Brett Takeshita Joins Enlighten Content as Senior VP

Brett Takeshita has joined Enlighten Content as senior vice-president, development and production. The Canadian-American producer has handed him its slate of features and films, meaning the grouped list of projects in planning and in shoot. Deadline reported the appointment on 23 September 2026. He will guide new features from pitch to final delivery.

Enlighten Content is led by chief executive Jacob Nasser. Takeshita will oversee development and production across upcoming titles, working with writers, directors and production partners. Development is the search. Production is the shoot.

Takeshita arrives after four years at Tubi, the free ad-supported streaming service where viewers watch at no cost with adverts. His profile lists his Tubi role as Original Content Manager. LinkedIn During that run he worked on more than 130 projects. That is a fast pace, even by the standards of streaming where volume is high.

They included the Sidelined trilogy starring Noah Beck and Siena Agudong. He also shepherded Stepfather, a Tubi original starring Taye Diggs. An earlier credit includes The Assistant 2, made with Tubi and Footage Films. All three were built to premiere on streaming.

Before Tubi, Takeshita worked at Hallmark Media on holiday murder-mystery telemovies, meaning films made for television. Early in his career he wrote, produced and directed web series and digital content for Funny or Die. He did the same for Urban Movie Channel, now known as ALLBLK. Short online video was his training ground.

The new post is a reunion of sorts. Takeshita previously worked with Enlighten Content on shows including @Home with Tori. He knows the team. The team knows him.

His exit follows another recent Tubi departure, with former executive Ashla Soter joining Digital Sword after leaving the streamer. Moves like this are routine in television. Executives carry projects, contacts and taste from one employer to the next. No new titles were announced with the hire.

For viewers, the effect will not be instant. A development chief helps decide what gets written, greenlit and filmed. Those choices take months to travel from a writers’ room to a set with a crew of two hundred, and then to a screen. What makes this stand out is continuity rather than change.