Through my experience, I’ve honed diverse storytelling techniques, from emotive TV reportage to punchy TikTok content, enriching my approach to narrative video journalism. While I believe quantitative metrics are inadequate for assessing journalistic outcomes, it’s noteworthy that my social media productions have significantly exceeded broadcaster standards. Some videos have garnered over 5 million clicks, 200,000 likes, and thousands of comments, demonstrating a robust engagement far beyond conventional measures.

Observing the evolving landscape of journalism, particularly driven by social media and the Web 2.0 platform economy, I recognize a shift towards attention-grabbing, short-form content. I hate it. So, despite this trend, my vision remains rooted in producing thorough, long-format, durational, well-researched, and accountable documentary journalism.

Reflecting critically, I’ve found that working within ostensibly benevolent institutions doesn’t always align with impactful work. Euromaxx, in my humble (perhaps unpopular) opinion, perpetuates a form of European cultural hegemony that glosses over colonial legacies. By curating content based on a flashy appeal for audiences outside Europe, we risk presenting a skewed, aspirational view of European culture, reinforcing global cultural hierarchies. These conflicts have made me more aware of the complexities inherent in my work and the need for greater responsibility in (journalistic) storytelling.