Our Frasier Remake

As the editor (and creator) of Our Frasier Remake, I assembled and shaped a completely unique, shot-for-shot recreation of the Frasier pilot — constructed from more than 180 segments submitted by artists, animators, and filmmakers around the world. Each scene was interpreted in a radically different style, and my job was to bring them together into a cohesive, emotionally faithful, and rhythmically watchable episode.

Editing this project involved far more than stitching scenes together. I structured the full-length film for narrative and comedic flow, balanced wildly varied visuals, and maintained character and story continuity across dozens of artistic tones. I also mixed a completely original audio track using improvised jazz drumming (a la Birdman to mimic the rise and fall of the original laugh track), sound effects, and new vocal performances from actors including Lauren Lapkus, James Adomian, and two-time Emmy winner Eric Bauza. Sound design, comedic timing, and voice delivery all had to feel organic, despite coming from dozens of disconnected sources.

In addition to the film itself, I also cut multiple punchy trailers and teaser spots that helped establish the project’s identity and build momentum in the press. I also mastered a theatrical version that screened to sold-out audiences in Los Angeles, New York, San Francisco, and Austin. Those screenings expanded the presentation to include ‘making of sizzles,’ behind the scenes clips, and shorts from various creators on the project.

We released the full project the day before Paramount+ debuted their official reboot of Frasier, positioning our chaotic, lovingly crafted indie version as a kind of fan-powered counterpoint — and generating wide attention in the process. The film was covered by TheWrap, AV Club, ScreenRant, LAist, and Cracked, with AV Club calling it “a unique and entirely D.I.Y. take on television’s greatest snob” and Cracked headlining, “Crowdsourced Frasier Reboot Looks Way Cooler Than Real One.”

This was one of the most complex editorial challenges I’ve taken on — a massive puzzle of formats, tones, and styles — and the result is a singular, collaborative work that I’m proud to have shaped from raw chaos into something truly watchable, funny, and culturally resonant.

Billy On The Street

As an assistant editor on Season One of Billy on the Street, I worked closely with legendary editor Bill Parker, Billy Eichner, and the showrunners to help shape what would become a groundbreaking comedy series. My responsibilities included syncing and organizing multicam footage, prepping selects, managing media, and ensuring smooth post-production workflows during long hours at Funny or Die. It was a thrill to be part of the team in those early, scrappy days—sharing clips with my then-girlfriend (now wife) and laughing hysterically before the world had caught on to Billy’s brilliance.

Before You Were Funny (Pilot)

Before You Were Funny started as a cult-favorite live show and podcast where comedians unearthed their most painfully earnest early work—sketches, scripts, stand-up, poems—from before they found their comedic voice. Hosted and curated by Justin Michael and me, the show earned a loyal following in the LA comedy scene with guests like Jessica Williams, Kyle Mooney, Nicole Byer, Drew Tarver, Lauren Lapkus, and more.

In 2013, Funny or Die tapped us to adapt the show into a three-part web series using the model they’d perfected with Drunk History—a low-budget but high-concept “backdoor pilot” meant to gauge audience interest and industry potential.

In addition to co-creating, co-hosting, and executive producing the series, I served as lead editor and post-production supervisor, overseeing nearly every element of the project’s editorial lifecycle over a year. Working closely with editors Matt Sweeney (SNL) and Kegan Swyers (Funny or Die), producer Andrew Porter (Nathan For You), animation director Harry Chaskin (Robot Chicken), storyboard artist Tom Smith (Beavis and Butthead), character designer Lindsey Gilbert (Robot Chicken), and my co-creator Justin Michael (Infinity Train) I created a post workflow that streamlined the best up-and-coming indie talent for a broadcast-ready format.

My work began with cutting the live-to-tape performances, recorded in front of an audience and featuring top-tier comedy guests including Paul Scheer, Kristen Schaal, Andy Daly, and Eugene Cordero. The edit had to preserve the spontaneous energy of the room while ensuring clarity and pacing for online viewers. This meant shaping long-form performances into tight, punchy segments while maintaining the comedic vulnerability that made the original live show resonate.

A key creative decision involved identifying which moments from the live show could be elevated through animation, much like Drunk History‘s signature reenactments. I selected the featured sketches, edited storyboards into animatics, oversaw animation development, and cut those sequences into the final narrative arc. This required tight coordination with animators, sound designers, and our post team to ensure that tone, timing, and transitions remained cohesive across the hybrid format.

The resulting pilot captured what made the live show special—its blend of humiliation, humor, and creative growth—while elevating it through precise, thoughtful post-production. The hybrid of live performance and animation required a delicate editorial hand and deep understanding of both storytelling and comedy mechanics. The final product retained the soul of the original podcast and live show while showcasing a dynamic visual format ready for broader television development.

Prank Panel (TruTV Pilot)

In 2012, I was brought on as the lead editor for a new sketch-prank hybrid pilot called Prank Panel, created by Adam Small (MADtv) and Trevor Moore (The Whitest Kids U’ Know), produced by Funny or Die for TruTV. The premise was chaotic, ambitious, and shot with more cameras than most reality finales—10-camera setups capturing hundreds of hours of footage that needed to be shaped into something coherent, compelling, and genuinely funny.

From day one, I worked directly with the showrunners to define and refine the look, tone, structure, and pacing of the pilot. I wasn’t just executing their vision—I was helping build it. I became a trusted creative partner, cutting early proof-of-concept scenes and helping determine which pranks and sketch segments deserved to make the final cut. Many pieces were edited in multiple versions for group feedback, which I facilitated and integrated in collaboration with the directors and producers. I also edited the show’s panel — recorded in front of a studio audience with guests Eric Andre, Pete Holmes, and Erin Gibson – down from a 2+ hour live taping into the half-hour pilot.

We didn’t have the budget for original scoring—and I saw that as an opportunity. To give the show a Looney Tunes–style sensibility, I advocated for using classical music throughout. Not only was it cost-effective, it ended up amplifying the comedy, adding an extra layer of absurdity and timing that helped unify the episode’s tone across segments.

Beyond my core editorial responsibilities, I also:

• Supervised other editors and post-production staff

• Led creative direction for the opening title sequence and theme song

• Made editorial decisions about which sketches should be included, and how best to present them

• Helped shape the tone across segments, ensuring the final episode felt unified, polished, and punchy

Cutting a show like this was more than just stitching together multi-cam setups—it was about imposing rhythm on chaos, finding story arcs in real reactions, and landing hard on every joke. And doing it fast enough to keep up with the prank energy and sketch comedy pacing.

Prank Panel never made it to air, but it remains one of my favorite post-production challenges and one of my most collaborative editorial experiences—working with two comedy legends to bring their vision to life from the ground up.

CBS Diversity Showcase

I edited dozens of sketches across two seasons of the CBS Diversity Showcase, a high-profile production known for launching major comedic talent. These seasons were produced during the height of the pandemic, which meant navigating unique post-production challenges—from remote collaboration to fixing technical limitations in post. I focused on sharpening comedic rhythm, performance, and pacing, and in many cases, reshaped sketches entirely in the edit to improve clarity and impact. My work played a key role in elevating the material, helping the showcase maintain its reputation for standout comedy under extraordinary circumstances.

Jacob Reed And Me

I created, hosted, and edited Jacob Reed and Me, an investigative comedy podcast and documentary series that premiered at the 2025 Tribeca Festival. The show follows my real-life quest to track down others with my same name — blending memoir, reporting, comedy, and emotional storytelling into an eight-part first season that’s as absurd as it is sincere.

As both the central character and the editor, I took personal responsibility for the post-production process. I shaped every episode from hours of raw interviews, field recordings, archival material, scripted VO, and original score. The show demanded a highly intentional edit to balance shifting tones — from comedic to heartfelt — and to craft a cohesive story arc across the series. Despite my proximity to the subject matter, I approached the editorial process with discipline and objectivity, constantly interrogating what best served the story.

I worked closely with a small, top-tier team, including the Emmy-nominated executive producer of Chef’s Table and collaborators from This American Life, 99% Invisible, and the Ambie Award-winning podcast Broomgate. I led the narrative structuring of each episode, building multi-track assemblies that seamlessly wove together interviews, voiceover, sound design, and music to create a polished and emotionally resonant final product.

This was the most creatively demanding and rewarding project I’ve worked on — and the editorial process was at the heart of making the series feel surprising, funny, and human.