Cinematic Threads: The Life and Circle of Taylor Stahl Latham

Basic Information

Family & Personal Relationships — a conversational portrait

I like to think of families as film sets — people enter, they light each other up, they improvise lines, and sometimes somebody yells “cut” and everything changes. Taylor’s family is that kind of set: seasoned pros, a quiet lead, a few supporting players who wrote chapters of American cultural life.

Lesley Stahl — Taylor’s mother — is the kind of elder stateswoman of broadcast journalism whose byline and presence register like a perfectly composed shot. Lesley has been a fixture on television for decades, a correspondent whose steady camera-eye helped shape stories many of us still quote. As a daughter watching that career from backstage, Taylor would have learned, I suspect, about the economy of curiosity — how to listen, where to point the lens, and when to let the silence do the work.

Aaron Latham — Taylor’s father — was a writer whose work bridged journalism and Hollywood; he famously penned pieces that rippled into film. He passed away on July 23, 2022, and that loss is a fixed date in Taylor’s personal timeline. Death on a calendar changes the texture of everything after it — anniversaries, habits, quiet holidays — and in Taylor’s case, it’s also been part of a public moment reported in the press.

Andrew Major — the partner widely reported in profiles and event coverage — is Taylor’s spouse and business companion in various entrepreneurial flashes. Together they were associated with a wine-themed apparel venture in the late 2000s — a playful side project that tells you something about Taylor’s taste for the offbeat: she moves between narrative forms — from cinematic storytelling to a cheeky, branded tee shirt.

Jordan and Chloe — the two names that appear in family accounts as Taylor’s daughters — are the private epicenter of the household. Grandchildren, as Lesley has written about them, change the rhythm of a family; they make you softer, faster, sillier. In their presence, public personas compress into bedtime stories and whole new, day-to-day biographies begin.

Career & Creative Life — credits, roles, and the producer’s craft

If a producer’s work were a film genre, it would be the heist movie: a lot of planning, careful timing, and an insistence that everyone hit their mark. Taylor’s producing and production-executive credits trace through independent and studio-friendly projects alike.

Numbers matter here — budgets, release dates, credit blocks — but what matters most is pattern: Taylor has moved between film sets and production offices, shepherding projects that range from intimate dramas to broader, festival-minded features. The title “production executive” signals a hand in logistics, financing touchpoints, and the hard, unglamorous choreography that keeps the lights on and the camera rolling.

Outside the set, there’s entrepreneurial gusto. A wine-inspired apparel project — shirts, accessories, branded objects made for tastemakers and party-goers — speaks to a knack for cultural translation: finding an audience, dressing them up, and making an idea wearable.

Public Presence, Press, and the Stories People Tell

Taylor’s public profile is interesting because it sits at the intersection of privacy and pedigree. She’s known enough to be identified in society photos, credited in trade papers, and mentioned in obituaries and family profiles; but she’s not a constant feed. That choice — to be present, but not performatively so — is a posture in itself.

Key public moments (selected):

• July 23, 2022 — Aaron Latham’s death: a date that prompted press coverage noting family presence and Taylor’s professional connections.
• Late 2000s — entrepreneurial press: fashion and local outlets covered the wine-apparel concept and related launches.
• 2010s–2020s — industry credits and festival seasons: filmography entries, trade mentions, and event photographs place Taylor in rooms where deals are made and stories are greenlit.

There’s also social media: low-volume mentions, event photos, and third-party profiles — enough to triangulate a public footprint, but not enough to render the person disposable to the scroll. It feels, in a way, like watching an actor who prefers character roles to leading-man spotlights — essential, present, and content with a certain mystery.

Timeline — dates and markers

Dates anchor a life into the ledger of public memory. They are less a summary than keys — points you can open to reveal the textures inside.

FAQ

Who are Taylor Stahl Latham’s parents?

Her mother is Lesley Stahl, a longtime television correspondent, and her father was Aaron Latham, a journalist and screenwriter who died on July 23, 2022.

Does Taylor work in film and television?

Yes — she has production and production-executive credits on films and TV projects, including roles on small-to-mid-scale features and TV productions.

Is Taylor married and does she have children?

Yes — reports identify Andrew Major as her spouse, and Taylor is a mother to two daughters named Jordan and Chloe.

Has Taylor started any businesses outside film?

Yes — she has been publicly associated with a wine-inspired apparel venture and related retail projects in the late 2000s.

Is Taylor a public social-media celebrity?

No — she maintains a relatively low public profile with occasional event photos and trade mentions rather than constant social posting.

What is Taylor’s net worth?

There is no confirmed or authoritative public net-worth figure available for Taylor Stahl Latham.

Where can I see Taylor’s film credits?

Her credits appear in industry databases and trade listings, typically under production or production-executive roles for films released in the 2010s.

Was Taylor involved publicly when her father passed away?

Yes — press coverage of Aaron Latham’s death in July 2022 noted family presence and mentioned Taylor in the context of his obituary.