• Name: Kate Erbland
  • Location: New York City
  • Email:
  • Twitter: @katerbland
  • Linkedin: kateerbland
  • Instagram: @katerbland


Kate Erbland is an entertainment and culture writer and editor living in New York City. She is the Associate Editor for Film School Rejects and a contributing writer for,,, The Dissolve, Screen Crush, New York Daily News, Mental Floss, amNY, Vulture,, and Her previous work can also be found at MSN Movies, Boxoffice Magazine, and

She is always available for and interested in new freelance and full-time opportunities.


2010 - Present


Contributing Writer

Features, interviews, reviews, news, and film festival coverage for a variety of outlets, including,,, Vulture, The Dissolve,, Nylon Guys,, ScreenCrush, Mental Floss, New York Daily News, amNY,, Bustle, Dame Magazine, Men’s Journal,, and Fandango.

2011 July - Present

Film School Rejects

Associate Editor

Review new film releases, festival films, and films from emerging filmmakers; write daily column on wide range of topics, including television, film, books, and pop culture; write timely news items on breaking film news.; develop, plan, and write new television coverage, including news, recaps, and reviews; interview talent for special features; assign and plan coverage by the site’s other editors, writers, and critics; copyedit and review posts on site prior to publishing.

2014 October - 2015 January

The Dissolve

Interim News Editor

Wrote timely news items on breaking film news, assigned and planned coverage by the site’s other editors and writers, copyedited and reviewed all news posts on site prior to publishing.

2013 February - 2013 September

MSN's Page-Turner

Contributing Writer

Reviewed new book releases, wrote timely news items on breaking book news.

2011 July - 2013 September

MSN Movies

Critic and Contributing Writer

Reviewed new film releases, festival films, and films from emerging filmmakers; wrote timely news items on breaking film news.


2001 September - 2005 May

Loyola Marymount University

Bachelor of Arts, English

Minor in Art History, Emphasis in Modern and Contemporary Theory

Recently Published

  • + >

    America Ferrera Opens Up About Sex Scenes With Her Husband

    An interview with America Ferrera from Cosmopolitan.

  • + >

    Dakota Johnson on “Saturday Night Live”

    Dakota Johnson on "Saturday Night Live" from Rolling Stone.

  • + >

    “SNL 40″: Still Crazy After All These Years

    A look inside "SNL 40," straight from 30 Rock, from Rolling Stone.

  • + >

    “Son of a Gun” Review

    A film review of "Son of a Gun" from The Dissolve.

  • + >

    “Love, Rosie” Review

    A film review of "Love, Rosie" from The Dissolve.

  • + >

    “The Rewrite” Review

    A film review of "The Rewrite" from The Dissolve.

  • + >

    The Films of Nicholas Sparks, Ranked

    A complete ranking of the films of Nicholas Sparks from Vanity Fair.

  • + >

    Brie Larson Is Still Learning How to Take a Compliment

    An interview with Brie Larson from Cosmopolitan.

  • + >

    Krysten Ritter on Being a “Girl’s Girl”

    An interview with Krysten Ritter from Cosmopolitan.

  • + >

    Jessica Williams: “We’re All Living in Beyoncé’s Farts”

    An interview with Jessica Williams from Cosmopolitan.

  • + >

    “Free the Nipple” Review

    A film review of "Free The Nipple" from The Dissolve.

  • + >

    “Black Sea” Review

    A film review of "Black Sea" from The Dissolve.

America Ferrera and husband Ryan Piers Williams have a meet-cute story that would rival most big-screen romantic comedies. They met after Williams cast his future wife in one of his student films, back when they were both students at the University of Southern California. Their desire to work together has held strong for over a decade, and the pair next stars in Williams's frank and sexually honest movie, X/Y.

 In the feature (written and directed by Williams and produced by Ferrera), the real-life couple plays Sylvia and Mark, a long-term pair struggling with issues of intimacy and fidelity. Ferrara spoke to ahead of X/Y's March 6 release about filming sex scenes with her husband, her hopes for the upcoming election year, and why she will always be a member of the Sisterhood of the Traveling Pants. Read more at Cosmopolitan.
Unless you've been purposely avoiding your local multiplex for the last three weeks or so, you're most likely already uncomfortably aware of the Fifty Shades of Grey juggernaut that has put our nation's movie theaters in a chokehold since Valentine's Day. The bondage-heavy love story might not appeal to everyone, but the film at least boasts one excellent byproduct with mainstream charm: rising star Dakota Johnson. Johnson – yes, the offspring of Melanie Griffith and Don Johnson, a little bit of genealogical trivia she's adorably embraced –already managed to make Fifty Shades occasionally funny, but could she work that same magic her first time hosting Saturday Night Live? If anything, Johnson acclimated to the live show a bit too well. Johnson's background is in comedy – her biggest pre-Fifty Shades role was on sitcom Ben and Kate – so working for laughs isn't foreign to her, although taking center stage might be. Johnson slipped so seamlessly into every sketch she appeared in (and this is a show with plenty of solid young female talent) that it was nearly impossible to differentiate her from the rest of the cast. And, despite a very strong start, the show eventually showed some of the expected shag from taking a month’s hiatus from normal operations. Read more at Rolling Stone.

Who wants to turn 40 early?

Saturday Night Live may not officially turn the big 4-0 until October 11, but the venerable NBC sketch comedy show didn't let a little thing like that stand in the way of a star-studded, super-sized anniversary special — one that hit the air ready for primetime and live, naturally. Despite the frenetic-sounding pace of putting together a three-and-a-half-hour live show, 30 Rock's commissary/makeshift media room still hosted a mixed bag of cast members and guests throughout the special – from Mike O'Brien to David Koechner to Bill O'Reilly – who would occasionally wander in during the show for a quick drink or hello. As ever, this SNL-on-steroids show opened with a monologue of sorts, as Jimmy Fallon and BFF Justin Timberlake appeared to rap four decades' worth of catchphrases and punchlines. These two could have feasibly covered the show's entire history with their high energy song and dance number – it certainly would have taken less than three-and-a-half-hours – but they managed to wrap things up after just one Christopher Walken impersonation, two outsider appearances (Rachel Dratch as Debbie Downer, Molly Shannon as Mary Katherine Gallagher) and a single demand to bring something on down to something town. Read more at Rolling Stone.
The old adage isn’t true: Crime actually does pay. It’s just that it doesn’t pay well over time: It’s a poor investment, for big risk. Filmmaker Julius Avery attempts to cover this well-worn cinematic trope with his feature-film debut, Son Of A Gun, twisting together a surprisingly original heist story with a more commonplace meditation on the ugliness (and the sometimes inevitability) of revenge. Bolstered by strong performances and a tight narrative, Son Of A Gun is an admirable debut film from Avery, and a worthy new entry into Australia’s burgeoning class of crime features. Read more at The Dissolve.
Plenty of romantic comedies are guilty of going the vague-hypnosis route when it comes to storytelling, repeatedly telling the audience that the protagonists belong together, rather than showing why through charming interactions or actual chemistry. Say it enough times—they belong together, they belong together—and everyone is bound to believe it, even if they’re not exactly sure why. Christian Ditter’s good-hearted and intermittently sweet Love, Rosie attempts through sheer force of will to convince viewers that its good-looking protagonists, Rosie (Lily Collins) and Alex (Sam Claflin), are a good match. Love, Rosie is more a psychological experiment than a romance, hinging on susceptibility to the powers of suggestion. Read more at The Dissolve.
If there’s one thing Hugh Grant knows how to do, it’s play the arch outsider to endearing effect. Well-schooled in the art of portraying lovable cads, Grant has filled out his considerable rom-com oeuvre with roles that would be repugnant in less self-effacing hands. Grant specializes in bastards, but he makes them so charming that viewers can nearly forget, and even forgive, their consistently bad manners. It’s a good skill, and it’s put to heavy use in Marc Lawrence’s otherwise charmless, vaguely offensive The RewriteRead more at The Dissolve
This Valentine’s Day doesn’t come complete with the one cinematic offering that every romantic holiday should: a film based on a Nicholas Sparks novel. This year, we have to wait until April for the cowboy-tinged feature titled The Longest Ride, but fortunately the Sparks Industrial Complex has created plenty of other films to fill the gap. Since 1999, Sparks’s novels have spawned no less than nine films, all of them kitted out with various Sparksian tropes. From surprise cancer to pissed-off parents, Romeo and Juliet stories and Southern landscapes, Sparks knows what works for his audience, and every film puts just a slight twist on the formula. Some of them, however, are much better than others. Read more at Vanity Fair.
Brie Larson earned some serious indie cred with last year's Short Term 12, including an Independent Spirit Awards nomination. She's also matched wits with both Channing Tatum and Jonah Hill in 21 Jump Street. In other words: She's got range. This Christmas, she returns to drama alongside two-time Oscar nominee Mark Wahlberg in Rupert Wyatt's big screen remake of The Gambler. The film sees Wahlberg's Jim Bennett, a college professor who's also a compulsive gambler, attempting to pull himself out of serious debt in just a week's time, as inspired by the admiration and respect of Larson's Amy Phillips, a student for whom he has more than just academic feelings. Larson spoke to ahead of The Gambler's release about how she's still searching for some magical acting formula, learning to take a compliment, and why she doesn't really like it when her fans stake out her apartment. Read more at Cosmopolitan
This holiday season, Krysten Ritter stars in Tim Burton's first attempt at a true-life tale, the charmingly weird and ever-so-Burton-esque Big Eyes. The biopic stars Amy Adams as American artist Margaret Keane (she of "big eyes" painting fame). Ritter plays Keane's best friend, DeeAnn, who stays by the artist's side as she struggles to wrest control of herwork from her nasty husband (played by Christoph Waltz). It's one of Ritter's biggest films yet, and she adorably inhabits Burton's outsized and extremely colorful world. After Big Eyes, Ritter is bound for the small screen in a very big new role, as she was recently cast as Marvel superheroine Jessica Jones Netflix's new series A.K.A. Jessica Jones. Ritter, best known for her television work, including Don't Trust the B- in Apt. 23 and Breaking Bad, spoke to ahead of the Christmas Day release of Big Eyes about what it's like to watch Adams work, her whirlwind preparation for A.K.A. Jessica Jones, and why she believes everything happens for a reason. Read more at Cosmopolitan.
The perpetually busy Daily Show correspondent Jessica Williams is at the Sundance Film Festival for the first time, in support of James C. Strouse's charming dramedy People, Places, Things. Williams co-stars in the film as Kat, whose graphic-novelist professor Will (played by Jemaine Clement)'s life has recently been upended by a messy breakup. As Will struggles to get his life back together, whip-smart Kat approaches him with a proposition: Why not go on a date with her "cute mom" Diane (played by Regina Hall)? In a film filled with complication relationships and weird behaviors, Kat just might be the only normal one, and Williams's trademark humor shines through in a wonderful role. spoke to the actress-comedian-feminist at the festival about her grandmother's influence on her comedy, how feminism affects her dating life, and Beyoncé's farts. Read more at Cosmopolitan.
Lina Esco’s occasionally charming and infrequently daring Free The Nipple opens in an appropriately bouncing manner, with a loose collective of women bounding down a city street, gleefully stripping their top halves bare to reveal their breasts (and some colorful capes), much to the shock and chagrin of passersby. Amusingly enough, this first glance at the bountiful bodies that Free The Nipple puts on bold (but never exploitative) display comes complete with the kind of blurs viewers might normally expect to see on a particularly salacious reality television program. The message is clear: Even in a film about freeing the nipples—any nipples, all nipples—mass quantities of boobs are taboo and require coverage. Read more at The Dissolve.
Somewhere in the Black Sea, a World War II-era submarine rests on a shallow ocean ridge, laden with two kinds of treasure: dead Nazis and their forgotten gold. Kevin Macdonald’s Black Sea loosely rejiggers history to allow for such a fantastic-sounding story—and such a treasure—to be pursued in a tightly wound twist on the common heist film. Dennis Kelly’s script imagines that Adolf Hitler and Joseph Stalin’s non-aggression pact of 1939 featured a little sweetening of the pot, with Stalin paying Hitler millions of rubles in gold bars to not invade the Soviet Union. That plan didn’t exactly work out for Stalin (Germany still invaded the Soviet Union, though Black Sea supposes that said invasion happened relatively quickly after the cash exchange), but Hitler’s men made off with a sizable cache of gold in a U-boat. Unfortunately for them, that sub ran aground somewhere near present-day Georgia, and was never seen again. Submarines: surprisingly easy to lose. Read more at The Dissolve.