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The Verge goes to Hollywood: TV, movies, and the people who make them

There’s never been a better time to head to the movies. From the huge blockbusters to the indie masterpieces, from Netflix to the theater, there are great movies everywhere you look. Meanwhile, we’re in a “golden age of TV,” with some of the best TV shows ever made gracing the smaller screen. There are more ways than ever to watch, and more ways than ever to talk about what we watch. Movies are being funded on Kickstarter and they’re being distributed by Amazon, or they’re coming to Redbox Instant and streaming to our phones. Whether you make movies and TV, or you just love to watch them, there’s more going on now than ever.Here, we’ll collect all our best coverage of Hollywood: film reviews, TV reviews, and interviews with and stories about the people who make them so great. We’ll help cut through the flood; these are the movies, shows, and artists you should be paying attention to.

How Disney Imagineering revealed the secrets of Tomorrowland two years ago

‘Guardians of the Galaxy’ review: Marvel hits interstellar space

Why ‘Saturday Night Live’ still matters: a conversation with Taran Killam

From alpha to ‘Betas’: how Amazon is rethinking the way television is made

Creating analog with digital: the beautiful black-and-white cinematography of ‘Nebraska’

‘I wasn’t scared’: Spike Lee on reimagining ‘Oldboy’

‘About Time’: director Richard Curtis on the tradition of time travel comedies

Director of ‘The Fifth Estate’ responds to Julian Assange’s attacks: ‘He just flat-out makes things up’

How the sound masters of ‘Gravity’ broke the rules to make noise in a vacuum

Heavy metal spectacle: the making of ‘Metallica Through the Never’

‘Insidious: Chapter 2’ review: the horror of diminishing returns

‘Riddick’ review: still angry after all these years

‘Kick-Ass 2’ review: a mean and brutal miscalculation

‘The World’s End’ review: Simon Pegg and Nick Frost reunite over pints to battle robots

‘Elysium’ review: class warfare heads to space

Drawing dystopia: behind the incredible sci-fi art of ‘Elysium’

Welcome to ‘The World’s End’: a conversation with Edgar Wright, Simon Pegg, and Nick Frost

Remembering Stanley: Christiane Kubrick on protecting the legacy of a master

‘The Wolverine’ review: a samurai redemption story

How murderers tell stories: director Joshua Oppenheimer on ‘The Act of Killing’

From ‘Saturday Night Live’ to streaming: Seth Meyers on his new Hulu series ‘The Awesomes’

Striking the perfect balance: director Jeff Wadlow on making ‘Kick-Ass 2’

Sending kids to war: ‘Ender’s Game’ director and producer on bringing a sci-fi classic to life

‘R.I.P.D’ review: when ghostbusting stops being fun, and starts being terrible

‘The Conjuring’ review: the return of true horror

‘Pacific Rim’ review: epic, ambitious, and accessible

Making ‘Man of Steel’: a conversation with visual effects supervisor John ‘DJ’ DesJardin

Director Saschka Unseld discusses Pixar, photorealism, and the making of ‘The Blue Umbrella’

Inside Pixar (On The Verge)

‘World War Z’ review: Brad Pitt’s zombie thriller is a scary summer surprise

‘Monsters University’ review: Pixar makes prequels look easy

‘Man of Steel’ review: finally, the Superman we deserve

‘The Purge’ review: a thriller for the Occupy era that fails to deliver

‘The Internship’ review: welcome to Google’s island

‘People want to be amazed’: the man behind the magic of ‘Now You See Me’

‘Arrested Development’ Season 4 review: ‘am I crazy, or is this good?’

‘Fast & Furious 6’ review: all roads lead to explosions

‘We Steal Secrets’ review: Julian Assange plays the perfect villain in WikiLeaks documentary

‘Star Trek Into Darkness’ review: boldly going back to the future

‘Iron Man 3’ review: Robert Downey Jr. becomes the latest lethal weapon

‘The Machine’ review: a stylish indie sci-fi thriller about humanity’s obsolescence

‘Oblivion’ review: a post-apocalyptic beauty that succeeds even while it stumbles

‘Room 237’ director Rodney Ascher on the weird world of ‘The Shining’ conspiracy theories

Filmmaker Shane Carruth talks ‘Upstream Color’ and making movies like albums

‘Game of Thrones’ author George R.R. Martin on piracy, video games, and new shows with HBO

The new season of ‘Game of Thrones’ is a slow burn of dragon fire

‘House of Cards’ review: ‘You’ve got to get a grip on who your masters are’

White noise: ‘Euphonia’ exposes the horrors of our tech-mediated reality

‘Jobs’ review: Ashton Kutcher surprises with a feverish take on Apple’s co-founder

Shane Carruth’s ‘Upstream Color’ is a trippy, sci-fi take on the forces that bind us together

‘Life of Pi’ editor Tim Squyres on the pains of creating CG tigers and shooting in 3D

‘The Hobbit: An Unexpected Journey’ is a middling return to Middle-earth

Losing it at the movies with Film Crit Hulk

Film without words: the 70mm story of life, death, and rebirth in ‘Samsara’

Film review: ‘Looper’ reinvents the sci-fi film with a mix of humanity and adventure

Noir to near-future: ‘Looper’ director Rian Johnson talks sci-fi, Twitter, and the fate of film

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More from The Verge goes to Hollywood: TV, movies, and the people who make them

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