Molly Edwards
Molly Edwards focuses on fast, franchise‑driven entertainment news, translating developments in major film and TV universes into clear, timely stories for fans and industry alike. She is a Senior Entertainment Writer at GamesRadar+, covering all things film and television for the site’s Total Film section. Her work concentrates on the intersection of big studio releases, streaming platforms, and fan culture, with a particular emphasis on superhero, sci‑fi, and fantasy brands.
Franchise film and TV coverage
Edwards’s core beat is franchise entertainment, especially the Marvel Cinematic Universe, DC films, Star Wars, and other long‑running genre series.
She files regular news on Marvel projects, from toy leaks that reveal fresh looks at characters in Avengers: Doomsday to wider Phase 6 release schedules, treating merchandising and release calendars as part of the story ecosystem. DC coverage ranges from behind‑the‑scenes accounts of Zack Snyder’s Justice League and The Flash to cast reactions and reflections on past productions.
Star Wars is a constant thread, spanning film and TV: she reports on new movies and series in development, explores fan theories around characters and lineage, and tracks comments from figures like George Lucas and Jon Favreau on the direction of the saga. She also covers other major genre pillars such as Game of Thrones, where she reports on showrunners’ plans for a potential trilogy, and Godzilla, including ratings milestones and critical reception for new entries like Godzilla Minus Zero. This franchise focus extends to anime and animation, with pieces on One Piece taking an extended hiatus and Avatar projects facing leaks and security concerns.
Across these stories, she treats each universe as an ongoing narrative, emphasizing how creative decisions, production changes, and fan responses shape their future.
Streaming, release windows, and box office
Edwards regularly covers where and when audiences can watch new titles, positioning herself as a guide through a crowded release landscape.
She writes weekly round‑ups of the best new shows and movies arriving on streaming services, highlighting key picks across platforms like Netflix and Disney Plus and noting limited windows or debuts tied to specific weekends. Her reporting follows films across formats, from theatrical runs to streaming arrivals, as seen in coverage of titles like The Mandalorian and Grogu moving from cinemas to Disney Plus while she assesses the logic of a theatrical-first strategy.
Box office performance is another recurring theme, with articles on re‑releases such as Avengers: Endgame returning to the top of the charts years after its original launch and on music‑driven events like Taylor Swift’s concert film competing successfully against superhero blockbusters. She also tracks metrics such as Rotten Tomatoes scores and rating classifications, using early critical consensus and R‑ratings to frame expectations for films including Godzilla Minus Zero and other prestige genre titles. Release dates, ratings, pre‑sales, and platform shifts all serve as tools in her coverage to explain how projects are positioned commercially and how they reach audiences.
Fan theories, explainers, and post‑credits analysis
Beyond straight news, Edwards leans into fan discourse and explanatory formats around complex genre storytelling. She reports on fan theories that connect casting rumors to established lore, such as speculation about Ryan Gosling’s role in Starfighter and its potential link to Luke Skywalker, treating these ideas as part of the broader conversation rather than fringe speculation. She revisits pivotal franchise moments to unpack narrative choices, including parallels fans draw between classic Star Wars films, and uses creator commentary to clarify long‑debated plot points or structures.
Her explainers focus on elements like post‑credits scenes, where she breaks down how sequences from series such as What If…? set up future seasons or affect the wider MCU, and connects them to ongoing character arcs and team‑up possibilities. Even when covering interviews with figures like Christopher Nolan, she centers her writing on how their remarks inform audience understanding of ambiguous endings and recent films, reinforcing her role as an interpreter of dense or layered storytelling. Across these pieces, she balances attention to fan detail with concise explanations designed to help readers follow sprawling mythologies and serialized narratives.
Interviews and exclusives
Edwards also conducts and writes up interviews that deepen her franchise coverage with original quotes and perspectives. Her work includes sit‑downs with key creative voices, such as Walt Disney Animation Studios chief creative officer Jared Bush, where she probes why particular titles like Moana are chosen for live‑action remakes and how creative teams frame characters as action‑driven heroes.
She engages directly with directors and showrunners, including Jon Favreau on The Mandalorian and Grogu, to elicit details about first‑shot scenes, important moments, and collaborative dynamics with producers like Dave Filoni. In these pieces, she integrates exclusive comments with contextual information about the projects, maintaining her focus on how creative decisions and production philosophies inform the finished films.
Alongside this, she continues to cover personality‑driven stories such as actors reflecting on past roles or grappling with demanding production experiences, including Jim Carrey’s return to The Grinch despite describing the makeup process as excruciating, showing a consistent interest in how performers relate to the franchises that define them.
Background in genre and family entertainment
Edwards’s professional background reinforces her franchise and family‑focused perspective.
Before her current role, she worked on Disney‑branded magazines and contributed to children’s and youth titles centered on properties like CBeebies and Star Wars, embedding her early career in character‑driven, brand‑heavy storytelling. That experience with licensed content and younger audiences informs the way she covers mainstream film and TV today, with a clear familiarity for how studios market long‑running series and manage fan relationships across age groups.
Her trajectory from print magazines into digital entertainment journalism mirrors the shift of these franchises themselves from niche segments to global, multi‑platform phenomena, which she now documents in detail through her reporting at GamesRadar+.
4 more entertainment journalists.
Abbie Bray
Abbie Bray reports on how television affects the people on screen and the viewers at home. She is acting head of Screen Time, working across national and regional titles on dramas, soaps, factual entertainment and live broadcasts. Her focus includes Death in Paradise, Beyond Paradise, Vera and Midsomer Murders, as well as Gardeners’ World, Our Yorkshire Farm, Countryfile, Garden Rescue and A Place in the Sun. She also covers presenters, long-running series, sports broadcasts, viewer complaints and Ofcom scrutiny. Before Screen Time, she was a TV reporter for Metro and the Daily Express, then held weekend TV editor, assistant TV editor and deputy showbiz editor roles. Her reporting links TV formats to grief, career changes, casting, audience reaction and the personal stakes behind live coverage.
Adam Bloodworth
Adam Bloodworth covers how culture, nightlife and luxury spaces shape modern entertainment and everyday life. He is a Features Journalist and Deputy Life&Style Editor at City A.M., where he has written and commissioned culture and lifestyle features since 2022. He is also Deputy Editor of City A.M. The Magazine. His beat includes film, TV, music, theatre, things to do, restaurants, hotels, members’ clubs, fashion and LGBTQ storytelling. He has written for The Telegraph, The Independent, VICE, Metro and HuffPost UK. He reviews gigs, theatre and restaurants, profiles venues and reports on live-music infrastructure. His work often combines criticism with first-person experience, judging places and performances by their atmosphere, stories and audience experience. He also interviews public figures and appears as an on-air commentator.
Adam England
Adam England stands out for linking celebrity news to wider trends in music, sport, health and everyday life. He is a writer-reporter on the news team at People, where he covers entertainment, culture and lifestyle through timely stories and evergreen explainers. His work has appeared in publications including The Guardian, The Independent, Vice, Dazed, Healthline and Verywell Mind. He writes about music, screen entertainment, celebrity careers, fan communities, sport, cultural history, mental health, travel, pets, relationships and social affairs. His explainers include the 2023 NFL Draft and Bruce Lee’s death. He also reports on sensitive celebrity health stories, such as Lionel Richie cutting a concert short after feeling dizzy. His reporting is clear, factual and service-driven. He strips back jargon and mythology, uses lived experience and expert input where relevant, and avoids sensationalism.
Adam White
Adam White is features editor across culture and lifestyle at The Independent. He writes and commissions long-form features, essays and interviews on film, television, music and entertainment. His work examines how fame, fandom and taste shape contemporary culture, from streaming thrillers and celebrity disclosure to festivals, live music and creative careers. His writing has appeared in Dazed, Huck, i-D, Playboy, The Telegraph, The i, Little White Lies, The Quietus and Nylon. He uses a strong, voice-led style that combines reporting, observation and personal immersion. His streaming coverage treats television as something experienced as much as watched. His celebrity essays connect star narratives to wider questions about privacy and public image. His festival writing focuses on audiences and live events as cultural rituals. His interviews with film-makers and authors rely on rapport, extended stories and reflection.