The business and art of content — music, film, TV, live events, and digital media. Tinsel covers the productions, launches, creative decisions, and industry shifts redefining how entertainment gets made and consumed.
Adrian Grenier's Uber Eats ad addresses Nate's absence from The Devil Wears Prada sequel—because sequels now have to answer to the internet's rewrite of the original.
Björk's Echolalia festival sits in the path of totality during August's solar eclipse—and celestial timing just became the festival industry's smartest competitive edge.
Netflix's 20,000-square-foot Buenos Aires office and slate of Ricardo Darín, Pablo Larraín, and Alex de la Iglesia projects arrive at the moment Latin American production infrastructure can finally compete with Hollywood's scale.
Charlie Covell is adapting Kate Moennig and Leisha Hailey's bestselling friendship memoir into a series at Amazon MGM Studios. The L Word stars will play themselves — because Hollywood stopped writing queer stories for them, so they built their own IP instead.
Jake Schreier hired Lee Sung Jin and Joanna Calo to write the X-Men reboot—Marvel's clearest signal yet that prestige TV's emotional infrastructure now matters more than spectacle.
Lionsgate's Michael Jackson biopic is tracking for a $55M-$60M opening, poised to break the musical biopic box office record — even as the subject's contested legacy looms over the release.
BritBox's U.S.-first commissioning strategy turned 'Lynley' into a transatlantic hit—and revealed how streaming platforms owned by legacy broadcasters are quietly rewriting the economics of British television production.
“There are a lot of reasons for people not to leave their homes and go to the theater,” Will Packer, the veteran producer behind an extensive collection of beloved crossover hits like Think Like a Man, Ride Along, Girls Trip, and Night School, explains from his home office in Atlanta. “Gas prices ar
Don Worley built one of the largest mass-tort law firms in the country, then walked away. Now he runs Second Chance Pictures with six films in production at once — and he doesn't need Hollywood's permission.
Amazon and Mattel are launching a Masters of the Universe game the same day the theatrical release hits theaters — franchise owners now treat gaming as synchronized storytelling, not post-release merchandising.
Nexstar and Tegna told a federal court they can't fully comply with an order halting their $6.2 billion merger—revealing how local TV consolidation now moves faster than the legal system designed to regulate it.
Plan B Europe hired Maria Fleischer from Sony and Charlie Silver from House Productions—Hollywood studios are finally building permanent European infrastructure instead of just chasing tax credits.
Warner Music's acquisition of Revelator isn't a pivot toward serving independent artists—it's a concession that the majors can't compete without the tools indies already built.
Mubi's pre-Cannes acquisition of Andrey Zvyagintsev's Minotaur signals how arthouse streaming platforms are becoming the first—and often only—distribution path for prestige foreign cinema.
Focus Features is releasing Six the Musical Live theatrically on August 14—a test of whether filmed Broadway can become a sustainable genre or if Hamilton's success was just a pandemic anomaly.
The Super Mario Galaxy Movie is tracking for a $350M+ global opening weekend. For Hollywood, that's not just a franchise win—it's proof that gaming IP has become the safest bet in an industry that no longer knows how to build new ones.