One's a current Boston Celtic, the other a former Carolina Panther. Together, they are partners in Mortal Media, a production company with a first-look deal at Sony Pictures with a packed portfolio of film and TV projects ranging from the "White Men Can't Jump" reboot at Hulu to the Apple TV+ series "Hello Tomorrow," and they're just getting started. Hear about how they've made the transition even during a tricky time during an industry-wide strike. 

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The president of Imagine Entertainment details the company's recent growth with documentary and nonfiction content, kids and family, branded creative advertising and marketing. He also offers insights into how the market for streaming content is slowly changing in ways that benefit large-scale independent producers such as Imagine.

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In the second of a two-part interview that began on last week's episode, Soul Machine's CEO Greg Cross casts his eye toward the future of how his business marrying state-of-the-art animation with artificial intelligence will be utilized in the world of Hollywood celebrity.

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Imagine being able to interact with a CGI simulation of your favorite celebrity powered by artificial intelligence. That day is already here thanks to Soul Machines, a company led by tech vet Greg Cross, who has lined up an eclectic group of famous folks from golf legend Jack Nicklaus to K-pop sensation Mark Tuan to lead the way. This is the first of a two-part hour-long conversation that continues next week. 

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With the leading media moguls hunkered down in Sun Valley this week for the annual Allen & Co. conference just a week ahead of the start of the Q2 earnings season, there's no better time for a frank discussion of how these companies' stocks are faring. Strictly Business hosts Cynthia Littleton and Andrew Wallenstein are joined by Variety Intelligence Platform analyst Heidi Chung for a chat about Disney, Warner Bros. Discovery, Netflix, Comcast and much more. 

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How do people actually make a living in social media? Hear from seven entrepreneurs in the trenches of the influencer and creator economy as they hawk their wares at the Vidcon conference in Anaheim, Calif. The responses from leaders of independent firms involved in distribution, technology and visual effects, e-commerce, marketing and promotion speak volumes about how this emerging marketplace is taking shape.

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In 2006, the Bloomberg mayoral administration in New York decided to fund a job training program, Made in NY, offering low-income residents the chance to work as production assistants in film and TV. More than 15 years later, former New York City film commissioner Katherine Oliver and alumni from the program gather to measure Made in NY’s powerful long-term impact on their lives and the city at large.

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Casey Bloys, the content leader of HBO and Max, engages in a wide-ranging discussion about HBO’s recent streak of pop culture hits, from “Succession” to “The Last of Us” to “The White Lotus” and more. Bloys also offers his view of the limits of AI and its use in entertainment, and he explains how HBO and Max can live together and separately under one streaming roof. Recorded June 7 at Variety’s TV FYC Fest held at the 1 Hotel in West Hollywood.

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The veteran film and TV producer behind the Searchlight/Hulu release details the purpose that has driven his unconventional career in Hollywood. Franklin discusses why Hollywood has shied away from faith-infused properties in recent years and how he hopes to change that with mainstream movies and TV shows rooted in moving and meaningful themes. “The only thing that matters is a great story, period,” he says. 

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The end of the great streaming content boom has brought with it a responsibility by the entertainment industry to address the compensation issues presented by the digitial transition to the creative community, as reflected by the writers strike. So says Paul Lee, CEO of Wiip, the production banner behind “Mare of Easttown,” “The Summer I Turned Pretty,” “The White House Plumbers,” “Dickinson" and more. In a candid interview, the Disney veteran discusses who the tightening in the content marketplace will be good for independent producers in the long run.  

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