Donna Langley is a dame in waiting no more.
The veteran movie executive, with deep ties to Hollywood filmmakers and a knack for shepherding blockbusters to the screen, ascended to NBCUniversal’s content throne on Thursday, one of the big winners in a sweeping reorganization made by Comcast president Mike Cavanagh, who oversees NBCUniversal.
In her new role as chief content officer, Langley won’t just be overseeing Universal’s slate of films. She will also take ownership of its TV and streaming creative strategy. It’s an elevation that many industry players saw as inevitable – after all, how much longer could the company keep the in-demand executive without expanding her portfolio?
However, that also shortchanges Langley’s talent for C-suite survival, one that’s seen her withstand mergers and sales, as well as a revolving door of leaders and associates such as Ron Meyer, Adam Fogelson and Jeff Shell, all of whom departed before they intended to leave the company. Her victory here was the result of a corporate bake-off, one that saw her elevated over several viable candidates, many of whom hailed from buzzier parts of the media business such as television and streaming. Her move up the ladder meant there wasn’t room for some of these executives. Susan Rovner, the head of content for NBCUniversal’s television and streaming arms, is notably exiting as part of the reorganization.
What Langley offered was undeniable. Over more than a decade, she has routinely pushed Universal to the top of the film studio heap, and done so without controlling intellectual property like Star Wars or the Avengers. She’s managed to deliver and develop homegrown franchises – much credit goes to Langley for returning to the park with the rebooted “Jurassic World” and for keeping Vin Diesel behind the wheel of the “Fast and Furious” series well beyond the point where most competitors would have stalled.
Plus, Langley has earned the respect of the industry for her willingness to back edgier fare and emerging talent. She threw down for Jordan Peele’s directorial debut, “Get Out,” and has made Universal the home of his follow-ups “Us” and “Nope.” Langley also made a bet that Elizabeth Banks could move beyond acting into producing and directing, giving her the “Pitch Perfect” series and the recent gonzo box office hit, “Cocaine Bear.” And, under Langley, comedy maestro Judd Apatow has become a brand onto himself, delivering arrested development comedies such as “Trainwreck” and “Knocked Up,” as well as milestone movies like “Bros.” And never forget, at the 2015 premiere of “Straight Outta Compton,” rapper Ice Cube called the executive “the sixth member of N.W.A.” Not that everything Langley did worked — the less said of “Cats,” for instance, the better.
Recently, Langley’s reputation for providing a supportive home for artists helped Universal lure Christopher Nolan away from his longtime home at Warner Bros. to make “Oppenheimer.” Studio executives don’t tend to be terribly popular among the artistic community, but Langley, whose velvet glove approach can disguise her fierce resolve, has managed to foster some of the strongest ties with filmmakers and writers in Hollywood.
“When you ask who’s doing the best job of any of the studio chiefs right now, Donna’s name continually comes up,” one former media CEO enthused before the news of her elevation even broke.
What, then, does Langley’s promotion signal about the direction that NBCUniversal plans to take as it competes more fiercely with the tech giants like Apple and Amazon shouldering into the business, as well as legacy media companies like Disney and Warner Bros. Discovery?
Perhaps tapping Langley signals that NBCUniversal wants to build an artists-first reputation, especially after years of watching competitors falter with tech and finance leadership. And that might be a smart move.
After all, Disney saw the perils of putting numbers guy Kareem Daniel above the company’s creatives (under the direction of the exiled CEO Bob Chapek). When Bob Iger came back, Daniel was shown the door. And David Zaslav is trying to right the ship at Warner Bros. Discovery with cinephiles Mike De Luca and Pam Abdy after Jason Kilar, another executive with a tech background, managed to alienate much of the creative community during his stormy tenure at WarnerMedia. So with Langley, Cavanagh gets the pedigree and institutional knowledge of a longtime company player – one who has proven time and again she can deliver repeat business from stars and filmmakers to bigger and bigger results.
In addition to “Fast” and “Jurassic,” she has shepherded critical partnerships with Illumination (“Despicable Me,” the smash hit “Super Mario Bros”) and DreamWorks Animation (“Puss in Boots”) to generate family cash cows. Universal’s Blumhouse deal has elevated the low-budget horror shop to billions in worldwide grosses. Her rolodex may as well read like the over 20 first-look and overall deals she keeps on the Universal lot: Peele, Amy Pascal, Phil Lord and Chris Miller, Dan Lin, Charlize Theron, Banks, Diesel, LeBron James, Will Packer, Apatow, and newly minted Oscar winners The Daniels.
The question, of course, is will her decades of film experience translate easily into television and other forms of media where she has not spent the bulk of her career dealing with showrunners and disruptors. Hollywood, after all, is not always kind to executives who don’t stay in their lane. She’ll have to get comfortable veering into traffic. While Peacock has shown impressive growth in its short life, it lacks the sizzle of competitors like Disney+ and Netflix. On the TV front, Variety chief TV critic Daniel D’Addario noted that “a lack of faith in the core of what NBC is and does” is palpable in its programming. When your biggest recent hit is a reboot of “Night Court,” you may be creatively adrift.
Knighted as a Dame of the British Empire in 2022, Langley is notorious for a glossy kind of diplomacy (one filmmaker said she’s so good at gracefully delivering bad news that you “hardly feel the sting”). But she’s not afraid to make moves that can ruffle feathers. In 2020, she solidified her show business legacy by striking a deal with AMC Theaters that altered the traditional theatrical window, shortening the amount of time a feature film would exclusively run in theaters before heading downstream to paid and streaming video-on-demand channels. Other studios would soon follow suit.
“She seems to have the capacity to be forward-looking and reasonable about putting the right product in the right place at the right time,” said Peter Newman, head of New York University’s MBA/MFA dual degree program. “She’s had more than a modicum of understanding of the need to be flexible.”
Langley had been in and out of discussions about assuming a larger role at NBCUniversal for years, according to numerous insiders, but languished in a holding pattern while former NBCUniversal CEO Jeff Shell had her engaged in the aforementioned corporate bake-off. During that period several other players, including one monolithic streamer, tried to intrigue Langley in the idea of jumping ship to run a new studio. She never budged.
At last year’s SXSW festival, Langley waxed about the essential function of her job.
“We really focus and strive to create an environment for filmmakers where they can do their best work and minimize the friction and noise, and complement their film with an excellent distribution and marketing campaign,” she said. “That’s what Hollywood is looking for.”
Now, it seems, they’re looking to her.
