Suggestions
Elaine Low
Staff Writer at The Ankler
Elaine Low is a staff writer at The Ankler, a media publication covering the entertainment industry. Here's a comprehensive overview of her professional background:
Current Role
Staff Writer at The Ankler since March 2023, where she:
- Covers the evolution of Hollywood's business model and work culture
- Writes the Series Business newsletter
- Covers the historic WGA and SAG-AFTRA strikes through her newsletter Strikegeist
- Contributes to The Ankler podcast
- Regularly appears on NPR affiliate LAist 89.3FM
Professional Experience
Throughout her career, Elaine has held several notable positions in entertainment journalism:
Previous Roles
-
Senior Entertainment Business Reporter at Business Insider (July 2021 - February 2023)
- Explored Netflix's corporate culture and layoffs
- Examined pandemic's impact on Hollywood workers
-
Senior TV Business Writer at Variety (January 2019 - July 2021)
- Covered television business with focus on media strategy
- Wrote nine Variety cover stories
- Won a Los Angeles Press Club National Arts & Entertainment Journalism Award
-
Reporter and Producer at Investor's Business Daily (May 2014 - January 2019)
- Covered media, retail, and personal finance beats
Media Appearances
Elaine has been featured on numerous news programs, including:
- CBS News
- CNBC's "Power Lunch" and "Last Call"
- NPR's "All Things Considered"
- "CBS This Morning"
- KPCC's "The Frame"
Additional Achievements
- Moderated panels for Variety's TV Summit and other industry events
- Co-created "Annie Undocumented," a web series that won Best Short-Form Web Series in 2014
- Writes about diverse topics including streaming strategies, industry representation, and entertainment business trends
Highlights
Existential professional dread and pending mega-mergers aside, did you have “national chicken sandwich chain enters Streaming Wars” on your 2024 bingo card?
According to a recent Deadline report, Chick-fil-A, the third-largest restaurant chain in the U.S. with $21.6 billion in sales last year, is getting into the direct-to-consumer game, with “plans to launch a slate of originals for its own streaming platform” later this year.
But did you know that Chick-fil-A has a perhaps surprising Hollywood connection?
Chick-fil-A chairman and former CEO Dan Cathy is the guy who funds and co-owns Trilith Studios (née Pinewood Atlanta Studios), where many a Marvel Studios production has filmed, including Echo, Guardians of the Galaxy 3, Avengers Endgame and WandaVision (as my former BI colleague Madeline Berg has previously reported!).
What does this mean for creators? Perhaps in a previous era, this push into the gray area between branded content and entertainment would’ve provoked heated debates about art and commercialism and selling out.
But in this environment, where the jobs seem scarce and the listings for new roles are spartan, work is work. And from the producers I spoke to, it seems the town is happy to entertain one more place where they can sell a TV show — even if that place also sells a lot of waffle fries.
Read my latest for The Ankler below, and subscribe.
Anna* is a high-level TV producer whose company has an overall deal with a studio. She makes $450,000 a year, plus episodic fees and backend payments for a show that was recently on the air. Anna has two kids in private school, a home in an affluent part of town, recently bought a “very nice electric car” and built out a cabana in her backyard. She may not be a household name, but in the ways that matter to the people who work in this town, she embodies the Hollywood dream.
Anna started out as an assistant and worked her way up, slogging seven days a week for a decade until she rose to executive vice president of development, eventually managing to get several shows on air — including one “life-changing” network show that ran for years. It’s the reason why each of her children will have $300,000 to $400,000 in their 529 savings accounts by the time they get to college, and why she and her husband are well-positioned to retire comfortably in their early to mid-60s.
But when Anna looks out at the next generation, she is “so scared for them. I’m scared for our whole business,” she tells me by phone, after writing in to my Salary Confessions portal. “I don’t know how you make it right now. I understand how you can have a few projects and get those projects sold. I don’t see financial stability . . . I don’t see how it’s sustainable when [the business is] treating people like they’re disposable.”
Because the network show she developed wound up selling “massively” around the world in secondary markets, that backend plus episodic fees “have been the real difference makers to my income and stability,” Anna says. “It's an argument for the old TV model: Get a show on network, with a 20-episode order each year, and you make the kind of money I dreamed of making in this career. You don’t find that on streaming any longer, at least in my experience.”
You hear the toll of the Streaming Wars (2010s-present) through the stories of support staffers and mid-career execs fretting over their futures, but even at the higher echelons of working Hollywood, the ones who have Made It, they too worry about what will be left at the end of the algorithmic rat race.
In this Series Business for The Ankler, I talk to a number of the highest earners who wrote in to Salary Confessions — whose annual income is as much as $1.6 million — to learn more about the way they live and their outlook on the business. (*Everyone in the story has a pseudonym or is anonymous to protect their identity.)
