My journalism portfolio

I focus creatively on long-form features, interviews, reviews and radio. I dabble in everything in between.

  • Film Editor at Counteract
  • Album Reviews Editor at Under the Radar
  • Writer at The Quietus, Dork, Film Stories, The Ransom Note, hyponik and Skiddle
  • Radio Host on Threads Radio

You can view a selection of recently published pieces below, or browse by category and publication at the bottom of the page. 

Blaise Radley at visual arts exhibition

Recently published

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Interview: LA Priest

Samuel Eastgate's best friend is a robot. In fact, for a period of time, it sounds as if his only friend was a robot, or rather a slightly cantankerous drum machine. With a creative process that sounds awfully similar to certain social isolation protocols, when Dork reaches him on the landline of his home in rural Wales, the current chaos all seems quite distant. "I live with my family in a really empty, isolated area. It's almost like I planned ahead... but I mean I haven't, I haven't."

Feature: Uncut Gems and the climax that never comes

What does winning sound like? Is it the rolling thunder of hands beating together; the final beep test *beep* after everyone has collapsed; the ding of a microwave containing molten leftovers? Victory, of course, doesn’t have one tone, but sounds do hold an uncanny power to trigger deep seated feelings of validation. There’s a reason mobile developers spend years perfecting the sound a treasure chest makes, hoping to trigger precious endorphins and lock you into another cycle of delayed gratification. Humans crave catharsis.

Film review: Portrait of a Lady on Fire is a rare example of pure beauty

What marks Portrait of a Lady on Fire as a more full-bodied work than its impressive romantic thread, is the wider angle Sciamma takes regarding loving relationships. With men largely regulated to off-screen spectres and the things of ancient myth, the full spectrum of female communal spirit grows in the spaces left behind. In Sciamma’s frame no woman is perfect, and yet through sororal companionship something perfect begins to take hold.

Film review: The Lighthouse fuses high contrast horror with dark comedy

The Lighthouse isn’t simply a film shot in black & white—it’s a picture that resonates deeply with stark binary contrasts, even as these oppositions frequently collapse. Where many might accuse A24 of having fanned the flame of shallow visual gimmicks since their inception in 2012, with his second feature Robert Eggers proves striking imagery and strong storytelling are no strange bedfellows