I'm afraid I'm going to have to agree with the others. I'm really unsure what the story is about - she's trying to find herself - that's the goal - so she joins her family business... instead of breaking free from the bubble. Unless she's employed secretly, as Richiev suggested, she is always going to be a Malone. Even if she's employed secretly how is this going to help her find herself?
You said "sees the family name above the door". The family name is Malone. The company name is Eclipse. The company name should be Malone Media. Or am I missing something?
You don't need to include names in the logline. It takes up valuable real estate and adds nothing.
As a goal "truth" is vague at best. I'm ignoring your additional comments and focussing solely on the logline. If she's searching for herself say that in the logline. 'Truth' needs context to be an appropriate goal but even then there's possibly a better alternative that gives the reader a much clearer idea what her purpose is. A detective can search for the truth amidst the evidence... but he could just search for the killer.
In my experience, when a character deliberately sets out to find themselves they don't until they get back to where they started. A lot of characters find themselves as a by-product of doing something else. How is she going to find herself in this setting? How will it work visually? Film is a visual medium and the logline should explain what's going to happen in a visual way.
What's the inciting incident that sets this story in motion? This is usually something that upsets the balance in the protagonist's life and their goal is to correct the balance. For example: Billie could be cut off financially by her parents as they want to end the family trait of entitlement and privilege.