When a college freshman discovers her straight-laced, nerdy father is addicted to crystal meth, she and her family must join him in rehab, where the entire family's problems are put under a microscope. Addiction is a family disease. Unfortunately, family is incurable.

NO MAN’S LAND (One-Hour, Horror) – In a dying Dust Bowl town suffering from the outbreak of a strange disease, a headstrong epidemiologist finds herself facing off against an ancient, supernatural entity.

When a troubled young woman’s investigation into her high school crush’s disappearance leads her into an entirely new dimension– a failed penal colony with supernatural forces, feuding inhabitants, and mortal danger- she must find the truth while also trying to find a way back. A One-Hour YA Fantasy Adventure Pilot.

THE FITTEST (Half-Hour Drama, Anime/Fantasy/Sci-fi): Newly deemed terrorists set out to prove their loyalty by capturing their country’s most-wanted, a terrorist group called Specter. However, as they spend more time with the country’s people, they start to question who the real terrorists are.

It is an animated series for kids. It centers on Sid, an adventurous eleven-year-old girl, who gets into trouble one too many times, and a Bogeyman, is sent to scare her straight. But this monster, named Bugaboo, turns out not to be the scary creature that she thought he would be, creating an unlikely friendship between the two.

In the aftermath of their baby’s stillbirth, eccentric couple Marlow and Dev clash with overbearing loved ones, outspoken neighbor kids, and each other while trying to reconcile unmet expectations and their newfound reality. Bottling up her emotions, Marlow begins to see inanimate objects speak, spewing out the feelings she hopes to keep suppressed.

A woman on a journey of self discovery accidentally starts a doomsday cult.

This dissertation centers on amateur films produced by Americans traveling to Asia in the mid-twentieth century. I examine the style and content of these films and place them in conversation with industrially produced media to elucidate their distinct aesthetic and means of production. Examining the amateur travel films of both tourists and soldiers, I investigate to what extent American filmmakers absorbed commercial cinema's racialized construction of Asia and how, if at all, their films depart from or even undermine such constructions. I posit that while these films certainly reflect Hollywood's orientalism, their unpolished, unguided nature also offers limited space for historically underrepresented Asian communities to (re)present themselves. Further, these amateur travel films prove powerful artifacts for exploring contemporaneous American social relations, including early-twentieth century gender roles, the sexual identification and desire of wartime soldiers, and the disillusionment of the Vietnam era. Filmmakers under discussion include an American diplomat serving in China, several women educators, and a number of soldiers who served in WWII or the Korean War or the Vietnam War. Engaging with anthropologists, film scholars (particularly those interested in amateur and ethnographic filmmaking), and cultural historians, I seek to demonstrate the scholarly value of the amateur travel film, suggesting that its polysemy and distinctive style merit further analysis for us to deepen our historical understanding of these films and their makers, but also of the film form at issue and of the cultural image the U.S. held of Asia and the Pacific during the time under investigation. / 2026-09-06T00:00:00Z

Beyond these next four pages lies a product of my travels into the past without ever leaving the present. My experiences with nostalgia are elusive yet frequent, which drove me to attain a greater understanding of this subconscious tendency. Learning that these reminiscent reveries affect humanity at large, I found it odd that the limited literature on the subject includes only speculation regarding its purpose and utility. Consequently, I struggled in my search for a method to accomplish creative research. Quickly discarding the obvious, familiar stimuli summoning recollection, I then grew interested in the unfamiliar stimulating the nostalgic occurrence. With this as a jumping point, I wanted to simultaneously play with the idea of making my contemporary self, whom is so inclined toward the cinematic arts, meet with my past self (accompanied with my childhood interests). Film, already capturing a reality, already representing a representation, I found no better medium to facilitate the expansion of such a concept. My goal was to wipe away the fog on the window to the past and remember what I witnessed. In effect, utilizing this newfound knowledge of nostalgia to create a film of my past that evokes others to ponder their own. This thesis functions to share the memory of my experimental experience.

<p> This dissertation seeks to create a theory of narrative balance based upon the connection between economics and literary narrative, and to apply that theory to postmodern texts, which confront issues of space, economics, and narrative. I use sources in both postmodern economic and cultural theory, as well as the more modern influences of cognitive science, narratology, and evolutionary psychology. My work will build on the work of several cognitive and evolutionary scholars, including David Herman, Lisa Zunshine, Blakey Vermeule, Nancy Easterlin, and Merlin Donald, but the concept of &ldquo;space&rdquo; creates a gap through which I blend theories of the postmodern with cognitive psychology. I argue that narrative fictions have an &ldquo;economic&rdquo; quality to them and that causality becomes increasingly conflated with what some would call &ldquo;meaning,&rdquo; others, &ldquo;literariness.&rdquo; </p>