Margot Robbie Reporter Movie

Is one film that has been buzzing for a long time. Starring Charlize Theron, Nicole Kidman, and Margot Robbie, the film chronicles the sexual misconduct allegations and subsequent downfall of Fox News CEO, Roger Ailes. Megyn Kelly (Theron) acts as the primary narrator of the film that kicks off with Gretchen Carlson's (Kidman) initial allegations against Ailes. And while the film notes that there

While Kelly and Carlson's characters are recognizable from the jump, Kayla Pospisil (Robbie) is a creation that initially feels so authentically Fox News that it seems like she must exist in real life. But in reality, there is no singular person that the Pospisil character is based on. Instead, the character is inspired by 20 real-life accounts.

. Self-described as a evangelical millennial, she explains that she comes from a family that is fully entrenched in the world of Fox News to the point that they watch it every Thanksgiving. She also begins a sexual relationship with another woman (Kate McKinnon) on O'Reilly's staff. Upon moving to the crew of Bill O'Reilly's team, she sets her sights on currying favor with Fox News CEO, Roger Ailes (John Lithgow) in hopes of getting a spot on-air.

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After gaining a meeting with Ailes, Pospisil is sexually harassed and asked to pull her dress up beyond her waist. Later in the film, it's revealed that she was asked to give sexual favors to Ailes. She is one of the final whistleblowers to come forward before Ailes is brought down.

The long answer is that Kayla Pospisil is a composite based on a few different accounts from actual people with connections to Fox News. Obviously, the blonde hair and characterization lends the character to an obvious comparison to internet-star-turned-conservative pundit, Tomi Lahren. Pospisil also mentions how she can prove her brand of Christian millennial is profitable by the millions of Instagram followers she has.

But in terms of the sexual assault case that drives Pospisil's arc forward, the character was created after filmmakers interviewed a number of Fox News staffers who were bound by a non-disclosure agreement (NDA). While not allowed to speak on the record about their experience, women instead shared information anonymously, allowing filmmakers the ability to create a character out of their shared experiences. In short, Kayla Pospisil isn't based on a singular woman, but rather the accounts of several sexual assault victims.

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That is ultimately unclear. The 20 women or so who spoke to the filmmakers via anonymity did break their NDAs, but the filmmakers and those involved in the film have also agreed to protect their sources. Carlson and Kelly both deny having involvement with the film, though Carlson has started a campaign about the necessity of throwing out NDAs in relation to cases of sexual assault and harassment.

That she signed an agreement that comes with a penalty of $500, 000 if she breaks her NDA, though it's unclear if Fox would follow through on that consequence. A small handful of women who

Have their names attached to the project may have violated their NDAs, but as of now, there has been no retaliation taken against them, according to THR. New York and California have also moved to prohibit NDAs in cases of sexual assault.

Is Margot Robbie's 'bombshell' Character, Kayla Pospisil Based On A Real Person?

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“Whiskey Tango Foxtrot, ” an amenable, easygoing version of the story starring Tina Fey, is the least objectionable of the bunch, though it falls prey to some similarly regrettable assumptions. Adapted from journalist Kim Barker’s 2011 memoir “The Taliban Shuffle, ” which recounted her experiences reporting from Afghanistan and Pakistan for the Chicago Tribune, this plunge into the adrenaline-fueled world of war reporting winds up being surprisingly winning and low-key, giving Fey a welcome chance to dial down the gag-centric humor that defines most of her comedy work, and to deliver a warm, understated portrayal of a woman who’s more rueful and self-aware than zanily madcap.

Kim Baker (the “r” has been dropped to maximize creative license) arrives in Afghanistan in 2003, having hit the wall professionally as a network news writer and seeking adventure and change. She’s given a room in a Kabul apartment building known as the “Fun House, ” a den of iniquity that’s part frat house, part forward operating base. Among her instant friends include a Lara Logan-esque TV journalist named Tanya (Margot Robbie), a dashing Scottish photographer named Ian (Martin Freeman) and Baker’s “fixer, ” a quietly observant local named Fahim.

The fact that Fahim is played by American actor Christopher Abbott – and a Kabul politician is played by British actor Alfred Molina – is no less tone deaf for the fact that both men deliver sensitive, funny performances. The sight of white actors donning beards and Afghan pakols to depict “foreign” characters is wincingly off-putting, as is the tendency of “Whiskey Tango Foxtrot” to present Afghanistan as a dusty, chaotic backdrop for its heroine’s personal catharsis. (The correspondents’ clique is constantly referred to as the “Kabubble.”)

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At one point, Kim refers to “the real world” as if Afghanistan was somehow a piquant detour, which might capture her own journey into the hothouse atmosphere of war reporting but also speaks volumes about the film’s own solipsism.

Still, considering the film’s own “Kabubble” mindset, Fey and her directors, Glenn Ficarra and John Requa, find real emotion in the character’s journey, which includes a brief, very believable love affair and a growing friendship with Fahim that results in an affectingly choreographed encounter toward the film’s end. (Billy Bob Thornton also deserves credit for his delightful cameo as a gruff Marine general.) Baker even has a gratifying moment of reckoning, during which one of the first soldiers she interviews on her beat delivers a moving speech about getting over self-pity and moving on.

As evidenced in such past films as “I Love You, Philip Morris” and “Crazy, Stupid Love, ” Ficarra and Requa like tonally off-kilter films that don’t fit comfortably into ready-made genres. True to that ethos, “Whiskey Tango Foxtrot” possesses plenty of laid-back humor, flawlessly delivered by Fey, but its wry tone and pathos keep it from being an out-and-out comedy.

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That’s the strength of a film that, at its best, captures the dizzyingly contradictory feelings of attraction and horror toward the life-and-death stakes of war, and of feeling both at home and at sea in a cacophonous, confounding world. True to its title, as well as its flawed but sympathetic protagonist, “Whiskey Tango Foxtrot” is more confused than cynical or opportunistic. Its bewilderment is contagious, and ultimately endearing.