I grew up moving often. By the time I finished high school, I had lived in seven different houses, so I got used to entering unfamiliar environments, figuring out how they worked, and adapting quickly.
I think that shaped more of me than I realized at the time. I tend to notice what's missing, where something is harder than it needs to be, and what could make the whole thing work better. I learned pretty early to build stability instead of waiting for it.
When I got to Emory, I was pre-med. I genuinely thought I was going to become a neurosurgeon.
The career changed, but the curiosity didn't. I've always been interested in people: why we make certain decisions, what holds our attention, what changes our behavior, and why some ideas stick while others disappear.
Marketing gave me a different way to study those questions. Entertainment made them even more interesting.
The work makes more sense when you look at the questions underneath it.
On paper, my experience moves around. I've worked in television development, brand marketing, advertising operations, nonprofit governance, and digital strategy.
To me, it has never felt that disconnected.
Tomorrow Studios taught me how an idea gets evaluated and positioned before anyone sees it. Blumhouse showed me how much structure sits underneath creative work. Krispy Kreme taught me what happens when a brand has to make decisions at global scale. Spectrum has made me much better at execution when the deadline and the revenue are real. And through UCG, I've seen how systems, governance, and leadership can either help good people do their best work or get in their way.
Different contexts, same instinct: understand what people care about, then figure out what needs to be built around that insight.
That's the part of the work I keep coming back to.
I make complicated things easier to act on.
Sometimes that means turning data into a recommendation. Sometimes it means giving a messy process an actual structure. I like getting to the point where someone can look at something complicated and know what to do next.
I build for the person after me.
A process that only works because I'm there isn't finished. I document things, create systems people can actually use, and try to leave the work easier to inherit than I found it.
I learn systems quickly.
Entertainment development, global brand marketing, ad inventory, CRM, nonprofit governance. I like the period where I don't fully understand something yet and have to figure out how all the pieces connect.
I care about the question underneath the assignment.
I'll do the work, but I also want to know why we're doing it. That question has saved me from spending a lot of time solving the wrong problem.
I'm drawn to brand and product work shaped by technology, entertainment, media, and culture. I want to understand how people discover things, decide what matters to them, and build relationships with the products and stories they keep coming back to.
Long term, I want to bring that perspective deeper into entertainment as a producer and, eventually, a studio leader. I'm interested in the people who can hold the creative idea and the business supporting it in their heads at the same time.
I'm trying to become one of them.
I want to make things people care about, and build the conditions that let them last.