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Deadline Sets Key Editorial Promotions

Long considered the destination where Hollywood gets its breaking news, Deadline has announced several key promotions across our editorial department. Deadline continues to build on rising audience and traffic metrics, and the promotions are meant to recognize the rising stars who make Deadline the leader in breaking news day in and day out.

(L-R) Peter White, Andreas Wiseman and Dominic Patten
(L-R) Peter White, Andreas Wiseman and Dominic Patten

Peter White is now Executive Editor of Television. Having joined Deadline in 2017, White heads the U.S. TV staff while leading our coverage of the networks, studios and streamers. His specialties are late-night, unscripted TV, executive turnover and the podcasting business. He is based in Los Angeles, having moved from London in 2020.

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Andreas Wiseman has been upped to Executive Editor, International & Strategy. Wiseman joined Deadline in 2018 to cover the international and U.S. film industries and has overseen significant expansion of Deadline’s flourishing editorial operations overseas. In his new role he will continue to steer and manage the international division and contribute to the brand’s senior leadership. He is a regular fixture at major festivals and markets including Cannes, Berlin, Venice and AFM.

Dominic Patten has been named Executive Editor, Legal, Labor & Politics. A veteran of Deadline since 2012, Patten reports on all of the industry’s major lawsuits and takes the lead when it comes to coverage of the Hollywood unions. Together with Political Editor Ted Johnson, Patten contributes to Deadline’s ElectionLine hub with stories about local, state and national politics. He also assists with film and TV coverage and is Deadline’s TV critic. Patten is based in Los Angeles.

(L-R) Justin Kroll and Anthony D’Alessandro
(L-R) Justin Kroll and Anthony D’Alessandro

Justin Kroll has been promoted to Film Editor. Kroll came to Deadline in 2020 from Variety, where he started out as an intern in 2008 and rose to film reporter two years later. He has become sultan of the scoop on the film front, based in Los Angeles.

Getting additional responsibilities is Deadline’s Editorial Director and Box Office Editor Anthony D’Alessandro, who will now also co-lead the U.S. film department alongside Kroll. D’Alessandro has been at Deadline since 2011 when he joined sister publication AwardsLine. Prior to that, he worked at Variety and IndieWire.

(L-R) Matt Grobar, Katie Campione, Natalie Sitek and Destiny Jackson
(L-R) Matt Grobar, Katie Campione, Natalie Sitek and Destiny Jackson

Matt Grobar has been promoted to Senior Film Reporter. After serving five years as assistant editor at AwardsLine, Grobar joined the editor desk in 2021 before becoming a full-time reporter on our film staff. He oversees awards video series The Process and a burgeoning stand-up comedy beat, and is based in Los Angeles.

Katie Campione is now covering the labor beat for Deadline. Campione, who joined Deadline in 2022, was regularly on the picket lines during last year’s writers and actors strikes and she will now build on this with more labor coverage as we head into IATSE negotiations. TV reporter Campione also oversees ratings and assists with profiles and recaps of shows such as The Bachelor.

In the television department, she works alongside Rosy Cordero, who last year was promoted to Associate Editor, TV.

Natalie Sitek has been upped to Social Media Manager. She joined Deadline in February 2022 and plays an important role in our ongoing red carpet coverage, awards shows and premieres.

Destiny Jackson is now an Awards Writer. Since joining in 2022, Jackson has been an invaluable addition to the Awardsline team by contributing film and TV stories during awards season.

“Deadline continues to grow, and that is fueled by a new generation of reporters and editors who now give the two of us a run for our money,” said co-editors in chief Mike Fleming Jr. and Nellie Andreeva. “Today’s promotions recognize some of our most senior staffers who are taking on additional responsibilities as our management structure evolves, along with the up and comers whose growth curves are remarkable to watch and make us more bullish than ever about the future of this great brand.”

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