I’m a graduate of the University of Derby’s Creative Writing programme, and have worked as a writer and editor on many personal projects, regularly collaborating with friends and colleagues on narrative and non-fiction pieces.

My editorial writing, cultural criticism, and journalism has appeared on Now Then, WhatCulture, Screen Rant, and DIY, among others. I also regularly publish less-pitchable stuff on a number of personal blogs and newsletters whose existences wax and wane like the phases of the moon.

I’m particularly fond of waffling on about film, TV, comics, music, and the vagaries of language and existence on the internet. Below are some pieces I’m particularly fond of!

Recent writing

  • “Annie Baker’s Failures,” A Sitting Ovation, December 2023
    A long-form essay on the early work of my favourite playwright and the motif of failure in her work, with reference to theatrical criticism and theory on why we simply love to watch tragedies (even of the small-scale everyday variety)

  • “Touch Grass, Ghostman: Blackhat, AFK,” Bright Wall/Dark Room, April 2023
    Analysis of the much-maligned Michael Mann technothriller Blackhat — which has been going through a much-deserved critical reassessment! — and its depiction of being Very Online

  • What’s Worth Watching, ongoing
    My monthly round-up of streaming recommendations off the beaten track, including curios that have snuck onto Prime Video, weirdo short films hiding amongst YouTube’s algorithm, and documentaries the BBC buys up and renames before dumping on iPlayer

  • “The Secret History of the Directors Company”, Film Stories, October 2022
    My feature on the Directors Company — William Friedkin, Francis Ford Coppola, and Peter Bogdonavich’s ill-fated production company which formed and collapsed at the height of the New Hollywood movement — was published in issue 37 of the tremendous Film Stories magazine

  • “Against Restaurants”, A Sitting Ovation, May 2022
    For my irregularly-delivered newsletter I reviewed two recent films, Boiling Point and Pig, through the rubric of an anarchist pamphlet which makes the left-wing argument against the existence of kitchen labour as it currently operates

  • “Market Forces”, Bright Wall/Dark Room, March 2018
    An essay on Steven Soderbergh’s post-recession films, Magic Mike and The Girlfriend Experience, and the ways in which both their production and narratives reflect the significant shift in the economics of making films