The Television Academy has announced its 2018 changes in membership requirements as approved by its Board of Governors.
Among the changes is the expansion of membership to include personal publicists in the Professional Representatives Peer Group, short form writers in the Writers Peer Group and colorists in the Picture Editors Peer Group.
“It’s the Television Academy’s mission to create a membership body that reflects the many diverse professions and endeavors of those working in the television industry,” said Hayma Washington, Television Academy chairman and CEO. “These membership changes are indicative of the ongoing effort to more closely represent our vision of a progressive and inclusive television community.”
New membership eligibility rules changes include:
Professional Representatives Peer Group: Active Status (voting) membership now includes personal publicists who are actively engaged in publicizing individual artists, a substantial portion of whom appear or work in nationally viewed television programming. All applicants must have at least three years experience as a personal publicist, and all requirements must be met within four years preceding their application for membership.
Writers Peer Group: Active Status (voting) membership now includes writers with credits on at least 120 minutes of professional short form programs that have had broad domestic or verifiable international consumer release. The short form programs must have an average content length of 15 minutes or less.
Picture Editors Peer Group: Active Status (voting) membership now includes Associate Producers/Post Supervisors and Colorists with a minimum of four years working on nationally exhibited content, full-time for 24 of the last 36 months.
Additional changes include:
Motion & Title Design Peer Group: Additional positions of employment have been added including Creative Director, Art Director, Animator, Compositor, Editor, Illustrator, Typographer and Creative Producer. Members must have worked a minimum of three years that includes at least three Motion & Title Design credits.
Sound Peer Group: Additional positions of employment have been added including Engineer, Monitor Mixer, Playback Mixer, Production Sound Mixer and Re-Recording Mixer. Members must have worked in these areas for at least three consecutive years or have verifiable credit on at least 25 hours of nationally exhibited programming within the past four years.
Makeup Artists/Hairstylists Peer Group: Active Status (voting) membership now requires work on at least 25 nationally exhibited episodes (previously 25 hours of programming) within a four-year period, plus a minimum of two years’ experience.
Reality Programming Peer Group: Active Status (voting) membership now requires individuals to have completed at least 26 work weeks (previously two calendar years) of reality television programming; or have at least 20 credited episodes in at least two of the previous four years.
Review: Steven Soderbergh’s Eerie Haunted House Drama “Presence”
The camera is the ghost in Steven Soderbergh's chillingly effective, experiential haunted house drama "Presence." The filmmaker traps the audience in a beautiful suburban home, letting us drift through rooms with this curious being, in and out of delicate conversations as we (and the ghost) try to piece together a puzzle blindly.
Often in haunted house movies where a new family moves in and starts sensing strange things, the ghost knows exactly what they want — usually their house back. In this one, the presence doesn't have such a clear objective. It's more confused, wandering around and investigating the surroundings, like a benevolent amnesiac. Occasionally, though, big emotions erupt, and things shake violently.
Mostly, they go unnoticed. They observe the chipper real estate agent (Julia Fox) preparing for a showing, the painting crew, one of whom believes there's something around, and finally the family and all the complexities of its dynamics. Lucy Liu (a delightful, wickedly funny scene-stealer) is the mom, Rebecca, a wealthy, successful, type-A woman hyper focused on the success of her eldest, a teenage boy named Tyler (Eddy Maday). The father, Chris (Chris Sullivan), is more of the nurturer, concerned about their teen daughter Chloe (Callina Liang) in the aftermath of her friend's unexpected death.
There is a family drama transpiring inside the house, only some of which will make sense in the end. We overhear Rebecca drunkenly telling Tyler that everything she does is for him. We listen in as Chris confides to someone on the phone about a hypothetical partner being involved in something illegal and whether they still would be if legally separated. We see Tyler often with his head buried in his phone. And then there's Chloe: Sad,... Read More