My pro-bono, unsolicited “radical honesty” campaign for the dreaded LinkedIn.
WHITEHOUSE.ORG was a long-running political parody I produced and edited during two separate tenures spanning vastly different political and internet realities. The Bush Era During the slow-motion train wreck that was the George W. Bush Administration, we entertained millions of people per month, sold a ton of silly swag, published a spin-off book with PenguinContinue reading “WHITEHOUSE.ORG”
I won a Primetime Emmy® for producing this industry-first “second screen” sync app for Team Coco. The next year, we expanded what had been a tablet-only experience to support iOS & Android phones and desktop computers — for which we nabbed another Emmy nomination: Truth be told, I had a nagging suspicion that watching aContinue reading “Team Coco Sync”
This is a rough cut of a sizzle for a series I co-created in 2017 with Andrew Bradley.
Every year since my daughter’s birth, I’ve been cooking up movie parody holiday cards. It’s a family tradition that’s become much more complicated now that the kids are old enough to give notes!
You may have heard of the “Pyramid of Success” John Wooden. Alas, you’ve reached the “Trapezoid of Mediocrity” one instead.
In 2014 I conceived and produced CONAN360, which was among the earliest virtual reality content generated by a broadcast TV property. Sponsored by AT&T, CONAN360 became the flagship activation for three years of tentpole broadcasts live from Comic-Con International in San Diego. Below is a Comic-Con kickoff VR promo I wrote and directed:
In 2015, I was particularly proud to be a finalist for the juried “Multiplatform Storytelling” Emmy® for the CONAN IN CUBA digital initiative, during which we unilaterally broke a cultural embargo by smuggling content onto Cuba’s illegal offline sneakernet, “El Paquete Semanal”.
Inspired by the SFX genius of my pal Nick DenBoer, I conceived, branded and produced this reimagined take on the “Late Night With Conan O’Brien” classic “If They Mated” bit. We aired thirteen installments, all of which Nick edited at Smearballs HQ in Toronto.