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Nate Moore Talks Elimination Blindside, Marvel Secret
TV & Streaming

Nate Moore Talks Elimination Blindside, Marvel Secret

by jummy84 November 7, 2025
written by jummy84

Superheroes couldn’t save Nate Moore on Survivor. The veteran Marvel producer, whose credits include Black Panther and Captain America: Civil War, saw his game snapped out of existence this week when season 49’s former Uli tribemates Jawan Pitts and Sage Ahrens-Nichols blindsided him at tribal council. Despite Uli appearing to hold the numbers after the merge, the duo flipped, sending Moore to the jury in a move worthy of a Marvel-style heel turn.

For someone used to orchestrating cinematic shocks behind the scenes, Moore suddenly found himself on the receiving end of one, and fans were left stunned as the season’s power balance shifted. 

Did Moore ever tell anyone about his Marvel history? What was his reaction when host Jeff Probst mentioned that Survivor 50 spots were “still up for grabs?” In an exclusive conversation with The Hollywood Reporter below, Moore discusses his experience and what it’s like to get blindsided on Survivor.

***

Nate, what happened? I thought the vibes were fire, but your exit was cinema and not in a good way. 

Not in a good way. Look, we knew this was the pivotal vote. We knew there was a chance this would happen because when we merged, I had a conversation with Sage that you didn’t see where she told me Shannon told her they were outside the four. I knew if Sage knew that Jawan knew, and we had some work to do. We tried to rebuild that Uli bond, and my pitch to them was about numbers: “We have a solid six. If you come with us, we will get top six. If you flip, you’re going to be in a seven alliance of a lot of different people. I was closer to Sage than I was with Jawan and I knew that Rizo, Savannah and Sophie had gotten closer. There’s a chance you could work together as we get down the line.”

I thought that would hold them. I knew Alex was never going to vote for us, but I thought we’d have won six to five. Before tribal, the last conversation I had was with Savannah. I said to her, “Either me or you are going to catch some votes,” because we both knew they weren’t going to vote for Rizo. They were so scared of that idol and any blowback.

If you watch the show, you see that for the first four votes I wasn’t surprised, because I knew we were going to get votes. The fifth vote was a confirmation that Alex had flipped, which I kind of knew. Six, I realized six means seven. Six means I lost Sage and Jawan. And it was a choice they made that I understand. Do I agree with it? Obviously not. I’m here. But I didn’t feel betrayed emotionally because I understood what they were thinking.

Whose flip were you more surprised by: Jawan or Sage?

We knew they were a tight two. They’re both eccentric characters, and I do think even though we never said there was a core four, they felt the vibes. I knew my relationship with Sage was probably better than with Jawan, which I think surprised some people, but Sage and I are not dissimilar. Large groups make us nervous, we bonded over that. And because we’d had that conversation, I guess I would be more surprised about Sage.

Survivor fans love a good blindside. What’s it feel like for someone who experiences it? 

It feels a little out-of-body. I’ve seen every episode of the show and every episode of the Australian version so many times. You go, “If that were to happen, here’s what I would do.” Instead I was like, “Where’s my torch?” You’re thinking about it almost as if you’re controlling an avatar in a video game. “I have to go get my torch. I have to walk over here. I have kids. I can’t say anything crazy. I have to just take it on the chin and be a good sport.” But the emotional part of your head is like, “F— these guys.” Sorry. “Screw these guys. I’m so mad.”

Then you walk down this really long path and have to give your final words, and you’re so exhausted. It feels like you were on a rollercoaster, and it didn’t just pull in. It just stopped halfway. Then you’re like, “What do I do now?” You don’t know what to do with yourself. It’s incredibly surreal, and I’m not sure I was 100 percent there. Then you go shower and get some food, and it doesn’t feel all that bad, to be honest.

Nate Moore with Savannah Louie on Survivor season 49.

Robert Voets/CBS ©2025 CBS Broadcasting, Inc.

Let’s go back to the beginning of what happened last episode. Did you buy the story Jawan and Sage were selling about Shannon “losing her mind?”

Not 100 percent. My experience with Shannon on Uli was even different than a lot of viewers experienced watching the show. She was certainly not as hippie-dippy yoga. My relationship with her was actually really personal and lovely. I thought, she’s a great kid. I really liked talking to her. I had assumed when they went to Hina in that first tribe swap, that Shannon and Sage would stick together because we always intended to stick together on our side, even with Jawan.

I didn’t quite buy the version of Shannon they were pitching who was incredibly paranoid, who wouldn’t let them talk to each other, which is not Shannon’s MO. Did I think it was possible she would vote against Jawan? Sure. I thought there was a chance she, Sage and Steven would vote Jawan out because they’d spent so much time with him, but I didn’t quite buy the way they described how Shannon was acting.

Once the merge happens and you’re at the challenge, Jeff drops a bomb and says, “spots on Survivor 50 are still up for grabs.” What’s going through your mind after he says that? Was it a surprise?

It wasn’t a surprise. We all had been talking about it since we got on the beach. It was so hot, we were so low energy and Jeff was like a coach trying to pep you up by saying, “The big game’s coming.” But we all know what that means. I don’t think it’s the reason Sage and Jawan flipped, but the notion of doing the big move feels good when everybody loves Jeff Probst and he goes, “You should be doing big moves,” and they go, “Absolutely we should.” It makes the safe move less interesting. But you could see it on my face. I was like, “Hey, bro, let’s talk about 49. Let me get through this day.” We were dying. Physically, I was dying.

Before tribal, we see Sage wanting Savannah, Jawan wanting Rizo, and Kristina and Sophie viewed you as the “safest option.” How did you think the votes eventually ended up on you? Were you the safest option?

To a degree. I think they rightfully saw that Savannah and Rizo were tight. Savannah and Rizo played every day of the game together. There was a fear that if Rizo didn’t play it (his idol) for him, he’d play it for Savannah first. That makes sense from what they saw.

In the episode prior, Sophie and Kristina clearly saw through my bulls — excuse of the Jason and Matt votes. They knew I probably wasn’t going to flip on Uli anytime soon. Alex had separately talked about how much he feared me in challenges. I think it was a combination of, “Hey, Rizo and Savannah are tight,” to, “Nate’s sort of the third. Here’s a guy physically who seemed to be doing pretty well in the challenges. Let’s just get him out.”

It’s also interesting because Matt had a similar reaction where he thought I was the head of the Uli tribe, which I wasn’t, but I am the oldest. He’s like, “Get the old guy out of here.” Maybe cut the head off the snake. But I was not the head of anything. It was a collective. You never want to hear yourself being the safe one. I will say that. When she said that, I was like, “Boo!” But I get it. I understand what they were thinking.

Nate Moore on Survivor season 49.

Robert Voets/CBS ©2025 CBS Broadcasting, Inc.

You mentioned in your Final Words that the game was harder than you expected and you made it farther than you expected. What were your expectations before the game began? 

I worried I wouldn’t be able to overcome a generational gap. I’d seen Jon Lovett get killed that way and it’s funny because I don’t think I’m old. But in the game, the next oldest person on my tribe was Savannah who’s 16 years younger, and nobody on my tribe was married or had kids. It was from a life experience perspective. If you look historically, had I won, which clearly I didn’t, I would’ve been the third-oldest winner of all time. Old people struggle on the show because it’s harder to make connections, I think, sometimes. I was worried that a bunch of young kids would be like, “Get out of here, old man.”

And it was harder in that, more than the not eating. I didn’t sleep well on the show. Bamboo is not comfortable, which you kind of know, but you don’t know until you sleep 14 days on it. I am a relatively high-energy guy in my life, and by the end, I was no fun. I was like, “I’m bumming these people out,” because I would just kind of shamble around camp.

It does make you think about how you relate to people because all you have time to do is think. I was like, “Why am I not connecting? Should I be doing this? I don’t want to have this conversation. Is this something I do in my normal life? Do I avoid conflict?” You start to psychoanalyze yourself through the lens of the show, and that you don’t think about because you think about backstabbing and challenges and rewards, and the bulk of your day is none of that. It’s like, “Hey, who am I? Who am I in the context of this game?” That was surprising to me.

We saw you tell people you were a stay-at-home dad. Did you ever tell anyone about your Marvel background?

I didn’t, not in the game. My thinking was that I did not think anybody would give me $1 million if I told them my job. To be quite honest, whenever I say I’m a producer, part of me goes, “Ugh,” because there can be such a negative connotation. So I didn’t. And honestly, in hindsight, part of me goes, “Hey, would it have been different if I just was honest? Would that have been free connective tissue for the Rizos and the Jawans and the Stevens of the world who loved Marvel movies, since I made a bunch of them?”

Especially because I did struggle to find connective points with a lot of people, part of me is kicking myself. But everybody plays Tuesday morning quarterbacking of “woulda, shoulda, coulda.” But I didn’t tell anybody until well after the game.

Let’s do some revisionist history. Let’s say Sage and Jawan stay Uli strong and Steven goes home. Who are you sitting with at the final three?

It’s a good question. I wanted to work with MC. I told her before tribal not to play her idol. I said, “Trust me. We can go far together if you don’t play your idol. Just let’s make it through this vote.” I thought we could get to a final seven of Rizo, Savannah, Sophie, Sage, Jawan, me and MC. Then at some point, I would have the option at four to either go, “Hey, the Rizo, Savannah, Sophie still feels good,” or, “hey, I’m at the bottom of that four. Maybe I can build a four with MC, Jawan and Sage and see what happens.” I wanted to at least have that option. As much as I truly really, really like Sophie, Savannah and Rizo, I started to feel a little bit like that was a threesome and I was the fourth leg, so I wanted to have the option.

I was hoping to get into the individual phase of the game because I did feel in challenges, if it’s a puzzle or physical, I was always in the mix. Obviously, it did not balance incredibly well. That was my plan: let’s get to seven and then see how it goes, and see which of those two sets of three I wanted to go with.

Is there anything viewers didn’t get to see that you wish made it onto this season? 

A lot of people asked why I was so salty about Matt. The truth was, in that first tribe swap with Hina, he was the first person I sought out because I really wanted to try and build an alliance with him. I was just starved for somebody who was of my generation. We spent a good couple hours together looking for crabs and stuff.

I was like, “I’m making inroads. This guy seems pretty cool.” Then he went fishing with Jawan, and Jawan comes back and immediately says, “Hey, Matt’s starting to throw out your name on the boat.” I was like, “Bro, I’ve been here for five minutes. What happened to the Old Guy Alliance?” People were like, “Why were you so mad at him?” I was like, “Because I felt betrayed.”

But feel like I am who I am. That’s me on the show. We had more fun than you get to see, but you don’t want to see that as a viewer. You want to see the back stabs. I feel pretty good about what you got to see.

I related to you really well because of the whole “fire,” “cinema” thing. I’m 54 and watch these younger players talk and I’m like, “Huh? What? These words aren’t being used properly.” Have you rolled any of this into your vocabulary now?

No, sir. I just go, “Okay, and that’s not for me.” It really surprised me. You seem like a young-at-heart kind of guy. I am too. I didn’t realize how far removed I was from popular slang. I was like, “Oh, my God. I’m on a different planet. This is wild.” It was really interesting. I still have not watched a mukbang. I don’t think I’m going to.

What’s more cutthroat, being a producer in Hollywood or being on Survivor? 

A producer in Hollywood, for sure. Survivor is fun, but it’s a pretend game for $1 million. Hollywood’s a whole different ball of wax.

***

Survivor airs new episodes Wednesdays at 8 p.m. on CBS.

November 7, 2025 0 comments
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The Celebrity Traitors final review: Treachery and tears make for TV perfection
TV & Streaming

The Celebrity Traitors final review: Treachery and tears make for TV perfection

by jummy84 November 7, 2025
written by jummy84

Warning: this article contains spoilers for the final of The Celebrity Traitors. Add it to your watchlist.

Finally, we have a winner, and it’s watch-in-real-time, unstreamed, un-binged TV. It’s a rare and beautiful thing in 2025 to sit staring at the screen, knowing millions around the country are sitting on similar edges of seats, waiting to find out which of the five remaining players will emerge triumphant of The Celebrity Traitors.

And what did we get? With only five left from the original 19 who entered the castle — two Traitors, three Faithful — it was all about alliances. Joe and Nick were in such cahoots working out how to oust the others, I spent the first hour wishing one of them had turned out to be a Traitor. Instead, the second best moment of the night came another way, with Nick ultimately joining the others in banishing Joe – could you hear your neighbours shouting at the screen?!

That was the warm-up for the best, biggest twist of all, when Alan Carr came through as the final, solitary traitor left standing, telling the others, almost sadly, “I am, and have always been, a Traitor.” Nick collapsed, David sighed, Alan cried and the sweet Faithful pair ended up comforting him in his moment of guilty triumph. It was perfect, must-watch TV.

BBC

Following another effortlessly successful daytime mission that proved the celebs to be far better at physical challenges than they have ever been at unearthing Traitors, it was all about the penultimate Round Table. You know a show has fulfilled its promise of surprising us when one of the country’s premier historians is reduced to role of “useful idiot”, but that’s where David Olusoga found himself – stuck in the middle as Faithful Joe and Nick battled to outwit Alan and Cat.

All that classical training and scholarship served Olusoga not – ultimately, he just didn’t have the skills, or possibly stomach, to either betray or sniff out the treachery around him, which doesn’t really reflect that badly on him, I suppose. Instead, Joe’s strength of purpose saw Cat disposed of, but that same zeal proved his undoing at the very last Round Table, as Alan used all his powers of persuasion to unsettle others’ doubts in the big man, and clear his way to victory.

So now, after five weeks and nine episodes, the ravens have left the castle, the drawbridge has been pulled up, the last of the faithful banished and the traitors unearthed. There have been some prize moments along the way: Celia Imrie’s wind proving she has a pro’s comedic timing in all things; Claire Balding’s disastrous attempt to participate in not commentate on a sporting challenge; the unprecedented nation-stopping Round Table stalemate between David and Mark Bonnar. All will be remembered, but none so powerfully as the two moments that bookended the series — both starring Alan.

The first came when the third Traitor was initially unearthed, and even his fellow conspirators laughed out loud; the second when he was finally revealed to the Faithful, a moment set to become a nation-sweeping meme. The Chatty Man’s presence as a giggling assassin in plain sight set the tone for the whole series, and Alan’s charm could explain why the faithful were jaw-droopingly inept in unearthing the Traitors in their midst, and also why they were so quick to forgive him for his treachery. There he stood — emotional, funny, no longer deadly – in a fitting end to a series that has confounded any fears a celebrity version would dilute the simple human premise — betray or be betrayed — at the heart of it. What will we all do now?

November 7, 2025 0 comments
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Rhea Seehorn —
TV & Streaming

Roush Review: Enter the Creepily Cheerful Twilight Zone of ‘Pluribus’

by jummy84 November 7, 2025
written by jummy84


Rhea Seehorn (‘Better Call Saul’) stars in Vince Gilligan’s fantastical and genre-defying drama as cynical Carol, whose bitterness stands out in a mysteriously transformed world that has become an upbeat utopia

November 7, 2025 0 comments
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In Your Dreams: Director Alex Woo Interview
TV & Streaming

In Your Dreams: Director Alex Woo Interview

by jummy84 November 7, 2025
written by jummy84

“In Your Dreams,” a new animated feature from Netflix, is a colorful movie filled with imaginative sights: a world of living breakfast food, a flying bed, a gigantic sand castle in which the legendary Sandman resides. But like the best children’s movies, the actual story is grounded in Earth: The main characters, Stevie (Jolie Hoang-Rappaport) and Elliot (Elias Janssen) are ordinary suburban children whose parents (Simu Liu and Cristin Milioti) are dealing with financial trouble that’s straining their marriage. When their mother leaves on a trip, the worried elder child Stevie stumbles upon a book that allows her and her brother to enter a dream world, and embarks on a quest to find the Sandman in a desperate attempt to find a wish that can save her parent’s marriage.

Arco

The film is the feature length debut of director Alex Woo, who previously got his start working in the art department and as a storyboard artist for Pixar and Lucasfilm. In 2016, he left Pixar to co-found his own company Kuku Studios, which premiered its first project, Emmy-winning children’s show “Go! Go! Cory Carson” in 2020. Around that time, Woo began work on his idea for an animated film tackling the world of dreams, which he thought was relatively under-explored in the world of animation. To find an emotional core to film, he drew inspiration from his own life, and a time in his childhood where his parents were briefly separated, to inform the storyline.

“The challenge with dreams is that anything can happen, right? How do you ground it with a real world emotional story?,” Woo said in an interview with IndieWire. “And that’s when I told [the team] this story about my mom leaving for a little while, and how devastating that was to me, and how the only thing I wanted in the whole world was for my family to stick together. And that felt like such a grounded, emotional and rootable want for a character and so that, like, the marriage of those two pieces, the package of, like, fantastical dream world and a really grounded story for a character, is what gave birth to ‘In Your Dreams.’”

Ahead of the release of the film, IndieWire spoke to Woo about leaving Pixar for his own studio, the inspirations behind “In Your Dreams,” and his hopes for making a Netflix movie in the wake of the “KPop Demon Hunters” phenomenon.

The following interview was edited and condensed for length and clarity.

IndieWire: “In Your Dreams” is your first feature film. What were the challenges that came from the experience? How do you feel now that it’s coming out?

Alex Woo: The amount of work, I was not prepared for that. I mean, I was happy to do it, but I’ve worked on a lot of features, but never in the seat of the director, and so I have so much more respect for anybody who’s finished a film, because it’s just so much work. There’s just so much on your shoulders, and so many questions that have to be answered, and sometimes you don’t know the answers, and you have to figure out how to find the answers in a timely manner, because the clock is ticking and money’s burning and you’re on a schedule.

You started out at Pixar. What lessons from your work there did you bring to this project?

At Pixar, I was really fortunate to work with Brad Bird and Andrew Stanton and John Lasseter. And what I really took away from them was how every single decision you make has to be rooted in the narrative and the needs of the story of the film. That was something that I had always sort of heard in passing, but to see them do it day in and day out, at every single level, was a tremendous education. It really drilled that philosophy home for me, and I’ve started trying to bring that to every single project that I’ve worked on ever since.

Why did you want to leave Pixar to found your own studio?

I was at Pixar for about 10 years. The first half of my career was, I would say, some of the best creative experiences I’ve had in my life. I got to work on “Ratatouille” and “Wall-E,” which are, I think, some of their best films. The second half of my career there was less inspiring because I worked on a lot of sequels. I worked on “Cars 2,” “Finding Dory” and “Incredibles 2,” and some of those movies are good, but they didn’t have the spark the earlier films that I worked on had. I wanted to do original stories, and I wanted to tell stories that had that sort of creative spark that I felt when I first got to Pixar.

IN YOUR DREAMS - In Your Dreams is a comedy adventure about Stevie (12) and her little brother Elliot (8) who journey into the absurd landscape of their own dreams. If the siblings can withstand a snarky stuffed giraffe, zombie breakfast foods, and the queen of nightmares, the Sandman will grant them their ultimate dream come true... the perfect family. Cr: Netflix © 2025
‘In Your Dreams’Netflix

What were some of your influences while making the movie? It feels like it draws from ’80s kids fantasies films, like “The NeverEnding Story” or “Labyrinth.”

I’m so transparent. Those are some of the movies that I grew up with, and they had such a profound effect on me, and they worked their way into my creative DNA. So, my taste has been really shaped by those films. And naturally it just comes out in my work. I think there’s something about those ’80s movies. There was some magic to those films. You got the sense that magic was possible, that it was real. And I wanted to try and capture that feeling in our movie.

What was your vision for the animation style of the film and how you wanted the dream world to depart from the film’s real world?

Right now, in animation, especially, there’s a lot of experimentation with stylization, right? Because it feels like CG reached its logical conclusion in that you can kind of do anything in CG, in terms of the realistic fidelity of an image. And so there’s been a lot of experimentation in such a great way, like “Spider-Verse” looks fantastic, and they’ve really led the charge on that front. There’s a lot of sort of pressure to figure out what your style is and how you’re departing from traditional CG animation. But I didn’t want to take that approach. I didn’t want impose a style and bring a style to the film. Again, what I learned at Pixar is the story has got to drive every decision. So I wanted the needs of the story to drive what the stylization was.

Our film, because the film takes place in both the real world and the dream world, I knew I needed to have sort of a design aesthetic that would allow me to push the dream world design in a certain way. If our real world design was too stylized, there would be nowhere to go with the dream world. So that meant the real world had to be really kind of grounded in its aesthetic, which is how we landed on the design that we currently have. But then when you get to the dream world, we have the license to really push the design. Our film sort of allowed us to get the best of both worlds. You get this some stylization, you get these anime versions of Stevie and Elliot. But in order for that to mean something, you had to contrast it with something that was grounded.

A large portion of this movie was shot during COVID. What were the challenges of that, both practically and psychologically?

I was working for 18 months on a midnight shift, so I worked every night from midnight to 10 am, and it was gnarly. I think I lost, you know, five years of my life doing that. So that was a huge challenge. Psychologically, I mean, it’s just hard to be isolated from your crew. I think so much great art comes from collaboration, and great collaboration is much more effective in person, because there are so many nonverbal cues that you can communicate with.

When you’re on Zoom, there are not very many nonverbal cues that you can use to communicate your ideas. That’s really what directing is about, trying to communicate a vision that you have in your mind to your team. There are so many different ways you can do that. You can do that verbally, which is sort of the most obvious form, but then there’s gesturing and acting things out through movement, and that’s really hard to communicate when you’re not in the same room with each other. Not being in person, I felt like the chemistry of the team wasn’t as strong as I would like it to have been.

IN YOUR DREAMS - In Your Dreams is a comedy adventure about Stevie (12) and her little brother Elliot (8) who journey into the absurd landscape of their own dreams. If the siblings can withstand a snarky stuffed giraffe, zombie breakfast foods, and the queen of nightmares, the Sandman will grant them their ultimate dream come true... the perfect family. Cr: Netflix © 2025
‘In Your Dreams’NETFLIX

How do you feel about “In Your Dreams” being a Netflix release and the fact that most people will see it on their TV instead of in theaters? We did see recently with “KPOP Demon Hunters” that a streaming release can still become a major phenomenon.

As a filmmaker, obviously you love the big screen, right? Who wouldn’t? And we definitely made it with that in mind. So the scope of the filmmaking, the attention to detail, it was made and can hold up on the big screen. But I think consumption patterns have changed, and you have to go where the audience is. And so the other thing that Netflix has, the audience, the subscriber base, is so huge. Just at a push of a button, you can access this entire giant worldwide audience. So that’s very exciting for a filmmaker to be able to have that kind of exposure.

“In Your Dreams” releases in theaters on Friday, November 7 and will start streaming on Netflix on Friday, November 14.

November 7, 2025 0 comments
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Katy Perry Releases New Single 'Bandaids'
TV & Streaming

Katy Perry Releases New Single ‘Bandaids’

by jummy84 November 7, 2025
written by jummy84

Katy Perry‘s new single “Bandaids” has her reflecting on the end of her marriage to actor Orlando Bloom. Equally as frightening and emotionally-taxing is the single’s matching “Final Destination”-style video where Perry finds her positive outlook on life — notably at the core of her “143” album and era — has run dry.

“It’s not what you did, it’s what you didn’t,” Perry sings in the introduction of the pop track. “You were there, but you weren’t.”

The video, directed by Christian Breslauer (SZA, Lizzo, Ariana Grande, Doja Cat), stitches together scenes where Perry’s carelessness leads her to nearly die — this ranges from electrocution (after leaving the “Light and Love Crystals” store) to car crashes and more.

At the end of the video, where Perry proclaims “if I had to do it all over again, I would still do it all over again,” she is left listening to the empowering chorus of her “Woman’s World” single at a gas station where she lights a cigarette and causes an explosion.

Perry and Bloom announced their split earlier this summer after nine years together. They are now co-parenting their daughter, Daisy Dove. In the video, Perry finds a moment of calm amid the anxiety of her near-death encounters when she spots a white daisy growing from the ground — another symbol reflecting her real-life state of mind.

“Bandaids” marks Perry’s first comeback following the release of her “143,” which she followed and supported with a global tour that concludes in Abu Dhabi on Dec. 7. The record — which featured 21 Savage, Kim Petras, Doechii and JID — debuted at No. 6 on the Billboard 200 upon its release.

Watch the video below.

November 7, 2025 0 comments
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Fox’s Unscripted EVP Yasmin Rawji Exiting
TV & Streaming

Fox’s Unscripted EVP Yasmin Rawji Exiting

by jummy84 November 6, 2025
written by jummy84

EXCLUSIVE: There’s change within Fox’s unscripted ranks.

Deadline understands that Fox Entertainment EVP, Unscripted Yasmin Rawji is leaving the company. Rawji was considered a rising star at the network with a number of promotions in her eight-year tenure. She is expected to remain in the role through the end of January.

She joined the company in 2017 as Director of Alternative Programming. She was promoted to VP the following year and SVP in 2021. When Allison Wallach, who now oversees global unscripted programming for Fox Entertainment Studios, landed the top unscripted job at the network in December 2022 after former alternative chief Rob Wade was named CEO, Rawji was promoted again to EVP.

Fox restructured its teams in March last year with Michael Thorn becoming President of Fox Television Network, overseeing unscripted television in addition to scripted with Rawji reporting to Thorn.

She was responsible for the development and production of Fox’s reality slate and has also worked with the Fox Alternative Entertainment studio on its International Unscripted Format Fund to identify IP for the global market.

She has worked on The Masked Singer, which is heading into Season 14 in January, as well as Next Level Chef, which has been renewed through Season 6, Special Forces: The World’s Toughest Test, Crime Scene Kitchen, Joe Millionaire: For Richer or Poorer, Name That Tune, Farmer Wants A Wife and Stars on Mars.

Rawji has also been involved in Gordon Ramsay’s MasterChef, MasterChef Jr. and 24 Hours To Hell and Back.

Before joining Fox, Rawji was a senior producer on Dancing with the Stars, when Fox chief Wade was showrunner, and America’s Got Talent.

“It’s never easy to step away from a job you truly love, especially when the team is as fun, talented and dynamic as Fox,” said Rawji. “Working with Rob Wade and Michael Thorn has been a real privilege, and I’ve been lucky to collaborate with such a smart, creative team. And while choosing to step away is bittersweet, I’m excited to carry everything I’ve done here into what comes next.”

“For eight years, Yasmin has been an invaluable member of the Fox family, an accomplished executive whose creative instincts have elevated everything she’s touched,” added Michael Thorn. “Yasmin has been a driving force behind many of our biggest unscripted hits and she will be deeply missed.”

November 6, 2025 0 comments
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Ken Burns' Rousing, Repetitive Doc
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Ken Burns’ Rousing, Repetitive Doc

by jummy84 November 6, 2025
written by jummy84

In mentioning Ken Burns‘ upcoming The American Revolution to casual observers, the most frequent response has been a variation on: “Wait. Hasn’t he done that already?”

The short answer is “No.” The longer explanation is that Burns and his collaborators have hit the battlefield for documentaries about the Civil War, World War II and Vietnam, while our American origins have played a role in documentaries about Benjamin Franklin, Thomas Jefferson, the adventures of Lewis and Clark, and the demise of the American buffalo — but that the American Revolution has not gotten the standalone Burns & Company treatment. 

The American Revolution

The Bottom Line

Rousing, if repetitive.

Airdate: 8 p.m. Sunday, November 16 (PBS)
Directors: Ken Burns, Sarah Botstein and David P. Schmidt

It must be acknowledged, though, that if Ken Burns had already made a docuseries about the American Revolution, be it 45 years ago or one year ago, it would have been exactly like The American Revolution, which premieres the first of its six chapters on PBS on November 16. 

Though it’s hard to watch The American Revolution without awareness of the anti-monarchic sentiments shared at recent rounds of “No Kings!” protests — to hear the noble egalitarian sentiments that launched the American experiment without pondering the ways the fulfillment of our freedoms has fallen short of our loftiest aspirations — the doc does not overtly acknowledge Donald Trump. It isn’t fueled by the propulsive anger of The Vietnam War and The U.S. and the Holocaust, nor does it possess the hints of aesthetic experimentation exhibited by last year’s Leonardo da Vinci.

Directed by Burns, Sarah Botstein and David P. Schmidt, The American Revolution is smart, thorough, sincere in intent, and still of undeniable and uncomfortable importance with or without direct reference to the current political moment. 

At 12 hours, it’s also dry and a little languid, relying on storytelling techniques — many reasonably fresh and vital back in 1990, when The Civil War planted Burns’ flag as a key chronicler of our nation’s history — that are treated with earnestness despite passing into the realm of parody long ago.

Not strictly limiting itself to the war, The American Revolution stretches from 1754 to the ratification of the Constitution and then the Bill of Rights decades later, from the existence of a group of geographically proximate colonies with seemingly no shared interests to the establishment of a tenuous government that Franklin famously described as “A republic, if you can keep it.” It connects the chronological dots from civil unrest to vigilante violence to a rag-tag military operation to a model for revolution that, over multiple centuries, leap-frogged around the world, all from a spark created by the likes of George Washington, Thomas Paine and a group of tea-disposing men in Indian costumes. 

The filmmakers touch on key battles, essential political and military figures and pivotal decisions made along the way, using a brigade of historians as primary sources for a target audience of bored kids eagerly awaiting the arrival of an AV cart and slightly older viewers whose primary point-of-entry for this period is the Hamilton soundtrack. That demographic, not insignificant, isn’t directly pandered to and might wonder how Alexander Hamilton could be treated as a historical footnote. But they’re still sure to relish context for previously mumbled references to Kips Bay, the code word being “Rochambeau” and how, exactly, General Charles Lee shat his bed at the battle of Monmouth.

The directors and their selected ensemble of scholars — there is no single Shelby Foote-style centerpiece or breakout — are explicitly wary of Great Man interpretations of history. So even if George Washington has deserved pride of place as the documentary’s “hero,” various experts are practically giddy to highlight his myriad blunders and lucky escapes, as well as his unapologetic status as slaveowner and unscrupulous encroacher on Native lands, without denying him ample instances of genius. The documentary goes the other way as well, with Benedict Arnold receiving ample credit for his battlefield heroism and ample empathy for the adversity he faced over the years before eventually settling into his more familiar role as traitor.

The doc is generally enamored of the internal conflicts and hypocrisies of the American Revolution, the celebrations of equality that excluded Blacks and Native Americans and left women in the background — the latter sometimes integral participants in their own way like Abigail Adams, but more often figures at the mercy of the whims of more active husbands or fathers. Multiple scholars focus on the Black and Native experiences, allowing those sides of the stories to feel like more than mere footnotes, if never truly focal.

Because The American Revolution fits snugly into the unprecedented tapestry that Burns has been weaving since Brooklyn Bridge in 1981, it’s easy to spot the direct connections to previous films on Jefferson and Franklin. Ditto the echoes of The Civil War, also examining a battle that pit brother against brother, and The Vietnam War, in which America became the occupying imperial force failing to understand or successfully combat a domestic insurgence.

With an absence of primary source footage or even photographs, The American Revolution relies heavily on familiar Burnsian tracking shots and zooms on paintings. There is also pretty but not always energetic imagery filmed in different referenced parts of the current American wilderness — snow gathering in fields, mist rising above mountaintops — and never-energetic shots of re-enactors loading muskets or preparing for battle. The smartest way the documentary fills visual space is by using period maps embellished with animated diagrams to show the strategy behind a dozen crucial battles. Military history nerds will be pleased.

In addition to the historians, the primary voices in the documentary are celebrity recitations of the words of both key historical figures and a handful of civilians, including teenaged Virginian Betsy Ambler (Maya Hawke), aspiring fife player John Greenwood (Joe Keery) and young Joseph Plumb Martin (Alden Ehrenreich), who found his way into many of the key skirmishes. If you can hear the latest assortment of love letters back from the front without giggling at the now-hoary device, you’re more mature than I am.

Over the years, Burns has assembled and cultivated an astonishingly good cast of recurring A-listers, whether it’s Mandy Patinkin, back to voice Ben Franklin; Paul Giamatti, getting still more mileage out of embodying John Adams; or ensemble favorites like Meryl Streep or Tom Hanks. Sometimes somebody like Morgan Freeman will pop up for a three-line performance for a character who was, at that time, 15, and it makes no sense. But if Morgan Freeman or Samuel L. Jackson or Craig Ferguson — voicing every Scot in history — wants to drop by for fun, who says no? Plus, the open-tent approach occasionally yields a delightful piece of casting like Amanda Gorman proclaiming for slave-turned-poet Phillis Wheatley.

Intentionally or not, parts of The American Revolution become repetitious, and the script (written by Burns regular Geoffrey C. Ward and narrated with trademark wry detachment by frequent Burns collaborator Peter Coyote) becomes overripe with the litany of battles, the listing of famous men, the pronouncement of yet another winter spent in a state of near-mutiny and near-starvation. The documentary frequently over-explains the war’s fascinating but simple-to-comprehend ironies on one hand and then rushes through some moments — the Bill of Rights feels like it should be fodder for a 10-parter all its own — on the other.

Flaws and familiarity aside, The American Revolution is characterized by the pervasive patriotism and pragmatism of its filmmakers, who make us feel the chill of the Delaware on Christmas Day, the betrayal of a general flipped to the enemy, and the optimism that we sometimes forget as we squirm through the latest evolution or devolution of the American experiment.

November 6, 2025 0 comments
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Top 10 Picks of the Day – Friday 14 November
TV & Streaming

Top 10 Picks of the Day – Friday 14 November

by jummy84 November 6, 2025
written by jummy84

Top 10 Picks of the Day – Friday 14 November

November 6, 2025 0 comments
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Erika Slezak -
TV & Streaming

When Is Erika Slezak’s Final ‘General Hospital’ Episode? Could Ronnie Return?

by jummy84 November 6, 2025
written by jummy84

What To Know

  • Erika Slezak’s final episode as Veronica “Ronnie” Bard on General Hospital airs November 6, concluding her three-week guest stint.
  • Slezak worked closely with Jane Elliot and Genie Francis, describing the experience as a professional highlight and praising the welcoming atmosphere on set.
  • Both Slezak and executive producer Frank Valentini expressed openness to Ronnie’s potential return.

Erika Slezak will wrap up her visit as General Hospital‘s Veronica “Ronnie” Bard on November 6, when Monica’s long-lost sibling returns to North Carolina.

Slezak, a six-time Daytime Emmy winner for her 41-year run as One Life to Live‘s Victoria Lord Buchanan, hadn’t acted on a soap since the Prospect Park reboot in 2013, but thoroughly enjoyed her three-week comeback. “It’s been very, very nice,” she told TV Insider before her first air date on September 26. “The story and the character are so completely different. I was always Viki, confident and strong. This is a totally different character, and I’m trying to find my way through it. It’s working. I think they seem happy.”

Her primary scene partner was Jane Elliot (Tracy Quartermaine), who was a big draw for Slezak. “I had met Jane many years ago,” Slezak relays. “She came to One Life to observe as a director or a producer, and I knew who she was. I went over and introduced myself, and we chatted a little bit. She’s a wonderfully delightful lady. It is amazing that she can play so mean. When Frank [Valentini, executive producer] said, ‘You’re going to be working a lot with Jane Elliot,’ I went, ‘Yes, I will do it, yes, because that would be such a treat to work with such a talented, terrific lady.’ Jane is a master class in acting. Every time she steps on the set, she is remarkable. You really have to bring your A game.”

Disney/Bahareh Ritter

Another legendary performer she shared screen time with was Genie Francis (Laura Collins).  “It was almost the end by the time I got to work with her and I kept thinking, ‘Where the hell is Genie?’ Because I was in her dressing room the whole time,” Slezak told Soap Opera Digest. “And then they said, ‘She’s coming tomorrow! And when I finally got to work with her, it was wonderful, because I hadn’t seen Genie since we were backstage at The View [years ago]. She was wonderful, and again, so nice.”

While in Port Charles, Ronnie was roped into Martin Gray’s (Michael E. Knight) scheme to make it look like Monica left the Quartermaine mansion to Ronnie, though she really bequeathed it to Tracy. Once the ruse was exposed, and Monica’s real will left Ronnie money to start over in Durham, Slezak’s run came to an end.

“I will take away lovely, wonderful memories, because I was treated so well and so kindly, and that makes a huge difference,” Slezak reflects of her time in Port Charles. “When you’re all together for five days a week, for years, it becomes a family. One Life was my family as much as my real family. I mean, I didn’t love them, but I liked them, and they were my family because I spent so much time with them, and I’m going to take that away from here, too. This was my family for a short time.”

One that she wouldn’t mind revisiting. “It was delightful, it was terrific, it was a pleasure,” she raved to Digest. “Ronnie grew through this whole process, and learned — and yes, I would be open to coming back.”

Executive Producer Frank Valentini tells TV Insider exclusively, “We thoroughly loved having Erika here and the door is open for her to return.”

General Hospital, Weekdays, ABC

November 6, 2025 0 comments
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Neon Releases French Animated Feature Oscar Contender
TV & Streaming

Neon Releases French Animated Feature Oscar Contender

by jummy84 November 6, 2025
written by jummy84

The final trailer for “Arco,” one of the main contenders for the Best Animated Feature film at the Oscars this year, has arrived.

Directed by first-time feature filmmaker Ugo Bienvenu and produced by Natalie Portman, “Arco” is a French film that takes visual inspiration from Studio Ghibli, with a blend between hand-drawn and CG animation. The trailer, soundtracked by a lilting piano melody, reveals the basic premise of the film, which focuses on a young boy named Arco from a distant and peaceful future, where humans live in the sky and use rainbow suits to fly through the air.

When he disobeys his parents and goes on a flight by himself, Arco winds up in the slightly more contemporary world of 2075, where humanity still lives on the ground, but has robots and other advanced technology and is contending with encroaching threats of climate change. There, he meets a girl named Iris, and sets out on a journey to find a way back to his own time.

Resurrection

“Arco” made its world premiere at the 78th Cannes Film Festival in May, where it played in the festival’s Special Screenings section. The movie received positive reviews from critics out of the festival; writing for IndieWire, Christian Blauvelt gave the film a “B-” and called it an “emotional sci-fi epic.” The film additionally won the Cristal Award for Best Feature Film at the 2025 Annecy Film Festival, and also played at the Animation is Film Festival in Los Angeles.

For its American release, the film will screen with an English dub that first premiered at the Toronto International Film Festival in September. Child actors Romy Fay and Juliano Valdi voice Iris and Arco in the English version, while additional cast members include Portman, Will Ferrell, America Ferrera, Flea, Mark Ruffalo, and Andy Samberg. The original French version of the film included several prominent French film stars including Swann Arlaud of “Anatomy of a Fall” and Louis Garrel from “Little Women.”

Neon will release “Arco” in select theaters in New York and Los Angeles on Friday, November 14. Watch the trailer for the film below.

November 6, 2025 0 comments
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