Industry insiders from Google, Warner Bros., Disney, DC Studios, Pinterest and more returned for Variety’s annual Entertainment and Technology Summit, presented by City National Bank. The day-long summit, held at the London Hotel in Los Angeles, explored the ever-changing relationship between technology and the entertainment industry.
The morning started with an electric conversation between CEO of AMC Theatres, Adam Aron and Variety’s Senior Entertainment Writer Matt Donnelly. The movie theater mogul predicted a very “bright future” for the business and revealed that the theater chain spent $100 million on coke freestyle machines for all their theaters.
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“Why?” Aron asked. “Because they have 140 flavors, and that beats having eight flavor choices.” (Watch the full conversation here).
“Fortnite” co-creator Donald Mustard, who recently joined Anthony and Joe Russo’s production company AGBO, broke down how they measure risk at the “Power Couple: Entrepreneurship + Entertainment” panel discussion. A very special episode of Variety’s “Strictly Business” podcast was recorded live with Variety’s co-editor-in-chief Cynthia Littleton and president and chief media analyst, Variety Intelligence Platform Andrew Wallenstein.
Additional conversations included discussions surrounding the growth of generative AI and how thought leaders across the globe are harnessing its power (now that the genie is out of the bottle); the creators of some of this year’s most compelling marketing campaigns explained what it takes to stand out amidst the noise and much more.
Here are a few of the key takeaways from the 2024 Entertainment and Technology Summit:
Entertainment Content Visionaries
President of Blumhouse, Abhijay Prakash, joined chief content officer of Pinterest, Malik Ducard, president of scripted at NBCUniversal Entertainment, Lisa Katz, EVP of Original Programming at AMC Networks and AMC Studios, Ben Davis, and Head of Original Programming at Max, Sarah Aubrey, for a rousing talk about the intersection of technology and entertainment hosted by Variety’s Michael Schneider.
Prakash pointed out that we’re currently at the precipice of the spooky season, and for a studio well-known for their horror output, it’s basically their holiday season right now. The production company is currently working on a theatrical movie release, several streaming films and one of the biggest unscripted shows in the world, in addition to a live event in collaboration with Peacock.
“Any place that consumers are engaging with scary stories, we’ve got to figure out a way to be there,” Prakash said. “Horror is one of the few genres that’s actually up year over year in the box office.”
Ducard revealed that over 520 million users visit the Pinterest platform globally, which provides key insights into the current and future state of the industry. He referenced how the content people save on Pinterest is an indicator of the cultural zeitgeist and cited the Pinterest Predicts system as accurately predicting trends in society with 80% accuracy. “We’ve got a tool called trends.pinterest.com,” Ducard explained. “That also aligns with the calendar of moments and trends that uses this data to help brands and people in the media community to really see what’s happening now and peer into the future.”
Aubrey discussed the success of the new Max series “The Penguin” while revealing the challenges of maintaining the attention of audiences with many modern television shows producing short seasons episodically. She highlighted a 15-episode slate for a medical show from “E.R.” alum John Wells and a plan to bring the series back on an annual basis.
“One thing that we’re focusing on is just trying to get back to delivering to an audience a longer batch of episodes… because I think that’s really missing right now from a lot of platforms,” Aubrey said. “I think not only is it hard for us to get the audiences back, but audiences, too, just kind of forget and are less compelled when there’s that big of a break in storytelling.”
Generative AI – Succeeding With the Genie Out of the Bottle
With AI at an inflection point, the summit examined the subject with panelists Eli Collins, vice president of DeepMind, Google; Victoria Bousis, filmmaker and creative technologist; Katja Reitemeyer, director of data science and AI, media and entertainment, Nvidia; Abi Ashok, vice president and travel incubator, Expedia Group; and Michael Wise, CTO at Universal in conversation with moderator Carolyn Giardina.
They also weighed in on some of the week’s news, including James Cameron joining the Stability AI’s board of directors. “It’s another good example of industry partnering together both on the kind of creative side as well as the technology side,” said Collins. “I think that that’s a good thing.”
On Runway launching a fund for filmmakers using AI, Bousis noted, “I think with funding creators, we’re gonna get a lot more of that content out to people to also change the narrative of how AI is being perceived” so it’s about “this democratization of AI versus this fear.”
Looking ahead, Wise summed up that Hollywood needs to get the foundational pieces right in order to proceed forward. “We have to get the labor piece of it right. We have to get the IP and copyright of it right. We’re not gonna have an industry if copyrights aren’t effective. We have to get the ethics of it right.” He added that simultaneously, the industry needs to experiment with how this new tech could empower storytellers as well as create new types of entertainment. “We need to get that right too.”
Bousis said artificial intelligence has revolutionized how she approaches the creative process, highlighting the intersection between emerging technology and areas such as visual development, 3D modeling, sound engineering and more.
“It just brings out the beauty, and it brings out depth to your narrative, which really connects personally to your audience at that moment that they’re experiencing this world,” Bousis said of AI.
Collins said he’s excited by the recent progress in technology across the industry. He referenced developments in the music space and collaborations with YouTube and filmmakers such as Donald Glover to integrate AI into their storytelling.
“We pretty much work across the spectrum,” Collins said. “We’re really just trying to enable people to push the frontiers of their medium.”
Reitemeyer works with a number of streaming companies on recommendation systems and data analytics. She said from the consumer perspective, AI is going to enable people to receive much more tailored content specific to their interests.
“With the advent of AI…there’s so much more that can be done that is much more user friendly, that will gain us much better insights than we’ve been getting.”
Ashok said the entirety of advancing technological tools is designed to augment the potential of artists. He emphasized AI is not here to replace creatives but should serve as a tool to enhance the product itself.
“If you weren’t threatened by PhotoShop, you shouldn’t be threatened by AI.”
Expedia Group Brands: Empowering Digital Creators and Commerce
Online travel company Expedia flipped the switch on a new effort to drive more bookings by tapping digital creators, having just launched 100 “Expedia Shops” with influencers and brands on its site. What’s behind the initiative? The numbers are compelling, said Lauri Metrose, SVP of global communications at Expedia Group: About 80% of people are inspired by social media to book their travel and 70% of consumers trust influencer recommendations. “We basically came up with a storefront and created a place where creators can share their content and then basically you, as a consumer, can book it right away,” Metrose said.
One of the company’s new digital shops is curated by Caroline Baudino, whose “Shop With Caroline” hub on Expedia features highlights of trips she’s taken to Cabo San Lucas, Italy, French Polynesia and more. But it does not just highlight: “Showing the good, the bad, and the ugly is how you really build connection… That’s how you build community and that’s how they trust you, right?” Baudino said. “People are so excited to see what you’re experiencing. Because they’re not reading a review, they’re actually experiencing it with you.”
Keynote Conversation with Channing Dungey, Chairman and CEO, Warner Bros. Television Group
Channing Dungey, the chairman and CEO of Warner Bros. Television Group, offered valuable insights at one of the summit’s keynote conversations, which was moderated by Variety‘s Co-Editor-in-Chief Cynthia Littleton.
Dungey said she brings a fresh perspective to her role and is seeking ways to be more innovative in regards to content creation. She said advances in technology have allowed Warner Bros. to tell stories differently, citing improved elements in VFX and post-production. Like many speakers at the summit, Dungey reiterated AI is a tool to tell better stories quickly and more efficiently for audiences.
“We’re here to tell great stories. That’s a skill that is not necessarily impacted by technology,” Dungey said. “What has been exciting is keeping pace with the audiences.” The Warner Bros. chairman went on to reflect how audiences consume television in different ways. She said some shows are written and shot in a way that are directly binge-able for consumers, but that audiences consume television differently when they watch it in separate installments.
Dungey said Warner Bros. is looking to the best creative home for talent and has the freedom to pursue different narrative projects. “There’s a lot of room for us to tell many different types of stories,” Dungey said. “When you feel the impact that storytelling in television can have, it’s very powerful.”
She referenced how Warner Bros. currently has 90 shows across 20 different platforms, highlighting “The Penguin,” “Creature Commandos” and “Shrinking” Season 2. She explained “The Penguin” is a huge property for the company and how many projects in development are building towards something.
“There’s a cohesive narrative that all of these shows and movies are playing into,” Dungey said. “We’re all working in concert towards a bigger narrative.”
Perfecting the Business of Streaming
The summit also examined the business of streaming with panelists Alisa Bowen, president, Disney+, Annie Luo, executive vice president of global partnerships and strategic development, Peacock, Frank Boulben, chief revenue officer, Verizon, Takashi Nakano, head of content and merchandising, Samsung TV Plus and Adam Waltuch, executive vice president, global distribution and partnerships, TelevisaUnivision.
“There’s a premium experience that people should pay for. There is a free environment where people should explore and find great content that they otherwise wouldn’t see,” Nakano said. “This world of streaming and the world of free and the world of subscription all work together in concert.”
Luo said this summer was the first time people could go to one place to watch the entirety of the Olympics. She also emphasized the data-driven metrics Peacock gathered from streaming the live events.
“The richness of data is sort of a superpower,” Luo said. “What you can do with it, what you can translate that into or content to discover.”
Waltuch said TelevisaUnivision focuses on Spanish-speaking content from both a subscription and an advertising perspective.
“The way that people in Mexico consume (content) is different from the way that people in Colombia or Argentina consume content,” Waltuch said. “That allows us to have enough demand on the subscription side to justify that completely free tier.”
“What’s most interesting right now is how quickly the marketplace has matured around measurement and accountability,” Bowen said. “You can really start to see how the economics are scaling on that side, and we’re seeing that happen in geographies all around the world…in some cases, more than half of the sign-ups are coming through on the ad tier. So there is a real appetite for access at those price points.”
Boulben said Verizon is focused on improving customer lifetime value, retaining more customers for connectivity, and selling them added-value services. He added that the company “can gain a subscriber at a very low acquisition because we integrate those content services into a marketing mix.”
Keynote Conversation with Peter Safran, Co-Chairman and Co-CEO, DC Studios
Co-chairman and co-CEO of DC Studios, Peter Safran, sat down to discuss the workflow between him and his fellow co-chairman and co-CEO, James Gunn, and how the duo is attempting to reinvigorate the audience’s interest in superhero franchises.
“When we took the job, a lot of people were talking about superhero fatigue,” Safran said to Donnelly. “For us, it was never superhero fatigue. It was mediocre movie fatigue. We felt that the bar for theatrical release was higher than it had ever been and that your film really had to be genuinely empathetic, genuine comedy, and a commentary on the human condition. And if you had those things, then your film could truly work. So for us, our job at DC studios is to develop stories to tell for the worldwide audience.”
Does Safran share notes on the projects his business colleague is working on as a director (Gunn has currently wrapped filming a new iteration of DC’s Superman). “James is one of those great filmmakers who loves to get feedback and ideas from everywhere. He’s truly a ‘best idea wins guy.’ So it is incredible to work with him because, no matter who it is, he wants the feedback.”
As for the new film itself, Safran described it as hopeful. “It is a story that’s rooted in love and compassion and in the essential goodness of the human spirit. There’s a lot of hope in there, which is a real hallmark of Superman in general. But all of that is wrapped in that kind of genre-bending, crowd-pleasing four quadrants theatrical experience that James is so great at delivering.”
Safran also spoke to the scrutiny both he and Gunn face guiding this beloved collection of characters into the new era. “There’s no decision we can make that will not be debated,” he said. “Whether Superman has his trunks or no. Trunks is a giant federal issue, as far as the fans are concerned and they’re right, they should care this much.”
And in case you were wondering, they went with trunks.
Podcast All-Stars
The summit also spotlighted major podcast hosts such as Jesse Tyler Ferguson, “Dinner’s on Me with Jesse Tyler Ferguson,” Jenna Ushkowitz, “And That’s What You REALLY Missed,” Lliza Shlesinger, “Ask Iliza Anything,” Whitney Cummings, “Good For You” and Lamorne Morris, “The Mess Around,” “The Lamorning After.”
Morris, who just won his first Emmy for “Fargo,” said “New Girl” was such a popular show that he would constantly be asked questions about the series on the street. This led him and former co-star Zooey Deschanel to start a podcast where they would recap episodes of the hit comedy.
“It’s so hard to get into this business that now that I’m in it, I don’t want to get out of it,” Morris said. “I do enjoy the process of engaging with fans…fans were asking for a ‘New Girl’ podcast, so that’s what I gave them.”
Ferguson explained that the origin of his podcast came from a cookbook he wrote over the pandemic and wanted to do a podcast in the food space. The “Modern Family” actor’s podcast is recorded in various restaurants and possesses a unique format outside of a typical podcast studio.
“Having a conversation over a meal felt very fun to me,” Ferguson said. “A lot of it has to do with bringing your authentic self to these conversations.”
Ushkowitz discussed episodes of “Glee” on her podcast and revealed that she’s learning new perspectives through podcasting. She felt she had a responsibility to give fans of “Glee” the truth about the joyful moments of the series amid the tragedy surrounding the show.
“We’re so lucky to have millions of fans to come listen,” Ushkowitz said. “Ryan Murphy decided to come and do the show with us… We were able to have these therapy sessions and set the record straight for what the experience was on our show.”
Comedian Shlesinger said she started her podcast to work on her interview skills and found talking with comedians to be an art form. She recalled Seth Rogen graciously guest-starring early on in her podcast.
“I loved doing it because it’s another avenue to perform,” Shlesinger said. “People spend time with you even when you think you don’t matter. Podcasting reaches all those people.”
Cummings said many people today have short attention spans and podcasting allows for a sort of cultural antidote to this dilemma. “I just had on the ‘Hawk Tuah’ girl,” Cummings said. “She was oddly riveting…she’s not trying to build a brand. She’s just exactly who she is. I asked ‘what interests you?’ and she was like, ‘Seafood!’”
Marketer Renaissance – Masters of Storytelling Across Platforms
The “Marketer Renaissance – Masters of Storytelling Across Platforms” panel highlighted authenticity and innovation as they pertain to designing marketing campaigns that meet audiences where they are. The summit examined the subject with panelists Mike Benson, president & CMO, CBS, Danielle Bekas, executive vice president, international marketing, Warner Bros. Pictures, Danielle De Palma, executive vice president, global marketing, Paramount Pictures, Kristine Segrist, vice president, consumer marketing, Canva, Jennifer Storms, CMO, entertainment and sports, NBCUniversal and Elana Sulzer, head of entertainment, in conversation with moderator Angelique Jackson.
Benson reflected on “Yellowstone” airing on CBS following its Paramount+ debut and the opportunities for increased viewership afforded by this development. The group discussed the potential for fans to go from watching a live NFL football game to Tom Cruise jumping out of a plane in his “Top Gun: Maverick” or “Mission Impossible” films.
“It was really a unique opportunity for us to not only make some noise from a media perspective but gain reach and hopefully bring new audiences in,” Benson said. “We have to have partnerships. We need to understand the strengths of our properties and the brands and how we are doing that in a way that feels authentic and organic to the IPs that we’ve gotten.”
Danielle De Palma shared Paramount’s excitement over “Gladiator 2,” which is scheduled to be released Nov. 22. She said the company is approaching the premiere as less of marketing a movie and rather creating an immersive experience for fans.
“It’s really figuring out what those pockets of fandom are…I know there is a large audience that is there to watch the plot,” De Palma said. “How do we make this an event that is gonna get people out of their homes to buy a ticket and show up opening weekend because it has to be an event movie for them to do that.”
De Palma added that marketing strategies for “Mean Girls” involved sharing content in various clips via TikTok and releasing the original film in 23 clips on the platform. She said the impact of this method led to massive reach across different audiences.
“We had this incredible film that had the nostalgic audience, but then we also needed to bring in a new audience that had never seen it,” De Palma said. “On ‘Mean Girls’ Day…I think over a million views, and the comments were coming from audiences that said they had never seen it and they were excited.”
Bekas discussed engaging talent in ways that make sense for their personal brands and fanbases. She brought up Michael Keaton promoting “Beetlejuice Beetlejuice” on “Hot Ones,” Jenna Ortega’s involvement in the feature, and the Lady Gaga Harley Quinn photo shoot at the Louvre for “Joker: Folie a Deux.”
“We never thought we would get Michael Keaton to get back into his Beetlejuice costume to do marketing for the movie,” Bekas said, adding that Jenna Ortega “brings a younger audience…coming off of ‘Wednesday’ and Tim (Burton) and the success of that show, it just was the perfect time to be able to evangelize her fans, where her fans are, in an authentic way.”
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