Ellen must have thought it was her birthday. You have to take this movie with a grain of salt because Hollywood will tell lies with the truth so you believe the lies. Watch Fox News now and nothing has changed, you still see legs. Roger Ailes did somethings he should have not done for sure. My example is the part in the movie where Megyn Kelly canvasses Fox News to get women to come out and tell what happened, never happened. I saw a Megyn Kelly interview where she did ask women if anything ever happened and she said she could find no one. The Margot Robbie character is completely fictional. Roger Ailes is not a good guy for sure but it would be nice to know what is true or nor true.

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Everytime I see Margot, I see Harley Quinn, like really. ??. The weirdest beat in Bombshell comes at the end, and I suppose you could call this a spoiler except you and I both know what happened to Roger Ailes. In July 2016, the disgraced former head of Fox News ? played by an extremely jowly John Lithgow in the film ? was abruptly ousted from his job after several women at the network accused him of sexual harassment. He was barred from the building he once reigned over (though not without taking a cushy $40 million with him). And then he died less than a year later. Ailes’s forced resignation at the hands of his bosses, NewsCorp founder Rupert Murdoch (Malcolm McDowell) and his sons Lachlan and James (played by brothers Ben and Josh Lawson), happens late in the film. And once he’s out, father and sons take over, striding through the newsroom as Rupert takes a phone call. It’s from “Donald. ” (You know, Donald, the film winks. ) It seems, for a second, that the rather unsteady-on-its-feet Bombshell is about to stick the landing. Three women in particular ? Gretchen Carlson (Nicole Kidman), Megyn Kelly (Charlize Theron, in many prosthetics), and fictional news producer Kayla Pospisil (Margot Robbie) ? have stood up to the big boss, who cultivated a hostile work environment and sexually harassed them, and taken him down. But don’t forget that it’s July 2016. We not only know what happened to Ailes, we also know what comes next: An old tape will resurface, and the world will hear Donald bragging about “grabbing [women] by the pussy. ” But he’ll still get elected, largely thanks to Fox News. As late as December 2019, commentators at the network will still be filing sexual harassment claims. Nothing’s going to change. It’s a great setup for a soaring, pointed conclusion. But Bombshell turns that flying leap into a faceplant. The film issues a proclamation, These women “got the Murdochs to put the rights of women above profits, however temporarily, ” and asserts, ominously, that they won’t be the last. Patriarchy, watch out! The movie ends triumphantly, with a distinct flavor of rah-rah girl power. Look what women can do when they band together! Let’s hear it for the ladies! Three cheers for Gretchen and Megyn and Kayla and the whole gang! What? The end credits roll as Regina Spektor sings: Bet you never thought your soldiers could undo ya, now did you? But to tip the score it sometimes takes just one One little soldier Talking to the others One little soldier Running through your tower Bombshell is hopelessly clueless about the reality of its own story The level of naiveté required to cap off a story like Bombshell ’s with an inspiring, “Women rule! ” pop anthem is unfathomable to me. Even if we set aside the politics of fear peddled by Fox News itself, the idea that women banding together is all it will take to end harassment is obviously unearned optimism. If anything, the story of Bombshell is a dark and pessimistic one ? the tale of an institution that systematically devalues its female employees’ humanity, where any change was purely cosmetic, face-saving, a way to stop the gap in a dam they helped build. Others have written at length about the way Bombshell elides the contributions that its characters, and in particular Megyn Kelly, have made to the worldview peddled by Fox News. Director Jay Roach (who made the Austin Powers movies and the Meet the Parents movies, as well as the assiduously bland or outright terrible political films like Game Change and Trumbo) isn’t concerned; he’s said that with Bombshell, he was trying to make a movie about a nonpartisan issue. Charlize Theron as Megyn Kelly, Nicole Kidman as Gretchen Carlson, and Margot Robbie as the fictional Kayla Pospisil in Bombshell. Lionsgate And in some ways, he did. Workplace sexual harassment is a plague, and though its pervasiveness in the Fox News culture is well - documented, it clearly knows no political bounds. There are moments in Bombshell where the film suggests it’s aware of this, and tries to demonstrate, presumably for the sort of people who think maybe the women are overblowing the matter, the way sexual harassment makes life a living hell for victims, even when they go along with it out of helplessness. Kayla, the fictional young evangelical and “influencer in the Jesus space, ” gets the worst of Ailes’s advances; leggy and blonde and ambitious, she’s called into Ailes’s office, where he talks nicely to her about her future at the network, then asks her to stand up, turn around, and hike her skirt up ? way up. That’s hardly the end of it, but most of what follows is kept behind closed doors and offscreen. Instead of showing the full brunt of what happens to Kayla, the film moves between Kayla and two other women. There’s Kelly, who’s sparring with Trump in the presidential debates and trying to ignore her sense that if she speaks up about Ailes’s harassment of her in the past, it may take him down. And there’s Carlson, who has grown more angry about the misogyny at the network over time and is ready, when the opportunity presents itself, to sue. Mixed in are a battery of other Fox News figures and celebrities, played by Hollywood celebrities. There are hosts and former hosts, like Bill O’Reilly (Kevin Dorff), Bret Baier (Michael Buie), Chris Wallace (Marc Evan Jackson), Greta Van Susteren (Anne Ramsay), Abby Huntsman (Ashley Greene), Ainsley Earhardt (Alice Eve), and Judge Jeanine Pirro (Alanna Ubach). Former host (and current girlfriend of Donald Trump Jr. ) Kimberly Guilfoyle (Bree Condon) makes an appearance, as does former Fox News executive and former White House deputy chief of staff Bill Shine (Mark Moses). Then there’s the figure whose appearance onscreen earned the dubious distinction of prompting the most laughter at my screening, Rudy Giuliani (Richard Kind). Bombshell isn’t good satire, but it’s not good drama, either For its first half-hour or so, Bombshell feels like it might be a smug but darkly clever satirical romp. At times it seems like everyone in Hollywood has gathered together to join in on the “fun. ” But it never really becomes clear what or who they’re satirizing. Ailes comes off as a guy who sexually harasses people because he feels bad about his body, which just makes him a pitiable figure. The newsroom has the air of a frat house, though one where closeted lesbian and closeted liberal Jess Carr (a fictional character played by Kate McKinnon) can stick around if she keeps her mouth shut. But how that frat house atmosphere was established remains unclear, and which aspects of it the film wants to target are fuzzy. If satire is the use of exaggeration and ridicule to point out how bad something is, then Bombshell suffers from not knowing where to point. (It also suffers, painfully, from not being funny. ) John Lithgow as Roger Ailes in Bombshell. By the time we reach the movie’s earnest conclusion ? dare we call it feminist? ? Bombshell has discarded all pretense of satire. Now, its goal is different: to convince women they ought to speak up and band together to take down sexual harassers. Which feels more than a little like a cop-out; the problem isn’t the victims, it’s the harassers and the people who make excuses for them. And viewed in tandem with knowing what came before and after, it’s hollow Hollywood feminism at its peak. Being a feminist, or at least a powerful woman, means sticking your neck out to take down the bad apples. But the tree that grew the apples is too often still rotten to the roots. And there are a lot of other trees rotting in the same soil. When women get together, we can change the world, Bombshell declares. We’re a bunch of heroes, little soldiers, talking to one another, taking down the bad guys. But we’ll have to do it forever, you know. Because nobody wants to chop down a tree that grows gold. Bombshell opened in limited theaters on December 13 and will open nationwide on December 20.
I just want to marry her and live in her cottage and grow old together ?????. I'm in love with Megyn Kelly, sooo hot.

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This is one hell of a woman. If this is about Bombshell then why do you show clips from Loudest Voice in the Room a different story line and show. These women are my “ Heros “ great film. Free movies download online bombshell. We have heard this for 3 years. Legal action needed. Jada's the most curious of us all right now on what the 2nd question was.
I never knew I needed a trio like this. 21:18 This moment made me cry. So powerful. Bombshell pro free download. The hell? Gretchen played by both Naomi watts and Nicole Kidman? Wow. And churchill is Ailes? Haha. A new MSN poll has found that national support for removing Donald Trump from office has hit a record high of 55% with the American people. Via The Independent: Fifty-five per cent of those asked said they were in favour of the US president’s conviction by the Senate, a figure which has shot up from 48 per cent the week before. Meanwhile, the number of people against Mr Trump’s removal has dropped to an all-time low, according to the MSN poll. On Christmas Day, 40 per cent were opposed to the Senate voting to convict the president, who has been impeached over his dealings with Ukraine and an alleged subsequent attempt to obstruct congress. The gap between the two views has become much wider since last week, when there was little to divide them (48 per cent in favour of Mr Trump’s removal, 47 per cent against). The Senate trial that Trump thought was going to “undo” impeachment and give him a political win going into the 2020 election is dragging him down. Trump is still losing ground on impeachment. He long ago lost the public relations war on impeachment, and the more that the president tweets and rants, the worse his political situation gets. Trump is losing his defenders. The president and Mitch McConnell’s plans for a sham impeachment trial are backfiring. For more discussion about this story join our Rachel Maddow and MSNBC group. Follow Jason Easley on Facebook Mr. Easley is the founder/managing editor and Senior White House and Congressional correspondent for has a Bachelor’s Degree in Political Science. His graduate work focused on public policy, with a specialization in social reform movements. Awards and? Professional Memberships Member of the Society of Professional Journalists and The American Political Science Association.
Charlize Theron looks different in this movie. Jimmy: You've never been on this show. Is this why? Nicole: Absolutely She's still into it... Excellent interview! Ive always loved Megyn for being candid and speaking truth. She needs a prime time show again. Any nudity. Bombshell free download.
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I am starting to wonder when Hollywood is gonna start making real movies again. Between this movie about FOX and the movie about Mr. Rogers. pathetic. Snooze material that I wouldnt cross the street to watch for free. Inhalt Megyn Kelly (CHARLIZE THERON) ist das Aushängeschild von Fox News: blond, attraktiv, sexy. Schöne Beine sind bei dem konservativen Nachrichtensender gefragter als investigativer Journalismus und unbequeme Fragen. Als sich die Starmoderatorin vor laufenden Kameras mit Präsidentschaftsbewerber Donald Trump anlegt, hat sie keine Rückendeckung von oben zu erwarten: Senderchef Roger Ailes (JOHN LITHGOW) ist mit Trump befreundet, außerdem beschert der Krawallkandidat Fox News Topquoten ? so auch mit seiner sexistischen Twitter-Kampagne gegen Megyn. Ihre gestandene Kollegin Gretchen Carlson (NICOLE KIDMAN) weigert sich, noch länger die ?TV-Barbie“ zu geben. Daraufhin wird ihr Vertrag ?wegen enttäuschender Einschaltquoten“ nicht verlängert ? während die ehrgeizige Redakteurin Kayla Pospisil (MARGOT ROBBIE) nach einem Meeting hinter Roger Ailes' verschlossener Bürotür aufsteigt… Als Gretchen ihren langjährigen Boss wegen sexueller Belästigung verklagt, formiert sich bei Fox News sofort ?Team Roger“. Nur Megyn bleibt verdächtig neutral, auch Kayla schweigt. Aber wie lange noch? ?Wir bedauern, dass Gretchen nicht mit dem Respekt und der Würde behandelt wurde, den sie und andere Mitarbeiterinnen verdienen. “ 2016 musste Roger Ailes abdanken, Gretchen Carlson erhielt Schadensersatz in Millionenhöhe und eine offizielle Entschuldigung von Fox News. Jay Roach (?Meine Braut, ihr Vater und ich“) widmete sich schon in ?Game Change ? Der Sarah-Palin-Effekt“ dem US-Politzirkus und arbeitete in ?Trumbo“ ein dunkles Kapitel der Hollywood-Geschichte auf. In BOMBSHELL rekonstruiert der Regisseur nun mit Biss und Tempo den Skandal, der den mächtigsten Medienmanager der USA zu Fall brachte und als ein erster Meilenstein der #MeToo-Bewegung gelten darf. Für das Drehbuch zeichnet Charles Randolph, Oscar-prämiert für ?The Big Short“, verantwortlich. Als die drei gegensätzlichen Frauen, die das große Schweigen brechen, brillieren die Oscar-Preisträgerinnen Charlize Theron (?Long Shot“, ?Mad Max: Fury Road“) und Nicole Kidman (?Destroyer“, ?Lion: Der lange Weg nach Hause“) sowie die Oscar-nominierte Margot Robbie (?Once Upon a Time in Hollywood“, ?I, Tonya“). Charakterdarsteller John Lithgow (?The Crown“, ?Die Erfindung der Wahrheit“) stellt als Egomane Roger Ailes erneut seine Vielseitigkeit unter Beweis. Zum hochkarätigen Ensemble zählen des Weiteren Kate McKinnon (?Yesterday“, ?Bad Spies“), Oscar-Gewinnerin Allison Janney (?I, Tonya“, ?The Help“) und Kultstar Malcolm McDowell (?Uhrwerk Orange“) als Medienmogul Rupert Murdoch. Regie Jay Roach Mit Charlize Theron, Nicole Kidman, Margot Robbie, John Lithgow, Kate McKinnon, Allison Janney, Malcolm McDowell, uvm. Kinostart 13. 2. 2020 Länge 108 min Produktionsjahr 2019 Label Wild Bunch Germany FSK 12 Produktion TBC.

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Named my daughter after this amazing woman <3. Ellen. We love you and me and my mom are gonna be coming there one day we love you Ellen. I know in Pennsylvania they have a statue of limitations to file a lawsuit of sexual assault. Sexual harassment is very hard to prove and alot of people get away with it. Also sexual harrassment is a grey area where people can misinterpret what you say.

Charlize Theron, Nicole Kidman and Margot Robbie star in a story about the fall of Roger Ailes. Video transcript transcript ‘Bombshell’ | Anatomy of a Scene The director Jay Roach narrates a sequence featuring Charlize Theron, Nicole Kidman and Margot Robbie. Hi, I’m Jay Roach. I am the director of the film “Bombshell. ” So in this scene, we see Margot Robbie, who’s playing Kayla, take a call from? clearly, from Roger Ailes’ office. And Kate McKinnon, who’s playing Jess, in the cubicle with her. We have just seen, a few scenes back, that Roger is harassing Kayla right this minute and is now pressuring her to come back up. We’ve also seen that Kate McKinnon’s character has warned her not to talk about it. So right away, it’s about staying silent. The score is playing this sort of haunting, all women’s voices as the instrumentation, almost Phillip Glass thing that Teddy Shapiro came up with to emphasize how alone she is on this walk. And she walks into this elevator and thinks she can be alone. But in walks her actual idol, Megyn Kelly, played by Charlize Theron. And now, two women, who both have secrets, who both have been harassed, are in the same tight space and won’t say a word to each other. And they’re going to ride this elevator up to the floor where Roger Ailes is. And this shot here is such a great example of Barry Ackroyd’s incredibly humanistic operating. He’s just watching the people and paying attention to what they’re reacting to, and finding the composition off of the performance. In comes Gretchen Carlson, played by Nicole Kidman, who’s now a third woman in a different level of predicament, a different level of being harassed by Roger. And they’re all stuck in this space. So this was a very important scene, because it’s the only time in the whole movie when all three women are in the same place. And we wanted a kind of combination of capturing the predicament of them being in the elevator but not supporting each other, and seeing that in the wide shot, that you could actually jump around to watch each woman’s face in the three-shot and compose for that. And as Megyn watches them walk away, she knows that Margo, especially, is walking into Roger’s lair, where almost all of the harassment happened at Fox. The director Jay Roach narrates a sequence featuring Charlize Theron, Nicole Kidman and Margot Robbie. Credit Credit... Hilary B Gayle/Lionsgate Published Dec. 12, 2019 Updated Dec. 13, 2019 Bright and bouncy until it turns grim, “Bombshell” is a fictionalized account of the women who brought down Roger Ailes, the chairman and chief executive of Fox News. Helped bring him down is probably more accurate given that he was ousted by Rupert Murdoch, who founded Fox News in 1996 before handing the reins to Ailes. Since then, the network has become a ratings powerhouse and hothouse of right-wing talking points, a sea of white faces and dolled-up women in skirts and high heels. Ailes is now gone but the talking points, high ratings, skirts and heels remain. The movie’s title is clever, cleverness being its modus operandi. The story, after all, is about female employees who, with icy smiles and iron ambition, worked for a conservative political force who institutionalized the harassment of women. So, how do you make heroines out of characters that some in the audience will see as deeply compromised if not outright villainous? For starters, you cast on the offensive by having Charlize Theron play Megyn Kelly, Nicole Kidman do Gretchen Carlson and Margot Robbie break hearts as the fictional Kayla Pospisil. Image Credit... Hilary B Gayle/Lionsgate The stars, with their unimpeachable talent, filmographies and feminist cred, are a shrewd way of blunting skepticism. Even so, the characters are tricky, especially Megyn and Gretchen, who come with ideological baggage that complicates Hollywood’s holy grail of relatability. The movie wants, needs us to like them, which may be why it breaks the fourth wall early on with Megyn directly addressing the audience, looking into the camera as she tours the network offices in a slightly tight red, white and blue dress. One man yells out a compliment, another looks her up and down. She keeps on walking, focused, hips swinging like knives. Having her talk to the viewer immediately makes the audience part of a very special Megyn Kelly tour group. It creates intimacy, almost a little conspiracy between you and her, so when she starts chatting about Roger (John Lithgow, galumphing with verve), including his history advising Richard M. Nixon, Ronald Reagan and George H. W. Bush, you lean in and listen. Tell us more. You’re getting the inside dope from one of the network’s biggest stars. When Megyn says that Roger is always watching and we see the many surveillance monitors inside his own personal panopticon, it brings a shiver. Tell us everything. Directed by Jay Roach, from a script by Charles Randolph (“ The Big Short ”), “Bombshell” opens not long before the first Republican presidential candidates’ debate in August 2015. Kelly moderated it with two other Fox News anchors, but she was the one who drew national attention because of her questioning of Donald J. Trump and what it wrought. “You once told a contestant on ‘Celebrity Apprentice’ it would be a pretty picture to see her on her knees, ” Kelly said. “Does that sound to you like the temperament of a man we should elect as president? ” Afterward, Trump said she had “behaved very badly” and went on a Twitter rampage against her. Here’s the thing about sexism: It doesn’t discriminate. It’s an equal opportunity prejudice that cuts across history, culture, political affiliation. “Bombshell” gets this. And part of what works in the movie is that it does a good job of presenting the ordinary assaults that women, even those with great privilege, can endure simply to get through a day, including dehumanizing “compliments. ” When Megyn walks through the network as men size her up, she doesn’t break stride. She keeps marching. She’s a warrior and Theron makes you believe that with her ramrod posture and absolute assurance, Megyn could lead an army or maybe a rebellion, if she chose. Will she or won’t she? That’s the question teased for a long time in “Bombshell, ” which gains steam as Trump’s assault stirs up trouble for Megyn. (Roach incorporates archival material of the real candidate throughout, amping up the movie’s historical bona fides. ) Narratively, Megyn’s insistence on calling Trump out for his treatment for women ? and then dealing with the ominous backlash ? becomes a prelude to the looming crisis with Roger. She is the network’s biggest female star and she’s willing to take on a presidential candidate; as Roger says, it’s good TV. But when Gretchen sues Roger for sexual harassment, Megyn at first lets the other woman twist in the wind. Roach started out directing comedies and his background generally works for him in “Bombshell, ” which he gives a lightness of touch in the beginning that promises (rightly, sometimes wrongly) everything will work out just fine. He even brings a sense of breezy fun to Fox that suggests everyone will soon be amusingly skewered. (The cinematographer Barry Ackroyd brings the texture, shadows and professional sheen. ) With its big hair, shiny sets and the gun-packing Sean Hannity, the network is grist for parody, though it can be tough to tell who’s in on the joke. (The cast includes Kate McKinnon, Richard Kind, Allison Janney and a devilish Malcolm McDowell. ) “Bombshell” works as well and as long as it does largely because of its actors, Theron most of all. One of her qualities as a performer is that she never begs for the audience’s love. She can come across as remote, but she also reads as supremely self-contained: She’s a fortress of one. She shows you her characters’ existential isolation, which is often where their humanity lies. You see that in “Bombshell, ” which strengthens its realism and is finally more impressive than the prosthetics she wears that, with a husky scrape in her voice, turn her into Kelly’s uncanny double. Even when the movie puts some feminist-lite uplift on this ugly world, Theron doesn’t soften Megyn. Kidman is comparatively sidelined, though it’s Gretchen who knocks over the first domino. (The Showtime limited series about Ailes’s downfall, “The Loudest Voice, ” foregrounds Carlson. ) For the most part, Kidman plays Gretchen sincerely, though Roach over-sentimentalizes the character, especially with periodic cutaways to her children. But Kidman also makes Gretchen ever-so-slightly ridiculous, adding a sharp sliver of comedy that underscores how self-serving and futile her rebellious gestures at the network are, like when she appears on camera wearing no makeup. You will never win the war, the movie implies, by working for the enemy. That critique only goes so far in “Bombshell, ” which finally can’t deal with the story’s uncomfortable contradictions. So instead it makes you cry, notably with Kayla, a self-described evangelical millennial in the “Jesus space. ” Robbie deepens the movie’s emotional stakes as its persuasively sweet golden girl, who is brutalized by Roger. Roach handles this well enough, including in an upsetting scene in which Roger orders her to bare her white panties, a queasy emblem of surrender. But it is Robbie ? with her panicked, darting eyes and tensely resistant, then capitulating physicality ? who conveys the horror of sexual harassment, a degradation that seeps into body and soul. Kayla is the movie’s sacrificial lamb and, to an extent, a representation of female victimization and innocence. The problem in “Bombshell” is that Megyn and Gretchen have for years gone along with abusive male power to get along, at least while it was expedient for them. The movie personalizes this by having one woman call out another late in the story, rightly saying that

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