Lexi Carson
Lexi Carson covers the point where celebrity narratives, genre entertainment and promotional moments meet, shaping news and features that track how film and television projects enter the culture at The Hollywood Reporter. Her work follows trailers, first looks and exclusive clips alongside critical pieces and personal disclosures from actors and reality personalities. She writes across news, movie, TV, lifestyle and list formats, treating each as a vehicle for clear stories about projects and the people behind them. Her coverage is driven by concrete details from the work itself, whether a trailer drop, a casting turn or a health revelation, rather than broad industry commentary.
Trailers, first looks and release coverage
Carson devotes substantial attention to trailers and first-look packages, using them as entry points into the creative and commercial stakes of new projects. In her coverage of the season eight trailer for Hulu’s The Kardashians, she foregrounds the plot beats teased in the footage, including Kim Kardashian’s health scare that led to a hospital stay and Kendall Jenner’s on-camera denial of romance rumors with Cara Delevingne.
She connects the trailer to earlier reporting on the show’s October premiere date, tying exclusive timing information to the new promotional material rather than treating each in isolation.
Her film reporting takes a similar approach to early visuals and positioning. In an exclusive first look at the exorcism comedy Omi, she frames the footage around the fact that it features the final onscreen performance of the late actor Bunny Levine alongside Dree Hemingway, highlighting both cast significance and tonal setup. That focus on what the audience first sees – trailers, clips, images – recurs across her movie news assignments, where release dates, platforms and promotional strategy sit alongside plot and casting details. Even when drawing from studio marketing, her articles track the narrative hooks and personal angles that are likely to drive conversation around a project.
The Social Reckoning trailer piece with Jeremy Allen White fits this pattern, using an actor interview to anchor the coverage of new footage rather than treating the trailer as a standalone marketing artifact. She picks up on White’s comments about not hearing Jeremy Strong’s Mark Zuckerberg voice until the trailer and on their separation during the process, turning a promotional moment into a story about performance and collaboration. That through-line - trailer plus human detail - marks her release coverage across both film and television.
Genre films and critical voice
Beyond pure news, Carson writes critically about genre projects, often in horror and true-crime adjacent spaces. Her piece on a new Resident Evil film surveys what critics are saying about director Zach Cregger’s work, synthesizing external reviews into a clear snapshot of how the film is landing and where it fits within contemporary horror.
By centering other critics’ responses, she positions herself as an interpreter of the wider reception rather than a lone voice, while still choosing what to emphasize.
Her review of Monster: The Lizzie Borden Story, part of Ryan Murphy’s serial killer slate for Netflix, uses sharp language to call the series “faux-feminist nonsense,” signaling a willingness to make plain judgments about storytelling choices and thematic framing. The article critiques how the show handles its feminist claims and its approach to violence, showing that she is comfortable interrogating the politics of genre packaging, not just its shocks. When paired with her coverage of an exorcism comedy like Omi, this work suggests a sustained engagement with how horror and adjacent genres balance tone, character and message.
Celebrity relationships and health revelations
Carson’s entertainment news often turns on intimate disclosures and relationships between well-known figures. In The Kardashians trailer piece, she highlights Kim Kardashian’s health scare and frames it as a major storyline for the upcoming season, integrating medical vulnerability into a broader reality-TV narrative.
She also notes Kendall Jenner’s on-camera denial of romance rumors, treating interpersonal speculation as part of the show’s marketing and story engine.
Her first byline for The Hollywood Reporter focused on The Office star Jenna Fischer calling Christina Applegate immediately after receiving a breast cancer diagnosis, emphasizing friendship and support in the face of serious illness.
That article blends celebrity familiarity with a health storyline, anchoring the news in the emotional behavior of the people involved rather than in abstract awareness messaging. The Jeremy Allen White interview around Social Reckoning continues this pattern by centering how actors relate to each other’s work and process, illustrating how professional separation and surprise can become a narrative in itself.
Across these pieces, she consistently uses direct quotes and concrete actions - phone calls, hospital visits, trailer reactions - to structure stories about public figures coping with private challenges.
Magazine-style features across outlets
Carson holds an associate editor role at The Hollywood Reporter and brings a magazine and feature-writing sensibility to her coverage there. Her professional background includes work for a range of national publications spanning entertainment, music and lifestyle, with bylines in outlets such as Us Weekly, Variety, Esquire, Paper, Billboard, Cosmopolitan, Men’s Health and Town & Country.
That history across celebrity news weeklies, fashion and culture magazines and health and lifestyle titles informs the mix of subjects she tackles in her current work.
Within The Hollywood Reporter, her name appears across entertainment news, general news, movie news, TV, lifestyle and lists, reflecting a broad remit rather than a narrow single-show beat.
She shifts between quick-turn news items, trailer coverage, exclusives, reviews and list features, keeping the language straightforward and detail-led regardless of format. The cumulative picture is of a journalist who uses cross-genre and cross-outlet experience to write plainly about projects, personalities and promotional campaigns, prioritizing what is happening on screen and in people’s lives over insider trade speculation.
4 more entertainment journalists.
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.