Strictly Business

Amblin TV chiefs Darryl Frank and Justin Falvey detail why Steven Spielberg‘s television company decided to move aggressively into documentary and unscripted programming.

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Aaron Dessner’s Grammy-winning band the National has been one of the mainstays of rock ’n roll for a quarter-century now. But when most musicians were taking a time-out early in the pandemic, Dessner got called in by Taylor Swift to help create her perception-changing “Folklore” album, soon followed up that same year by “Evermore.” Ever since, he’s been one of the most sought-after producer/co-writers in the business — even as the National has gotten busier with the resumption of touring, and two albums of their own in 2023. His 2023 production efforts have included two new albums with superstar Ed Sheeran, and a breakthrough album with up-and-comer Gracie Abrams that led to her getting a best new artist Grammy nomination.

How does Dessner juggle these demanding roles? Partly by working with artists in his own home-adjacent studio (the name of which, Long Pond, has become famous in its own right, due to being the setting for a Swift special). For stars, or would-be stars, who want to establish themselves with a more homegrown-sounding approach — either as first-timers, like Abrams, or veterans making a left turn, like Swift and Sheeran — Dessner is the man. At least for as long as he can keep his band's tour bus at bay.

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If there is a bible for the music industry, it’s Donald Passman’s book, “All You Need to Know About the Music Business.” Since the first edition came out more than 30 years ago, it has guided countless musicians and executives, and has prevented many of them from making decisions they’d later regret.

Passman, of course, is one of the most successful and experienced attorneys in music business history, with a client list that over the years has included Taylor Swift, Paul Simon, Stevie Wonder, Adele and many more. Here, he gets deep about AI, new streaming models, and what's next for the industry.

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CEO Dave Wiskus details the growth ambition of the four-year-old streamer that is home to the buzzy original series "Jet Lag" and backed by management company Standard with a minority stake held by Curiosity Stream.

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Leave it to a streaming service that caters to a Jewish audience to make its first original series about food: "Schmoozing and Cruising" is the latest sign that CEO Neil Friedman wants to grow the brand he built that super-serves films, TV shows and docs in five global markets and more on the way. He also dishes about life as a niche streamer in an industry dominated by larger services and how not to be divisive covering hot-button issues.

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Global TV trends were evident as industry heavyweights gathered in Cannes for the annual Mipcom market and conference. Host Cynthia Littleton offers her observations on a changing business, including highlights from her on-stage interviews with Paramount Global CEO Bob Bakish, Canal+ CEO Maxime Saada, Eva Longoria and producer Cris Abrego and Dori Media CEO Nadav Palti.

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When Variety Intelligence Platform (VIP+) teamed up with UTA IQ, the research, analytics and insights division of the UTA talent agency to conduct a consumer survey in August to understand the market forces driving the explosion in the live-music industry, they learned a lot more was at play than just the success of Taylor Swift and Beyonce. UTA IQ global head Joe Kessler and VIP+ analyst Heidi Chung discuss their groundbreaking study, which can be found at Variety.com/livemusic.

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Adam Boorstin and Matt Crowley, co-CEOs of Studio71, offer insights on the growth trajectory of the creator economy from their perch as leaders of a top firm that provides support services for social media creators. The pair discuss how emerging talent is increasingly tapping into professional tools and a higher level of advertising and sponsorship deals to make social media a robust and profitable medium unto itself.

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Sean Atkins, a TV and digital veteran who is president of Jellysmack, explains how demand for the company’s talent development, marketing and content distribution services are signs that the creator economy is maturing. It’s a business rooted in media and content, but the moneymaking opportunities also transcend media. “The creator space will impact everything in the GDP,” Atkins predicts.

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The message from Ynon Kreiz's keynote Q&A at the Variety Entertainment & Technology Summit is that while "Barbie" may be a huge opening salvo in his plan to turn toy brands into media IP, it's just the beginning of a versatile long-term strategy that will extend far beyond the cinema to TV and gaming for the likes of "Monster High" and "Hot Wheels" 

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