Kansas kid.
California creative.

I write things, and I build the systems that make more of them.

I started in journalism, moved into copywriting, and have spent the last twenty years making work for Lexus, AT&T, Mars‑Wrigley, Netflix and a long list of brands who needed people to actually stop scrolling. Five Super Bowl campaigns. Several Lions, including Gold. Billions in earned media.

The last three years have been spent tearing apart the traditional ad model and rebuilding it around AI‑powered creative and production — personalized video and messaging at scale that still looks expensive. From Mars‑Wrigley to AT&T, clients have fundamentally changed how they produce social and broadcast video because of systems I built with my team. More efficient. More personal. Same polish. Fewer dollars.

Lately that work has gone agentic. I design and orchestrate multi‑step creative and production pipelines where agents carry a brief from insight to finished asset — interrogating audience data, generating and versioning copy, assembling cuts against a modular shoot, localizing into Spanish, and running QA before a human opens the file. The team stops hand‑building variations and starts directing a production line. That’s the real shift: not using AI to make one ad faster, but building the machine that makes every ad after it.

Before all that I made a car out of Sriracha, put Nikes on a Lexus, brought Lily back to AT&T, and paused the M&M’S Spokescandies until cable news lost its mind. I also wrote eight episodes of The Tom & Jerry Show, which remains the most confusing line on this résumé and the one I’m proudest to explain at parties.

The through‑line hasn’t changed: great creative doesn’t just look good. It solves something.