Today we’d like to introduce you to Rahne Keith.
Hi Rahne, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
As a kid, I was always drawn to performance and storytelling. But, like most adults, life eventually pulled me further away from those playful childhood dreams. I built a career in healthcare as a project manager — the job was predictable, the pay was steady, and life was relentlessly boring — and I was fine with that. To scratch my creative itch, I started taking filmmaking classes after work at a not-so-great for-profit school. I was slowly working toward a degree, telling myself it was all “just for fun.”
On January 22, 2011, I learned a lesson about time: we play with it as though we have an infinite amount – we don’t. That day, my sister, Rahsheka Keith — a social activist, a bright UC Santa Cruz graduate with a degree in psychology, a passion for theater, and a deep love for her family and friends — passed away. She was two years younger than me. Many emotions and lessons came from that loss, but the greatest was this: life is too short not to at least try to do everything you truly want to do.
Starting over from the bottom takes humility, belief in yourself, and genuine passion for what you’re moving toward. I quit my job, moved back in with my mom, got an old truck named Bessy to haul film equipment, and ran toward my goal of finishing that degree. I graduated and secured an internship with the Sacramento Kings’ video team. From there, I did freelance camera work and editing before landing at a local news station. I knew scripted television/film were my ultimate goals, but I had no idea how to get there from Northern California with zero industry connections.
Thankfully, my best friend Corey struck up a conversation at an airport with a woman who happened to be producing a film in Sacramento. He pitched me to her, and I got an interview. That film was TRAFFIK, directed by Deon Taylor. The crew I met on that project helped me land an interview for the job that would eventually take me to LA. I became a showrunner’s assistant to Nina Pedrad and Cristin Milioti on a pilot. I was incredibly lucky to work for these hilarious and kind women — what was meant to be a five-week stay in LA has now turned into nine years.
After that show, things moved quickly, then slowly, then all at once. The pilot wasn’t picked up, but I’d hit it off with an actress from TRAFFIK and began working for her, which allowed me to stay in LA — something I was deeply grateful for. Later, Nina recommended me for an interview on the final season of New Girl, and I was hired as an office PA. That job brought me into the Disney/Fox world, and when the show wrapped, I joined The Orville — thus beginning my journey into the world of Seth MacFarlane.
Working on The Orville was magical. Little aliens would wander the production halls on their way to class, the cast and crew were a joy to be around, and the creative designs — from ships to costumes to makeup — were awe-inspiring. The themes explored in the writing made me proud to be part of the show. By season’s end, I was hired by our showrunner, David Goodman, who was also president of the WGA at the time, as his development assistant. The role was split between Fox and Fuzzy Door, where I built great relationships with the team. When David’s deal finalized, I officially joined Fuzzy Door. Since then, I’ve grown from assistant to Development Executive, helping to develop and produce shows like Ted, Ted Animated, The ’Burbs, and others yet to be announced.
We all face challenges, but looking back would you describe it as a relatively smooth road?
No, the road hasn’t always been smooth and I didn’t expect for it to be. The work can be all-consuming and exhausting at times, but I love the job and feel grateful to be able to do it. There have been moments when I wasn’t met with the same level of respect I try to give others, and that’s been a difficult pill to swallow. Still, I’ve consistently chosen to stay true to my character — to be kind, patient, respectful, and hardworking. I remind myself that how people behave often says more about them than it does about me, and I don’t need to mirror it.
I give a lot of credit to the entire Fuzzy team for my growth—especially to Aimee Carlson, our SVP. I was on her desk early on at Fuzzy, and once she saw that I could manage the administrative work, our relationship evolved into what felt like a true partnership. I learned how to function as an executive both by osmosis and through practice, as her trust in my abilities grew. She encouraged me to speak up more in meetings, take on projects independently, and trust my creative instincts. Finding this kind of supportive mentorship early in your career is invaluable.
Separately, the real struggle I experienced along the way was in finding community here, both personally and professionally. LA can be a very isolating place, and when I first moved here, it was difficult to find my tribe. I wasn’t just looking for people to collaborate with, but for sincere, compassionate people who genuinely cared about who I was beneath the surface. Through volunteer work with great programs like WriteGirl and a few serendipitous connections, I was able to build that community — but it took time, patience, and consistency.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
I’m a Development Executive for both TV and Film at Fuzzy Door Productions. The job is a lot of fun because no two days ever look the same. I spend much of my time reading scripts, books, and articles, and hearing pitches in hopes of finding the next great project for our company to produce. Once I find something special, we begin developing it — which can mean providing notes on a script, shaping the pitch, building visual materials like decks or sizzle reels, or helping package the project with the right writer, director, or actor.
Once our team sells a project — and depending on the specifics of the deal — we’ll work with the writer to develop the requested materials, whether that’s a script, story area, or season bible, with the goal of securing a series order. From there, I collaborate with the creator or showrunner to staff the writers’ room, hire department heads and episodic directors, and see the show through every stage — from prep and production to post-production and release.
I think my specialty lies in physical production; I love the process of actually bringing the art we’ve developed to life. I believe most people would say my strength is being attuned to others’ emotions and solving problems on the fly. Production can feel like a roller coaster, and my job isn’t to be the one screaming on the ride, wondering what terrifying triple loop is coming next — but to be on the platform, calmly watching the ride and finding ways to proactively untangle any issues before they arise.
I am most proud of the last show I produced, The ‘Burbs, starring Keke Palmer. It’s a show that I’ve gotten to work on from the ground up and incorporate some of my own lived experiences into. Working with everyone on that cast and crew was truly an honor and I’m excited for the world to see it.
Can you talk to us a bit about happiness and what makes you happy?
Many things make me happy — spending time with friends and family, good food, the beach, dancing like no one’s watching, game nights, discovering new artists, deep tissue massages, and deep conversations that open my mind to new ideas — the list is endless. But the one thing that never fails to make me happy is being of service to others. This doesn’t always mean doing something major — even a smile or a kind compliment to a stranger can completely transform that person’s day.
Contact Info:
- Instagram: https://www.instagram.com/rahnex/?hl=en
Image Credits
Elizabeth Morris
