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From Queens to Ithaca: “Brand New Day” and “The Odyssey” Could Make for One Historic Weekend at the Movies
Going Deeper, Not Bigger: Critics Praise “Spider-Man: Brand New Day” as Tom Holland’s Most Emotional Spidey Film Yet
Courtney Grace on Anchoring the Emotional Finale of Steven Spielberg’s “Disclosure Day”
“Disclosure Day” Cinematographer Janusz Kamiński on 35mm, Drones, and Decades with Spielberg
Editing the Extraordinary: Sarah Broshar on Finding Humanity in Steven Spielberg’s “Disclosure Day”
Inside FOX Sports’ 2026 World Cup Plan: Producer Zac Kenworthy on 104 Matches, 48 Teams & One Massive Broadcast Challenge
“Disclosure Day” Review Round-Up: Steven Spielberg Returns to Sci-Fi With a Spellbinding Thriller
Lighting Love & Tragedy: How “Love Story” DP Pepe Avila del Pino Crafted a Luminous ’90s Romance
Steven Spielberg’s “Disclosure Day” First Reactions: A Thrilling Sci-Fi Mind-Bender Supercharged by a Phenomenal Emily Blunt
“The Late Show” Ends: Stephen Colbert Caps an Era With Paul McCartney and a Legendary Sign-Off
From an Octopus’s Perspective to Paranoia: DP Ashley Connor on “Remarkably Bright Creatures” & “The Chair Company”
From Gaga & Madonna to Breakout Stars: Music Supervisor Julia Michels on Crafting “The Devil Wears Prada 2” Sound
How Costume Designer Daniel Lawson Gave Carrie Preston’s “Elsbeth” a New York Glow-Up
DP Charlie Gruet on Turning Tracy Morgan’s Comedic Genius Into Docu-Style Gold in “The Fall and Rise of Reggie Dinkins”
John Krasinski’s “A Quiet Place Part III” Has Begun Filming in New York City
Fashion, Power, and Print Under Pressure: How Screenwriter Aline Brosh McKenna Cracked “The Devil Wears Prada 2”
From Cerulean to Crimson: Costume Designer Molly Rogers Redefines Power Dressing in “The Devil Wears Prada 2”
Simone Ashley on Stepping Into Miranda Priestly’s World in “The Devil Wears Prada 2”
Love, Loss, & Interior Lives: The Language Behind Zosia Mackenzie’s Production Design for “The Drama”
How Gregory Hernandez Is Bringing Independent Cinema Back to the Bronx
