Journalism with purpose, in a life that rarely stays still

As a second year journalism student, I write about culture, performance and place through lived experience. My work sits with what remains after the experience itself; the questions, sensations and after effects that linger once the curtain falls, the gallery empties, or the credits roll.

I’m interested in how culture is felt rather than how it is scored, and in how access, context and mental health shape the way we encounter art. This site is both a portfolio and a journal; a home for reflective cultural journalism, slow criticism and careful attention.

Why I Write

I write because silence has never saved anyone. I write to make sense of the world and to let other people feel less alone inside theirs. I grew up believing stories were entertainment. I now understand them as survival; a way to be seen, to be understood, and to keep going when everything feels like too much.

Selected Writing

These pieces best reflect how I write about culture, place and lived experience. If you’re new here, this is the best place to start.

Features

Reported pieces exploring culture, place and the people who shape it.

Reviews

Reported pieces exploring culture, place and the people who shape it.

Rewind Revue

Returning to performances, films and places after the moment has passed to reflect on what lingers.

  • Beethoven

    A joyous reminder that warmth, silliness and heart are not weaknesses. Beethoven is not clever cinema, but it is kind, confident in what it is, and genuinely funny. Sometimes that is more than enough.

  • Boy Meets World and the Lost Art of Trusting Kids

    Revisiting Boy Meets World is a reminder of what children’s television used to dare to be. Hammy, imperfect, and occasionally absurd, the show trusted its audience enough to wrestle with morality, grief, politics, and growing up. It was also allowed to end on its own terms. In an era where kids’ TV increasingly plays it…

  • The Greatest Showman Is Loud, Empty and Morally Bankrupt

    A film so terrified of scrutiny it turns the dialogue down and the spectacle up. The Greatest Showman is not revisionism for drama’s sake but a moral abdication that ignores the truth because the real story is too painful too complex and too human to sing along to.

  • The Parent Trap: Trust, Craft And A Confident Disney

    A clear eyed rewind of The Parent Trap that celebrates confidence in craft, performance and restraint. Wholesome, genuinely funny and quietly clever, this is Disney trusting its audience and being rewarded for it.

  • Yerma, Watched From a Distance

    Simon Stone’s adaptation of Yerma, encountered via Drama Online’s National Theatre Collection, remains devastating. Watched from a distance, it becomes a study in pressure, isolation and the slow unravelling of a life shaped by expectation.

Being Bipolar

Essays exploring life with bipolar disorder, mental health and the realities of living openly.