Greetings from Healdsburg, happy Thanksgiving, and welcome back to In the Room. I’m
comfortably ensconced in wine country and looking forward to a long weekend of food, family, and football. I hope you get the chance to unplug a little and relax. You’ve earned it.
In that spirit, today’s pre-holiday edition features highlights from my recent conversation with Alison Roman on her ongoing evolution as an independent creator in the chaotic attention economy. We also discussed her new book, her next act, and, of course, what she’s cooking for
Thanksgiving.
🍸 Plus, on the latest edition of The Grill Room, card-carrying media people Brian Morrissey and Troy Young dropped by to survey the burgeoning culture war between “information entrepreneurs” and old-school journalists. We also dug into the blurring lines between journalism and content creation, the rise of performative reporting, and whether traditional media can keep up. Follow The Grill Room on
Apple, Spotify, or wherever you prefer to listen.
Mentioned in this issue: Alison Roman, Jackie
Chan, Chris Tucker, Donald Trump, Brett Ratner, Melania Trump, Arthur Sarkissian, Josh Greenstein, David Ellison, and many more…
Let’s get started…
|
- Trump’s ‘Rush’ job: “America may be headed toward the dumbest possible form of state-sponsored media,” my partner Matt Belloni wrote in his Monday evening dispatch of What I’m Hearing, advancing Semafor’s weekend report that President Donald Trump was personally intervening with
Paramount to greenlight a fourth film in the Rush Hour franchise. By Tuesday, Matt had confirmed this was not a fever dream. “Paramount will release Rush Hour 4 after prodding from Donald Trump on behalf of Brett Ratner,” he noted. “It’s a distribution deal for the studio.”
Of course, this is not as strange—at least for Trump 2.0—as it might first appear. Remember that Ratner, who was credibly accused of sexual misconduct in 2017, is directing a
documentary on first lady Melania Trump for Amazon, and has had access to the White House in recent months. (The director has previously denied the charges against him.) “Ratner has been trying for years to get Rush Hour 4 going, with Jackie Chan and Chris Tucker returning,” Matt wrote. “Warner Bros. wasn’t interested in doing a fourth, but the studio let producer Arthur Sarkissian shop the project elsewhere. There’s a
script, but basically every studio and streamer has passed at some point—including Paramount, and also Sony, where current Paramount studio co-chief Josh Greenstein worked until recently. … Part of the reason is Ratner, of course. Few studio heads would want to stand next to him on a red carpet, no matter the potential money to be made via the film. And even that’s a big question: Tucker hasn’t headlined a studio movie since Rush Hour 3 in 2007, and Chan is now 71.”
[Read Matt’s full report here.] - Hollywood lawyers up: With the deadline for Warner Bros. Discovery bids out of the way as of last week, the suitors are lining up their legal strategists for the next phase of the game. My colleague Eriq Gardner broke down the various lawyers on call in his Tuesday
newsletter: “David Ellison’s Paramount Skydance, which appointed former Trump antitrust chief Makan Delrahim as its chief legal officer, has made the promise of fast-track approval a central part of its pitch. Netflix has signed Steve Sunshine, the Skadden antitrust savant whose recent wins for Apple and Activision Blizzard have enhanced a reputation for defying gravity. (Sunshine, I’m told, has been telling Netflix that the D.O.J. is eminently
beatable these days.) Comcast, meanwhile, has dusted off Davis Polk’s Arthur Burke, who guided its NBCUniversal, Time Warner Cable, and Sky acquisitions through the regulatory gauntlet. Comcast has also hired Sullivan & Cromwell’s Kyle Mach, who was deputy director of the F.T.C.’s Bureau of Competition under Biden.” [Read more from Eriq, including a comprehensive breakdown on the chances this all goes to Chancery Court,
here.]
|
And now, my conversation with Alison…
|
|
|
The internet’s favorite food author finds herself at a familiar
crossroads for writers who have become brands unto themselves: trying to balance scale, new ventures, and authenticity while keeping a loyal audience fed… in this case literally.
|
|
|
It’s been a fruitful year for Alison Roman, the internet’s favorite
culinary truth-teller. In 2025, she released a new cookbook, Something From Nothing, launched a line of tomato sauces, brought a pop-up version of her upstate grocer to New York City, and had her first child. On a recent, pre-Thanksgiving episode of The Grill Room, she discussed how all that plays into her ongoing evolution as an independent creator in the chaotic attention economy and the existential importance of keeping it authentic. She also previews her next acts
and, of course, what will be on her table tomorrow. (For the full conversation, including why Roman left Substack, head to The Grill Room wherever you get podcasts.) The following has been lightly edited for length and clarity.
|
Dylan Byers: I think we’ve earned the right to just
get to the fun part first. What’s on your table this year at Thanksgiving? What’s the plan?
Alison Roman: I like to do two turkeys. I like to do the big pomp and circumstance, the whole bird of it all, and I love to do turkey legs slow-cooked in chicken fat or duck fat, etcetera. That makes for the best combination of display, tradition, and delicious turkey meat—because there’s no more delicious version than the
slow-cooked turkey leg.
|
|
|
A MESSAGE FROM OUR SPONSOR
|
Transform Movie Fandom into Business Impact 🎬 The real magic of movies goes far beyond the screen, extending to purchasing behaviors beginning during the pre-release excitement and ending in ongoing fandom. New research from Amazon Ads and Crowd.DNA reveals the untapped potential of this, finding that fans maintain 10+ year connections with their favorite films and 81%
actively participate in movie-related purchases. These purchases aren’t limited to merchandise or music from the film. Moviegoing is driving cross-category spending, from dining to retail and beyond. Amazon Ads full-funnel solutions allows brands to engage fans all along the journey, creating
opportunities for content discovery, engagement, and continued fandom. Visit Amazon Ads to learn more.
|
|
|
When we talked last year, one of the things we discussed was how you continue
to innovate in a space where you’ve established yourself.
It’s in step with growing or evolving as a person, which happens slowly and over time, not necessarily in radical jumps and leaps—at least for me personally. For me it’s a variation on, How do you stand out? I get that question a lot, when people are looking to break into the industry. It’s sort of a be yourself thing—that’s how I decide to move forward with projects, and
how I decide that, yes, I’ve published shallot pasta before at another publication, but I’m going to put it in my book. I’m going to put it in this collection of recipes that is the poster child for pantry recipes. Shallot pasta is the gold standard, and it would be totally bizarre for me not to put it in this book, right?
The intention behind a book isn’t to innovate every day. It’s to innovate every few years, because that’s how long it takes to make them, and hopefully these things are
items that stay in your home forever. And in 20 years, you’re going to be like, “This is such a solid book. I know that everything in it is great, and I can count on it, and I’m going to gift it.” It becomes something different than Googling “shallot pasta.”
How often do you need to feed your fans’ need for some sort of connection with you? Can you sustain the business of Alison Roman doing things on your own schedule, responding to your authentic feeling of “Now I have something
to say”? Or do you need a more consistent schedule to meet those fans?
That’s a great question, and I don’t actually have the answer. All I know is what works for me. I don’t think, for me, more is more. I don’t think that if I were to give you a recipe every week, that anyone would cook it every week. There are just too many recipes in the world and nobody has time. I know for a fact that even when I was publishing every other week, people were
still not able to keep up with that cadence. So then you sort of wonder, well, who is it for? Is it just for the eyeballs? What are we doing here? I don’t think my work is better when I’m publishing on somebody else’s timeline, and I think the work suffers.
Frankly, when I’m forced into, I’ve got to make a recipe for this—it’s fine, and it tastes good, but I’m not impassioned about it. I think you can kind of tell in the writing because I’m a horrible faker. But also, I’ve never
set that precedent. I’m not somebody who used to publish with that much regularity or consistency, then dropped off all of a sudden—with the exception of [my YouTube series] Home Movies, I suppose. And I’m not going to push myself to innovate on something that doesn’t need innovation. It’s so funny, because on a book tour people love to ask me, “What’s next?” And I’m like, Jesus Christ, I had a baby. I opened a store. I launched a tomato sauce brand.
I’m like, I beg of you to tell me that you’ve consumed everything I’ve written and cooked and that you’ve taken part in all of my offerings. There’s a lot that I have offered because I’m trying to diversify, I’m trying to explore, by other means, what it means to do what I do. I don’t see it stopping at me just being, well, a recipe on a newsletter. I have a lot more planned for myself.
|
“A Solid Cruising
Altitude”
|
What’s the most meaningful part of that business that allows you to keep doing
this on your own schedule, without building out a bigger franchise and hiring writers and editors and all of that?
The writing is the most sacred part, and that’s something I cannot hire for. I cannot hire someone to write for me. I cannot hire someone to make recipes for me. It’s very common practice, as cookbook authors scale up in their businesses, to hire that out, to hire someone to develop recipes for them, to hire someone to write the headnotes for them. It happens all the
time.
|
|
|
A MESSAGE FROM OUR SPONSOR
|
Transform Movie Fandom into Business Impact 🎬 The real magic of movies goes far beyond the screen, extending to purchasing behaviors beginning during the pre-release excitement and ending in ongoing fandom. New research from Amazon Ads and Crowd.DNA reveals the untapped potential of this, finding that fans maintain 10+ year connections with their favorite films and 81%
actively participate in movie-related purchases. These purchases aren’t limited to merchandise or music from the film. Moviegoing is driving cross-category spending, from dining to retail and beyond. Amazon Ads full-funnel solutions allows brands to engage fans all along the journey, creating
opportunities for content discovery, engagement, and continued fandom. Visit Amazon Ads to learn more.
|
|
|
That is never going to be my path. I launched a tomato sauce and opened a store
because those are areas where I can hire out. I can hire really smart people who are great at C.P.G., who are excellent at retail, who have a commerce mind. That frees me up to write. I can cook, and I can write.
I’m spending less time writing and cooking, less time than I ever have, but it’s with the goal of coming back to writing and cooking. I have to set up these businesses to be in a good place to run effectively, and be solid with good products and great staff and great
environments, so that I can step away and write. That’s always my goal. That’s the most fulfilling, and the thing that keeps me going.
At the risk of doing what you just said you hated, can I ask, do you know what’s next?
Honestly, my goal is to get back to writing more and cooking more and publishing on a regular schedule because that, to me, is the best and easiest way to feel like I’m working. I love working. And lately it’s
been a lot of logistical calls and not what I want to be spending my time doing. So my goal is to hire out for those roles, build those businesses, get them all in a really good place, and continue to build. Whether it’s a store in New York City that’s permanent, or growing the tomato sauce—like, building these brands that aren’t my name, that aren’t based on my face or my writing, that don’t require that as part of it. So that way I can actually scale up. My goal is to do that so I can
reprioritize the types of books I want to write, the type of food I want to cook, and hopefully continue to do that forever.
When I first started out, when I published my first book or even my second book, I was like, I want to be the best, I want to be whatever number one was—which is so silly, because that simply doesn’t exist anymore. I was sort of like, I want to be the best at whatever. And now that is so far from my goal. I want to just be thought of as somebody. I want to
have a really long career—a really solid career for a very long time. I don’t want to spike at any point. I have no interest in peaking… ever. I want a sustained, solid cruising altitude—that’s what I hope for myself.
I hope you have a fantastic Thanksgiving. Thank you for doing this.
I’ll see you this time next year.
|
|
|
Join Emmy Award-winning journalist Peter Hamby, along with the team of expert journalists at Puck, as they let you
in on the conversations insiders are having across the four corners of power in America: Wall Street, Washington, Silicon Valley, and Hollywood. Presented in partnership with Audacy, new episodes publish daily, Monday through Friday.
|
|
|
A professional-grade rundown on the business of sports from John Ourand, the industry’s preeminent journalist,
covering the leagues, players, agencies, media deals, and the egos fueling it all.
|
|
|
Need help? Review our FAQ page or contact us for assistance. For brand partnerships, email ads@puck.news. You received this email
because you signed up to receive emails from Puck, or as part of your Puck account associated with {{customer.email}}. To stop receiving this newsletter and/or manage all your email preferences, click here.
|
Puck is published by Heat Media LLC. 107 Greenwich St., New York, NY 10006
|
|
|
|