Finding the humanity in diverse stories — and building the creative systems that bring them to life.

A native New Yorker, Ethan is a creative director with over 15 years of experience leading integrated campaigns across entertainment, sports, and technology platforms. His early years were spent at the Brooklyn Museum, MoMA, and The Met, where exposure to Surrealism, the Bauhaus, Dada, and Conceptual Sculpture gave him a framework for thinking about design as something more than decoration — as a language with the power to provoke, clarify, and move people. That foundation led him to study graphic design and typography at The Cooper Union, one of the country's most rigorous creative institutions, where he developed the conceptual discipline that still drives his work today.

After graduating, Ethan built his craft across a range of agencies and broadcast clients before landing at Showtime Networks, where he would spend the next twelve years. There, he advanced from Art Director to Senior Art Director with full Creative Director responsibilities, overseeing 360° campaigns for some of premium television's most acclaimed series — Homeland, Shameless, Twin Peaks: The Return, and The Chi, among them. He directed photography and CGI for some of the sport's most commercially significant events, including the creative for three of the four highest-grossing pay-per-view boxing events in history: Mayweather vs. Pacquiao, Mayweather vs. McGregor, and Mayweather vs. Canelo. He also helped guide Showtime through one of entertainment's most consequential brand transitions — from premium cable to a product-first streaming service — developing the visual systems that brought the network into the digital era. His campaigns earned recognition across the industry, including Clio Gold and Silver Awards and Promax/BDA Awards.

In late 2022, while the rest of the industry was still debating whether generative AI was a threat or a toy, Ethan was giving internal presentations at Showtime on Midjourney's implications for professional design practice. But his interest was never really about the tools. It was about what the tools revealed — about creativity, about authorship, about what it actually means to have an idea. That curiosity has defined his practice ever since, and it's the same curiosity that makes him spend hours immersed in a podcast's back catalog before touching a brief, or that drives a personal exploration of what happens when you generate Cattelan's Comedian without any human hands at all. The question is always the same: what are we actually making, and why does it matter?

Following Showtime, Ethan joined Known, a modern marketing agency, where he contributed to major platform rebrands, including HBO Max's transition to Max and Comedy Central's relaunch of The Daily Show. He then moved to Wondery, Amazon Music's podcast network, as Creative Director. There, he rebuilt the network's creative and production infrastructure from the ground up — transitioning from a legacy agency model to a curated network of specialized creative partners, implementing a standardized cross-functional workflow, and integrating AI-powered tools across the operation. The results were measurable: 40% cost savings, 25% faster development timelines, and a body of work that helped Wondery maintain its position as the #2 podcast network in the U.S. His campaigns for shows including Dr. Death, Exposed, Reclaiming, Hysterical, and How I Built This earned Ambie and Signal Awards, with multiple titles reaching number one on the charts.

Ethan's approach is defined by deep immersion — he doesn't direct creativity from a distance. He reads the scripts, listens to the episodes, works closely with talent and producers, and learns the audience before a single concept is developed. He's found that the more genuinely you try to understand someone else's story, the more clearly you can see what it needs. That capacity for perspective-taking — for stepping into other people's realities with real curiosity — is what connects the commercial work, the personal projects, and the novel he's currently writing set in post-Civil War Brooklyn Heights. It's all the same practice. The subject changes. The approach doesn't.