To ascend to the position of CEO at The Walt Disney Company, several key traits are essential – courage, intelligence, and grace. However, during a recent corporate retreat, Disney’s current head, Bob Iger, proposed additional guidance for high-ranking executives: “It’s crucial to prioritize yourself more.
The message that Iger conveyed, as reported by the source, is that those aspiring to take over from him must be prepared to go above and beyond their peers in order to secure the position. While Iger is known for his strategic finesse and his reputation of being a hard worker, this recommendation might appear unusual given his public persona. However, it’s important to note that when he was running ABC in the 1990s, he used what he referred to as “soft autocracy” to push through contested ideas. More recently, following his appointment of Bob Chapek as his successor in 2020, Iger spent the subsequent two years subtly undercutting and outsmarting him, ultimately paving the way for his own return. Clearly, when it comes to seizing power, Iger’s insight is well-informed.
For executives vying for Iger’s position, such as Dana Walden from entertainment and Josh D’Amaro from parks, along with numerous other ambitious Hollywood figures eyeing top positions, being overly aggressive could come off as desperate. It’s essential to audition frequently but never too obviously. As anyone familiar with Hollywood politics understands, public relations personnel for high-ranking executives become irate when not only does their boss fall on an executive power list but also when they are speculated as a potential successor. This is because nobody wants to appear as if they’re chasing the crown before the king is ready to abdicate.
Step into the contemporary equivalent of Hollywood’s ‘Game of Thrones’. Behind the scenes, intense power battles are being fought for coveted positions at CAA, Sony, Lucasfilm, and other influential hubs. These conflicts will shape the leadership of Hollywood’s key institutions for years to come. Given the industry’s current delicate state, the stakes are significantly higher. However, many view this as a long-overdue struggle. As reported by The Hollywood Reporter in their October cover story titled “The Big Squeeze: Why Everyone in Hollywood Feels Stuck”, top-level executives have appeared to be stuck, leading those in their 30s, 40s, and even 50s to complain about a ‘gray ceiling’ that they believe has denied them their chance to shine. But in recent months, signs of this gray ceiling cracking have emerged.
2021 saw an unprecedented number of CEO departures across the U.S., totaling 2,221 – the highest since 2002. Similarly, Hollywood is experiencing a generational shift, albeit at a pace that leaves some impatient. This transition is sparking numerous queries: What will the new crop of leaders resemble? How might they emulate their predecessors? And what criteria will define success in an industry undergoing its own transformation?
Due to some recent changes, a number of solutions have started to surface. Transitions such as the one in September when the 70-year-old CEO of Sony Pictures Entertainment, Tony Vinciquerra, announced his retirement and was succeeded by Ravi Ahuja, who is 53 years old, have been relatively straightforward. However, others like the situation at UTA, where co-founder Jeremy Zimmer, aged 66, stepped down as CEO in March, selecting David Kramer as his successor, but not immediately, are more intricate. Additionally, a week later, the $25 billion private acquisition deal between Endeavor and Silver Lake formally marked the end of Ari Emanuel’s and Patrick Whitesell’s era at WME. Their partnership ended amidst discord, but their impact remains significant.
In the meantime, some highly sought-after positions are still vacant – not just at Disney, but also at subsidiary Lucasfilm. Here, Kathleen Kennedy, who has achieved much but also stirred controversy, is expected to step down shortly after Iger’s departure. Additionally, the merger between Paramount and Skydance, which could be affected by Trump’s actions, is in process. If completed, this would see Shari Redstone, aged 71, handing over control to David Ellison, who is only 42. This new leadership team is ready to take charge… once they have a company to manage.
In terms of leadership changes within an industry, the outcome is frequently judged by the degree of turmoil that ensues. As Terry Press, the president of strategy and communications at Amblin Partners, puts it, “Stability is like a powerful drug amidst all this chaos in the industry. It’s something you crave to be around and do business with.
In 2020, Ted Sarandos became co-CEO alongside founder Reed Hastings, and when Hastings stepped down in 2023, COO Greg Peters took over as Sarandos’ co-CEO. Despite rumors of tension between the two men, sources suggest that their areas of responsibility are so distinct — Sarandos is primarily focused on Hollywood, while Peters works in Silicon Valley — that there’s little evidence to support these claims.
As a gamer, I can’t help but marvel at the seamless transition that only a few entities seem to master. Take Creative Artists Agency (CAA) for instance, a behemoth in the world of talent agencies. They’ve been ruling the scene for three decades now, and it’s hard to imagine what would follow if their trio of powerhouses — Bryan Lourd, Kevin Huvane, and Richard Lovett — were to step down. It’s a tough act to follow indeed!
Jeff Berg, who led ICM from 1985 to 2012, points out that the current situation is crucial for the film and television industry. He suggests careful consideration because there are significant consequences. Over the years, he observed how these shifts in power have influenced the industry for decades. Despite the industry potentially shrinking, the leading companies have grown larger through acquisitions, consolidation, globalization, and private equity. If succession planning is mismanaged, Berg warns, it can’t be undone for some time.
***
David Kramer, aged 56, had been biding his time, ready to step into the limelight. Three years prior, UTA had outlined the blueprint for a post-Jeremy Zimmer phase when they declared that Kramer would take over as the sole president, a position he previously held jointly with Jay Sures. This move signaled Kramer as the likely successor and indicated that Sures, who had experienced disagreements with Zimmer, would not be getting the top position. The question then was simply one of timing: when would Zimmer finally depart?
Over two years had passed without any definite date for Zimmer’s departure being set. Agents started to murmur about when he would resign. Then, quite unexpectedly, a major fire broke out, forcing Kramer, who lives in Pacific Palisades, and many others to evacuate their homes. Kramer and his family took refuge at Sures’ place, living together for several weeks as confirmed by multiple sources. Two months later, it was suddenly announced that Zimmer would be stepping down as CEO. A UTA source claimed the decision was made from the bottom up, without speculating on whether Kramer and Sures might have influenced Zimmer’s departure while they were living together. At the agency, there was a strong consensus about the move, with David being celebrated. However, it’s unclear if this was a coup or not, as Jeremy didn’t have a choice in the timing of the event.
Perhaps you didn’t push hard enough? Maybe this group just wasn’t ready to seize it.
Perhaps, due to significant transformations in the Hollywood industry, traditional Machiavellian conduct no longer thrives. In recent times, Hollywood seems to have lost some of its luster. Over the decades, consolidation, a pandemic, two strikes, and a shift towards streaming have led to a significantly smaller market with fewer high-level positions and less financial abundance. The culture has evolved as well. Tech companies driven by algorithms now hold sway. Decisions are increasingly data-driven rather than based on instinct and experience. Many behaviors that were once synonymous with Hollywood power are now viewed as harmful. The individuals who lead this town today are quite distinct from the bold moguls of yesteryears.
To illustrate, let’s consider Zimmer. He emerged during an era when figures like the late Brad Grey, Barry Diller, Amy Pascal, and Michael Ovitz dominated with their bravado. Similar to them, Zimmer is recognized for his toughness and shrewdness, a boss who could be both dismissive yet captivatingly charismatic. In contrast, Kramer, his successor, is almost universally admired in this town – a rare quality indeed.
A comparable situation exists at WME, where Emanuel and Whitesell are renowned for their larger-than-life personas. However, the agency co-chairmen, Richard Weitz, 56, and Christian Muirhead, 45, who work under the operationally focused Mark Shapiro, 56, maintain a more measured approach. They’re not the stereotypical desk-pounding, authoritative figures one often associates with agents, leading some to ponder if their softer management style can endure in an aggressive industry: “To maintain power for extended periods, you need to establish a system of control, even if it’s subtle,” says a manager. “Power should be centralized, and there must be a sense of apprehension. At WME, one did not challenge Ari, and at CAA, one still does not defy Bryan, and there were consequences for those who disobeyed.
It’s worth mentioning that Emanuel and Whitesell, who no longer communicate, haven’t entirely let go of their influence in the industry. Currently, Emanuel oversees TKO Group Holdings, a company that owns WWE and the Ultimate Fighting Challenge, serving as its CEO. On the other hand, Whitesell founded WIN Sports Group, which handles NFL athlete representation, a business previously under WME’s wing. Both men are departing from the agency business with several hundred million dollars in their pockets.
According to a representative from WME, Richard and Christian are taking a distinct approach. They’re focusing on fostering a collective spirit and setting others up for achievement. In contrast, the previous leadership was more self-centered, mirroring the time they grew up in – their primary concern being their own advancement.
As a devoted admirer, I find myself reflecting on Amy Baer’s insightful thoughts about the evolving landscape of film and TV. Once a trailblazer at CAA, rising to become president of CBS Films, she now ponders about the future leaders in our industry. The transformation is so profound that she confesses her uncertainty about their profiles. There are numerous unanswered questions looming large. In the past, it was relatively straightforward to identify those destined for top positions due to the consistent nature of movie and TV production and distribution. However, today, nothing seems predictable anymore.
It’s possible that unforeseen factors might have played a role in Disney’s initial missteps during Iger’s first departure. Without a doubt, the subsequent events are currently the most captivating succession drama in the industry (and perhaps globally). To prevent another mishap, in January, the Disney board brought on James Gorman, former chairman emeritus of Morgan Stanley, to manage the search process. Remarkably, even senior Disney officials remain unaware of the details surrounding this search.
Nevertheless, it’s reported that D’Amaro, who holds the position of parks and experiences chief, appears to be taking the lead role. At 54 years old, he was previously managing a $60 billion expansion of the parks business even before Disney unveiled its new park in Abu Dhabi, which was announced in May. Additionally, he is responsible for Disney’s venture into video games, following a billion-dollar agreement with Epic Games, creators of Fortnite, a project that Iger considers significant for his legacy.
For D’Amaro, one ongoing challenge is the lingering effects of Chapek’s turbulent tenure. Prior to his promotion, Chapek was responsible for the parks division, and this background seemed to hinder his ability to connect with high-profile Hollywood artists and their representatives. To counteract this criticism, D’Amaro has emphasized his personal connections with creatives. In contrast, Walden, a seasoned television executive who has been mentioned as a possible contender since Iger returned, is well-respected within the Hollywood talent community. As Disney’s first female CEO, her appointment would hold significant symbolic value. However, one obstacle for Walden could be her close friendship with Kamala Harris, which was beneficial in the past. In light of the vindictive nature of the Trump administration, this relationship could potentially become a disadvantage, although it may not be fair to say so.
Among the final contenders from within the company are Alan Bergman, currently co-chairman at Disney Entertainment, and Jimmy Pitaro, who heads ESPN. With 25 years of experience with the company under his belt, the 58-year-old Bergman is known for his shrewdness and ability to manage a diverse portfolio encompassing Marvel, Pixar, Walt Disney Animation, and Lucasfilm. However, given Iger’s exceptional ability to serve as a brand ambassador, finding a suitable replacement might necessitate an charisma that Bergman may not possess (a weakness he is said to be conscious of).
Stephen Galloway, dean of Chapman University’s Dodge College of Film and Media Arts, points out a challenge at Disney: Is it reasonable to assume that someone skilled in theme parks grasps the intricacies of producing television and film? Or that someone from TV and film can manage the complexities of dealing with the Chinese government? He references an old adage: ‘Nobody knows anything.’ Here, he means ‘nobody knows everything’.”
or, more concisely:
“Stephen Galloway notes a challenge at Disney: Can someone from theme parks understand TV and film production, and can someone from TV and film work with the Chinese government? He suggests that no one has all the answers (i.e., ‘Nobody knows everything’).
***
While Hollywood often boasts about its freewheeling culture, unpredictable incidents have significantly influenced who holds the reins of power. The 1994 helicopter accident that claimed the life of former Disney president Frank Wells left a lasting impact on the industry. With Michael Eisner, Wells’ second-in-command, ascending to the presidency following this incident, Jeffrey Katzenberg, who was then 43 years old, decided to depart from Disney and later established DreamWorks. As Katzenberg vacated his position, Eisner brought on Ovitz, a 48-year-old executive who had co-founded CAA with Ron Meyer, as his right-hand man. With Meyer moving on to run Universal, it left a leadership void that was filled by a group of young agents such as Lourd, Huvane, and Lovett.
Rick Nicita was part of a group often referred to as “Young Turks,” who eventually took control of CAA. He admits that the transition process may not have been thoroughly considered, but it was a strategy nonetheless. At the time, we were too inexperienced to question our abilities. As time passed, the initial nine members were reduced to just three: Lourd, Huvane, and Lovett, who currently manage the agency. So far, there’s been no hint that they intend to relinquish their positions anytime soon.
According to a president of production at a significant studio, the notion that CAA has a succession plan is merely an illusion, as indicated by daily conversations with various CAA agents. It seems that everything at CAA is geared towards Bryan Lourd. This sentiment is shared by many within the company. Another long-time industry figure questions why anyone should feel compelled to depart, stating that since the company belongs to its leaders, they can do as they please.
Some argue that setting up internal boards within CAA led to exaggerated titles for select high-level agents, suggesting a fresh group of leaders was about to take charge. However, this hasn’t materialized as expected. Meanwhile, critics claim Lourd and Huvane have been manipulating one generation of top agents against the next for 31 years, with one ex-top agent confirming, “It works incredibly well.
Recently, the list of potential candidates for succession was primarily composed of talent representatives: Maha Dakhil (representing Tom Cruise, Natalie Portman), Joel Lubin (Taylor Sheridan, Glen Powell), Franklin Latt (Pedro Pascal, Zendaya), Ida Ziniti (Steven Spielberg, Margot Robbie) and her husband John Garvey (Chris Hemsworth, Rian Johnson). However, with the decline in scripted content and their sports business growing, a source suggests that Howie Nuchow and Michael Levin, who head the sports department, could also be contenders.
In 2023, Dakhil, known for having an elite client list in our town, was seen as a potential future leader. However, she faced suspension from her leadership positions within the agency after posting an Instagram photo with a caption accusing Israel of committing genocide. She quickly removed the post and apologized. Although she has since recovered, some industry insiders believe that this incident gave the higher-ups more time to preserve the current state of affairs.
According to a former employee, the situation has become a self-perpetuating cycle: if the leadership doesn’t invest in nurturing young talents, it reinforces Bryan and Kevin’s belief that they are indispensable. Consequently, since they think no one else can do the job as well as them, they feel unable to step down.
***
Frequently mentioned as a potential leader in a troubled sector, the name of Jason Kilar is frequently brought up during discussions.
In May 2020, Kilar was named the CEO of Warner-Media, a position he assumed during AT&T’s short three-year stint as the studio’s owner. Armed with his degree from Harvard Business School and a resume heavy on tech, Kilar, aged 48, was tasked with making changes. Despite having worked at Hulu, providing him with streaming experience, he lacked traditional film and television industry background.
Nowadays, Kilar’s two-year tenure as head of WarnerMedia is often associated with Project Popcorn, a decision made during the pandemic to release all 2021 films simultaneously in cinemas and on streaming. The aim was to increase subscriptions for HBO Max, which was still relatively new at the time. The strategy succeeded in boosting subscriptions but came with significant costs, not only in terms of missed box office revenue, but also by straining relations with talent agencies and angering top talents like Christopher Nolan, who moved his next project (the successful film “Oppenheimer”) to Universal instead. WarnerMedia is still dealing with the repercussions of Project Popcorn.
Kilar’s daring decisions and their severe consequences spark a debate: In times of instability, is it wise for Hollywood to seek fresh ideas from unconventional, yet risky figures, or should it focus on nurturing its own talent?
Kilar’s daring actions and the consequences that followed have raised a question: In an era of uncertainty, is Hollywood better off embracing innovative but potentially disruptive outsiders, or should it invest more in its existing talent?
According to Nicita, Hollywood might appear less traditional than one might think, but it has its unique patterns. If the current mantra is to act swiftly and disrupt, this philosophy doesn’t align well with the long-standing adage, “the past is a prelude,” which still holds true in the film industry.
Barry Diller agrees. “Bringing in an outsider as CEO at the top level suggests that something has gone wrong,” says the chairman of IAC and former Paramount chief executive. “It’s preferable to take someone on early in their career, let them learn and grow within your organization, and promote from within whenever possible. This approach is much more effective than hiring a CEO who is unknown to you, even after extensive interviews.” In essence, he’s saying that the roll of the dice when bringing in an external CEO is often risky and not usually successful.
It appears that Lucasfilm may opt for an internal promotion over external candidates when it comes to replacing Kennedy. While names like Emma Watts, a former head of 20th Century, have been floated, sources within the company suggest that Dave Filoni and Carrie Beck, both long-time Lucasfilm employees, are strong contenders for co-head roles. Given Lucasfilm’s familial nature, as an apprentice of George Lucas, Filoni is highly regarded, but concerns have been raised about his potential immersion in Star Wars lore that could lead to overly complex storylines losing broader appeal. As one Disney insider puts it, “He’s not the Andor guy, he’s the Ahsoka guy.” Beck, who has been with the company since 2012, understands the intricacies, but both she and Filoni lack significant film experience. Kennedy’s continued involvement as a producer on certain Star Wars projects could help mitigate this lack of experience in the short term, ensuring quality control.
Instead of following the usual path, Sony opted to explore opportunities outside the company. When Vinciquerra resigned in January, he discreetly put his own succession plan into action, having hired Ahuja in 2021, a year after he parted ways with Disney following the Disney-Fox merger. Now, it’s Ahuja’s turn to deal with a succession dilemma – within Sony’s film division.
In May, he appeared to postpone dealing with the issue by renewing the contract of 70-year-old movie executive Tom Rothman for additional years. According to sources close to the situation, Ahuja remains confident in Rothman and was not eager to instigate significant changes, especially since the studio is currently experiencing success, making a profit, and planning to take on the challenging project of releasing all four Sam Mendes’ Beatles films in April 2028.
The primary question within the studio revolves around Ahuja’s opinion of Rothman’s two key deputies, Josh Greenstein and Sanford Panitch, who head the Motion Picture Group, with Greenstein specializing in marketing and distribution, and Panitch focusing on production. Over the past year, Greenstein has hinted to several individuals that he might depart Sony if Rothman is renewed. A potential situation being discussed is Greenstein rejoining his friend David Ellison following the Skydance-Paramount merger. However, whether there’s a role for Greenstein in this new setup is yet uncertain. Ellison has appointed Jeff Shell as president, Dana Goldberg to manage the film division, and former Netflix content chief Cindy Holland to oversee Paramount+.
As a devoted admirer, I can confidently say that each and every one of them acknowledges Ellison’s rule. After all, even in the glamourous world of Hollywood, the ultimate key to claiming the crown is by acquiring the kingdom itself.
Rebecca Keegan, Borys Kit, Pamela McClintock and Alex Weprin contributed to this report.
The article you’re reading was published in the June 4 edition of The Hollywood Reporter magazine. To stay updated, consider subscribing.
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2025-06-04 16:26