Chad Kennerk
Chad Kennerk connects box office forecasts, filmmaker interviews, and exhibition features into a single, analytic view of how movies perform in theaters. He writes on entertainment with a focus on theatrical exhibition, using numbers, release calendars, and creative intent to explain what films mean for cinemas and the wider industry.
Box office forecasts and industry analysis
At Boxoffice Pro, he works as a staff writer and analyst, producing industry-focused coverage, feature articles, and forecasts for the theatrical business. His long-range pieces, including his coverage of the July Fourth long weekend for titles like Minions & Monsters, track upcoming releases against historical comps and audience trends to give exhibitors an early sense of market potential. He co-authors analytical features on major corporate moves, such as Netflix beating bids from Paramount and Comcast to acquire Warner Bros, with an emphasis on what those decisions mean for movie theaters. His writing sits within a publication that serves as the official magazine of the National Association of Theatre Owners and positions itself as a reference point for theatrical exhibition, so his analysis is framed for cinema operators as much as for studios.
Across print and digital, he also helps proof and edit multiple issues of the magazine each year, which keeps his coverage closely aligned with the concerns of theatrical stakeholders.
Filmmaker interviews and exhibition features
Kennerk consistently brings filmmakers and their craft into a conversation about theatrical performance.
In his interview feature on director Oliver Hermanus for The History of Sound, he explores themes of music and memory while keeping an eye on how the film’s creative choices translate to audience experience in cinemas. In exhibition features like his piece on director Ruben Fleischer and the franchise entry Now You See Me: Now You Don’t, he looks at how a filmmaker’s vision and franchise storytelling intersect with global box office and long-term brand value. His print work includes reflective essays on the power of the moving image, written for Boxoffice Pro’s magazine, which tie emotional and aesthetic aspects of film to their role in sustaining theatrical culture.
Across these stories, he tends to move between the director’s perspective, the audience’s reaction, and the exhibitor’s needs, giving equal weight to craft and commercial context.
Podcast coverage of cinema trends
Kennerk extends his analysis into audio as a co-host and co-producer of the weekly Boxoffice Podcast, where he recaps weekend box office results and breaks down industry news for cinema professionals. Recent episodes have him discussing the end of a record-breaking summer box office season and the rise of exhibitor-driven distribution models designed to increase title volume and fill gaps in the theatrical calendar.
He joins colleagues to preview major releases like Spider-Man: Brand New Day while connecting those titles to format innovations and audience demand.
In other episodes he digs into the box office performance of games-to-film adaptations like Minecraft and folds in takeaway from events such as CinemaCon in conversations with executives like Greg Marcus. He also participates in discussions around Amazon MGM’s joint venture for James Bond franchise rights and the Oscars, linking prestige campaigns and long-running IP to their impact on the theatrical pipeline.
The podcast work mirrors his written beat: numbers, trends, and corporate strategy, always filtered through what they mean for cinemas.
Work across entertainment outlets
Beyond Boxoffice Pro, Kennerk describes himself as a storyteller, entertainment writer, and cinephile, with expertise grounded in film and the broader entertainment landscape. He serves as the digital editor of Film Review, adding editorial oversight and curation to his portfolio of work. He also contributes as an entertainment writer to other outlets, where his pieces continue to focus on film and screen storytelling rather than celebrity coverage or lifestyle angles. Across platforms, his through-line stays consistent: he writes about movies from the perspective of both the creative talent making them and the cinemas that exhibit them, using box office, programming, and audience response as his frame.
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Aaron Couch
Aaron Couch connects fan-driven genre stories with the business of filmmaking at The Hollywood Reporter, where he is film editor and co-writer of the Heat Vision newsletter. He covers big-budget franchises, comic book properties, horror and genre cinema, studio deals, film development and the producers who shape them. His beat includes trailers, superhero films, franchise strategy, comic-to-film adaptations, production deals and the people behind repeatable genre hits. He has written about Tom Holland’s Spider-Man return, Sony acquiring Michelle Yeoh’s The Surgeon, adaptation interest in a Boston Globe article about lesbian bars, and horror producers Roy Lee and Steven Schneider. He reports on both fandom and industry mechanics, connecting trailers, creators and comics with careers, dealmaking, publicity cycles and franchise stewardship.
Adam Blevins
Adam Blevins tracks how major entertainment projects perform, stall, and evolve across theaters and streaming platforms. He is a senior author at Collider covering film, television, superhero and science-fiction franchises, and gaming-related screen projects. His core beat is box office results, streaming performance, release windows, budgets, production changes, cancellations, sequels, and franchise durability. He has written exclusives involving Avengers: Doomsday, The Penguin, and Star Wars: Skeleton Crew. Earlier, he wrote gaming features at Screen Rant and became a senior editor at Agents of Fandom, where he interviewed talent connected to Marvel Studios, House of the Dragon, and Planet of the Apes. He also visited the set of The Chosen. His reporting is high-volume, direct, and data-driven, using metrics, release details, interviews, and production context to explain commercial prospects and fan interest.
Adele Ankers-Range
Adele Ankers-Range is a senior writer at MovieWeb who tracks streaming thrillers, book-to-screen adaptations, and industry announcements through the fan conversations around them. Writing professionally since 2015, she has also contributed to IGN, Sideshow Collectibles, Screen Rant, and other genre-focused brands. Her beat covers new and upcoming film and television titles, especially thrillers, high-concept genre releases, literary franchises, and projects moving from development to release. She reports on teaser reveals, casting, release dates, CinemaCon announcements, platform strategy, and early critical response. Her coverage often uses reception metrics such as Rotten Tomatoes scores to show how a release is landing. She returns to adaptations as they develop, following announcements, talent attachments, marketing, and final release details. Her work is fast, news-driven, concise, and attentive to fan theories, speculation, and the reasons a project matters.
Adrianna Freedman
Adrianna Freedman turns fan-driven TV and streaming moments into fast, service-focused entertainment stories for Good Housekeeping. She covers network dramas, procedurals, Hallmark titles, streaming releases and book-to-screen projects, including renewals, premiere dates, cast news, release timing, platforms and pricing. Her work centers on how developments affect committed viewers. She also reports on daytime hosts and celebrities, covering health updates, family milestones, career changes, social posts and fan response without gossip or speculation. Freedman conducts interviews and writes features on subjects such as personal books, career milestones and awards. She has written for or across Hearst titles including ELLE, Cosmopolitan, Men’s Health and Town & Country, as well as Prevention and Oprah Daily. Her coverage of television, movies, music and celebrity pop culture uses clear language, concise explainers and direct, headline-driven angles.