As I read through these inspiring stories, I find myself deeply moved by the passion and commitment each of these women has shown towards diversity and inclusion within their respective industries. Each of them has climbed the ladder from the bottom, faced challenges, and made significant strides in their careers while advocating for change.
In the disclosure of THR’s yearly compilation of the 31 most influential women in worldwide television, the global industry is confronted with a critical juncture. This year has been particularly challenging, marked by layoffs across almost every studio and significant production company, reflecting a shrinking market and a strategic reorientation from relentless expansion to a keen emphasis on profit maximization. Amidst this landscape, the executives featured in this list have had to innovate methods for achieving more with fewer resources, streamline their business strategies, challenge traditional norms, and pioneer new paths – all while maintaining the principles of fairness and diversity that propelled them forward.
In the ever-changing landscape of entertainment, the trailblazing influence of these dynamic women is indispensable in determining its course. As a budding enthusiast in this field, Jane Turton, the CEO of All3Media – an industry powerhouse – offers this guidance: “Embrace your unique self. Avoid blindly imitating others; instead, let your authenticity shine. Don’t shy away from expressing your thoughts and challenging the status quo. It won’t always succeed, but when it does, it’s truly empowering.
Profiles written by Patrick Brzeski, Kevin Cassidy, Scott Roxborough and Etan Vlessing.
Mo Abudu
CEO, EbonyLife Media (Nigeria)
As a fan, I’d rephrase it like this: In my mid-40s, I made a bold career switch from a high-ranking executive at ExxonMobil to founding my own media empire, EbonyLife. Many folks back then thought it was a midlife crisis. But here I am, two decades later, still standing tall and proving the naysayers wrong. Dubbed as the “Queen of African Media,” my influence continues to expand at 60 years old. My company has joined forces with African Export Import Bank (Afreximbank) to finance and distribute African content worldwide. In the future, I dream of a world where Black content is no longer just a token in international media. Instead of shows featuring Black characters and narratives only getting one shot and then disappearing for the next five years, as with white shows, there should be equal opportunities for all stories to thrive.
Zeinab Abu Alsamh
GM, MBC Studios (Saudi Arabia)
Prior to her role at MBC Group in 2021, Abu Alsamh held the position of chief commercial officer at the Saudi Broadcasting Authority. In this role, she managed the programming strategies for their entire broadcast collection. Now, at MBC Studios – an internal premium content production unit of MBC Group – she is responsible for supervising project development and production, as well as serving as CEO of MBC Academy. This academy identifies and cultivates up-and-coming talent. Speaking about the organization’s recent activities, Abu Alsamh mentioned that they spent the previous year reorganizing to better cater to the market and support those with relevant skills. She highlighted the academy’s most significant accomplishment in the past year: graduating 23,000 trainees from their programs, of which she expressed great pride.
Maria Pia Ammirati
Director, Rai Fiction (Italy)
After assuming the role as director of Rai Fiction, Italy’s public broadcaster drama section, in 2020, Ammirati has successfully revitalized Rai’s fiction programming. Utilizing her experience as a TV writer, Ammirati has pioneered innovative series such as the critically acclaimed “My Brilliant Friend” (streamable in the U.S. on Max), the teen drama sensation “The Sea Beyond,” and a modern interpretation of Alexandre Dumas’ “The Count of Monte Cristo.” The influx of well-funded global streamers into the Italian market has compelled everyone to step up their performance, according to Ammirati, but she acknowledges that this competition has led to increased costs. Despite these challenges, she asserts that we can transform necessity into an advantage through our efforts.
Javiera Balmaceda
Head of originals Latin America, Canada and Australia, Amazon Studios (Latin America)
Ever since Balmaceda joined Prime Video in 2017, she has been instrumental in spearheading local adaptations of transnational successes such as the stand-up comedy contest series LOL: Last One Laughing. With over 20 versions in various languages, this show has become Prime Video’s most prosperous franchise. Regarding the common misconception, Balmaceda clarifies, “One of our biggest hurdles, and one that will persist, is the belief that we are producing less content or approving fewer projects.” However, she emphasizes, while quality takes priority over quantity for us, there has been no slowdown in any of my regions.
Rola Bauer
Head of Pan-English scripted SVOD TV, development and series, Amazon (Germany)
A seasoned professional in international co-productions and top-tier drama series (such as The Pillars of the Earth, starring Matthew Macfadyen and Eddie Redmayne, or Crossing Lines featuring the late Donald Sutherland), Bauer has been cultivating Amazon’s international English-language originals since 2022. Her portfolio encompasses a wide array of productions, from the popular British fantasy comedy Good Omens to the upcoming mystery thriller Lazarus, which revolves around a forensic pathologist ensnared in a string of cold-case homicides. In terms of societal advancement within her industry, Bauer acknowledges that outdated beliefs pose challenges. “Compassion, empathy, and tolerance are often misconstrued as weakness, which is dull, leading to unfortunate wastage of time spent educating the bullies,” she notes.
Renata Brandão
CEO, Conspiração Filmes (Brazil)
As CEO of Conspiração Filmes since 2016, Brandão has garnered an impressive ten International Emmy nominations for their programming, making them the most nominated company in Latin America. Under her leadership, the business has grown beyond Brazil’s borders. “A significant achievement is our upcoming Spanish-speaking remake of the popular Brazilian soap opera Under Pressure, and we are also working on a soap series to be filmed overseas,” she explains. The aim is to replicate Conspiração’s integrated studio model from Brazil across Latin America, not just producing locally but also facilitating co-productions and blending Latin American narratives. In the film sector, Conspiração has collaborated on Walter Salles’ Oscar contender I’m Still Here, which represents Brazil as its entry for the international feature category at the 2025 Oscars.
Carol Choi
Managing director Japan, exec vp APAC int’l market/local original productions, Disney (Japan)
Disney veteran Choi manages Disney’s business operations in Japan, one of its major international markets. This includes all corporate aspects, the studio, and direct-to-consumer businesses. In her role as APAC head of marketing and original content strategy, she is also responsible for designing Disney’s marketing campaigns across Asian markets and constructing the company’s content library for its streaming services in the Asia Pacific region (APAC). Choi expresses her enthusiasm about Disney’s upcoming Korean originals, including “Light Shop,” “Hyper Knife,” and “Tempest,” as well as their Japanese original “Gannibal 2.” As Disney increases its creative ambition with a carefully selected collection of originals, she believes that authentic storytelling has the power to appeal to global audiences. She also highlights the significant role Asian talent like Anna Sawai and Hiroyuki Sanada can play in creating collaborative projects between East and West. The Emmy wins of “Shogun” demonstrate this point, as it showcases how stories rooted in authenticity can connect with diverse viewers worldwide.
Jane Featherstone
Co-founder/chief creative officer, Sister (U.K.)
A powerhouse in television production, Featherstone, one of the co-founders along with Stacey Snider and Elisabeth Murdoch of Sister, a British production company, has had a fruitful 2024. By the end of the year, she expects to have released five distinct shows. She highlights Eric, Kaos, and Black Doves as examples for Netflix. The first is a crime thriller starring Benedict Cumberbatch, while the second is a contemporary adaptation of Greek mythology featuring Jeff Goldblum. The third is a thriller with Keira Knightley, Andrew Koji, and Ben Whishaw. Additionally, she mentions the ITV/Britbox mystery series Passenger and The Split: Barcelona, which includes a two-part special returning to the characters of Abi Morgan’s popular legal drama that concluded its third season in 2022. Featherstone explains, “This business thrives on people, and the relationships we’ve forged with the creative community – writers, actors, and crews – as well as our business partners have been key to our success this year.
Verónica Fernández
Director content originals series and films, Spain & Portugal, Netflix (Spain)
The career advancement of Fernández aligns with the surge of Iberian content on Netflix. She expresses her enthusiasm over the fact that three out of the top 10 non-English TV series seasons watched on Netflix are Spanish, including the prequel to “Money Heist” titled “Berlin,” as well as “The Asunta Case” and “Raising Voices.” The Netflix studio in Tres Cantos, located outside Madrid, is now one of Europe’s busiest backlots, and one of Fernández’s main tasks is discovering or nurturing the talent to meet the increasing production demands. She emphasizes that they are continuously searching for ways to enhance existing industry talent. Their aim is to foster a vibrant industry, and for this, they need a variety of skilled professionals.
Laura Fernández Espeso
CEO, The Mediapro Studio (Spain)
Starting as CEO of The Mediapro Studio (TMS) in 2020, Fernández Espeso has expanded the Iberian giant into a global entity. Today, the organization boasts 52 offices spread across 31 countries, with summer 2021 marking their entry into the U.S. and Canada. “We’ve established offices in L.A., building on our previous presence in Miami and New York,” she notes. “TMS U.S. & Canada represents our ambition to create, produce, and distribute content in English, catering to audiences worldwide.
Cécile Frot-Coutaz
CEO, Sky Studios /chief content officer, Sky (U.K.)
After assuming control over Comcast’s European giant Sky’s scripted production division in 2021, the French executive has achieved continued success, broadening the group’s lineup of premium drama series (such as the Emmy-nominated The Tattooist of Auschwitz and the highly anticipated limited series on Benito Mussolini by Joe Wright, titled M. Son of the Century). Moreover, under his leadership, there has been a growth in the features business, encompassing original productions like the period biopic Lee, starring Kate Winslet, and an increasing backlot operation at Sky Studios Elstree, situated just north of London, which boasts cutting-edge production facilities.
Helen Gregory
Creative director, See-Saw Films (U.K.)
See-Saw Films had already established itself as a provider of top-tier cinema (such as “The King’s Speech” and “The Power of the Dog”) when Gregory joined in 2021 to help grow its emerging TV sector. Shows like Apple TV+’s “Slow Horses” and Netflix’s “Heartstopper”, which struck a balance between critical and audience praise, are the kind of success Gregory aims for with the upcoming “Sweetpea”, a dark comedy starring Ella Purnell from “Yellowjackets” and “Fallout”. Young women entering an industry that is still predominantly male-dominated, according to Gregory, should not hesitate to voice their own accomplishments without reservation and recognize that “supporting each other is a source of strength, not weakness.
Jay Hunt (Industry Leader)
Creative director of worldwide video, Europe, Apple (U.K.)
In the world of international television, Jay Hunt, one of the most impactful, esteemed, and formidable executives, maintains an unusually modest public presence. She seldom conducts interviews and keeps her public engagements to a bare minimum. However, when she does make an appearance, it’s memorable. Few attendees at the 2016 Edinburgh Television Festival could forget her forceful on-stage critique of Shane Smith from Vice Media. Generally, though, Hunt allows her accomplishments to do the talking. Born in Australia and educated in Britain, this high-achieving executive is the only individual to have headed three terrestrial broadcasters in the U.K., serving as director of programs at Channel 5 from 2007 to 2008, controller of flagship public channel BBC One from 2008 to 2010, and chief creative officer at Channel 4 from 2011 to 2017. At the Beeb, her original drama commissions such as Sherlock and Luther significantly enhanced the international reputation of the once staid public broadcaster and fueled a surge in global demand for British prestige TV content. However, it was at Channel 4 that Hunt transformed from a top executive to an industry titan, managing a diverse slate that encompassed critically acclaimed drama and comedy series like Humans and Derry Girls, massively successful nonfiction and reality formats such as Gogglebox and SAS: Who Dares Wins, and sports programming including Formula One and the BAFTA Award-winning coverage of the 2012 London Paralympic Games. Most notably, she successfully moved ratings sensation The Great British Bake Off from the BBC to commercial television after seven seasons. Channel 4 has since renewed the sugary competition show for a 16th season.
As the creative director for Apple in Europe since 2017, Hunt has consistently demonstrated her abilities through a series of critically acclaimed productions. These include the Emmy-nominated and BAFTA-winning dark comedy Bad Sisters, co-created with Sharon Horgan; the spy thriller Slow Horses, starring Gary Oldman and Kristin Scott Thomas; the action-packed series Hijack, featuring Idris Elba; and The Buccaneers, a vibrant adaptation of Edith Wharton’s unfinished novel, set in the 1870s London social scene and starring Kristine Froseth, Alisha Boe, and Christina Hendricks.
Key points from her continental slate feature:
Amidst a trend in the worldwide entertainment sector to prioritize safe and conventional content due to budget cuts, Hunt distinguishes herself by persisting in her commitment to quality rather than quantity. It’s encouraging, therefore, that Hunt has been appointed as the chair of the British Film Institute (BFI) for a term of four years starting from February. This new role will complement her existing responsibilities at Apple. – Translated by me
Emiko Iijima
VP anime production, Crunchyroll (Japan)
Initially, Iijima embarked on her professional journey as a secretary at the Tokyo-based anime studio Pierrot, known for producing iconic series like Naruto, Bleach, and Tokyo Ghoul. Reflecting on that era in Japan, she notes that women often had to work twice or thrice as hard as men to gain recognition. Pioneers such as Iijima managed to win the trust of the company, thereby paving the way for more female employment. Indeed, Iijima was one of those trailblazers. Five years ago, she took on the position of head of production at Sony’s anime specialty streaming service, Crunchyroll. This role has given her a significant influence in the ongoing expansion of the anime genre on a global scale. Over the past year, Iijima has served as an executive producer for a series of internationally successful anime shows, including Solo Leveling, Classroom of the Elite, and Re: Monster. “Currently, it’s an incredible time to be an anime enthusiast,” she declares, “and I consider myself dedicated to serving those fans.
Minyoung Kim
Content Manager for the Asia Pacific region, excluding India, responsible for Netflix’s operations in South Korea, Japan, Taiwan, Southeast Asia, Australia, and New Zealand.
Kim, who is known for designing Netflix’s highly successful Korean content strategy, including the hit series “Squid Game,” now faces a new career challenge: expanding that success into other rapidly growing markets as the head of content operations across all Asia-Pacific territories, excluding India. Speaking about her wide-ranging role, she expressed feelings of both excitement and apprehension, admitting that creating content in countries where she is less familiar makes her uneasy. However, she trusts the intuition and expertise of her local team to guide her through this new journey.
Miky Lee
Vice chair, CJ Group (South Korea)
Although an Oscar winner for Bong Joon Ho’s Parasite in 2019, Lee is more than just an entertainment executive — she is a bona fide tycoon. Thirty years ago, she and her brother Jay Lee, heirs to South Korea’s CJ Group conglomerate, which originally specialized in food products, embarked on an ambitious diversification strategy by making a sizable equity investment in Steven Spielberg, Jeffrey Katzenberg and David Geffen’s startup studio, DreamWorks SKG. The siblings leveraged the Hollywood nous they attained to build CJ ENM into a driving force behind the Korean cultural wave. Today, CJ ENM controls Korea’s biggest film and TV studios, its largest cinema chain and growing streaming operations. Having conquered the home market, Lee’s ambitions today are increasingly global, with CJ ENM snapping up Endeavor Content two years ago in a multi-hundred-million-dollar deal and going head-to-head against Netflix with growing investments in regional streaming platform TVing.
Marie Leguizamo
Managing director, Banijay Mexico & U.S. Hispanic (Latin America)
Beginning in 2022, Banijay Mexico & U.S. Hispanic has played a key role in setting up a production center in Mexico City. This studio was pivotal in introducing the reality dating series “Temptation Island” to Latin America and establishing production sites for local adaptations across Mexico, Brazil, Argentina, and Chile. One aspect of the industry that actress Leguizamo hopes will diminish is the “always on” culture, which she believes promotes being constantly busy: “Rather than focusing on hustle, I’d prefer to see a shift towards appreciating quality over quantity, where we emphasize meaningful work and well-being. Let’s revive the pleasure of working efficiently, not just tirelessly!
Anna Marsh
CEO, StudioCanal; Deputy CEO, Canal+ Group (France)
As the leader of Europe’s biggest independent studio, Marsh is proud to showcase a diverse lineup that encompasses family franchises similar to the beloved Paddington series, with the upcoming third installment, Paddington in Peru, set to premiere in U.K. cinemas this November and U.S. theaters in early 2023. On the television front, StudioCanal excels at producing high-budget European dramas such as Thomas Vinterberg’s bleak dystopian tale Families Like Ours, or Paris Has Fallen, a series adaptation of the Gerard Butler action franchise with a focus on France.
Carolyn McCall
CEO, ITV (U.K.)
ITV, led by CEO McCall since 2018, has faced a double blow from the decrease in television advertising and the actors/directors strikes last year. The traditional British TV broadcaster is grappling with adapting to the digital era. Despite showing minor declines in overall revenue during the first half of this year, there have been encouraging signs such as robust growth at its streaming service ITVX, with a 17% increase in monthly active users and a 12% rise in digital income. In the future, McCall is focusing on technological advancements to streamline operations, including the adoption of generative AI as a means to aid, not replace, creative professionals.
Anne Mensah
VP U.K. content, Netflix (U.K.)
In 2024, Mensah’s teams achieved tremendous success with Richard Gadd’s Emmy-winning show “Baby Reindeer” and popular adaptations of Harlan Coben’s series like “Fool Me Once”, which gained a global audience.
Though it’s well-known that Netflix has switched its emphasis from expanding subscribers to prioritizing profits, Mensah doesn’t see any need for a change in direction. At the Creative Cities Convention in April, she expressed that her aim continues to be producing a wide variety of shows that genuinely depict the U.K., focusing on authentic representation.
Charlotte Moore
Chief content officer, BBC (U.K.)
Since 2020, Moore has been overseeing content at Britain’s leading broadcaster. This year hasn’t been without its challenges – for instance, Huw Edwards, a former popular presenter, left the BBC after being accused of possessing inappropriate child images, and the dance show “Strictly Come Dancing” faced bullying allegations. However, Moore can highlight numerous achievements such as the revival of the nostalgic ’90s action game show “Gladiators” and the return of the crime series “The Responder,” starring Martin Freeman and Adelayo Adedayo. In terms of adapting to streaming platforms, the BBC is unmatched in its performance. As Moore puts it, “I’m incredibly proud of our BBC iPlayer success story; it’s now the fastest-growing on-demand video platform in the U.K.
Cathy Payne
CEO, Banijay Rights (U.K.)
In the last year, navigating a contracting market characterized by “adjustments in streaming services and overall consolidation of the industry” has been tough, according to Payne. She hopes that larger industry players like Paramount and Warner Bros. Discovery will resolve their issues soon so that future programming plans become more apparent. Born into a working-class family, Payne has always been committed to promoting diversity across various socioeconomic groups, which is often overlooked in the entertainment sector. She feels that community initiatives can foster lasting change and that talent exists everywhere.
Gabriela Rodríguez
Head of company, Esperanto Filmoj (U.K.)
From being Alfonso Cuarón’s personal assistant on the film “Children of Men” and later becoming an Oscar-nominated producer of “Roma”, Rodriguez has established herself as a significant force in global cinema and television. She managed the production of the premium series “Disclaimer”, featuring Cate Blanchett, Kevin Kline, and Sacha Baron Cohen, for Apple TV+, thereby translating Cuarón’s renowned perfectionism – a memory Rodriguez still cherishes as she had to find 16 different types of dog waste for “Roma” – to the small screen.
Julie Roy
CEO, Telefilm Canada (Canada)
In March 2023, Roy assumed the position of leading Telefilm Canada, a prominent film financing entity in Canada. Her responsibilities encompass providing financial backing and boosting the visibility of Canadian independent productions. Additionally, she encourages joint productions with international partners to lower production costs and risks. A significant aspect of her role involves motivating domestic producers to create multinational content and supporting Canadian artists aiming to grow their careers globally.
Monika Shergill
VP content, Netflix India (India)
Shergill possesses compelling evidence supporting her influence at Netflix. An Indian production consistently ranked in Netflix’s global top 10 list for non-English content every week throughout 2024. Notable successes from her latest lineup include “Heeramandi: The Diamond Bazaar”, which set a record as Netflix’s largest Indian drama series, the cult classic “Amar Singh Chamkila”, and the popular comedy talk show “The Great Indian Kapil Sharma Show”. Shergill remarks that streaming has provided opportunities for more female creators due to the increasing number of women in leadership positions. She adds that Netflix’s India content team, with numerous female executives, believes that fostering diversity and inclusion leads to a more effective job of entertaining global audiences.
Prerna Singh
CEO, Bhansali Productions (India)
Following leadership roles at prominent Indian media conglomerates like Eros International, Abundantia Entertainment, and Reliance Entertainment, Singh took up a position with Sanjay Leela Bhansali’s production house, Bhansali Productions, in 2019. At this Bollywood powerhouse, he oversees operations. In 2020, under his leadership, the company ventured into television with the Netflix original series Heeramandi: The Diamond Bazaar, which delves into the lives of historical courtesans – entertainers who sang, danced, and wrote poetry for Indian nobility during India’s struggle for independence against the British Raj. This series has already been renewed for a second season. Singh believes that the emergence of streaming platforms in India offers a chance to portray the country’s diverse cultural tapestry more authentically through stories. “By tackling social issues and highlighting regional cultures, we can produce content that resonates with people from all backgrounds. The growth of streaming platforms presents us with an exceptional opportunity to bring these untold narratives to light, promoting a deeper comprehension of the diverse realities that define our nation.
Julia Stuart
Director, Sky Original Film (U.K.)
Stuart has been a dedicated employee at Sky, a company owned by Comcast in the UK, for almost two decades. In 2021, she was appointed as the director of original film production at this pay TV giant. Under her management, Sky has ventured into theatrical distribution, releasing movies such as Michael Mann’s “Ferrari”, “The Beekeeper” starring Jason Statham, and the award-contender “Lee”. Balancing the schedule of productions amidst industry-wide strikes and budget cuts has proven to be difficult, Stuart acknowledges. Addressing “widespread inequality throughout the industry” continues to be a challenge. She emphasizes that one often neglected aspect is the representation of people from various regions of the UK and diverse socioeconomic backgrounds. This issue is closely linked to opportunities in the industry, entry paths, and fair compensation for work.
Karen Thorne-Stone
President/CEO, Ontario Creates (Canada)
As the president and chief executive officer of Ontario Creates, an organization dedicated to financing and promoting growth across various media industries within the Canadian province of Ontario, Thorne-Stone’s responsibilities span film and television production, literature, music, and digital media. Her tenure at Ontario Creates has been defined by a drive to modernize funding methods and a deep commitment to fostering equality and diversity within the industry. She emphasizes that funding and incentives should mandate diversity not only in entry-level positions but also throughout the career progression of teams. Thorne-Stone advocates for abandoning traditional seniority-based hiring practices in favor of criteria based on merit and equality.
Jane Tranter
Co-founder/CEO, Bad Wolf (U.K.)
Following a spell at BBC Worldwide in the U.S., Tranter came back home and established Bad Wolf Productions, headquartered in L.A. and the U.K., in 2015 with the aim of generating top-tier drama from Britain that could captivate audiences globally. She has continued to produce successful series such as “The Night Of”, “His Dark Materials” for the BBC, and HBO’s “Industry”, which have been instrumental in nurturing fresh talent. However, she emphasizes that there is much work left to be done to enhance opportunities for underrepresented communities. She admits that those of us who have spent years working in the industry share responsibility for the current lack of equality, as we didn’t tackle this issue earlier. Now, she says, it’s crucial for all of us to dedicate time to bring about the necessary change.
Jane Turton
CEO, All3Media (U.K.)
The $1.45 billion sale of production powerhouse All3Media to Jeff Zucker and Gerry Cardinale’s RedBird IMI, which closed in May, by far was the biggest professional challenge Turton faced this year. Her number-crunching background has proved an invaluable asset for All3Media, not least in the company’s push for more equity and diversity among its ranks. The best argument for DEI, she notes, is “demonstrating that a diverse workforce delivers the best outcomes across all fronts — commercial, cultural, creative [and] financial.”
Yang Xiaopei
Founder/CEO, Xixi Pictures (China)
Xixi began her professional journey ascending through the ranks at the state-supported media giant, Shanghai Media Group. As she put it, “Ever since I entered the field in 2006, I’ve steadily climbed and have been a witness to China’s TV series market’s remarkable growth.” Over the last year, Xixi Pictures has churned out a series of successful local productions, such as the acclaimed period drama The Youth Memories, which was nominated for best TV series at the 34th Feitian Awards, China’s equivalent to the Emmys. To maintain an open and inclusive work environment, Xixi has initiated weekly brainstorming sessions that all employees are welcome to participate in. “We refer to this gathering as the ‘Xi Meeting,'” she says. “Everyone is encouraged to share their thoughts freely, whether it’s about content or the company’s operations. This fosters a platform for us to gather diverse opinions from various viewpoints.
“The article you’re reading was published in the October 9th edition of The Hollywood Reporter. If you’d like to stay updated, consider subscribing.
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2024-10-15 18:56