The global licensing community is powered by an incredible group of professionals whose diverse backgrounds and creative energy drive innovation and excellence. Each week we profile one of these professionals in this ongoing series.

How did you get into licensing (or how did licensing find you)?
I got into licensing at Marvel Entertainment at a pretty incredible time, right when the first Spider-Man films were taking off and the business was exploding globally. I came in on the technology side, but I had a front-row seat to how licensing actually worked. I ended up helping build Marvel’s first global systems for rights, royalties, and product approvals, so I was learning the business while literally building the infrastructure behind it. It was a great way to come up in licensing, seeing both the creative energy of the brand and the complexity behind the scenes. That combination is what’s kept me in it ever since.

What’s a “typical” day in your current position?
There’s really no typical day, which is part of what I enjoy. I’ve spent a lot of my career working with some of the world’s largest brands on the content licensing side, especially around marketing and how assets are used in the real world. These days, my work spans a bit of everything: helping customers solve licensing challenges, guiding product releases, and designing new software to support how the business actually operates. And like most people right now, a lot of the conversations are centered around AI and figuring out where it genuinely adds value versus where it’s just noise. At its core, the job is about connecting what brands are trying to do with the tools they need to do it and making that as seamless as possible.

What’s your biggest personal or professional accomplishment?
Professionally, I take a lot of pride in having been a very small part of the success of Marvel Entertainment. The systems we built helped the company scale its licensing business at a critical time, which ultimately contributed to its growth and the acquisition by The Walt Disney Company. As a lifelong comic book fan, that’s something I’ll always be proud of. Personally, I’m most proud of the creative work I’ve done as a musician and writer. I’ve built a strong, supportive community around my live performances, and I’ve been fortunate to receive recognition for my screenwriting as well.

What are the most significant trends or changes that you’ve seen in the business in recent years?
AI is the obvious answer, and for good reason. It’s not just changing how we use technology, but how we interact with business and even the world around us. We are already seeing the impact of agentic AI that we’ve added to our products for things like contract analysis and product approvals. The response has been overwhelming. So, the AI trend is definitely opening up new possibilities, but also raising new questions about ownership, control, and authenticity.

What keeps you up at night? What’s your biggest challenge these days?
The pace of change right now is probably the biggest thing. The old timelines just don’t apply anymore. You can’t take 12 to 16 months to deliver something when the world is moving in real time. Now it’s more like three to six months, or even faster. AI is helping accelerate that, but it also adds complexity. The landscape is evolving so quickly that you’re constantly balancing speed with making the right long-term decisions. And while it can feel like you can just spin up a tool and solve a problem instantly, doing it at an enterprise level across global brands and teams still takes thoughtful architecture, integration, and the right expertise. So, the challenge is really finding that balance: moving fast enough to keep up while still building things that are solid, scalable, and actually work in the real world.

In your opinion, what is the top skill every licensing executive should have in order to succeed?
Adaptability, especially when it comes to embracing technology. Licensing has traditionally been very relationship-driven, and that’s not going away. But the pace of business today means you can’t rely on spreadsheets and manual processes alone. The executives who will succeed are the ones who recognize where technology can help them move faster and make better decisions. You don’t have to be technical, but you do have to be open to new ways of working. The people who strike that balance between experience and adaptability are the ones who will stay ahead.

What’s the best piece of advice you’ve ever received, or what’s your favorite quote?
“We are the music makers, and we are the dreamers of dreams.” I first remember hearing that in Willy Wonka & the Chocolate Factory, and it’s always stuck with me. It captures something fundamental about both creativity and licensing. At its core, licensing starts with imagination: a character, a story, a world. But what makes it special is the ability to take that dream and turn it into something real that people can experience in their everyday lives.

What is your favorite licensing deal of all time?
One that always comes to mind is Spider-Man: Turn Off the Dark, when Marvel Entertainment brought Spider-Man to Broadway. It was bold and ambitious, and a great example of how far licensing can stretch creatively, even if it didn’t fully land. On the flip side, I also love smaller, unexpected deals. Like the partnership between NFL quarterback Will Levis and Hellmann’s. It started with a viral moment of him putting mayo in his coffee and turned into a campaign built around the idea of giving him a “lifetime supply” of mayo. It’s a great example of how quickly a brand can tap into a moment and turn it into something people actually connect with.

If you weren’t in licensing, what would you be doing now?
I’d still be doing something creative. Probably more focused on music, writing, or producing. Even in my current role, I’m drawn to the creative side of problem-solving and building things, so I think that instinct would just show up in a different form. Whether it’s on a stage or behind the scenes, I’ve always enjoyed creating something that connects with people.

The last licensed product I bought was…
A Tennessee Titans jersey for one of their new draft picks—had to jump on that right after the NFL Draft. It’s a great example of licensing at its best: capturing a moment and letting fans be part of it right away. Titan Up!