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From Wikipedia, the free encyclopedia

Not to be confused with Post (film).

The Post
Theatrical release poster
Directed bySteven Spielberg
Written byJosh SingerLiz Hannah
Produced bySteven SpielbergKristie Macosko KriegerAmy Pascal
StarringMeryl StreepTom HanksSarah PaulsonBob OdenkirkTracy LettsBradley WhitfordBruce GreenwoodMatthew Rhys
CinematographyJanusz Kamiński
Edited byMichael KahnSarah Broshar
Music byJohn Williams
Production
companies		20th Century Fox[1]DreamWorks Pictures[1]Participant Media[2]Amblin Partners[3]Amblin Entertainment[3]Pascal Pictures[3]Star Thrower Entertainment[3]
Distributed by20th Century Fox[3]
Release datesDecember 14, 2017 (Newseum)December 22, 2017 (United States)
Running time116 minutes[4]
CountryUnited States
LanguageEnglish
Budget$50 million[5]
Box office$179.8 million[6]

The Post is a 2017 American political thriller film[7][8] about The Washington Post and the publication of the Pentagon Papers. It was directed and produced by Steven Spielberg, and written by Liz Hannah and Josh Singer. It stars Meryl Streep as Katharine Graham, the publisher of the Washington Post, and Tom Hanks as Ben Bradlee, the longtime executive editor of The Washington Post, with Sarah Paulson, Bob Odenkirk, Tracy Letts, Bradley Whitford, David Cross, Bruce Greenwood, Carrie Coon, Alison Brie, and Matthew Rhys in supporting roles.

Set in 1971, The Post depicts the true story of attempts by journalists at The Washington Post to publish the infamous Pentagon Papers, a set of classified documents regarding the 20-year involvement of the United States government in the Vietnam War and earlier in French Indochina back to the 1940s.

Principal photography began in New York City in May 2017 and wrapped in July 2017. The film premiered at the Newseum in Washington, D.C., on December 14, 2017, and went into limited release in the United States by 20th Century Fox on December 22, 2017. It entered wide release on January 12, 2018, and grossed $179 million worldwide.

The film received positive reviews; critics praised Spielberg’s direction, the performances (particularly Streep, Hanks, and Odenkirk) and the film’s references and allusions to the presidencies of Richard Nixon and then-incumbent Donald Trump.[9][10][11] The Post was chosen by the National Board of Review as the best film of 2017 and was named as one of the top 10 films of the year by Time magazine and the American Film Institute.[12][13][14] The Post was nominated for Best Picture and Best Actress (for Streep) at the 90th Academy Awards, and received six nominations at the 75th Golden Globe Awards: Best Motion Picture – Drama, Best Director, Best Actress – Drama (for Streep), Best Actor – Drama (for Hanks), Best Screenplay, and Best Original Score.[15]

Plot

In 1966, U.S. State Department analyst Daniel Ellsberg is embedded with American soldiers in Vietnam. He documents the conflict’s on-the-ground reality and soon realizes the Vietnam War is unwinnable. Upon returning to the U.S., Ellsberg delivers his report to Secretary of Defense Robert McNamara, who agrees. However, Ellsberg is left disillusioned when McNamara publicly continues justifying deploying more American troops.

After his mission ends, Ellsberg works for the RAND Corporation, a think-tank with access to classified information. Over the following years he secretly copies thousands of classified pages documenting long-term U.S. interference in Vietnam, dating back to the Truman administration; once he finishes copying the full collection, he leaks it to journalist Neil Sheehan at The New York Times.

In 1971, Katharine Graham has been the owner and publisher of provincial newspaper The Washington Post for eight years since the suicide of her husband Phil Graham, the former publisher, and the death of her father Eugene Meyer, the former owner. Though lacking journalistic and business experience, Graham hopes to take the company public and secure investment for higher-quality national news. She appoints the bullish Ben Bradlee as the Post‘s executive editor. He aligns with her vision, but her male-dominated board view her as a widowed woman in over her head. Graham is also a prominent D.C. socialite, and Bradlee has to repeatedly assert his editorial independence whenever the paper runs a story critical of her friends.

McNamara, one of these friends, tells Graham that an “unflattering” story about him is being published the next day in The New York Times—the first of Sheehan’s scoops from Ellsberg’s documents. As the Post‘s editors discuss how they might further pursue the story, an anonymous woman leaves one hundred pages of the leaked documents on a reporter’s desk. Bradlee sees it as a chance get ahead of the Times on a major story in the Post‘s own backyard, but a federal district court issues its injunction against the Times. Graham—concerned about both the Post‘s liability and her own social standing—orders Bradlee to respect the injunction.

Post assistant editor Ben Bagdikian tracks down Ellsberg, a former colleague at RAND, as the source. Ellsberg gives him the full 4,000-page report and Post reporters dig through the pages, but their attorneys advise against publishing lest Richard Nixon’s administration file criminal charges. Agonizing over whether to publish, Graham confers with McNamara and her disapproving board. They warn that she will face social exile in D.C., retaliation from President Richard Nixon, and loss of investors. However, Bradlee argues that they have a strong public-interest defense, and it could transform the Post into the important journalistic institution that Graham aims for. The documents also revealed that his own circle of elite D.C. friends, including John F. Kennedy, lied to him to garner sympathetic coverage; he argues that Graham’s friendships with figures like McNamara should not influence her decision.

Graham gives the go-ahead to print. However, Bagdikian then reveals he used the same source as Sheehan instead of independently verifying the documents. The Post‘s lawyers panic—it puts Graham and Bradlee in contempt of court under the original injunction and opens them to further criminal liability under the Espionage Act.

The Post and Times appear before the Supreme Court to plead their First Amendment rights. In solidarity, other newspapers across the U.S. publish information from Ellsberg’s documents. On June 30, 1971, the Supreme Court rules 6–3 in the newspapers’ favor, vindicating Graham’s decision. In response, Nixon permanently bars the Post from the White House.

One year later, Watergate complex security guard Frank Wills discovers a burglary-in-progress and calls the police, inadvertently kicking off the Watergate scandal.

Cast

Meryl Streep (left) and Tom Hanks play Katharine Graham and Ben Bradlee respectively. Streep garnered critical acclaim for her performance as Graham, earning a nomination for the Academy Award for Best Actress.

Production

Previous HQ of The Washington Post on 15th Street NW in Washington, D.C.

In October 2016, Amy Pascal won a bid for the rights to the screenplay The Post, written by Liz Hannah.[16] In February 2017, Steven Spielberg cancelled The Kidnapping of Edgardo Mortara with The Weinstein Company after a casting setback, and consequently opened his schedule to other potential films to direct.[5] The following month, it was announced that Spielberg was in negotiations to direct and produce the film, with Meryl Streep and Tom Hanks in talks for the roles of Katharine Graham and Ben Bradlee, respectively.[17] The Post is the first time that Spielberg, Streep, and Hanks had all worked together on a film.[18][19]

Spielberg read the screenplay and decided to direct the film as soon as possible, saying that “when I read the first draft of the script, this wasn’t something that could wait three years or two years — this was a story I felt we needed to tell today.”[20] Spielberg worked on The Post while post-production work continued on the visual-effects-heavy Ready Player One, a situation familiar to him from concurrently producing, in the early 1990s, Jurassic Park and Schindler’s List.[21] Josh Singer was hired to re-write the screenplay ten weeks before filming.[22]

As filming commenced, a number of New York Times figures who were associated with the Pentagon Papers case—among them James Greenfield, James Goodale, Allan M. Siegal, and Max Frankel—objected to the film’s production due to the script’s lack of emphasis on the Times‘ role in breaking the story.[23] Goodale, who was at the time the Times‘s in-house counsel, later called the film “a good movie but bad history.”[24]

Spielberg used the real audio tapes of Nixon in the White House: no voice actor was used for the role, who appears only silhouetted.[25]

Filming

The film began principal photography in New York on May 30, 2017.[26] On June 6, 2017, it was announced that the project, retitled The Papers, would also star Alison Brie, Carrie Coon, David Cross, Bruce Greenwood, Tracy Letts, Bob Odenkirk, Sarah Paulson, Jesse Plemons, Matthew Rhys, Michael Stuhlbarg, Bradley Whitford, and Zach Woods.[27] On August 25, 2017, the film’s title reverted to The Post.[28] Spielberg finished the final cut of the film on November 6, 2017, with the final sound mix also completed along with the musical score a week later, on November 13.[29]

Costume design

Writing for The New York Times, Manohla Dargis indicated some high points in the costume design used in the film stating, “The costume designer Ann Roth subtly brightens Katharine, taking her from leaden gray to free-flowing gold.”[30]

Soundtrack

Main article: The Post (Original Motion Picture Soundtrack)

When Steven first approached me about [The Post], we talked about Kay Graham and Ben Bradlee and what opportunities the film might present for me. When I’ve thought about it, I’ve never been in a newsroom – you know, with the clattering of a thousand typewriters in those days… Now no one’s using them, it’s all silent. But it must have been quite a noisy environment, really – everyone running back and forth. So I thought, “Well, how are you gonna get any music in a newsroom?”

— John Williams on composing the score

The score for the film was written by John Williams; it is his 28th collaboration with Spielberg.[31] The music is a combination of traditional orchestral instrumentation and what Williams has called “very light, computerised electronic effects.”[32] Williams was originally attached to write the music for Spielberg’s 2018 film Ready Player One, but, because both films had similar post-production schedules, Williams chose to work on The Post, while Alan Silvestri composed for Ready Player One.[32] Spielberg has said that The Post was a rare instance in which he went to the recording sessions “having not heard a note” in advance.[33]

Recording began on October 30, 2017, in Los Angeles.[34] The soundtrack was released digitally by Sony Classical Records on December 22, 2017, and in physical form on January 12, 2018.[35]

Release

The Post premiered at the Newseum in Washington, D.C. on December 14, 2017.[9] It began a limited theatrical release in the United States on December 22, 2017, and a wide release on January 12, 2018.[36] The film is distributed internationally through Amblin Partners‘ distribution agreements with Universal Pictures, Reliance Entertainment, and Entertainment One.[37] The film was released by Reliance in India.[38] Tom Hanks said he would not be interested in appearing at a potential White House screening for President Donald Trump.[39]

Marketing

The first official image from The Post was released on October 31, 2017.[40] The trailer for The Post premiered exclusively on The Late Show with Stephen Colbert, on November 7, 2017,[41] and the film’s poster, designed by BLT Communications, was released the next day.[42][43] The first TV spot, titled “Uncover the Truth”, was released on November 21, 2017. Music for the trailer featured the Boston Typewriter Orchestra.[44][45]

Home media

The Post was released on Digital HD on April 3 and on Ultra HD Blu-ray, Blu-ray and DVD on April 17, 2018, by 20th Century Fox Home Entertainment in North America and in the United Kingdom and Australia via Entertainment One.

Reception

Box office

The Post grossed $81.9 million in the United States and Canada, and $97.9 million in other territories, for a worldwide total of $179.8 million, against a production budget of $50 million.[6]

During The Post‘s limited opening weekend, December 22 to 24, it grossed $526,011 (and a total of $762,057 over the four-day Christmas weekend) from nine theaters. The following weekend, the film grossed $561,080 for a per-theater average of $62,342, one of the highest of 2017.[46] The film had its wide release alongside the openings of The Commuter, Paddington 2 and Proud Mary, and was projected to gross around $20 million from 2,819 theaters over the weekend.[47] It made $5.9 million on its first day and $18.6 million over the weekend (and a four-day MLK weekend total of $23.4 million), finishing second at the box office behind holdover Jumanji: Welcome to the Jungle.[48] 66% of its opening weekend audience was over the age of 35.[49] It dropped 37% the following weekend to $12.2 million, finishing 4th behind Jumanji and newcomers 12 Strong and Den of Thieves.[50] It dropped to 5th in its third week of wide release, grossing $8.9 million.[51]

Critical response

On review aggregator Rotten Tomatoes, the film has an approval rating of 88% based on 409 reviews, with an average rating of 7.90/10. The website’s critical consensus reads, “The Post‘s period setting belies its bitingly timely themes, brought compellingly to life by director Steven Spielberg and an outstanding ensemble cast.”[52] On Metacritic, the film has a weighted average score of 83 out of 100, based on 51 critics, indicating “universal acclaim”.[53] Audiences polled by CinemaScore gave the film an average grade of “A” on an A+ to F scale,[48][54] while PostTrak reported 63% of audience members gave the film a “definite recommend”.[49]

Alonso Duralde of TheWrap praised the acting and Spielberg’s direction, though he noted the script was too on-the-nose at times, saying, “The Post passes the trickiest tests of a historical drama: it makes us understand that decisions validated by the lens of history were difficult ones to make in the moment, and it generates suspense over how all the pieces fell into place to make those decisions come to fruition.”[55] David Ehrlich of IndieWire gave the film an A− and wrote: “Nobody needs to be reminded that history tends to go in circles, but The Post is so vital because it captures the ecstasy of trying to break the chain and bend things towards justice; defending the fundamental tenets of the Constitution hasn’t been this much fun since Hamilton.”[56]

Chris Nashawaty, writing for Entertainment Weekly, gave the film a positive review, but also compared it with previous journalism films such as All the President’s Men stating, “Spielberg makes these crucial days in American history easy to follow. But if you look at The Post next to something like All the President’s Men, you see the difference between having a story passively explained to you and actively helping to untangle it. That’s a small quibble with an urgent and impeccably acted film. But it’s also the difference between a very good movie and a great one.”[57]

Manohla Dargis of The New York Times awarded the film an NYT Critic’s Pick with a strong acknowledgment of Spielberg as director saying, “Mostly, (the Post decision to publish) went down fast, a pace that Mr. Spielberg conveys with accelerated rhythms, flying feet, racing cameras and an enjoyably loose approach to the material. With his virtuosic, veteran crew, Mr. Spielberg paints the scene vividly and with daubs of beauty; most notably, he creates distinct visual realms for the story’s two main overlapping, at times colliding, worlds. Katharine reigns over one; at first she’s all but entombed in her darkly lighted, wood-paneled empire. Ben rules the other, overseeing the talking and typing warriors of the glaring, noisily freewheeling newsroom”.[30]

Matt Bobkin, writing for Exclaim!, gave the film a 6 out of 10 score, saying the film “has all the makings of an awards season hit, but is too calculated to reflect today’s ragged, tenuous sociopolitical climate.”

Matt Zoller Seitz of RogerEbert.com reflected on the film nearly two years after its release, noting that due to the film’s accessibility and Spielberg’s invisible style of direction, critics underrated the film and tended to take its story literally such as by fact-checking historical details, in spite of the film being a “coded commentary” and doubling “as a stealth portrait of the media’s responsibility in the age of Trump, and in any age.”[58]

Bob Woodward, a Washington Post journalist who reported on the Watergate scandal, expressed that the film is a “masterpiece”.[59]

Portrayal of The New York Times

The film portrays the original role that The New York Times had in breaking the Pentagon Papers and then emphasizes The Washington Post‘s subsequent involvement.[60][61] In an interview with the Columbia Journalism Review, former New York Times associates James Greenfield, who coordinated the Pentagon Papers project as the Times foreign editor; James Goodale, the Times‘ general counsel at the time; and Max Frankel, the Times‘ Washington bureau chief when the Papers were published, criticized the film’s more minor portrayal of the paper,[62] although The New York Times is shown as publishing the Pentagon Papers before The Washington Post and having also set the stage for the major legal battle between the press and the United States government.[60] The newspaper also won the 1972 Pulitzer Prize for Public Service for its contributions.

The 1972 Pulitzer jury of journalists noted in their recommendation not only the significance of Daniel Ellsberg’s Pentagon Papers leak, but also that of Times reporters Neil Sheehan, Hedrick Smith, Fox Butterfield and E. W. Kenworthy, and stated that their effort was “a combination of investigative reporting, analysis, research, and writing — all of which added to a distinctly meritorious public service, not only for readers of The Times but also for an entire nation.”[61] Goodale noted in an article for The Daily Beast that the Times published the Papers after Ellsberg had leaked them to Sheehan, and further stated that the film “creates a false impression that the Post was a major player in such publication. It’s as though Hollywood had made a movie about the Times’ triumphant role in Watergate.”[24] On PBS NewsHour, Goodale further said, “Although a producer has artistic license, I think it should be limited in a situation such as this, so that the public comes away with an understanding of what the true facts are in this case . . . And I think that if you’re doing a movie now, when [President Donald] Trump is picking on the press for ‘fake news’, you want to be authentic. You don’t want to be in any way fake.”[63]

Accolades

AwardDate of ceremonyCategoryNominee(s)ResultRef.
AARP’s Movies for Grownups AwardsFebruary 5, 2018Best DirectorSteven SpielbergNominated[64]
[65]
Best ActorTom HanksNominated
Best ActressMeryl StreepNominated
Best Time CapsuleThe PostNominated
Readers’ Choice PollNominated
Academy AwardsMarch 4, 2018Best PictureAmy Pascal, Steven Spielberg and Kristie Macosko KriegerNominated[66]
[67]
Best ActressMeryl StreepNominated
Alliance of Women Film JournalistsJanuary 9, 2018Best Ensemble Cast – Casting DirectorEllen LewisNominated[68]
Best Woman ScreenwriterLiz Hannah and Josh SingerNominated
American Cinema EditorsJanuary 26, 2018Best Edited Feature Film – DramaticMichael Kahn and Sarah BrosharNominated[69]
American Film InstituteJanuary 5, 2018Top Ten Films of the YearThe PostWon[70]
Art Directors GuildJanuary 27, 2018Excellence in Production Design for a Period FilmRick CarterNominated[71]
Casting Society of AmericaJanuary 18, 2018Big Budget – DramaRori Bergman, Karlee Fomalont, Ellen Lewis and Kate SpranceNominated[72]
The Cinema for Peace Award for the Most Valuable Film of the YearFebruary 15, 2018Won[73]
Critics’ Choice Movie AwardsJanuary 11, 2018Best PictureThe PostNominated[74]
Best DirectorSteven SpielbergNominated
Best ActorTom HanksNominated
Best ActressMeryl StreepNominated
Best Original ScreenplayLiz Hannah and Josh SingerNominated
Best Acting EnsembleThe cast of The PostNominated
Best EditingMichael Kahn and Sarah BrosharNominated
Best ScoreJohn WilliamsNominated
Dallas–Fort Worth Film Critics AssociationDecember 13, 2017Best FilmThe Post2nd Place[75]
Best DirectorSteven Spielberg4th Place
Best ActorTom Hanks5th Place
Best ActressMeryl Streep5th Place
Detroit Film Critics SocietyDecember 7, 2017Best EnsembleThe cast of The PostWon[76]
Best ScreenplayLiz Hannah and Josh SingerNominated
Florida Film Critics CircleDecember 23, 2017Best CinematographyJanusz KamińskiNominated[77]
[78]
Georgia Film Critics AssociationJanuary 12, 2018Best Production DesignRick Carter, Kim Jennings and Deborah JensenNominated[79]
Best Original ScoreJohn WilliamsNominated
Best EnsembleThe cast of The PostNominated
Golden Globe AwardsJanuary 7, 2018Best Motion Picture – DramaThe PostNominated[80]
Best DirectorSteven SpielbergNominated
Best Actor – Motion Picture DramaTom HanksNominated
Best Actress – Motion Picture DramaMeryl StreepNominated
Best ScreenplayLiz Hannah and Josh SingerNominated
Best Original ScoreJohn WilliamsNominated
Houston Film Critics SocietyJanuary 6, 2018Best PictureThe PostNominated[81]
Best DirectorSteven SpielbergNominated
Best Original ScreenplayLiz Hannah and Josh SingerNominated
Best ScoreJohn WilliamsNominated
Humanitas PrizeFebruary 16, 2018Feature – DramaLiz Hannah and Josh SingerNominated[82]
IndieWire Critics PollDecember 19, 2017Best PictureThe Post10th Place[83]
National Board of ReviewJanuary 4, 2018Best FilmWon[84]
[85]
Best ActorTom HanksWon
Best ActressMeryl StreepWon
National Society of Film CriticsJanuary 6, 2018Best Supporting ActorMichael Stuhlbarg2nd Place[a][86]
New York Film Critics OnlineDecember 10, 2017Top 10 FilmsThe PostWon[87]
Online Film Critics SocietyDecember 28, 2017Best EnsembleThe cast of The PostNominated[88]
[89]
Producers Guild of America AwardsJanuary 20, 2018Best Theatrical Motion PictureAmy Pascal, Steven Spielberg and Kristie Macosko KriegerNominated[90]
San Diego Film Critics SocietyDecember 11, 2017Best EditingMichael Kahn and Sarah BrosharNominated[91]
Best EnsembleThe cast of The PostNominated
San Francisco Film Critics CircleDecember 10, 2017Best EditingMichael KahnNominated[92]
Saturn AwardsJune 27, 2018Best Thriller FilmThe PostNominated[93]
[94]
Seattle Film Critics SocietyDecember 18, 2017Best Picture of the YearNominated[95]
Best ActressMeryl StreepNominated
Best EnsembleThe cast of The PostNominated
St. Louis Film Critics AssociationDecember 17, 2017Best FilmThe PostNominated[96]
Best DirectorSteven SpielbergRunner-up
Best ActorTom HanksNominated
Best ActressMeryl StreepNominated
Best EditingMichael Kahn and Sarah BrosharNominated
Best Original ScoreJohn WilliamsNominated
Washington D.C. Area Film Critics AssociationDecember 8, 2017Best ActressMeryl StreepNominated[97]
Best EnsembleThe cast of The PostNominated
Best Portrayal of Washington D.C.The PostWon
Women Film Critics CircleDecember 17, 2017Karen Morley AwardNominated[98]
[99]
Writers Guild of America AwardsFebruary 11, 2018Paul Selvin AwardLiz Hannah and Josh SingerWon[100]

See also

Notes

  1.  Also nominated for Call Me by Your Name and The Shape of Water

References

  1.  Gleiberman, Owen (December 6, 2017). “Film Review: ‘The Post'”. Variety. Los Angeles, California: Penske Media Corporation. Archived from the original on November 3, 2018. Retrieved December 19, 2018. PRODUCTION: A 20th Century Studios release of a DreamWorks Pictures, Amblin Entertainment, 20th Century Studios, Participant Media, Star Thrower Entertainment production.
  2.  McNary, Dave (November 1, 2017). “Participant Media Hires Girl Rising Co-Founder Holly Gordon”. Variety. Los Angeles, California. Archived from the original on March 9, 2018. Retrieved November 10, 2017.
  3.  “Film releases”. Variety Insight. Archived from the original on July 28, 2017. Retrieved September 3, 2018.
  4.  “The Post”. British Board of Film Classification. Retrieved November 4, 2023.
  5.  Galloway, Stephen (December 5, 2017). “‘The Post’: How Spielberg Beat a Tight Deadline to Make a Timely Newspaper Drama”. The Hollywood Reporter. Archived from the original on February 22, 2018. Retrieved December 6, 2017.
  6.  “The Post (2017)”. Box Office Mojo. Seattle, Washington: Amazon. Archived from the original on June 14, 2020. Retrieved June 19, 2018.
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  8.  Damigella, Rick (January 2, 2017). “Political thriller gets Oscar buzz”. CNN. Archived from the original on January 3, 2018. Retrieved January 13, 2017.
  9.  Friedman, Dan (December 14, 2017). “Steven Spielberg, Tom Hanks Compare Trump Administration to Nixon’s at ‘The Post’ Premiere”. The Hollywood Reporter. Los Angeles, California. Archived from the original on December 15, 2017. Retrieved December 15, 2017.
  10.  Shepard, Jack (December 6, 2017). “The Post review round-up: Steven Spielberg’s Oscar 2018 frontrunner wins glowing reception”. The Independent. Archived from the original on December 6, 2017. Retrieved December 6, 2017.
  11.  Han, Angie (December 6, 2017). “The reviews are in and critics absolutely adore Steven Spielberg’s ‘The Post'”. Mashable. Archived from the original on December 6, 2017. Retrieved December 6, 2017.
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  17.  Fleming, Mike Jr. (March 6, 2017). “Steven Spielberg, Tom Hanks & Meryl Streep Team for Pentagon Papers Drama ‘The Post'”. Deadline Hollywood. Los Angeles, California: Penske Media Corporation. Archived from the original on June 10, 2017. Retrieved June 6, 2017.
  18.  Khatchatourian, Maane (November 8, 2017). “Watch First Trailer for Steven Spielberg’s ‘The Post,’ Starring Meryl Streep, Tom Hanks”. Variety. Archived from the original on November 30, 2017. Retrieved November 29, 2017.
  19.  “First ‘The Post’ Trailer: Tom Hanks, Meryl Streep Tackle Pentagon Papers”. The Hollywood Reporter. Los Angeles, California. Archived from the original on December 1, 2017. Retrieved November 29, 2017.
  20.  Ryan, Patrick (November 20, 2017). “Steven Spielberg on timely new film ‘The Post’: ‘History is certainly repeating itself'”. USA Today. Mclean, Virginia. Archived from the original on November 20, 2017. Retrieved November 21, 2017.
  21.  Lee, Ashley (November 19, 2017). “Steven Spielberg, Tom Hanks and Meryl Streep Unveil ‘The Post’ at First Screening”. The Hollywood Reporter. Los Angeles, California. Archived from the original on November 21, 2017. Retrieved November 21, 2017.
  22.  Tapley, Kristopher (November 20, 2017). “Oscars: Steven Spielberg’s ‘The Post’ Arrives with the Zeitgeist in Its Sights”. Variety. Los Angeles, California. Archived from the original on November 20, 2017. Retrieved November 21, 2017.
  23.  Vinciguerra, Thomas (May 1, 2017). “Hell hath no fury like The New York Times scorned by Hollywood”. Columbia Journalism Review. New York City: Columbia University. Archived from the original on April 29, 2021. Retrieved June 30, 2017.
  24.  Goodale, James C. (December 22, 2017). “Spielberg’s ‘The Post’: Good Movie, Bad History”. The Daily Beast. New York City: IAC. Archived from the original on January 24, 2018. Retrieved January 13, 2018.
  25.  Lee, Ashley (November 19, 2017). “Steven Spielberg, Tom Hanks and Meryl Streep Unveil ‘The Post’ at First Screening”. Hollywood Reporter.
  26.  Movies News Desk (June 6, 2017). “Production Underway on Spielberg’s THE PAPERS, Starring Meryl Streep & Tom Hanks”. Broadway World. New York City: Wisdom Digital Media. Archived from the original on June 11, 2017. Retrieved June 7, 2017.
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