{"id":405,"date":"2026-06-13T17:42:17","date_gmt":"2026-06-13T17:42:17","guid":{"rendered":"https:\/\/relocationacrossamerica.com\/?p=405"},"modified":"2026-06-13T17:42:17","modified_gmt":"2026-06-13T17:42:17","slug":"disclosure-day-is-steven-spielbergs-last-word-for-humanity","status":"publish","type":"post","link":"https:\/\/relocationacrossamerica.com\/?p=405","title":{"rendered":"\u201cDisclosure Day\u201d is Steven Spielberg\u2019s last word for humanity"},"content":{"rendered":"

Steven Spielberg is Hollywood\u2019s perennial Pollyanna. Through half a century of creature features, epic disasters, sprawling adventures, quirky character studies and electrifying political thrillers, Spielberg has maintained his hope. He\u2019s also let his hand get heavier, painting his optimism in broad, unmistakable strokes for anyone searching for something to hold onto in an increasingly divided and combative world outside the movie theater. But his highly anticipated return to the sci-fi summer blockbuster, the brilliant and beguiling \u201cDisclosure Day,\u201d is Spielberg\u2019s most shameless appeal toward idealism yet. So unabashed, in fact, that his earnestness makes a familiar allegory take on powerful new resonance, as if Spielberg were trying to convey that humanity can still have a do-over.<\/p>

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Desperately trying to retrieve a trove of stolen government secrets that will prove the existence of extraterrestrial life, Noah Scanlon (Colin Firth) \u2014 the director of a secret military contractor, Wardex \u2014 warns of the ramifications to a Wardex defector, Hugo (Colman Domingo). \u201cIt is a virus for which humanity has no cure,\u201d Noah tells his former colleague, implying the mass hysteria caused by the confirmation of aliens will only drive us closer to ruin. Six years after the COVID-19 pandemic ravaged the world and put society on the fast track for self-destruction, the metaphor initially feels overbearing, another indication that Spielberg is laying it on too thick. But for as transparent as Spielberg\u2019s filmmaking has become over the years, one has to think that a master of his craft is highly aware of what he\u2019s doing. Every detail is considered. We might be trying to move forward and accept the pandemic\u2019s effects on our lives just to survive. But Spielberg wonders: Why must we adapt to harsher conditions if the answer is right in front of us, and all we have to do to thrive is open our eyes?<\/p>\n

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(Universal Pictures\/Amblin Entertainment)<\/span> Colman Domingo as Hugo Wakefield, Tommy Martinez as Santiago, Emily Blunt as Margaret Fairchild and Josh O\u2019Connor as Dr. Daniel Kellner in \u201cDisclosure Day\u201d<\/p><\/div>\n

Funnily enough, the relative ease of making the world a better place was already in the back of my mind as I headed uptown to see \u201cDisclosure Day.\u201d There, on a crowded train during the evening rush hour, on the night of a Knicks game, I was surrounded by a nuisance I\u2019ve been meeting all too often lately: backpacks. The train was already crammed when another swarm of people pushed their way inside, backpacks of varying sizes and capacities still slung over their shoulders, needlessly pushing into other passengers for God knows how many stops. Removing a large bag and holding it or tucking it between your legs might not always be pleasurable or convenient, but it\u2019s a small, friendly thing one can do to make someone else\u2019s day that much easier. And if something is kind, relatively simple and requires no monetary sacrifice or time commitment, why wouldn\u2019t someone do it?<\/p>\n

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More than any other director, Spielberg understands the innate power of the movie theater as a town hall \u2014 an environment where ideas can be communicated, conversations can be had, and change can begin.<\/p>\n<\/div>\n

That\u2019s a question I ask myself daily as I watch the pandemic\u2019s effects continue to wash away so many people\u2019s consideration for their fellow humans. The pandemic was and is a blight on compassion. It turned countless people into inconsiderate monsters, even in the most minute ways.<\/p>\n

But apart from bolstering the antivax and conspiracy crowds, gluing people to their screens for a year-plus, and sowing all sorts of distrust around the world, the pandemic was proof that, when given the opportunity, many humans will revert to their most repugnant impulses. They will watch the death toll rapidly rise one afternoon and be the first to make reservations for socially distanced indoor dining the very same evening, coughing the whole time. \u201cYou simply must try the lobster ravioli, darling, it tastes even better on the brink of global collapse.\u201d<\/p>\n

With \u201cDisclosure Day,\u201d it\u2019s clear that this unprecedented, Earth-shattering event brought oft-pondered questions about empathy and humanism back to the forefront for cinema\u2019s great dreamer. The setting of Spielberg\u2019s latest looks awfully similar to our own. Citizens go about their days, anxieties bleeding into their behaviors, trying to wrestle some control from a world that offers them none. Money\u2019s tight, faith is waning, everyone is on edge. The point of no return is already in the rearview mirror, and the road ahead is flanked by pain. If we adjust to this prevailing narrative now \u2014 if we calcify our hearts and lead with cruelty, or even just blind inconsideration \u2014 maybe life won\u2019t be so hard when it all comes crashing down.<\/p>\n

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(Niko Tavernise\/Universal Pictures)<\/span> Emily Blunt in \u201cDisclosure Day\u201d<\/p><\/div>\n

But what if our society didn\u2019t have to fail? What if we weren\u2019t destined to tear each other limb from limb, to yell instead of speaking, or dig our backpacks into each other\u2019s bodies on the train? Perhaps it\u2019s all as simple as finding the right medium to make people receptive to each other\u2019s wants and needs. More than any other director, Spielberg understands the innate power of the movie theater as a town hall \u2014 an environment where ideas can be communicated, conversations can be had, and change can begin.<\/p>\n

In revisiting his cherished alien subgenre for the fourth time with \u201cDisclosure Day,\u201d Spielberg returns to where his career started, scraping away the classic marks of extraterrestrial intrigue and replacing them with human counterpoints. The eternal fascination with something bigger than ourselves is what can bring us back together. But this time around, it\u2019s not about the declassified information, or even the aliens themselves; it\u2019s about our collective reaction to a global reckoning. Spielberg believes the Earth can stand still again, and that this time, we can get it right.<\/p>\n

If there\u2019s one person who can bring us to a halt, it\u2019s Spielberg \u2014 even if it\u2019s just for two hours. The director\u2019s trademarks haven\u2019t been this thrilling in years, with Janusz Kami\u0144ski\u2019s camera doing tricks that rival his most awe-inspiring work, and John Williams\u2019 score ratcheting the tension in chase scenes and action sequences. But the moment Emily Blunt appears as Margaret Fairchild, a meteorologist for a Kansas City news affiliate, doing her \u201cweather shimmy\u201d and talking about her love for hail, it\u2019s impossible to see anything but her whenever Blunt is onscreen. One morning, Margaret notices a red cardinal in her kitchen, meeting its eyes before it departs back out her window. It\u2019s a strange occurrence, but no stranger than her suddenly speaking an unintelligible language during the morning broadcast, just before collapsing.<\/p>\n

When she wakes up, Margaret realizes she has a subtle psychic ability pointing her toward an opaque destiny. Concurrently, Daniel Kellner (Josh O\u2019Connor) \u2014 the Wardex defector with a peculiar flair for numbers, who stole mountains of evidence confirming alien life dating back to the Roswell Incident \u2014 is on the run from Noah and Wardex\u2019s squad of operatives. After seeing Wardex\u2019s extensive footage of alien life and the lengths they\u2019ve gone to cover it up, Daniel is certain that all of it must be public knowledge, though even he isn\u2019t quite sure why. Margaret and Daniel\u2019s fates are intertwined. They don\u2019t yet know the reasons behind this, only that they have a fiery assurance that what they\u2019re doing is right.<\/p>

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Shadows of Spielberg\u2019s filmography loom large over \u201cDisclosure Day\u201d: the inclination to revisit and fictionalize childhood from \u201cThe Fabelmans,\u201d the tests of empathy in \u201cA.I. Artificial Intelligence,\u201d and, of course, all the aliens. But none of Spielberg\u2019s movies are in such direct, constant conversation with \u201cDisclosure Day\u201d as \u201cWar of the Worlds,\u201d both of which were written by David Koepp, with \u201cDisclosure Day\u201d based on Spielberg\u2019s original idea. Released in the summer of 2005, Spielberg\u2019s take on H.G. Wells\u2019 classic story was one of the first mainstream studio films to riff on America\u2019s post-9\/11 anxiety, where characters assumed the widespread panic was the work of terrorists.<\/p>\n

\u201cWar of the Worlds\u201d brutally dismantles the widely peddled notion that America would be stronger following 9\/11, treating it as propaganda used to mollify citizens and encourage unwavering support of George Bush\u2019s War on Terror. \u201cWe live under a veil of fear that we didn\u2019t live under before 9\/11,\u201d Spielberg told USA Today while promoting the film. \u201cThere has been a conscious emotional shift in this country.\u201d In Spielberg\u2019s eyes, another disaster would cause the stalwart nationalism to crumble. When faced with a legitimate mass threat to human life, many people would abandon mutuality and compassion in favor of self-preservation.<\/p>\n

\u201cWar of the Worlds\u201d laid the groundwork Spielberg builds upon with \u201cDisclosure Day,\u201d analyzing how humans react when events beyond their control instantly remove their autonomy. Each of the film\u2019s principal characters grapples with a sudden shift in their freedom and responds to it differently. We watch as they navigate these profound changes and how they try to balance their curiosity with their fear of the unknown.<\/p>\n

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In the film\u2019s staggering final moments, Spielberg sheds every remaining pretense for the sake of one last plea. Even if the 79-year-old director is in good health, I don\u2019t think it\u2019s entirely unfair to say that Spielberg has his legacy in mind.<\/p>\n<\/div>\n

In a scene where Noah telepathically visits Hugo, who\u2019s constructing a mysterious set in an abandoned warehouse that Margaret and Daniel are being led to, Hugo explains that he saw a shift in Noah\u2019s behavior after Noah\u2019s wife died. Her death made him reclusive and heartless, accelerating his loss of faith in humanity. The cause of her death isn\u2019t explicitly named, but it doesn\u2019t need to be. One can infer by Noah\u2019s virus metaphor that COVID is intentionally embedded in the narrative. It is, after all, the shared sticking point \u2014 the destruction of the world as we once knew it, felt by every last person around the globe.<\/p>\n

As Spielberg predicted in 2005, humans would choose between doing their part to save one another or prioritizing their own desires, no matter who was affected. Watching egocentrism augment in real time, on a mass scale, is as heartbreaking and destabilizing as death itself. It\u2019s enough for anyone to lose hope. Even if Daniel believes that publicizing the alien footage could unite a broken world, it\u2019s too late for someone like Noah, who is too consumed by his despair to see a way out. It\u2019s the jaded who succumb to violence and hopelessness, dragging everyone down with them.<\/p>\n

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(Universal Pictures\/Amblin Entertainment)<\/span> \u201cDisclosure Day\u201d<\/p><\/div>\n

Aside from its blockbuster spectacle, \u201cDisclosure Day\u201d is a pertinent reminder that, once we let go of our hope, it\u2019s nearly impossible to get it back. It\u2019s a message crafted with such disarming simplicity that, at first, it reads as obvious, even hackneyed. \u201cOf course, a director like Spielberg would spend his old age making stale hopecore sci-fi,\u201d a cynic might argue.<\/p>\n

But \u201cDisclosure Day\u201d makes no qualms about its sanguinity. The film isn\u2019t arguing with cynicism; it\u2019s presenting an alternative. I don\u2019t think it\u2019s fair to say Spielberg and Koepp are spoon-feeding their audience \u2014 which implies working to win the viewer over \u2014 when \u201cDisclosure Day\u201d is literally crafted to be as on-the-nose as possible. It\u2019s as if Spielberg experienced another tragedy and decided to make his first return to the alien subgenre since \u201cWar of the Worlds,\u201d saying, \u201cHere: Since you guys didn\u2019t get it the first time.\u201d There\u2019s a difference between films that pat themselves on the back for their didactic lessons and films that use simple moralistic terms to help as many people understand their messaging as quickly as possible.<\/p>\n

Spielberg\u2019s belief has always been that the movie must communicate with the audience through some kind of grand spectacle. That\u2019s how you open their hearts and lower their walls: You dazzle them. When we\u2019re sitting in a dark theater with our snack and drink of choice, that\u2019s when we\u2019re most receptive. If we can become a kid again \u2014 our most honest, impressionable, open-hearted self\u00a0\u2014 in that theater seat, we\u2019ll believe anything is possible. If it can happen in a movie, it can happen in life.<\/p>\n

In the film\u2019s staggering final moments, Spielberg sheds every remaining pretense for the sake of one last plea. Even if the 79-year-old director is in good health, I don\u2019t think it\u2019s entirely unfair to say that Spielberg has his legacy in mind. His scrappy, mostly lost first feature, \u201cFirelight,\u201d was about pursuing alien life to prove that the impossible is very much possible. In \u201cDisclosure Day,\u201d he takes another stab at demonstrating that there is no limit to the universe\u2019s wonders. Fantasy and reality have collided so often throughout his career that they\u2019ve blended into one. There is no one more equipped to make us believe than Spielberg. All we have to do is sit back and hear him out.<\/p>

Read more Donald Trump and his GOP allies are the real voter fraud<\/a><\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

Steven Spielberg returns to sci-fi with a plea for compassion. 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