Creative Control

Neon couldn't burn any brighter than it is now. The film production and distribution company acquired the rights to six consecutive Palme d'Or winners at the Cannes Film Festival: Parasite (2019), Titane (2021), Triangle of Sadness (2022), Anatomy of a Fall (2023), Anora (2024), and It Was Just an Accident (2025). Parasite was the first foreign language film to win Best Picture at the Academy Awards in 2020. Longlegs became the highest-grossing independent film in 2024. Director Sean Baker won 4 Oscars for his film Anora tying with the one and only Walt Disney for most Oscar wins in a single night. All of this from a studio that's only been around for 8 years. Film industry veteran Tom Quinn cofounded Neon in 2017 and has marked a distinct lane for himself in a crowded and, let's be honest, less-than-innovative industry. In this episode of Creative Control, Quinn traces his journey from actor to executive and explains how he's positioned Neon to be the "anti-algorithm" in a streaming world. He also gives his perspective on what's holding the wider film industry back and what Neon needs now to make their success sustainable. For more of the latest business and innovation news, go to https://www.fastcompany.com/news To listen to the latest episodes of Creative Control on Fast Company:https://www.fastcompany.com/podcasts/creative-control

Moby’s prolific music career spans 35 years, most notably helping to bring electronic music to the mainstream—and perhaps less notably, but still importantly, giving so much of that music away for free. Amid consistently putting out albums, Moby launched Mobygratis in 2005, a platform where creatives can download instrumental music made by Moby to use in any number of projects. Moby has continued to update and iterate on Mobygratis, but the ethos has remained the same: helping creatives realize their projects with less financial burden and unleashing the “democratic chaos” of seeing what people create with the music. In this episode, Moby explores his relationship to creativity and commerce, the tsunami of AI, what effective activism looks like, and why as a creative it’s okay (and even better) to not have a plan B. For more of the latest business and innovation news, go to https://www.fastcompany.com/news To listen to the latest episodes of Creative Control on Fast Company:https://www.fastcompany.com/podcasts/creative-control Visit Mobygraits

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Last week, we took a trip to VidCon in Anaheim, California, to meet up with some of the top creators in the industry. Joel Bervell, a fourth-year medical student at Washington State University, rose to fame on TikTok for calling out racial inequities in the healthcare system. One of his first videos, posted early on in the pandemic, taught people that pulse oximeters can overestimate oxygen saturation on people with darker skin—a fact with serious implications for Black COVID patients who weren’t receiving the necessary care. In our conversation, Joel talked about the myths about race that he’s encountered in medical school and how social media can be a powerful educational tool.

Founded in 2017, Cameo is a platform that allows people to buy custom messages from celebrities to send to their family and friends. The company has expanded the business and created a viable revenue stream for celebrities and creators—even for those who may not be in the traditional Hollywood spotlight. Cofounder and CEO Steven Galanis believes the company amounts to a public utility, connecting celebrities to fans in a direct, accessible way. He shared his perspective on where Cameo is headed, and why its future may or may not involve AI celebrities.

This is the third of our special series about fandom. To start from the beginning, listen to our episodes from the past two weeks! When it comes to fan creators and making money, copyright law is pretty strict—any unlicensed use of a property that doesn’t fall under fair use (like the characters from Star Wars, for example) is considered copyright violation. But at the same time, plenty of fan merchandise and other creations, both for-profit and not, proliferate online and at conferences. Afterall, fandoms can be their own marketing machines for profitable franchises, so companies don’t always crack down on violations. That is, until they see their profits or trademarks threatened—as was the case recently with Netflix and The Unofficial Bridgerton Musical. So, is it possible to encourage and protect the inspiration-fueling fandoms while still honoring the original authors? What’s the line between derivative and original? And most importantly, what’s werewolf erotica got to do with this?

‘The Witcher’ TV show might not seem like the most natural inspiration for enthusiastically queer romance writing, but for some fanfic authors, it’s a world rich with creative inspiration. Fanfic writers, especially those missing authentic representation in mainstream media, have long used their own writing to make stories that speak to them. And fandom communities, once niche conventions and now massive online archives and popular forums, offer welcoming spaces to explore and build friendships. This is the first of our special series about the many worlds of fandom. To see the (explicit!) fanart of Gulliver’s Travels mentioned in the episode, head to the Met Museum’s archives.