Production designer David Gropman and cinematographer Martin Ruhe put us up close and tight inside the B-25s with Yossarian (Christopher Abbott) and the other bombardiers.
Maggie Phillips redefined music supervision on the conspiracy thriller, while having a blast from the past with the superhero series.
Rashid Johnson’s modern-day Bigger Thomas is the perfect marriage of Sanders’ bold performance and Libatique’s moving camera.
At the heart of Sam Esmail’s voyeuristic podcast adaptation is a DP/Production Designer collaboration on TV’s largest, most elaborate set.
Ava DuVernay turned the Central Park 5 Netflix limited series into the Central Park 4 Plus 1 with the help of go-to editor Spencer Averick.
Rose (Marin Hinkle) returned to Paris to relive her Bohemian past, which inspired an artistic sojourn for the production and costume designers.
The episodes might be compact, but the densely-woven conspiracy thriller and black comedy were cut like long movies.
Phoebe Waller-Bridge, director Harry Bradbeer and editor Gary Dollner breakdown the best 30 minutes of TV this season.
Dragons and Wights were escalated in “The Battle of Winterfell,” while the Netflix docu-series leveraged climate change and Dolby Atmos for a dynamic soundscape.
One of the longest cold opens in TV history provided production and costume design opportunities for Tennant’s demon and Sheen’s angel.
Musical director Giles Martin created his own wall of sound for the wild “Rocket Man” and the uplifting “Crocodile Rock” sequences.
Dressing Nadia (Natasha Lyonne) and Gwen Verdon (Michelle Williams) was about capturing the iconoclastic styles of two strong-willed women.
