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Roger Federer, widely regarded as the best tennis player in the history of the sport, walked onto the court to thunderous applause during in the second edition of the Laver Cup in September 2018. Named after tennis legend Rod Laver, the Cup pitted many of the greatest players from Europe against those from the rest of the world. Federer was more than one of the Laver Cup's main stars-he was an owner and co-creator. In fact, the idea for the event had originated in his boutique company TEAM8, which he co-founded in 2013 with his agent and business partner Tony Godsick. The Laver Cup's success had not gone unnoticed in the world of tennis. With traditional tennis tournaments such as the Davis Cup attracting new investors and with governing bodies such as the Association of Tennis Professionals planning to relaunch their team event, the competition for top players and for desirable slots on an already very full tennis calendar was stronger than ever before. Was TEAM8's Laver Cup well-positioned for long-term success?

Bob Iger, chief executive officer of entertainment conglomerate Disney, thrilled investors with details about Disney's upcoming foray into video streaming in April 2019. Disney's move was only the latest in a series of actions taken by new and established entertainment companies in a fight for dominance in the video-streaming-subscription space. Netflix, led by chief executive officer Reed Hastings, had established an early foothold in that market after entering in early 2007, amassing 140 million subscribers worldwide by early 2019 and spending $10 billion on content annually. Now, Disney was joining the fray with its signature service, Disney+, after first collaborating with other broadcasters in establishing Hulu, later buying up a majority stake in that service, and launching sports-content subscription service ESPN+. The battle for what many industry observers regarded as the future of the television business was truly on. Had Iger and his team of executives found the right formula to unseat Netflix as the leader in video streaming? Was there room for both players in the marketplace? Or would Hastings and his team at Netflix need to respond in some way to the looming threat posed by Disney?

Kara Medoff Barnett, executive director of American Ballet Theatre (ABT), widely regarded as one of the world's premier ballet companies, faces several challenges. It is June 2018. Despite its prestige, the company's $45 million annual budget and $22 million endowment are far below those of peers like New York City Ballet, Paris Opera Ballet, and The Royal Ballet in London. Also, although those institutions rely heavily on talent developed in-house, ABT has traditionally mostly attracted dancers who had been trained elsewhere. Known for having featured some of the world's most high-profile stars, ABT's biggest current star arguably is Misty Copeland. What can Barnett learn about Copeland's rise to fame that could help her have ABT's other dancers' stories resonate? Looking to the future of the ballet company more generally, how could Barnett promote a "constellation of stars," as she puts it, rather than bank on one or two individual superstars? And what is the right balance for ABT between developing and acquiring talent?

World Wrestling Entertainment, Inc. (WWE) develops and presents scripted hero-versus-villain storylines featuring its wrestlers at hundreds of live events, on several weekly television shows, on its own over-the-top streaming service, and on social media, to millions of fans around the globe. In January 2018, buoyed by the $800-million-dollar company's strong prospects for further growth, WWE's chief brand officer Stephanie McMahon and her husband, Paul 'Triple H' Levesque, a WWE wrestler who also serves as the company's executive vice president of talent, live events, and creative, are discussing whether to add Ronda Rousey, who has made a name for herself as a judoka at the Olympics and as a mixed martial artist in the Ultimate Fighting Championship (UFC), to WWE's roster. Should WWE try to sign Rousey, and, if so, what kind of offer makes the most sense? And is WWE well positioned for further success in the world of entertainment?

"Our goal is to be the kind of start-up that would terrify Nike-if Nike didn't already own us." Ron Faris, general manager of S23NYC, a Manhattan-based digital studio owned by sports apparel giant Nike, is on the phone with Adam Sussman, Nike's chief digital officer. It is June 1, 2018. Two years earlier, Sussman was behind Nike's push to acquire Virgin Mega, a startup comprised of Faris and his small team, which has since morphed into a studio that plays a pivotal role in Nike's digital strategy. With the studio's mobile app, SNKRS (pronounced 'sneakers'), specifically, Nike seeks to strengthen its connection with the most fanatical of its fans-the sneakerheads-and "bring back the fun and emotion of buying," as Sussman put it. Is Nike on the right path with its digital strategy and, in particular, with how it seeks to change the sneakers game and compete with rivals such as Adidas and Puma? Does it make sense for the company to pursue the kinds of innovations featured in the SNKRS app? And what kind of campaigns and activations should it prioritize in the future?

In March 2017, Jason Blum, the founder and chief executive officer of film and television production company Blumhouse Productions, has another blockbuster on his hands with the movie Get Out, produced for just $4.5 million. Remarkable returns for its micro-budget films were nothing new for Blumhouse: in fact, in recent years, Blum and his team are responsible for more such outsized successes than any other producer, especially in the horror genre. The company's approach to movie-making is quite different from that of the major studios: it is not afraid to bet on projects that other studios have passed on; it pays its key cast and crew members the minimum salary stipulated by industry unions and only pays out sizeable bonuses if a movie's box-office reaches certain levels; it gives its directors a great deal of creative control; and it decides on a film's release strategy only once the first cut is ready. Has Blum discovered a robust formula for success in the film business? And is his approach sustainable, even as other players in Hollywood might seek to copy Blumhouse's strategy?

It is June 2016. Superstar basketball player LeBron James and his childhood friend and business partner Maverick Carter are celebrating James' third NBA championship. The duo will soon have to decide on a strategy for their media businesses-their film and television production company SpringHill Entertainment as well as their digital sports platform Uninterrupted. In 2015, Carter and James negotiated a first-of-its-kind, three-year agreement with Hollywood studio Warner Bros. Entertainment that gave SpringHill Entertainment a first-look movie deal, an exclusive television deal, significant development resources that also could be used for the creation of digital content, and space on the studio lot. Later that year, Warner Bros. signed on as a lead investor in Uninterrupted. Were Carter and James right to partner with Warner Bros. in this manner? And with renewal negotiations just around the corner, how could they make the most of the opportunity?

Should the ABN AMRO World Tennis Tournament gamble most of its player budget on superstar player Rafael Nadal, even after the event's previous two editions saw Nadal and Roger Federer pull out at the last moment due to injury, leaving the tournament without any top-five players? That is the question that Richard Krajicek, former Wimbledon champion and current tournament director, is debating with Jolanda Jansen, the director of the venue that hosts the event. It is June 2017, and earlier in the day, Nadal won the French Open ('Roland Garros') for a record tenth time. Krajicek's plan for the upcoming edition was to focus his recruiting efforts on five exciting, mostly younger, players, and assemble a group of top-20 players around them-but after Nadal's record-breaking performance Krajicek is now considering pursuing the Spanish superstar for the 2018 tournament after all. What is the best course of action?

In June 2016, Dwayne 'The Rock' Johnson is planning for the upcoming launch of an endeavor that is a first for a Hollywood actor with superstar status-a digital channel. The channel (named "Seven Bucks Digital Studios") will be a new part of film and television production company Seven Bucks Productions, which Johnson co-owns with his business partner and former wife, Dany Garcia. Under Garcia's guidance, Johnson has made a successful transition from being a top wrestler with World Wrestling Entertainment to also climbing the ranks in Hollywood, becoming one of its most bankable and highest-paid actors. The two stand out for pursuing an ambitious slate of projects as producers as well, making Seven Bucks Productions a force to be reckoned with in the world of entertainment. Are Johnson and Garcia right to bet on a new digital channel, which is scheduled to make its debut on YouTube in the next month, and do they have the best approach to making that channel a success?

In July 2016, while on his annual China tour to help promote the sportswear brand Li-Ning, basketball superstar Dwyane Wade and his long-time business manager Lisa Joseph-Metelus face a decision regarding one of his other business partnerships-that with the American company Stance, known for its colorful socks. Involved with the young company since 2013, Wade quickly established himself as Stance's most successful brand ambassador. But recently, several younger players had also come on board as endorsers, and Stance had entered into an overall sponsorship deal with the NBA. With his Stance deal coming up for renewal in October 2016, what kind of deal should Wade and Joseph-Metelus propose to Stance? And how would a newly structured partnership fit into Wade's overall business portfolio-including his plans for after his active basketball career?

In July 2013, composer, writer, actor and rapper Lin-Manuel Miranda, director Tommy Kail, and producer Jeffrey Seller met to discuss how to launch Hamilton, a new musical based on the life of the first Treasury Secretary of the United States, Alexander Hamilton. With a hip-hop score and an ethnically diverse cast that looked nothing like their historical counterparts, Hamilton was an unlikely candidate for success on Broadway. The trio needed to decide which of two popular routes was best to bring their new musical to Broadway: either take the production straight to Broadway in a 'cold open,' or strike an 'enhancement deal' with a non-profit theater so the musical could be tested before mounting a more expensive Broadway run. Could a hip-hop musical about a largely forgotten Founding Father be a Broadway blockbuster? And if so, what was the right next step in bringing Hamilton closer toward that goal?

In November 2014, Spotify's chief content officer Ken Parks learns that record label Big Machine Records has requested the immediate removal of superstar artist Taylor Swift's entire catalog from Spotify's music streaming service. Is it time for Spotify to reconsider the policies that seem to have prompted Swift's catalog takedown-and specifically the company's insistence that artists offer the same assortment across countries and not target only premium tiers? Will the takedown request lead to other artists considering a deflection from the service, and if so, what can Spotify's executives do to prevent others from leaving? And, as it is only a matter of time before the news will be common knowledge among both music-industry insiders and fans, how should Spotify respond in the public domain?

In December 2015, Alan Horn, chairman of The Walt Disney Studios, celebrates the world premiere of Star Wars: The Force Awakens - only the latest in a string of big bets that he has overseen. Disney pursues a 'tentpole strategy' that revolves around at least eight big-budget movies each year -- most from its acquired labels Pixar, Marvel Studios, and Lucasfilm. In fact, Disney produces nearly twice as many tentpole movies as any other major Hollywood film studio, but fewer movies overall than all but one of its rivals. Box-office failures can be extremely costly, since Disney (unlike its rivals) chooses not to enlist the help of financing partners. Is Disney Studios pursuing the right number of tentpoles as well as the right mix of new versus existing properties, under the right financing structure? And will the tentpole strategy pay off-in the short and long run?

In June 2015, FC Barcelona president Josep Bartomeu sees his team lift the UEFA Champions League trophy, completing an impressive trophy haul in the 2014-2015 season. Unique for a club of its caliber, five of the starting eleven are products of FC Barcelona's youth academy, La Masia. Yet none of the trophies and accolades guarantee future success. Bartomeu faces pressing questions about the club's business model-and in particular about the tensions between local and global activities-as well as decisions about the ongoing investment in the youth academy, funding for the club's Foundation and other sports, and its relatively low ticket prices. How could Barça continue to win on and off the field in the increasingly competitive and global world of European football, while still protecting its local focus and traditions?

In January 2015, superstar television creator Shonda Rhimes, whose production company ShondaLand dominates American television's most competitive and lucrative night with three shows in primetime on network ABC's Thursday night, is plotting the future. One challenge she faces is to, as she put it, "solve the problem of writing and producing serialized dramas for broadcast network television." What changes could she propose to ABC to make the creative process more manageable? A second challenge is to figure out how to further expand ShondaLand. How could Rhimes best build her portfolio and further cement ShondaLand's place in television history?

In February 2014, Burberry's chief executive officer Angela Ahrendts is preparing to hand the reins of the English luxury fashion company to chief creative officer Christopher Bailey. Under Ahrendts and Bailey's partnership, in place since 2006, Burberry's revenues have tripled to more than two billion English pounds, and operating profits have more than doubled. Ahrendts has led Burberry to become a brand that once again stands for luxury and that has a strong global and digital footprint. Yet the leadership change is met with skepticism. Is Burberry's current strategy also the right one for the future, and can Bailey continue Burberry's transformation?

In September 2014, Stephen Burke, chief executive officer at lmedia and entertainment company NBCUniversal, has to decide between possible priorities for the company's 'Project Symphony,' guaranteeing the winners a high level of visibility and support across the media conglomerate's broadcast and cable television, film, and theme park divisions. Past "Gold" priorities for Symphony, an initiative introduced shortly after Comcast made steps to acquire NBCUniversal in 2010, saw subsequent success in the marketplace. Symphony is so powerful, in fact, that competing conglomerates are keen to buy some of NBCUniversal's cross-promotional strength, as Disney did with its megahit Frozen in 2014. For 2015, the choice is between five films-Fast & Furious 7, Fifty Shades of Grey, Jurassic World, Minions, and Pitch Perfect 2-as well as two choices in television. Which are most deserving of Gold status?

In December 2013, music superstar Beyoncé is about to surprise her fans with the release of her self-titled album. The team at her company Parkwood Entertainment, which general manager Lee Anne Callahan-Longo described as "a management, music, and production company that is owned and at the highest level operated by an artist," had chosen to release the entire album at once and exclusively via the Apple iTunes Store, without any prior promotion-a significant, and potentially very risky, departure from how music was traditionally released. Sony Music's label Columbia Records, with whom Parkwood partnered on recorded-music activities, shared the costs-and therefore also the risk-of the album, which had been one-and-a-half years in development and was a particularly expensive proposition because of the many videos. How would fans and music industry insiders react to the daring launch, unveiled via Beyoncé's Facebook and Instagram accounts? Would the album be able to find a large enough audience even without traditional promotional activities? And would there be any adverse reactions, for instance from traditional music retailers refusing to carry the physical album later?

In March 2011, Asif Satchu and Modi Wiczyk, co-chairmen and co-chief executive officers at independent production company Media Rights Capital (MRC), are debating whether to accept a licensing offer from Netflix for their most ambitious project to date, a new television series called House of Cards. MRC executives had begun to pitch the series to each of the major premium cable networks in the US, including AMC, FX, HBO, Showtime, and Starz. To the surprise of the two entrepreneurs, Netflix executives had made it known they were prepared to make a bold step into the world of original programming. As thrilled as Satchu and Wiczyk were about Netflix's offer, accepting it-and thus forgoing a sought-after one-season offer from a traditional premium cable network-raised major concerns, for instance about MRC's ability to secure international rights fees, to obtain sufficient marketing support, to gain the necessary credibility in the marketplace, and to satisfy artists and other key constituents. Was Netflix the right partner for MRC?

When Alex Ferguson took over as manager of the English football team Manchester United, the club was in dire straits: It hadn't won a league title in nearly 20 years and faced a very real threat of being relegated to a lower division. In 26 seasons under Ferguson, United won 38 domestic and international trophies--giving him nearly twice as many as any other English club manager--and became one of the valuable franchises in sports. In 2012, during Ferguson's final season before retiring, Harvard Business School professor Anita Elberse had the unique opportunity to observe Ferguson's management style in a series of visits and in-depth interviews. In this collaborative explication, she details eight parts of Ferguson's "formula" as she observed them and gives the manager his say. The lessons described range from the necessity of maintaining control over high-performing team members to the importance of observation and the inevitability of change. The approach that brought Ferguson's team such success and staying power is applicable well beyond football--to business and to life.