Lindsey Bahr
Lindsey Bahr covers movies as both a cultural force and an industry in constant change. Her work for the Associated Press focuses on film writing and criticism, combining reviews, features and news about the business and awards machinery around cinema. She has been on the film beat at the Associated Press since 2014 and brings long-running experience that spans studio strategy, exhibition, awards rules and festival culture. Before this role she wrote about movies and pop culture for a major entertainment magazine and contributed film and music stories to national publications, giving her a wide view of how film fits into broader culture.
Film industry and box office
Bahr reports closely on the economics of moviegoing, using box office stories to illuminate franchise health and audience behavior. Her coverage of a Resident Evil installment opening to $60 million, the best debut in that franchise, sets the performance in the context of the broader marketplace rather than treating it as an isolated figure.
She explains major corporate moves such as Netflix’s $72 billion deal to buy Warner Bros. Discovery’s studio and streaming business, spelling out what consolidation means for production pipelines, library control and the future of theatrical and streaming releases. Her reporting on the movie theater trade group’s new Cinema branding similarly looks at how exhibitor organizations respond to shifting business realities and consumer habits.
Across these pieces she writes in a straightforward news format but consistently brings in stakes and structural detail, making her a fit for stories where the film angle is inseparable from business developments.
Oscars and Academy governance
Bahr treats the Oscars and the Academy of Motion Picture Arts and Sciences as key institutions in the film ecosystem, not just annual events.
In her coverage of new eligibility rules that address artificial intelligence and affirm “human authorship,” she lays out how the Academy is drawing boundaries around emerging tools while preserving credit for human creators. She follows leadership changes inside the organization, including the election of producer Lynette Howell Taylor as Academy president, and explains how such appointments can shape policy, campaigning norms and the tone of future ceremonies.
These stories focus on criteria, governance and rulemaking, giving attention to the mechanics behind recognition rather than only outcomes. This makes her well suited to pieces that touch on awards policy, technological disruption in filmmaking or debates over standards for inclusion and authorship.
Directors, franchises and new releases
Bahr often approaches new projects through the directors and franchise worlds that define modern studio filmmaking. Her coverage of Christopher Nolan’s “The Odyssey” includes a character guide and a separate piece that breaks the film down “by the numbers,” organizing details about scale, production and release in a clear, accessible way.
She writes about superhero and comic book properties from a director-led angle, such as her story on James Gunn’s plans for “Superman: Legacy” and its targeted 2025 launch, which situates the film within the evolving DC landscape. She also covers films built around recent history or cultural crazes, like the movie about the Beanie Baby boom, using the absurdity of the phenomenon as a lens for the ambitions and blind spots of the era.
In these articles she balances plot and creative framing with industry positioning, making her most relevant when a film story involves marquee directors, major franchises or culturally loaded source material.
Features, criticism and festival coverage
Bahr’s role combines regular reviewing with features and industry reporting.
She reviews films weekly for the Associated Press, while also writing features that explore production histories, creative teams and the cultural framing around releases. Her background includes interviewing Hollywood legends, high-profile stars and well-known directors, which feeds into personality-driven coverage and informed assessments of performances and careers. She has experience covering major film festivals and industry events, from large international festivals to exhibitor-focused gatherings, and has served as a juror at festivals including South by Southwest. She also tracks broader cultural movements tied to film, from shifts in audience behavior to changing expectations of representation and authorship, reinforcing her position as a critic who understands both the creative and industrial sides of cinema.
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.