Partnership gamble has paid off for New York indie banner Jax Media
With backing from Imagine, boutique shingle branches out while staying client-focused
A little over three years ago, the partners at Jax Media took a big gamble.
The New York indie production banner had prospered through its artisanal approach to producing TV series for such multi-hyphenate stars as Samantha Bee, Amy Schumer, Abbi Jacobson and Ilana Glazer, as well as its ability to execute high-gloss scripted series including “Younger” and “Search Party” on modest budgets.
Jax’s commercial success and creative sensibilities attracted the attention of Imagine Entertainment. The four core Jax partners — producers Tony Hernandez, Lilly Burns, John Skidmore and Brooke Posch — were nervous as they reached a deal to sell a significant stake to Imagine in early . They worried whether the sale would affect the culture of doing whatever it takes to serve the vision of artists.
“We are a customer-service business,” says Hernandez, who is CEO of the company he founded in .
Today, Jax is bigger and busier than ever, and nerves are quieted. To a partner, the principals say the pact with Imagine has helped energize and enlarge Jax without diluting its boutique-y feel.
Within a year of linking arms with Imagine, Jax aggressively expanded into feature films (after recruiting A’s John Hodge), set up an unscripted reality division and began working on format development and shows for outlets outside the U.S. through its London office, opened in ¢.
“They’ve overperformed for us every year,” Imagine Entertainment chairman Brian Grazer says of Jax. “What I admire most is the boldness of the [creative] choices they make and how they make it happen.”
Jax’s active roster of shows at present ranges from Netflix’s “Russian Doll” and “Emily in Paris” to HBO’S “A Black Lady Sketch Show,” Showtime’s “Desus & Mero” and ABC’S “The Conners.”
Netflix recently signed a nonexclusive deal with Jax to handle production and development on a predetermined number of shows for the streamer. Netflix will also help fund the new Jax Jobs initiative designed to open doors and provide training for line producers and other crew positions for people from underrepresented communities. That push is steered for Jax by Michael “Boogie” Pinckney, a longtime associate of director Spike Lee.
Jax’s operations encompass production services for hire for a slew of networks that lean on them to handle certain types of shows and talent. It also has developed homegrown shows such as HBO Max’s “Search Party” and BET’S now-canceled “The Rundown With Robin Thede.” The mix of internal and for-hire projects ensures a steady stream of creative talent walking through Jax’s doors in New York, Los Angeles and London.
“It was almost impossible to imagine our very small company could grow like this and still protect the kind of mom-and-popshop energy that we’ve always had,” says Burns. “We’ve been able to ramp things up in a way that hasn’t changed our ethos.”
Imagine principal Ron Howard finds the bustle of activity at Jax inspiring. “They take on talent as a fellow producer and give them the respect of saying, ‘I recognize your vision. Now we have to find a way to make it in a way that [a buyer] is willing to bet on,’” Howard says. “I thoroughly agree with that as a creative person myself.”
Posch, who oversees development and scripted content as president of original content, says the expansion of operations makes Jax that much more attractive to the auteurs that it seeks. “It’s great to know that it doesn’t matter whether something will be TV or film, scripted or unscripted,” Posch says. “Now it’s just about helping the talent find the right medium.”
Skidmore notes that the core leadership trio at Imagine — Grazer, Howard and co-chairman Michael Rosenberg — “are always available to help us out with something if we need it.”
Imagine has proven to be the ultimate strategic partner, offering capital, industry connections and other key resources, Hernandez says. That is high-octane fuel for a group of producers who live for the snap of the clapboard on a set.
“We’ve got shows, and it doesn’t feel like a runaway train,” Hernandez says. “What it feels like is that we’ve got a bunch of awesome heavy hitters here who want to do business.”