The New Year always brings a sense of renewal – a chance to shed the old and embrace a racing new start (yes I know it’s April but I’ve had a lot on!). For me, 2026 is about consolidation. I’m taking everything I have learned about filmmaking and screenwriting over the last few years and distilling those lessons into clear goals for the future of Evalution Media. A Look Back to Move Forward Launching this updated website is a significant milestone. Migrating the blog archive gave me a chance to revisit my previous work, some of which dates back to the first…

As this year comes to a close, I’ve realised that transition is the word that best sums up 2025. It’s been challenging, joyful, exhausting, expansive – sometimes all at once – and it’s quietly set the foundations for some very big things to come. Looking Back: A Year of Shifts In many ways, I’ve become who I always wanted to be. I’m performing, entertaining, and working across theatre, film and television – both behind the scenes and on screen. That’s something I don’t want to rush past or minimise. Of course, human nature dictates that this is still not quite enough. This year began…

When people talk about the Heroine Archetype, Maureen Murdock’s The Heroine’s Journey: Woman’s Quest for Wholeness (1990) inevitably comes up – often treated like the gospel counterpart to Campbell’s Hero with a Thousand Faces, (1949). And look, Murdock contributed something valuable to the conversation. She carved out space for the inner lives of women in myth and modern storytelling, which was missing from Campbell’s original Hero’s Journey diagram. Her framework is also limited. Constricting. And honestly? It doesn’t fully reflect the kinds of heroines we’re writing, or desperately need, today. Let’s get into it. 1. The “Internal = Feminine” / “External = Masculine”…

I grew up on Buffy, I wanted to write because of it. I love the style of dialogue and the epic world and character building. I even did an interview for the Industry section of my Writing for Script and Screen MA with Jane Espenson! I wanted to be a screen writer because of a TV show that has been off air for over 20 years with no hope of its return, now it’s back with Sarah Michelle Gellar, Gail Berman and Marti Noxon at the helm and an awesome director Chloe Zhao and producer duo Nora & Lilla Zuckman,…

There’s something quietly thrilling about a good adaptation — when a story we thought we knew is handed over to a new medium and somehow becomes even more itself. Whether it’s a dense novel stretched out over multiple seasons, a short film finding its voice on stage, or a classic film reimagined with actors standing feet away from us, some stories really do thrive in translation. And others… don’t. (But I’ll be kind and not name names.) I’ve been thinking a lot about what makes certain adaptations work, and why some feel unnecessary or flat. So here’s a breakdown — with examples…

With South Park (1997 – present, Trey & Stone) returning this July, there’s no better time to revisit Nobody Got Cereal? — the ManBearPig episode that stopped being satire the minute we all started doom-scrolling climate reports between AI meltdowns, global unrest, and 24/7 misinformation. At first glance, it’s another out-there episode — ManBearPig (from season 10, 2006) is real, he’s back, and he’s pissed. But under the surface (and ManBearPig does love hiding under surfaces), this episode is about climate change, generational selfishness, and our collective inability to admit when we’re wrong — even as the world burns. Part two of…