CHRIS GARRETT

Early in her career Chris Garrett was managing editor of Conde Nast's Tatler magazine, in London, and twice came to New York as a guest editor at V.F. After moving to New York, she became a talent scout for Conde Nast but was not long in the role when, one morning in 1992, she was asked to meet with Conde Nast chairman S. I. Newhouse, Jr., who had just hired Graydon Carter to be editor of V .F. Si was hugely knowledgeable about movies, and, laughing, he observed, "This is like the scene from The Spy Who Came In from the Cold, where Cyril Cusack tells Richard Burton that it is time for him to come in from the cold." He added, "We need you on Vanity Fair. Graydon should have someone who knows the staff and the culture." "How long? A year? Two?" Garrett asked. "We'll see," he said.

Twenty-five years later Garrett, happily, is still at VF., as managing editor. Widely admired for her consummate skills in management, strategy, and diplomacy, she enables and ennobles every aspect of the magazine. "Vanity Fair wouId be an annual were it not for Chris," says Graydon Carter. "She's one of those people who make the impossible look effortless. Furthermore, she can talk you out of a bad idea with such grace and elegance that you don't even know you have been talked out of it. Without her, I would have been booted out at the end of year one."

JASON BELL

Photographer Jason Bell shot the constellation of Marvel superheroes for this issue's four covers and for "Master of the Universe," on page 88. To commemorate 10 industry-changing years and 17 films of Marvel Studios, the actors gathered in not just their heroes' respective regalia but also their headspaces. "Every actor was very mindful of what their character would or wouldn't do—the rules of their world, as it were," says Bell, who has contributed to a book about Aston Martin, out this summer.

SARAH ELLISON

"It's hard not to feel like she's trapped in that White House," says Special Correspondent Sarah Ellison of First Lady Melania Triunp, whose purported activism against cyberbullying perhaps her husband's most inveterate practice hasn't appreciably taken off. In "FLOTUS Position," on page 104, Ellison uncovers the possibility of Melania as a fully realized First Lady in the near future. "She has more influence than she seems to understand."

SHARON SUH

"Graydon always encouraged me, and I wouldn't be the photographer I am today without that," says Sharon Suh, who, for Hall of Fame, on page 128, shot I he Yew York Times reporters whose exposes helped oust Harvey Weinstein and Bill O'Reilly. "When I was 18 a professor harassed me in the darkroom.

He tried, but I got away. After that, I got C's," Suh says. "I connected with what these people are working tirelessly to uncover."

Looking back on Andy Warhol and "It girl" Edie Sedgwick for "Edie in Andyland," on page 130, Contributing Editor Lili Anolik relished the 60s spirit surrounding the iconic duo. "The photos of Andy and Edie are more than 50 years old, the era they depict seemingly so bygone and ephemeral," she says. "And yet, what could be more culturally relevant?" Anolik's book on Eve Babitz, Hollywood Nude, will be published by Scribner in the fall.

LILI ANOLIK

JOANNA ROBINSON

In "Master of the

Universe," on page 88, Joanna Robinson unpacks liow Marvel Studios, with 17 films, including Iron Man, The Avengers, and Guardians of the Galaxy, has revolutionized the world of movies. "By expanding the genre and finding new t alent, Marvel hits so many different interests," Robinson says of the studio that Disney acquired in 2009. Widely adored Marvel Studios president Kevin Feige "has really changed the definition of what a comic-book movie is."

REBECCA KEEGAN

In "Hollywood's New Classics," on page 116, VF.com Hollywood Correspondent Rebecca Keegan got to know two directors whose sensational success signals a changing of the white-male-dominated Old Guard: Greta Gerwig, Oscar-hopeful director of Lady Bird, and Jordan Peele, whose Get Oat laid bare the inner workings of American racism. Despite their extraordinary t alent , says Keegan, "not long ago, they wouldn't have gotten the opportunities to make the movies they've made. Hollywood is finally starting to ask: Who's really getting the opportunities in this town, and who isn't?"