Navigating a concerning economy, rampant consolidation and a manic marketplace, the women leading the entertainment industry drove projects that brought moviegoers back to theaters, spent billions on the unrelenting content boom and even got the town excited about broadcast TV.

From Lagos to London, these execs are challenging the status quo, paving the way for the next generation and shaping what the world watches.

Composers say their vital but often overlooked corner of the industry — still only 1.7 percent female — is rife with harassment, exploitation and worse: "I don’t believe in cancel culture, but I definitely believe in consequence culture."

Tell colleagues you’ve got their back, from day one — writes author and activist Josh Levs — of how men in power can be supportive, as the entertainment industry faces continued bullying behavior and harassment incidents.

In February, Delta Airlines will launch new in-flight channels dedicated to playing movies and series that have earned the ReFrame Stamp, given to projects that include female-identifying people in at least half of eight key production positions: writer, director, producer, lead, co-lead, speaking parts, department heads and crew.

"In Hollywood's four decades of making top-tier franchise films, no one other than J.J. has stepped out of traditional hiring practices to take a risk on an outlier like me to helm their second unit. Mind-blowing, right? Not one other filmmaker, producer or studio before him. Equally disturbing: No one else in that position of power has since."

A key criticism of T2: Judgement Day was that it presented a Sarah who has been transformed from regular person into a loud, brash, military personality. All traces of Sarah’s femininity are removed, Back in 1991, the best way to make a female character strong was to turn her into a man, and though Sarah Connor remains the ultimate badass because of her portrayal in T2, it reminded women that one couldn’t be feminine and a warrior.

During an event at the Rome Film Fest, a member of the Italian press asked Scorsese why his films’ protagonists are mainly men, showing few interesting female stories. A somewhat frustrated Scorsese immediately shot down the journalist's question. “No. That’s not even a valid point. That’s not valid. I can't…. That goes back to 1970. That’s a question that I’ve had for so many years. Am I supposed to?”

The ensemble pic opened over the weekend to a stellar $33.2 million at the U.S. box office, ahead of expectations.

Sources say that Warner Bros.' starting offers were $800,000 to $1 million for Peter Chiarelli and $110,000-plus for Adele Lim. Warners explained to Lim's reps that the quotes are industry-standard established ranges based on experience and that making an exception would set a troubling precedent in the business.