Netflix was launching Black Mirror Season 4 in Europe and needed something that didn't just promote the show — it needed to feel like the show. The creative challenge was clear: how do you market a series about the dystopian consequences of technology without producing something that felt like exactly that? In partnership with agency DUDE Milano, the answer became Black Future Social Club — a fully operational restaurant and social club in Milan where entry required 1,000 or more Instagram followers, and guests without enough followers could earn them by completing increasingly disturbing tasks. My role was senior production and creative oversight: helping shape the conditions for the idea to succeed, aligning agency, marketing, PR, producers, and production partners, and ensuring the activation could deliver at the level the concept demanded. Within two hours, #BFSC was trending on Instagram across Europe, and the activation was documented and released as if it were its own Black Mirror episode. The work didn't sit alongside the show's themes — it lived inside them.

In 2015, mobile was about to eclipse desktop in advertising spend for the first time, but the formats brands had available were still mostly shrunken versions of desktop creative. The problem was clear: the medium had changed, but the canvas hadn't. I conceived and led the development of Yahoo Tiles, a post-tap mobile format that let brands build swipeable, 360-degree, interactive stories in a lightweight native environment. My role spanned concept development, prototyping, and cross-functional launch — shaping both the product itself and the market story around it. Yahoo Tiles launched at Cannes Lions with live 360-degree demos and campaigns already in market from Starbucks, Campbell's, JetBlue, and Intuit. In controlled testing, the format generated five times the engagement of standard units, proving that mobile creative needed its own language, not just a smaller screen.

When I joined Netflix's EMEA operation in 2016, the creative marketing infrastructure was nascent and the ambition was enormous. My mandate was to build the production organization that could deliver world-class creative across Europe, the Middle East, and Africa — and for EMEA-originated titles, support work that needed to perform globally. Over six years, that meant scaling the organization from an initial team of 3 creative producers to a 100-person multi-disciplinary capability spanning 7 distinct disciplines, including AV, editing, art & print, digital production, operations, program management, brand partner marketing, and asset management across 30+ countries. It also meant shaping creative direction on flagship campaigns and activations, building vendor and agency partnerships across the region, and designing the systems and team structures that allowed speed and quality to coexist at scale. The challenge was never purely operational. Every system decision was also a creative decision — what you build determines what gets made. The result was a regional organization capable of delivering ambitious, internationally recognized work for Netflix's biggest franchises across dozens of markets, while also supporting global creative output for EMEA-born titles including The Witcher, The Crown, Dark, and La Casa de Papel.

Stranger Things Season 4 was one of Netflix's most anticipated releases — and one of its most technically ambitious. But the moment that generated some of the loudest cultural conversation wasn't a trailer or a billboard. It was a subtitle. Working on the accessibility creative direction for the season's launch, our approach treated audio description not as a functional compliance requirement but as a creative writing challenge. Descriptions like "tentacles squelching" and "the Upside Down churning wetly" started circulating on social media — fans screenshotting them, journalists writing about them, accessibility advocates pointing to them as a model for what thoughtful description could be. The work became an unexpected proof point: that creative standards applied to every layer of a production, including the ones most executives never read, can generate cultural impact that no campaign budget could buy.

Returning to music after an eight-year absence, the creative and brand decision was the same: refuse to compete on volume. The music industry in 2020 rewarded frequency, algorithmic gaming, and trend legibility. Black Sands was built on the opposite logic — a visual and sonic identity so coherent and so committed to restraint that every release reinforced the whole rather than chasing what was current. A custom serif wordmark designed with Augusto Paiva, a singles system built on film grain, dark grounds, and a single red accent, and a release discipline that valued quality over cadence. The result is a brand that reached 5.5 million streams and 14 million cross-platform views with zero paid advertising — driven entirely by the work, and recognized by HIMA with two nominations and Unsigned Only with a second-place finish. Black Sands is the clearest expression of what I believe about brand building: that restraint, coherence, and a genuine point of view compound over time in ways that no media spend can replicate.