I write the post, send the post, and live in the comments. Not in a healthy way.

I came in to publish Polish and German for Paramount's globalization team, and quickly took on more. By the holidays I was covering almost every globalized market, English publishing across every Nickelodeon handle, and the Fire Country / Sheriff Country accounts.

Picking up that much in a short window got me noticed by a senior IP marketing manager. I've partnered with her on the major CBS tentpoles since: Grammys live-event work first (copywriting and paid-promo dark posts across three teams I hadn't worked with before), then @marshalscbs premiere strategy in January, then the CBS fall schedule rollout. That's one side of my week.

On the other side, I joined the Franchises team as Social Coordinator. That covers publishing, social strategy, asset ideation (and occasional creation), community management and growth strategy for Nickelodeon, Nickelodeon Family, CBS, TMNT, Avatar: The Last Airbender, SpongeBob, Garfield and Star Trek.

Threads I run on my own. That's the strategy, the per-brand voice, the copy, and the community across @garfield, @spongebob, @tmnt, @startrek, and @avatarlegends.

Between the two teams, I work on most of Paramount's major IP.

Doubled the Laurie Berkner Band’s following across Facebook, Instagram, and TikTok, expanding the total community from ~150K to nearly 300K followers. Led the major campaigns behind that growth, including Berkner Breaks After Dark, The Berkner Bracket, and Let’s Write a Song, which drove cross-generational engagement from nostalgic millennial fans to Gen Alpha audiences.

Directed creative partnerships with Tonies, Kidz Bop, Bjorem Speech, Yoto Cards, and YouTube Kids, owning approvals, asset alignment, and joint posting schedules. Also collaborated with platform partners and creator-led organizations (including educator and speech-language professional communities) on promotional campaigns, social-commerce efforts, and discovery initiatives across Instagram and TikTok, including TikTok Shop activations.

Became the internal “content shop” for vertical video, crafting Gen Alpha-focused Shorts and crafting/sensory-driven content. Pushed total video views past 2 million in the first quarter by testing platform-specific formats, hooks, and timing strategies.

Rebuilt backend organizational systems and analytics tracking across Meta Business Suite, ManyChat, Shopify, Airtable, and Drive to streamline workflow, improving ad performance by 25–30%. Managed integrated organic and paid social initiatives supporting direct-to-consumer sales on the Laurie Berkner Band Shopify shop through optimized Instagram Stories, targeted boosts, and audience-driven campaign testing, and oversaw campaign reporting, growth analytics, and community management across every platform.

Recognized for combining creative storytelling with data-driven growth, helping evolve Laurie Berkner’s brand into a multi-generational music and media community.

Three years of volunteer leadership at the industry organization for kids and family media. Promoted twice across social, ops and email.

Started as Global Engagement Coordinator, owning a weekly cross-channel social cadence across LinkedIn, Instagram, TikTok, Facebook and Twitter as the point person for CMA's digital channels: content, community, and live-event coverage.

Promoted to Global Engagement Manager, then to Global Operations Coordinator & Email Manager. That role covered the WordPress backend, member support and renewals, NYC event logistics for Storytime two years running, and the internal systems (Airtable, Google Drive, Sheets) the org ran on while membership was growing fast.

This is where my copywriting muscle really started. Sitting with TV Development and Current Series, I wrote in-depth script coverage on DreamWorks shows, learning how to read a story for hook, audience, and what actually sells. The same instinct now shows up in every caption, brand voice and asset brief I touch.

I worked on the marketing story behind the development slate itself: helping shape pitch materials for streamer-facing development, building a 200+ artist database the team used to attach talent to projects, and reorganizing Current’s files so the story of each show was easy to pull and present. I also covered EA duties for Vanessa Taylor Sands across calls, scheduling and admin.

For my culmination, I built and delivered a pitch to the DreamWorks development and production team on the future of neurodivergent representation in kids animation: audience framing, market gap, creative direction. It was my first real development pitch deck to a streamer-scale buyer, and the format I’ve been refining into brand decks ever since.

On top of the desk role I was selected as Intern Ambassador for the Summer 2022 cohort, leading comms between Early Careers leadership, the intern managers, and the 30 interns. I designed cohort flyers, ran the group chat, and partnered with Early Careers on cohort programming.

Selected for the Spring 2022 Creative Careers Accelerator, a six-week experiential program pairing NYU undergrads from across the arts with an industry partner to solve a real-world brief. I was placed on Warner Bros. Discovery on a team of five.

The brief was Gen Z growth for discovery+. We synthesized executive briefings, interviewer feedback and market research into a Gen Z target customer profile, a SWOT and a competitive analysis of the general-entertainment market, then built marketing-technique ideation aimed at Gen Z subscribers. The work fed into thinking around the Max + discovery+ integration.

Alongside the team brief, I ran a career-readiness track: chats with Warner Bros. Discovery marketing and development leads, a Creative Career Design workbook, and coaching touchpoints with a Wasserman career coach and an alumni partner. The cohort closed with our final pitch in front of an industry audience and a networking mixer.