Culture
KidSuper
Writer-Producer | Paris Fashion Week | Fall/Winter 2026
“The idea was like, if you were in a simulation, would you live differently?”
This was Colm Dillane’s elevator pitch for the fourth wall busting fashion show in a movie in a fashion show that he presented on Rue Cambon tonight. It began as the lights came up on four screens that created a large box on the runway in front of us. A Dillane-directed film showed Vincent Cassel wandering the streets of Paris looking as tense and drawn as his printed shearling looked warm. He took shelter in a café, momentarily relaxed over an unbranded coffee. But then a sharply-coiffed woman who’d caught his attention was briefly obscured by a passing waitress before… somehow being wiped altogether from the room. His coffee started to shake in its cup. Cassel, eyes already bulging, lost it. Suddenly the entire room wiped: he was alone in a white void.
The screens flickered out before being winched up into the eaves to reveal a real-life chair and table set up. A model dressed in the same outfit as Cassel strode agitatedly out of it towards the photographers, shouting: “Who are you? Is this real?” Sorry sir, but this was simply a standard Saturday evening at Paris menswear. Adding a meta twist, Cassel himself was sitting in the audience across the runway, smiling broadly.
Dillane’s collection came out on a cast including many older than usual models who, you slowly surmised, were part of a broader direction to echo the vibe of some of cinema’s greatest alternative future flick protagonists. I was especially taken with Richard Biedul’s look 3 portrayal of Clive Owen in Children of Men, complete with coffee cup, haunted eyes, battered trench, and shirt and tie. There was a fair bit of Neo and Morpheus black leather, plus a textured burgundy leather alternative with fireman’s clasp fastenings running up each leg. There were several Tyler Durden looks.
When Cassel’s model avatar returned, the cast sat at the café tables on the runway as the screens lowered around them. The film flashed up again to show Cassel’s return to “normality.” Freed by his knowledge he started to dance.
“KidSuper delivers one of his most impressive shows yet for FW26.”
- COMPLEX
WWE RAW — Netflix
Writer-Producer, 2025
WWE RAW is the longest running weekly episodic series in television history, and a Top 10 Netflix show for six months straight in 2025.
I pitched storylines, wrote promos, and directed pro-wrestlers in an intense environment of live television meets theatre in the round. As a producer, I was on headset, calling cues for camera shots and music to the TV truck.
I traveled the world with WWE, learning how to tell universal stories that reached beyond the nosebleeds to millions watching from India to Indiana.
VOGUE World: Hollywood
A Guest of Anna Wintour
Staff Writer, Season 1
A young chef from the world of fine dining comes home to Chicago to run his family's Italian beef sandwich shop after the suicide of his older brother, who left behind debts, a rundown kitchen, and an unruly staff.
The Bear — FX
Emmy Awards — Outstanding Comedy Series
Writers Guild Awards — Outstanding Comedy Series
How ‘The Bear’ Captures The Panic of Modern Work
The New York Times
“The Bear” has been praised for its visceral depiction of the stress of a professional kitchen, but you don’t have to have done restaurant work to recognize the chaos, panic and precarity the show captures so convincingly. In “The Bear,” work is a dumb, sadistic game that has left Carmy with unchecked PTSD.”
Independent Documentary
I have served as an Impact Producer for several documentaries — developing independent distribution strategy, leading press campaigns, producing viral social media content, and collaborating with political organizations and popular movements to change international debates.
My first distribution campaign came in 2016 when I went to Micheal Moore’s house to produce a livestream Q&A for watch parties supporting his film Where To Invade Next? In his heart, Moore will always be a working-class guy from Flint, Michigan, chilling on his plush La-Z-Boy recliner. We hit it off, and Moore invited me to help edit his next two features — Micheal Moore In Trumpland, and Fahrenheit 11/9. Growing up in Florida, Micheal Moore was the first documentary filmmaker I ever heard of. He was my hero, and he did not disappoint.
“If you want to understand the generational rift over Israel… Israelism is a good place to start.”
The New York Times
In 2019, I met Erin Axelman and Sam Eilerstein, the directors of Israelism — a project about what Israel means to Jewish-Americans. I gave notes on early drafts of the film, and when the film was finally ready for release in 2023, I joined their team to build out a distribution campaign. After the events of October 7, free speech came under attack. Israelism — a Jewish-made film — was blacklisted, denied distribution, and banned on several university campuses. I pushed for an unorthodox approach: screen the film at the campuses most likely to ban it. Lean into a controversy you believe you can win. We organized a revolutionary grassroots distribution campaign; thousands of screenings across the world. We made enemies, but the more they tried to silence us, the more popular our film became. Israelism became a vital tool of the movement, it was even screened by students at Pro-Palestine campus encampments. The Israelism social media page grew to over 145,000 followers, becoming an important news source about the Gaza Genocide.
Despite the attempts to blacklist our film, and our team, Israelism became the #1 documentary in America on Apple TV. It remained a Top 10 documentary for 4 months straight. Together, we helped build Watermelon Pictures, which has gone on to share more Palestinian films with the world.
In 2025, I joined the team behind the Oscar-winning documentary No Other Land. Co-directed by Palestinians and Israelis, No Other Land shows life in a West Bank village like it’s never been seen before. Despite winning the highest awards, No Other Land was blacklisted and denied distribution in America. Its Palestinian filmmakers were beaten, kidnapped, and even killed by Israeli settlers.
Our team planned an independent distribution campaign to finally release the film in America, with 100% of proceeds going to Masafer Yatta, the Palestinian community at the heart of No Other Land. I collaborated with the same team behind Israelism’s success, utilizing our press connections, our social media content production model, and our influencer network. Within 24 hours of announcing pre-orders, No Other Land became the #1 documentary in America on Apple TV. Through our innovative distribution campaigns, we broke the blacklist and changed the debate about one of the world’s most contentious issues. Israelism and No Other Land were made through the collaboration of Palestinians and Israelis, Muslims and Jews.
“The most urgent film of the year.”
Vanity Fair
Other Work
Director’s Assistant — Jesse Peretz
Supported producer-director Jesse Peretz across TV (GIRLS, GLOW, Soundtrack, Shrill, Constance, High Fidelity) and film (Juliet, Naked).