Work: In Words

I've been writing all my life, but I've been writing professionally since 2001, when I got my first job writing recaps of The Amazing Race for Television Without Pity. As of right now, while TWoP is retired, you can still read the first recap I ever wrote. I worked there until 2008, when I left and started Monkey See, NPR's first and only pop-culture blog, of which I remain the first and only editor. 

Some of my very favorite things I've written:

  • Reflections on the first black Bachelorette, and what her choice of suitors says. 
  • An essay on similarities between live theater and prestige television. 
  • Thoughts on the nature of fame, provoked by the podcast Missing Richard Simmons.
  • My piece on what I call The Age Of Enthusiasm, about the way culture is shifting from an economy driven by habit to one driven by passion, and what that means economically and artistically. 
  • My deep (deep, deep) dive into the endlessly evolving cultural idea that is Cinderella. 
  • A look at the way cultural panic -- like the one exploited all the way back in The Music Man -- never really leaves us. 
  • Every Song In The Last Five Years Ranked By Uncontrollable Sobbing. A piece I love because the chance to live as a true obsessive is one every writer occasionally exploits. 
Enthusiasm enables grass-roots advocacy and humbling, stunning generosity. It enables viciousness and vileness and insufferable, status-conscious posturing. It feeds quixotic missions to obtain, as well as a sense of towering entitlement to possess: if you care about it, if you want it, and if you believe in it, you’re entitled to have it.
— Love In The Time Of Hollering: The Age Of Enthusiasm
In most Hallmark movies, you can tell the difference between the Good Boyfriend and the Bad Boyfriend by the fact that Good Boyfriends work either as Professionally Tough People (cowboys, firefighters, trail guides) or Professionally Cuddly People (artists, music teachers), while Bad Boyfriends work as Professionally Greedy People (finance dudes, lawyers, real estate monsters).
— 20 Things You Desperately Need To Know About Mariah's Hallmark Movie
Particularly between various combinations of Boyega, Ridley and Isaac, the film surfaces some dynamite chemistry that elevates a series of chases through space, through forests, through busted-up tunnels and over deserts. On foot, in little ships, in big ships, they scoot and hustle and crack satisfyingly wise while something blows up right over there and juuuuust misses them.
— The Best-Case Scenario: 'Star Wars: The Force Awakens'