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Before I get to our stories of the week, a reminder — today is the LAST DAY of our biggest Ankler sale ever. Until midnight tonight, new paid annual subscriptions are 30% off (gift subscriptions too)! That comes out to less than $10 per month for the industry’s freshest reporting, scoops and most incisive analysis.
You’ll get full access to:
TODAY is the last day of our sale at the lowest price we’ve ever offered, so don’t miss your chance to get — or give — our best-in-class intel. Next year, we’ll continue to expand and deepen our coverage of where entertainment is heading (not where it was).
Don’t miss out.
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Now, ICYMI, here’s our best of the week:
If you watched some good old-fashioned linear TV this Thanksgiving, you probably caught a lot of ads featuring faces like Jason Momoa and Chris Pratt. Between the rise in star shills and advertiser pullback from traditional TV spots, day-to-day working actors are pivoting to a new survival playbook, Elaine reports:
The Grinch brings fewer ho-ho-holiday movies on tighter budgets in today’s Hollywood, but for writers, payday can still feel like Christmas morning. Speaking with more than a dozen execs and creatives who work in the genre, Lesley digs into the economics of festive fare and how the post-Peak TV contraction has impacted Santa’s messengers:
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Films are no longer just watched. They’re also being played. Matthew scoops how Paul Thomas Anderson influenced the decision to put One Battle After Another into Fortnite, and reveals how studios are using Fortnite and Roblox as marketing tools, while Disney’s Epic Games investment revitalizes the Walt Disney flywheel:
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Ashley talks to top players about what global rights buyers want now (besides Jason Statham), how they’re keeping the indie ecosystem alive, which genres travel, and what it’s really going to take to get a movie made in 2026:
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Rian Johnson has worked with his composer cousin, Nathan Johnson, on every film he’s made except for Star Wars: The Last Jedi. Rob LeDonne chats with the two creators about their shared love of “imperfection,” the progression of the Knives Out trilogy, and how the darker, gothic tone of Wake Up Dead Man required a musical pivot:
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As Regretting You and Wicked: For Good over-perform while Him, The Smashing Machine and The Running Man all fail to deliver, women were the ones powering the fall box office. Sean breaks down the stark data — and the opportunity lying in plain slight:
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 | How ‘Wicked’ Women Saved the Movies Ankler Agenda 32:58 |
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