When Taylor Holmes performed Rudyard Kipling's “Boots," cinema as we know it didn’t even exist. Yet over a century later, that same voice acts as the emotional engine for 28 Years Later. With every hiss and crack, the performance becomes prophecy, turning distant memory into living dread.

The movie industry doesn't just tell stories. It consumes them. And nowhere is that clearer than in a black comedy noir and a satirical comedy TV series released thirty years apart.

The Studio and The Player strip away the glitz and glam to reveal a cycle of belief, betrayal, and self-mythology. Celluloid itself is both the art and the ammunition. The industry…a passion and a poison. Side by side, the two projects reveal a system where the script (or, in this case, the posters) changes, but the machine itself doesn't.

For nearly a decade, Monroe let Eve Arnold in. Not because she had to, but because she trusted her to look without wanting to possess her. More than a hallmark of on-set photography, it was a final collaboration between two women who refused to be only seen as two-dimensional.

By the production of The Misfits, Monroe became the embodiment of the outsider. While the men around her throughout her career (from directors Olivier and Huston to her husband Arthur Miller, and later photographer Bert Stern) projected their fears and desires onto her, Arnold's photographs from the set are grounded in something Monroe rarely received: consent.