Entertainment Work
My work in this pillar spans scripted development, post-production workflows, and format innovation. Whether shaping an original pitch or structuring 500TB+ of archival assets, I approach every phase of storytelling with a balance of creative vision, operational discipline, and a commitment to narrative clarity.
ATL x UTA Learning Series
United Talent Agency (UTA) is a global talent, entertainment, and sports company representing leading voices across film, television, music, digital media, and beyond, including Issa Rae, Emma Chamberlain, Timothée Chalamet, Bad Bunny, and more. The ATL x UTA Learning Series, launched in 2024 and led by Director of Early Career Recruiting Leslee Treleven, offers emerging professionals insights into the sports and entertainment industry, exposure to careers in representation and marketing, and direct engagement with top agency executives.
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For a creative brief on IP adaptation, I reimagined Anything Goes, the hit podcast by Emma Chamberlain, as a loosely inspired coming-of-age dramedy. The adaptation centers on the daughter of two eccentric artists who stumbles into YouTube fame during high school and must navigate the dizzying highs and isolating lows of digital stardom in Los Angeles. The film blends personal reflection with cultural critique, examining how Gen Z performs identity, craves authenticity, and struggles to maintain selfhood in the spotlight.
Rather than a beat-for-beat adaptation, the project explored how the essence of Emma’s voice — unfiltered, intimate, and reflective — could translate into narrative structure and tone. Through this exercise, I deepened my understanding of cross-platform storytelling, the emotional nuances of adaptation, and the importance of voice and audience resonance in reformatting existing IP for new mediums. This exercise reinforced how voice, audience, and tone must align when translating non-fiction IP into scripted formats.
Tomorrow Studios
Tomorrow Studios is a television production company formed as a partnership between ITV Studios (LOVE ISLAND, DOWNTON ABBEY, HELL’S KITCHEN) and founding WME agent, turned producer Marty Adelstein (PRISON BREAK, TEEN WOLF, AQUARIUS). The studio is known for developing compelling scripted television series with top-tier talent for a global audience, including the live-action adaptation of the classic manga ONE PIECE (Netflix), THE BETTER SISTER (Prime Video), PHYSICAL (Apple TV+), and SNOWPIERCER (AMC+). With a strong track record of adapting IP and launching premium series, the company sits at the intersection of commercial viability and creative innovation.
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Pitched original television and feature film concepts — including ARGIVES and His Son — directly to development executives, cultivating market-aligned proposals that emphasized creative vision, casting strategy, and competitive positioning.
Provided weekly script coverage on books, formats, and in-house submissions, evaluating story structure, character development, and adaptation viability to inform internal development decisions.
Delivered editorial feedback on pre-visualizations, rough cuts, and creative assemblies across active productions, identifying continuity issues, tonal gaps, and story opportunities to strengthen final delivery.
Maintained and updated the company’s internal tracking system, logging slate-wide development activity from pitch through post to support cross-functional visibility and executive strategy.
Participated in Q&A sessions with agents, coordinators, and partners at CAA, UTA, and WME to gain practical insight into representation, client servicing, and the evolving landscape of talent packaging and IP sales.
This internship refined my creative judgment, strategic thinking, and operational awareness — allowing me to contribute meaningfully at the intersection of storytelling and execution.
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His Son is an original feature concept inspired by a real-life advice column in The Atlantic about a man whose adult child, previously unknown to him, reaches out by email. Rather than centering the father, the story unfolds through the eyes of his wife, Maeve: a woman quietly erased from her own family as her husband rediscovers a past she never chose to inherit. It’s a slow-burn psychological drama about female passivity, generational trauma, and the quiet unraveling of a long marriage. Think Marriage Story meets Gone Girl — without the murder, but all the resentment.
I led the re-framing of the narrative to center Maeve, reconstructing the emotional arc and thematic tension around her interior journey. I developed pitch copy, beat sheets, and character snapshots that positioned the story as a contained yet emotionally explosive domestic drama. This process allowed me to stretch my empathy as a writer — building layered character motivation and emotional stakes for someone who rarely speaks first, but feels everything. I also deepened my skills in IP adaptation and ethical sourcing by transforming an existing personal story into something cinematic yet respectful.
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ARGIVES is a prestige television drama chronicling the final year of the Trojan War, drawing from Homeric works like The Iliad and Greek tragedies such as Ajax and The Trojan Women. The series positions itself as a modern epic (Game of Thrones meets Troy) balancing sweeping battle sequences with emotionally charged, character-driven arcs. The story follows a wide cast of legendary figures including Achilles, Odysseus, Hector, and Cassandra, exploring the unraveling of gods, men, and empires alike.
My work on ARGIVES was a masterclass in world-building and myth adaptation. I contributed to the episodic structure breakdown, drafted character bios, and supported the narrative spine that carries viewers through complex interpersonal politics, divine intervention, and the wretchedness of war. More than a chronological retelling, the pitch deck conveyed scale — visually, thematically, and emotionally.
Through this project, I learned to shape a pitch that honors classical source material while positioning it for premium buyers seeking IP-rich, global storytelling. The process strengthened my skills in tonal alignment, genre packaging, and balancing creative ambition with production feasibility.
Blumhouse
Blumhouse is a production company founded by former Miramax executive Jason Blum (GET OUT, THE PURGE, INSIDIOUS), known for pioneering a low-budget, high-return model that has reshaped the modern horror genre. Its film division is behind global hits like M3GAN (Universal), THE CONJURING UNIVERSE (Warner Bros. Discovery), and FIVE NIGHTS AT FREDDY’S (Peacock). On the television side, the studio has produced acclaimed series including THE RAINMAKER (USA Network), THE BONDSMAN (Prime Video), and WORST ROOMMATE EVER (Netflix). With a brand rooted in innovation, cultural commentary, and commercial success, Blumhouse sits at the forefront of genre storytelling.
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Reviewed scripts for marketable elements tied to genre, talent, and packaging; created preliminary VFX breakdowns and assessed licensing needs for sound and archival footage to inform early post workflows.
Audited nearly 400 sources of physical and digital inventory, eliminating duplicates and reconciling discrepancies with external logs to ensure metadata accuracy and compliance.
Evaluated and recommended scalable cloud storage solutions for 500+ terabytes of archived assets, analyzing vendor capabilities and cost structures to support future infrastructure decisions.
Verified licenses, payment confirmations, and metadata for third-party materials — including music, archival footage, and branded content — to support legal compliance and cross-team efficiency.
Attended weekly Hot Topics meetings with department leads from development through delivery, gaining end-to-end visibility into Blumhouse’s scripted television pipeline.
Participated in executive Q&As covering post operations, creative direction, and career pathways — sharpening my industry fluency and long-term professional strategy.
This role deepened my operational instincts, technical skills, and understanding of how post-production supports storytelling at scale in a fast-moving genre studio.
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In a hybrid internship rooted in problem-solving and systems thinking, I was tasked with evaluating cloud-based archival solutions to preserve over 500 terabytes of footage, dailies, and screeners — materials spanning more than a decade of genre television. I researched and modeled offerings from major vendors, focusing on cost structures, scalability, retrieval speeds, and compliance needs. The resulting analysis was presented to post leadership as a strategic resource to inform future decisions around asset storage and backup.
In tandem, I helped reconcile the studio’s physical and digital post inventories across nearly 400 sources, flagging duplicates and verifying records against metadata, licenses, and external databases. Working between systems like Asset Panda and Frame.io, I created detailed reports identifying miscategorized or missing content — a key step in preparing the studio’s archive for migration. This work demanded accuracy, initiative, and an ability to triage ambiguity at scale.
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My second major project focused on visual effects (VFX) tracking and licensing logistics across multiple titles simultaneously. I created detailed breakdowns identifying frame-level visual effects, anticipated production challenges, and recurring red flags (e.g., unlicensed music, brand names, sensitive imagery). These memos helped producers and vendors align expectations early in the post process, especially for shows heavy in surreal or stylized visual elements.
I also reviewed third-party footage usage across multiple episodes, verifying clearances, licenses, and payment history while updating tracking documents to reflect finalized metadata. This required collaboration with legal, post, and production teams — balancing narrative needs with rights management and network standards.
FILM 407 Film & Media Management Capstone: Content Creation
Offered exclusively to seniors in Emory’s Film & Media Management Concentration, FILM 407 bridges classroom theory with industry practice to prepare students for careers in entertainment. Through a mix of seminar discussions, executive speaker sessions, and group projects, students gain fluency in media economics, IP development, marketing, and distribution. By semester’s end, students leave with a professional toolkit for navigating Hollywood’s creative and commercial pipelines.
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Blood and Water is an original coming-of-age drama about a Chinese adoptee raised in a conservative white Christian household who embarks on a root-finding trip to China — not to find her birth mother, but to rediscover herself. The film explores the psychological turbulence of growing up in cultural isolation, the blurred lines between faith and identity, and the quiet rebellion that occurs when memory, family, and selfhood collide. Think Lady Bird meets The Farewell — a tender, conflicted portrait of a girl split between two homes she’s never fully belonged to.
I helped conceptualize the narrative arc, developing character dynamics, cultural tension points, and emotional beats that grounded the story’s tone and direction. I led the visual design of the pitch deck and contributed research on cross-cultural representation, diaspora narratives, and global market viability. This project taught me to pitch personal stories with universal resonance and solidified my voice as a storyteller drawn to themes of displacement, duality, and belonging.
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As a culminating assignment for the Capstone in Film and Media Management, I synthesized insights across development, marketing, and the future of content pipelines. The essay examined how forces like data analytics, studio risk aversion, and content oversaturation are reshaping creativity and audience connection.
Drawing on course readings, guest lectures, and hands-on project work, I explored the tension between intuition and data in entertainment strategy — and what it means to lead with creative clarity while operating in increasingly corporate environments. This project helped me articulate my voice as a cross-functional thinker: someone who sees creative strategy, audience empathy, and operational fluency as interconnected tools for driving impact in today’s media ecosystem.
Production Credits
Script Supervisor & Production Assistant, Reality Check (Web Series) – Ensured continuity and coverage on set across S2 episodes. Coming-of-age dramedy about Black girlhood at a Predominantly White Institution (PWI). Watch Season 2, Episode 1 | BTS
Background Actor, The Electric State (Netflix) – Participated in large-scale set operations for a high-budget feature. Sci-fi action film set in dystopian 1990s America. Watch Here
Executive Producer, Sonder (Web Series) – Oversaw concept, crew, and shoot for a student-led series on the complexities of human connection. Intimate vignettes exploring untold inner lives. Watch Episode 1
Executive Producer, Chime (Short Film) – Led concept development and production for a short thriller on surveillance, grief, and digital paranoia. Created for a no-budget capstone challenge blending horror and technology.
Assistant Director & Writer, Baking with Molly (48-Hour Film) – Delivered a completed short film in 48 hours, managing schedule, script, and shoot logistics. Absurdist comedy about grief, love, and chocolate cake.
Content Creator, @realjaydendavis (YouTube Channel) – Developed, produced, and edited original video content, building early skills in creative storytelling and brand voice. Commentary and skits on pop culture and identity. Visit Here
Producer & Production Assistant, The Grounded Astronaut (Short Film) – Helped produce and coordinate an award-winning teen-led film exploring anxiety, burnout, and hope within the modern education system. Watch Here