At Collider, you’ll see anything from interviews to news to features. The latter section is where writers and editors get to dive deeper into specific scenes, share reactions to casting announcements and trailers, as well as answer the burning questions you might have after walking out of the theater. These pieces generate discussions about the latest releases, old-school classics, and the sleeper hits that might’ve passed you by. From an in-depth look atMission Impossible: The Final Reckoning’s best scenes to candid takes onThe Last of Us,features are a gateway to writers' perspectives on titles they are passionate about.
Yet, in order for these articles to be refined, the editorial team comes in as a guiding light. Editors overseeing this section make sure that writers are well-supported and that the pieces that are published reflect viewpoints that will resonate with readers. As part ofthe voices behind Collidersegment, find out how editors are shaping this part of the website in exciting ways,working together toensure that both blockbusters and indie productions are highlighted on the main page.
Collider’s commitment to elevating diverse film perspectives is backed byValnet Inc., the digital media company that owns Collider. With a focus on building communities around entertainment and pop culture, Valnet empowers editorial teams like Collider’s to grow. Whether it’s experimenting with content formats, championing underseen titles, or doubling down on the coverage areas that spark meaningful audience engagement, Collider’s team is supported by a system built to turn passion into sustainable momentum.
Collider’s Features Offer Criticism and In-Depth Analysis
Senior TV EditorCarly Laneand Senior Movies EditorRoss Bonaimeboth joined Collider in 2021, editing news before pivoting to features. Their current roles allow them to focus less on stories with quick turnarounds and more on articles that hone in on films and TV showsbeyondthe headlines. “I think there’s more freedom to features,” Bonaime says. “There’s really no end to what we can write about.” Take as an example action thrillerBallerina. Instead of publishing pieces on whatAna de Armassaid in a given interview or how well the film is performing at the box office, a feature would likely explorehow the spin-off fits into theJohn Wickuniverse, what other projects De Armas starred in that you are unaware of, or that blink-and-you-might-miss-itBuster Keatonreference in the film. “I really like it when a feature takes something modern and latches onto it something that is more historical, talking about how it all connects into one,” Bonaime says.
Although not to the level of news,TV features are often also time-sensitive. According to Lane, “it’s a different beast than movies.” Shows with weekly releases likeThe Last of UsandAndorrequire a constant flow of articles that speak to viewers who are watching episodes as soon as they premiere. When Lane gets early access to these TV hits, she’s already brainstorming ideas on what viewers might want to read about once they are caught up. “As an editor, you’re sort of thinking, if there’s an unexpected moment in a TV episode, nine times out of ten, the bread and butter of our features is going to be a reaction to that, whether it’s positive or negative.“The recaps Collider puts out are where you’ll often see writers share their reactions to a given episode, similarly to the message boards from back in the day. From writingrecaps for shows likeShōgunandHouse of the Dragonto editing recaps other writers and editors are covering week-by-week, Lane sees these pieces as valuable to the site and TV criticism at large.
“There’s such an advantage to being able to get into spoiler territory in a way that you can’t do in a regular review, and really dive into character choices.” - Carly Lane, Senior TV Editor
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Writers Get to Focus on Deep Cuts Through Features
Despite there being an emphasis on recent productions, this Collider section is also where underseen films and series get onto the public’s radar. To Senior Movies EditorEmma Kiely, “no film is too small” as long as there’s an audience for it. The most important part of a feature is its accessibility, allowing for a writer’s unique tone and style to shine through, regardless of the project or genre they are writing about.
Before becoming Bonaime’s co-lead, Kiely ran the Horror features vertical, where she was able to see firsthand thatreaders were engaging with articles about low-budget cult classics just as much as they were interacting with pieces on legacy franchises likeScream. “We’ve seen terms like ‘found footage’ do well, which may be surprising,” she says. Kiely believes that horror’s devout fan base is less critical than fandoms in other genres, with people being more open-minded about watching a thrilling,found-footage horror film on Tubi for free.
TV features not only recommend lesser-known series that are on streaming, but also cover network shows audiences still rave about years after their run. “There is value in not just writing something that’s a direct response to new TV, but also looking back at older TV through a different lens than we may have seen in other critical circles,” Lane says. As much as there is an appetite for the latest releases,nostalgic dramas likeThe Wire,The Sopranos, andBreaking Badwill continue to be rewatched and re-examined over and over again on Collider.
The Team Behind Collider’s Film & TV Features Works Collaboratively
Even though the features section is divided into film and TV, editors responsible for one or the other get to collaborate during daily meetings. As they look over writer pitches and think about other article ideas worth exploring, everyone has the chance to chime in. Whenever an editor isn’t as well-versed in a particular title, they will ask another editor to share their thoughts. “I couldn’t run TV withoutTherese Lacson,” Lane says. “She’s always the person I look to when we need to run anything having to do with911orThe Rookie, because that’s not my wheelhouse at all. ThenMike Thomasis our anime expert, but he also brings a lot of insight when it comes to superhero shows. I’m plugged in, but he also has a lot of knowledge in the comics vein, which really helps.”
“There’s a really great back and forth between all of us. We all trust each other’s input.” - Ross Bonaime
This collaborative aspect of the job is what makes Kiely so passionate about working for the site. From the editors she’s partnered with in the past, to those who are actively involved in her day-to-day,she’s always felt like she can depend on her peers to succeed. “People can be so talented, and I feel like some people get away with being so talented that they don’t have to be nice,” Kiely says. “As an Irish person, I don’t really have a lot of patience for ego, so it’s been lovely that even though there are such talented editors and writers at Collider, no one has an ego.”
As part of a portfolio that spans several digital brands, includingScreenRantandMovieWeb, Collider benefits from Valnet’s shared tools, cross-brand insights, and editorial resources that strengthen the team’s ability to experiment and iterate.
For the Editors, Fostering Connections With Writers Is Key
What allows the features section to thrive isn’t just the editors working together to come up with the best coverage for film and TV, but rather thewriters' creativity and knack for finding unique ways to keep this segment fresh and insightful. If you are into Hollywood classics and how they connect with a film that is currently in theaters, you’ll likely see writers likeLogan KellyandThomas Buttbridging the gap between the old and the new. If you want to know more about hidden horror gems,Gaby Shedwick,Joel Medina,Shawn Van HornandJasneet Singhare only a few that will have your back. As for the series you’re either binging or watching week-by-week, writers likeElisa Guimarães,Erin Konrad, andRyan Corterowill dive deeper into these watches with you.
Each writer brings their own abilities to the table and,with the editorial team guiding them in this process, the effort pays off. “This is actually quite a social job,” Kiely says. “It’s a lot about interpersonal skills, so I would say you can’t just come into this job and be good at editing. There’s so much more to it.” For all three editors, who have prior experience as writers, it is important to meet people where they are at. By walking through pitches with writers and assisting them with fine-tuning their articles, the main goal is to provide work that is meaningful and reflective of everyone’s commitment to what they do.
Together, the features team hopes to elevate the section to new heights. By continuing to expand on analysis and reactionary pieces on current releases to spotlighting more deep cuts, there are endless possibilities for what you’ll continue to see coming from this segment.
“Collider is just so eclectic, and there’s room for everyone, no matter what your favorite film is. There’s just so many films out there, and there are so many writers out there, and there are so many stories to tell. For us to be able to put that into the world is like the greatest honor of all.” - Emma Kiely
