projects including “Dead Man’s Wire,” directed by Gus Van Sant, and a fertility-focused documentary by Oscar-winner Louie Psihoyos. She regularly leads panels at SXSW and mentors filmmakers through groups like Sundance Collab and Women in Film.

Tiffany BOYLE

Ramo Law PC President of Packaging and Sales

William BRIGGSII Venable LLP Partner

WilliamBriggs II is apartner at VenableLLP and aseasonedtrial lawyer with 24 yearsofexperiencerepresenting toptalentinfilm, television,music andsports. At thefirm for12years,hehas handledintellectual property disputes,contract litigation, rights of publicityand FirstAmendment matters. Briggs’recentworkincludes representing clientssuchas Snoop Dogg in theBored ApeNFT lawsuit, DaBaby in apersonalinjurycaseand membersofMigos in multiple civil disputes, includinga partialsummary judgment victory. In addition to hislegal practice,heservesaspresident of the LosAngeles BoardofPoliceCommissioners, overseeing LAPD operations andan$11.8-billion budget andisalso afrequentspeaker on policing andcivic engagement

Lisa CALLIF

As partnerand leader of Manatt Entertainment,JordanBromley hasspent 19 years building oneofthe nation’s most respected entertainmentpractices,negotiating over $3 billionintransactions in thepastyear alone.Herepresentstop talent including Diplo, Jack White, theEaglesand ODESZA across music, film,sportsand gaming Bromleyplayedacentral role in securing SAG-AFTRA’sAIagreement with major record labels andadvocated forcopyright terminationrightsunderthe MusicModernization Act. He ledthe development of Manatt’s streamingroyalty calculator, awidelycited tool forcreator compensation transparency.In2025, he oversawpro bono counselfor FireAidLA’sbenefitconcert.Aboard member of theMusic Artists Coalition, Bromleycontinues to champion legislativereforms,creators’ rights and fair payacrossthe evolving entertainment landscape.

Jordan BROMLEY

Manatt,Phelps & Phillips, LLP Partner &Leader of Manatt Entertainment

Donaldson Callif Perez LLP| Partner

Lisa Callif,foundingpartner of DonaldsonCallifPerez LLP,has builta 24-yearcareerrepresentingindependent production companiesacrossall aspectsoflegal and businessaffairsinbothdocumentary andscriptedentertainment.Inthe past year,she expandedher scripted practice,advisingonfinancing, distribution andclearance forprojectslikeRichard Linklater’s“HitMan”and “BlueMoon” andAGC Studios’ “Giant.” Callif hasalso counseledPressmanFilms on Abouta Hero,a projectlargely createdusing AI, reflectingher growingfocus on AI andcopyright law. Herclearance work spans majorclients,including theSafdieBrothers’Elara,Artists Equity,XTR andEdgeline Filmsand hashandled high-profileprojectssuchas“They Call Me Magic” forApple,“Daughters” forNetflixand “Bad Actor” forTribeca

Christopher CHATHAM Manatt, Phelps& Phillips, LLP | Partner

Christopher Chatham, partneratManatt, Phelps &Phillips, LLP,has builta19-year career representing leadingtalent andmedia companies, structuringmorethan$10 billionin entertainmentdeals across digital, television andstreamingplatforms.His clientsproduce over 1,000 hoursofTV annually,run platformsreaching300 millionusers per monthand generatebillionsofviews globally.Chatham represents LoganPaulinhis ventures with “PaulAmerican,” PRIMEenergy drinkand theImpaulsivepodcast andalsocounselstop creators like Alan Chikin Chow,DharMannand ChrisWilliamson. He advisedDr. Phil McGraw on launchingMerit Street Media, representedChris Harrison in hisreturn to television andhas also guided Stage29’strue-crimedocuseries“American Murder:Gabby Petito”toNetflix.

Matthew BURKE

Singer BurkeZimmer &Kogan, LLP | Managing Partner

As managing partner of Singer BurkeZimmer&Kogan, LLP, MatthewBurke hasled thefirm for35ofhis 41 years in thefinancialindustry, transforming it into aleaderin holistic financial management fortop contentcreators, showrunnersand mediaexecutives. Underhis leadership, thefirm expandedits integrated offerings –including tax, accounting,businessmanagementand investment services throughSBCapital Management Inc. Burkepreviouslyheld rolesatErnst &Young anda national real estate syndicationfirm before joining Singer Burke. Knownfor hisforward-thinkingapproach, he recently prioritized cybersecurityand tech-enabled planning toolstosafeguard clientsamidhigh-profilebreaches. He serves on theboard of TOArts andhas raised over $70,000 for pancreatic cancer research

As managing director at CBIZ,Inc., Cheryl A. Calhounbrings over 40 yearsofexperienceinpublicaccounting, including 30 with thefirm followingits acquisitionofParks,Palmer, Turner &Yemenidjian.After beginningher career in audit with aBig Eightfirm,she transitioned to taxand business management,ultimatelyspecializing in high-net-worth individualsand entertainment-relatedbusinesses.Calhoun nowco-leadsCBIZ’sLos Angelesfamilyofficegroup and helped developnationalbestpractices forthe firm’sfamilyofficeservices. Herclient portfolioincludesWildcardMedia andScout Productions, with services ranging from taxstructuring anddealnegotiation to estate planning andfinancialreporting Sheholds keyleadershiproles on theboardsofthe American Lung Association, Dressfor Successand theWomen’s Founders Network.

Shaun CLARK

Sheppard, Mullin, Richter& HamptonLLP Partner

ShaunClark,partner at Sheppard, Mullin,Richter & HamptonLLP,has spent29years structuringcomplex dealsatthe crossroadsofentertainment,branding and technology.Representingclients such as Sony Pictures,Lionsgate andQVC, he advisesonfilm, TV,gamingand digitalcontent production.Clark also advisesclients on licensing, sponsorshipsand rights of publicity. He recently ledSony’sacquisition of AlamoDrafthouse,representedLionsgate in its $500-million purchase of eOne from Hasbro andadvised Creative Wealth Mediainacquiring Bron Studios’ assets He hasalsostructuredendorsement andequitydeals forbrandstiedto ArianaGrande,SelenaGomezand Bethenny Frankel, andhis work spans stadiumnamingrights, AI contentissues andbiopicprojectssuchasApple TV+’s“Tetris.”

JoAnne Colonna, partner at LindenEntertainment,has spent39years managing and producingfor some of themostacclaimed figures in film, television andstage.Joining thefirm in 2023,she continuestorepresent longtime clientsincluding Brendan Fraser,ForestWhitaker, SarahMichelle Gellar,AndyGarcia, Anna Paquin,Norman Reedus andEva Longoria –guiding their careersacrossacting, directing, producing andbrand ventures.Colonna beganher career as theyoungestagent in NewYork City before holdingseniorroles at Paradigm,ICM,AMG,The Firm andBrillstein. Sheisalsoapartner in bigbaldhead, a production companywithNormanReedus, developing multiple projects underanAMC Studiosoverall deal.Her producingcredits include“Ringer”onThe CW andthe upcoming“UndoneByBlood”series.

JoAnne COLONNA

Linden Entertainment Partner

CherylA. CALHOUN CBIZ, Inc.| Managing Director

Jackie COMBS

BlankRome LLP | Partner, Matrimonial & Family Law

Jackie Combs, partner at Blank Ro me LLP ’s California matrimonial &family lawpractice, hasbuilt a13-year career representing high-profileclients in complex andoften high-conflict family law matters. In her sixyears with thefirm, shehas handledcustody,dissolution anddomesticviolencecases forentertainment industry figures,professional athletes andbusinessexecutives. Combs’recentmatters includesecuring sole custodyfor aprominentdirector, navigating #MeToo-relatedclaimsin divorces involvingpublicpersonalities andobtaining afive-yearrestraining orderfor atechexecutive.Outside of herpractice, shevolunteerswithBet Tzedek andthe LosAngeles Family LawCourt andisactiveinthe Harriett BuhaiCenterfor Family Lawand the LosAngeles BarAssociation

StephanieConnorArkof,wealthmanagement partner at SB CapitalManagement, Inc.,has spent21years guidinghigh-networthindividuals –particularlyinthe entertainmentindustry– throughpersonalized investment andestateplanning strategies.Ata firmmanagingover$1.23 billioninassets, shetranslatescomplex financial scenariosintoclear,actionable plansrootedineachclient’sgoals and values.Withabackgroundinaccountingand adegreeinbusinesseconomics from UCLA,Arkof serves as akey link betweenSBCapital andits sister CPA firm, Singer BurkeZimmer&Kogan LLP. Herclientrelationships oftenextend beyond finance,including servingas executor andtrustee.She also supports nonprofitssuchasHopethe Missionand ImagineLA, applying hercompassion andinsight to both communityservice andfinancialleadership.

Stephanie CONNOR ARKOF

SB Capital Management, Inc. Wealth Management Partner

Duncan CRABTREE-IRELAND

SAG-AFTRA | National ExecutiveDirectorand ChiefNegotiator

Duncan Crabtree-Ireland,nationalexecutive director and chiefnegotiatorofSAG-AFTRA,has ledthe unionrepresentingover160,000 performers across film, television,music andvideo gamesfor thepast24years.Akey architectof the2012SAG-AFTRA merger,hehas sinceoverseenmajor contract negotiations,including thehistoric2023strike andcurrent videogameperformer strike,bothcentered on artificialintelligenceprotections.Underhis leadership, theunion securedlandmarkAIlegislation in California andlaunchedinnovative agreements such as theDynamic AI AudioCommercials Waiver.Crabtree-Ireland is aleading national voiceonAIand labor, speaking at CES, theU.S.Senateand theWorld Economic Forum, as well as servingonmultipleentertainment andlabor boards,including SoundExchangeand theMotionPicture andTelevisionFund.

Sandra CRAWSHAW-SPARKS

ProskauerRoseLLP

Partner,Chair,Entertainment, Copyright&Media Practice Group

Sandra Crawshaw-Sparks, partner at ProskauerRose LLP andchair of theentertainment,copyright &media practice group, hasspent 37 yearsrepresentingsomeofthe most iconic figures in musicand media. With 26 yearsatthe firm, sheleads high-stakeslitigationand pre-trialresolution efforts on copyright, licensing, publicityand trademark matters. Recent casesinclude defendingMadonna and Live Nation in multiple classactions,recoveringover$66 millionfor Sony Music Entertainmentincopyright disputes andwinning asummary judgment in acase involvingRaising Malawi.Named aBillboard TopMusic Lawyer annually since 2021,Crawshaw-Sparks wasalsorecognizedasCopyright Lawyer of theYearby Euromoneyin2022and a2024Woman of InfluencebyLABJ.

TrustedAdvisorstothe EntertainmentIndustry

Forover40years,wehavebeenago-to financial advisorfor LA’s entertainmentindustry—trustedbyproducers,directors,writers, andpost-production pros

We bringstrategytocreativity, offeringtailoredsolutions in:

• TaxPlanning

• Business Management

• Family OfficeServices

Builtonindustryinsightand poweredbytechnology, we help entertainment professionalsturncomplex challenges into smartopportunities

CBIZ Insights that Impact

Cheryl Calhoun Managing Director

Jim Parks Managing Director

Guillaume DE CHALENDAR

Banc of California EVP, Head of Media &Entertainment Banking

GuillaumedeChalendar,executive vice presidentand head of mediaand entertainment bankingatBancofCalifornia, has redefinedthe bank’s entertainment strategy sincejoining in 2022.Underhis leadership,the division hasexpanded from U.S.-focused filmfinancingintoa global,full-serviceoperation with clients across Canada,Australia andthe U.K. Thebanknow offerscreditlines up to $200 millionand loansinover 30 currencies, servingsectors including film, TV,music rights andliveevents. With nearly 30 yearsofexperience, from an entertainmentlaw firminParis to senior finance rolesinLondonand LosAngeles,deChalendar previously launchedand ledBankLeumi’smedia finance practice andheldleadership rolesatIngenious Mediaand Alvarium Investments.

Dina Doll,co-founderofDollAmir& Eley LLPand aleading legalanalyst, hasbuilt anationalreputationthrough hercommentaryonhigh-profiletrials andpolitical cases. As theofficiallegal analystfor theLaw &Crime Networkand afrequentcontributor to MeidasTouch, sheoffers expert analysis across major platformsincluding CNN, NewsNation, HLNand TYT. Doll’s legalinsights–featuredinthe Netflix documentary“Depp v. Heard” –spanissuesfromthe George Floydand Kyle Rittenhouse trials to SupremeCourt rulingsonabortion andpresidentialauthority.Inaddition to herlegal work,she is active in civic engagement,serving as adelegateto theCaliforniaDemocraticParty anda city commissioner in ManhattanBeach

Doll Amir &EleyLLP Co-Founder; Legal Analyst

Alan EPSTEIN

Willkie Farr &Gallagher LLP

Partner,Chair of Entertainment Transactions Practice

Alan Epsteinisa partneratWillkie Farr &Gallagher LLP andchair of thefirm’s entertainmenttransactionspractice, whereheadvises top-tier clientsacrossmedia,sportsand entertainment. With over 30 yearsofexperience, he has ledlandmarkdeals such as Ryan Reynolds’$1.35 billion Mint Mobile sale to T-Mobile andBrillsteinEntertainment’s acquisitionbyWasserman MediaGroup.Epstein recently advisedonCreateMusic Group’s$165-millioninvestment, EvaLongoria’s expansionthrough HyphenateMedia andMatthew McConaughey’slaunchof Pantalones OrganicTequila.Healsoservesonthe boards of theNatural History Museum of L.A. County,UCLA’sZiffrenInstitute andthe Alliance forChildren’s Rights andisamemberofYPO Angeleno Gold

Raines FeldmanLittrell LLP | Founding Partner

MilesFeldman is afoundingpartner of Raines Feldman Littrell LLP andatop-tiertrial lawyer with over 30 yearsof experienceinhigh-stakes litigation andarbitration.Known forrepresentingmajor playersinmedia,techand entertainment –including TikTok,UnitedTalentAgency, Fear of Godand Killer Mike –hehas driven landmark cases involvingCalifornia’sseven-yearrule, fair useand the Talent AgencyAct.Feldman recently representedRange Mediainits disputewithCAA andisleadcounsel in high-profilelitigationconcerningthe 2024 Grammysand a$710-millionfraud involving1inMM Capital. Recognized by SuperLawyers,BestLawyers in Americaand theLos Angeles Business Journal, he is also active in probonoworkfor organizationslikethe Survivor JusticeCenterand CISLA.

Scott EDEL

Loeb &Loeb LLP| Chair,Entertainment

With 35 yearsofexperienceand areputationasa business-firstnegotiator, ScottEdelservesaschair of Loeb & Loeb’s entertainmentgroup,whereheleads majortransactionsatthe intersection of Hollywoodand finance.Widely regarded as a“dealmaker,”herecentlyhandled keydeals forAlcon Entertainment(“Wonka,” “Blade Runner 2099,” “Garfield”),Nintendo(TheLegendofZelda)and Games Workshop (Warhammer with Amazon Studios).Edelalso represents ArtistsEquity– foundedbyBen Affleckand Matt Damon– on itsfilm slate, including“SmallThingsLikeThese.” Hispracticespans film, television, gaming andmusic,advisingclients like Supercell, FoxAlternative Studios(“The Masked Singer”) andcomposers includingBearMcCrearyand Christophe Beck

David C. EISMAN

Skadden, Arps, Slate,Meagher &Flom LLP | Partner

DavidEismanisapartner at Skadden, Arps,Slate,Meagher &FlomLLP,where he leadsthe firm’sglobalmedia and entertainmentgroup andthe LosAngeles corporategroup With over threedecades of experience, he represents leadingstudios,talentagencies, musiclabels, gaming companiesand high-profileentertainersintransformative transactions.In2024, Eisman advisedUnitedTalentAgency on itscross-borderacquisition of European socceragency ROOF andDowntownMusic Grouponits pending$775-millionsaletoVirginMusic Group. Afrequenthonoree on TheHollywood Reporter’s PowerLawyers list and Variety’sDealmakersImpactReport, he is recognized by Chambers USAand Lawdragonamong thetop entertainmentattorneys globally

Alexander (Sasha) FRID

Miller Barondess, LLP Partner

SashaFridisa founding partne ra tM il le r Barondess, LLP andheadofthe firm’s entertainmentpractice, widely regarded as atop triallawyerfor major figures in musicand media. With over twodecades of experience,hehas deliveredhigh-stakes wins forclients like Mötley Crüe,Logic andSmokey Robinsoninmatters rangingfromcopyrightand breach of contract to royalty disputes.Frid’srecentworkincludes defending Mötley Crüe in litigation with former bandmate Mick Mars,resolving royaltyclaimsfor Bush’s GavinRossdale andrepresenting Warner Records in acopyright suit over rapper Phora’s debutalbum.A member of theRecordingAcademy®and GRAMMY voter, he is also active in charitable work, supporting cancer research andpreviouslyserving on theboard of theTupac AmaruShakurFoundation.

Patricia Glaser,partner andchair of the litigation department at Glaser Weil,is widely regarded as oneofthe nation’s topbusinesstrial lawyers, with acareer spanning over fivedecades.Known forher strategicbrillianceand fierceadvocacy, sherepresentsFortune 500companies, majorstudios andhigh-profile individuals. Herrecentcases includerepresenting Channing Tatum, Bill Nye, JeffZuckerand TheLemieuxGroup,among others. Glaser also represented producer KarynMcCarthy in herlawsuit againstLucasfilmand songwriter Ammo in acontractdispute.Under her leadership,Glaser Weil hasdeveloped oneofthe most respectedlitigationpracticesinthe entertainmentsector. Beyond thecourtroom,she serves on theboards of TheGeffen Playhouse,the LosAngelesMusic Center TheatreGroup andthe AltaMedFoundation

Patricia L. GLASER

Glaser Weil Partner &Chair of theLitigation Department

Miles FELDMAN

Dina DOLL

Reginald GOODEN

360 Business Management Managing Partner

Reginald Gooden is themanaging partner at 360 BusinessManag em en t. He relocatedtoLos AngelesinMarch 2018,initially workingasa bookkeeper at abicoastal business management firm.Within sevenyears in theentertainment industry,heco-founded360 Business Management,acompany recognized by prestigiousentertainment publicationsasanindustrybest. Agraduateof NC StateUniversity, Gooden hasover 20 yearsofbusinessexperiencein finance,accountingand entertainment. Hiscareerbegan as aperformer and musicproducer, includinganinternship at Sony MusicStudios in NewYork. He hasproducedprojectsfor hip-hopartists andpreviouslyran an independent record label. Gooden is aHollywood Reporter PowerBusiness Manager, a VarietyElite Business Managerand a BillboardTop BusinessManager

SarahGraham, partner at Gibson,Dunn &CrutcherLLP,advises some of thebiggest namesinmedia,entertainment and sports,bringingdeepindustryinsight to complexbusinesstransactions.She represents talent,productioncompanies,private equity firms andinvestors in high-profiledeals across film, television, musicand brandedventures. Notable transactions includethe sale of Stem Distribution to Concord, themergerof TheSpringHillCompany with Fulwell 73 andIconicArtists Group’spartnership with RZA. Gibson’s sports-related work includes representing theNFL in itsjoint venturewithSkydanceand Rich Paul in hisexpandedrolewithUTA.Committedtoservice,she advises theFriends of Malibu Urgent Care Center andsupportslocalfire relief efforts,exemplifying herdedicationtobothclients andthe community.

Sarah L. GRAHAM

Gibson, Dunn& Crutcher LLP Partner

Ilan HAIMOFF GHJ | Partner

As partnerand entertainmentpracticeleaderatGHJ,Ilan Haimoff,CPA,CIA,CFE,CFF,leverages more than 30 years of experience in profitparticipation,forensicaccountingand royaltylicensing to promotefinancialtransparencyacross theindustry. He hasworkedwithmajor andindependent studiostoensurefairand accurate reporting, whilealso servingasa thoughtleaderinthe field.Haimoffisaregularspeaker at events hosted by theABA,BHBAand USC Gould, andhecontributes to keypublicationslikeThe MovieBusinessBook. He also hostsGHJ’s “Media ClipsPodcast,” whereheinterviewshigh-levelindustry figures.Amentorand advocate within hisfirm,heiscommitted to developing the next generation of forensic accountantsand helpingshape GHJ’sapproachto entertainmentfinance.

Amitha HARICHANDRAN

SB Capital Management, Inc. | WealthManagement Partner

As wealth management partneratSBCapital Management, Inc.,AmithaHarichandranleads firmwideoperationsand compliance whiledeliveringtailoredfinancialguidance rooted in trustand service. Sincejoining thefirm in 2008, shehas risentoa leadership role througharareability to blendfinancialacumenwithdeeplypersonalizedclient care.Her work consistently supports high-net-worth individuals, particularly in theentertainment industry,withthe firmnow managing over $1.23billion in assets.Clients frequently rely on Harichandran during critical moments– whethernavigatingcyber threats, coordinating charitable planning or managing personal transitions. She’sknown forher ability to “straightenchaos,” earningpraisefor hercalmcommand underpressure. She also supports nonprofitssuchasHopethe Missionand ImagineLA, extendingher impact farbeyond finance

Congratulationstoour partners

ArashKhalili, ScottEdel and IvyKagan Bierman on being named2025Entertainment Business Visionariesby LA TimesStudios.

We applaudyour leadership, innovation and impact across theentertainmentindustry and beyond.

Shaun HARPER USCRaceand Equity Center Founder &Professor

Shaun Harper is thefounderof theUSC Race andEquityCenter anda university professoratthe University of SouthernCalifornia, where he holdsfaculty appointments in the Marshall School of Business,Price School of Public Policy andRossier School of Education. Oneofthe country’sforemostexperts on racial and genderequity, he hasadvised major entertainmententitiesincluding NBCUniversal,Hulu, BadRobot,Amazon Musicand Ziffren Brittenham.A prolific scholar, Harper hasauthored12books andover100 academic papers,witha forthcomingbook, Let’sTalkAbout DEI, featuringmultiplechaptersonentertainment.Quotedwidelyinnational media, he hasalsoadvisedmorethan 400institutionsacrossindustriesand currentlyleads DEIstrategyfor the 2028 Olympics

DavidHernand is apartner at Simpson Thacher& Bartlett LLP,where he brings over twodecades of experience advising onhigh-profile M&Atransactions. Joining thefirm’s LosAngeles office in 2024,he is knownfor representing marqueeclients in transformative deals. This year, Hernandadvised Metaphysic AI on its $1.43-billion merger with DNEG’s tech division to form Brahma AI andrepresented audiochuck Mediainsecuringa $40-millioninvestmentfromThe Chernin Group. He also ledViceMedia’s sale of Refinery29and therelaunchofVice’s digitalbrandsthrough ajoint venture with Savage Ventures.FrequentlyrecognizedbyVariety andThe Hollywood Reporter,Hernand also serves on the boardofThe PaintedTurtleand is a member of theABA’s M&ACommittee

David HERNAND

Simpson Thacher & Bartlett LLP Partner

Kevin D. HOLMES Withum | Partner

KevinD.Holmesisa partneratWithumand anationally recognized CPAwithover30years of experience in auditing andadvisory services.Based in LosAngeles,hespecializes in internal controls optimization andentertainment industry audits,including financial,royalty,compliance andfraud-related engagements. Holmes is certified in both COSO Internal Controland AICPACybersecurity Advisory Services.His clientsinclude A-list talent,businessmanagementfirmsand entertainmententities, wherehehas uncoveredunderreported royaltiesand preventedfraud.AsaleaderatWithum, he mentorsprofessionals and strengthensfirm-wideentertainment expertise. Holmes is also deeply engagedin philanthropy,havingservedasboard chairofthe Collegeofthe CanyonsFoundation andCFO of theSanta ClaritaValleyChamber of Commerce

Carolyn HUNT Barnes&Thornburg LLP | Partner

CarolynHunt, apartner at Barnes &Thornburg LLP,brings nearly threedecades of experience advising clientsonfilm, television andgamingtransactions, with over $1.2 billionin completedcontent distribution,productionfinancingand taxcreditmonetizationdeals.She represents arange of entertainmentand financial clients, includingLionsgate, IMAX,CityNationalBank, East West Bank andVenus Williams, offeringbothlegal counseland business strategy tailored to theindustry. In 2024 alone, Hunt closed financing dealsfor high-profile films such as “WeBurythe Dead,” “The Surfer,” “Mary” and“BadApples” andfor TV projects like “Cutlers Court.”Anactivememberofthe entertainmentlaw community, sheservesonseveral nonprofit andartsboards, includingMOCAContemporaries, Cedars-Sinai andthe HeartlandFilmFestival.

Steve HURDLE

Willkie Farr & Gallagher LLP Partner,Corporate &Financial Services

As apartner in WillkieFarr& GallagherLLP’s co rp or at e& financial services department andentertainment transactionspractice, Steve Hurdle counsels clientsacrossa wide spectrum of industries,witha deep focusonmedia, entertainmentand celebrity-driven ventures.Headvises investors, talent andcompanies on M&A, jointventures, equity offeringsand strategic partnerships–representing filmstudios,digital contentcompanies,talent agencies, businessmanagementfirms andhigh-profile individuals. Over the past twoyears,Hurdlehas ledkey dealsincluding Create MusicGroup’s $165-million investment from FlexpointFord, HyphenateMedia Group’s investment in GloNationStudios and PrimaryWave’spartnership with the VillagePeople. He also advisedNorth Road Companyinits acquisitionof KargaSeven Pictures andvoice actor CharlesMartinetin histransitionto MarioAmbassador

LawrenceIser is theco-founderand managing partnerofKinsellaHolley Iser Kump Steinsapir LLP, wherehehas builta reputation as atop triallawyerfor complexentertainment andintellectual property disputes.A longtime counsel to Mattel,hesecured afulldefense verdict in 2024 in a$31-million idea theft suit over theABC show “The ToyBox,” markinga landmark moment foridea submission lawinHollywood.Iser’s victoriesalsoinclude a$5-millionarbitrationaward for“MarriedatFirst Sight” producer KineticContent andsuccessful enforcementofconfidentiality termsfor “LoveIsBlind.” Hismusic litigation clients includeThe Beatles, Public Enemyand Lizzo. AUSC lecturer andnationallyrecognizedlitigator,Iserhas been named a“LegalVisionary”and Billboard’s“Top MusicLawyer” fiveyears running.

Lawrence ISER

Kinsella Holley Iser Kump Steinsapir LLP ManagingPartner

Ivy KAGANBIERMAN

Loeb &Loeb LLP| Chair,Entertainment Labor

As chairofLoeb&Loeb’sentertainment laborgroup,Ivy KaganBierman is anationallyrecognizedlabor attorney andthought leader knownfor guidingstudios,networksand digitalplatforms throughcomplex guildand unionnegotiations.Withover35years of experience,she advisesclients includingWarnerBros. Animation, STX, BuzzFeed andFlawless AI on collective bargaining,strikenavigation, interim agreements andworkplace conduct. During the2023dual strikes, Biermanwas avital voice, offeringaround-the-clockcounsel andpublicly advocating forrespectfullabor-managementrelations.She also serves as co-chair of her firm’sDEI Committeeand teachesatPepperdine, Northwestern andUniversity of Miamilaw schools. ShesitsonMayor KarenBass’ EntertainmentIndustry WorkforceDevelopment Subcommittee andisa co-founderofGreenLightWomen

WayneKamemotoisa partnerand musicindustrypractice leader at Citrin Cooperman, bringing 30 yearsofexperience in musicand entertainmentbusinessmanagement. ACPA andChartered Global Management Accountant,he provides tax, accounting,royalty inspection andconsultingservices. Priortojoining Citrin Cooperman, Kamemoto served as aseniortax manageratDeloitte. Underhis leadership,the firm’smusic industry practice hasexpanded, adding toptalenttoserve agrowing roster of high-profileclients.Hehas been recognized in Forbes andother publications forhis impact on entertainmentfinance. Outsideofhis professional work,Kamemotoisdeeplycommitted to youthsports, coaching basketball throughthe City of LosAngeles andLAUSD,wherehecurrently leadsa girls’ varsityteamatalocal magnet high school

Wayne KAMEMOTO

Citrin Cooperman| Partner &Music IndustryPractice Leader

Michael David KARLIN NKSFB, LLC FoundingPartner

As afoundingpartner at NKSFB, LLC, MichaelDavid Karlin manages thebusinessand financial affairs of many high-net-worth clients, includingexecutives, real estate developers andentertainment industryprofessionals.With49years in the industry,44ofthemwithhis currentfirm, he specializesinbusinessmanagement, focusing on financial andgenerational planning,cashflow management,contractreviewand taxplanning. Karlin successfully assisted in closingseveral salesofclientmusic publishing catalogs andaclientpodcast business.He hasbeenconsistentlyrecognizedby TheHollywood Reporter,Variety and Billboardasa topbusinessmanager, receivingVariety’s Business Manager EliteAward in 2015.AUniversityof SouthernCaliforniaalumnus,heholds bachelor’s andmaster’sdegrees and servesonmultipleboards, including theMotionPicture andTelevisionFund.

Robb

KLEIN

ArashKhalili is thefirmwide co-chair of Loeb &LoebLLP andco-chairofits corporate &capital marketsdepartment, whereheleads complexdeals across entertainment, sports andabroad range of consumer industries.Akey figurein thefirm’s top-ranked sports practice,he advisesathletes, influencers,production companiesand global brands on strategictransactions. In thepastyear, Khalili hasrepresented clientssuchasMorgan Wallen,CarrieUnderwood,Cindy Crawford,Tyler “Ninja”Blevins,LionelRichie andReggieBushonbranding,corporate andendorsement matters. He also advisedthe U.S. Olympic& Paralympic CommitteeinSaltLakeCity’ssuccessful 2034 Winter Olympics bidand oversaw themajoritystake sale of VinDiBona Productions

Arash KHALILI

Loeb &Loeb LLP

Firmwide Co-Chair &Current Co-Chair of theCorporate& CapitalMarkets Department

Sheppard, Mullin,Richter &Hampton LLP | Partner

Robb Klein, aseasonedentertainment attorney with over threedecades of experience, is apartner at Sheppard, Mullin,Richter &Hampton LLP, wherehespecializes in high-profilefinancing, production,distribution, merchandisingand licensingdeals across film, television,music anddigital content. Recognized forhis abilitytonavigate complexinternational co-productions andstructure innovative transactions,headvisesaglobalclientbase includingTohoCo.,CTS Eventim, wiip,BancofCaliforniaand AshlandHillMedia Finance. Klein’spracticespans from independentfilmstomajor studio releases, as well as emerging sectorslikeAI-generated contentand internationalmusic tours. Originally trainedinthe U.K. andlicensedinbothEngland andWales,he joined Sheppard Mullin in 2008 andhas ledthe firm’sentertainment,technology andadvertising practice

Elaina KOGAN

SingerBurkeZimmer &Kogan, LLP | TaxPartner

Elaina Koganisthe taxpartner at Singer BurkeZimmer& Kogan, LLP,where sheleads thefirm’s taxcomplianceand planning efforts forhigh-net-worthclients in theentertainment industry.Withover26years of experience,she has aproventrack record of delivering innovative strategies that reduce taxliabilities andstreamlinefinancialoperations fortop-tiercontent creators,showrunners andmedia executives.Kogan beganher career at KPMG andjoined Singer Burkein2003, bringing arefinedfocus on closelyheldbusinessesand individual taxneeds. Knownfor herstrategic vision andcollaborative leadership, sheimprovesprocess efficiency andcultivatesaculture of trustand excellence. Outsideofwork, Koganisactiveinher synagogueand supports nonprofits includingHopethe Missionand ImagineLA.

Nicole KING

LindenEntertainment | Co-Founder

Nicole King,co-founderofLindenEntertainment,isaveteran talent managerand producer knownfor cultivating long-term, multidimensional careersfor high-profileclients HermanagementrosterincludesJennifer Garner,Eiza González,HilaryDuff,Ellen Pompeo andKat Dennings, amongothers. ThroughLinden’sproductionarm,Kinghas produced hitprojectslikeNetflix’s“Family Switch”and “Yes Day,”bothstarringGarner, andHulu’s“Dollface.” She also leadsLindenVentures, guidingclients into successful brandpartnershipsand ownership opportunities, such as Once Upon aFarm, YSEBeautyand Casa Azul Aformerpartner at Management 360, shebringsovertwo decadesofexperience to herworkinmanagement, production andstrategic brandbuilding. King is also deeply involved in philanthropy,havingco-launched #SAVEWITHSTORIES and servingonthe advisory committeeofBaby2Baby

PeterKlass,CFE,servesaspartner andprofit participation services practice leader at GHJ, whereheisrecognizedas aleading expert in entertainmentprofit participationand contract compliance.Withovertwo decadesofexperience, he hasrepresented majorstudios,investors andtalent, helpingthemnavigatecomplex financial structures and maximize theirentitlements. Klasshas conductedaudits fortop clientsatDisney, Warner Bros., Universaland Paramount,makingGHJ’s practice oneofthe most trustedinthe industry.Outside of hisprofessionalwork, he actively supports theBoysand GirlsClubofGreater LosAngeles andthe LA Regional Food Bank andplayeda leadingroleinGHJ’s Ukrainereliefefforts, reflectinghis broadercommitmenttoservice

Andrew KRAMER

WillkieFarr& Gallagher LLP Chair, Motion Picture,Television& Entertainment Finance

Andrew Kramer serves as chair of themotionpicture,television&entertainment finance practice at WillkieFarr&Gallagher LLP,where he brings over 30 yearsof experience advising studios, production companies, lenders anddistributors. Knownfor structuringhigh-valuetransactionsacrossfilm,televisionand digital media, he offersstrategic counselon contentfinancing, licensing, distribution andmonetization. Priortojoining Willkie, Kramer wasCOO of international distributionatLionsgate and held senior legalroles at majorstudios Recent dealsinclude representing 5&2 Studiosonits landmark agreementwith Amazon MGMStudios for“TheChosen,” andadvisingBancofCaliforniaona $60-millioncreditfacility. Kramer’s leadership at Willkiehas solidifiedthe firm’sentertainment finance platform

Reginald Lang is themanagingdirector at JPMorganChase, wherehehas spent over twodecades advising leadingmedia & entertainmentclients on complexfinancial andcapital marketsstrategies. Sincebeginning hisinvestmentbanking career at J.P. Morgan in NewYorkin1999, he hasdeveloped deep expertiseinthe sector,building long-termrelationships with top-tier clients andproviding tailored advisory services.In 2018,Langjoinedthe firm’sentertainment industries group in LosAngeles,where he continuestoleadmajor transactions andstrategic initiativesfor clientssuchas Lionsgateand Starz, LegendaryEntertainment,CAA,Hasbroand OakViewGroup Beyond hisprofessionalwork, he is active in JPMorganChase’sGoodWorksvolunteerismgroup andsupportsyouth sports and educationinitiatives in thePacificPalisades community.

Reginald LANG

JPMorganChase Managing Director

Peter KLASS GHJ | Partner&ProfitParticipation Services Practice Leader

David P. LEFEBVRE Covington & BurlingLLP SpecialCounsel

DavidP.Lefebvre is specialcounselatCovington &Burling LLP, whereheadvises leadingmedia andentertainment companies, sports leaguesand contentownersoncomplex licensing, distribution andmedia rights agreements.His practice spans traditionaland digitalplatforms, includingstreaming,broadcast,cable andmobile. Lefebvre recently co-led Disney’s $8.5-billion merger of Star IndiawithViacom18and advisedon ParamountGlobal’sproposed$8-billion merger with Skydance Media. He also representedDisneyina landmark carriagedealwithCharter Spectrum, praisedastransformativefor theindustry. He regularlysupportsclients with high-value networkagreements, rights dealsand MFNanalyses. In addition to hiscommercialwork, Lefebvre maintainsanactivepro bono practice representing foster families, domestic violencesurvivors andhumanitarian parole applicants

ShannonLeitchisvicepresident of lendingoperationsatFirst Entertainment Credit Union, thepremier financial partner forcreatorsinthe entertainment industry.Withover20years of lending experience, shebringsdeepexpertise in business development, underwriting, operations,marketing andinvestorrelations,helping entertainmentprofessionals andbusinessesaccessthe capitalthey need to grow andthrive. Sincejoining FirstEntertainment in 2021,Leitchhas focusedonbuildingstrategic financial solutionstailoredtothe unique needs of theentertainment community. She’sa provenleaderwithastrongtrack record of cultivatinglong-lastingrelationships with members, teammatesand partners PriortojoiningFirst Entertainment, she held leadership rolesincommercial bankingand privatelending,including co-foundingREM CapitalGroup,where shemanaged business development, loan policy creation andnationalsales

Shannon LEITCH

FirstEntertainment

CreditUnion VP

of Lending Operations

Andrea LINK SingerLewak | Partner &PracticeLeader

Andrea Link serves as partner andpracticeleaderatSingerLewak,where sheadviseshigh-net-worthindividuals, startups andentertainment clientsontax strategy and business management.Withovertwo decadesofexperience, sheoffers comprehensiveconsultinginindividual andbusinesstax planning,familywealthand estate matters.Link’sclients span filmand TV production,concert promotionand loan-out corporations,and shefrequently collaborates with agents,attorneys andpersonalmanagerstodeliver integrated solutions.She is also adeptathandlingcross-bordertax issues forinternational entertainers. Before joiningSingerLewak,she co-owned LaurandManagement, whichmergedwithGumbiner Savett in 2018.Link’sprior rolesinclude servingas global taxdirectorfor aFortune 200company andasa consultant at aBig 4firm

Dana LOWY Meyer, Olson,

As theco-founderand partner at Meyer, Olson, Lowy & Meyers LLP, Dana Lowy is aveteran family lawattorney knownfor representing high-profileclients in high-asset divorces,custody disputesand prenuptial agreements with discretion andstrategic expertise. With 30 yearsinthe industry,she is widely respectedfor minimizing courtroom battlesand maintainingstrictconfidentiality– earningher areputationas“thevault”among billionaires,producers, directors, athletes andtalent. Afoundingmemberofthe all-female firm, Lowy has helped grow thepracticeto25attorneys across CenturyCityand Irvine.She has been recognized by TheHollywood Reporter as a“PowerLawyer: Troubleshooter,” namedamong theTop 100Lawyers by theLos AngelesBusinessJournal and consistently honoredbyLawdragon,Super Lawyersand Best LawyersinAmerica

Lowy &MeyersLLP | Co-Founder &Partner

Glen G. MASTROBERTE

Skadden, Arps, Slate, Meagher &Flom LLP Partner

Glen G. Ma str ob er te is a partner at Skadden, Arps,Slate, Meagher& Flom LLP,where he has ledsomeofthe most high-profileglobal entertainmenttransactions. In 2024, he advisedRelianceIndustriesonits $8.5-billion jointventure with Disney andViacom18, thelargest mediadeal in Indian history. Mastroberterepresented Downtown MusicGroup in its $775-million sale to Virgin MusicGroup andadvised OVOSound in itssaleto Sony Music. He also advisesBad Robot, TheJim Henson Companyand theNHL Hisworkhas earned recognitioninThe Hollywood Reporter,Variety,BestLawyers in Americaand Chambers USA. He joined Skaddenin2018and hasover23 yearsofexperienceinthe field

Jordan Matthews is thefoundingpartnerofHoltz Matthews LLP, alitigation firmspecializinginhigh-profile entertainment,harassmentand employment cases. He co-led landmark litigation againstSteve Wynn,which resulted in Wynn’s resignationfromWynnResorts andthe Republican FinanceCommittee, a$10-million fineand permanent removalfromthe gaming industry.He also represents producersand investors in A-list filmlitigationand serves as lead counselfor high-profileclients,including showrunner BrianA.Metcalf,producer Alexis Varouxakis andinfluencer Jaclyn Johnson. Matthews is currentlylitigatingahigh-stakes commission dispute involvingLululemon ambassador Deja Riley. He launched thefirmin2023 with MichaelHoltz,a veteranlitigator formerly of Lavely &Singer.

Jordan MATTHEWS

HoltzMatthewsLLP Founding Partner

Debra

ELLWOOD MEPPEN

Gordon Rees Scully Mansukhani,LLP | Partner &Chair of the NationalEmployment Law Practice Group

DebraEllwood Meppen is apartner at Gordon Rees Scully Mansukhani,LLP andchair of itsnationalemploymentlaw practice group. With 29 yearsofexperience, including 23 at GRSM,she resolves high-stakesmatters formajor Hollywoodfigures, oftenpreventingmultimillion-dollar losses andreputationalfallout.In2023, Meppen closed arecordnumberofsensitive entertainmentcases without litigation or publicity. Sheleads firmwideDEI andwomen’s leadership programs andco-chairs theLeadershipEqualityand Diversity Program. Herlegal guidance blends discretion, strategy anddiplomacy,making heratrusted advisorincrisisnegotiation.Outside of thefirm,Meppenalsoserves as aLos AngelesSuperiorCourt settlement officerand volunteers with UCLA OperationMendand L.A. Family Housing.

Michael MESCHURES

MGO| Business Management Partner

MichaelMeschures,a businessmanagementpartner at MGO, brings over adecadeofexperienceadvising clients in entertainment, sports,media andhigh-net-worth families andexecutives. For14 yearsin theindustry, eight with MGO, he hasbeendedicated to offeringpersonalized support, empowering clientstomakeinformedfinancial decisionsand preserve theirwealth. Meschureshas been instrumental in drivingsignificantgrowthwithinMGO’s business management practice,expanding itsreach andfostering acollaborative team environment. AgraduateofUCLAfor hisundergraduate studiesand USC forhis graduate work,healsoserveson theboard of AmericaNeeds You. His leadership helpsclients navigate dailyfinancialchallenges, both largeand small, ensuring strategicwealthpreservation.

Nick MCCOY

StifelFinancial| Financial Advisor

Nick McCoyisa financial advisoratStifelFinancial,where he helpsmanageassetsfor high-net-worth families, athletesand contentcreators. AformerLos AngelesAngels executiveand collegiate athlete, he leveragesleadership andriskmanagementstrategiestobuild customized,datadriven wealth plans. Sincejoining Stifel in 2021,McCoy has guided clientsthrough estate planning,charitablegiving andlegacymanagementusing boutique-style attention with access to oneofthe nation’s leadinginvestmentbanks.Withoverthree years of experience,heholds an M.B.A. from theUniversityofSouthernCaliforniaand aB.A.fromthe University of SanDiego,withadditionalcertifications in sports and entertainmentwealthadvising. He holdsSeries7and Series 66 licenses,along with life andhealthinsurance credentials.

JamesCarlosMcFall, apartner at Foley& Lardner LLP,is anationalleaderinName, Imageand Likeness (NIL)law andsports-tech ventures.Hesecured an injunction allowing NBAguard AnthonyBlack to play varsitysports, setting aprecedent forathlete eligibility. McFall represents elite athletes,including C.J. Stroud andhas adviseduniversities andcollectives on NILcompliance. He co-founded Lockerverse, adigital platform selected forthe Disney Acceleratorprogram,and recently helped launch Reggie Bush’s sports-techventure Aseasonedlitigator in FirstAmendment andentertainment law, he also protects journalistsand filmmakersindefamationdisputes. McFall joined Foleyin2024, has13years of experience, andearnedhis J.D. from Washington University in St Louisand both M.A. andB.A.degrees from Stanford University

Meyer,Olson, Lowy &Meyers LLP Co-Founder & SeniorPartner

Li sa He lf en d Me ye ri st he co-founderand senior partner at Meyer, Olson, Lowy &MeyersLLP,a topboutiquefamilylaw firmbased in LosAngeles.For more than 40 years, shehas handledhigh-stakes divorces andcustody mattersfor entertainers, executives andathletes. Meyer’spublic casesinclude themarriagedissolutions of ChristinaRicci,NicoleYoung,Jwan Yosef, BrodyDalle,Janet McCormack andBrandonBlackstock. Knownfor resolvingemotionally chargeddisputes with discretionand strategicprecision, shewas recently recognized by The HollywoodReporterasa “Troubleshooter” forhigh-profilefamilylaw matters. She’sbeennamed aSuper Lawyer for20years andrankedamong theTop 100Women LawyersinCaliforniaand theDaily Journal’sTop Family Lawyerslist. Meyerfounded thefirm over 25 yearsago andcontinues to lead it as anationallyrecognizedforce in family law.

Alissa Miller,partner at Akin andheadof thefirm’s LosAngeles office,isone of Hollywood’s most trustedfinancelawyers.She negotiates high-value entertainmenttransactionsand credit facilities forclients like A24, Netflix andABC.Millerrepresented lendersinmultimillion-dollar deals, includinga$400-millioncreditfacilityfor aglobal entertainmentcompany anda$90-million facility forapremium studio.She advised HarbourViewEquityPartnersonprojects with Usherand investmentsinMucho Mas Media. Shealsomaintains astrongpro bono practice,advising theU.S.Holocaust Memorial Museum andPublicCounsel. Over 24 yearsatAkin, Miller hasbecome ago-to dealmakerfor top-tier clientsinfilm, television andfinance.

Alissa MILLER Akin Partner

James CARLOS MCFALL Foley &Lardner LLP | Partner

Lisa HELFEND MEYER

Darrell D. MILLER

FoxRothschild

Managing Partner

&FoundingChair of the Entertainment &Sports Law Department

DarrellD.Miller is themanaging partnerofFox Rothschild’s LosAngeles office and founding chairofits entertainment& sports lawdepartment. With over three decadesofexperience, he structures majordeals forA-listers like Angela Bassett, Chris“Ludacris”Bridges and Taylor Tomlinson. In 2023,Millerclosed amulti-yearoverall deal between BassettVance Productionsand 20th Television.His clientsstarinmajor productions across Netflix,FX, Disney and CBS, with recent work including“Monkey Boy,”“Grotesquerie,” “Eternity” and“The Last of Us.” He is knownfor securing multimillion-dollarendorsementsand mediadeals at atimeofindustryvolatility. Miller also advisesGrammy-winning artistslikeJonathanMcReynolds on licensingand distribution. With 16 yearsatFox Rothschild,heremains a keylegal architectbehindsomeofthe industry’s biggestcross-platformcontent andtalentpartnerships.

Mark MondellojoinedKroll (formerly Duff&Phelps) in 2005 whereheisa managing director in theLos Angeles office andpartofthe firm’svaluation advisory practice;healsoleads Kroll’s entertainmentand mediaindustrygroup He hasmorethan25years of corporate finance experience andprior to joining Duff& Phelps,hewas amanagingdirectorwithStandard& Poor’s corporate valueconsulting whereheworkedfor 13 years. Mondello specializesindirectingvaluation studiesofbusinessesand interestsinbusinesses,intangibleassets andintellectualproperty. Hisexpertise in entertainmentand mediahas ledhim to play akey role in numerous high-profiletransactionsinthisindustryoverthe last 15 years. In addition,heprovided services to many of theworld’s leading entertainmentand mediacompanies.

MONDELLO Kroll ManagingDirector

Kyle NEAL

Northern Trust| Senior Relationship Advisor

Kyle Neal is aseniorrelationship advisoratNorthernTrust, whereshe advises high-net-worth clientsand multi-generationalfamiliesontrust administration andestateplanning strategies.After joiningthe firm10years ago, shewas promotedtoseniorvicepresident forher leadership andclient serviceinthe L.A. region.Previouslyanestateplanning attorney,Nealbecameatrusted advisortoclients in the entertainmentand nonprofit sectors. Shehas been named aSouthernCaliforniaSuper Lawyer andfeaturedonthe coverofLos Angeles Lawyer.She’s active in thecommunity,volunteeringwiththe LA Food Bank and participatinginthe California AIDS Ride.AtNorthernTrust,Nealalsomentors colleagues throughin-house trusteducation andco-chairedthe Estate Counselors Forum, advancingthe estate planning field throughprofessionaldevelopment

HarleyJ. NEUMAN

Neuman +Associates, ADivision of NKSFB| Partner &Founder

Harley J. Neuman is apartner andfounder of Neuman +Associates, adivisionofNKSFB,whereherepresents A-list talent,artists andindustryexecutives. He founded thefirm in 1991 andbrought it into amergerwithNKSFB six yearsago,creatingone of thetop business management platformsinentertainment.Neumanbegan hiscareerat Deloitte &Touche, leadingits entertainmentindustrypractice before launchinghis ownfirm.Overthree decadesin thebusiness, he hasbecomeafixtureinHollywood finance andwas recognized as TheHollywood Reporter’s first-ever“Business ManagerIcon” in 2018.Heisa longtime member of both theAICPA andthe California SocietyofCPAs, wherehe chairedthe annual EntertainmentIndustryConference.

DebraEllwood Meppen forbeinghonoredasa2025

Thisrecognitionisatestamenttoherdecadesof legalexcellence,commitmenttomentorship, andtheconfidencesheinspires inclientsandcolleaguesalike.

Astheonlylawfirmwithoffices andattorneysinall50states, weprovidefull-service representationseamlessly acrosstheU.S.

Mark

Ramela OHANIAN Sheppard, Mullin, Richter & Hampton LLP Partner

Ramela Ohanian, partner at Sheppard Mullin, negotiates cutting-edge entertainment deals for major players like Meta, Amazon Studios and Wondery. She joined the firm seven years ago and has quickly become a go-to dealmaker in film, television, podcasts and AI. She structured Amazon’s multiyear film partnership with Scott Stuber and led talent deals for Meta’s AI chatbot launch featuring Tom Brady and Kendall Jenner. Ohanian also closed high-profile podcast deals for Wondery and talent agreements for Nickelodeon and TelevisaUnivision. In addition to her transactional work, she mentors junior attorneys and sits on multiple bar association boards. She regularly speaks at Harvard and Loyola law schools and serves on the executive committee of the Armenian Women’s Bar Association, helping shape diversity initiatives in entertainment law.

Anthony J. Oncidi is co-chair emeritus of Proskauer’s labor & employment law department and head of its West Coast practice. With 23 years at the firm, he is lead employment counsel to some of the industry’s most influential organizations, including THE GRAMMYS, FOX, Sony Music, CAA and the NFL. Oncidi has defended major entertainment clients in disputes involving wrongful termination, harassment, class actions and trade secrets. He recently represented NBCUniversal and Bravo in high-profile litigation tied to the “Below Deck” series and successfully defended the GRAMMYs in multiple employee disputes. A frequent speaker, he has testified as an expert on wage law and edits Proskauer’s California Employment Law Blog. At his firm, Oncidi also advises on DEI initiatives and internal investigations across the media, sports and streaming sectors.

Michael PARKER

Anthony J. ONCIDI

Proskauer Rose LLP

Co-Chair Emeritus,

Labor & Employment Law

Capstone Global Management, Inc. | Founder & CEO

Capstone Global Management Founder and CEO Michael Parker leads a 100-person team advising entertainment and media clients on $20+ billion in transactions. Since launching the firm seven years ago, he has brought structured finance and capital markets innovation to the industry, including receivables financing, tax credit lending and IP monetization. He has advised Lionsgate on its separation from STARZ and its acquisition of eOne and structured a $1-billion IP-backed credit facility. With 20 years of experience in TMT finance, Parker has held senior leadership roles at HSBC, Citibank and NAB. He’s also a partner at Cedar Hill Entertainment Services, a film fund launched in 2024. His impact continues to grow as he helps independent producers and major studios access creative funding solutions.

Stacy O’NEIL

Linden Entertainment | Co-Founder

Stacy O’Neil, co-founder of Linden Entertainment, is best known for guiding the careers of major stars like Amy Adams, Rachel Weisz and Vin Diesel. She launched the firm in 2020, and five years in, she’s built a client roster that includes Vanessa Kirby, Beanie Feldstein, Karen Gillan and more. Linden Productions recently earned five Tony Awards for Stereophonic, while O’Neil produced “Nightbitch” with Searchlight Pictures and “Dead Ringers” on Amazon, which earned her a Peabody Award. She also executive produced Peacock’s “Genie” and “Sam and Kate.” Earlier in her career, O’Neil led talent divisions at Brillstein and The Firm. She has been named one of The Hollywood Reporter’s 100 Most Powerful Women in Entertainment and featured on Variety’s Power Women of Hollywood list.

Mark Pariser is a partner at Dunn, Pariser & Peyrot, where he brings 30 years of experience advising entertainment clients on complex tax and financial planning. With 15 years at the firm, he manages the financial affairs of actors, musicians, producers and executives, including artists like Blue October and Leikeli47. Pariser’s work includes royalty audits, business structuring and estate planning for both individuals and companies. He also advises production entities and record labels on tax compliance and financial forecasting. He has been recognized by The Hollywood Reporter, Billboard and the Los Angeles Business Journal, and serves on the boards of SONA and the SONA Foundation. Pariser provides ongoing guidance to nonprofit organizations like Manifest Works, ensuring regulatory compliance while supporting mission-driven goals.

Chris PEREZ

Donaldson Callif Perez LLP Partner

James R. PARKS CBIZ,

Inc. |

Executive Director

James R. Parks serves as executive director at CBIZ, where he leads the firm’s Western Region high-net-worth client group. After 30 years with CBIZ, he oversees offices from Seattle to Phoenix and brings four decades of experience in litigation consulting and management. He co-founded Parks, Palmer, Turner & Yemenidjian before it was acquired by CBIZ in 1998. In entertainment, Parks has provided accounting services to clients like MGM, Twentieth Century Fox and Hanna-Barbera. He was formerly CEO of Laser Pacific Media, a public company later acquired by Kodak and sits on multiple boards, including Whittier Trust, CalPrivate Bank and the Autry Museum. In 2022, he helped reopen the Hotel Barriere Fouquet’s in New York following a strategic acquisition and renovation effort.

Chris Perez is a partner at Donaldson Callif Perez LLP, where he specializes in rights clearance and legal advocacy for documentary and independent filmmakers. With 15 years at the firm, he has represented hundreds of productions, including Oscar-winner “The Last Repair Shop” and Sundance premieres such as “Black Box Diaries,” “Gaucho Gaucho” and “Selena y Los Dinos.” Perez advises clients like Kevin Hart’s Hartbeat, HBO, FX, Amazon and Film Independent. He co-authored the fifth edition of Clearance & Copyright and currently serves on the board of the International Documentary Association. In 2024 alone, he advised on legal issues for “Ricky Stanicky,” “Social Studies” and “The Apprentice.” Perez also supports filmmakers through the Archival Producers Alliance’s Generative AI Initiative, focusing on best practices in emerging technology.

Stacy Phillips, partner at Blank Rome LLP, leads complex family law matters for high-net-worth and high-profile clients. With nine years at the firm, she has built a national reputation for her work in divorce, custody, domestic violence and pre- and post-nuptial agreements. Phillips sits on the firm’s Executive and Lateral Recruiting Committees and co-chairs its Women’s Leadership Summit. She is recognized by Chambers, Lawdragon, the Daily Journal and Super Lawyers and frequently speaks on mentorship and women’s leadership in law. She is vice chair of Public Counsel’s board and founder of the firm’s AdoptA-Center Program, now in its 25th year. Through decades of legal practice and civic engagement, Phillips continues to advise clients facing highly sensitive family transitions.

Stacy PHILLIPS

Blank Rome LLP Partner,

Matrimonial & Family Law

Mark PARISER Dunn, Pariser & Peyrot | CPA & Partner

RobynR. POLASHUK

Covington & Burling LLP Partner &CoChairofMedia &Entertainment IndustryGroup

RobynR.Polashuk is ap ar tn er andco-chairof Covington &Burling LLP’s media& entertainmentindustrygroup.A 10-year veteranatthe firm, sheadvises clients includingDisney, Fox, Paramount Global,PBS andNFL Networkon licensingand distribution dealsacross cable, streamingand digitalplatforms Sheled Disney’s $8.5-billion Star India merger with Reliance andadvised on theParamount-Skydancemergerand Disney’s landmark carriagedealwith Charter. Polashuk also represents studiosinconfidentialdistribution agreements with topproviders like Comcast, DIRECTVand YouTubeTV. With more than 30 yearsinthe industry, sheregularly serves in an advisory role on monetization andregulatorymatters andalsositsonthe advisory boards for UCLA’s Ziffren Center andEntertainment Symposium.

Erin L. Prouty is apartner at Lagerlof, LLPand managing attorney of thefirm’s ElSegundo office.Withtwo yearsatthe firmand more than threedecades in the field,she specializesinestateplanning, probatelitigationand taxstrategy, often representing clientswithcomplex financial holdings in entertainment. Sheisa Certified Specialist in Estate Planning anda fellow of theAmericanCollege of Trustand Estate Counsel. Prouty also serves on theBoard of Governorsofthe BeverlyHills BarAssociation andlecturesfor organizationssuchasUCLA, USCand theJewishCommunity Foundation.She also teachesasanadjunct professoratUSC GouldSchoolofLaw, andher work spansbothlegal practice andpubliceducation on estate law.

Lagerlof,LLP Partner

Arya S. RAHIMIAN Kroll | Director, Valuation AdvisoryServices

Arya S. Rahimian is adirectoratKroll,whereheleads valuationadvisoryservicesacrossmedia,techand sports sectors. With 11 yearsatthe firm, he hashandled valuationsfor business interests, IP andsecuritiesfor Fortune 500companies andearly-stage startups alike. Rahimian’s work supports mergers, financial reporting, jointventures, taxplanningand litigation.Hehas ledthe valuationof sports franchises,including theirmedia rights andathlete likenesses.Heworks with clientsinstreaming,gaming, software ande-commerce. Rahimian also participates in public policy conversationsasa member of the Milken InstituteYoung LeadersCircle. Hisadvisoryfocus is groundedinanalytics that supportcomplex business decisions

Ramo LawPC| Managing &Founding Partner

Elsa Ramo is themanagingand founding partnerofRamo LawPC, whereshe leadsateamthatadvisestop producers andstudios across filmand television.With20years at the firm, sherepresentsclients including Skydance,Imagine Entertainmentand Concordia. Her2024slate included “The Apprentice,” “Jim Henson:IdeaMan”and “SNL 50:Beyond Saturday Night.”Ramohas negotiated dealsfor “Chef’s Table” andled internationalfinancingeffortsfor films like “The Beast.”She co-founded Vested Interest,a production companyand serves as executiveproduceron“Dead Man’sWire,”set forrelease in 2025.She is also thefounder of thenonprofitPEFAand chairs UCLA’s EntertainmentSymposium board, mentoringthe next generationofentertainment lawyers.

Elsa RAMO

Erin L. PROUTY

Vanessa ROMAN Akin Partner

VanessaRoman, partner at Akin, advisesbanks and studiosonentertainment financing dealsacrossfilm andtelevision. Shehas been with the firmfor 13 yearsand leadsmajor transactions forclients like Bank of America, East West Bank andJPMorganChase, including credit facilities totaling over $500 million. Romanrecentlyrepresented Miramax, CAT5 andFifth Season on high-profileprojectsand hasprovidedlegal supportonblockbusters like “Greenland:Migration”and“Wrath of Man.”She also playsanactivepro bono role,supportingAFI andthe U.S. HolocaustMemorialMuseumwith intellectual property clearances. She serves on theboard of Female Executives in Mediaand Entertainment, whereshe helpsfosternew leadership in theindustry.

Neema T. SAHNI

BlankRomepartner Kristina Royce co-chairsthe firm’snationalmatrimonial &familylaw practice,advisinghigh-networthclients on complexdivorce and custodycases.She joined thefirm six yearsago andnow sits on thePartners Boardwhile managing aprominent roster that includes celebritiesand C-suiteexecutives. Royceisknown for navigating multi-daymediations that avoidcostlylitigationand preserving privacyfor clients. Notably, shewas retained by Arnold Schwarzenegger to finalizehis divorcefromMaria Shriver. Herexpertise spansvaluations, pre- and post-nuptial agreements andprivate dispute resolution.Royce is also deeply involved in thelegal community, includingCedars-Sinai’s BoardofGovernors andthe HarrietBuhai Center andhas beenrecognizedbyChambersUSA,the DailyJournal,Variety andThe Hollywood Reporter

Blank Rome LLP

Partner,Co-Chair of theMatrimonial &Family Law Practice Group

Covington &BurlingLLP | Partner,Co-Chairofthe Entertainment&Media IndustryGroup

At Covington&Burling LLP, NeemaT.Sahni serves as partnerand co-chair of theentertainment &media industry group, advising clientsacrosslitigationand transactionalmatters.In her13years with thefirm,she hashandled disputes forNetflix, TikTok andSpotify, andled high-profilecases such as “Squid Game”and “Rebel Moon.” Sahnialsomaintains astrongadvisory practice,counselingmajor sports leagues, studiosand musiccompanies on risk management andlitigationstrategy. Shehas successfullydefendedcoverageclaimsfor ShariRedstoneand National Amusements andhelps guideCovington’s musicand sports lawefforts. Aformerin-house attorney at Disney,she is knownfor balancinglegal strategy with operational insight. Sahnialsoservesonvarious boards like USC’sIPInstitute andthe South AsianBar Association.

Jesse SAIVAR

Greenberg Glusker | Chair,Intellectual Property &Technology

JesseSaivar, chairofthe intellectual property &technology group at GreenbergGlusker,provideslegal counseltoa prominentrosterofdigital mediaand entertainmentclients A19-year veteranofthe firm, he represents Barstool Sports, TheFreePress,Morning Brew andInvisible Universe, among others. Saivar advisesonIPlicensing,trademark strategy,talentagreementsand brandpartnershipsacross formatsincluding streaming, animationand podcasting.His work includes securing rights dealsfor Quinn, Flighthouse,Jomboy Mediaand ExplodingKittenand hasalsohelpedstructure AI andlicensing agreements forprojectscombining traditionalcontent with emerging tech.Named an “IP Trailblazer” by TheNationalLaw Journal, Saivar is frequently recognized for hisinnovativeworkindigital andconsumerbrand strategy

Daniel ROZANSKY

Stubbs Alderton &MarkilesLLP Partner, Co-Chair of theBusiness Litigation Practice

Daniel Rozansky,partner at Stubbs Alderton &Markiles LLP,co-chairs thefirm’s business litigation practice and brings 33 yearsoflegal experienceacrossentertainment andcommercialsectors.Hejoinedthe firmseven years agoand is widely recognized forhis litigation strategies on behalf of filmstudios,digital platformsand musicclients Rozansky hashandled disputes ranging from copyright andrightsofpublicity to FirstAmendment andprofit participation claims.His work also spansdigital media, podcastformats andthe legalimplicationsofsocialcontent.Heisactiveonnonprofitand industry boards, includingVista delMar andthe AssociationofBusinessTrial Lawyers. Rozansky hasreceivedrecognition from Chambers USA, Varietyand Forbes,aswellas numerous “Top Litigator” honors

JosephRust, chiefstrategic innovation officeratPrager Metis, leadsthe firm’sWestern Region andadvisory servicesdepartmentwhile overseeing innovation initiatives firmwide. A40-year veteranwithPragerMetis,heiswidely knownfor recovering royaltiesand managing IP valuation andlicensing issues in themusic andentertainment industries.Rustworks with recordingartists,publishers andexecutivestoprovide strategicplanning, auditand business management services.Asa thoughtleader, he contributesregularly to panels on artificialintelligenceand copyrightlaw andhelps developproprietary AI toolstotrack streamingrevenuesand detect royaltydiscrepancies.Heisa boardmemberofthe California SouthlandAlzheimer’s Associationand hasbeen involved in fundraisingand awarenessefforts.

SAMPLIN Gibson, Dunn& Crutcher LLP Partner, Co-Chair of theMedia, Entertainment &Technology Practice Group

Ilissa Samplin, partner at Gibson Dunn &Crutcher LLP,co-chairs the firm’smedia,entertainment &technologypracticeand is aleadlitigator in some of theindustry’shighest-stakes disputes.She hasbeenwithGibson Dunn for12years andrepresentsclients such as AMCNetworks, Warner Bros., Yahoo! andLadyGagaincases involvingcopyright,defamationand profit participation. Samplinalso advises on licensingand intellectual property,often taking mattersthrough trialorarbitration.Her clientsinclude majorstudios,streamers andemerging platforms. Sherecentlysecured akey victoryin“TheWalking Dead”litigation anddefendedPeacock in a$100-million suit by Sean Combs. Samplin’slegal acumen andtrial experience make her oneofthe toplitigatorsnavigatinghighvalueentertainment andtechdisputes in U.S. courts

As managing director andbankeratJPMorganPrivate Bank,Malak Santiniadvises clientsinmedia,sportsand entertainment on wealth preservation andinvestment strategy.She hasspent 14 yearswith thefirm, rising from marketingexecutive to senior leadership andco-developed JPMorgan’s mediaand entertainment bankingvertical. Santinihelps high-profileclients buildcomprehensive financial plansencompassingestate, philanthropic andinternational holdings.She played akey role in forgingthe bank’s partnership with theAcademy Museum of Motion Pictures.Amemberofthe firm’sGreater Market Leadership Team,she also serves on theboardsofthe LosAngeles Sports & EntertainmentCommissionand City Year LA.Santini’s work combines institutional expertisewithcommunity engagement, positioningher as akey advisorinboth finance andcivic development.

Malak SANTINI JPMorgan PrivateBank Managing Director&Banker

Joseph RUST

PragerMetis | Chief Strategic Innovation Officer

Kristina ROYCE

Ilissa

Robert M. SCHWARTZ

QuinnEmanuel Urquhart& Sullivan, LLP Partner

Ro be rt M. Schwar tz is a partner at Quinn EmanuelUrquhart &Sullivan, LLPand oneofthe country’stop media andentertainment litigators.With35 yearsinpracticeand sevenatthe firm, he hasarguedprecedent-setting caseslikeMGM v. Grokster andEldred v. Ashcroft andhas representedevery majorstudio, networkand label. In recent years, Schwartz hassecured wins forOpenAI, Jay-Z, MeganThee Stallion andTake-TwoInteractive, amongothers. Hisbroad litigation focusincludescopyright,defamation andname-image-likeness rights.He also played aleadroleinlitigationthat shut down LosAngeles County’s flawed PACE home financing program. Chambers andThe Hollywood Reporterhave honoredhim,withthe latter naming him a“Living Legend”in2023.

UsmanShaikhisthe managing partner andfounder of U.S. LawGroup,aboutiquefirm specializing in corporateand entertainmenttransactions.A former AM100associate andagent trainee at ICM, he launched hisfirm 12 years agoand nowadvises producersand financiersoncomplex deal structures

Shaikh’s recent work includes financing “The Apprentice,” structuringdual-reg offerings forPressmanFilmand helping an Emmy-nominated,minority-owned companysecureseedcapital.Hecurrentlyadvises on twofilm fundsand a venture-backed studio.Outside thefirm, he promotes Muslim-Jewishrelations andindigenous arts throughroles with TheUrban Warehouse,Ondalinda Foundation andMPAC’sHollywood Bureau Shaikh hasalsoadvised on intellectual property dealstiedtothe Abraham Accordsand high-profilelegacyrights acquisitions

Usman SHAIKH

U.S. LawGroup Managing Partner &Founder

JosephRust Thomas Smith

Thankyou forcontinuing thetraditonofunparalleled, people-first service. Cheerstoall of this year’s honorees!

We understand thecomplexitiesand challenges of the entertainment and musicindustry. Prager Metishas specialized in accountingand advisoryservicesfor the entertainmentand musicindustrysince itsinception, over 100 yearsago.

Richard SINGER

SB CapitalManagement, Inc. | Wealth Management Partner

RichardSingeristhe wealth management partneratSB CapitalManagement, Inc.,where he leadsinvestmentstrategyand client services forhigh-net-worth individuals. Over thelast22years with SB Capital– and28inthe industry –hehas grownthe firm’sassetsundermanagementto more than $1.2 billion. Singer’s entertainmentclients include contentcreators, executives andproductioncompanies PriortofoundingSBCapital,hemanaged tech investments andled developmentinitiatives in Asia forSignalSoft. Hisstrategic acumen spans privateequity, real estate andM&A advisory.Singeralsoteaches financial literacy to underservedyouth throughOperation Hope andsupportsnonprofits like Hope theMission andImagine LA.Known forsolving complexchallenges, he hasrecently assisted clientswithhostile boardtakeovers andelder care planning

ThomasF. SMITH

Prager Metis | Partner &Entertainment IndustryLeader

Thomas F. Smithispartner-in-charge of theentertainment andmusic groupatPragerMetis,whereheadvises clients across theentertainment ecosystem. With 25 yearsinthe accounting field andeight at Prager Metis, he workswith touringartists,producers andmedia executives on tax, business management andstrategic planning.He’sbeen featured by Billboardand Varietyfor threestraightyears andspeaksregularly on managing touringcosts,financial risk andsports-relatedwealthplanning. Smith’sfocus is long-termfinancial health –guiding clientsawayfromimpulsive purchasesand toward diversified income streamslikemerchandise andbranded content. He also leadsphilanthropic initiatives, including theAlzheimer’s Walk in Westport.His involvementwithan invite-onlyentertainment advisornetwork keepshim connectedtokey industry playersacrossmajor cities

Nick SOLTMAN

Kinsella HolleyIser Kump Steinsapir LLP Partner

Nick Solt man, partner at Kinsella Holley Iser Kump Steinsapir LLP,isa go-toadvocatefor Hollywood A-listers, particularly in claims involvingprofit participationdisputesand defamation.Heisa longtime counseltoHarry andMeghan, theDuke andDuchessofSussex, representing them in variouspublicand confidential matters. This past year,Soltman wasamemberofthe KHIKSteamthat successfullyrepresented Meghan in a defamation action filed by her half-sister over theroyals’ high-profileinterview with OprahWinfrey.Heisalsocurrently representing actorTimothy Hutton in statecourtlitigationinconnection with therebootof“Leverage.” Additionally,heiscurrently representing Roddenberry Entertainmentinstate courtlitigationoverthe long-lostUSS Enterprise modelthatbelongedtothe creatorofthe iconic “StarTrek” series, Gene Roddenberry

MeyoungSpektor is amortgageindustry leader with over 20 yearsofexperience andaproventrack record in salesleadership.Asdirectorofcommunity sales at FirstEntertainment Credit Union, the premier financial institutiontocreators in theentertainment industry,she has helped driveover$319million in mortgage originationvolumeinthe past two years, fosteringgrowth, innovation and collaboration. Sincejoining FirstEntertainment in 2023,Spektor hasbeen dedicatedto helpingentertainment professionals achievehomeownership and financial stability. Previously,she wasa top-producingmortgageleaderatmajor financial institutions,including Chase, Bank of America, PNC, UnionBankand US Bank.For hereducational background,she holdsanM.B.A.fromthe University of Colorado anda Bachelor of Scienceinmarketing andorganizational management

Meyoung SPEKTOR

FirstEntertainment CreditUnion Directorof Community Sales

Stanton “Larry” STEIN

Russ August &Kabat

Partner &Headof Mediaand Entertainment Group

Stanton“Larry” Steinisa partnerat Russ August &Kabat andheadofthe firm’smedia andentertainment group. Alitigator with over fivedecades of experience, he represents high-profileartists,influencersand entertainment companiesin disputes involvingcopyright,profit participation,privacy andpublicity.Stein’s clientshaveincluded Drake, Post Malone,the Estate of DonnaSummerand GradeAProductions.Hewas among thefirsttochallenge studio accounting practices, reshapinghow profitparticipants negotiatewithverticallyintegrated mediaentities. He serves on severalnonprofitboards, includingPublicCounsel andthe Institutefor Myeloma& Bone Cancer Research.Stein’s work hasearned recognitionfromThe HollywoodReporter, Variety, Billboard, Best Lawyersand theDaily Journal.

Jenifer WALLIS

Munck WilsonMandala, LLP| Chair of Entertainment Practice

JeniferWallisischair of theentertainment practice at Munck Wilson Mandala, LLPand akey leader in thefirm’s Los Angelesoffice. Sincejoining in 2019,she hasdrivenstrategicgrowththrough client development, lateralrecruitment andmentorship. Herhybridpracticespans litigation and transactionalwork, advising entertainment, beauty andtech clientsonIP, production,businessformation andlicensing Previously aco-chairofthe IP practice at aprominent L.A. firm, Wallis also ranher ownfirm in Alabama. Shecurrently serves as outside general counseltoseveral production companiesand hashelpeddevelop key relationships with clients, includingNexstar Mediaand Getaround. Afounding member of Chief’sL.A.chapter anda boardmemberofCharlie’s Acres, she is also aleaderinadvancinggenderequity– herofficenow hasthe highest percentage of femaleattorneys firmwide.

Chris SPICER Akin | Partner

ChrisSpicerisa partneratAkinand head of thefirm’s media, entertainmentand sports practice.Hefocuses on entertainmentfinance, advising on high-value deals involvingfilm,television, musicand gaming.His recent work includes a$1.1-billionseniorsecured credit facility for amini-majorstudioand a$100-millionequityinvestment in amultimediacompany.Overnearlytwo decadesinthe industry –17ofthem at Akin –Spicerhas handledmajor transactions forclients such as Comerica Bank,EastWestBankand FifthSeason. He is amemberofAkin’sManagementCommittee andplays aleadershiprolein attorney mentorship throughthe Akin Advisorprogram.RecognizedbyVariety and TheHollywood Reporter,healsomaintains apro bono practice supporting the American Film Instituteand other nonprofit organizations.

DaisyStall is theexecutive vice presidentand director of entertainmentand mediafinanceatCaliforniaBank& Trust. Priortojoining CB&T,she held senior rolesatUnion Bank andSonyPicturesEntertainment,whereshe oversaw global liquidityplanningfor a$7-billionmedia portfolio andadvisedonhigh-valueM&A andfinancingstrategies. SincearrivingatCB&Tin2021, Stallhas ledthe bank’s expansionintothe entertainmentsector, underwriting nearly $1 billioninfilm,TVand musicdeals.A first-generationcollege graduate,she mentorsearly-careerprofessionals andspeaksregularly at institutions including UCLA,USC andMichiganState.Her abilitytobridgethe worlds of bankingand Hollywoodhas made hera trustedadvisor to clientsnavigatingcomplex creative andfinanciallandscapes.

JaHan WANG

City National Bank Head of Entertainment and Sports Banking

JaHanWangis theexecutive vice presidentand head of entertainment andsports banking at City National Bank.With morethan30years in bankingand nearly twodecades at City National, he oversees anationalteamthatdeliverstailoredfinancing andadvisory services to clientsinfilm,television, sports,Broadway, musicand Latin entertainment. Wang previously served as East Coastregionalmanager,leadingoffices in NewYork, Miami, Nashville andAtlanta.BeforejoiningCityNational in 2007,heheldpositions at JPMorgan Chaseand Citibank.Amemberofthe bank’s executiveleadership andsenior management teams, he also serveson theboard of theGeffen Playhouseand theboard of SAG-AFTRA.

DavidWeise,foundingpartner of David Weise&Associates, adivisionofNKSFB, builthis firm from thegroundupafter decadesofexperienceinbusinessmanagementacrossthe entertainmentindustry. With aclientbasespanningmusic,television,filmand sports,heisknown for structuringfinancial strategies that benefitinterconnected clientsacrosssectors Weisebegan hiscareerinaccounting before transitioningtobusinessmanagement in theearly 1990s, steadily growing hisclientele andeventuallylaunching his ownfirm in 1999.In2005, he formed David Weise&Associates, nowpartofNKSFB, whichhas become atrusted name in the industry.Over35years in practice,he hasbuilt strong industry relationshipsand earned recognitionfromThe Hollywood Reporter,Variety andBillboard

David Weise & Associates, A Division of NKSFB Founding Partner

Daisy STALL California Bank &Trust EVP, Director of Entertainmentand Media Finance

David WEISE

Max WELLMAN Venable LLP Partner

As ch ai ro f Venable’s Los Angeleslitigation department,Max

We ll ma nrepresentsleading

figures in entertainmentand business whilealsoguiding thefirm’s broader strategiclitigationefforts. He advises clients, includingtalent, production companiesand celebrity-backed brands,onlitigation, transactions and crisis management. Wellmanservesas outsidegeneral counseltofirmssuchas Entertainment360 andadvises Creative ArtistsAgencyonemerginglegal issues involvingartificial intelligence. Recent representationsinclude KatherineHeigl, Andrew Schulz andSnoop Dogg in defamation andIPmatters.Wellman is knownfor managing disputes involving copyright, publicityrightsand complex commercial issues,while also mentoring youngattorneys within thefirm.RecognizedbyVariety andThe Hollywood Reporter,hehas heldleadershiproles in theJewishNationalFundand the Downtown LosAngeles BarAssociation

Alongtimeleaderinentertainment accounting,Anita Wu is themanaging director at GHJ, whereshe oversees complexprofit participationauditsfor majorstudios andnetworks. Fornearly 30 years, shehas advisedclients such as Walt Disney Pictures,NBCUniversal andCBS,ensuringfinancialaccuracy andtransparencyinhigh-stakes royalty matters. ACPA andCertifiedFraud Examiner,Wuisafrequentspeaker for theInternational Film andTelevision Alliance andthe BeverlyHills BarAssociation. Hercommitment to equity and mentorship ledher to co-found GHJ’s Women’sEmpowerment Cohort,and shecurrently servesonthe firm’sDEIA Steering Committee.

Ashley R. YEARGAN

Russ August &Kabat Partner, Co-Chair of Entertainment &Media

Ashley R. Yearganservesaspartner andco-chairofthe entertainmentand mediagroup at Russ August &Kabat, whereshe is widely regarded as arisingforce in litigation andtransactional work.She represents topproducers, musiciansand mediacompanies in copyright, IP andtalent-relatedmatters.Her work includesdefending Black LabelMedia,advisingSimon Cowell’s Syco andmanaging day-to-day litigation forDrake.Yeargan also represents clientssuchasTokyo Broadcasting System,Jon Tafferand 818Tequila.She is widely recognized by TheHollywood Reporter,Billboard,Variety andSuper Lawyers andhas earned areputationwithinthe firmasamentorand leader.Over16 yearsinpractice, shehas become atrusted advisortomajor figures in music, film andinternational media.

From multimillion-dollaracquisitions to high-profilefilm finance deals, Sophia K. Yen, partneratManatt, Phelps & Phillips,LLP is akey figureinshaping thefutureofindependent entertainment. Sheadvisesclients includingPophouse Entertainment, FilmRise,Heartbeat,AMC andThe Pokémon Companyonmajor entertainmentand M&Atransactions Recent dealsinclude KISS’ catalogacquisition,the AMC–Taylor Swiftdistributionmodel andthe capitalraise for KevinHart’sproductioncompany.Yen also advisesanetwork of privateinvestors on independentfilm strategy andhas been recognized by TheHollywood Reporter, Varietyand CAPE,where shewas named2024Dealmaker of theYear. Afrequent speakeratSXSW, AFMand UCLA,she championsequityinentertainment through Sundance Catalyst andservesonthe boards of Asia SocietySouthernCalifornia andthe UCLA EntertainmentSymposium

Sophia K. YEN Manatt, Phelps &Phillips, LLP | Partner

Anita WU GHJ ManagingDirector

Illustration by Stephanie Jones

WhyJudyBlumenever goesoutofstyle

Story by Lorena O’Neil

‘Forever’ creator explains Judy Blume’s lasting power

Mara Brock Akil on adapting one of the author’s most beloved novels for the digital age and why her work still resonates today

WHEN MARA BROCK AKIL WAS A LITTLE GIRL, she voraciously read Judy Blume. Looking back, she seesherobsessionasthestartofherbecomingawriter ¶ So when Akil heard that Blume was allowing her work to be translated to the screen, she was ready: “My little girl hand just shot up, ‘I want to do that!’ ” saysAkil. ¶ Sheaddsthatwhilethisgeneration’syouthcansearchtheinternet for information and, sometimes, misinformation Blume was her own trusted source. ¶ “The Information Age linked us and let us see things thatweweren’tabletoseeorknow,andJudywasthatforus,”saysAkil “Judy

was writing from a place that was really grounded and gave full humanity to young people and their lives. She took their lives seriously.”

Akil has channeled her affection for Blume’s work into a new adaptation of the author’s 1975 novel “Forever...,” which premiered in May on Netflix. Focused on two teens falling in love, the book contains sex scenes that placed it on banned lists from itsinception andBlume,whoseworkoffers frank discussion of subjects like masturbation and menstruation, remains no stranger to banned book lists, despite selling more than 90 million books worldwide.

But as censorship ramps up again, Blume has become something of a hot commodity in Hollywood. In addition to the documentary “Judy Blume Forever,” a feature film based on her novel “Are You There God? It’s Me, Margaret” was releasedin2023,anadaptationof“Summer Sisters” is in development at Hulu and an animated film based on “Superfudge” is in the works at Disney+.

Akil’s “Forever,” set in 2018 Los Angeles, stars Michael Cooper Jr. and Lovie Simone as the teenage leads though the roles are gender-swapped from the novel. In 2020, while Akil was developing the adaptation, she tried to think of who the most vulnerable person is in society.

“I posit that the Black boy is the most vulnerable,” she says. “My muse is my oldest son, and through the portal of him I got to go into the generation and just really start to look at what was going on.”

While working on the project, she realized there are few depictions of boys and young men whose story is anchored in love, rather than relegating love to a side plot. “Mentally, emotionally, physically they too deserve to fall in love and be desired and have someone fall in love with them,” she says. “And for Keisha his honesty was attractive to her. How often doweeverreallyseethatlevelofvulnerability be the leading guy?”

‘THERE’S A LOT OF REAL FEAR OUT THERE AND REAL TOUGH CHOICES THAT PARENTS ARE GOING THROUGH.’

Mara Brock Akil, “Forever” showrunner

In true Blume style, Akil also incorporated a central issue affecting people today technology.

“The phone is a big character in the show, because there’s a lot of duality to the phone,” she says

Throughout the series, the characters use phones to connect and disconnect via blocked messages, lost voicemails and unfinished texts. In the premiere, the drama revolves around the dreaded disappearing ellipsis that feeling when you can see someone typing and then it stops.

Akil laughs when I bring it up: “At any age, that ellipsis will kick your butt.”

And when you add sex into the mix, everything becomes more charged. “The phoneinthemoderntimesisanextension of pleasure in sexuality, when used in a trusting way, and then it can be weaponized,” says Akil. “It can be so damaging to this generation’s future at a time in which mistakes are inherent in their development.”

It’s this keen awareness that the mistakes haven’t changed but the consequences have that grounds Akil’s version of “Forever.” “There’s a lot of real fear out

there and real tough choices that parents are going through,” says Akil. “And in this era of mistakes, kids can make a mistake and die by exploring drugs or —”

Shestopsherself.“Igetveryemotional about the state of young people and their inabilitytomakeamistake,”shesays,“becauseIthinkmostyoungpeopleareactually making good choices.”

Akil says Blume and her family have seen the episodes more than once and told the showrunner she really enjoyed them. Akil remembers first meeting Blume. “I was nervous. I wanted to be seen

by her,” she says. “I fangirled out and she allowed it and then was, like, sit your soul down. We had a conversation, and it felt destined and magical. I was grateful that she listened, and it allowed me to come to the table saying, ‘I know how to translate this.’”

Iask Akil why she thinks Blume’s work continuestoresonate,lastingfordecades in its original form and spawning new projects to attract the next generation of viewers and, hopefully, readers.

“She’s relevant because she dared to tell us the truth,” says Akil. “And the truth is forever.”

↑Lovie Simone, top, as Keisha Clark in Netflix’s “Forever.”

Michael Cooper Jr stars as Justin Edwards, Keisha’s love interest.

NETFLIX

The

Industry Ratings Report

50 years after Marshal Matt Dillon’s last draw, ‘Gunsmoke’ is a hit again

The long-running western starring James Arness as a straight-shooting lawman is finding new audiences on Peacock, Paramount+ and Pluto TV

Story by Stephen Battaglio

WHEN THE CLASSIC

western drama “Gunsmoke” finished its 20year run on CBS in 1975, Los Angeles Times critic Cecil Smith made a bold prediction.

“I have the feeling that the first moon colony we establish will be watching ‘I Love Lucy,’ ” Smith wrote. “And probably ‘Gunsmoke.’ ”

We’re not quite there on the colonization front, but Smith’s prognostication on viewing habits is right on track.

“Gunsmoke,” the western drama starring James Arness as Marshal Matt Dillon, hastwicethisyearrankedamongNielsen’s top 10 list of most-streamed acquired series alongside “Family Guy,” “NCIS” and “Grey’s Anatomy.” The program scored 646 million minutes viewed for the week of March 3-9 and 570 million for the week of April 28-May 4.

“Gunsmoke,” which is owned by Paramount Global, was recently added to NBCUniversal’s streaming platform Peacock. It has also been a staple of Paramount+. But it gets the bulk of its audience from Pluto TV, Paramount Global’s free advertising-supported streaming service.

The enduring success of the series, set inthefrontiertownofDodgeCity,Kansas, in the1870s, demonstrates how every new evolutionofvideoconsumptioncanunlock the value of vintage titles. Since wrapping production 50 years ago, “Gunsmoke” has never gone away, finding fans on cable, home video formats and retro broadcast TV channels such as MeTV before it was discovered by the streaming generation.

“Ifthere’sagreatshow,peoplewillseek it out wherever it is,” said Neal Sabin, vice chairman of Weigel Broadcasting, which has carried “Gunsmoke” on MeTV since 2006. The network’s daytime airing of the show regularly attracts more than 600,000 viewers.

“Gunsmoke” started as a radio drama on CBS in1952 with William Conrad voicing the lead role. The series transitioned to television in1955 as a half-hour show with Arness taking over as Dillon at the urging

of his pal John Wayne, who turned down the role.

“Gunsmoke” became an immediate hit, ranking as television’s most-watched series in four of its first five seasons and expanding to an hour in1961. It outlasted the wave of westerns that saturated network TV schedules in that era and was still landing in Nielsen’s top10 prime-time shows in the early 1970s. When “Gunsmoke” was left off the CBS schedule in 1967 apparently due to rising production costs the network’s founding owner, Bill Paley, and his wife, Babe, insisted that it return Before “Gunsmoke,” most western TV shows were aimed at kids. “Gunsmoke” wasforgrown-ups.Itwasviolentandoften unflinching in depicting the harshness of life on the American frontier.

The writers and producers respected the show’s period setting but also had a feel for the zeitgeist Episodes from the early 1960s, which often featured a young Burt Reynolds as a half-Comanche blacksmith in Dodge City, play like allegories about racism as the civil rights movement was simmering.

The show had remarkable consistency as Arness and Milburn Stone, who played Doc, were in their roles for the entire run.

Amanda Blake, who played saloon proprietor Kitty Russell, appeared in 19 seasons. (Fans still debate whether the Miss Kitty and Dillon characters were an item.)

Sabinbelieves“Gunsmoke”maybeseeing an uptick in viewing as audiences tend to look to familiarity and comfort during timesofuncertainty.“Gunsmoke”alsoprovidesaherowithastrongmoralcompass. “MattDillonrepresentsalotofwhatwe don’t have right now,” Sabin said.

Dan Cohen, chief content licensing content officer for Paramount Global and presidentofRepublicPictures,saidheisn’t surprised by the resilience of “Gunsmoke,” as the audience for westerns is deeply loyal, even outsidethe U.S.

The series currently airs in Australia, Germany, Switzerland, Austria, Canada, Norway,Sweden,DenmarkandIsrael.

Cohen said the show has likely gotten a boost from the popularity of “Yellowstone” and its spinoffs, which Paramount Global alsosellsaroundtheworld.

“There is a halo effect that westerns are seeing internationally,” Cohen said. “When we license ‘Yellowstone,’ it leads to the conversation of, ‘Do you have anything else kind of like it?’ ‘Gunsmoke’ is our answer.”

CBS

↗James Arness, left, Amanda Blake, Ken Curtis and Milburn Stone in “Gunsmoke.”

One Shot

“I wanted this to be something that would have been hanging on my bedroom wall,” says senior visual effects supervisor Jason Smith about the heroic depiction of King Durin III (Peter Mullan) sacrificing himself to a fiery monster during the climactic Season 2 finale of “The Lord of the Rings: The Rings of Power.” The immortalizing moment, which follows a tearful goodbye between father and son, drew inspiration from J.R.R. Tolkien’s description of the Balrog as a being of “shadow and flame.” “We didn’t want to ruin the poetry of Tolkien’s writing by showing too much. He leaves space for your mind to help tell the story in a way that you will find compelling, so we tried to do that,” explains Smith. A mixture of milky blacks and crimson hues brought the photorealistic scene together, the contrast in color elevating the nightmarish image where every detail, down to the white-hot flames and lava-red horns, was designed to captivate the viewer. “The first thing we wanted is for people to feel the emotional journey of the story,” says Smith. “Then we leaned into the symbolism while maintaining realism. You’ll notice the creature is a creature of shadow and flame.”

Story by Daron James

Left to right: Kate Hudson (“RunningPoint”),PaulW.Downs (“Hacks”), BridgetEverett (“SomebodySomewhere”) Nathan Lane (“Mid-CenturyModern”), Lisa AnnWalter(“AbbottElementary”)and DavidAlanGrier (“St.Denis Medical”).

JasonArmond/Los AngelesTimes,May 3, 2025

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