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1. #HAHI AND SKY FULL#
2. #HAHI AND SKY SERIES#
3. #HAHI AND SKY TV#

In the space of just a few years, Sister has emerged as one of the most prolific, exciting and award-amassing TV production companies in the business.

It’s inherent for those of us in leadership roles to pass the baton, to ensure diversity of thinking.” to see a Black, Indigenous or person of color succeed me in my role at the end of my term at Telefilm. Achieving gender parity in the Canadian film industry, she says, “is simply a first step.

Image matters.” To change the image, and impact, of Telefilm, which invests around $100 million in Canadian film annually, Dickenson has shifted the focus of the government funding body to backing projects from underrepresented filmmakers, particularly people of color. A self-confessed “news junkie,” Bauer looks to the wider world to guide projects that her team develops for a global audience, always with an eye for “stories still untold” and an ear for underrepresented voices: “The fact is, global audiences want and need their emotions and lives reflected onscreen more than ever, and it’s our responsibility as storytellers to give them that diversity … whether through fiction or reality.”Ĭhrista Dickenson Dominik Magdziak/Getty ImagesĮxecutive Director and CEO, Telefilm Canada (Canada)Īfter two decades of cutting her hair short to “give me an edge” and be taken more seriously in the male-dominated world of Canadian entertainment, Dickenson, head of leading indie film financier Telefilm, changed her look by “swapping signature crew cut for naturally gray shoulder-length hair.

#HAHI AND SKY SERIES#

In just over a year, the Canadian-born Bauer has shepherded six series to greenlight, including Amazon’s Argentine dramedy El Fin del Amor, the adaptation of Harlan Coben’s Shelter and the environmental-themed thriller series Last Light starring Matthew Fox. Stepping down as co-head of Tandem and managing director at StudioCanal, Bauer joined MGM as president of international television productions and, in the midst of a global pandemic, built up the studio’s global drama slate.

#HAHI AND SKY FULL#

When French giant StudioCanal exercised its option in 2020 to take full control of Bauer’s Munich-based Tandem Productions shingle, the pioneering, two-time Emmy-nominated international producer moved on to the next challenge.

President, International Television Productions at MGM ( Germany) Abudu, who is often called “Africa’s Oprah,” says she’s accustomed to being underestimated and hopes her against-the-odds success will encourage the next generation of female executives to “dream big and be bold with your vision.” Ever the nuts-and-bolts producer, however, Abudu’s first piece of advice for newcomers is to “focus on production quality - find the best technicians and negotiate!” EbonyLife also has a co-production deal with AMC Networks for a slate of projects including the Afrofuturistic crime-drama Nigeria 2099. The first project between Sony and EbonyLife is a series inspired by the story of the elite female West African fighters known as the Dahomey Warriors. Earlier this year, Sony Pictures Television’s international production division extended its exclusive deal with EbonyLife, giving the studio first pick of the scripted television projects intended for global audiences that have been created, originated or developed by Abudu’s company. Nigerian producer and television pioneer Abudu made history in 2020 when her pan-African entertainment banner EbonyLife Media signed a multi-title deal with Netflix, making it the first African production company to enter into such an agreement with the global streamer. “A lot of work needs to be done in the C-suite, where serious decisions are made,” notes Mo Abudu, CEO of pan-African TV conglomerate EbonyLife Media. Female producers, studio executives and channel bosses are seeing a historic opportunity to capitalize on the seismic changes wrought by the #MeToo movement to push for true inclusion and diversity across the entertainment business.īut impressive advances in onscreen representation have not been matched by gains in corporate power structures, where, at least at the very top and particularly outside the United States, it is still very much a man’s world. Around the world, the international film and television industry’s most powerful women had already been hard at work with that mission. 19 Emmy acceptance speech for HBO’s Mare of Easttown. “This decade to be about women having each other’s backs,” said Kate Winslet in her Sept.