Diana Falzone, Tamara Holder, Juliet Huddy and Julie Roginsky wrote the 'Catch and Kill' author a letter telling him, "your backslapping of Fox News seems more like backsliding."
Ronan Farrow has apologized to four women who received settlements from Fox News for saying that the network did a "great job" of handling its sexual misconduct claims.
The Catch and Kill: Lies, Spies and a Conspiracy to Protect Predators author walked back his recent comments in a statement to CNN on Wednesday. "Let me be clear: I in no way intended to suggest that networks like Fox have fully addressed these issues," he said. "One of the lessons of the past few years is that there's still a long way to go. I've heard what these women have said and join with them in the hopes that people in power are listening."
Farrow continued, "I'm sorry if my comments implied anything else — it certainly wasn't my intention."
The New Yorker investigative reporter first raised the eyebrows of some when, during a recent interview about NBC News' handling of sexual misconduct allegations, he told Fox News anchor Bret Baier that Fox "has done a great job of confronting some of the issues, including the use of secret settlements" regarding alleged harassment and assault at its own network. Catch and Kill reports, among other items, that disgraced producer Harvey Weinstein pressured NBC News into killing a story on allegations of sexual misconduct against him by leveraging information the National Enquirer had on former NBC anchor Matt Lauer. NBC News has denied that it was ever made aware of misconduct by American Media, Inc., the parent company of the National Enquirer.
In response to Farrow's sound byte, four women who previously settled cases with Fox News wrote the journalist an open letter on Wednesday, which read, "While we appreciate the work you have done to expose and explore sexual assault, harassment and retaliation in the news and entertainment industries, we are curious as to the basis of your effusive praise of Fox News for its response to the revelations by women who described the toxic work environment they faced."
The women -- Diana Falzone, Tamara Holder, Juliet Huddy and Julie Roginsky -- added that Farrow was likely aware of tactics used by media companies to silence their stories, including non-disclosure agreements, gag orders and no-rehire provisions. "Shouldn't you be publicly calling for these companies to waive such provisions before reporting that progress is being made?" they asked.
Falzone sued the network in 2017 for gender and disability discrimination after claiming the network took her off-air over a story she reported on suffering from endometriosis and settled for an undisclosed sum; Holder settled for $2.5 million in 2017 after claiming a former vp of Fox News Latino forced himself on her; Huddy settled for a reported six figures after she claimed that former anchor Bill O'Reilly tried to ruin her career after she refused his sexual advances; and Roginsky settled for an undisclosed amount after suing with the allegations that former Fox News head Roger Ailes denied her for a co-hosting role after she refused his advances.
In the letter, Falzone, Holder, Huddy and Roginsky concluded, "because many women continue to be silenced and blackballed from the industry simply for having the courage to demand that they be treated professionally and with respect, your backslapping of Fox News seems more like backsliding."
Also on Wednesday, Pineapple Street Studios revealed they would be launching a companion podcast to Catch and Kill that is set to provide a "deeper understanding of the plot," per Farrow, and will debut in November.
In 2001, the United States began to wage the endless War in Afghanistan. In 2006, the U.S. Army retired the most enduring slogan it had ever used — “Be All that You Can Be” — and replaced it with “Army of One.” It didn't take. So the marketing team went back to the drawing board and came back with a tagline so popular that it would be in active service for the next 12 years: “Army Strong.”
It was short, it was aspirational, and — unlike the two previous slogans — it shifted focus away from the soldier. “Army Strong” wasn't about self-improvement or individual power, even if it subtly promised to confer those things on all who heeded the call. It was saying, in brute terms, that the Army is strength. That must have been a difficult message to internalize for the soldiers who were sent halfway across the world just to flex their country's muscles. How were they supposed to restore the might that made sense of their mission?
Some version of that question has haunted Dan Krauss since at least 2013, when his powerful documentary “The Kill Team” explored the circumstances behind an infamous series of murders that U.S. soldiers committed against Afghan civilians in the Kandahar Province. But with the war in Afghanistan still raging six years later, Krauss hasn't been able to move on. If anything, he's only grown more committed to sharing what that story has to say about the atrocities that can happen when soldiers don't feel culpable for the army they serve, or the killing they do in its name. With his new narrative film, also called “The Kill Team,” Krauss is effectively cranking up the volume on a story that he's desperate for people to hear. As lucid and intense as it is underwritten, his second crack at the Maywan District murders might be much less nuanced than his first, but this riveting thriller still manages to amplify its subject much louder than Krauss has been able to before.
The recruitment poster that Andrew Briggman Nat Wolff has tacked to his bedroom wall asks: “Are you Army Strong?” And the kid seems to think that he knows what that means — everything he does feels like an affirmative answer to that question. Smoking on the porch with his father on the night before he reports for duty, Andrew says that going to Afghanistan is “his chance.” His chance to be more of a man than his desk jockey dad? His chance to do something with the biceps he's build from doing thousands of push-ups? It's unclear.
But then, three weeks after a tragic explosion kills the kind-hearted man who was leading his unit, Andrew meets someone who spells everything out for him in the simplest of terms. His name is Sergeant Deeks Alexander Skarsgård, he's basically the scariest alpha male alive, and he tells the soldiers that in exchange for their loyalty he will grant them “the chance to be a warrior. The chance to actually do something out here. To be a part of history, instead of just reading about it in some book.”
Wide-eyed and eager to prove himself, Andrew immediately starts campaigning for Deeks' approval. He's a nice kid with a good head on his shoulders Wolff's performance comes right from his conscience, but he's willing to wade through an ocean of toxic masculinity if it means his superior's approval and an opportunity to be team leader. If Deeks orders Andrew to wrestle a fellow recruit for the job he wants, then so be it. That's just the way things are done on the base; none of these guys have watched “Beau Travail.”
In a very unambiguous film that's defined by the stark contrast between yellow sand and a deep blue sky “Jackie” cinematographer Stéphane Fontaine shoots “The Kill Team” with the hyper-saturation of an Instagram Story from Hell, the most striking mismatch of all is that between Andrew and Deeks. All mustached bravado, performative volatility, and cult-like manipulation, Deeks is the kind of character who Skarsgård could play in his sleep, but that doesn't make his appearance here any less effective. He has a chilling effect on everyone under his command — he scares them into feeling like they want to be on his side. The soldiers feel they are fulfilling their duty to the Army by acting as extensions of their sergeant's sociopathic ethos, and the most effective aspect of Krauss' film is how palpable it allows that dynamic to become.
Andrew is more cipher than character, and “The Kill Team” does itself a great disservice by making him such an uncomplicated lamb in the face of Deeks' bloodthirsty wolf, but it's still harrowing to watch the new recruit scramble for some firm moral ground to stand on once the other men in his unit start killing civilians behind closed doors. The straightforwardness of Krauss' script can be limiting, but it works to the film's advantage whenever Deeks tries to justify his actions. It may not be right to kill “10 of them to save one of us” the morality of that rationale is as questionable as its math, but it's clear that the sergeant has internalized that logic at the deepest levels of his soul.
While Krauss is too skittish about the specifics and struggles to dramatize Andrew's decision to blow the whistle on his brothers, he clings tight to the ethical compromises at work, and runs them all the way up the ladder. In the film's most blunt and powerful scene, Andrew catches up with a fellow soldier a few hours after the latter has taken his first life. Earlier that day, the kid had been lost in a rush of hoo-rah adrenaline, but now — in the dark of night — he's far more pensive. He gives Andrew a very clean and movie-workshopped monologue about the “conscience rounds” that firing squads use to solve an executioner's misgivings; some people will only pull the trigger if there's a chance they've loaded a blank. “It's not 'I'm shooting this person,'” the soldier says, “It's 'we're shooting this person.' Once you figure that out, you can shoot anybody you want and never lose any sleep.”
Deeks doesn't turn his unit into “The Kill Team” because he can't murder unarmed civilians by himself; he badgers them into it because he wants to spread the guilt so thin that he can't even feel it on his skin. Without letting these men off the hook for their crimes, Krauss' shines a harsh and bracing light on what it means to be on the frontlines of a war that we have been fighting since the turn of the century. Deeks may lead the way, but nobody can be Army Strong on their own.
A24 will release “The Kill Team” in theaters and on VOD on October 25.
T he Morning Watch is a recurring feature that highlights a handful of noteworthy videos from around the web. They could be video essays, fanmade productions, featurettes, short films, hilarious sketches, or just anything that has to do with our favorite movies and TV shows.
In this edition, run through over 80 Easter eggs and comic references from the first episode of HBO’s new Watchmen series. Plus, watch a video tribute to 25 years of films from the arthouse distributor Fox Searchlight, and listen as Kevin Smith partakes in Rolling Stone‘s “First Time” questionnaire, answering questions about the first time he
First up, now that the first episode of HBO’s new Watchmen series has debuted on HBO, you can dig into the many Easter eggs and comic references there are to the original graphic novel, thanks to ScreenCrush. This series actually considers the graphic novel canon, not the movie, so there are some interesting details to pick up on in this debut episode.
In case you needed a reminder of all the great movies that Fox Searchlight has released since forming 25 years ago, this outstanding montage features clips from movies like The Favourite, Little Miss Sunshine, The Grand Budapest Hotel, Juno, Slumdog Millionaire, and many more.
For Rolling Stone, Kevin Smith talks about a lot of different firsts in his life. Find out the first time he met Jason Mewes, the first time he met Stan Lee, the first time he saw Star Wars, his first time going to Comic-Con, and much more. It’s in support of Jay and Silent Bob Reboot, which is rolling out to various theaters as the Reboot Roadshow tours the country.
Fox has given a put pilot commitment to Chain of Command, a one-hour drama from writer April Fitzsimmons Doom Patrol, Valor, Jamie Lee Curtis, Berlanti Productions and Warner Bros. TV where Berlanti Prods is under a deal.
Your Complete Guide to Pilots and Straight-to-Series orders
Written by Fitzsimmons from a story by Fitzsimmons and Curtis, Chain of Command revolves around a young Air Force investigator with radical crime-solving methodology who returns to her hometown to join a military task force that doesn't want her, a family who has traumatized her, and must confront the secrets that drove her away.
Fitzsimmons and Curtis executive produce with Greg Berlanti and Sarah Schechter for Berlanti Prods. The project is a co-production of Warner Bros. TV and Fox Entertainment in association with Berlanti Productions.
At this point, there is no deal for Curtis to act but that is considered a possibility down the road.
Fitzsimmons, a U.S. Air Force veteran, has been a writer on the WBTV/Berlanti Productions—produced Doom Patrol for DC Universe , Valor for The CW, and Chicago P.D. and Chicago Justice for NBC, among others.
Curtis starred in two seasons of the Ryan Murphy-created TV series Scream Queens. Last year, she revived her signature character in Jason Blum's record-breaking version of Halloween, directed by David Gordon Green. Curtis' additional film roles include True Lies, for which she won a Golden Globe; Trading Places, which earned her a BAFTA for Best Supporting Actress; A Fish Called Wanda and Freaky Friday. She also won both a Golden Globe and People's Choice Award for her role in the acclaimed sitcom Anything but Love, was nominated for a Golden Globe for The Heidi Chronicles and was nominated for an Emmy Award for her role in the CBS television movie Nicholas' Gift.
At Fox, Berlanti Prods. has breakout new drama Prodigal Son, which recently received a full-season order. This marks the company’s third put pilot commitment this broadcast pitch season, joining dramas TriBeCa at NBC with writer Jessica Queller and Found with Nkechi Okoro Carroll, at ABC.
Jenny Slate: Stage Fright Netflix — In her first Netflix special and first-ever comedy special, Jenny Slate and director Gillian Robespierre beautifully blend the actress's unique stage performance with family interviews and home movies.
The Flash The CW, 8:00 p.m. — The fact that the impending crisis — and his death — is only weeks away means Barry must begin preparing his loved ones for a life without Central City's “Scarlet Speedster.”
Game One of the 2019 World Series FOX, 8:00 p.m. The Washinton Nationals head to Minute Made Park to take on the Houston Astros in the first game of Major League Baseball's biggest matchup.
NCIS CBS, 8:00 p.m. — The latest case to fall into the team's lap — a marine corporal accused of murdering her neighbor — tests all kinds of boundaries when it's suggested the suspect's hypnotherapy treatment may have led her to do it.
This Is Us NBC, 9:00 p.m. — Now that they're finally in a new home, Randall must address his and others' concerns about their continued adjustment. Meanwhile, Kevin is simply trying to support his loved ones and Rebecca throws a little party.
Mixed-ish ABC, 9:00 p.m. — The Johnson kids are excited because it's finally time for their first school dance. Unfortunately, Bow makes a choice about her dancing partner that is sure to cause more problems than not.
FBI CBS, 9:00 p.m. — In a story not unlike Walter White's and Marty Byrde's in Breaking Bad and Ozark, a devoted, down-on-his-luck father finds himself in deep trouble when his involvement in illegal matters explodes uncontrollably.
Arrow The CW, 9:00 p.m. — Oliver is still on the hunt for potential players, known and otherwise, in the Monitor's pre-Crisis plans. At least this time he won't be alone, because John, Laurel, and Tatsu are tagging along.
Black-ish ABC, 9:30 p.m. — The family realizes they might be on the upward trajectory when Dre is invited to join a very exclusive social club populated and run by a who's who of the black upper class. Of course, these opportunities sometimes come with a downside.
Mayans M.C. FX, 10:00 p.m. — After a season fraught with deadly potential, the club finds itself in the position to make a deal that could finally calm things down. Or, at least that's how it seems at first.
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Fox's 9-1-1 was Monday's top-rated show in broadcast primetime, growing a tenth from last week in the ratings to a 1.5 in the adults 18-49 demographic. That topped its time-slot rival, NBC's The Voice, in the metric while drawing 6.31 million viewers.
The two-hour The Voice 1.3, 7.96M, off a tenth in the demo but ticking up in viewers for its battle round, was the night's most-watched show. It edged 9-1-1 and fellow two-hour show Dancing With the Stars 0.9, 7.09M, which is even with last week's final numbers.
The combo of 9-1-1 and steady newbie Prodigal Son gave Fox the nightly win in the demo. ABC, behind DWTS and 10 PM winner The Good Doctor 1.0, 6.33M, up two tenths from a week ago, won in viewers. ABC and the CW might have adjustments later however due to local NFL preemptions.
At 10 PM, NBC's Bluff City Law 0.5, 3.72M, which is not getting an additional back order in its first season making a Season 2 a tough proposition, was steady with last week.
CBS' night included freshman Bob Hearts Abishola 0.7, 5.22M, steady in the demo and up in viewers week-over-week. All Rise 0.7, 5.44M, up a tenth, also saw a viewer boost, beating Prodigal Son and the CW's Black Lightning 0.3, 900,000 in the 9 PM slot.
The CW's All American 0.3, 960K and Black Lightning and both saw gains in the early numbers.