Founded in early 2017, Millennial Entertainment operates as a 360° talent management and creative strategy firm based in Beverly Hills. The company represents creators, athletes, performers, and digital-native entertainers across platforms, broadcast, podcasting, touring, and brand partnerships, positioning itself not simply as a deal broker but as a long-term career architect in the Creator Economy.

At its helm is co-founder and CEO Jack Reed. Together with Max Litke, Director of Talent Partnerships, they oversee a firm built on the premise that in a saturated management market, creators need infrastructure, business strategy, and durable partnership models, not just access to brand campaigns.

With more talent entering the space and more brands allocating budget to creator partnerships, the challenge is no longer visibility alone, but sustainability as well.

Jack and Max frame Millennial Entertainment’s role less as representation and more as infrastructure: “We’re not just a slap-title-like manager, agent. We are business partners. We’re here to help go out and capture wins together, make sure that we’re setting ourselves up for success not only for today and tomorrow, but for the next five to 10 years.”

The question of converting attention into a sustainable enterprise sits at the center of Millennial Entertainment’s model.

How Early Digital Talent Shaped a Full-Service Model

Jack traces Millennial Entertainment’s origins back to the rise of Vine, the now-defunct short-form video platform that helped launch the first wave of internet-native talent.

“I really started the company when Vine was gaining a lot of popularity,” Jack recalls. “These people had up to five million followers each. And then I saw them starting to partner with some of these larger brands. And then that’s when I thought, ‘Wait a sec… this wave is coming.’”

At the time, influencer management was still fragmented. Jack saw an opportunity to professionalize representation and help creators handle brand partnerships that were quickly scaling in value and complexity.

“We represent people from all around the world,” Jack says. “We built this company in a great way.”

Since launching, Millennial Entertainment has expanded its focus beyond brand deals into full-spectrum career development: podcast launches, touring strategy, broadcast transitions, IP development, and long-term business ventures.

What ‘Full Service’ Means in 2026

When Jack describes Millennial Entertainment as “a full-service management company,” he emphasizes practical execution over marketing language.

“How do you maximize the audience?” he asks. “They built this audience, but how do you build businesses around what the creator is already doing?”

For Jack, strong management means identifying which revenue streams and extensions make sense, and which don’t.

“It’s up to the manager to figure out how to maximize the audience,” he says. “Focus on the things that work. Focus on the things that are ultimately going to drive revenue and ultimately help the creator grow.”

That includes reinvestment.

“The creator makes all this money, which is awesome. But then, how do you reinvest or repurpose some of the funds to maybe propel another business? That’s ultimately going to help the creator grow in a different vertical?”

Max echoes the idea that strategy now differentiates firms.

“One of the biggest things that’s changed is there’s just more strategy now than there probably was back then,” he says. “Talent are thinking about things a bit more strategically. How do I create a repeatable series that can be positioned for brand or media partnerships? How do I translate maybe my quick 60-second bit into a podcast?”

That cross-platform thinking has become central to Millennial Entertainment’s approach.

Managing Saturation

Both Jack and Max acknowledge that the management market has become increasingly crowded.

“The management space? It’s saturated,” Max says. “Everyone and their mother is now a manager.”

Millennial Entertainment’s differentiation, he argues, lies in longevity and established brand relationships. “We’ve been working with people at the forefront of creator and talent partnerships for over 10 years. We’re not a brand new company looking to kind of start a day-one process of educating agencies and brands about who we are.”

As brand casting processes tighten, existing relationships matter. “When these brands and these marketing agencies are casting for talent, they don’t have the bandwidth to reach out to 200 management companies,” Max explains. “It is really the 10 to 15 power players within the space.”

The Rise of Long-Term Brand Partnerships

If there is one area where the Creator Economy has matured most clearly, it’s brand partnerships.

“I see a lot more brands leaning into creators now to be the host talent [for] a branded content series,” Max notes. “It’s more impactful than just doing a quick one-off.”

Ambassador models are also gaining traction. “We’ve seen some really successful brands look to kick off a year with a group of 8 to 12 diverse creators and talent,” Max says. “What does really well is building familiarity between talent and the brand.”

Jack evaluates opportunities through alignment and longevity.

“As excited as the synergy is,” he says. “You’re kind of like, ‘Oh my gosh, yes, the synergy would be perfect as far as where they’re at in their career, what the brand represents.’”

On the flip side, hesitation emerges when partnerships feel forced. “Maybe it’s a brand that you never thought about, where you’re scratching your head, like this feels a little random.”

Creative control also plays a critical role. Max notes that there is a give-and-take between the talent and the brand’s guidelines.

“Our goal is to back our clients and their creative direction, while also being collaborative partners with the brands and their goals,” he says. “It’s about communication and collaboration to find that happy medium.”

To counter that, Millennial Entertainment emphasizes communication and kick-off calls to align brand expectations with creator instincts.

Who Millennial Entertainment Represents

Millennial Entertainment’s roster spans digital creators across different verticals (lifestyle, foodies, comedy, fitness & wellness), traditional TV/Film talent, and athletes.

Jack cites comedians like Trey Kennedy as ideal examples of talent who build across formats, touring live while maintaining a strong digital presence. Max highlights former U.S. Women’s National Team star Carli Lloyd, now active in broadcasting, as another example of cross-vertical expansion.

The agency looks for creators who are self-starters.

“People who make content because they love to make content,” Jack says. “They’re self-starters … at the core of who they are is a creator that produces content that hopefully their audience will obviously love.”

Clean, brand-safe content and cross-demographic appeal also factor into selection. But ultimately, Max says, Millennial Entertainment operates “in the business of marketing and growth development,” seeking talent that can scale across platforms and industries.

Building IP, but Carefully

While ownership and IP development are increasingly popular among creators, Jack approaches brand or company launches with discipline.

“Yes, it’s amazing to create IP and have equity in something,” he says. “But it also has to really make sense, not only for the creator, but for the audience.”

Execution remains the hurdle. “You may have an idea, but how do you execute it?” Jack asks. Management’s role, he says, is to “bridge a relationship with someone that’s going to help them develop a company and a product that really suits them.”

Crucially, Millennial Entertainment prioritizes transparency over hype.

“We’re very practical, we’re very realistic, we’re very transparent with all of our clients,” Jack says. “You don’t want to spend your time and resources on something that is sort of a gamble.”

Where Talent Management Goes From Here

For Jack, the long-term appeal of talent management remains discovery and growth.

“One of the things that excites me every day, you may discover someone and suddenly that person may have the trajectory to be a huge piece of business,” he says.

Max sees a structural opportunity expanding across the ecosystem. “There’s more opportunity now than ever for everybody to come to the table,” he says. “It all comes from somebody’s phone and what they’re able to create.”

As the Creator Economy moves further into its new decade, Millennial Entertainment’s model centers on partnership over transactions, reinvestment over one-offs, and career-building over viral spikes.

And for Jack, the creative core still matters most.

“At the end of the day, it’s the quality of the content,” he says. “It’s an exciting business to be in, and we have a lot of fun with what we do and the talent that we work with.”

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