Who’s the FBI Agent in “Richard Jewell”?

Sure, Jon Hamm looks like a lecherous FBI agent who might trade information for sex. But whose part is he really playing?Starmax/Newscom via ZUMA

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Clint Eastwood’s new movie, Richard Jewell, about the man who was falsely accused of planting a bomb at the 1996 Olympics in Atlanta, has gotten generally good reviews from critics but has come under fire from journalists and feminists for a scene in which a newspaper reporter offers to sleep with an FBI agent if he’ll tell her the name of their suspect. It’s such a tired—and tiresome—trope. But aren’t there two sides to this? What about the FBI agent? By chance, just as I was wondering about this, the New York Times provided a few details:

Mr. Eastwood’s film, written by the veteran screenwriter Billy Ray, follows the standard practice for movies based on real-life events by taking liberties with certain facts to speed the story along. But it uses Ms. Scruggs’s real name while giving a new one to the F.B.I. agent, raising the question of whether the filmmakers risked damaging the reporter’s reputation in their efforts to convey how Mr. Jewell lost his.

….At an awards-campaign talk in Los Angeles last month, the film’s screenwriter, Mr. Ray, said he had spoken with people involved in the case. “I will stand behind every word of the script,” he added.

There are two obvious things here. The first is that the reporter died a few years ago and you can’t libel a dead person. So there was no legal risk in using her name. The FBI agent, by contrast, is still alive and could sue for libel if he were wrongly named.

The second is that maybe the FBI agent was Ray’s source in the first place, and not naming him was part of the source agreement.

So what I really want to know now is: what’s the name of the FBI agent? And was he the source for the movie?

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In "News Never Pays," our fearless CEO, Monika Bauerlein, connects the dots on several concerning media trends that, taken together, expose the fallacy behind the tragic state of journalism right now: That the marketplace will take care of providing the free and independent press citizens in a democracy need, and the Next New Thing to invest millions in will fix the problem. Bottom line: Journalism that serves the people needs the support of the people. That's the Next New Thing.

And it's what MoJo and our community of readers have been doing for 47 years now.

But staying afloat is harder than ever.

In "This Is Not a Crisis. It's The New Normal," we explain, as matter-of-factly as we can, what exactly our finances look like, why this moment is particularly urgent, and how we can best communicate that without screaming OMG PLEASE HELP over and over. We also touch on our history and how our nonprofit model makes Mother Jones different than most of the news out there: Letting us go deep, focus on underreported beats, and bring unique perspectives to the day's news.

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