HeyJaredJared Harbour
Reporting from the edge of law, theater, and power. Coverage of Broadway's broken development system, the legal architecture of the entertainment industry, and the economics of who gets to make art.
- Indexed issues, last 90 days
- 5
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- Aug 31, 2026
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- Jul 13, 2026
Latest issues
The Cost of Scrutiny (opens the original)
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Last Monday I turned 26. Also last Monday, I turned down $225,000. Then I threw up in my sink.I’d been sitting on this offer for nearly three weeks. The firm I worked at over the summer even gave me an additional deferred year to “try the arts thing out,” which is practically unheard of from a law firm. I did the math on rent for a one-bedroom in Williamsburg with a doorman, a nice gym, and bocce ball games facing the Manhattan skyline. $4,000 a month, only 1/3rd of my salary; still well within
Custodians of the Cap Table (opens the original)
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I was going to write this whole brilliant soliloquy on how I found a hidden tax trick that landlords on Broadway were using to increase their profit margins. I had the graphs beautifully designed and the math was mathing. But then of course, Hollywood has to come and fuck it up. A six-billion-dollar buyout will always ruin a good tax expose. So, the tax graphs are dead. The circus is in town, the debt is compounding, and there's nothing left to do but buy the ticket, enjoy the ride. But have no
The Residual (opens the original)
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Three companies own nearly every commercial theatre on Broadway and not one of them has ever printed what it makes. Well…almost never.There’s exactly one audited landlord P&L in public. When ATG bought Jujamcyn, British disclosure rules required it to do something no American regulator has ever asked any theatre company to do, nor really most private companies; print its profit. According to Philip Boroff, ATG raked in $34 million of profit on $116 million of revenue across five theatres for the
Fuck the Doomsayers (opens the original)
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A stranger found me on LinkedIn last week. Genuinely nice guy. He wrote: “Hi Jared! I’ve been reading your articles a lot and I’ve been in conversation with a lot of doomsayers recently about the state of Broadway.”I told him to fuck the doomsayers.He wrote back: “I feel like, definitionally, you count as one of my doomsayers.”I’d be lying if I said that didn’t bother me. I lay in bed for hours, unable to sleep, turning it over, worried I’d become exactly what I hate about online discourse — a g
Inbreeding Depression (opens the original)
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I am writing this from a lake house three hours north of the city, on the first weekend since May that nobody has emailed me a redline.I came up here to escape all of it, opened the laptop to work on my thesis, and understood about ninety seconds in that I had taken a three-hour train to write about a house that cannot lose.Broadway is that house. It married its cousins to keep the property in the family, and the family has begun to show it.The theft I want to describe has no plaintiff. Its vict
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