In a moment where creator anxiety is at an all-time high—with AI rapidly threatening production ownership, creative control, and financial sustainability—Imani Laners offered an important blueprint for the future. Recognized as a Top Woman in Media & Ad Tech, a Top 20 to Watch, a Future of Black America Top 50 honoree, and an Ad Club of NY Rockstar, Laners combines strategic intelligence, trusted relationships, and revenue development. As Founder and CEO of Shinko—a Strategic Revenue Advantage company—she helps businesses shorten the path from relationship to revenue through its proprietary Opportunity Intelligence System™, identifying emerging needs and connecting clients directly with qualified decision-makers.

“Great storytelling creates opportunities far beyond the screen. For filmmakers, producers, directors and writers, the challenge is often identifying the brands, investors and organizations that recognize the commercial value of what they're creating and have the capital, strategic interests and decision-making authority to bring it to market,” Laners explained. “At Shinko, we leverage our proprietary Opportunity Intelligence System™ to identify where creative projects align with business objectives, investment priorities and revenue opportunities. We help companies and creative enterprises with the capital and ambition to grow gain qualified access to decision-makers who can turn that potential into commercial partnerships.”

That high-impact approach came to life on October 6th in partnership with Moss in New York—a private members club in New York focused on intelligent leisure—where Laners convened a powerful brain trust of entertainment, media, and technology leaders for the inaugural Shinko Board Setters’ Dinner: The Business of Brand-Owned IP.

Stepping into that room on an exclusive invite for TheBlkScript was a front-row seat to the future of creator ownership. Amidst an industry grappling with existential shifts, this wasn’t just another networking dinner; it was a high-stakes gathering of visionaries actively building the framework for creator independence, capital protection, and long-term brand equity. Surrounded by powerhouses like award-winning actress and executive producer Gina Torres, Pure Genesis CEO Faye Coleman, Scout Productions veteran Eric Korsh, and executive leaders spanning Rolling Stone, The New York Times, Meta, and Kickstarter, Coty, The Jacob K. Javits Convention Center, Taft Law and The Light House, a Whalar company, the room represented a serious convergence of capital, policy, and creative influence. Everyone in attendance shared an urgent mission: defining how creators and brands can own, protect, and commercialize their intellectual property on their own terms.

Hosted in Moss’s cozy Reading Room, the evening’s ambiance offered the perfect setting for high-level dealmaking and strategic discourse. Rich wood architecture, dark furnishings, and an expansive library underscored the room’s institutional weight, while vibrant floral table arrangements offered a vivid nod to the flourishing possibilities for creator autonomy as AI reshapes the creative space. The setting matched the tone of the gathering: serious, focused, and marked by an openness among leaders eager to exchange practical strategies and real-world playbooks.

The conversations began with a breakdown of how digital founders transition from organic social traction to mainstream network deals.

From Social Media to Prime-Time Ownership

The Voice: Pauline Malcolm (Founder & CEO, BrandStory Architech)

Pauline Malcolm isn’t new to this: she’s driven over $1B in revenue across Disney, Condé Nast, and Essence Ventures, where she transformed Essence into a nine-figure powerhouse. Tuning in virtually, Malcolm broke down how she packaged digital-native concepts into revenue-generating IP through her partnership with Skydance Corporation’s OWN (Oprah Winfrey Network) for Kendra G’s Dating Download and Glow Up in 5 with Zoe Spencer—produced through her firm BrandStory Architech alongside Content.23.

Rather than redirecting social media audiences to traditional TV, Malcolm met viewers directly on OWN’s digital platforms, developing original programming specifically for the network’s YouTube channel. As featured in Inc., her approach flips the legacy TV model: it treats social media not as a stepping stone to linear television, but as the primary venue for creator-led, commercial IP.

The impact of this approach is already scaling fast. Following the launch of Dating Download, Kendra G announced on Tamron Hall that the hit show was greenlit for a second season, which is already taping.

Her primary directive? Build with authentic brand sentiment, but stay fluid. “Brands should be more fluid to audience reception and feedback,” Malcolm noted, emphasizing that listening to your community creates the trust needed to scale.

The IP Blueprint:

Neither creator waited for a legacy green light to build their platform. Kendra G sparked Dating Download organically on Instagram Live during the pandemic before scaling it into a viral singles show and a standalone dating app. Similarly, Zoe Spencer built a massive streaming footprint across TikTok, sketch comedy, and YouTube, leveraging high-energy entertainment to transition into a featured network personality on OWN’s Glow Up in 5. Malcolm’s strategic blueprint lies in her ability to act as an architect, bridging raw creator-led intimacy with corporate capital without diluting the culture. The lesson? Social media isn’t just a proof of concept—when paired with the right digital-first distribution and strategic vision, it’s the foundation for long-term, revenue-generating IP with major entities like Skydance’s OWN.

Curing Creator Isolation and Building Spaces for Creator-Founders

The Voices: Simone Oliver (VP of Editorial Programming) & Jeremy Jankowski (VP of Business Development & Partnerships), The Lighthouse, a Whalar Group

If you’ve ever tried to build an independent media brand from your living room, you know creating in a vacuum can be exhausting. Jeremy Jankowski, VP of Business Development & Partnerships at The Lighthouse, and Simone Oliver, VP of Editorial Programming, introduced the campus model—a hybrid production, collaboration, and community campus with locations in California and New York. “It’s a mixture of Soho House meets WeWork meets a production facility,” Jankowski explained.

At its core, The Lighthouse’s mission isn’t just hosting events; it’s providing dedicated physical space for career creators and creative professionals. Convening a collective representing over 3.1 billion in combined global reach, the campuses offer creators a permanent place to co-create, learn, test concepts, and scale sustainable businesses that fuel creative culture.

For Oliver, human connection must remain the heartbeat of the creator economy. “Storytelling is the human line for everything we do,” she shared. “Creating can be a very solitary existence... when you look at people who create their own business and platforms, often they’re doing it in a bubble.”

As a practical reflection of this collaborative, human-first ethos, The Lighthouse announced their upcoming F the Format Film Festival launching in Brooklyn on December 3, 2026. It’s an initiative that challenges traditional festival constraints by handing creators a strict 5-minute limit.

The IP Blueprint:

In a market flooded with automated content and digital noise, physical spaces and human connection are your biggest competitive moats. Before you can pitch a legacy brand or investor, your IP needs a place to be tested, messied up, and refined around other founders. Whether through physical co-working campuses or experimental initiatives like 5-minute film constraints, The Lighthouse proves that when creators get out of isolation and into supportive environments, defensible, original concepts are born.

Emotional Equity and the Art of Caring for the Narrative

The Voices: Faye Coleman (CEO, Pure Genesis) & Gina Torres (Actress & Executive Producer)

One of the most moving moments of the night came from Faye Coleman and the legendary Gina Torres as they discussed Coleman’s memoir, August with Love—a project centered on a collection of unpublished love letters written in the 1960s by African-American playwright August Wilson to Coleman’s mother while she served him breakfast at a local diner in Pittsburgh.

Coleman shared that discovering these letters allowed her to understand her mother as a woman for the first time, beyond seeing her solely through the lens of motherhood. The conversation with Torres highlighted a deeply human connection: both women bonded over a mutual reverence for August Wilson’s legacy and the profound family history wrapped inside those pages. Torres approached the narrative without Hollywood ego, demonstrating how executive partners must bring a deep sense of care when holding space for legacy stories, honoring the truth of who Coleman’s mother was rather than reducing her history to a standard trope.

The IP Blueprint:

IP isn’t just a legal file; sometimes it’s family history. Coleman took a deeply personal archive and structured it into a protected cultural asset. But the key business takeaway here lies in Torres’ posture toward cultural narratives: in story-driven industries, care is currency. Trust and emotional equity are real business mechanics. Without relational trust between rights-holders and industry leaders, high-value, legacy IP gets diluted before it ever expands into new spaces.

Paperwork Before Pitching: Ownership & Protection in the Age of AI

The Voices: Meagan Sunn (VP of Government Affairs, Taft Stettinius & Hollister LLP) & Eric Korsh (Former President, Scout Productions)

When Eric Korsh, the producer behind global franchise Queer Eye (co-owned between Scout and NBCUniversal across 15 international versions), tells you “the brand funding gauntlet is super narrow,” you listen.

Paired with media policy powerhouse Meagan Sunn, the conversation turned to the legal mechanics of protecting intellectual property in a volatile market. Addressing audience concerns around unauthorized AI voice replication and image theft, Sunn delivered a critical reality check for digital founders: creative IP must be treated like real estate from day one. Rather than treating legal counsel as a reactive fix when something goes wrong, Sunn stressed the importance of building a clean chain of title from the moment an idea is conceived—establishing clear ownership, origin, and contributor rights before taking a concept to market.

The IP Blueprint:

You can have the flyest concept in the world, but if your chain of title is messy, institutional money will walk. As AI makes content theft effortless, legal documentation is no longer optional. Korsh demonstrated that format longevity turns a show into a global empire, but Sunn reinforced that clear ownership documentation is what allows creators to actually bank off that empire. Get your lawyer in the room before you get your pitch deck in the room.

The Final Cut: Claiming Our Seat at the IP Table

Across every panel, the Shinko Board Setters Executive Dinner showed that independent creators and brands have the power to build true media enterprises on their own terms. As AI transforms the creator economy–sometimes to a fault—our power lies in human-centered storytelling, strategic cross-sector funding, and airtight legal protection.

For TheBlkScript community, the takeaway is simple: social media footprint is just the start; true longevity comes from owning the rights to what we build. Whether it’s documenting your chain of title, finding your creative village, or turning personal culture into commercial projects, the future belongs to those who own the rights to their own stories.

For business inquiries or partnership opportunities with Shinko Media LLC, please reach out to opportunities@shinkomedia.com.

–Dominique Young // @heyyydommm

Season 2 of Average Joe takes everything that made the first season unpredictable and raises the stakes. Picking up 67 days after the events of Season 1, the series sends Joe Washington and his crew from Pittsburgh to Cape Town, South Africa, where family secrets, dangerous criminals and fractured relationships force everyone to reconsider what they are willing to do to survive.

With the Season 2 finale now streaming on Paramount+, stars Deon Cole, Michael Trucco, Malcolm Barrett and Cynthia Kaye McWilliams reflect on a season that pushed their characters physically, emotionally and, in some cases, to the breaking point.

For Cole, Joe’s journey throughout Season 2 can be summed up in one word: Determination.

“Season two is all about determination, man,” Cole said. Joe is determined to get what belongs to him, even if that means making difficult choices along the way. But the deeper Joe gets into the chaos surrounding him, the more he realizes that some of the people he trusted may not have been as loyal as he believed.

“It’s a lot of twists and turns of people who were there for him, who he thought was there for him,” Cole explained. “They’re really not.”

That uncertainty extends beyond Joe. For Leon and Cathy Montgomery, played by Barrett and McWilliams, Season 2 becomes less about simply surviving together and more about determining whether they still want the same future.

Leon and Cathy Are Still Ride-or-Die—But They’re Heading in Different Directions

Barrett sees Leon as someone whose commitment to his wife and friends remains unwavering. Cathy, however, is equally committed—but increasingly focused on building a different kind of life.

“Leon is very much dedicated to his wife and friends,” Barrett said, while Cathy “seems very dedicated to making sure that she gets what she wants out of her life.”

That difference becomes increasingly difficult to ignore as the season progresses. Leon continues to imagine a future where they can eventually return home and reclaim some version of their old lives. Cathy has already accepted that the life they once knew may be gone for good.

McWilliams sees Cathy as someone who understood the situation almost immediately. Since the first season, Cathy has recognized that returning to normal may no longer be an option. After everything she and Leon have experienced, she believes they need to build something new rather than attempt to recreate the past.

“There is no going back,” McWilliams said. “We’ve murdered many people, sir.”

For Cathy, the choices have become increasingly clear: face the consequences, remain on the run or disappear with Leon and start over. Leon, meanwhile, is still holding onto the possibility of returning to the life they had before everything changed.

That fundamental disagreement becomes one of the season’s most important emotional conflicts.

“It’s that thing of two people who are dedicated to each other,” Barrett said, “finding out that, although they love each other, maybe their way to happiness is not the same path.”

Even with that divide, Barrett doesn’t see Leon as simply the person who constantly needs rescuing. He believes the relationship works because Leon and Cathy save each other in different ways.

“I think we rescued each other quite a bit,” Barrett said. “He might start the fire, but he is also going to put out the fire.”

Touch Finally Lets His Guard Down

While Leon and Cathy struggle with their future, Touch faces a more internal battle.

Trucco’s character spends much of the season maintaining the tough exterior that has defined him since Season 1. But Phyllis, played by Pearl Thusi, sees through that façade almost immediately.

“I did everything I could to push her away,” Trucco said. “She could see past the wall.”

Touch’s relationship with Phyllis gradually forces him to confront emotions he has spent years avoiding. Trucco said the character’s emotional breakdown around Episodes 4 and 5 became a major turning point.

“Purge all this tension that I’ve been holding for the last two seasons,” he said. “That was a hard day. But it was really rewarding.”

For Trucco, the storyline demonstrated how much more there was beneath Touch’s hardened exterior. It also showed how the South African cast elevated the performances around them.

Cape Town Changed the Scale of the Series

Season 2’s move to Cape Town wasn’t simply a change of scenery. The city became an important part of the show’s identity.

Barrett and McWilliams both pointed to the opportunity to film alongside South African performers and within a city shaped by multiple cultures, languages and communities. Rather than treating South Africa as a generic backdrop, the production embraced local talent and allowed the setting to influence the world of the series.

Cole was particularly impressed with the actors who joined the show, including Katlego Lebogang as Imani, Hakeem Kae-Kazim as crime boss Sipho and Pearl Thusi as Phyllis.

“They came in and just demolished those roles,” Cole said.

Trucco agreed, emphasizing that the performers brought another level to the production.

“I wouldn’t even limit it to Cape Town. These are just world-class actors,” he said.

Working alongside them, Trucco added, “elevated us as well.”

He also credited creator Robb Cullen’s scripts while noting that actors can bring dimensions to characters that aren’t necessarily visible on the page.

Regarding Thusi’s performance, Trucco said, “She put stuff that I didn’t see in the text, and then she just brings these scenes to life.”

The Action Is Bigger—and So Are the Stunts

The scale of Season 2 also extends to its action sequences.

The cast faced shootouts, explosions, fights, chase sequences, building jumps and elaborate stunt work throughout the season. Unlike the first season, when some physical sequences were learned and executed quickly, the second season required considerably more preparation and rehearsal with the stunt team.

The production’s commitment to practical action even put Trucco in a situation involving a real lion.

In one of the season’s most memorable sequences, Touch is tied to a chair while a lion circles him. Trucco confirmed that the animal was real.

The cast and crew worked behind protective cages while the lion interacted with a full-size 3D mannequin representing Trucco. The actor later took the mannequin’s place and used a monitor to follow the animal’s movements and match his reactions.

“That is not a CGI lion,” Trucco said. “That is the real deal.”

The experience also apparently changed Cole’s approach to future action sequences.

“If ever again, I’m going to use more stuntmen,” he joked.

Trucco had a similar change of heart. Earlier in his career, he was eager to perform as many of his own stunts as possible. After the physical demands of Average Joe, however, he has a different philosophy.

If a stunt performer wants to fly off a two-story building, he joked, “knock yourself out.”

Comedy Keeps the Chaos From Becoming Too Heavy

Despite the violence and increasingly dangerous circumstances, Average Joe continues to balance crime-thriller elements with comedy and character-driven moments.

Trucco credits Cole, Barrett and McWilliams with helping maintain that balance.

“Everybody goes, ‘Oh, Deon’s a comedian,’” Trucco said. “Deon has so much humanity.”

That humanity allows Joe to remain funny without becoming detached from the seriousness of what is happening around him. At the same time, Barrett and McWilliams bring their own comedic chemistry to Leon and Cathy, whose marriage becomes one of the show’s most unpredictable sources of humor and tension.

Cole, meanwhile, considers Barrett and McWilliams two of the show’s standouts.

A Season Built Around Loyalty

At its core, Season 2 continues to ask the same question that has followed these characters since the beginning: Who can you trust when survival changes everything?

Joe’s determination puts his relationships under pressure. Touch’s emotional walls begin to collapse. Leon and Cathy discover that loving each other doesn’t necessarily mean wanting the same future.

And surrounding all of them is a growing network of secrets involving Joe’s newly discovered sister, Imani, crime boss Sipho, Phyllis and the money and drugs at the center of the conflict.

The season ultimately brings those storylines together as the group finds itself trapped together with tensions reaching a breaking point.

None of the cast wanted to reveal what happens in the finale, but Trucco promised that it delivers resolution while leaving room for more story.

“It does not disappoint,” he said.

He also hinted that creator Robb Cullen has been thinking beyond the immediate season.

“I wouldn’t put anything past Robb Cullen,” Trucco said. “He has mapped this stuff out.”

Cole went a step further, teasing that one character has been quietly positioned throughout Season 2 in a way that could become particularly important if the series returns.

His advice to viewers? Go back and watch the season again.

Whether that setup ultimately leads to a third season remains to be seen, but Season 2 leaves Average Joe with plenty of unfinished business—and characters whose lives have changed far beyond anything resembling ordinary.

Average Joe Season 2 is streaming now on Paramount+.

Who is Autumn Bailey-Ford?

Autumn Bailey-Ford is first and foremost a believer. My faith comes before all else and carry’s me through my ups and downs. I am a fighter, survivor, and persistent with full determination. When I want to accomplish something, I get it done to the best of my ability. I’m a care giver. I want to see people succeed in their goals and aspirations as I achieve my own. As I like to say we all one industry family.

You’ve built your career producing projects that balance commercial appeal with culturally authentic storytelling. What originally inspired you to pursue producing, and what was the defining moment that made you realize this was your path?

What originally inspired me to pursue producing was my love for storytelling and my passion for creating opportunities for voices and stories that are often overlooked. I’ve always believed film and television have the power to connect people, heal, inspire, and spark conversation across cultures and generations. Growing up, I didn’t always see stories that reflected the world I came from or the people around me in an authentic way, and that stayed with me. I loved watching older movies.

What drew me specifically to producing was realizing that producers are the bridge between the creative vision and making something actually happen. Producers have the ability to bring people together, build worlds from ideas, and champion projects from beginning to end. I fell in love with the process of taking something from a conversation or script and turning it into something audiences can truly appreciate.

Producing is not easy. It requires vision, resilience, faith, and the ability to constantly problem-solve. But for me, it never became just a career it became purpose. Every project I take on, whether it’s faith-based, culturally driven, or commercially focused, starts with the same goal: to create stories that entertain people while also making them feel seen.

As a producer, what lessons did you learn early in your career that still guide the way you approach projects and partnerships today?

One of the biggest lessons I learned early in my career was the importance of relationships. Not just networking for the sake of exchanging business cards or trying to get something from someone but genuinely building real connections with people. Get to know the people you want to work with. Understand their vision, their values, and who they are as human beings. Some of the strongest partnerships and opportunities in my career came from authentic relationships built over time.

I also learned the importance of being friendly, taking initiative, and never being afraid to put yourself out there. In this industry, talent matters, but so does energy, work ethic, and how you treat people. I’ve always believed you should lead with truth, purpose, and integrity because your reputation will follow you long after a project wraps.

Another lesson that still guides me today is to stay proactive. Don’t sit around waiting for opportunities — create them. Reach out. Follow up. Have the meeting. Make the call. Pitch the project. So much of producing is about persistence and believing in your vision enough to keep pushing even when doors don’t immediately open.

And above all else: NETWORK… NETWORK… NETWORK. Relationships are everything in this business. One conversation can change your life, launch a project, or open a door you never expected. But the key is making those connections meaningful and genuine.

You’ve worked across both independent productions and larger studio-backed projects. How has navigating those two worlds shaped your perspective on storytelling and leadership?

When it comes to independent productions the creator has control. Larger studios have a lot of input on how they want the films to look. Of course, both worlds are open to suggestions and creative ideas, indie films are more free range while studios has a set look and style. I enjoy working with both parties. It brings different insight and ideas to bring a full picture to life.

How important is representation when deciding what stories you want to help bring to the screen?

Representation is very important. The type of stories I want to help bring to the films is a depiction of who I am as an individual. If I don’t believe in the way the characters talk to each other or the type of genre it is, I won’t produce. Granted, if I don’t do it then someone will, but not me. I have to think about what lifestyle I am showing the younger generation. I’m showing them, I don’t have to conform in order to stand out.

What have been some of the biggest challenges you’ve faced as a woman of color producer in Hollywood, and how have those experiences strengthened your voice within the industry?

The biggest challenge I face is being a woman of faith because sometimes there are some good stories out there, but because they don’t align with who I am and my beliefs, I won’t produce them. Either the n-word is used too many times, or something is too gruesome, or talking about something I cant personally connect too. We have enough sob and depressing stories coming from the news. I want to uplift and inspire the viewers watching the films I help produce.

There’s often conversation about access and gatekeeping in entertainment. From your experience, what barriers still exist for women producers of color, and what changes are you hoping to see happen next?

A barrier I see is not having enough women in the room. There are a lot of creative, talented, hardcore women out there who can put there foot down and make good films. And they aren’t afraid to speak their mind, respectfully. I’m hoping that women continue to take a stand to be in the rooms and doors open, not cracked, but fully open for women to make their mark and get the credit they work so hard to get.

How do you maintain confidence and authority in rooms where producers who look like you are still underrepresented?

You have to look as if you belong in the room because you do. Producers work hard to be in certain rooms and when you get there show that room what you’re made of. Give strong creative ideas and direction. Help the people in the room see the vision. Speak confidently and know what you’re talking about.

Your upcoming Barbershop series is attached to such an iconic franchise. What excited you most about helping reimagine that world for television?

It was one of my favorite films growing up and to be given the opportunity to bring it back as a TV show was exciting. I’m glad MGM and Amazon trusted me to produce it. Also, for Bryan Smiley at Hartbeat for answering the call when I called to tell him I was picking up the project. We were trying to find a way to work together, so choosing this film was a no brainer. It’s about relationships and making it make sense. We are friends outside of the industry. Like I said earlier, it’s not just about connecting, but building relationships. When he has something, he feels I would be great at, he reaches out to me and brings me on the project. It’s about building together.

The original Barbershop films became cultural staples because of their humor, heart, and community conversations. How are you approaching the challenge of honoring that legacy while creating something fresh for a new audience?

I still have the humor, heart, and soul of the original film. Now, generations have changed since then. So now we appeal to a younger audience. Similar conversations but, tailored in a way for them to understand and be more relatable.

What can audiences expect from the tone and energy of the new Barbershop series that may surprise longtime fans of the franchise?

They can expect something inspiring and serious with a sense of humor and real that connects with today. Not everything has to be serious, but when it’s time to get serious that’s when all the emotions break loose.

Working on a recognizable property like Barbershop comes with expectations from audiences. How do you balance nostalgia with innovation as a producer?

In my opinion it’s about taking what people love and add an unexpected twist. I don’t want people to guess the ending before fully watching the film. So there has to be a distraction or something that throws the audience for a loop they didn’t see coming. I like to create “Ah ha” moments.

You’re also producing Boyz Trip, which already has people excited because of its cast and international setting. What initially drew you to that project?

I found the script to be funny, adventurous, and the scenes fitting for a place like Cape Town. This film is a wild adventure and what better place to have it than within our own culture.

Boyz Trip blends comedy, friendship, and adventure. Why do you think stories centered around Black male friendship and vulnerability continue to resonate so strongly with audiences?

You don’t see a lot of Black males being vulnerable. They’re taught to hide their emotions, toughen up, and don’t let no one see you cry. It’s a never-ending cycle of emotional bondage. But in Boyz Trip, we want to set a different tone. We want the audience to see there’s a softer side to Black males who are open to expressing themselves and can still be masculine. It’s about open communication and being mature in conversations.

Filming internationally can create both opportunities and obstacles. What was the experience like producing Boyz Trip in South Africa, and what did that environment add to the film creatively?

Producing *Boyz Trip* in South Africa was truly an incredible experience. One of the biggest advantages creatively was definitely the scenery. South Africa is absolutely beautiful, and the landscapes really helped elevate the film visually. The open fields, roads, and natural environments helped set the tone for certain scenes and made them stand out in a unique way. The location itself almost became its own character within the film.

Beyond the visuals, working with the South African crew was an amazing experience. There was never a dull moment. The energy, the culture, the food, and simply watching how everyone approached the work was inspiring. It was a great opportunity to collaborate with talented people from a different part of the world and experience a different filmmaking rhythm and culture firsthand.

Of course, filming internationally also came with challenges. One of the biggest was the heat. Now personally, I loved the heat lol, but for others it was definitely a struggle at times. There were days when temperatures got so high that our cameras would overheat, and we had to stop to cool them down with fans or move equipment into shaded areas. That definitely took away from some recording time and created delays during production.

Another challenge was adjusting to the time difference. There were moments when both some crew members and I were exhausted trying to adapt while still maintaining the pace needed to get the job done. It was not an easy adjustment physically or mentally at times, but everyone stayed committed because we knew the mission and understood what we were there to accomplish.

Overall, though, those obstacles became part of the experience and part of the story. For me, the beauty, culture, collaboration, and creative inspiration South Africa brought to *Boyz Trip* far outweighed the challenges, and it’s something I’ll always appreciate being a part of.

With Boyz Trip, how important was chemistry between the cast members in creating the energy and authenticity of the film?

Chemistry between the cast members was extremely important in creating the energy and authenticity of *Boyz Trip*. I truly enjoy working on films where the cast genuinely gets along because you can feel the difference both on and off screen. When actors have real chemistry and mutual respect, it naturally makes the shoot days easier, the dialogue flows better, and the overall vibe on set feels right.

Filmmaking is a team effort, and I believe the strongest casts are the ones where no one thinks they are bigger or better than the project or each other. Everyone supports one another, keeps each other accountable, and works together to make the film the best it can be. That type of environment creates authenticity that audiences can actually feel when they watch the movie.

Honestly, some of the best moments come from the bloopers and the laughter between takes. Being able to have fun on set is important because it keeps the energy alive and helps build real connections between the cast. That chemistry translates directly onto the screen and helps create memorable moments for the audience. For me, that balance of professionalism, teamwork, and genuine fun is what helps bring a film like *Boyz Trip* to life.

Looking at both Barbershop and Boyz Trip, there’s a clear emphasis on community, relationships, and Black culture. Is that a conscious thread you look for in the projects you produce?

I wouldn’t say it’s a conscious thread or decision; it’s something I’m drawn to because of my culture, supportive community, and relationships I share with people. I think it’s something within me that pulls me in and it just so happens these factors are a focal point of the film.

As someone helping shape the next generation of film and television content, what kinds of stories do you feel are still missing from Hollywood right now?

I feel like one of the biggest things missing from Hollywood right now is originality. We need more original films and stories that take audiences somewhere fresh emotionally, creatively, and visually. Even when certain genres have been explored many times before, there are still so many untold perspectives and unique angles that can make familiar concepts feel brand new again.

For example, there have been countless movies about vampires, wolves, and witches, but the real question becomes: what perspective are we telling these stories from, and what tone are we bringing to them? Are we seeing them through a cultural lens we’ve never explored before? Are we adding emotional depth, comedy, faith, social commentary, or a completely different point of view that challenges what audiences expect?

And yes, this is coming from someone who is remaking not one, not two, heck maybe three or more stories lol. But at the same time, I look at it differently. Through that process, I’ve come to see and understand even more why original stories truly matter. There’s value in revisiting familiar stories, but there’s also something powerful about creating worlds, characters, and perspectives audiences have never experienced before.

I think audiences today are craving stories that feel authentic, bold, and different. People want to be surprised again. They want films that are entertaining but also creatively fearless. Hollywood sometimes plays it safe by repeating formulas that have already worked, but I believe there’s room for storytellers to take bigger creative risks and bring more fresh voices and perspectives into the industry.

I also believe we need more stories that reflect real people, real cultures, and real experiences while still being commercially entertaining. Stories that are layered, meaningful, and memorable. At the end of the day, the goal should not just be to remake what has already been done, but to evolve storytelling in ways that connect with audiences on a deeper level.

You’ve also been vocal about supporting independent filmmaking and expanding opportunities in Atlanta. Why is it important for you to invest in creative ecosystems outside of Los Angeles?

It’s important because there are new voices everywhere, not just in LA. With new voices come new experiences, new perspectives, fresh ideas. There’s millions of people in the States, someone has to bring something new to the game.

What advice would you give aspiring producers—especially women of color—who are trying to break into the industry but don’t yet have access to major networks or resources?

Don’t be afraid to put yourself out there. Pick up projects that speak to you and what society needs to hear. Get a mentor and study the industry. You don’t want to be a, “know it all”, but you want to know what you’re talking about when you do have an opportunity to break in.

When people look back at your body of work years from now, what do you hope they say about the impact Autumn Bailey-Ford had on the entertainment industry?

When people look back at my body of work years from now, I hope they say that Autumn Bailey-Ford was one of the most inspirational producers the industry has ever seen. I want my work to be remembered as projects that spoke life, truth, and purpose into people. Stories that entertained audiences, but also truly impacted lives and made people feel something real.

I hope people see that I never allowed myself to be boxed into one genre or one lane. Whether it was comedy, faith-based films, action, horror, or thrillers, I always stayed true to the art of storytelling and focused on creating meaningful work with heart and authenticity.

More than anything, I want my legacy to reflect that I genuinely cared about people and about opening doors for others. This industry can be difficult, and so many talented voices never get the opportunity they deserve. I hope people say I used my platform not only to create great content, but to give opportunities, mentor talent, and help others believe their dreams were possible too.

At the end of the day, success for me is not just measured by awards, box office numbers, or credits. It’s measured by impact — by whether the work inspired someone, healed someone, encouraged someone, or changed someone’s life in a positive way.

Final Word

Onward and Upward.