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Changed line(s) 32 (click to see context) from:
* {{Greed}}: Lowell quickly learns why exactly corporate branch of CBS wants to supress the segment. It's less about the fate of the network itself, but because [[spoiler: they are preparing the sell CBS to Westinghouse and everyone in the management, including people directly involved in keeping ''60 Minutes'' censored, has multi-million stakes in avoiding anything that would drop the stock price of the CBS]].
to:
* {{Greed}}: Lowell quickly learns why exactly the corporate branch of CBS wants to supress the segment. It's less about the fate of the network itself, but because [[spoiler: they are preparing the sell CBS to Westinghouse and everyone in the management, including people directly involved in keeping ''60 Minutes'' censored, has multi-million stakes in avoiding anything that would drop the stock price of the CBS]].
Changed line(s) 37 (click to see context) from:
* HoistByHisOwnPetard: Wigand takes his confidentiality agreement seriously, and its all but stated that he only broke it because of his former employers' heavy-handed attempts at intimidating him. [[NiceJobFixingItVillain If they'd just left him alone, he might never have talked.]]
to:
* HoistByHisOwnPetard: Wigand takes his confidentiality agreement seriously, and its it's all but stated that he only broke it because of his former employers' heavy-handed attempts at intimidating him.him. Even after having spoken with Burgman several times, he was still on the fence about doing the expose until he was directly threatened with an email saying his family would be killed and a bullet was placed in his mailbox. [[NiceJobFixingItVillain If they'd just left him alone, he might never have talked.]]
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* MametSpeak: A significant number of scenes focus on high-level legalese and corporate double-speak, most notably when Wigand and Bergman are discussing his employment history while attempting to tiptoe around breaking his expanded confidentiality agreement.
Changed line(s) 48 (click to see context) from:
* NaiveNewcomer: Both Jeffrey Wigand and his wife aren't fully prepared into what his got himself to. He struggles to understand why the fact he said nothing but truth is in any way bad for all of the film.
to:
* NaiveNewcomer: Both Jeffrey Wigand and his wife aren't fully prepared into for what his he got himself to. He struggles to understand why the fact he said nothing but truth is in any way bad for all of the film.
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Names The Same is no longer a trope
Changed line(s) 16 (click to see context) from:
* AutobiographicalRole: Mississippi Attorney General Michael Moore ([[NamesTheSame no relation]] to the filmmaker of the same name) and private investigator Jack Palladino appear as themselves, playing the roles in the story that they played in real life. (Palladino's wife, Sandra Sutherland, did not appear as herself; the character is played by actress Megan Odebash.)
to:
* AutobiographicalRole: Mississippi Attorney General Michael Moore ([[NamesTheSame no relation]] (no relation to the filmmaker of the same name) and private investigator Jack Palladino appear as themselves, playing the roles in the story that they played in real life. (Palladino's wife, Sandra Sutherland, did not appear as herself; the character is played by actress Megan Odebash.)
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Changed line(s) 71,72 (click to see context) from:
* SkewedPriorities: At one point, Lowell and his assistant are shown looking over B-roll footage for a segment on New Orleans police corruption. Lowell immediately has problems with the cameraman's obsession with mounted police:
-->'''Lowell:''' Stringer was supposed to be shooting b-roll on street cops in New Orleans. What's with all the horses?
-->'''Lowell:''' Stringer was supposed to be shooting b-roll on street cops in New Orleans. What's with all the horses?
to:
* SkewedPriorities: At one point, Lowell and his assistant are shown looking over B-roll BRoll footage for a segment on New Orleans police corruption. Lowell immediately has problems with the cameraman's obsession with mounted police:
-->'''Lowell:''' Stringer was supposed to be shootingb-roll B-Roll on street cops in New Orleans. What's with all the horses?
-->'''Lowell:''' Stringer was supposed to be shooting
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TRS wick cleaning, doesn't seem to fit anything else
Deleted line(s) 38 (click to see context) :
* HollywoodNerd: Wigand gets the "timid, stuttering scientist in big glasses" treatment - the real man is known for being temperamental when pushed, something that's even invoked in one of the dialogues.
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Changed line(s) 23 (click to see context) from:
* CharacterTics: When stressed or irritated, Wigand starts to stutter. On top of that, he has a very erratic moves in such state, which leads to his glasses sliding down on his nose, so he [[AdjustingYourGlasses keeps pushing the bridge of them up with index finger]].
to:
* CharacterTics: When stressed or irritated, Wigand starts to stutter. On top of that, he has a very erratic moves in such state, which leads to his glasses sliding down on his nose, so he [[AdjustingYourGlasses keeps pushing the bridge of them up with index finger]].finger.
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Changed line(s) 30 (click to see context) from:
* GetAHoldOfYourselfMan: A verbal one, but still counts. When Wigand seems to be unresponsive to pleas to get on the phone, Lowell orders the hotel clerk to get abrassive and get him "on the fucking phone", in those exact words - then he proceeds to chew him on said phone.
to:
* GetAHoldOfYourselfMan: A verbal one, but still counts. When Wigand seems to be unresponsive to pleas to get on the phone, Lowell orders the hotel clerk to get abrassive abrasive and get him "on the fucking phone", in those exact words - then he proceeds to chew him on said phone.
Changed line(s) 40 (click to see context) from:
* ImagineSpot: After the censored interview is aired and the defeated Jeff is sitting in a hotel room, ignoring calls from Bergman, he starts to imagine his daughters playing in a garden, reminiscenting happier, better times. All while the poor hotel clerk has to deal with Lowell on the phone.
to:
* ImagineSpot: After the censored interview is aired and the defeated Jeff is sitting in a hotel room, ignoring calls from Bergman, he starts to imagine his daughters playing in a garden, reminiscenting reminiscing happier, better times. All while the poor hotel clerk has to deal with Lowell on the phone.
Changed line(s) 46 (click to see context) from:
** Jeff Wigand's ultimate decision to go against B&W and start to whistle-blow is portayed not on health concerns (which was his real-life motivation, ''before'' B&W made it personal), but rather the company treating him like crap when he was employed and then using heavy-handed means to make him stick to his confidentiality agreement, something he wasn't even considering breaking before their threats.
to:
** Jeff Wigand's ultimate decision to go against B&W and start to whistle-blow is portayed portrayed not on health concerns (which was his real-life motivation, ''before'' B&W made it personal), but rather the company treating him like crap when he was employed and then using heavy-handed means to make him stick to his confidentiality agreement, something he wasn't even considering breaking before their threats.
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Changed line(s) 15 (click to see context) from:
* AdaptationalWimp: Mike Wallace had much, much bigger sway, since, you know, he was the face of the ''Series/SixtyMinutes''. And he too wasn't so easily convinced to drop the segment.
to:
* AdaptationalWimp: Mike Wallace had much, much bigger sway, since, you know, he was the face of the ''Series/SixtyMinutes''. And he too wasn't so easily convinced to drop the segment.
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Changed line(s) 84 (click to see context) from:
-->I'm with Don on this[[note]]"This" meaning censoring their show[[/note]].
to:
-->I'm with Don on this[[note]]"This" this.[[note]]"This" meaning censoring their show[[/note]].show[[/note]]
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Changed line(s) 66 (click to see context) from:
'''Mark Stern:''' The unlimited checkbook. That's how Big Tobacco wins every time. On everything. They ''spend you to death''. $600 million a year in outside legal: Chadbourne-Parke. Uh, Ken Starr's firm, Kirkland & Ellis. Listen, GM and Ford, they get ''nailed'' after 11 or 12 pick-ups blow up, right? These clowns have never...I mean ever...\\
to:
'''Mark Stern:''' The unlimited checkbook. That's how Big Tobacco wins every time. On everything. They ''spend you '''''spend you''' to death''. $600 million a year in outside legal: Chadbourne-Parke. Uh, Ken Starr's firm, Kirkland & Ellis. Listen, GM and Ford, they get ''nailed'' after 11 or 12 pick-ups blow up, right? These clowns have never...''never''...I mean ever...\\
Changed line(s) 68 (click to see context) from:
'''Mark Stern:''' ...not even with hundreds of thousands dying each year from an illness related to their product...have ''ever'' lost a personal-injury lawsuit. On this case, they'll issue gag orders, sue for breach, anticipatory breach, enjoin him, you, us, his pet dog, the dog's veterinarian - tie him up in litigation for 10 to 15 years. I'm telling you, they bat a thousand ''every time''. He knows that. That's why he's not gonna talk to you...
to:
'''Mark Stern:''' ...not even with hundreds of thousands dying each year from an illness related to their product...have ''ever'' '''ever''' lost a personal-injury lawsuit. On this case, they'll issue gag orders, sue for breach, anticipatory breach, enjoin him, you, us, [[AndYourLittleDogToo his pet dog, the dog's veterinarian veterinarian]] - tie him up in litigation for 10 to 15 years. I'm telling you, they bat a thousand ''every time''. He knows that. That's why he's not gonna talk to you...
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Changed line(s) 3,4 (click to see context) from:
''The Insider'' is a 1999 film from Creator/TouchstonePictures starring Creator/RussellCrowe, Creator/AlPacino and Creator/ChristopherPlummer.
to:
''The Insider'' is a 1999 film from Creator/TouchstonePictures Creator/TouchstonePictures, directed by Creator/MichaelMann and starring Creator/RussellCrowe, Creator/AlPacino and Creator/ChristopherPlummer.
Changed line(s) 7,8 (click to see context) from:
Directed by Creator/MichaelMann. The AllStarCast has a raft of recognizable actors in supporting roles, like Creator/GinaGershon as a weaselly network executive, Creator/MichaelGambon faking a Southern accent ([[OohMeAccentsSlipping most of the time]]) as a weaselly tobacco executive, and Creator/BruceMcGill with a pretty spectacular OneSceneWonder appearance as a lawyer who calls Wigand to testify in a lawsuit.
to:
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* AdaptationTitleChange: ''The Insider'' is based on the ''Vanity Fair'' article "The Man who Knew Too Much" (likely changed to avoid confusion with the Creator/AlfredHitchcock [[Film/TheManWhoKnewTooMuch film]].
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Changed line(s) 31 (click to see context) from:
* {{Greed}}: Lowell quickly learns why exactly corporate branch of CBS wants to supress the segment. It's less about the fate of the network itself, but because [[spoiler: they are preparing the sell CBS to Westinghouse and everyone in the management, including people directly involved in keeping ''60 Minutes'' censored, has milti-million stakes in avoiding anything that would drop the stock price of CBS]].
to:
* {{Greed}}: Lowell quickly learns why exactly corporate branch of CBS wants to supress the segment. It's less about the fate of the network itself, but because [[spoiler: they are preparing the sell CBS to Westinghouse and everyone in the management, including people directly involved in keeping ''60 Minutes'' censored, has milti-million multi-million stakes in avoiding anything that would drop the stock price of the CBS]].
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* NaiveNewcomer: Both Jeffrey Wigand and his wife aren't fully prepared into what his got himself to. He struggles to understand why the fact he said nothing but truth is in any way bad for all of the film.
-->(After a disastrous dinner in which the wife walks out, crying, and Wigand [[INeedAFreakingDrink goes straight to the bar counter]], mid-sentence)\\
'''Wallace:''' (flabbergasted) Who are these people?\\
'''Bergman:''' Ordinary people under extraordinary pressure, Mike.
-->(After a disastrous dinner in which the wife walks out, crying, and Wigand [[INeedAFreakingDrink goes straight to the bar counter]], mid-sentence)\\
'''Wallace:''' (flabbergasted) Who are these people?\\
'''Bergman:''' Ordinary people under extraordinary pressure, Mike.
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* AdaptationalVillainy: Don Hewitt is portrayed as someone who willingly and actively caves-in to the outside pressure on the CBS. In reality, he was made completely powerless by the corporate branch, much like Lowell is portrayed in the movie - the fight was more of their duo against the corporate, than against each other.
* AdaptationalWimp: Mike Wallace had much, much bigger sway, since, you know, he was the face of the ''Series/SixtyMinutes''. And he too wasn't so easily convinced to drop the segment.
* AdaptationalWimp: Mike Wallace had much, much bigger sway, since, you know, he was the face of the ''Series/SixtyMinutes''. And he too wasn't so easily convinced to drop the segment.
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Changed line(s) 24 (click to see context) from:
* DeadpanSnarker: Bergman is this occasionally.
to:
* DeadpanSnarker: Bergman is this occasionally. The most memorable bit happens when Wigand is testing Lowell in a Japanese restaurant - Bergman makes it clear that they are ''both'' commodity to the network and the news business.
Changed line(s) 27 (click to see context) from:
* GetAHoldOfYourselfMan: A verbal one, but still counts. When Wigand seems to be unresponsive to pleas to get on the phone, Lowell orders the hotel clerk to get abrassive and get him "on the fucking phone".
to:
* GetAHoldOfYourselfMan: A verbal one, but still counts. When Wigand seems to be unresponsive to pleas to get on the phone, Lowell orders the hotel clerk to get abrassive and get him "on the fucking phone".phone", in those exact words - then he proceeds to chew him on said phone.
Changed line(s) 29,30 (click to see context) from:
* HeroicBSOD: Wigand has a pretty memorable one when the abridged ''Series/SixtyMinutes'' program airs.
** Bergman has one of his own when he finds out Wallace is siding with the bosses about not airing the story.
** Bergman has one of his own when he finds out Wallace is siding with the bosses about not airing the story.
to:
* HeroicBSOD: {{Greed}}: Lowell quickly learns why exactly corporate branch of CBS wants to supress the segment. It's less about the fate of the network itself, but because [[spoiler: they are preparing the sell CBS to Westinghouse and everyone in the management, including people directly involved in keeping ''60 Minutes'' censored, has milti-million stakes in avoiding anything that would drop the stock price of CBS]].
* HeroicBSOD:
** Wigand has a pretty memorable one when the abridged ''Series/SixtyMinutes'' program airs.
** Bergman has one of his own when he finds outWallace [[spoiler: Wallace]] is siding with the bosses about not airing the story.
* HeroicBSOD:
** Wigand has a pretty memorable one when the abridged ''Series/SixtyMinutes'' program airs.
** Bergman has one of his own when he finds out
Changed line(s) 40 (click to see context) from:
* ObstructiveBureaucrat: CBS higher-ups kill the story when confronted with the mere shadow of a possibility of a lawsuit from Brown & Williamson, and only relent when it becomes impossible for B&W to bring a tort case against them.
to:
* MistreatmentInducedBetrayal: A recurring element of the story:
** Jeff Wigand's ultimate decision to go against B&W and start to whistle-blow is portayed not on health concerns (which was his real-life motivation, ''before'' B&W made it personal), but rather the company treating him like crap when he was employed and then using heavy-handed means to make him stick to his confidentiality agreement, something he wasn't even considering breaking before their threats.
** Lowell Bergman goes against his own network - potentially risking being fired, burning all the bridges he has in any direction and facing a lawsuit on top of it all - when they do everything in their might to censor the piece he prepared and vouched for with his name.
** Upon realising he was used and duped just like Wigand, [[spoiler: Mike Wallace]] sides back with Lowell against CBS management.
* ObstructiveBureaucrat: CBS higher-ups kill the story when confronted with themere ''mere shadow of a possibility possibility'' of a lawsuit from Brown & Williamson, and only relent when it becomes impossible for B&W to bring a tort case against them.
** Jeff Wigand's ultimate decision to go against B&W and start to whistle-blow is portayed not on health concerns (which was his real-life motivation, ''before'' B&W made it personal), but rather the company treating him like crap when he was employed and then using heavy-handed means to make him stick to his confidentiality agreement, something he wasn't even considering breaking before their threats.
** Lowell Bergman goes against his own network - potentially risking being fired, burning all the bridges he has in any direction and facing a lawsuit on top of it all - when they do everything in their might to censor the piece he prepared and vouched for with his name.
** Upon realising he was used and duped just like Wigand, [[spoiler: Mike Wallace]] sides back with Lowell against CBS management.
* ObstructiveBureaucrat: CBS higher-ups kill the story when confronted with the
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Changed line(s) 72 (click to see context) from:
* WhatYouAreInTheDark: When he realises that his own network won't cover the case and duped Wigand already, Lowell Bergman goes through hell to both stand up for the guy and his own belief in journalistic integrity. All while he has nothing but benefits for dropping the entire issue.
to:
* WhatYouAreInTheDark: When he realises that his own network won't cover the case and duped Wigand already, Lowell Bergman goes through hell to both stand up for the guy and his own belief in journalistic integrity. All while he has nothing but benefits profit for dropping the entire issue.
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Didn't even notice it's already there
Changed line(s) 27,32 (click to see context) from:
* GetAHoldOfYourselfMan: A verbal one, but still counts. When Wigand seems to be unresponsive to pleas to get on the phone, Lowell orders the hotel clerk to get abrassive.
-->'''Lowell Bergman:''' Now listen to me. I want you to tell him, in these words, "Get on the [[PrecisionFStrike fucking]] phone."
-->'''Hotel clerk:''' I can't say that.
-->'''Lowell Bergman:''' No, you can. Tell him to get on the fucking phone!
-->'''Hotel clerk:''' He told me to tell you to get o-on ({{beat}}) the [[SuddenlyShouting FUCKING PHONE]]!
-->(Wigand finally reacts, stands up and angrily runs to the door, grabbing the phone from the scared clerk)
-->'''Lowell Bergman:''' Now listen to me. I want you to tell him, in these words, "Get on the [[PrecisionFStrike fucking]] phone."
-->'''Hotel clerk:''' I can't say that.
-->'''Lowell Bergman:''' No, you can. Tell him to get on the fucking phone!
-->'''Hotel clerk:''' He told me to tell you to get o-on ({{beat}}) the [[SuddenlyShouting FUCKING PHONE]]!
-->(Wigand finally reacts, stands up and angrily runs to the door, grabbing the phone from the scared clerk)
to:
* GetAHoldOfYourselfMan: A verbal one, but still counts. When Wigand seems to be unresponsive to pleas to get on the phone, Lowell orders the hotel clerk to get abrassive.
-->'''Lowell Bergman:''' Now listen to me. I want you to tell him, in these words, "Get on the [[PrecisionFStrike fucking]] phone."
-->'''Hotel clerk:''' I can't say that.
-->'''Lowell Bergman:''' No, you can. Tellabrassive and get him to get on "on the fucking phone!
-->'''Hotel clerk:''' He told me to tell you to get o-on ({{beat}}) the [[SuddenlyShouting FUCKING PHONE]]!
-->(Wigand finally reacts, stands up and angrily runs to the door, grabbing the phone from the scared clerk)phone".
-->'''Lowell Bergman:''' Now listen to me. I want you to tell him, in these words, "Get on the [[PrecisionFStrike fucking]] phone."
-->'''Hotel clerk:''' I can't say that.
-->'''Lowell Bergman:''' No, you can. Tell
-->'''Hotel clerk:''' He told me to tell you to get o-on ({{beat}}) the [[SuddenlyShouting FUCKING PHONE]]!
-->(Wigand finally reacts, stands up and angrily runs to the door, grabbing the phone from the scared clerk)
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Changed line(s) 17 (click to see context) from:
* BrutalHonest: Lowell is perfectly aware that he's harsh, brash and often rude. But he never lies nor avoids unpleasant facts - and this is how he wins the trust of Wigand.
to:
* BrutalHonest: BrutalHonesty: Lowell is perfectly aware that he's harsh, brash and often rude. But he never lies nor avoids unpleasant facts - and this is how he wins the trust of Wigand.
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* BrutalHonest: Lowell is perfectly aware that he's harsh, brash and often rude. But he never lies nor avoids unpleasant facts - and this is how he wins the trust of Wigand.
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Changed line(s) 19 (click to see context) from:
* CorruptCorporateExecutive: The [=CEOs=] of the Big Tobacco companies
to:
* CorruptCorporateExecutive: CharacterTics: When stressed or irritated, Wigand starts to stutter. On top of that, he has a very erratic moves in such state, which leads to his glasses sliding down on his nose, so he [[AdjustingYourGlasses keeps pushing the bridge of them up with index finger]].
* CorruptCorporateExecutive:
** The [=CEOs=] of the Big Tobaccocompaniescompanies, who insist, under an oath, that tobacco is harmless and non-addictive.
** There is also CBS corporate, and the top management of CBS network, which are too busy filling their pockets with incoming buy-out to risk drop of share prices due to a lawsuit from B&W.
* CorruptCorporateExecutive:
** The [=CEOs=] of the Big Tobacco
** There is also CBS corporate, and the top management of CBS network, which are too busy filling their pockets with incoming buy-out to risk drop of share prices due to a lawsuit from B&W.
* GratuitousJapanese: To drive point home the man speaks Japanese, Wigand makes an order in it in a Japanese restaurant. It's passable, but it's also clear Russell Crowe has no idea what he's saying.
Changed line(s) 33 (click to see context) from:
* HollywoodNerd: Wigand gets the "timid scientist in big glasses" treatment - the real man is known for being temperamental when pushed.
to:
* HollywoodNerd: Wigand gets the "timid "timid, stuttering scientist in big glasses" treatment - the real man is known for being temperamental when pushed.pushed, something that's even invoked in one of the dialogues.
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Added DiffLines:
-->(Wigand finally reacts, stands up and angrily runs to the door, grabbing the phone from the scared clerk)
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Added DiffLines:
* GetAHoldOfYourselfMan: A verbal one, but still counts. When Wigand seems to be unresponsive to pleas to get on the phone, Lowell orders the hotel clerk to get abrassive.
-->'''Lowell Bergman:''' Now listen to me. I want you to tell him, in these words, "Get on the [[PrecisionFStrike fucking]] phone."
-->'''Hotel clerk:''' I can't say that.
-->'''Lowell Bergman:''' No, you can. Tell him to get on the fucking phone!
-->'''Hotel clerk:''' He told me to tell you to get o-on ({{beat}}) the [[SuddenlyShouting FUCKING PHONE]]!
-->'''Lowell Bergman:''' Now listen to me. I want you to tell him, in these words, "Get on the [[PrecisionFStrike fucking]] phone."
-->'''Hotel clerk:''' I can't say that.
-->'''Lowell Bergman:''' No, you can. Tell him to get on the fucking phone!
-->'''Hotel clerk:''' He told me to tell you to get o-on ({{beat}}) the [[SuddenlyShouting FUCKING PHONE]]!
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Added DiffLines:
* ImagineSpot: After the censored interview is aired and the defeated Jeff is sitting in a hotel room, ignoring calls from Bergman, he starts to imagine his daughters playing in a garden, reminiscenting happier, better times. All while the poor hotel clerk has to deal with Lowell on the phone.
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Added DiffLines:
* StunnedSilence: Halfway through delivering a rousing speech to Hewitt about journalistic integrity and being a newsman for a living, Lowell is left completely speechless once [[spoiler: Mike Wallace reveals he agrees with censoring the segment]]. His only reaction is silently leaving the room, not believing what he just heard and from whom.
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Changed line(s) 34 (click to see context) from:
* OffTheRecord: The desperate call Bergman makes to [[spoiler: the New York Times]] is entirely off-record, since he's basically trading insider knowledge abount CBS situation. He doesn't even speak on his own, simply letting the journalist on the other side following the story on his own, only stopping him when he gets details wrong - which ''he never does''.
to:
* OffTheRecord: The desperate call Bergman makes to [[spoiler: the New York Times]] is entirely off-record, since he's basically trading insider knowledge abount about CBS situation. He doesn't even speak on his own, simply letting the journalist on the other side following the story on his own, only stopping him when he gets details wrong - which ''he never does''.
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* WhatYouAreInTheDark: When he realises that his own network won't cover the case and duped Wigand already, Lowell Bergman goes through hell to both stand up for the guy and his own belief in journalistic integrity. All while he has nothing but benefits for dropping the entire issue.
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He's still alive after all
Changed line(s) 27 (click to see context) from:
* HollywoodNerd: Wigand gets the "timid scientist in big glasses" treatment - the real man was known for being temperamental when pushed.
to:
* HollywoodNerd: Wigand gets the "timid scientist in big glasses" treatment - the real man was is known for being temperamental when pushed.
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Changed line(s) 25 (click to see context) from:
* HeelFaceTurn: When Wigand and Bergman are getting ScrewedByTheNetwork, Mike Wallace is shown trying to take the high road and side with CBS. But then they start manipulating ''his'' statements as well.
to:
* HeelFaceTurn: When Wigand and Bergman are getting ScrewedByTheNetwork, ScrewedByTheNetwork in-universe, Mike Wallace is shown trying to take the high road and side with CBS. But then they start manipulating ''his'' statements as well.
Changed line(s) 27,29 (click to see context) from:
* HollywoodNerd: Wigand.
* HonestCorporateExecutive: Wigand.
* IntrepidReporter: Lowell Bergman.
* HonestCorporateExecutive: Wigand.
* IntrepidReporter: Lowell Bergman.
to:
* HollywoodNerd: Wigand.
Wigand gets the "timid scientist in big glasses" treatment - the real man was known for being temperamental when pushed.
* HonestCorporateExecutive:Wigand.
Wigand. And the best part is how his honesty would assure everything stays under the wraps, as he was also following his confidentiality agreement to the letter.
* IntrepidReporter: Lowell Bergman. Once his own network decides to ditch him, he decides to still follow through with the interview and the case he opened, because that's what he considers the right thing to do.
* HonestCorporateExecutive:
* IntrepidReporter: Lowell Bergman. Once his own network decides to ditch him, he decides to still follow through with the interview and the case he opened, because that's what he considers the right thing to do.
Changed line(s) 34 (click to see context) from:
* OffTheRecord
to:
* OffTheRecordOffTheRecord: The desperate call Bergman makes to [[spoiler: the New York Times]] is entirely off-record, since he's basically trading insider knowledge abount CBS situation. He doesn't even speak on his own, simply letting the journalist on the other side following the story on his own, only stopping him when he gets details wrong - which ''he never does''.
Changed line(s) 60 (click to see context) from:
* StrawmanNewsMedia: Type 1
to:
* StrawmanNewsMedia: Type 1Downplayed, but still. The CBS is portrayed as such, when they are willing to self-censor their own material over a simple ''possibility'' of a lawsuit from B&W that could potentially ruin not the station itself, but the mother corporation.
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Changed line(s) 5,8 (click to see context) from:
[[BasedOnATrueStory It tells the true story]] of Jeffrey Wigand (Crowe), a senior researcher at Brown & Williamson tobacco company. After Wigand is fired from B&W, he goes to ''Series/SixtyMinutes'' and producer Lowell Bergman (Pacino) to spill the secrets he knows about the tobacco industry. Wigand's and Bergman's attempts to reveal the truth about Big Tobacco lead to resistance from B&W – and, surprisingly, from [[Creator/{{CBS}} their own network]].
Directed by Creator/MichaelMann. The AllStarCast has a raft of recognizeable actors in supporting roles, like Creator/GinaGershon as a weaselly network executive, Creator/MichaelGambon faking a Southern accent ([[OohMeAccentsSlipping most of the time]]) as a weaselly tobacco executive, and Creator/BruceMcGill with a pretty spectacular OneSceneWonder appearance as a lawyer who calls Wigand to testify in a lawsuit.
Directed by Creator/MichaelMann. The AllStarCast has a raft of recognizeable actors in supporting roles, like Creator/GinaGershon as a weaselly network executive, Creator/MichaelGambon faking a Southern accent ([[OohMeAccentsSlipping most of the time]]) as a weaselly tobacco executive, and Creator/BruceMcGill with a pretty spectacular OneSceneWonder appearance as a lawyer who calls Wigand to testify in a lawsuit.
to:
[[BasedOnATrueStory It tells the true story]] of Jeffrey Wigand (Crowe), a senior researcher at Brown & Williamson tobacco company. After Wigand is fired from B&W, he goes to ''Series/SixtyMinutes'' and producer Lowell Bergman (Pacino) to spill the secrets he knows about the tobacco industry. Wigand's and Bergman's attempts to reveal the truth about Big Tobacco unsurprisingly lead to resistance from B&W – and, surprisingly, from [[Creator/{{CBS}} their own network]].
Directed by Creator/MichaelMann. The AllStarCast has a raft ofrecognizeable recognizable actors in supporting roles, like Creator/GinaGershon as a weaselly network executive, Creator/MichaelGambon faking a Southern accent ([[OohMeAccentsSlipping most of the time]]) as a weaselly tobacco executive, and Creator/BruceMcGill with a pretty spectacular OneSceneWonder appearance as a lawyer who calls Wigand to testify in a lawsuit.
Directed by Creator/MichaelMann. The AllStarCast has a raft of
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Changed line(s) 31 (click to see context) from:
-->'''Wigand:''' You manipulated me into where I am now, staring at the Brown and Williamson building! It's all dark except for the tenth floor. That's the legal department -- that's where they fuck with my life!
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-->'''Wigand:''' You manipulated me into where I am now, staring at the Brown and Williamson building! It's all dark dark, except for the tenth floor. That's the legal department -- that's where they fuck ''fuck with my life!life''!
Changed line(s) 46 (click to see context) from:
'''Mark Stern:''' The unlimited checkbook. That's how Big Tobacco wins every time. On everything. They ''spend you to death''. $600 million a year in outside legal: Chadbourne-Parke. Uh, Ken Starr's firm, Kirkland & Ellis. Listen. GM and Ford, they get ''nailed'' after 11 or 12 pick-ups blow up, right? These clowns have never...I mean ever...\\
to:
'''Mark Stern:''' The unlimited checkbook. That's how Big Tobacco wins every time. On everything. They ''spend you to death''. $600 million a year in outside legal: Chadbourne-Parke. Uh, Ken Starr's firm, Kirkland & Ellis. Listen. Listen, GM and Ford, they get ''nailed'' after 11 or 12 pick-ups blow up, right? These clowns have never...I mean ever...\\
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Changed line(s) 5,6 (click to see context) from:
[[BasedOnATrueStory It tells the true story]] of Jeffrey Wigand (Crowe), a senior researcher at Brown & Williamson tobacco company. After Wigand is fired from B&W he goes to ''Series/SixtyMinutes'' and producer Lowell Bergman (Pacino) to spill the secrets he knows about the tobacco industry. Wigand's and Bergman's attempts to reveal the truth about Big Tobacco lead to resistance from B&W – and, surprisingly, from [[Creator/{{CBS}} their own network]].
to:
[[BasedOnATrueStory It tells the true story]] of Jeffrey Wigand (Crowe), a senior researcher at Brown & Williamson tobacco company. After Wigand is fired from B&W B&W, he goes to ''Series/SixtyMinutes'' and producer Lowell Bergman (Pacino) to spill the secrets he knows about the tobacco industry. Wigand's and Bergman's attempts to reveal the truth about Big Tobacco lead to resistance from B&W – and, surprisingly, from [[Creator/{{CBS}} their own network]].