Scoop (2024)

Director Philip Martin’s film  is the first of two films about Prince Andrew’s debacle on the BBC program Newsnights¸ the Brits’ counterpart to CBS’s 60 Minutes. Released on Netflix on April 2024, it will be followed in September by A Very Royal Scandal (reviewed elsewhere in this issue). Scriptwriters Peter Moffat and Geoff Bussetil base their script on the memoir of the woman without whom there would have been no interview, Samantha McAlister, who was a BBC booking producer in 2019. Thus, the film centers more on her, whereas in the second film, actually a 3-part TV series, Prince Andrew, Duke of York and BBC presenter Emily Maitlis  (Gillian Anderson) are the center of the story. (And because the series runs a little over 3 hours, there is more time to round out the details of the pair, especially of Prince Andrew.)

More than one critic has compared Scoop to Working Girl because Sam McAlister (Billy Piper) is shown as less educated than her BBC colleagues, and the latter scoff at her suggestion that they seek an interview with Prince Andrew because of his being linked so often with the American sex offender Jeffrey Epstein. They blow her off, assuring her that it would be “Impossible.” However, when Epstein commits suicide, causing a frenzy of media coverage and speculation, the idea is more acceptable—and possible, because Sam, refusing to be discouraged by her colleagues, had made contact with the Prince’s private secretary, Amanda Thirsk (Keeley Hawes). The two exchange emails and meet over coffee, with Sam arguing that the Prince needs to tell his side of the story. Sam’s persistence eventually wins Thirsk to her side.

The Palace has hired a PR expert to restore Prince Andrew’s reputation, but he wisely opposes any interview. As the negotiations concerning the interview continue, he resigns. Sam asks that the interviewer be Emily Maitlis, and when the two women and another BBC staffer meet with the Amanda, the Prince, and his eldest daughter Princess Beatrice, to discuss the project, it is Sam who dares to be blunt with the royals—he and the royal family need the interview, she tells them, in order to change his “randy Andy” public image. The only other journalistic film I know that goes into such details prior to an interview is Frost/Nixon, an equally good film centering on a political interview. Film and TV producers, seldom receiving credit other than their names briefly appearing on the credit list, must love this film!

The interview takes place, and as the Prince continues to show little feeling and make surprising statements—such as not being able to sweat per the testimony of his accuser—we can see by the faces of the onlookers that they all realize that with the rope which Emily keeps unreeling through her relentless questions, the Prince is hanging himself. Especially damning is his answer to the question that “Why,” after Epstein’s sexual abuse conviction, the Prince would still maintain contact with the sex predator, even staying in his home for three days while visiting Amerca–“It was a convenient place to stay.” Also, leading viewers to the conviction of his guilt is his response to the question of would he be willing to answer under oath victim Virginia Giuffre’s accusation that he raped her on three different occasions—instead of saying “Yes!”, he answers that he would have first to consult with his lawyers. At the end of the interview when Emily asks if he has a message for the victim, instead of expressing sympathy for her, he calmy replies “No.”

The Prince and his party believe that they have aced the interview, Prince Andrew even offering to give Emily a tour of the palace, another example of his self-delusion and since of entitlement. But even the Queen apparently lives in the same bubble, because she does not pressure the BBC to cancel the interview. What an example of the misjudgment of the powerful and the privileged! As we all know by now, the public’s angry response to the interview on both sides of the Atlantic forced the Royals to strip the Prince of his titles and patronages. Later there is an out of court settlement with Virginia Giuffre. The Prince made no confession or admission of guilt, but the victim, or her charity,  nonetheless was paid some 12 million pounds.

I love the subtle scene near the beginning of the film showing Sam aboard a London double-decker bus watching several teenage girls up front enjoying each other’s company. She is also talking on her smartphone with the New York City photographer who has sent her pictures of girls whom Epstein has been sex trafficking. She looks at the portrait of one of them and then at the teenagers merrily conversing. Her pensive gaze suggests that she could be comparing them to the girl whose life was ruined by Epstein and Prince Andrew.

Another good scene is newsroom boss Esme Wren (Romola Garai) congratulating the staff on their good work, saying, “This is what newsnight is. We put the time in to get the stories that other shows won’t. Stories that need to be told, that people care about, hold the powerful to account and give victims a voice.”

This film celebrates the contribution to justice of a commoner female persistent enough to overcome all obstacles. It celebrates the power of the press, indeed, its necessity. But despite all of his loss of power and prestige, the former Duke of York still lives in comfort without having to hold a job, free from jail. We live in an imperfect world, but thanks to those “speak out for those who cannot speak,” at least a bearable world.

This review is in the September issue of VP along with a set of questions for reflection and/or discussion. If you have found reviews on this site helpful, please consider purchasing a subscription or individual issue in The Store.