Jeremy Fuster
Jeremy Fuster is a senior film reporter at TheWrap who treats box office, labor and policy as a single story about how the film business actually works. He joined the outlet in 2016 and has built a beat that runs from weekend grosses and franchise performance to union negotiations, tax incentives and studio strategy. His coverage is recognised with a National Arts & Entertainment Journalism Award for reporting on the 2023 Writers Guild of America strike and a nomination from the L.A. Press Club as Best Entertainment Journalist.
Box office news and film economics
Fuster’s core reporting tracks the flow of money through theatrical releases and how that shapes the film business. He regularly covers box office weekends, detailing how individual titles stack up against each other and what those results mean for studios and distributors, such as writing on a weekend where “Verity” led the box office while “Digger” underperformed. His reporting on the return of “Avengers: Endgame” with a $26 million haul on a crowded weekend shows a focus on both headline numbers and the competitive landscape for major franchises.
When a film collapses at the box office, he turns the failure into a case study, as in his analysis of why “Forgotten Island” became a major bomb and what factors contributed to its performance. He extends this lens beyond individual titles to the macro picture, examining how U.S. film production has stabilised in 2026 and whether that recovery is sustainable for studios, workers and investors.
In coverage of federal film tax incentives and credits, he connects policy proposals to projected changes in annual production spending, giving readers a sense of how government decisions could reshape the economics of filmmaking.
Labor coverage and Hollywood unions
Alongside box office news, Fuster covers Hollywood labor with a focus on contracts, strikes and workplace conditions.
His analysis of the Writers Guild of America’s deal with the Alliance of Motion Picture and Television Producers frames the agreement as a turning point for how unions and studios negotiate, unpacking the key provisions and their impact on writers’ pay, protections and future bargaining. That labor beat extends into ongoing stories about restructuring and job losses, including interviews with studio leaders like Disney executive Dana Walden about why layoffs in Hollywood are continuing and how corporate priorities are shifting. His work on the 2023 WGA strike, recognised with a major arts and entertainment journalism award, reflects an ability to track a long-running labor conflict from picket lines to negotiating rooms and final contract terms.
Even in box office or business pieces, he foregrounds the human side of the industry, looking at how decisions by studios reverberate through creative teams, below-the-line workers and unions.
Studio strategy, mergers and policy
Fuster’s reporting often follows studio decision-making at the highest level, connecting mergers, leadership strategy and legislative changes to consequences across the industry. In coverage of the impending merger between Paramount and Warner Bros., he focuses on what the deal would mean for creatives, exploring how consolidation could affect jobs, production slates and bargaining power for talent and their representatives.
His interviews with studio executives, such as the Lionsgate motion picture chair discussing the success of the biopic “Michael” and the choice to ignore critics warning it might be a mistake, highlight how leaders weigh risk, reputation and commercial potential.
On the policy front, he writes about the introduction of federal film tax credits in Congress, explaining how proposed incentives aim to attract production and redistribute spending across regions and sectors of the industry. He further examines research suggesting that a federal film tax incentive could double annual U.S. production spending, translating legislative language and study findings into practical implications for studios, producers and workers. His coverage of deals like Netflix and Focus withdrawing from the chase for Luca Guadagnino’s “Artificial” fits into this pattern of tracking how financing and distribution decisions shape which projects move forward and which stall.
Diversity, technology and industry trends
Beyond business and labor, Fuster’s features look at longer-term trends around representation and technology. In a piece on the success of the romantic film “You, Me and Tuscany,” he explores how the industry knows that diverse films tend to perform better financially yet Black filmmakers are still told to wait, using box office data and individual stories to link inclusion to profitability.
That approach shows a habit of grounding conversations about diversity in hard numbers and career outcomes rather than rhetoric alone.
He also covers technological change, such as examining how artificial intelligence is set to reshape the visual effects industry, from workflows and job descriptions to union demands and regulatory concerns. Articles on U.S. production levels and broader industry trends further demonstrate his interest in how structural shifts - economic, technological and cultural - interact with the day-to-day business of making films. Across these topics, Fuster writes in a reported, analytical style that connects data, executive strategy and worker experiences, making his coverage distinct from straight promotional or celebrity-focused entertainment reporting.
Career background and recognition
Fuster’s role as senior film reporter on TheWrap’s masthead reflects his central position in the outlet’s coverage of box office and film business. He previously worked on the student news website Neon Tommy, where he received an L.A.
Press Club Award in 2014, experience that underpins his focus on data-driven reporting and industry accountability. His subsequent recognition with a National Arts & Entertainment Journalism Award for coverage of the WGA strike and a nomination as Best Entertainment Journalist signals that his work resonates both with peers and with the communities he covers.
Taken together, his beat experience and awards mark him as a reporter who approaches entertainment not as celebrity news but as a complex industry shaped by money, contracts, policy and representation.
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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.