Scripty is a next-generation Hollywood studio.We create binge-worthy podcasts and adapt them to film and television, giving audiences fresh and original IP while nurturing the next generation of Hollywood creators. We empower writers, directors, actors and production crews to craft compelling audio-first properties and adapt them from sound to screen. Each of the projects we champion are original, in the creator's voice, and something that hasn't been done before.We excel in creating breakthrough source material with multicultural teams, connecting original content with passionate audiences, and maximizing the value of our IP across multiple platforms. We prioritize significant and diverse growth audiences who are highly coveted by advertisers, studios, networks and streaming platforms. We also partner with media companies and brands to create custom content across targeted demos.Connect with us on our socials: @ScriptyPods

Meraki [mA-‘rak-E] is a Greek word meaning to put “a part of your soul” into everything that you do, particularly in artistic endeavors. It is with this ethos that we approach the development and production of film, television and digital projects for studios, networks and brands. We specialize in identifying powerful stories from underrepresented voices (namely, women and people of color) and building the infrastructure to tell them. Meraki also provides content strategy & consulting services to emerging platforms.Emmy-nominated producer Katie Christian founded Meraki Pictures in early 2019 after leading the creative production of multimillion dollar original programming slates at Metro-Goldwyn-Mayer Studios and StyleHaul, a female-focused digital media and marketing company owned by RTL Group/Bertelsmann. Katie has produced original series and branded content (domestically and internationally) for blue chip clients including Google, Amazon, Walmart, Verizon and P&G.

As the studio's youngest VP (and one of the only women in senior management), I was initially hired to run scripted development for the Digital and New Platforms division. Within a couple months, my role was expanded to include oversight of the group's unscripted programming, as well as leadership in the content strategy and execution of LightWorkers (a joint venture of MGM, Mark Burnett and Roma Downey) in their pivot toward launching a faith-based streaming platform for an 18-44 year old multicultural audience.In this role, I oversaw all aspects and phases of the creative process from development through release (including packaging, pitching, story development and production guidance); nurturing relationships with writers, directors, producers, performers and their representatives; and supporting the department's values through original series and movies for streaming platforms that resonated with young, diverse audiences.Utilizing a nimble team that I recruited and led: we built a slate of 30 projects; filmed 3 productions (1 feature film + 1 scripted series + 1 competition show); and set up 12 shows with buyers - including an exclusive, multi-year deal with VUDU/Walmart in their inaugural foray into originals. Our slate featured a mix of live-action and animated projects, across a wide breadth of genres, leaning heavily into iconic MGM IP. Looking beyond our extensive library, I spearheaded the creation of an in-house writers workshop program to develop underrepresented talent and incubate culturally-specific, original stories.Following changes in studio leadership, the Digital division and its slate was absorbed into the Television group in late 2018.

Digital media and marketing company for fashion, beauty and women's lifestyle with 540 million global subscribers. Acquired by Bertelsmann/RTL Group ($200M valuation).After two years running creative production of original series and branded content, I was recognized by the CEO and executive board as one of the top performers in the company and promoted to VP.With this promotion, I continued to function in an integral role across the development, production and release of all premium original series. Our programming slate generated multimillion dollar revenues and >30% profit margins from digital-first distribution. In addition, the properties I developed continued on to generate incremental revenue through TVOD, licensing deals and longform format deals on both domestic and international broadcast TV networks.Highlights include producing the company's first virtual reality series (filmed on location in Belize) for Google VR. The diverse assortment of influencer travel content can be experienced in 360° 3D on Google Daydream.On the scripted side, I produced StyleHaul's first half-hour drama pilot (filmed on location in London) for a major SVOD service. Having led its freshman season, I also oversaw the 24 episode, two season renewal of "Relationship Status", which became one of the most-watched series on Verizon's go90 in its initial run. The show received three Daytime Emmy nominations for Outstanding Writing, Directing and Supporting Actress in a Digital Drama Series and landed a development deal at Disney's Freeform as an hourlong drama series.

Parlaying my background in film and television, I was brought on as the digital network's first creative executive to build a slate of scripted and unscripted, episodic and feature-length programming through ground-up development, RFPs and acquisitions.During my first two years with the company, I oversaw the development, production and release of StyleHaul's first two scripted series (which received a Daytime Emmy nomination for "Outstanding Digital Daytime Drama Series" and premiered at the Tribeca Film Festival, respectively); conceived, sold and produced the company’s first docuseries; and carefully assembled a slate of more than a dozen projects in various stages of development. Produced projects were initially released across Amazon Prime, iTunes, YouTube and Verizon's go90.Additionally, I served as Creative Director on branded campaigns for Amazon, Procter & Gamble (Pantene, Olay, Safeguard), L'Oreal Paris, Elizabeth Arden and Kohl’s; and oversaw creative + production matters on sets in LA, NY, Beijing and Singapore for campaigns in the US, Australia, Japan, Indonesia, Thailand and the Philippines.

Production company founded by Lorenzo di Bonaventura (former president of worldwide production at Warner Bros. Pictures) with a first-look deal at Paramount Pictures. Company credits include the Transformers ($5.3B), G.I. Joe ($718M) and R.E.D. ($362M) franchises; Salt ($294M), Stephen King's Pet Sematary ($112M), The Devil Inside ($102M) and Four Brothers ($93M). • Functioned as the company's junior creative executive• Evaluated all incoming submissions including specs, books, articles, writing & directing samples• Provided creative notes on project drafts, outlines and treatments• Created writer, director, talent and key crew lists• Participated in and took notes on generals, pitches and project meetings for senior executives• Regularly reviewed foreign films, shorts, music videos, web content and commercials; and attended screenings in search of emerging talent and adaptation opportunities• Recruited, hired and supervised a class of 5-8 interns each semester; providing a balanced mix of creative assignments, administrative tasks and educational benefits

Full-service production, financing and global sales company owned by Lionsgate. Company credits include Oscar-winning Juno ($232M), Golden Globe-nominated 50/50 ($41M), The Strangers ($155M) and The Grudge ($308M) franchises. Dissolved in early 2012, co-founders Joe Drake and Nathan Kahane went on to serve as Lionsgate's Chairman and President of the Motion Picture Group, respectively.• Hired as the 2nd Assistant and promoted to the 1st Assistant within a few months on the desk• Provided script coverage and pitched material in weekend read meetings• Prepared script notes and writer/director lists for in-house projects and potential acquisitions• Established creative/business proposals for new projects• Researched remake, adaptation and turnaround opportunities• Brought in new ideas for ground-up development through weekly scanning of periodicals and internet content• Participated in weekly creative, production and business affairs meetings• Handled all scheduling, travel, meals, expenses, gifts and rolling calls• Managed a team of household staff and handled extensive personal duties

As the assistant to two attorneys with a combined workload of more than 100 projects in various stages of development, production, post-release and turnaround: I drafted over 290 agreements and deal memos in connection with above-the-line talent and chain of title; facilitated payments arising out of the development process; gathered information relating to budgets, copyrights, credits and advertising restrictions; and coordinated location and vendor agreements.

Full-time, unpaid position reporting to the studio's east coast head of casting, Meg Simon, and her associate, Findley Davidson. Scouted for new talent at 20+ collegiate showcases, theatrical productions and comedy shows; including identifying Ian Harding (Carnegie Mellon '09) who became a series regular on then-pilot order "Pretty Little Liars". Scheduled and performed as a reader for audition sessions, greeted and announced guests, coordinated mail delivery, ordered office supplies and other administrative tasks.

Part-time, unpaid position at an entertainment law firm. Responsible for drafting various contracts, demand letters, memorandums and other correspondence involving trademark, copyright, tax and business law issues. Interned up to three days per week while maintaining a full course load, extracurriculars and part-time job.

Part-time, unpaid position at a boutique talent agency. Prepared daily client submissions. Answered phones and gave out appointments. Ran errands. Performed various clerical tasks: photocopying, data entry, updating database, typing, filing, faxing and email. Interned up to three days per week while maintaining a full course load, extracurriculars and part-time job.