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Bombshell is a movie starring Charlize Theron, Nicole Kidman, and Margot Robbie. A group of women take on Fox News head Roger Ailes and the toxic atmosphere he presided over at the network
Directed by: Jay Roach
Writer: Charles Randolph
runtime: 109 Minutes
9601 vote
cast: Margot Robbie
There was a problem filtering reviews right now. Please try again later. Reviewed in the United States on January 9, 2020 Format: Blu-ray Bombshell, when you analyze it rather than falling for the emotions it wants you to, is not actually trying to educate or improve a culture of sexual harassment in the workplace. (That’s just my opinion, mind you. ) It seems on the surface like a necessary movie because of the badly needed Me Too Movement, which started with Harvey Weinstein’s downfall in late 2017 but had an earlier model of success in Gretchen Carlson’s lawsuit against Fox News chief Roger Ailes. The movie makes no attempt at objectivity, which I think is its major weakness. If it was going strictly by what people have said on the record, rather than using anonymous sources, the movie would have some merit. But the bulk of the encounters and exchanges in the movie are fictionalized, which the moviemakers say is okay because they’ve talked to lots of people who currently and formerly work at Fox—so just trust them to be accurate in the movie, they say. The character of “Kayla” played by Margot Robbie is part of my complaint. I was okay with the way the Gretchen Carlson (played by Nicole Kidman) lawsuit against Ailes was depicted, but Kayla is a fictional character who is initially an idealistic and naïve Fox loyalist, working there as her dream job, until Kate McKinnon’s lesbian character makes Kayla an instant lesbian (they meet at work, then next scene they’re together in bed) and Kayla becomes one of Ailes’ sexual conquests. Then she joins in the lawsuit. She doesn’t seem at all like a realistic character to me because she wouldn’t be so eager to become a lesbian if she was actually as dedicated to the religious conservatism as she originally is. Nor would she need her lesbian partner to help her understand that Ailes is doing the wrong thing to her. That subplot is just stupid. The excessive profanity in some parts of the movie felt to me like a distractor which seemed only intended for dramatic effect (like anger can only be expressed in a movie if you have lots of cussing), not like how the incidents would have happened. Roger Ailes seems accurately depicted by John Lithgow—who looks COMPLETELY DIFFERENT in this role. Charlize Theron did a very good job with prosthetics and vocal work on taking on the look and overall demeanor of Megyn Kelly, who was somewhat late in joining Gretchen’s cause against Ailes but nonetheless very credible. I think the movie’s most important point is that Gretchen Carlson, while getting an apology and payment from Fox News for wrongful termination due to her unwillingness to have an affair with Ailes, still cannot talk about specifics. It seems only a half-victory until those “nondisclosure” codes get changed. I have Megyn Kelly’s book Settle for More and consider it to be the best resource about that period of Trump’s ascendancy and Ailes’ downfall in 2015-2016. She gives specifics in that book about her complex history with Ailes, which are accurately described in conversations in the movie Bombshell. But if Bombshell is meant to be helpful for enlightening people about sexual harassment in the workplace, it hurts itself with a tone of vitriol throughout, such as Kate McKinnon’s fictional lesbian who works there saying—in a quote in the trailer which also is in the movie—“The world is a bad place, people are lazy morons, minorities are criminals, sex is sick but interesting. ” All the other Fox News people, in their one-or-two-sentence cameos by actors who are supposed to somewhat resemble them, are depicted as out of touch or overlooking Ailes’ misbehavior. The movie seems to be primarily just about hurting Fox News. It also brings up the unsubstantiated lawsuit by Andrea Mackris against Bill O’Reilly in which she said he harassed her and called her while using a vibrator on himself. His termination from Fox, unlike Ailes’, was not adjudicated properly; Gretchen had compiled audio evidence on Ailes’ harassment which never was released to the public but was taken to court and adjudicated by the Murdochs (the family which allowed Ailes to create Fox News). O’Reilly was terminated almost immediately after a New York Times article about payments to settle sexual harassment cases with several women, but due to his own nondisclosure agreements was not allowed to defend himself or correct what he says were inaccuracies in the article, and settlements do not equate to admissions of guilt. Settlements by payment and nondisclosure agreements are sometimes used to prevent public, long-term court cases that hurt the family of the accused, which is O’Reilly’s defense. The movie did a disservice by equating the Ailes case with the O’Reilly case. O’Reilly is only referred to and has an actor doing a couple lines as he has a conference, not a major part of the movie. But I feel the movie’s grouping of him with Ailes, and implication that “everyone” who worked at Fox knew Ailes was a dirty old man, were inaccurate. Even though Roger Ailes had a lot of Trump’s conspiracy theory mindset, I think it oversimplifies him by portraying him and the Fox News reportage as bigoted. If I were you, I would pass this one up, and instead read Megyn Kelly’s book Settle for More. Reviewed in the United States on December 23, 2019 Format: Prime Video Theater review. Possible spoilers. Director Jay Roach might not seem like the director for an expose like this given his resume (Austin Powers movies, Meet the Fockers, Dinner for Schmucks) but he pulls it off. Some of the credit would seem to go to writer Charles Randolph who was responsible for “The Big Short. ” This film has much of that style. That is narration, superimposed facts, etc. The film is focused on Roger Ailes (excellent John Lithgow in a fat suit and heavy facial makeup) who single handedly put Fox News on the television map. His marketing acumen may have been successful but he also left a bevy of female staffers humiliated at best and sexually assaulted at worst. There are 3 women at the center of the story. Gretchen Carlson (Nicole Kidman) is the first to bring Ailes’ misdeeds to light. She had gone from a rising star on the Fox morning show to a less visable host in a late afternoon time slot. Why? She had shunned Ailes’ sexual advances. She leaves the network fairly early in the movie and sues Ailes personally. In an award-worthy performance, Charlize Theron plays Megyn Kelly who remains at the network but is under scrutiny because of the 2016 presidential debate where she asks candidate Donald Trump about his treatment of women in the past. Ailes and indeed Fox were backers of Trump and were stunned by the question. Kelly suffered the consequences for a long time and later acknowledged Alies had come on to her earlier in her career. The third woman is Kayla Pospisil (Margo Robbie). Kayla is an amalgam of actual women at Fox over the years. She’s highly supportive of the network and Ailes from the beginning. She is also hungry for advancement and manages to get Ailes’ attention. In a scene that had most of the audience squirming in their seats, Ailes auditions Kayla by modeling in front of him. He urges her to keep hiking up her skirt in order to see her legs – “It’s a visual medium he suggests. ” All the women are great. Theron in particular captures not only the look of Kelly but the slightly arrogant and aloof physical persona. It’s an amazing transformation. If “Bombshell” can be criticized it would be because the film doesn’t go very deep into the workings of Fox. We get a surface view as the attention is on Ailes, less so on the network or his boss, Rupert Murdoch (Malcolm McDowell). In small but interesting roles, Kate McKinnon shows up as a closeted lesbian producer and confidant of Kayla’s. Connie Britton plays Ailes wife Beth, a supporter of her husband until a startling scene in the final act. Mark Duplass plays Kelly’s husband Doug Brunt and Allison Janney is Susan Estrich, Ailes lawyer. In spite of the content, this is a fast moving, highly entertaining and important film. Highly recommended. Reviewed in the United States on March 2, 2020 Format: Prime Video Verified Purchase I expected this movie to be an expose on Roger Ailes, and it was to a degree. But the movie went on to make all of the men at Fox News look completely exploitive of women, and/or mindless minions of the organization. It portrayed Megan Kelly as the only smart, legitimate journalist at Fox. One who everyone held in high esteem, with her entourage following her through the halls of Fox. And all the men lusting over her. And I mean ALL of the men. The movie also implied that avid viewers of Fox are witless followers of the "cult" that Ailes created, and conservatives are gullible and feebleminded. I was personally offended, and shut it off after about 30 minutes. Reviewed in the United States on February 28, 2020 Format: Prime Video Verified Purchase Slow, I say SLOW..... not worth the $15. 00 I spent Reviewed in the United States on February 29, 2020 Format: Prime Video Verified Purchase Found the movie captivating, and no one else is telling this story. I'm a conservative and a female and thinks this story needs to be told. This is not an anti-conservatives movie. It's an anti-sleaze bag movie. Reviewed in the United States on February 27, 2020 Format: Prime Video Verified Purchase I loved Nicole, Charlize and maggots performance, all did spectacular work. the makeup deptmt earned every bit of the golden Oscar, Charlize was turned into Megan Kelly's doppleganger. and to see Margot Robbie vulnerable was truly heart breaking, def a tear jerking scene or two came from her performance. all the women killed it, nailed it... cant forget the amazing job that roger ailes put in, perfection. A+ work in entertainment.
Bombshell game. Bombshell the hedy lamarr story. Critics Consensus Bombshell benefits from a terrific cast and a worthy subject, but its impact is muffled by a frustrating inability to go deeper than the sensationalistic surface. 70% TOMATOMETER Total Count: 300 84% Audience Score Verified Ratings: 6, 819 Bombshell Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Bombshell Videos Photos Movie Info Starring Academy Award (R) winner Charlize Theron, Academy Award (R) winner Nicole Kidman, Academy Award (R) nominee John Lithgow and Academy Award (R) nominee Margot Robbie, based on the real scandal, BOMBSHELL is a revealing look inside the most powerful and controversial media empire of all time; Fox News, and the explosive story of the women who brought down the infamous man who created it. Rating: R (for sexual material and language throughout) Genre: Directed By: Written By: In Theaters: Dec 20, 2019 wide On Disc/Streaming: Feb 25, 2020 Runtime: 118 minutes Studio: Lionsgate Cast News & Interviews for Bombshell Critic Reviews for Bombshell Audience Reviews for Bombshell Bombshell Quotes Movie & TV guides.
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"Bombshell"
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"We missed the plot somewhere along the way"
Political statements in film can be very powerful, and if they are done right in film, they can carry a lot of weight. "Bombshell" features an excellent cast, great acting, a true story, and a plot that gets lost in sensationalism, kinda like the Charlize Theron as Megyn Kelly to Margot Robbie as Kayla Popisil, and Nicole Kidman as Gretchen Carlson as well as John Lithgow as Roger Ailes, the performances do not miss a beat. Ailes (Lithgow) is creepy with his demeanor and charisma, and that's more of what this film should have focused on. The weakness of the film was in the greed of both the Kelly (Theron) and Carlson (Kidman) characters. The acting, again, was top notch, as they played the greedy victim to a tee. Theron and Kidman should have been written more like Popisil (Robbie) the character we actually felt sorry for, and a lot more scenes that included flashbacks of the goings-on in Ailes' office should have been utilized. Roger Ailes was a disgusting human being who was both exposed for and paid for everything he did before passing on, but the film should have focused more on his acts of quid pro quo and perversion to get the point across. If we could be more sympathetic towards the Kidman and Theron roles, this film would have certainly been somewhere in my top 10, and perhaps Best Picture.
7/10.
Bombshell Theatrical release poster Directed by Jay Roach Produced by Aaron L. Glibert Jay Roach Robert Graf Michelle Graham Charles Randolph Margaret Riley Charlize Theron AJ Dix Beth Kono Written by Charles Randolph Starring Nicole Kidman Margot Robbie John Lithgow Kate McKinnon Connie Britton Malcolm McDowell Allison Janney Music by Theodore Shapiro Cinematography Barry Ackroyd Edited by Jon Poll Production companies Bron Studios Annapurna Pictures Denver + Delilah Productions Gramsci Lighthouse Management & Media Creative Wealth Media Distributed by Lionsgate Release date December 13, 2019 (United States) Running time 108 minutes [1] Country United States Language English Budget $32 million [2] Box office $58 million [3] [4] Bombshell is a 2019 American biographical drama film directed by Jay Roach and written by Charles Randolph. The film stars Charlize Theron, Nicole Kidman, and Margot Robbie, and is based upon the accounts of the women at Fox News who set out to expose CEO Roger Ailes for sexual harassment. Actors John Lithgow, Kate McKinnon, Connie Britton, Malcolm McDowell, and Allison Janney appear in supporting roles. The project was first announced in May 2017 following Ailes's death, with Roach confirmed as director the following year. Much of the cast joined that summer and filming began in October 2018 in Los Angeles. It entered into a limited release in the United States on December 13, 2019, before a wide release on December 20, by Lionsgate. Bombshell received generally favorable reviews, with critics praising the performances of the cast (particularly of Theron, Kidman, Robbie, and Lithgow) and the makeup and hairstyling but some criticizing its screenplay and inaccuracies. At the 92nd Academy Awards, it earned three nominations: Best Actress (Theron), Best Supporting Actress (Robbie), and Best Makeup and Hairstyling, winning the latter. The film also received two nominations at the 77th Golden Globe Awards (for Theron and Robbie), four at the 26th Screen Actors Guild Awards (Theron, Robbie, and Kidman, as well as Outstanding Performance by a Cast in a Motion Picture) and three at the 73rd British Academy Film Awards (Theron, Robbie, and Best Makeup and Hair). Plot [ edit] Roger Ailes heads Fox News, the real-life cable television network. The film focuses on newscasters Megyn Kelly, Gretchen Carlson and composite character Kayla Pospisil. Kelly is one of the network's most popular newscasters and is to co-moderate the 2016 Republican debate. The day of the debate, sick and throwing up, she nevertheless questions Donald Trump on comments he has made about women. In retaliation, he tweets insults about her, and others follow suit. One paparazzo stalks Kelly's family outside her home to photograph her children, prompting Kelly's husband, Douglas, to kick the intruder out. Fox then hires a security detail for Kelly. Ailes fears someone poisoned her the day of the debate. Carlson is removed as co-anchor of the popular Fox and Friends and is transferred to a less popular show. Inundated by sexist comments on and off the air, she meets with lawyers who tell her how Rudi Bakhtiar was fired after refusing Ailes's sexual advances. They plan to file a harassment suit against Ailes but tell Carlson she will need evidence and testimony from other women. Pospisil is Fox's newest hire, working with Carlson, but soon accepts a job on The O'Reilly Factor. Bill O'Reilly fires her on her first day, and she gets drunk and sleeps with fellow staffer Jess Carr. When they wake up, Pospisil says she is not a lesbian and is shocked to see Carr's Hillary Clinton poster. Asked why a liberal lesbian would work for Fox, Carr says she applied for many jobs, but Fox was the network that hired her, and now no one else will. Pospisil is later invited to Ailes' office, where he makes her lift her skirt to show him her underwear. She tells Carr, who says she cannot get involved. Carlson reveals on air that she supports the assault weapons ban, prompting Ailes to summon her. She is fired and not given a clear reason why. She decides to sue Ailes. He meets with his wife, Beth, and attorneys Susan Estrich and Rudy Giuliani, denying the allegations. All female staffers are asked to stand with Fox. Most do, but Kelly does not comment. When the suit is filed, no other women come forward, dashing Carlson's expectations. Viewers turn on her. Kelly finds other women, including Pospisil, who were sexually harassed by Ailes or O'Reilly. Pospisil says she obeyed Ailes to protect her career but now wants to come forward. Kelly speaks up and learns that 22 other women will too. Estrich tells Ailes that Carlson has recorded conversations that will win the case. Ailes meets with Fox co-creator Rupert Murdoch, who tells him he will be fired. Ailes asks to break that news, but Murdoch refuses. When Murdoch says he is taking over Fox, Carr refuses to speak up. Pospisil, knowing she will be fired, quits instead. Meanwhile, Carlson gets $20 million in damages and an apology from Fox but cannot speak about her case. She tells viewers that she does not care if they like her, only that they believe her. Cast [ edit] Charlize Theron as Megyn Kelly Nicole Kidman as Gretchen Carlson Margot Robbie as Kayla Pospisil (a composite character) John Lithgow as Roger Ailes Connie Britton as Beth Ailes Rob Delaney as Gil Norman Mark Duplass as Douglas Brunt Liv Hewson as Lily Balin Allison Janney as Susan Estrich Brigette Lundy-Paine as Julia Clarke Malcolm McDowell as Rupert Murdoch Kate McKinnon as Jess Carr Katie Aselton as Alicia Nazanin Boniadi as Rudi Bakhtiar Andy Buckley as Gerson Zweifac Michael Buie as Bret Baier P. J. Byrne as Neil Cavuto D'Arcy Carden as Rebekah Bree Condon as Kimberly Guilfoyle Kevin Dorff as Bill O'Reilly Alice Eve as Ainsley Earhardt Spencer Garrett as Sean Hannity Ashley Greene as Abby Huntsman Tricia Helfer as Alisyn Camerota Marc Evan Jackson as Chris Wallace Brian d'Arcy James as Brian Wilson Richard Kind as Rudy Giuliani [5] Amy Landecker as Dianne Brandi Ben Lawson as Lachlan Murdoch Josh Lawson as James Murdoch Jennifer Morrison as Juliet Huddy Mark Moses as Bill Shine Ahna O'Reilly as Julie Roginsky Tony Plana as Geraldo Rivera Lisa Canning as Harris Faulkner Elisabeth Röhm as Martha MacCallum Stephen Root as Neil Mullen John Rothman as Martin Hyman Brooke Smith as Irena Briganti Holland Taylor as Faye [6] Alanna Ubach as Jeanine Pirro Robin Weigert as Nancy Smith Madeline Zima as Edie Anne Ramsay as Greta Van Susteren Lennon Parham as Beth’s Employee Jon Gabrus as Sound Man Production [ edit] Development [ edit] On May 18, 2017, shortly after the death of former Fox News founder Roger Ailes, it was announced that Annapurna Pictures was in the early stages of developing a film centered on the allegations made against Ailes by female employees, including Megyn Kelly and Gretchen Carlson. Charles Randolph was expected to write the film's screenplay. [7] On May 22, 2018, it was announced that Jay Roach had been hired to direct the film. [8] On August 1, 2018, it was announced that Roach, Randolph, Beth Kono, AJ Dix, and Margaret Riley would act as the film's producers and that Denver and Delilah Productions would serve as the film's production company. [9] On October 9, 2018, it was announced that Annapurna Pictures had dropped out of producing the film, reportedly due to concerns over the film's growing budget. At the time of the announcement, it was confirmed that Bron Studios was staying on and that producers were looking at Focus Features, Participant Media, and Amblin Entertainment to help finance the film. [10] The following week, Lionsgate began negotiating to join the production after Focus Features and Amblin Entertainment passed on the project. [11] By the end of the month, Lionsgate was reported to be closing a deal to distribute the film. [12] In December 2018, it was reported that Theodore Shapiro would compose the film's score and that Barry Ackroyd would serve as the film's cinematographer. [13] [14] The film was given the working title Fair and Balanced, before being announced as Bombshell in August 2019. [15] Kelly later stated that she had no involvement with the film. [16] Casting [ edit] Alongside the directing and writing announcements, it was reported that Charlize Theron had entered negotiations to portray Kelly in the film. [8] On August 1, 2018, it was reported that Nicole Kidman had begun negotiations to star as Carlson and that Margot Robbie was in talks to play a composite associate producer at the network, with Theron confirmed to star. [9] [17] Later that month, it was announced that John Lithgow had been cast as Roger Ailes. [18] In September 2018, it was reported that Allison Janney had been cast as lawyer Susan Estrich and that Kate McKinnon had been cast to play a fictional producer. [19] [20] In October 2018, it was announced that Malcolm McDowell, Mark Duplass, and Alice Eve had been cast as Rupert Murdoch, Douglas Brunt, and Ainsley Earhardt, respectively. [21] [12] In November 2018, it was reported that Brigette Lundy-Paine and Liv Hewson had been cast as two fictional characters [22] and that Alanna Ubach, [23] Elisabeth Röhm, Spencer Garrett, Connie Britton, Ashley Greene, Brooke Smith, Michael Buie, Nazanin Boniadi, and Bree Condon had been cast as Jeanine Pirro, Martha MacCallum, Sean Hannity, Beth Ailes, Abby Huntsman, Irena Brigante, Bret Baier, Rudi Bakhtiar, and Kimberly Guilfoyle, respectively. [24] [25] [26] [27] [28] [29] In December 2018, it was announced that Rob Delaney had joined the cast of the film in an undisclosed role and that Ahna O'Reilly had been cast as Julie Roginsky. [30] [31] In June 2019, Robin Weigert announced she had joined the cast of the film. [32] Filming [ edit] Principal photography for the film began on October 22, 2018, in Los Angeles, California. [33] [34] Release [ edit] The film was scheduled for release on December 20, 2019. [35] However, it was pushed up to December 13, 2019, in a limited release, opening wide on December 20. [36] Reception [ edit] Box office [ edit] As of March 6, 2020, Bombshell has grossed $31. 8 million in the United States and Canada, and $25. 3 million in other territories, for a worldwide total of $57 million. [3] [4] In its limited opening weekend the film made $312, 100 from four theaters for a per-venue average of $78, 025, the fifth best of 2019. [37] The film went wide at 1, 480 theaters the following weekend and, despite being projected to gross around $10 million, finished sixth with $5. 1 million. The audience was 58% female, with 60% being between 18-34 years old. [38] The following weekend the film made $4. 7 million (a total of $8. 3 million over the five-day Christmas frame), falling to ninth. [39] The film's box office results were seen as a disappointment, with The Hill saying that the presence of other projects about Ailes, such as the documentary Divide and Conquer: The Story of Roger Ailes and the Showtime series The Loudest Voice, had lowered the demand for a film on the subject. [40] Forbes also noted that audiences likely do not want to "shell out movie theater money and time to watch a film about women being treated terribly by powerful men... especially (generally speaking) women". [41] Critical response [ edit] On Rotten Tomatoes the film has an approval rating of 70% based on 298 reviews, with an average rating of 6. 72/10. The website's critics consensus reads: " Bombshell benefits from a terrific cast and a worthy subject, but its impact is muffled by a frustrating inability to go deeper than the sensationalistic surface. " [42] On Metacritic the film has a weighted average score of 64 out of 100, based on reviews from 46 critics, indicating "generally favorable reviews". [43] Audiences polled by PostTrak gave the film an average 4 out of 5 stars, with 70% saying they would definitely recommend it. [38] Variety's Owen Gleiberman gave the film a positive review and wrote: "Bombshell is a scalding and powerful movie about what selling, in America, has become. The film is about selling sex, selling a candidate, selling yourself, selling the truth. And about how at Fox News all those things came together. " [44] Todd McCarthy of The Hollywood Reporter wrote: "The actors throw themselves into their roles with terrific zeal, enlivened by the often blunt dialogue and the issues at stake. " [45] Moira Macdonald of The Seattle Times wrote that the movie "went wrong" much of it due to Charles Randolph’s "cutesy screenplay... which unfolds at a cartoony pace more suitable to a dark comedy. " [46] Megyn Kelly felt the film "took liberties" with her story and specifically denied that she told Murdoch the question she was going to ask Donald Trump in advance of the debate or that Ailes liked the question. "The notion that Roger liked the Donald Trump 'woman' question because it created controversy and a TV moment was not true. Roger did not like the question — at all — and was very angry at me for asking it. At one point [he] actually said to me, 'No more female empowerment stuff'. " [47] Reactions from the depicted [ edit] In January 2020, Kelly posted a 30-minute video on her YouTube channel of a roundtable discussion, including her, Huddy, Bakhtiar, Brunt and former Fox News producer Julie Zann and their reactions and opinions after viewing a screening of the film. The panel confirmed many details depicted, including having to do the "spin" to show off their bodies to Ailes in private; Zann tearfully noted that reality was "worse than that" and the filmmakers "let Roger off easy". [48] [49] [16] Kelly took particular issue with the scene where Robbie's character blames Kelly for not speaking up, calling the scene victim blaming and noting that the scene was "written by a man"; however, she also noted that the scene belongs in the film as a reminder to herself that she could have done more to help other victims. [48] Accolades [ edit] See also [ edit] New Yorkers in journalism The Loudest Voice – a miniseries based on the life of Ailes, which also depicts the events leading up to his departure from Fox News. References [ edit] ^ "Bombshell". Lionsgate. Archived from the original on October 12, 2019. Retrieved October 12, 2019. ^ Keegan, Rebecca (December 5, 2019). "Making of 'Bombshell': How Charlize Theron, Nicole Kidman and Margot Robbie Re-Created the "Pervasive Paranoia" of Roger Ailes's Fox News". The Hollywood Reporter. Archived from the original on December 8, 2019. Retrieved December 11, 2019. ^ a b "Bombshell (2019)". Box Office Mojo. IMDb. Archived from the original on December 20, 2019. Retrieved March 5, 2020. ^ a b "Bombshell (2019)". The Numbers. Archived from the original on December 19, 2019. Retrieved March 6, 2020. ^ Walsh, Kate (October 14, 2019). "Charlize Theron's Bombshell Transformation Wows at First Los Angeles Screening". Vanity Fair. Archived from the original on October 16, 2019. Retrieved October 14, 2019. ^ Mendoza, Manuel (October 9, 2019). "How actress Holland Taylor's 'visionary' moment created 'Ann, ' now headed to Dallas Theater Center". The Dallas Morning News. Archived from the original on October 15, 2019. Retrieved October 15, 2019. ^ Lang, Brent (May 18, 2017). "Roger Ailes Will Be the Subject of Competing Film and TV Projects". Variety. Archived from the original on August 19, 2018. Retrieved August 1, 2018. ^ a b Hipes, Patrick (May 22, 2018). "Charlize Theron To Play Megyn Kelly In Fox News Movie At Annapurna". Deadline Hollywood. Archived from the original on July 23, 2018. Retrieved August 1, 2018. ^ a b Kroll, Justin (August 1, 2018). "Nicole Kidman to Play Gretchen Carlson in Fox News Movie (EXCLUSIVE)". Archived from the original on August 2, 2018. Retrieved August 1, 2018. ^ D'Alessandro, Anthony (October 9, 2018). "Roger Ailes Movie No Longer In Works At Annapurna; Others Circling To Resuscitate Project". Archived from the original on October 9, 2018. Retrieved October 9, 2018. ^ D'Alessandro, Anthony (October 15, 2018). "Lionsgate In Talks For Jay Roach's Roger Ailes Project In Wake Of Annapurna Pulling Plug & Focus Features Passing". Archived from the original on October 16, 2018. Retrieved October 15, 2018. ^ a b D'Alessandro, Anthony (October 25, 2018). "Mark Duplass & Alice Eve Join Jay Roach's Roger Ailes Movie". Archived from the original on October 28, 2018. Retrieved October 25, 2018. ^ Mavity, Will (December 14, 2018). "Interview With "Destroyer" Composer, Theodore Shapiro". Next Best Picture. Archived from the original on December 17, 2018. Retrieved December 16, 2018. ^ Lester, Margot Carmichael (November 29, 2018). "Generation Next". ICG Magazine. Archived from the original on April 2, 2019. Retrieved December 16, 2018. ^ Evangelista, Chris (August 20, 2019). "It's the Fox News movie which was previously untitled, ". @cevangelista413. Retrieved August 21, 2019. ^ a b "Megyn Kelly on Instagram: "My husband @dougbrunt and I recently took our three kids to see the movie "Frozen 2. " As we walked into the theatre, our 6-year-old stopped… " ". Instagram. ^ Galuppo, Mia; Kit, Borys (August 1, 2018). "Margot Robbie Joins Nicole Kidman, Charlize Theron in Fox News Movie (Exclusive)". Retrieved August 1, 2018. ^ Brent, Lang; Kroll, Justin (August 22, 2018). "John Lithgow to Play Roger Ailes in Fox News Movie (EXCLUSIVE)". Archived from the original on August 22, 2018. Retrieved August 22, 2018. ^ Wiseman, Andreas (September 20, 2018). "Allison Janney To Play Attorney Susan Estrich In Annapurna's Movie About The Roger Ailes Fox News Harassment Scandal". Archived from the original on September 21, 2018. Retrieved September 20, 2018. ^ Wiseman, Andreas (September 24, 2018). "Kate McKinnon Joins Annapurna's Fox News Sexual Harassment Drama". Archived from the original on September 25, 2018. Retrieved September 24, 2018. ^ Kroll, Justin (October 8, 2018). "Malcolm McDowell to Play Rupert Murdoch in Fox News Movie (EXCLUSIVE)". Archived from the original on October 8, 2018. Retrieved October 8, 2018. ^ D'Alessandro, Anthony (November 8, 2018). "Jay Roach's Roger Ailes-Fox News Movie Adds Brigette Lundy-Paine & Liv Hewson". Archived from the original on November 9, 2018. Retrieved November 8, 2018. ^ D'Alessandro, Anthony (November 14, 2018). "Alanna Ubach To Play Fox News' Jeanine Pirro In Jay Roach's Untitled Roger Ailes Feature". Archived from the original on November 14, 2018. Retrieved November 14, 2018. ^ D'Alessandro, Anthony (November 15, 2018). "Elisabeth Röhm To Play Fox News Host Martha MacCallum; Spencer Garrett Is Sean Hannity: Jay Roach's Roger Ailes Movie". Archived from the original on November 16, 2018. Retrieved November 15, 2018. ^ Galuppo, Mia (November 16, 2018). "Connie Britton to Play Roger Ailes' Wife in Fox News Drama (Exclusive)". Archived from the original on November 17, 2018. Retrieved November 16, 2018. ^ Ramos, Dino-Ray (November 19, 2018). "Ashley Greene To Play Former 'Fox & Friends' Host Abby Huntsman In Roger Ailes Film". Archived from the original on November 20, 2018. 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Bombshell sportswear. Bombshell margot robbie and kate mckinnon. And why it’s not enough December 23, 2019 Both Kayla and Jess are composites—characters meant to tell the stories of women who could not speak for themselves. Lionsgate The best scene of Bombshell, the based-on-a-true-story dramatization of sexual harassment at Fox News, is one that never really happened. In it, Kayla, a young and ambitious producer at the network, gets an opportunity that doubles as currency at Fox News: a private meeting with Roger Ailes, the chairman and CEO. Knowing that he has the power to make her career in journalism—less aware, at the time, that he also has the power to break it—Kayla sits on Ailes’s couch, thrilled. She tells Ailes about her career. He listens for a moment. And then he gives her an order: “Stand up and twirl for me. ” Kayla is confused. She is uncomfortable. But she does as she’s asked. She gives a quick spin, her mouth frozen in a tight smile, attempting to make light of the move. The camera focuses on her face. Ailes—his initial warmth growing colder as he issues commands—asks her to hike up the bottom of her dress. She resists. He asks again. Finally, she complies, as the interaction she had thought was a job interview congeals into something else. She pulls up the hem of her dress. Ailes, played by John Lithgow, breathes heavily. She pulls the dress up higher, her hands trembling, until her underwear is exposed. The scene is intimate. It is invasive. It is painful to watch. That’s in part because it is shot so unsparingly. But it is also because the assault Bombshell ’s camera depicts is not physically violent. The abuse here is psychological. Kayla, without realizing it, has walked into a battle for her dignity. The writer Jill Filipovic explained the scene’s power like this: “Reading about sexual harassment dulls it. Seeing it is a crucial reminder of how repulsive and destructive Ailes, and sexual harassers like he was alleged to be, can be. ” So it is notable, in that regard, that the woman in the scene is one of the characters in Bombshell who is not based on a specific person. Kayla Pospisil, played by Margot Robbie, is instead a composite figure—a woman woven from the stories of multiple real-life people. She is the product of a literature review, basically: Kayla’s experiences in the film are summaries of several of the allegations made about Ailes in sexual-harassment lawsuits that Fox News employees brought against the network. Her character is also informed by interviews Bombshell ’s filmmakers conducted with many of the women who made those claims. While nondisclosure agreements have kept many of those women publicly silent, Kayla, in a sense, gives them a voice. Kayla is one of three women at Bombshell ’s center; the other two are Megyn Kelly (Charlize Theron) and Gretchen Carlson (Nicole Kidman). Bombshell is a work of uncanniness. Starting with the makeup that transformed Theron into Kelly, the film’s pleasures and its indictments come in large part through its painstaking re-creations of real-life people. Kayla, though, suggests the limitations of the simulacrum. It is revealing that one of the main characters, in this film that has marketed itself as a retelling of the sexual-harassment story at Fox News, is a work of fiction. But Bombshell is primarily Kelly’s story. She is the one who is capable of breaking the movie’s fourth wall, speaking directly to the audience. She is the one whose arc, in the film, bends the most sharply. There is an inherent challenge in that arrangement: To tell the story of workplace sexual harassment through the experience of Megyn Kelly is … to tell the story of workplace sexual harassment through the experience of Megyn Kelly. It is to have a tale told by a narrator who is, if not fully unreliable, then deeply fraught. Read: Megyn Kelly’s original sin Bombshell nods to that tension. It features a brief clip of one of Kelly’s more infamous on-air moments: her glib insistence that “ Santa just is white. ” The film also features, along the way, assorted acknowledgments of the Fox News complicity machine—chief among them, representations of the many women at the network who had succeeded within its rigged system and who therefore had a vested interest in maintaining that system as it was. (If you are not a fan of Jeanine Pirro, the Fox News host who recently wrote a book titled Liars, Leakers, and Liberals: The Case Against the Anti-Trump Conspiracy, Bombshell provides several scenes that will leave you feeling fully vindicated. ) But the main way the film wrestles with the complications of its own story is by eliding them. Kelly may be the star of the show; Kayla, however, is its moral center. (Carlson—who was the first to come forward with allegations of sexual harassment against Ailes—is something of the side character in the trio. ) The scene between Kayla and Ailes is what roots the film as it explores the legal battle that led to Ailes’s ouster from the network. It is through Kayla that the horrors and humiliations of sexual harassment are brought to the film’s screen. “I’ve never filmed anything as excruciating, ” Bombshell ’s director, Jay Roach, said of that interaction. It’s understandable, in some ways, that the character doing that work in the film would be fictional. My colleague Conor Friedersdorf, writing after the publication of the report about an unnamed woman’s sexual experience with Aziz Ansari and the New Yorker story “Cat Person, ” argued that fiction can be functional. Invented stories, he suggested, could be the most efficient way to talk about the things so many people wanted to be talking about when it came to those stories: the gray areas of consent; sex that is bad not in a criminal sense, but in another way. The benefit of “Cat Person” was that those discussions could be had about people who did not exist. Fiction affords a kind of freedom. Read: ‘Cat Person’ and the impulse to undermine women’s fiction Nonfiction brings complications. Megyn Kelly, with her glib comments about Santa and blackface and “ thug mentality ”—with all the work she did to build up the network that has helped bring America so low—is a notably difficult vehicle for discussions of justice. But Kayla Pospisil is not. Kayla is no more and no less than what Bombshell tells us she is. She makes few demands, of her screenwriters or of her audience. She brings none of the baggage that comes with a real existence. In some ways, that’s a productive thing. Robbie’s performance is masterful, and Kayla’s lack of specificity makes her an apt stand-in for the many people at Fox News who are not part of the story Bombshell is telling. But Kayla, a figure informed by everyone and therefore by no one, also makes the movie smoother and easier than it might be. The character frees the film of the obligations that come with telling true stories about real people. That freedom, however, also allows a story about sexual harassment to wander, at times, into the realm of the fanciful. You can see this in another composite character in the film: Kayla’s best friend at the network, Jess Carr, played by Kate McKinnon. McKinnon has described her character as a “closet liberal and closet gay woman. ” Her presence allows Bombshell to point out that Fox News is a more complicated place than its broadcasts might make it seem. But McKinnon’s character allows Bombshell to do something else, as well: to serve up a scene in which Jess and Kayla are lying in Jess’s bed, ostensibly having slept together. Was the scene between these two composite characters making a point about the secret lives of women? Maybe. Would Laura Mulvey also have some things to say about it? Probably. Bombshell is rendered in the style of Vice and The Big Short (its screenwriter, Charles Randolph, also wrote the screenplay for the latter). Here, too, are wide-ranging tragedies expressed through an aesthetic that verges on cartoonish. The film—its pun of a title offers a hint at what’s to come—has a kaleidoscopic quality. It is primary-colored and stylized and dizzying. It is, like the cable-news network that is its subject and its setting, shiny and hectic. But Bombshell ’s message, for all that, is straightforward: All women, no matter their politics, deserve to work in environments that are respectful and safe. That is an important argument, and Kayla, ambitious and vulnerable and fictional, expresses it well. Kelly and Carlson, however, complicate it considerably. Those women, as real and historical figures, have contributed to the rise of a network that has often made a mockery of the very things Bombshell celebrates: collaboration, courage, justice. Fox News has made its reputation and its money by delighting in division—by insisting that some women are more deserving than others. That is the uncomfortable fact of this film. Kayla helps Bombshell elide it. What would the film have looked like had her character not been part of its universe—had Bombshell reckoned more directly with its real and deeply flawed heroines? It wouldn’t have been as sleek. But it might have been more revealing. We want to hear what you think about this article. Submit a letter to the editor or write to Megan Garber is a staff writer at The Atlantic, where she covers culture.
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