I grew up moving. Seven houses before I finished high school — which means I got very good, very early, at reading a room, building something fast, and not assuming permanence.
My father left young. My mother raised three kids mostly on her own. What we had instead of a safety net was the understanding that if something was going to change, one of us was going to have to build it. I enrolled at Emory and showed up already knowing that my education wasn't just for me — it was the beginning of a different family story.
I say all of this not because it's the most interesting thing about me, but because it explains something important: I don't wait for conditions to be perfect before I start building. I learned that early, out of necessity, and it has followed me into every organization I've ever touched.
I was pre-med for a while in college. Wanted to be a neurosurgeon, which, looking back, makes complete sense: I've always been more interested in how people work than in almost anything else. Why they make decisions. What makes a message land. What keeps someone coming back.
At some point I realized I didn't actually want to practice medicine. I wanted to understand people — at scale. Marketing turned out to be the more honest answer to that question. And it clicked quickly that marketing is, in a lot of ways, scientific: you form hypotheses, you test them, you measure, you iterate. That's not the version of it most people lead with, but it's the version that's kept me in it.
What I didn't expect was how much the entertainment work would inform everything else. Watching how a story gets built — from IP acquisition to script coverage to a rough cut on a post-production timeline — gave me a framework for thinking about why things resonate. Not just what people respond to, but what makes something worth responding to in the first place. That instinct travels. It showed up at Krispy Kreme. It shows up in how I think about CRM. It'll show up wherever I go next.
"Most people can either do the technical work or communicate it up. You do both." — I've been told this enough times that I've stopped deflecting it.
My career doesn't fit neatly into one lane, which used to feel like something to apologize for. I've stopped doing that.
Blumhouse Productions
I inherited a post-production archive that was, candidly, a mess — nearly 400 sources of physical and digital inventory, no consistent metadata, physical drives that one bad water leak could have ended. I built the framework to fix it. I researched cloud storage solutions for 500+ terabytes of content, modeled the cost and retrieval structures, and presented a recommendation that leadership adopted. I was an intern. I did it anyway.
Tomorrow Studios
I pitched original TV and feature concepts directly to development executives — including ARGIVES, a prestige drama drawn from The Iliad, and HIS SON, a domestic psychological thriller reframed around the wife the original story forgot about. I wrote script coverage. I sat in on agency calls with CAA, UTA, and WME. I learned what makes a project move and what makes it stall.
Krispy Kreme
I supported global campaign execution across 18,000+ points of access, wrote SEO copy for seasonal LTO launches, and built the competitive analysis and brand resilience playbook that shaped internal strategy conversations around Gen Z and economic volatility. The part I loved most was sitting at the intersection of the creative brief and the business case — making sure the idea was sound and the recommendation was actionable.
Spectrum Reach
I manage post-sale fulfillment across 1,000–1,500 ad units weekly, protect $114K+ in weekly revenue at risk, and have learned what it actually means to execute under pressure in a system that doesn't stop. It's not glamorous work, but it has made me very good at prioritization, triage, and staying calm when the deadline is real.
NAIGC Board
I'm helping govern a national nonprofit with 2,200+ members and $800K+ in annual revenue — overseeing CRM implementation, financial stewardship, and multi-year growth strategy for the governing body of collegiate club and adult gymnastics across the country.
The throughline across all of it: I show up to complexity, make it legible, and build something that lasts after I leave.
The long-term answer is entertainment. I want to produce. Eventually, I want to run something — a studio, a slate, something with a point of view and the infrastructure to execute it. Not because the title sounds good but because I've spent my career watching what happens when the person at the top can't hold both the story and the business in their head at the same time. I think I can.
The immediate answer is marketing — specifically, brand and product marketing at the intersection of technology and culture, where consumer insight and operational rigor have to work together or the whole thing breaks. I'm targeting that deliberately, not as a detour from entertainment but as the foundation that will make me a better executive when I get there. The best producers and studio heads didn't just understand storytelling. They understood audiences, distribution, data, and what makes people keep coming back. I'm building that now, on purpose, ahead of schedule.
I'm not waiting for the right moment. I stopped believing in that a while ago.
A few things that stay consistent regardless of the context:
I build for the person who comes after me.
Every organization I've led has been more structured when I left than when I arrived. A 50-page gymnastics SOP. A reformed Club Sports constitution. A BLACKSTAR* budget system that actually balanced. I'm not interested in being the irreplaceable one — I'm interested in building things that run without me.
I translate.
Between the creative brief and the database. Between the development exec and the post-production coordinator. Between the data and the person who needs to act on it. Most organizational breakdowns aren't failures of intelligence — they're failures of translation. I take that gap seriously.
I absorb fast.
Bakery → Blumhouse → Krispy Kreme → ad inventory optimization → nonprofit governance. Different industries, different stakes, different languages. The result has been consistent: I get up to speed quickly and start contributing before most people expect me to.
I care about what I make.
Not preciously — I'm not protective of my ideas. But I'll push back on a brief if I think there's a better question underneath it. I'll ask why are we doing this before how are we doing this. I find that question tends to save time downstream.
I'm currently based in Charlotte. Originally from North Carolina — shaped equally by Emory, Sydney, Bali, Mexico, and a childhood that moved often enough to make me good at adapting quickly and finding what matters in a new room.
If you're building something with real stakes and need someone who doesn't flinch when it gets complicated — let's talk.