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    top chef spoilers ahead

    Houston's Top Chef World All-Star contestant and former Olympian speaks out after 'shocker' episode

    Eric Sandler
    Mar 16, 2023 | 9:30 pm
    Dawn Burrell Top Chef

    Dawn Burrell has packed her knives.

    Photo by Stephanie Diani/Bravo

    Spoiler alert. A Houston chef’s dream of being crowned Top Chef World All-Star has come to an abrupt end.

    Chef Dawn Burrell, the Olympian-turned-chef who reached the finals of Top Chef: Portland, has packed her knives. While she’ll have the opportunity to fight her way through Last Chance Kitchen to return to the main competition, her time on the London-based season is done for now.

    Viewers had a pretty good idea that Burrell’s number might be up. She got a classic “loser’s edit” throughout the episode’s elimination challenge, which tasked the contestants with creating a rice-based dish.

    For example, viewers heard ominous sounding music as she spoke her about the black rice congee she planned to make for the episode’s elimination challenge. “Time is not on our side today,” Burrell says to the camera as the soundtrack plays. “I have to have pressure cookers.”

    Uh oh.

    Throughout the challenge, things got worse. The rice isn’t finished by the end of the two hour prep time. Just before service, fellow contestant Amar Santana tastes her finished dish — Black Venus congee with black bean and five-spice braised oxtail — and tells the audience that “Dawn’s congee is one dimensional. I’m actually very surprised, because on her season, her flavor profiles were always there.”

    After Amar’s comment, we see her taste her dish and shrug her shoulders as if to say “tastes alright to me.” Double uh oh. Sure enough, the judges aren’t impressed.

    “If Dawn didn’t tell me this was congee, I wouldn’t have known,” Padma Lakshmi comments. “It feels like broth and crispy rice, not a creamy congee,” Gail Simmons adds.

    At judges’ table, Tom Colicchio tells Burrell she missed the mark. “It ate more like black rice soup than congee,” he says. “It was eating crunchy,” Simmons adds.

    The final verdict comes swiftly. “Dawn, please pack your knives and go. I’m sorry,” Lakshmi says.

    Reached by phone, Burrell acknowledges that leaving on the second episode stings, particularly due to the elimination challenge being focused on rice.

    “I love rice. I think that it’s a bridge in life and culture,” she tells CultureMap. “To have been eliminated on a challenge and an ingredient that I hold so dear was really a shocker for me. It did not feel good at all.”

    In Burrell’s opinion, the dish’s initial problems stemmed from not using enough liquid to prepare the rice during prep time. She thinks she also suffered when another contestant made a congee dish that the judges preferred.

    “I think if they only had one to go on, there would not have been that stark comparison between the two,” she says.

    While it’s an unfortunate outcome for the chef, her professional life is looking up. Late August, the Afro-Asian restaurant she’s opening in Midtown’s The Ion mixed-use development, is finally on track for an early summer opening.

    “You’ll be eating at Late August very soon,” she promises.

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    Movie Review

    The Uprising can't make a medieval rebellion feel relevant to modern times

    Alex Bentley
    Sep 14, 2026 | 11:30 am
    Andrew Garfield in The Uprising
    Photo by Betina La Plante/Focus Features
    Andrew Garfield in The Uprising.

    Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

    Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

    The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

    The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

    But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

    When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

    Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

    Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

    ---

    The Uprising is now playing in theaters.

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