Laugh Lines is the first substantial game I've ever developed from the ground up, and in the process I learned that even relatively simple games can get very complex very quickly.

It is a joy to play, but was even more fun to create, and the itch it scratched is one I definitely hope to claw away at again in the future.

Glamour polled 2,000 women around the country about the issues they're most concerned with going into the 2024 election and used their findings to produce a special package of stories published across their channels.

The resulting hub page brings it all together using a map-based narrative component I'd originally built for a separate personal project, highlighting a handful of case studies and a diverse sample of opinions from the women they spoke to.

Skin-care mini fridges? D-Bronzi drops? Hyaluronic acid serum?

What have I gotten myself into?!

Generation Beauty explores the relationship between impressionable tweens, the beauty industry, and the various influential forces that enable the two to feed off each other.

When Israel invaded Kamal Al-Mashharawi’s neighborhood, he crowded into a basement with his extended family. “The world is closing in on us,” he wrote on WhatsApp.

A sort of meta interactive treatment of an article on how social media turned the iconic film In the Mood for Love into a trending “aesthetic.”

An absolute joy to create, this playful piece brings to life Liana Finck’s quirky take on parenthood through cartoon, picking apart the “conventional wisdom” and well-meant advice that all new parents are relentlessly offered.

• 28th Annual Hollywood Issue (2022)
  • The House of Hollywood
• 27th Annual Hollywood Issue (2021)
  • Hollywood Issue
  • Portfolio: On With the Show!
• 25th Annual Hollywood Issue (2019)
  • Moving Pictures
  • 25 Scenes / 25 Years

A welcome respite from the heavier work I’ve often found myself doing, the three separate Vanity Fair Hollywood Issues I’ve had the honor of creating in digital format have continued to illustrate to me what can be possible when no corners are cut, few creative restrictions are put in place, and the entire process is piloted by a handful of incredibly accomplished teams.

Despite the impossibly aggressive deadlines and whirlwind of always-evolving (and sometimes competing) editorial, photo, and artistic directions, the end result is always something I’m proud of: a simple digital experience that is a pleasure to just use.

• 2020 Person of the Year
  • Joe Biden & Kamala Harris
• 2019 Person of the Year
  • Greta Thunberg
• 2018 Person of the Year
  • The Guardians and the War on Truth

Every year at the height of autumn, a small team of journalists from across TIME’s organization come together to produce the Person of the Year issue. This “inner circle” includes writers, photo editors, video producers, print designers, executives, and — for three years in a row — me.

Through a comical game of charades between those “in the know” and myself (who would remain in the dark about the selectees until the final days or even hours), the digital issue had to be designed, built, and tested nearly blind; the placeholder names and images swapped out for the real things just ahead of the highly-anticipated announcement at 7am, the final step in this arduous process to reveal the world’s Person of the Year.

For more than five months, French artist JR captured photos, video, and audio interviews of 245 individuals from various backgrounds across the US as part of an extraordinary effort to bring all of their voices together in one enormous mural for the cover of TIME magazine.

Creating the interactive version of this mural brought me way back to my roots during the Macromedia Flash days, where the page felt more like a canvas than a document, and where the lack of rich ecosystems of libraries and frameworks meant that it sometimes required an incredibly tedious effort and a ton of creativity to create something compelling.

In Guns in America, this meant manually tracing the outlines of all 245 individuals in the mural. It meant hand-wrangling the data for each of them, and working to come up with the best way to let their stories be heard in a compelling and intuitive manner.

It was one of the more challenging projects I’ve ever worked on, and also the most rewarding. But more than anything, it’s an honor to know that I had a small part in the enormous effort involving many thousands of person-hours creating something that will help facilitate dialogue around one of the most divisive issues in the US.

Considered to be the “worst addiction epidemic in American history”, the opioid crisis facing America is killing more than 64,000 people per year and showing few signs of slowing.

TIME’s The Opioid Diaries was published using the same custom framework successfully powering the earlier Finding Home: Heln’s First Year, accompanied by an unprecedented cover-to-cover print magazine on the topic, both designed around a powerful photo essay featuring the work of photojournalist James Nachtwey.

From her birth at one refugee camp in Greece to her first birthday at another refugee camp in Germany, TIME journalists covered the first year of baby Heln’s life as a stateless child born to parents fleeing the Syrian civil war.

Pushing the envelope of TIME’s approach to digital storytelling, Finding Home chronicles their journey through the use of full-bleed galleries of pictures, video vignettes, and audio voicemails, all tied together by a story told through the dialogue of SMS messages between baby Heln’s mother and the TIME journalist covering them.

In partnership with Thomson Reuters, Bearing Witness: Five Years of the Iraq War shares the stories of the journalists and the work they produced while covering the Iraq War through use of video, photography, infographic charts & maps, and an innovative multimedia timeline of events.

Wholly responsible for my 15 minutes of internet fame — as well as my first collaboration with MediaStorm and subsequent hire — Iraq War Coalition Fatalities began as a school project in my senior year at SVA and maps Coalition fatalities from the War in Iraq across time and space. It went viral shortly after its release, garnering well over a million views in a matter of months and generating a substantial amount of criticism, praise, and discussion.