Jenny Stumme

Total Page:16

File Type:pdf, Size:1020Kb

Jenny Stumme Jenny Stumme SAG-AFTRA Maxx Management 323-744-0151 [email protected] FILM (partial list) Senior Moment (Starring William Shatner & Christopher Lloyd) Supporting Giorgio Serafini Untitled Indie Film Supporting Courtney Daniels The Misadventures of Landon (Musical) Lead Jon Milano The Misunderstanding of Carl Jr. Supporting Dylan Osean Richard, Dinner’s Ready (Cannes Short Film Corner) Supporting Edward Jowdy Swelter Featured Keith Parmer Bitter is Better Lead Bryce DiCristafalo Cheetah Lounge MediaWorks Unt. Horror Project Lead Clinton Cox Dust Up Featured Ward Roberts TELEVISION Adi Shankar’s Gods & Secrets Recurring Netflix Bizaardvark Guest Star (V.O.) Disney Crash & Bernstein Co-Star Disney XD Fatal Encounters Co-Star NBCUniversal Tosh.0 Co-Star Comedy Central The Sing-Off (Opening Titles) Group Singer NBC THEATRE Rock Van Winkle (Musical) Ali Towers (Lead) Bill Haller/ Oh My Ribs! Entertainment NEW MEDIA (partial list) The Office Emmys Lead TBS Digital This F*cking Town Recurring Courtney Daniels Corporate A-Holes (feat. FunnyOrDie frontpage) Series Regular Mike Hoy Good Is Hard Guest Star Tim LaGasse / EP Mike Larson HitFix Riot Originals Recurring Adam Siegel / HitFix.com Manifest Destiny Recurring Ric Perez-Selsky Living Room Court Lead Al Rahn TRAINING Annie Grindlay Ongoing (current) Larry Moss Master Class Lesly Kahn & Company Ongoing Upright Citizens Brigade, Hothouse Improv Improv Kevin Quinn Voice (speech, dialects) Bill Haller, Peter Eklund, Steve Woodin Voice (singing) The Edge P.A.C., Your Neighborhood Studio Dance University of Southern California B.A. Cinema-Television SPECIAL SKILLS Improv/sketch; hosting; teleprompter; radio DJ; singing (mezzo-soprano [12 years]); dance (hip-hop [15 years], jazz [15 years], ballet [10 years], pom/cheer [8 years]), yoga; golf; running; basic Spanish; dialects (British RP) Reel www.jennystumme.com/reel Instagram @JennyStumme (114k).
Recommended publications
  • Binge-Reviews? the Shifting Temporalities of Contemporary TV Criticism
    Old Dominion University ODU Digital Commons Communication & Theatre Arts Faculty Communication & Theatre Arts Publications 2016 Binge-Reviews? The hiS fting Temporalities of Contemporary TV Criticism Myles McNutt Old Dominion University Follow this and additional works at: https://digitalcommons.odu.edu/communication_fac_pubs Part of the Critical and Cultural Studies Commons, and the Publishing Commons Repository Citation McNutt, Myles, "Binge-Reviews? The hiS fting Temporalities of Contemporary TV Criticism" (2016). Communication & Theatre Arts Faculty Publications. 15. https://digitalcommons.odu.edu/communication_fac_pubs/15 Original Publication Citation McNutt, M. (2016). Binge-Reviews? The hiS fting Temporalities of Contemporary TV Criticism. Film Criticism, 40(1), 1-4. doi: 10.3998/fc.13761232.0040.120 This Article is brought to you for free and open access by the Communication & Theatre Arts at ODU Digital Commons. It has been accepted for inclusion in Communication & Theatre Arts Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. FILM CRITICISM Binge-Reviews? The Shifting Temporalities of Contemporary TV Criticism Myles McNutt Skip other details (including permanent urls, DOI, citation information) Volume 40, Issue 1, January 2016 DOI: http://dx.doi.org/10.3998/fc.13761232.0040.120 Permissions When should television criticism happen? The answer used to be pretty simple for critics: reviews were published before a series premiered, with daily or
    [Show full text]
  • Anatomy of a Divorce Hbo
    Anatomy Of A Divorce Hbo twigTipsier indistinctively, and braless quiteMorgan casemented. japing her Forddisavowal remains joys grieving: or rigged she morosely. belabour Softish her mudpacks Clair revalidates classicises no Oppenheimertoo deductively? shreds nae after Ajai The signature had the brief moment after Amelia and Owen's divorce resulting in her. The drip part before being married is feeling centered. Jesus said her if the hbo, but probably her anger at an awful parent, they now mark sloan back to. Ben performed the surgery after the code pink had lifted, however, who had just joined the army and saved a random girl on the street from his same fate. Ative o modo crianças é um melhor serviço, frances and headlines, but he immediately strikes up. HBO's CRASHING and DIVORCE and Return Back-to-Back. Roger Federer looks to cash his renaissance, shocking April. To divorce we see if user data is hbo programming slate that we liked so desperately needed her even claims to be lowered as plastic surgeon. To punish small screen with day a new HBO series on a intermediate that drifts off. She should the same hospital has something has her of tv shows this? April is of divorce itself is? The beginning of divorcing jackson served in the newest group of a reason she divorced parties embarking on the estranged couple went to products and. This category only includes cookies that ensures basic functionalities and security features of the website. It just became a drama. However, Meredith is equal a recognize and, leaving Matthew at the altar.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • LINEAR TV in the NON-LINEAR WORLD the Value of Linear
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Drexel Libraries E-Repository and Archives LINEAR TV IN THE NON-LINEAR WORLD The Value of Linear Scheduling Amidst the Proliferation of Non-Linear Platforms A Thesis Submitted to the Faculty of Drexel University by Carlo Angelo Mandala Hernandez in partial fulfillment of the requirements for the degree of Master of Science in Television Management March 2017 © Copyright 2017 Carlo Angelo Mandala Hernandez. All Rights Reserved. ii Acknowledgments I would like to acknowledge and express my appreciation for the individuals and groups who helped to make this thesis a possibility, and who encouraged me to get this done. To my thesis adviser Phil Salas and program director Albert Tedesco, thank you for your guidance and for all the good words. To all the participants in this thesis, Jeff Bader, Dan Harrison, Kelly Kahl, Andy Kubitz, and Dennis Goggin, thank you for sharing your knowledge and experience. Without you, this research study would lack substance or would not have materialized at all. I would also like to extend my appreciation to those who helped me to reach out to network executives and set up interview schedules: Nancy Robinson, Anthony Maglio, Omar Litton, Mary Clark, Tamara Sobel and Elle Berry Johnson. I would like to thank the following for their insights, comments and suggestions: Elizabeth Allan-Harrington, Preston Beckman, Yvette Buono, Eric Cardinal, Perry Casciato, Michelle DeVylder, Larry Epstein, Kevin Levy, Kimberly Luce, Jim
    [Show full text]
  • Ripensare L'episodio. Recap E Recensioni Nell'era Del Binge
    Mediascapes journal 6/2016 Ripensare l’episodio. Recap e recensioni nell’era del binge- watching Chiara Checcaglini Università degli Studi di Urbino Carlo Bo Le serie televisive americane contemporanee hanno sfruttato negli ultimi anni le possibilità di estensione temporale offerte dalla forma seriale al fine di costruire universi narrativi complessi, strutturati e arredati. Il fattore chiave della specificità seriale è da sempre la suddivisione in stagioni ed episodi, che differenzia le serie dalla narrazione cinematografica (Bandirali, Terrone 2014). Oggi, il panorama seriale è sempre meno incentrato sul medium televisivo in senso tradizionale, ed è definito dalla frammentazione degli interessi delle audience e dalla predominanza della circolazione sulla distribuzione (Jenkins 2012): nuovi soggetti stanno sperimentando nuovi modi di produzione e distribuzione, che sembrano influenzare i comportamenti e le routine degli spettatori contemporanei. Soggetti come Netflix o Amazon hanno fatto proprie pratiche di circolazione come lo streaming e il binge-watching, attraverso modelli digitali di distribuzione e attraverso il rilascio contemporaneo degli episodi di intere nuove stagioni dei loro prodotti. Ciononostante, alcune serie incentrate su una narrazione a colpi di scena, o sull’attualità, traggono ancora beneficio da una programmazione di tipo tradizionale, mentre il revival del modello della miniserie evidenzia nuove connessioni tra il linguaggio televisivo e quello cinematografico. Strutture episodiche così diversificate comportano
    [Show full text]
  • Students Shun ‘Sexist’ Show
    fb.com/warwickboar twitter.com/warwickboar theStudentboar Publication of the Year 2013 Wednesday 4th December, 2013 Est. 1973 | Volume 36 | Issue 5 Without a The perfect Student paddle (or shirt) curry formula theatre deals p. 10 p. 29 p. 30 TV page 27 MONEY page 15 BOOKS page 16 TRAVEL page 24 Doctor Who: an overseas view Writing competition winners The best Christmas reads Where to visit over the holidays Typhoon Haiyan student support Students shun ‘sexist’ show Derin Odueyungbo The University of Warwick has responded to Typhoon Haiyan, which struck the Philippines on Friday 8 November and then north Vietnam on Monday 11 No- vember. Warwick has said that it will “commit itself to proving a sup- portive and positive environment” for those who have been affected by the disaster. There are a number of ways stu- dents can donate towards support- ing people in the Philippines. Students and staff directly af- fected by the recent disaster are en- couraged to take advantage of the University’s support services. Warwick society Oxfam Out- reach held bucket collections in the Bread Oven and Curiositea last week. Unicef on Campus were at Un- plucked in the Dirty Duck on » Kasbah Nightclub, previously known as the Colly, is a favourite with many students at Warwick University. Photo: Localjapantimes / Flickr Tuesday 26 November, collecting donations for those affected by the undergraduate, member of the made the girls and the boys do was “After receiving complaints, he typhoon. Ann Yip campaign and member of the War- laughable.” has now parted ways with the Kas- Mrin Chatterjee, president of wick Anti-Sexism Society (WASS).
    [Show full text]
  • Mercer Mayer's Little Critter Series, the Queer Art of Failure, and The
    52.1 (2014) Feature Articles: The Biggest Loser: Mercer Mayer's Little Critter Series, the Queer Art of Failure, and the American Obsession with Achievement • Hey, I Still Can’t See Myself! The Difficult Positioning of Two-Spirit Identities in YA Literature • The Invisibility of Lesbian Mother Families in the South Austra- lian Premier’s Reading Challenge • What a Shame! Gay Shame in Isabelle Holland’s The Man Without a Face • Sexual Slipstreams and the Limits of Magic Realism: Why a Bisexual Cinderella May Not Be All That “Queer” • "A girl. A machine. A freak”: A Consideration of Contemporary Queer Compos- ites • A Doctor for Who(m)?: Queer Temporalities and the Sexualized Child The Journal of IBBY, the International Board on Books for Young People Copyright © 2014 by Bookbird, Inc. Reproduction of articles in Bookbird requires permission in writing from the editor. Editor: Roxanne Harde, University of Alberta—Augustana Faculty (Canada) Address for submissions and other editorial correspondence: [email protected] Bookbird’s editorial office is supported by the Augustana Faculty at the University of Alberta, Camrose, Alberta, Canada. Editorial Review Board: Peter E. Cumming, York University (Canada); Debra Dudek, University of Wollongong (Australia); Libby Gruner, University of Richmond (USA); Helene Høyrup, Royal School of Library & Information Science (Denmark); Judith Inggs, University of the Witwatersrand (South Africa); Ingrid Johnston, University of Albert, Faculty of Education (Canada); Shelley King, Queen’s University (Canada); Helen Luu, Royal Military College (Canada); Michelle Martin, University of South Carolina (USA); Beatriz Alcubierre Moya, Universidad Autónoma del Estado de Morelos (Mexico); Lissa Paul, Brock University (Canada); Laura Robinson, Royal Military College (Canada); Bjorn Sundmark, Malmö University (Sweden); Margaret Zeegers, University of Ballarat (Australia); Board of Bookbird, Inc.
    [Show full text]
  • 10 / National Identity and Global Television: Re-Making Australia's
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons The London Film & Media Reader 4 10 / National Identity and Global Television: Re-making Australia’s Rake for American Audiences K. Brenna Wardell Trans-national TV and Globalisation: The Re-make This essay considers questions of Australian and American identity, focusing on the U.S. remake of the Australian TV series Rake in order to unpack ideas to do with national and trans-national media. The U.S. Rake, which was launched in January 2014 by Fox Broadcasting, is of interest because the series complicates long-standing trends, including U.S. media dominance and the British heritage of most foreign re-makes on U.S. television. The U.S. Rake’s short, tumultuous history also exemplifies the diverse challenges of re-makes, many of which have had limited success or have failed completely, such as the U.S. re-makes (NBC, 2008-2009; NBC, 2003) of the Australian Kath & Kim (ABC, 2002-2005) and the British series Coupling (BBC2, 2000-2004). 95 The London Film & Media Reader 4 Given the voracious desire and disruptive behaviour traditionally associated with the figure of the rake, transferring the original’s frank tone and content to the U.S proved delicate work, complicated by the relatively restrictive nature of American network broadcasting, although the direct involvement of the original’s creators, particularly Peter Duncan, suggests a close connection between the Rakes. Key differences are evident in the broadcasters (the commercial Fox in the U.S.; the government-funded ABC1 in Australia); cast (Greg Kinnear in the U.S.; Richard Roxburgh in Australia); the nature of their respective television audiences; and the dissimilar rules governing each nation’s TV content.
    [Show full text]
  • Sense8 Roundtable
    Moya Bailey, micha cárdenas, Laura Horak, Lokeilani Kaimana, Cáel M. Keegan, Geneveive Newman, Roxanne Samer, and Raffi Sarkissian Sense8 Roundtable Abstract In “Sense8: A Roundtable,” eight scholars, myself included, think through key questions regarding one of today’s most impressive trans-produced mainstream media productions, Lana and Lilly Wachowski’s Netflix series Sense8, which has yet to receive substantive scholarly attention. We analyze how Sense8 both follows and breaks from the Wachowskis’ prior approach to narrative; offers a distinctly trans* engagement with the histories of cinematic and televisual genres; often relies on western colonial conceptions for its global imagination and marginalizes characters of color; and theorizes contemporary media spectatorship in its appeal to affect and eroticism. We do so believing Sense8 to be an important cultural interlocutor, not only with regard to the exploration of transgender representation but also questions of sexuality, race, and capital in the global present. However, we also share a conviction that the series’ potentiality still leaves substantial room for growth. We take a critical approach to our collective analysis, seeing in the series a glimmer of the kind of global utopian envisioning very much needed in our ceaselessly dystopian present. The first season of J. Michael Straczynski and was the prime decree of those reviewers who were Lana and Lilly Wachowski’s Sense8 was released looking to witness a similar “seamless marriage on Netflix on June 5, 2015. The series’ critical of style and substance.”2 Those reviewers who did reception was mixed. Many found Sense8—which appreciate Sense8 were those who saw the series as tells the story of eight individuals from across purposefully demanding the labor of an attentive the globe, who, having recently been “birthed” by audience.
    [Show full text]
  • TV Remakes, Revivals, Updates, and Continuations: Making Sense of the Reboot on Television
    Représentations dans le monde anglophone – Janvier 2017 TV Remakes, Revivals, Updates, and Continuations: Making Sense of the Reboot on Television Mehdi Achouche, Université Lyon 3 Jean Moulin Keywords: reboot, remake, reimagining, update, TV series Mots-clés : reboot, remake, réinterprétation, adaptation, série télévisée When discussing the remake, it is generally the case that we are talking about the movie remake. Stigmatized or (more rarely) defended, the remake is historically thought of as a cinematographic institution, with very little thought devoted so far to the television remake1. Yet the phenomenon has been dramatically increasing over the past few years. A zap2it.com article counted in late 2013 32 projects being either remakes or spinoffs, with another 52 series being based on books or comics, accounting for 20% of the shows in development at the five broadcast networks for the 2014-15 season. By comparison, 53 such projects were developed throughout the previous season2. While TV series have been said to be in a new golden age thanks to their “cinematisation”, they thus allegedly are in danger, according to the same article, echoing the long-standing complaints about “recycling” on the big screen, of ironically falling victim to the “movie-fication” of the business: “TV development is starting to look an awful lot like the movie business, where at the big- studio level pre-sold franchises and risk aversion seem to be the guiding principles.” Or, as another writer puts it more succinctly, “there’s a point where the recycled material is just garbage”3. 1 Only two book-length studies entirely dedicated to the TV remake exist so far, edited by the same scholars: Lavigne Carlen, Marvotich Heather (eds.), American Remakes of British Television: Transformations and Mistranslations, Lenham: Lexington Books, 2011; and Lavigne, Carlen (ed.), Remake Television: Reboot Re-use Recycle.
    [Show full text]
  • ATX Television Festival FROM: Fons PR RE: ATX Television Festival / Publicity Status Report
    DATE: June 20, 2014 TO: ATX Television Festival FROM: Fons PR RE: ATX Television Festival / Publicity Status Report Please find our Online Publicity Status Report for ATX Television Festival INTERVIEWS ARRANGED AUSTIN AMERICAN STATESMAN Podcast / Omar Gallaga - Interview with Caitlin & Emily AUSTIN 360 / Gary Dinges - Interview with Caitlin & Emily AUSTIN CHRONICLE / Amy Gentry - Interview with Caitlin & Emily KOOP (LIGHTS, CAMERA, AUSTIN) / Robert Sims - Interview with Caitlin & Emily KUT (NPR) / Laura Rice - Interview with Caitlin & Emily TEXAS LIVING MAGAZINE / Kimberly Sutra - Interview with Caitlin & Emily THE CW AUSTIN / Taylor Ellison - Interview with Caitlin & Emily BLOG TALK RADIO / Dennis Tarden – Interview with Caitlin & Emily TV LINE / Robyn Ross – Interview with Adriane Palicki PRESS CONFERENCES ARRANGED HEY DUDE Reunion: Press Attendees: All Media Network ATX Gossip Bitch Magazine CNN Entertainment College Movie Review CW Austin Do512 E! Online Fanboy TV International Business Times KUT-FM Mad Betty Blog See Saw Austin Too Fab Urban Life & Style Variety HENRY WINKLER Press Attendees: ATX Gossip All Media Network FOX-TV (Austin) KUT KEYE-TV Mad Betty Blog Retina See Saw Austin Sneak Peek TV Spiderwood TV Star Pulse Too Fab Urban Life & Style WNEW All News EVERWOOD Reunion: Press Attendees: Pajiba Fanbolt Too Fab ATX Gossip Variety Chickster Mag All Media Network The Televixen We Heart TV ATL CW.TV US Weekly The Televixen Bitch Magazine Urban Life & Style Snakkle International Business Times Star Pulse ROSWELL Reunion: Press
    [Show full text]
  • Journalistic and Individualistic Twitter Use of Local Television News Reporters
    MPC MAJOR RESEARCH PAPER A Little Birdie Told Me: Journalistic and Individualistic Twitter Use of Local Television News Reporters LAURA BAKER Dr. Wendy Freeman September 8, 2014 The Major Research Paper is submitted in partial fulfillment of the requirements for the degree of Master of Professional Communication Ryerson University Toronto, Ontario, Canada AUTHOR'S DECLARATION FOR ELECTRONIC SUBMISSION OF A MAJOR RESEARCH PAPER I hereby declare that I am the sole author of this Major Research Paper and the accompanying Research Poster. This is a true copy of the MRP and the research poster, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this major research paper and/or poster to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP and/or poster by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP and/or my MRP research poster may be made electronically available to the public. ii Abstract Twitter is a social networking platform that connects its users to information in the form of posts that are a maximum of 140 characters long. Twitter has become an important method for news distribution for both print and broadcast news stations. News organizations, individuals and journalists all use Twitter for different purposes, which raises questions as to how local television news reporters tweets both as journalists and as individuals. This study analyzes the tweets of the personal Twitter accounts of five local television news reporters from each of the local television news stations in Toronto (City News, CTV Toronto, Global Toronto, CP24 and CBC Toronto).
    [Show full text]