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For now, the pandemic has emptied the Times newsroom, but the office is back to life on screen. Not only do you see the bustling rooms, the coffee machine chats, and the beautiful views from the cafe, but you also see the camaraderie that can't be surpassed by Zoom. Watching the movie made me realize our relationship during the investigation. In some of the moments where Zoe and Carey confront Weinstein and his team, they are surrounded by their editors. I remember how powerful and poignant it was to literally have our bosses Dean Baquet, Matt Purdy, and our editor Rebecca Corbett. At one point, Jodi and I were on the phone with an attorney for Weinstein who was bugging him. Enraged, Dean snatched the phone from my hand and barked into the speaker: "Damn it." After Ashley Judd called Jodi to say she would continue filming, Jodi cried in front of us. When I ran over to the newsroom to tell Rebecca I'd confirmed the amount of settlement Weinstein paid to silence the victims, she jumped up from her desk and wrapped her arms around me.
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A few months ago, Dean retired as executive editor, and many staff members returned to see him off. It looks like an old newsroom, colleagues crammed together, and feels like another moment to capture all that has been lost to the pandemic. I had to go to the bathroom to hide my tears. The film's depiction of victims is not a re-enactment of abuse stories but rather shows these women as individuals working through choice without doing anything to cause harm. prey, so why would they risk helping us? Take Zelda Perkins, she's a force, a former Weinstein aide who spent decades barred by a heavy legal deal from telling her story. During those years of enforced silence, she acquired a remarkable ability to see beyond herself. From the first moment I called Zelda, which startled her on the work phone, she put on our shoulders the responsibility: “This is not just about Weinstein,” she said. You have to untangle an entirely legal, financial, and cultural system built to keep women quiet.
