“Fincher’s Open House: Metacinema and the Image of the Director in Panic Room” in ReFocus: The Films of David Fincher, University of Edinburgh Press (forthcoming).

“My Own Private Aberdeen: Grunge Politics in Two Films by Gus Van Sant” Arizona Quarterly 78:4 (Winter 2022), pp. 81-102.

“Author Here, There, and Everywhere: Wallace and Biography” in David Foster Wallace in Context, Cambridge University Press, 2022.

“‘I Put a Spell on You’: Affiliating (Mis)Identifications and Toxic Masculinity in David Lynch’s Lost Highway” Music and the Moving Image 13:3 (Fall 2020), pp. 36-48.

“‘This Muddy Bothness’: The Absorbed Adaptation of David Lynch by David Foster Wallace” Literature/Film Quarterly 48:1 (January 2020)

“Infinite Unrest: ‘Octet,’ High School, and the Revolving Door of Metanarrative” 
In Approaches to Teaching David Foster Wallace. MLA Press, 2019, pp. 59-67.

“Desperately Seeking David: Authorship in the Early Works of David Foster Wallace” Orbit: A Journal of American Literature 7:1 (September 2019) doi: https://doi.org/10.16995/orbit.813

“… And Starring David Foster Wallace as Himself: Performance and Persona in The Pale King” 
Critique 57:2 (Spring 2016) pp. 191-207.
Also in David Foster Wallace: Presences of the Other. Sussex Academic Press, 2017, pp. 26-36

“David Lynch at the Crossroads: Deconstructing Rock, Reconstructing Wild at Heart” 
Music and the Moving Image 2014:3 (Fall 2014) pp. 41-60.

The Bride Wore Black. Directory of World Cinema: France, Vol. I. Intellect Books, 2013, pp. 238-240.

“Treme and the Battle for a Certified New Orleans” New Orleans Review 37:1 (Spring 2011), pp. 94-101.