I want to be perfectly up front about what we do here.

This is not a serious publication. I’m not an academic. I never took a course on filmmaking. If that’s your bag, you’ll probably be more comfortable someplace else.

I write about pop culture because I love it. And for me, loving it means gently poking fun at it.

All the Fanfare is an irreverent celebration of pop culture. I think deeply about this stuff. I also believe laughing is underrated. Which is how I can write a 24-minute read about Point Break’s bromance; there’s a lot to love there, and also to laugh about. (That post is exclusive to paid supporters—saved you a click—though you can read the first 1k words for free.)

I mainly write about movies and TV shows. Sometimes I cover video games and stuff like Dungeons & Dragons. My focus is squarely on 1980s - 2010s. I write about newer stuff, but if I have a superpower, it’s my enthusiasm for mining the familiar for fresh thoughts.

I’m also deeply aware of my own mortality, which is why I treat traditional pop culture fare—previews, reviews, gossip—like a vampire encountering the sun. I don’t want to spend my days writing stuff nobody will care about in a month.

My focus: long-form, evergreen articles that are entertaining and informative. Quality at the expense of quantity. 100% organic. Hand-crafted. Would it be too cheeky if I called them artisanal?

If you’re curious, here’s a longer mission statement, which employs Dwight Schrute, Batman (1989), and The Matrix in making my case.

About Me

Everything you need to know can be found here:

I was born 9 months after Star Wars premiered in 1977, which naturally suggests my mom’s womb quickened on its own after she saw the film. I get it—these movies make me feel things too. I learned about all the gender parts in health class but they neglected to teach us how babies are really made.

I’m not saying I’m a Chosen One, only that I wasn’t ready to be born into a world without Star Wars.

If you need, like, credentials or something: I’ve freelanced at many of the largest pop culture outlets. I quit because corporations claim story rights forever, in exchange for a few hundred bucks, which is not the best deal; I'd rather own my stuff in perpetuity.