Brittany Machado is a content strategist and producer with deep roots in inclusion and equity. California born & bred, Brittany earned her M.A. in the social sciences from the University of Chicago. Happy in her “ivory tower” she went on to teach university courses, work on a neuroscience project at Caltech, and then moved into public policy where she specialized in exit polling & ethnic representation studies. She also developed a bi-lingual business & governance exchange program for Loyola Marymount University (for which she led dozens of college students into cosmopolitan meccas, a daring feat not for the faint of heart).
While working in higher education, Brittany was asked to advise on a documentary project about American Evangelicals and sexuality (Give Me Sex Jesus) which fully hooked her on filmmaking. After a couple of years working on her passion projects nights and weekends, Brittany left her private office to transition into film & TV. Her first TV job was as the 2nd post-PA on Grimm (NBC), during which she fully leveraged the show’s golf cart to pop around the lot learning the ins and outs of the studio. She then used that knowledge to transition into the Warner Bros. Television Workshop, a talent discovery and diversity pipeline program for the studio.
While at Warner Bros. Brittany was brought into building out a new WB Digital Network studio: Stage 13. In addition to developing scripted creative, this required her to collaborate-cross studio to form a hybrid process of development and production workflows between independent, feature, and TV models - all while still working fully in the Television Workshop. In 2019, two of the shows she worked on were nominated for Emmys.
Her consulting practice began when she was recruited to build out the video and editorial content for Sundance Co//ab, a digital learning platform from the Sundance Institute. She developed the platform from inception to green light; in 2019 it boasted users in 189+ countries.
Now she uses her interdisciplinary skillset to help clients creatively grow and engage their audience. She also continues to produce independent fiction and nonfiction projects. The crews and teams she hires are consistently at least 50% womxn.
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