Says yes first, reads the waiver later.
Written, shot and cut by her — usually in a day.
The sketches are hers end to end — written, performed, shot and cut, usually inside a day and usually because something funny happened to her first. POV setups, characters, and a punchline that lands before anyone's thumb can move. “POV: dating during the ice age” is not a format she was handed. It is just how her brain narrates a Tuesday.
No script, one take, a real chance it falls apart.
Then there is the other half, which runs on the opposite rules. No script, one take, and a real chance it falls apart while the camera is rolling. She jumped out of a plane over Colorado more or less on a whim. She learned the flying trapeze at Pier 40 in Manhattan with an audience of strangers and no safety net for her dignity. Nothing is staged, which is exactly why people watch to the end.
Comedy is the doorway; adventure is the reason anyone stays. Together they buy something rare in a feed — attention that was given rather than bought. That is why brand work sits so naturally inside her content. A product in a comedy beat gets remembered. A product in a free-fall gets screenshotted.
She writes it
Concepts come back in her voice, not a template. Brands approve an idea, not a shot list they had to invent.
She shoots it
Full in-house production — camera, lighting, sound, edit, captions, thumbnails. One point of contact from brief to delivery.
She answers
Replies inside two business days, hits posting dates, and sends performance numbers after the flight without being chased.
The yes list.
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