Melissa Lawson Cheung

Alias:
Melissa Lawson

Melissa Lawson Cheung is a Los Angeles–based film and television editor. Early in her career, she worked as a first assistant editor on large-scale films such as Red Tails (2007) and Peter Berg’s Battleship (2012). Over time, she transitioned into full editorial roles, editing independent features including Gutshot Straight (2014), Last Man Club (2016), and serving as lead editor on Peter Berg’s action thriller Mile 22 (2018).  In television, Lawson Cheung has contributed significantly to several acclaimed series. She edited episodes for Outlander (Seasons 2–3) with Ronald D. Moore, including pivotal installments such as the emotionally charged “The Bakra.” She also worked on USA Network’s Mr. Robot (Season 4), and as additional editor on Patriot’s Day (2016).  Lawson Cheung has also engaged with high-profile Marvel Studios television productions. She has editing credits on Disney+ series such as Secret Invasion, handling multiple episodes including “Promises,” “Betrayed,” and “Beloved.” She is also an editor on Daredevil: Born Again (2025), marking her continuation within the Marvel franchise.  She trained at the Academy of Art University. She was also interviewed in 2020 alongside Liza Cardinale in the “Art of the Cut” podcast, discussing her editorial approach on Outlander and Mr. Robot.

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Editor:
2014  Gutshot Straight
2016  Last Man Club
2018  Mile 22
2024  Still Life

First Assistant Editor:
2012  Battleship
2012  Red Tails
2014  Gutshot Straight
2016  Last Man Club
2018  Mile 22
2024  Still Life

About the Movie Section

Most data and links to images for the Movies section come from TheMovieDB (TMDB).

Additional data for Film Titles come from The Open Movie Database (OMDb).

At least one plug-in comes from IMDb.

Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

Regarding profile removals and data corrections:

  • If you would like your profile removed from this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's gone from their site, it should soon be gone from this site.
  • If you would like to correct movie data on this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's corrected on their site, it should soon be corrected on this site.
  • For additional corrections and profile removals, please e-mail The Open Movie Database (OMDb).

Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.

Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.