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/Film
I’ve been contributing to /Film as a freelance writer since 2019, and I started by suggesting that Slumber Party Massacre II is an ode to repressed bisexuality.
I was the evening news editor from July 2021 until March 2023.
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Fangoria
I started working with FANGORIA in 2018 as their freelance Canadian correspondent on set visits. I went on to become a periodic contributor to FANGORIA.com and worked as the Managing Editor of FANGORIA magazine from July 2021 until May 2022.
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The Bite
From 2019 to 2021 I was the editor of Shudder’s weekly newsletter, The Bite (issue no. 63 – 170, inclusive).
I had the privilege of working with prominent industry figures and talented newcomers alike. It was a remarkably rewarding experience.
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CBC Comedy
I was asked to conduct interviews for CBC Comedy during the 2019 Toronto International Film Festival. This led to other opportunities, including writing about rom-coms and interviewing Catherine Reitman.
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Birth. Movies. Death.
I only got to write one piece for BMD. But my god was I proud of it.
Pissed off all the right people by accident, too.
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Rue Morgue
Writing for Rue Morgue was my first paid gig in the industry. I wrote about Adrian Garcia Bogliano’s Here Comes The Devil and was published in the magazine.
I went on to contribute to their website and also worked with them at Fan Expo.
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Row Three
Row Three wasn’t my first gig in the industry, but it was perhaps my most formative. The site was run by all of us with only enough money to keep it going (meaning it was unpaid). But we all looked out for each other, encouraged one another to write what we wanted to, and built a real community.
I wouldn’t be here now without my experiences at Row Three.
For over a decade, I’ve written about every genre imaginable — From horror and sci-fi to rom-coms, period pieces, and documentaries…
"Daniels' "Everything Everywhere All At Once" is a momentous achievement for a thousand tiny reasons and a few glaringly huge ones, not least of which include its depiction of intergenerational trauma, mental illness, identity, fulfillment, and specifically the experience of ADHD."
!["[U]ntil her dying day, Heche was never afforded the decency of being taken seriously as a survivor of abuse, an addict, or a queer woman."](https://images.squarespace-cdn.com/content/v1/5fa5eaf6eb14f078df8e4af6/5d98d989-d3aa-4af6-a453-0338fdd12b86/Catfight+movie+poster.jpg)
"[U]ntil her dying day, Heche was never afforded the decency of being taken seriously as a survivor of abuse, an addict, or a queer woman."
"And while rewatching the scene myself over the weekend, it dawned on me that the whole thing caps off what is undeniably just one, big metaphor for the hellfire that is online dating. Hear me out."
"Regardless of how you slice it, "Jurassic Park" is a creature feature on top of everything else. It's loaded with monsters, both dinosaur and human, along with more gore and jump scares than you can shake a Velociraptor claw at."
"We see that scene through Cole's eyes. It's shot from his vantage point: small and afraid and yelled at without understanding what he's done wrong or how he can make it better, or just make it stop."
"It immediately frames the protagonists as kids. Sure, they're 20-somethings playing high schoolers, but in the context of the film, they're someone's baby, and Wes Craven and Kevin Williamson want you to be viscerally aware of that as soon as it starts."
""Private Benjamin" isn't about the power of the military or the value of getting a job. At its core, it's about the intrinsic power of knowing yourself and not being a spectator in your own life."
""The Stepford Wives" works as a kind of moral litmus test. All I'll say is you should pay as much attention to the reactions of those you watch it with as you should to your own."
""A Simple Favor" poses a very (appropriately) simple question: what if Phillip Marlowe was a suburban single mom with a vlog? You'd get Stephanie Smothers (Anna Kendrick), best friend to Emily Nelson (Blake Lively) who went missing after asking Stephanie for, you guessed it, a simple favor. In the aftermath of Emily's disappearance, Stephanie takes it upon herself to find her bestie, which leads her down a dark path littered with secrets, some of which are her own."
"With an explosive emotional force I was not prepared for, this show came crashing into my life, riddled with Yiddish slang, omniscient Saftas, jokes of Bubeleh bat phones, the right coffins (more on this soon), and the mourners Kaddish."
""Pushing Daisies" suffered from the same "problem" as other equally complex movies and TV series — it was hard to market. Now, historically speaking, we know that this wasn't its only problem, or rather this wasn't the only issue that led to it being prematurely canceled. But this bittersweet comedy series grappled with complex and potentially morose material in a manner both whimsical and hilarious, without sacrificing an ounce of sincerity."
![I had the pleasure of speaking with [Leo] [Birenberg] and Zach Robinson about their work on the series, honoring Conti's original sound, and breathing new life into nostalgic places. We collectively geeked out over certain scenes from "Cobra Kai" sea](https://images.squarespace-cdn.com/content/v1/5fa5eaf6eb14f078df8e4af6/1685562773127-1ZOUJU0VH62X8JRXCVJC/Cobra%2BKai%2Bseason%2B4%2Bposter%2BNetflix.jpg)
I had the pleasure of speaking with [Leo] [Birenberg] and Zach Robinson about their work on the series, honoring Conti's original sound, and breathing new life into nostalgic places. We collectively geeked out over certain scenes from "Cobra Kai" season 4 (you know exactly which ones), talked about Terry Silver's compelling Bad Guy™ vibes, and whether it's more compelling to compose deep emotional moments or a powerful villain score."
"Joel and Ethan Coen have mastered the art of the failing anti-hero, while redefining the term."
"Based on the 1911 novel of the same name by Frances Hodgson Burnett, "The Secret Garden" is a classic coming-of-age story about self-healing and recovery."
"Whether you're looking for the Dread Scare™ of a grieving man watching the murder of a child, the classic aforementioned jump scare with Van Devere, or something a bit more subtle, it earns every fright. For me, though, the most terrifying part of the film comes immediately following the séance."
"It was early afternoon on Friday, May 23rd 2014. I walked into TIFF Bell Lightbox, knots in my stomach, my eyes still welling with tears. “Just take a deep breath,” I kept telling myself. “You’ll be fine.” Up the escalator I rode, around the corner, and into the lavish Luma lounge. I approached the table, and as soon as I saw Dennis and Judy Shepard, I began to cry. No amount of professionalism or attempt at stoicism could mask the impact of their son’s story, told beautifully by his childhood friend Michele Josue, in Matt Shepard is a Friend of Mine."
"A deeply metaphysical horror movie, it challenges a lot of our preconceived notions of life, existence, and everything. Whether or not those things permeated your mind on a regular basis ultimately doesn't matter — you'll think about it after you see "The Night House." Though the film does tackle some very real threats and horrors, the ultimate villain is truly an abstract one. Here is your warning; from here on out, this is spoiler country! Another very important warning is that this film and, as a result, this piece, discuss depression and suicide. Please do not push yourself to read through if it will cause any distress."
"In the grand tradition of movies that are hard to write about without spoiling, this one comes out a frontrunner. Trust me when I say you do yourself a disservice to ask too many questions before seeing the film. Go in as blind as possible, dear reader, and pay close attention to your response."
"Instead of heterosexual predatory voyeurism, writer-director Deborah Brock uses the female protagonist as a host, and her latent, even repressed, bisexuality as a catalyst for carnage. Where most slashers focus on voyeurism from outside the core group – a threatening male figure who lurks in dark corners and slowly invades the teen's safe spaces – SPM II placed the killer within the psyche of its heroine, Courtney Bates (Crystal Bernard), one of the survivors of the first film."