Breaking today, the work from BSSP is based on real league from the Jimmy Carter era and mostly eschews nostalgic cliches. It positions fantasy leagues as woven into the fabric of fandom, decades-old traditions that boogie back into the zeitgeist each year as summer starts to swoon.

“The 70’s league was an actual league started by two friends in California who might be one of the earliest ‘fantasy’ leagues known,” agency creative director Robyn Tenenbaum tells Muse. “Upon doing some internet sleuthing, we came across an article where they were mentioned and got in touch to learn more about them and tell their story.”

“The director actually had all the guys playing the friends from the 70’s league hang out before the shoot day and spend time together whenever they could so that natural camaraderie and casual friendliness would translate on camera,” Tenenbaum says.

Two other spots set in the present day rock a similar vibe. These vignettes leverage real fantasy traditions of scarfing hot wings to establish draft order and banishing losers to a plastic kids table.

“We know that the number-one reason people play fantasy football is the connection with friends and families as well as the communities built through participating,” says Alex Healy-Lucciola, ESPN’s senior director of marketing for fantasy and sports betting.

“In an increasingly digital world, people are feeling more isolated than ever and seeking a feeling of belonging,” he says. “Playing fantasy puts fans in control of building those connections and communities that create a sense of belonging. The unique traditions and stories highlight the way in which Fantasy brings people together and creates lasting, meaningful relationships.”

ESPN’s fantasy football league boasts 12 million players, the network says. The ads will mainly run across ESPN media properties.

CREDITS

ESPN
Tina Thornton – EVP, Creative Studio and Marketing
Seth Ader – VP, Brand Marketing
Alex Healy-Lucciola – Sr. Director, Brand Marketing
Jon Little – Associate Producer II
Lenny Washington – Associate Manager, Brand Marketing
John Lobo- Associate Director, Brand Marketing 

AGENCY
Sinan Dagli – Executive Creative Director
Robyn Tenenbaum – Creative Director
Lauren Byers  – Senior Art Director
Justin Cannon – Associate Creative Director
Cade Wallace – Senior Producer
Jake Bayham – Head of Strategy
Adrienne Johnson – Associate Strategy Director
Kyle Rodriguez – Group Account Director, Sports and Entertainment 
Amanda Burtnett – Account Supervisor
Kelsey Oium – Project Manager
Krista Horn – Senior Business Affairs Manager

PRODUCTION
Production Company: Revery
Executive Producers: Davis Priestley and Hanna Hagen
Line Producer: Elle Poindexter
Production Manager: Iris Cole-Hayworth
Director: Mike Egan
Director of Photography: Kevin Fletcher
Gaffer: Bruce “Sarge” Fleskes
Production Designer: Eric Schoonover
Costume Designer: Eric Orr
Location Manager: Mike Floyd 
Key Grip: Ryan Fritz
Key Hair & Makeup: Terri Lodge
Casting Director: Bill Bailey Casting

EDITORIAL / POST
Post Production Company: Revery
Post Producer: Jake Lowden
Editor: Dylan Sylwester
Color: House Post / Dylan Hageman  

SOUND DESIGN / MIX 
Mix House: Steambox 
Sound Designer / Mixer: Reed Harvey 
 

For the second annual State of Play: Clio Sports Marketing Summit, a series of panels tackled front-of-mind topics like the power of music in sports marketing, reaching viewers via college athletics and the rise of alternative broadcasts.

Below, we look at the highlights from Monday’s event in NYC.

Harnessing the power of music for sports

The event kicked off with execs from Universal Production Music, ESPN and the NBA describing how music amplifies emotions across audio, video and static imagery.

For Claude Mitchell, coordinating director of music at ESPN, soundtracks are “the inspiration, the motivation and the direction that takes you through things.” Growing up a Yankees fan, Mitchell recalled that Frank Sinatra’s version of “New York, New York” was played at the end of a game they won, while Liza Minelli’s take closed out contests lost. In both cases, music heightens the experience.

Every song has a purpose. Lucas Spry, music director and producer at UPM, noted that “we’re not just throwing upbeat hip-hop tracks on an album just because we can. There’s purpose in that and the BPM tempo arrangement” can help define a collection of tracks.

The NBA recognizes how vital music and tempo are, too. Watching a LeBron James video on mute wouldn’t evoke as much energy and drive as watching with the sound turned up high.

“Music is a critical part of how we translate moments to our fans that are not only in attendance, but who are also engaging with us across our platforms,” said Jasmin Marquez, who helms music programming and business operations at the league.

“Tracks must resonate with all of our fans, no matter where you sit—whether it’s in the arena, or watching the broadcast, or catching it on our social media platforms.”

The music must amplify what’s happening on court, and enhance “how our fans, our teams, our players are all interacting with those moments,” he said.

Sometimes, picking local faves and melding them with global hits can prove a sound strategy.

“Everyone can source authentic regional music,” Spry said. “My job is to listen to that and find … how we can meld genres which work for every medium—social media or broadcast. There’s different tempos, there’s different moods, there’s different lyrical terms that really can make or break” a telecast or livestream.

College sports marketing success for Nissan

Nissan’s Director of U.S. brand & retail media, Rob Martin, spoke to Muse executive director Charell Star about going all in on college sports. That strategy’s driven impressive results, without the steep cost of, say, an NFL partnership.

The carmaker is the official partner of the Heisman Trust, an official NCAA corporate partner, and has multimedia rights agreements with universities across the country.

“You couldn’t just have the Heisman Trust. You couldn’t just have NCAA, although people do take that approach,” Martin said. “We needed a three-legged stool: the Heisman Trust, the NCAA, and the colleges and universities that we participate with. “By using all of those pieces of the puzzle, we can build a really cohesive, creative execution. You’re using colleges and IP, so it feels very authentic. It’s contextually relevant, and that’s why we built our strategy the way that we have.”

The Heisman House campaign, around since 2006, continues to evolve and elevate both creative and the Nissan brand.

“More than a into decade of a campaign, you better continue to think of new ideas. So what did we do? We launched the Heisman House on Zillow,” says Martin.

“Everybody’s looked at Zillow, looked at apartments, looked at houses,” he said. “Never did we think that we would put the Heisman House on Zillow. As you can imagine, everybody asks, ‘Is the house real?’ So we continue to fuel the idea. Yes, this is a real thing. An example of just how we continue to expand the platform and how we continue to refresh it with new ideas.”

Heisman House is the brand’s top performing promotional vehicle each year.

“When we talk about building brand awareness and building brand consideration, it’s our single most important property. So for us, that tells us not only is it about the media, but also just how we’re speaking to the audience. And we find year after year that we continue to see that brand awareness continue to happen, which is staggering when you think of how long this campaign has gone on. And frankly, that’s why we keep doing it.”

The rise of alternative broadcasts

Competing with second-screen viewers has become a challenge that alternative broadcasts aim to win. Execs from Bleacher Report, ESPN and the NFL explained exactly what alternative broadcasts are—and how they’re leaning into the practice.

“When we think about ESPN alternative broadcasts, we really think about creating complementary programs that are going to help to magnify or amplify the main broadcast, like our Toy Story animated football game,” said Tim Reed, the network’s VP of programming and acquisition. “The target there was younger audiences, and to drive co-viewing and distribute that across Disney+. It was a success because parents and kids really enjoyed it. I think the expectation is if we did more of that, they’d watch more.”

Tyler Price, VP of content, Bleacher Report, said: “We’re a digital-first entity that has made its mark by concentrating on the audience. That’s how we look at alternative broadcasts: What value can we provide, specifically in in terms of options and interactivity? How do we make our users feel they have power over what their options looks like?”

When done right, such alternatives are something the players themselves can get behind—with enviable numbers pointing to success.

“The Toy Story execution, the players and coaches, they were actually all, generally welcoming about this,” said Reed. “It showed an authentic side. We actually had some of the players bring their kids and their families into the actual vignettes or personality pieces and just integrate things they liked about Toy Story, their favorite characters.”

“Parents were likely to share that type of experience. And 90+ percent of kids were willing to watch another execution like that.”

“We wanted it to feel big, spirited and authentic, resonating with existing fans and compelling newer, more casual fans to engage,” says Rachel Epstein, VP of ESPN marketing, live sports and audience expansion. 

Epstein says the network carefully considered NWSL’s passionate fan bases when developing the campaign. “The aim was to showcase to sports fans everywhere that the NWSL is a league filled with star personalities, dramatic storylines, and world-class soccer—entertainment you don’t want to miss,” she explains.

ESPN signed a multi-year rights agreement with the NWSL in Q4 of 2023. “It’s So On” seeks to promote the league globally and keep the momentum going as the profile for women’s sports overall continues to rise.

ESPN worked with Preacher on the campaign.

“Humanity is at the heart of this league and has made these players and personalities feel familiar to fans across the country,” says Mel Lin, creative director at the agency. “And now–with the full might of ESPN’s platform in play–we’re eager to help level up the league from familiar to famous.”

Lin points to how “notoriously hard” it is for fans to know when and where to watch the NWSL match by match. “So we wanted to meet them head-on all across the media landscape,” she says. Videos will appear across platforms like TikTok, Instagram and Facebook, in addition to tune-in banner assets on sites fans frequent like Reddit and YouTube.

Lin also adds that there are plans to release new content throughout the year tied to each ESPN/NWSL game “to celebrate and amp up each team, player and fan base.”

The campaign runs through month’s end.

CREDITS

Client: ESPN
Vice President, Marketing: Rachel Epstein
Marketing Manager: Lucas Zenna
Marketing Coordinator: Catherine Jeffers
Sr. Director, Talent Production: Stacey Pressman
Sr. Talent Producer: Zuriel Loving

Agency: Preacher
Chief Creative Officer: Rob Baird
Chief Executive Officer: Krystle Loyland
Chief Strategy Officer: Seth Gaffney
Creative Director: Mel Lin
Creative Director: Tyler Booker
Associate Creative Director: Lex Barberio
Associate Creative Director: Will Kelleher
Brand Director:  Retha Austin
Junior Brand Manager: Dom Shipp
Designer:  Marissa Servantez
Head of Production: Stacey Higgins
Senior Producer:  Kasia Olczak
Business Affairs: Miiko Martin

SportsCenter anchor Steve Levy looks … amused?

“There have been iconic NHL This Is SportsCenter commercials, so to be lucky enough to add to the canon is really special,” says creative director Chris Kim of Arts & Letters, which developed the spot. “We loved getting to work along with two of the sport’s biggest stars—the Stanley Cup and Steve Levy.”

Hey, they snuck a funny into the canned quote. Well played!

Meanwhile, Nashville Predators Juuse Saros and Ryan O’Reilly star in Grey N.Y.’s silly :30 for MassMutual. There’s no Cup in this one. Better luck this year, Nashville.

How’d Juice ever memorize all those lines?

“We hope to convey to viewers that planning and protection go well beyond the rink,” said MassMutual’s Jennifer Halloran, head of brand and marketing. “We had a lot of fun filming this spot with Juuse and Ryan, and hope fans will take a moment to consider their own financial goals.”

Finally, the NHL poses a loaded question in its 2023-24 hype video:

The clip, from Highdive, features budding stars Jack Hughes, Cale Makar, Connor McDavid and Matthew Tkachuk. It employs a lighter touch than another recent big-time sports promo that pops to mind (and no tires were harmed in the making of the NHL’s ad).

“There’s a fun and youthful energy in hockey being driven by player personalities and fan passion,” says agency GCD Brian Culp. “This on and off-ice combination is getting new fans to embrace the sport, and it’s what we strive to show in this spot.”

“We started with a simple truth: every fan anticipates and prepares for the start of the football season,” says ESPN senior director of sports marketing Curtis Friends. “So, for this year’s ‘Ready For Football’ campaign, we had fun along with fans building the ultimate checklist and showcasing how the football world gets ready.”

Prep includes finding jerseys, picking fantasy team names, sending group texts, firing up BBQ grills (with check-mark-shaped meats) and more.

It’s relatable but celeb-driven, too, with appearances by Justin Jefferson, Dan Campbell, Monday Night Football presenters Joe Buck and Troy Aikman, Manningcast duo Peyton and Eli Manning, and Patriots head coach Bill Belichick.

It’s a cute way to weave the game into the fabric of pop culture, with just enough quirkiness to stand out. (We’ll take extra mustard on our check-dog, please!)

The New York Jets host the Buffalo Bills in tonight’s season debut.

There’s been a stampede of pro and college football ads, promos and tie-ins of late. Yes, there are always a lot come September, but the pocket feels more jammed than ever in 2023.

They range from PepsiCo’s “unretirement” epic with Tom Brady and Dan Marino to the NFL’s Keegan Michael Key entry skewering the “scripted” meme. Also of note: Nissan’s remodeled “Heisman House” and YouTube’s debut work for NFL Sunday Ticket. (Speaking of which, the league itself called a foul on DirecTV’s ads with Travis Kelce for “deceptive advertising” surrounding Sunday Ticket access.)

Plans for the sport are far-reaching. There’s already live betting and merchandise, plus talk of building courts in gyms and recreation centers to make it accessible and affordable. 

Tollin, co-chairman of Mandalay Sports Media, spoke with Muse about the hybrid competition’s return to the limelight.

MUSE: How does it feel to bring SlamBall back?

Mike Tollin: We never felt like it was over, we felt like it might have been dormant. But it was never dead. It was just waiting for the next opportunity. There was always this feeling that maybe we were ahead of our time, and when the pandemic happened, suddenly this hashtag #BringBackSlamBall appeared and got millions of views without us doing anything. It just organically spread. That was a wake-up call for us. And we started taking the steps which ultimately brought us to Las Vegas.

Can you elaborate on how social media is a big part of the marketing equation?

We curate the top 10 highlights from all the games and put them on platforms like Instagram and TikTok. And ESPN showcases them on their YouTube channels and website, and occasionally on-air. Many influencers have come to the SlamBall courts and had a great time on the trampolines and posted about their experiences. We also have a very clever social media director, Bailey Carlin.

How is this iteration different from a marketing perspective?

When we were on Spike TV, SlamBall was touted more as a kind of a human videogame. Viewers may not have been aware of the rules, but the fun factor was watching these high-flying, acrobatic, athletic young men doing seemingly impossible feats. It was really a TV show, packaged and polished, perhaps in the realm of American Ninja Warrior or American Gladiators. So it was general entertainment. Now, in the marketing that surrounds the current effort, we are clear that this is an authentic, legitimate sport.

Can you talk about the previous generation serving as a main selling point for the sport today?

When we announced that we would officially be back, there was this outpouring of support from players, coaches and administrators, and all the kinds of folks that we’d have to round up to mount this. Snoop Dogg, Pat McAfee and Pat Mahomes have all talked about how glad they are that SlamBall is back. Some of the best players from the previous generation are now coaching: Stan “Shakes” Fletcher and Jelani Janeice are arguably the two best players. They’re both head coaches now. Coach Carter, who was played by Samuel L. Jackson [in the film of the same name], is back. There’s also Trevor Anderson, who was a player and is now a coach of the Ozone. His first draft choice was his son. It’s also really cool to see a father and son team. A lot of people see SlamBall as their life. 

To a certain extent, the stakes are higher, and the challenge is greater. But, there’s so many people who are incredibly passionate about it and determined to see this through.

How did the ESPN deal come about?

The reach and the profile of the media partners can be a big part of sending the right message. Between Mason, myself and Tom Penn, who is a third partner that we brought along, we have good relationships with a lot of the primary broadcast, cable and streaming platforms, and we just started reaching out. Ultimately, it became a very competitive endeavor. To have ESPN as our broadcast partner speaks a lot to how we’re going to message this sport.

What do you foresee for SlamBall’s future geographically, but also for the league, and the sport overall?

We’ve had a lot of interest from a variety of places, some in the U.S. and some international, like Australia, India and Turkey. China still has SlamBall courts and I think they’d love to revive it. We’d like to do four events a year, similar to the Grand Slam format that we’ve seen in tennis and golf.

One thing that’s clearly going to happen because of the growing profile of the sport is [an increase in] the athleticism of the players and the quality of play, which I believe is going to grow dramatically. That’s exciting. We intentionally did not go after celebrities. We wanted to create our own stars. And we’re going to stick to that, although it wouldn’t shock me if somebody made a compelling enough bid to be the first ex-NBA player or ex-NFL player in SlamBall. We’re having conversations about a women’s SlamBall league. We’re just going to keep going in the right direction.

Butler, Shine, Stern & Partners developed the work, extending ESPN’s “Only in Fantasy” campaign. 

“ESPN Fantasy Football creates connections and builds communities,” offers network VP, brand marketing Seth Adler. “We remind fans to continue playing because it is the ultimate equalizer between people and can help get you out of awkward situations.”

He meant that cheekily, one presumes. Though with 11 million fan signups in 2022, a 12 percent increase from 2021, potential convo partners abound.

Heck, if you’re league commissioner, even your girlfriend’s hardass dad might be impressed.

And why tip delivery peeps when you can just remind them to set their lineups?

“The team had so much fun coming up with the perfect exaggerated-yet-totally-relatable scenarios,” says BSSP creative director Robyn Tenenbaum. “How do you break the ice? Make small talk? What’s the answer to it all? ESPN Fantasy Football.”

“Only in Fantasy” runs across streaming, broadcast, digital and audio, with OOH activations in NYC and L.A.

CREDITS

ESPN: 
Tina Thornton – EVP, Creative Studio and Marketing
Seth Ader – VP, Brand Marketing
Alex Healy-Lucciola – Sr. Director, Brand Marketing
John Lobo – Associate Director, Brand Marketing
Jon Little – Associate Producer II
Lenny Washington – Coordinator, Brand Marketing 

Agency:
Sinan Dagli – Executive Creative Director
Robyn Tenenbaum – Creative Director
Lauren Byers  – Senior Art Director
Justin Cannon – Senior Copywriter
Cade Wallace – Senior Producer
Jake Bayham – Head of Strategy
Kyle Rodriguez – Account Director
Gustavo Feria – Account Supervisor

Production:
ArtClass – Production Company
Vincent Peone – Director
Aiden Samford-Ulrich – Director of Photography
Geno Imbriale -Managing Partner
Rebeca Niles – Managing Director / EP
Eric McCasline – Executive Producer
Sparkle Jones – Head of Production
Kat Garelli – Production Manager, ArtClass
Terry Gallagher – Line Producer
Abby Jones – Production Manager
MackCut – Editorial / Finish
Brendan Hogan – Lead Editor
Ellen Schoenfeld – Assistant Editor
Nick Quiles – Animator
Jim Hayhow – Flame Artist
Steve Picano – Color Artist
Gina Pagano – Executive Producer
Alex Pinkett – Producer
Th3rd Sound – Sound Design / Mix
Chip Sloan – Sound Designer / Mixer

“So many fans who don’t know much about college basketball are scared to get involved. With this new effort, we wanted to embrace the fact that statistically, no one—not even the most well-informed superfan —is capable of filling out the perfect bracket.” Says BSSP creative director Robyn Tenenbaum. “The uncertainty and the madness and the chaos are really what make Tournament Challenge so engaging and so easy to love. We wanted the creative to highlight that feeling.”

Creighton though? That gut pick could turn into a bellyache!

“Tournament Challenge is an experience for everyone, and the game consistently reaches a younger, more casual audience between the men’s and women’s games,” adds ESPN VP, brand marketing Seth Ader. “It’s one of those magical times on the sports calendar where all ranges of fandom come together. We loved the idea of encouraging everyone to tune out the noise, let instinct lead the way and to go with their gut. 

The work runs across broadcast, streaming, digital, audio and social ahead of the men’s and women’s brackets opening on Sunday, Mar. 12.

CREDITS

Client: ESPN
Laura Gentile: EVP, ESPN Marketing
Seth Ader: VP, Brand Marketing
Alex Healy-Lucciola: Sr. Director, Brand Marketing
John Lobo: Associate Director, Brand Marketing
Jon Little: Associate Producer II, Marketing Production
Lenny Washington: Coordinator, Brand Marketing

Agency: BSSP
Sinan Dagli: Executive Creative Director
Robyn Tenenbaum: Creative Director
Lauren Byers: Art Director
Justin Cannon: Senior Copywriter
Cade Wallace: Senior Producer
Jake Bayham: Head of Strategy
Cierra Moore: Strategy Director
Kyle Rodriguez: Account Director
Shannon Stucke: Account Supervisor
Krista Horn: Senior Business Affairs Manager

Production Co.: Stept Studios
Director: Ben McManus
Director: John Marsico
Executive Producer: Blake Greenbaum
Producer: Rebecca Case
Production Manager: Jasmine Holdsworth
1ST AD: Daniel Bennaiem
DOP: Bryant Jansen
Gaffer: Eddy Scully
Key Grip: Collin Gallivan
Production Designer: Tyler Jensen
Set Decorator: Christina Skilbred
Hair & Makeup: Brielle Mckenna
Wardrobe: Yvonne Reddy
Casting Director: Dan Cowan

Editorial Company: MackCut
Editor: Brendan Hogan
Assistant Editor: Ellen Schoenfeld
Executive producer: Gina Pagano 
Producer: Dylan Anderson
Animation: Nick Quiles 
Conform: Jim Hayhow

Sound Design / Mix: Th3rd Sound
Sound Designer / Mixer: Chip Sloan

ESPN’s deadpan, quirky “This Is SportsCenter” campaign returns this week with its first fresh spot in three years.

The :15 from creative agency Arts & Letters and director Jim Jenkins features soccer stars Megan Rapinoe, Becky Sauerbrunn and Sophia Smith of the U.S. Women’s National Team. They sit on the floor at ESPN HQ with SportsCenter anchor Nicole Briscoe and munch on oranges. Syracuse mascot Otto the Orange hangs back, supremely chill.

This is “This Is SportsCenter,” the real deal fans have known and loved since the work bowed in 1994. It’s quietly off-kilter, oddly edgy and bang on brand. Welcome back, TISC!

“Orange Slices” bows on Friday, Dec. 30, during the Capital One Orange Bowl, which pits No. 6 Tennessee and No. 10 Clemson.

“Since our last shoot in 2019, we have crafted scripts and prepared for when we could shoot on the Bristol campus again with the best athletes in the world,” says Laura Gentile, EVP, commercial marketing at Disney Networks and ESPN. “With incredible events on our sports calendar in the coming days, it’s time for the campaign to return.”

Such programming includes NFL Wild Card matchups, the NCAA football semis and title game, along with NBA and NHL coverage.

Upcoming “This Is SportsCenter” installments will feature athletes including Olympic track and field gold medalist Sydney McLaughlin, ESPN personalities Elle Duncan, Kevin Negandhi, Jay Harris and Hannah Storm, plus additional team mascots. (And maybe more fresh produce—who knows?)

CREDITS

ESPN
Laura Gentile – EVP, ESPN Marketing and Social Media 
Seth Ader – VP, Brand Marketing
Peter Mulally – Senior Director, Brand Marketing
John Lobo – Associate Director, Brand Marketing
Lenny Washington – Marketing Coordinator, Brand Marketing
Stacey Pressman – Director, Talent Production
Katie Hennessey – Sr. Talent Producer
Matt Cheron – Associate Director, Marketing Production
Jonathan Little – Associate Producer II , Marketing Production
Cameron Gross – Associate Producer, Grande & Leonard
David Wimberley – Production Coordinator
Thomas Hamilton – Production Coordinator
J’Ron Erby- Social Media Manager, ESPN Social Content
Jordan Toczynski – Sr. Social Media Specialist, ESPN Social Content
Lauren Giudice – Social Media Manager, ESPN Social Content
Allie Snow – Social Media Specialist 1, ESPN Social Content
Chris Duffy – Director, Talent Management, ESPN Talent Development & Planning
Kalidia Reyes – Talent Relations Manager, ESPN Talent Development & Planning 

Arts & Letters
Charles Hodges – Founder/ECD
Temma Shoaf – Head of Production
Andy Grayson – Director of Strategy
Andrew Kong – Creative Director
NJ Placentra – Creative Director
Molly Jamison – Creative Director
Scott Hayes – Creative
Chris Kim – Creative
Calleen Colburn – Executive Producer
Andrea Rodriguez – Senior Producer
Austin Butler – Assistant Producer
Lenora Cushing – Director of Business Affairs
Jennifer Kmetzsch – Assistant Business Affairs Manager
Brenda Schneider – Group Business Director
Hill Shore – Business Director
Lauren Lawson – Business Manager 

XYZ
Adrian Mojica – Director of Operations, XYZ
Whitney Green – Executive Producer, XYZ
Ryan Dunstan – Resource Manager, XYZ 
Lauren Galanides – Senior Producer, XYZ 
Pat Blumer – Edit Lead, XYZ
Sho Kellam – Assistant Editor, XYZ 
Rachel Hamburger – Assistant Editor, XYZ 

O Positive 
Jim Jenkins – Director
Marc Grill – Executive Producer
Vince Vennitti – DP
Toni Barton – Production Designer 

Company3 
Tim Masick – Colorist
Ryan Moncrief – Color Producer
Stephen Winterhalter – Color Assistant  

Parliament 
Creative Lead
Nathan Kane
Kathleen Kirkman 

Production
Anna Kravstov
Kat Maidment
Sebastien Le Coz 

Barking Owl 
Elizabeth McClanahan – Sound Designer & Mixer 
Ashley Benton – Executive Producer
Jenna Pangilinan – Associate Producer
Kelly Bayett – Creative Director