Ethan Millman
Ethan Millman focuses on how the music business, creative rights and technology shape the wider entertainment landscape, with a particular emphasis on the industry structures behind songs, shows and major cultural moments. He serves as music editor at The Hollywood Reporter, leading music coverage across print and digital with a brief that spans industry reporting, the craft of music making, profiles, tech and financial news, and the intersection of music with film and television. He brings an investigative sensibility from earlier work on high-profile figures in the music world and applies it to contemporary business deals, enforcement actions and the people who drive the industry.
Music industry and rights
Millman’s coverage zeroes in on the business mechanics and legal frameworks that govern music in entertainment, often using individual episodes to illuminate broader questions about rights and licensing. His report on CBS signing a license after Stephen Colbert used the Peanuts theme “Linus and Lucy” in the final episode of The Late Show tracks how an on-air gag became a real licensing agreement with Lee Mendelson Film Productions and how the proceeds were directed to World Central Kitchen. In that piece he explains the sequence from unlicensed use to negotiated settlement, quoting company leadership on enforcement goals and highlighting the practical implications for a major broadcaster. The assignment fits squarely within his remit at The Hollywood Reporter to cover the music industry, tech and financial news, and the ways music is deployed in television and film. Across this type of story, he treats copyright and licensing not as abstract legal issues but as central forces in how music appears on screen and generates value.
Artist and executive narratives
Millman’s beat includes deep reporting on artists and industry executives, reflecting a long-standing focus on the people behind the business. Before joining The Hollywood Reporter, he spent five years at Rolling Stone working on a wide range of music-industry pieces, including award-winning investigations into figures such as Danny Elfman and Rodney Bingenheimer. That background informs his current mandate to handle artist and executive profiles as part of the outlet’s expanded music coverage, bringing documented experience in both narrative feature writing and investigative work.
His profile-oriented assignments sit alongside business and legal pieces, giving him a vantage point that connects individual careers to broader shifts in the industry.
Technology, finance and live events
In his role as music editor, Millman is tasked with covering technology and financial developments that affect the music business, as well as major live events. The appointment announcement at The Hollywood Reporter explicitly places tech and financial news, along with significant concerts and industry showcases, within his portfolio. This brief means his reporting is positioned at the point where new tools, changing revenue models and live performance economics meet the creative and corporate sides of entertainment.
It also aligns with his previous experience reporting on the music industry for national outlets, giving him familiarity with how business decisions and emerging platforms reshape careers and catalogs.
Career context
Millman joined The Hollywood Reporter as music editor in March 2025, taking on responsibility for leading and expanding the outlet’s overall music coverage.
Before that move he worked at Rolling Stone, where his work on the music industry ranged from day-to-day reporting to in-depth investigations. His professional history also includes reporting for the Wall Street Journal, the Los Angeles Times and earlier student media, building a track record in business and culture journalism.
On social platforms he describes himself as Music Editor at The Hollywood Reporter and notes his previous roles at Rolling Stone, the Wall Street Journal and the Los Angeles Times, reinforcing that he approaches the beat with both industry access and experience in accountability-driven reporting. Taken together, his current remit and past work mark him out as a specialist in the structures, deals and personalities that drive the music side of entertainment.
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