BOMBSHELL: the haunted, toothless response to a destructive political culture

Bombshell never lives up the explosive promise of its title.

While satire has caught up with the age of Donald Trump, what with Alec Baldwin’s razor sharp Saturday Night Live impersonations which have infuriated the humourless Bigly-in-chief, cinema has to date struggled with how to capture not just this most divisive of Presidents but also the culture he has fostered in American politics and mass media. Jay Roach’s Bombshell is one of the first significant efforts to explore what this means for a country Hollywood has struggled in since 2016, defined as it is by ostensibly liberal values – even if economically they are far more conservative than they would ever let on.

The doorway opened for screenwriter Charles Randolph, best known for penning Adam McKay’s The Big Short, to detail this fairly recent chapter of American political life following the death in mid-2017 of Roger Ailes, the long-standing CEO of Fox News, as controlled by the global conglomerate under Australian tycoon Rupert Murdoch. Ailes no longer being able to litigate allows Bombshell to tell the story, primarily, of Megyn Kelly, the Fox News host who with previously dismissed host Gretchen Carlson stood up to years of pervasive, institutionalised sexual harassment by Ailes within the Fox News system, triggering a lawsuit that saw Ailes reputation in tatters and cost him his position. Within just under a year, that failure apparently killed him.

Bombshell, therefore, could easily have exploded as such and entirely destroyed Roger Ailes and the broader, Trumpian culture of old, white male abuse in the public eye. So why does it end up so remarkably toothless?

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Last Action Hero (1993)

Last Action Hero is both ahead of its time and perfectly positioned *within* the era it was made, such is the paradox of a forgotten curiosity of 1990’s action cinema and the stratospheric career of Arnold Schwartzenegger.

Here’s my story and why I’m writing about Last Action Hero some twenty five years on from its release. I was 11 years old when Last Action Hero was released in cinemas, in the US one week after Steven Spielberg’s decade-defining Jurassic Park. In theory, I was the perfect age to consume a film which is entirely about the youthful obsession of a similarly-aged child, Austin O’Brien’s Danny Madigan, with action adventure cinema. Jurassic Park I badgered my parents to take me to see three times yet I didn’t go anywhere near Last Action Hero. It didn’t even register with me. It has taken me until age 36 to actually sit down and watch it, and this is after spending at least the last twenty years being an enormous fan of Schwarzenegger’s movies and career. Last Action Hero was always the Arnie film I missed.

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