The Television Academy Foundation has appointed Anne Vasquez as its executive director effective May 13. She will oversee daily operations and provide strategic leadership of its programs and fundraising to fulfill the charitable organization’s mission to identify, advance and empower future television leaders while honoring TV’s legacy.
Vasquez is a veteran media and nonprofit executive who will step down as CEO of EdSource, Inc., an award-winning California nonprofit news organization with the state’s largest newsroom devoted to education. During her five years at EdSource, she established groundbreaking new partnerships, expanded funder and donor support by more than $2 million, oversaw a website redesign and brand refresh, as well as led the organization through a strategic plan to position it for the future.
Prior to her time at EdSource, she served as sr. VP of strategic initiatives and chief digital officer at Tribune Publishing, where she led digital strategy across 10 news markets. Before that, Vasquez was managing editor of the Sun Sentinel in Fort Lauderdale, FL, when the newsroom won its first Pulitzer Prize–the 2013 Gold Medal for Public Service. She’s also an adjunct professor at the University of Southern California (USC) where she teaches a graduate course in narrative storytelling.
The daughter of Cuban immigrants, Vasquez was raised in Miami, FL, and began her career as a reporter for The Miami Herald and later for the San Jose Mercury News in California. A passionate champion of diversity and inclusion, she became the editor of one of the country’s first race and demographics teams.
Vasquez has served on the boards of the American Society of News Editors and the National Association of Hispanic Journalists. She is on the Leadership Council of the Kopenhaver Center for the Advancement of Women in Communication at Florida International University, Vasquez’s alma mater.
Vasquez will report to Television Academy Foundation chair Tina Perry and Television Academy president and CEO Maury McIntyre.
“Anne’s background championing education will be critical as we look to expand the scale of the Foundation’s programs, focusing on the impact we can make in nurturing and developing the next generation of television leaders,” said McIntyre.
Perry commented, “With her expertise in the nonprofit, education and media sectors, Anne is uniquely qualified for the Foundation’s executive director role. Her perspective and experience will be instrumental in driving the Foundation’s mission to educate and inspire students, promote diversity within the industry, and preserve the oral history of television.”
“I am thrilled and honored to be joining the Television Academy Foundation,” Vasquez said. “It’s never been more important to tell the stories of our time with nuance. I’m eager to lead the Foundation in its mission to support and prepare emerging talent from all walks of life while also preserving television’s rich history.”
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More