Universal Music Group appoints Libby Bush as President, Global Brands and Commercial Partnerships. Sep 29, 2026, 10:00 ET Entrepreneur and CAA Global Head of Entertainment Partnerships to drive growth for artists and brands and create new experiences for fans across digital platforms, physical products, and live experiences Newly created role further expands UMG's capabilities to accelerate innovation and create new possibilities for artists and songwriters SANTA MONICA, Calif., Sept. 29, 2026 /PRNewswire/ - Universal Music Group (UMG), the world leader in music-based entertainment, today announced the appointment of Libby Bush to the newly created role of President, Global Brands and Commercial Partnerships, starting in November. Bush will lead a new global function that brings together UMG's brands, media, and commercial partnership businesses, including Universal Music Group for Brands (UMGB). Based in Los Angeles, Bush will report to UMG's Chief Operating Officer Boyd Muir. Great artists create worlds around their music, attracting fans and inspiring loyalty. Today, those worlds reach well beyond recorded music, into original content, live experiences, products and new ventures, and the world's leading brands and platforms want to be a part of them. Bush will draw together the expertise and relationships across UMG's labels and businesses to make ambitious collaborations easier to develop and deliver worldwide. Spanning digital platforms, physical products and live experiences, these collaborations will be rooted in artists' originality and authentic connections with fans. Bush joins UMG from Creative Artists Agency (CAA), where she served as Global Head of Entertainment Partnerships and was a member of the Agency Board. She founded and built CAA's Entertainment Partnerships division, establishing it as a leading business connecting entertainment, brands and media. She brings more than two decades of experience driving growth and cultivating relationships at the highest levels of the industry. Bush said, "Music has never been more central to culture, and what artists can build around it has never been bigger. Today's artists are storytellers, founders, and brands in their own right. UMG has the greatest artists and songwriters in the world, extraordinary label teams, and incredible global reach. I am excited to bring those strengths together to give artists even more ways to reach fans and build lasting businesses, and to give brands a meaningful role in something people love. I look forward to working with Boyd, our leadership and teams around the world on collaborations that artists are proud of and fans want to be part of." Muir said, "As the ways fans experience music evolve, the opportunities for our artists multiply. Bringing our brand, media, and commercial partnerships together under Libby's leadership will help extend our artists' reach and grow their revenues, while giving our partners new ways to build relationships with fans and collaborate with the world's most influential voices. Libby brings exceptional creative and commercial expertise to the world's leading music company. She'll work with our talent, teams, and partners to create memorable experiences for fans, lasting value for brands, and new possibilities for artists." Before CAA, Bush founded Tandem Entertainment, an entertainment partnerships agency acquired by CAA in 2020. Previously, she led impactful global brand partnerships at Marvel Entertainment, delivering partnerships and co-marketing across the Marvel Cinematic Universe, and held roles at ABC Entertainment, the WNBA's Los Angeles Sparks and the National Basketball Association. Across her 20+ year career, Bush has developed and negotiated innovative partnerships involving leading brands, talent, producers, studios and platforms. She currently serves on the Board of Directors of Turtle Beach Corporation and was named one of Ad Age's Leading Women in 2025. Bush's appointment is the latest in a series of moves to strengthen UMG's central operations under Boyd Muir's leadership, including the appointments of Tseyin Foo as President, Global Supply Chain, and Hannah Poferl as Chief Data Officer. Together, these appointments strengthen the specialist support UMG provides to its labels and teams to drive innovation, develop artists, and grow revenues worldwide. About Universal Music Group At Universal Music Group, we exist to shape culture through the power of artistry. UMG is the world leader in music-based entertainment, with a broad array of businesses engaged in recorded music, music publishing, merchandising and audiovisual content. Featuring the most comprehensive catalogue of recordings and songs across every musical genre, UMG identifies and develops artists and produces and distributes the most critically acclaimed and commercially successful music in the world. Committed to artistry, innovation and entrepreneurship, UMG fosters the development of services, platforms and business models in order to broaden artistic and commercial opportunities for our artists and create new experiences for fans. For more information, visit www.universalmusic.com. SOURCE Universal Music Group

Steve Roy joins CAA from Buchwald. September 17, 2026 Reports To: Dan Rabinow and Ida Ziniti (Co-Heads of Motion Picture Literary) Department: Motion Picture Literary * Creative Artists Agency (CAA) has hired agent Steve Roy for its Motion Picture Literary department in Los Angeles. * Roy transitions from Buchwald, where he started as an assistant in 2020 and earned a promotion to agent in 2023. * He will report directly to CAA Motion Picture Literary co-heads Dan Rabinow and Ida Ziniti. * Roy brings an accomplished roster of indie filmmakers and screenwriters, including Sundance and Tribeca festival standouts. Steve Roy has joined Creative Artists Agency (CAA) as an agent in the Motion Picture Literary department. Roy will work out of the agency's Los Angeles office, reporting directly to Motion Picture Literary co-heads Dan Rabinow and Ida Ziniti. Roy spent the formative years of his career at Buchwald. He joined the agency in 2020 as an assistant, rose to coordinator, and earned a promotion to full agent in 2023. During his tenure at Buchwald, Roy built a strong reputation for discovering distinct voices and championing indie cinema. His client roster featured celebrated writers and directors, including Juan Pablo González (Sundance award-winner Dos Estaciones), Nicholas Colia (winner of the Best Narrative Feature and Best Screenplay awards at the Tribeca Festival for Griffin in Summer), and Alan Scott Neal (Last Straw). He also worked with filmmakers Luke Shanahan (Rabbit), Kasper Møller Rask (Nordland '99), Scott Rashap (Toru), and veteran screenwriter John Strauss (There's Something About Mary). Roy's arrival highlights CAA's active push to recruit rising literary and talent representatives, following high-profile additions including Hannah Davis from WME to support talent operations and Rebecca Rusheen from The Gersh Agency to build packaging capabilities. By bringing Roy on board, CAA expands its motion picture pipeline with an agent skilled at finding breakthrough festival directors and turning independent successes into studio-level opportunities. Major talent agencies continue to restock their ranks by hiring agents who developed their skills inside boutique and mid-tier firms. Steve Roy's climb from Buchwald assistant to CAA literary agent shows that agencies value representatives who can scout original festival voices on the ground. When an agent makes a lateral leap like this, their emerging filmmaking clients often consider making the move as well. For CAA, adding Roy provides a direct connection to award-winning independent storytellers just as studios are searching for fresh cinematic vision. How many of Roy's signature festival filmmakers, like Nicholas Colia and Juan Pablo González, will transition their representation to CAA? Will CAA use Roy's indie film background to secure more low-budget festival packages, or will they transition his roster toward studio blockbusters?

AI clones are coming for the influencer economy. "Digital twins" could help creators scale content and brand deals. Influencers may no longer need to be in front of the camera to grow their brands and businesses. Artificial intelligence is making it possible for creators and celebrities to build digital twins that can replicate their online personas for branded content, fan interactions, and other opportunities. That shift could create a new revenue stream for creators, but it also raises the question of who owns the digital version of yourself. In January, social media star Khaby Lame, who has more than 162 million followers on TikTok, reportedly entered a deal allowing a Hong Kong-based company to create an AI avatar of him for product sales and brand deals. Lame was reportedly set to receive $975 million in stock for the deal, while the company projected that his digital twin could generate more than $4 billion in annual product sales. The company's stock later fell more than 90% from its January high. Lame's experience illustrates both the upside and uncertainty surrounding AI-powered creator businesses. The global content-creator industry is projected to grow from $314 billion to more than $2 trillion over the next decade, while creator advertising spending continues to outpace broader media growth, according to data cited by Vanity Fair. AI companies are betting creators will use digital twins to increase that output without increasing their workload. Platforms such as HeyGen and Descript market tools that allow users to produce videos with AI avatars rather than appearing on camera for every recording. For creators building businesses around their personal brands, however, the contract may matter more than the technology. Caryn Marjorie, a lifestyle influencer who previously licensed her likeness for an AI chatbot, warned about the loss of control that can follow once a digital replica is released. "I think one of the biggest pitfalls is people not realizing that once you give up your likeness, there's only a certain level of control you can have after it's been released," Marjorie told Vanity Fair. Talent agencies are already treating digital likenesses as valuable intellectual property. Creative Artists Agency (CAA) created an internal system known as the CAA Vault to capture and securely store clients' digital likenesses, including facial features, bodies, and voices. CAA says the goal is to give talent greater control while opening opportunities for commercial use. Alex Shannon, CAA's head of strategic development, said the agency captures "terabytes of data for every single client" and emphasized that clients retain ownership and control over how their likenesses are used. Attorney Robert Freund, who works with creators and talent agencies, cautioned that creators can "very quickly inadvertently lose control of your identity" if they sign away likeness rights without understanding the terms. For Black creators, entertainers and entrepreneurs whose brands are often built around identity and cultural connection, the stakes are especially significant. An AI replica could help a creator take on more brand work, produce localized campaigns or interact with audiences around the clock. But poorly negotiated rights could allow companies to monetize a likeness long after the original deal ends.