This paper explores how science fiction uses bureaucratic workspaces to reveal the horror embedded in systems of labor, control, and moral detachment. Drawing from various examples, it argues that the true terror in these narratives lies not in monsters or technology, but in the cold efficiency of institutions that reward obedience over empathy. The second half of the paper reflects on an original interactive video project developed in response to these themes, examining how design, narration, and limited choice create a system that feels both familiar and quietly oppressive.

Hollow Valley follows the story of William Shaw (20s), after he murders his own father and goes on the run. Not sure where to go next, he willingly ventures into a secluded valley with a dark past and murderous Sasquatches roaming the woods. He meets others along his journey, including a young woman named Ruth (late 20s), with whom he develops a connection. As people begin to die, the memory of what he did continues to haunt him. In the end, he must choose to either embrace his humanity or abandon all that ever made him human.

This senior project is all created materials and research for my senior project The Station, a spring 2025 festival play. As the director, I worked with the actors, designers, and crew to devise a half-hour piece following different stories at a New York City subway station, drawing from improvisation, personal stories, and our experiences in the NYC subway, creating a show about the humor in and the importance of every day human connection. The direction of this show was supported by research into community-based theater for social change, exploring the tools used in theater spaces to create community and drive social change.

In this paper, I analyze the role of nostalgia with home media. From owning physical copies of tapes to streaming your favorite shows, how people consume video content has changed over the years. As defined by Svetlana Boym, nostalgia is a desire for a place or era that has either disappeared or is envisioned, rather than merely a wish for a particular location. In the story about Timmy, nostalgia is about memory and the senses. I'm interested in understanding how the shift from physical to digital media changes people's relationships with entertainment. Additionally, I intend to explore the enjoyment of possessing physical media at home and how that has transformed (VHS, CDs, etc.) I will also explore the changes people deal with in their environment (adding buildings to a city/getting rid of a favorite place).

An animated short accompanied by three sculptures

It's an ordinary evening and Zach and Eliza are watching TV. Ping! Eliza's phone goes off alerting her that she's fertile right now and it's an ideal time to try to make a baby. After years of going through this same routine, Zach has had enough. He's tired of having scheduled, passionless sex. This leads to a verbal brawl as the couple fight about their struggles with fertility and problems with their marriage as well as dredging up traumas from their individual pasts.

A short documentary that discusses what people with ADHD (or any similar disorders or symptoms) go through in their everyday lives. How bad is it really? How do we deal with it? Do we have it at all or is it something else? Find out right here! Minor Spoiler: W E A R E N O T T H E S A M E !

In Let Me Be Your Mirror, I create monumental self-portraits that explore the tension and fluidity between my physical body and psychological states. Through bodily distortions, I examine the in-betweens of my female queer experience. I delve into the simultaneous disgust, distress, and fascination with my own corporeality – a body among many female bodies in an overly moralized world. Trapped within claustrophobic mental spaces, fictive versions of myself gaze intently at the viewer, drawing attention to the vulnerability of exposing both my physical and metaphorical insides. Liquidness – exemplified through large, glassy eyes – flows throughout my work, both in gestural mark-making and in literal forms like sweat, water, and pearls. My paintings are cyclical. Eyes, scalps, fleshy red insides, and mint green pearls repeat throughout my paintings, making physical sense of the cycles of my mind and body.

Roy Grossman is a twenty-seven-year-old custodian working for a hospital. He has no friends and no significant others. The only person still in contact with him is his mother, who only holds contempt for the man Roy has become, or, for a better turn of phrase, not become. Roy's boss is getting closer and closer to firing him, making Roy realize he has a limited amount of time to put his plan into motion, find his ideal mate, and rescue them from the morgue.

When Eleanor faces familial ridicule and repercussions following her lack of success at the Home Décor Store, she teams up with Fred in hopes of saving her business and her family. A seemingly kind duo at first, both Fred and Eleanor begin to exhibit some less than heroic tendencies as they are each haunted by ghosts of their past. These ghosts, Fiona and Birdie, appear as the conscience of Fred and Eleanor respectively; guiding them through their present, with the weight of their past. A campy- dark comedy, Fred in Red tells the story of Christmas miracles, and perhaps some yuletide crime.