journey's end act 3 questions

R.C Sherriff's "Journey's End" - Act 3 Quiz

This quiz is based on the events on the final act of "journey's end". please check out my other "journey's end" quizzes; i hope you have fun.

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Claire's Notes

Online english tutorials, for gcse and beyond, please subscribe to my channel to stay up to date with  my new video releases. it costs nothing but your support means everything.  , journey's end, act 1 detailed commentary and analysis (part 1).

More videos coming soon!

In this video, I discuss the first half of the Act from the rise of the curtain as far as Mason's second entrance (page 16 in the Heinemann Educational Books edition)

Act 1 Detailed commentary and analysis (Part 2)

In this video, I discuss the second half of the Act from Mason's second entrance (page 16 in the Heinemann Educational Books edition) as far as the fall of the curtain at the end of Act 1.

Act 2, scene 1 Detailed commentary and analysis

Act 2, scene 2, part 1: detailed commentary and analysis, act 2, scene 2, part 2: detailed commentary and analysis, act 3, scene 1: detailed commentary and analysis, act 3, scene 3: detailed commentary and analysis, act 3, scene 2: detailed commentary and analysis.

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Journey's End

If you are teaching R.C. Sheriff's powerful World War One play, our resources on characters, key quotations and themes will help to consolidate students' understanding. Use the revision resources and essay questions to prepare GCSE English Literature students for their exams.    

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Journey's End

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Journey's End

By r.c. sherriff, journey's end essay questions.

What is significant about the play's setting and the type of warfare they are engaged in?

The entirety of Journey's End takes place in the officers' dugout of a World War I British trench in France. In this setting, the soldiers eat, sleep, chat, and wait out the war, longing for the moment when their six-day shift on the front lines is over. These officers carry out what came to be known as trench warfare, named for the long, narrow ditches soldiers dug on either side of the battlefield. Trench warfare had a high mortality rate because every time a soldier would get out of the trench, he was exposed to the enemy forces stationed usually fewer than one hundred yards away. An important part of the trench warfare was the dugout, shelters which were more than often situated underground and which served as sleeping areas and places where the soldiers could find refuge during heavy shelling. This type of warfare was common in the First World War, though it became less common with the wider use of armored tanks and bomber planes.

How does the play showcase the complex psychological effects of World War I combat?

Almost every character in Journey's End has been mentally scarred by the horrors which they witnessed during the war. However, the psychological damage of remaining engaged in a combat role is showcased best through Stanhope. Early in the play, the audience learns how Stanhope has become an alcoholic during the war, numbing himself to the horrors of war by keeping himself in a state of constant inebriation. Another character who exhibits psychological strain is Lieutenant Trotter; rather than turn to drink, Trotter becomes obsessed with food and makes bleakly humorous jokes. He also develops the habit of drawing a circle for each hour spent in the trenches and then coloring the circle as the hour passes. This is presented as not just busy work but a coping mechanism, allowing him to savor every hour in which he is not killed. The image evokes a prisoner marking on the cells of his prison every day that he has been incarcerated. All these behaviors, including the tendency to forget important details and violent outbursts, can be attributed to post-traumatic stress disorder (PTSD). During the First World War, the condition was euphemistically referred to as "shell shock," as the symptoms were most overt in soldiers who survived extremely traumatic events, such as shell bombing.

How is the concept of heroism handled in the play?

Early in the play, the audience learns that Raleigh sees Stanhope as a hero—an estimation which Osborne does not disabuse him of. Stanhope, however, refuses to believe he is a hero, because he sees himself as a failure. Stanhope admits he does not feel brave enough to go in no man’s land without being completely drunk; Stanhope believes that a true hero would not need drinking as a coping mechanism. Osborne, however, tries to convince Stanhope that his flaws make him no less heroic, stating that heroes tend to remain heroes no matter what. The irony that Stanhope cannot see is that heroes, in the Greek literary tradition, almost always have a tragic flaw. In this way, Stanhope's drinking and the shame it generates renders him more heroic in the context of a dramatic play.

What is significant about the letter Raleigh writes his sister?

As soon as Stanhope learns that Raleigh has joined his company, he becomes paranoid, believing Raleigh will write to his sister and shatter the image she holds of Stanhope as a great war hero. Though Osborne insists he is overreacting and that Raleigh will not gossip about Stanhope's drinking, Stanhope becomes obsessed with the idea of censoring the letter. In a tense moment, he tells Raleigh that he will have to read it before the letter is sent, and Raleigh withholds it, leading the audience to believe that Stanhope's suspicions were correct. However, in an instance of situational irony, Stanhope's and the audience's expectations are undermined: when Osborne reads the letter aloud, there is no mention of Stanhope's PTSD symptoms. It is clear that Raleigh continues to see him as a hero.

Besides their uses of jargon terms, what is unique about the way the play's characters interact with each other?

The stilted and joking manner in which the characters address each other conveys the play's thematic preoccupation with emotional repression. Characters such as Trotter exhibit a repressive tendency by adopting a blithe attitude toward war, casually making grim jokes about death and disfigurement. Similarly, Osborne is quick to interrupt Stanhope whenever he tries to discuss the dissociative episodes he is experiencing; Osborne wants to reassure Stanhope that he is fighting fit, yet his reassurance also functions as a way of repressing the emotionally uncomfortable truth that underlies the conversation. In this way, the dialogue in Journey's End shows how repression functions as a necessary mechanism for maintaining the outward appearance of confidence and sanity in the desperate circumstances of war.

Journey’s End Questions and Answers

The Question and Answer section for Journey’s End is a great resource to ask questions, find answers, and discuss the novel.

How does Sherriff create tension in the duologue between Osborne and Stanhope at the end of Act 1?

Stanhope meets the revelation that Raleigh has joined his company with unease. The presence of Raleigh introduces a new conflict to the play that involves the themes of heroism, alcoholism, and PTSD (post-traumatic stress disorder). Stanhope knows...

What are Trotter's quotes showing his emotions?

From the text:

Trotter (throwing his spoon with a clatter into the plate) : Oh, I say, but dam!

Trotter : Well, boys ! ’Ere we are for six days again. Six bloomin’ eternal days. {He makes a calculation on the table.)

Trotter comes down the steps,...

How Sherriff presents the true horrors of was through the character of Raleigh?

The difference between the fantasy of war and its true, horrific and demoralizing nature is one of the play's major themes. The theme is most overtly revealed through Raleigh's character arc. When Raleigh first arrives, his boyish excitement at...

Study Guide for Journey’s End

Journey's End study guide contains a biography of R. C. Sherriff, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Journey's End
• Journey's End Summary
• Character List

Essays for Journey’s End

Journey's End essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of the play Journey's End by R. C. Sherriff.

• The Depiction of War in Journey’s End and Exposure
• How does Sherriff present Heroism in Journey's End?
• How Stanhope Generates Conflict in the Opening Act
• Comparison of the mental suffering created by war
• Human Decency in a World of Human Waste

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The Secret Push That Could Ban TikTok

U.s. lawmakers have long worried that the chinese government could use the app to spread propaganda..

This transcript was created using speech recognition software. While it has been reviewed by human transcribers, it may contain errors. Please review the episode audio before quoting from this transcript and email [email protected] with any questions.

From “The New York Times,” I’m Sabrina Tavernise. And this is “The Daily.”

[THEME MUSIC]

American lawmakers have tried for years to ban the video app TikTok over concerns that its ties to China pose a national security risk. Last week, they passed a law that might finally do it. Today, my colleague, Sapna Maheshwari, on the secret effort behind the law and what a ban would mean for the company’s 170 million American users.

It’s Tuesday, April 30.

So Sapna, tell me about this law that just passed that potentially bans the social media app TikTok. We’ve seen efforts in the past to rein in TikTok, but this one really seems like the most substantial yet.

It’s a huge deal. What this law really does is it puts the future of this hugely popular app with 170 million American users into question. TikTok has reshaped the way many people listen to music. It’s changed the way we cook. It’s made a whole different kind of celebrity.

But it’s never been able to shake these concerns around the fact that it has really close ties to China. It’s owned by a Chinese company, ByteDance. And lawmakers, for years, have been worried that the Chinese government could somehow use ByteDance and TikTok to get information on Americans or possibly spread propaganda.

President Trump tried to ban it in 2020. The State of Montana tried to ban this app last year. TikTok has largely survived those challenges, but this time it could actually be banned in the United States.

So let’s talk about this. Why did this effort succeed where the other ones failed?

So it’s an interesting story.

Here we go.

The committee will come to order.

And it really dates back to this hearing about a year ago that Congress had with Shou Chew, the CEO of TikTok.

Mr. Chew, you are here because the American people need the truth about the threat TikTok poses to our national and personal security.

Members of the committee, thank you for your time.

— TikTok has repeatedly said that it has addressed these national security concerns and that there’s no issue here. And you can hear that when Shou Chew testified.

Let me start by addressing a few misconceptions about ByteDance of which we are a subsidiary. ByteDance is not owned or controlled by the Chinese government.

He’s saying American investors are behind ByteDance.

Now, TikTok itself is not available in mainland China. We’re headquartered in Los Angeles and in Singapore.

And I myself am Singaporean. I live in Singapore.

The bottom line is this — American data, stored on American soil, by an American company, overseen by American personnel.

And we are actually going above and beyond what American technology companies do to keep things safe.

And I look forward to your questions. Thank you very much.

And is Congress convinced by that?

Congress is not convinced by that.

ByteDance is a Chinese company?

Well, ByteDance owns many businesses that operates in China.

Is it or is it not a Chinese company?

Congressman, the way we look at it, it was founded by Chinese entrepreneurs.

No, no, no, no. I’m not asking how you look at it. Fact, is it a Chinese company or not? For example, Dell is a company —

It was this really fiery, five-hour hearing, where Republicans and Democrats asked really contentious questions.

We do not promote or remove content at the request of the Chinese government. Will you repeat —

The question is, are you percent certain that they cannot use your company to promote such messages?

It is our commitment to this committee and all our users that we will keep this free from any manipulation by any government.

OK. If you can’t say it 100 percent certain I take that as a no.

There’s this underlying sense of distrust around the company and its ties to China.

I will remind you that making false or misleading statements to Congress is a federal crime.

I understand. Again, you can go on our platform. You will find that content.

And it becomes clear through the hearing that, across the board, Republicans and Democrats largely feel the same way.

Mr. Chew, I got to hand it to you. You’ve actually done something that in the last three to four years has not happened except for the exception of maybe Vladimir Putin. You have unified Republicans and Democrats.

So within weeks of this hearing, this small group of lawmakers gets together. And they say, let’s come up with a law that works where all the other ones have failed and actually make TikTok answer to its Chinese connections once and for all.

So tell me about this small group of lawmakers. Who are they?

So it starts with Republicans. Among them is Steve Scalise, one of the most powerful Republicans in the House. And a small group sort of works together for a few months, but they realize that in order to really make this law work, they’re going to need Democrats. So they end up working through this House Committee that’s focused on China and competition. And this is where the bulk of the work on this bill takes place.

And just to note, this is a really small group. There’s less than 20 key players who are working on this. And all throughout, they are keeping this very, very secret.

And why exactly are they keeping it secret? What’s the point of that?

So this group really wanted to keep this out of the eyes of TikTok, which has a huge lobbying presence in DC, and has successfully worked to kill bills that targeted TikTok in the past. And what they’re really doing is looking at all of the past efforts to either force a sale or a ban of TikTok, and trying to work their way through why those plans didn’t succeed and what they can do differently.

But while the lawmakers are working on this bill, something big happens that kind of changes the politics around it. And that’s October 7.

Your social media feeds are unique to you, but could they be shaping how you view the Israel-Gaza War? The BBC’s —

As the war breaks out and people start getting information about it, a lot of people are getting information about the Israel-Hamas War on TikTok, especially young people.

Social media algorithms seem to be driving some users towards increasingly divisive posts —

And there’s this big messy argument spilling out into living rooms and all over the internet, and, of course on TikTok. And it’s getting very heated. For instance, there’s this moment in the fall where a bunch of TikTok users start sharing this old manifesto.

I read Osama bin Laden’s “Letter to America.”

It’s wild, and everyone should read it.

Go read “A Letter to America.” Seriously, go read it.

That was actually written by Osama bin Laden, defending the 9/11 attacks and criticizing the United States’ support of Israel. TikTok users start trying to tie it to the modern day conflict.

Reading this letter, it becomes apparent to me that the actions of 9/11 were all just the buildup of our government failing other nations.

The way this letter is going viral right now is giving me the greatest sense of relief. Now it’s all coming to light because of Palestine.

And there’s these accusations that TikTok may be promoting one side of the conflict over the other. And a couple of researchers look at hashtags around Palestine, and they say that the data they pulled shows that TikTok is showing way more pro-Palestine videos and not so much for Israel. And this sets off huge alarm bells for this small group of lawmakers.

But isn’t that just a function of the fact that TikTok, at this point, is the public square in the United States for young people? I mean, this is what young people were talking about, and this is where they’re doing the talking.

TikTok has pushed back really forcefully against these accusations. They said that Gallup polls show that young people view Israel differently than older generations. They say that they’re not the ones influencing what people post, that the hashtags and the videos are a reflection of the user base and nothing that they’re doing to influence.

But for lawmakers, this doesn’t really make their concerns go away. Instead, this conflict shows them how TikTok could be used to spread propaganda. It made lawmakers feel that TikTok could be really dangerous when it comes to shaping the views of Americans on foreign policy, on US elections. And what it also does is, it provides this driving force to this group that’s drafting this bill. And they suddenly see that this might be a way to bring more people into their effort.

And so heading into November against this backdrop, they even bring in the White House and the Justice Department to help work on this bill. And with the White House, they want to make sure that this is a bill that the president will support. And they work with the Justice Department to shore up the language in the bill to help defend against court challenges.

Because the Justice Department, of course, would be the one that would have to defend the bill, right?

That’s exactly right. And so they’re trying to make it as rock solid as possible so that they can win in court when TikTok challenges this law. And so March rolls around, and they decide that it’s time to unveil this bill that they’ve been working on for close to a year.

The battle over TikTok on Capitol Hill is intensifying.

This morning, House lawmakers have agreed unanimously to move a bill to a full floor vote.

And TikTok is caught completely flat footed. They didn’t see this coming. And this is just what the group wanted. So TikTok has this army of lobbyists that’s suddenly scrambling. And they go into damage control mode. They start reaching out to members of Congress.

This app is so much more than just an app for dumb TikTok dances.

They fly a group of TikTok stars and small businesses to come to DC —

This is a life-changing apps.

— and lobby on the steps of the Capitol and meet with lawmakers.

Standing up here with all these amazing TikTokers behind me is a complete honor, and every single one of them would voice their opinion just like this. This is how we feel. This has to stop.

They set up interviews between these TikTok creators, as they’re known, and big TV shows and news programs. And they’re doing everything they can to fight against this bill before it goes any further. And then they decide to do something unusual, which is use TikTok itself to try and derail this bill.

How exactly do they do that?

So days after this bill is announced, a ton of TikTok users get a message when they open the TikTok app that basically says, call Congress and tell them not to ban TikTok.

Hmm. OK. So like, literally this window comes up and says, call Congress. Here you go.

Exactly. You can enter your zip code, and there’s a button that appears. And you can press it, and the call goes straight to your representative.

So offices are quickly overwhelmed by calls. And TikTok sent out this message to users on the same day that a House committee is going into vote on this bill and whether to move it forward. And so the stunt happens. They go into vote, and they come out, and it’s 50 to 0 in support of the bill.

One of the representatives who worked on the bill said that this stunt by TikTok turned a lot of no’s into yeses and yeses into, quote, “hell yeses.”

[LAUGHS]: so the whole episode sounds like it actually backfired, right? Like, TikTok’s stunt essentially just confirmed what was the deepest fears of lawmakers about this company, that the app could be used to influence American politics.

That’s definitely how a lot of lawmakers viewed it. And when this bill is brought to the full House a week later, it passes by an overwhelming majority. And weeks later, it passes in the Senate as part of a broader aid package. And on Wednesday, it’s signed into law by President Biden.

But now the question is, what does it mean? Like, how will this actually work? And how will it affect the tens of millions of Americans who use TikTok every day?

[MUSIC PLAYING]

We’ll be right back.

So Sapna, now that Biden has signed this bill, what does it actually mean in practice for TikTok? What does the law do?

So the law is really trying to push ByteDance, the company that owns TikTok, to sell to a non-Chinese owner. And the company basically has nine months for this sale to happen. There’s an option for President Biden to add another three months to that clock. And if the company doesn’t find a buyer or refuses to be sold, it will be banned.

And what would a ban actually mean, Sapna? I mean, people would still have the app on their phones, right? So it wouldn’t disappear overnight.

Yeah, no one’s coming to pick up your phone and to forcibly delete this thing. What the law says is that app stores and web hosting services wouldn’t be allowed to carry TikTok anymore. So basically, it would kind of die a slow death over time, where it wouldn’t be updated and just kind of peter out.

So the bottom line here is that the clock has started on this potential sale, right? They have 12 months to find a buyer. So what are the obstacles here? I mean, it sounds pretty ferociously complicated.

There’s a ton of challenges here. And it’s a very messy choose-your-own adventure. So one of the first big questions is who could buy this?

ByteDance and TikTok are private. We don’t know their financials. But analysts estimate that it will cost tens of billions of dollars. That narrows the buying pool pretty quickly. And a lot of the companies that could afford to buy it, like Meta, the owner of Facebook, or Google, which owns YouTube, would probably be kicked out of the running because they are simply too big. Regulators would say, you already own these big apps. You can’t possibly add this to your stable.

There’d be a monopoly concern there.

Exactly. And then, there’s a lot of questions around how this would work, technically. ByteDance and TikTok are very much global organizations. You have the CEO in Singapore. They have huge operations in Ireland. They have this big workforce in the US. And of course, they do have engineers in China.

So how do you extract all those things, make it all work? It’s a very big international transaction.

And then there is the chance that the Chinese government blocks this sale and says, you cannot do this, ByteDance. We will not allow it.

So Sapna, how does that actually work, though, in terms of China? I mean, can China actually just ban the sale of this company? I mean, it is a private company after all, right?

Well, here’s one way it could work. The Chinese government could block the export of TikTok’s algorithm. And let me explain that in kind of plain English.

They could basically block the technology that fuels the TikTokiness of this app, the recommendations, the magic of it, why you see what you see when you’re looking at TikTok.

TikTokiness, is that an adjective?

That is now an adjective.

[LAUGHS]: Nice.

And there’s a chance that Beijing could say, hey, you can’t export this technology. That is proprietary. And if that happens, that suddenly makes TikTok way, way less valuable.

So the Chinese government could let the sale go through potentially, but as a kind of an empty shell, right? The thing that makes TikTok TikTok, the algorithm, wouldn’t be part of the company. So that probably isn’t very appealing for a potential buyer.

Exactly. And I mean, the role of the Chinese government here is really interesting. I’ve talked to experts who say, well, if the Chinese government interferes to try and block a sale of this app, doesn’t that underscore and prove all the concerns that have been expressed by American lawmakers?

If you’re worried about China being in control of this thing, well, that just confirmed your fears.

Exactly. And I mean, it’s an interesting thing that ByteDance and TikTok have to grapple with.

So bottom line here — selling TikTok is quite complicated, and perhaps not even possible for these reasons that you’re giving, right? I mean, not least of which because the Chinese government might not allow the algorithm to leave the country. And that’s not something that the US Congress has a lot of control over.

So is this law fundamentally just a ban, then?

That’s what TikTok is calling it. Right after this bill was signed into law on Wednesday —

Make no mistake, this is a ban, a ban on TikTok and a ban on you and your voice.

— Tiktok’s CEO made a TikTok — what else?— that explained the company’s position.

Because the freedom of expression on TikTok reflects the same American values that make the United States a beacon of freedom.

He actually argued that TikTok reflects American values.

TikTok gives everyday Americans a powerful way to be seen and heard. And that’s why so many people have made TikTok part of their daily lives.

And he said that this law infringes on the First Amendment free speech rights of Americans who love it and who use it every day.

The facts and the Constitution are on our side, and we expect to prevail again.

So it’s very clear that TikTok plans to challenge this law in court. And the court fight to follow will determine the fate of TikTok’s future in the US.

So is that First Amendment argument that the TikTok CEO is making here going to work?

Nobody wants to put money on that. I mean, the company is really approaching this with the idea that the First Amendment rights of Americans are being infringed on. But if you remember, the government has been working on this law. They’ve been anticipating those challenges. And they can justify an infringing of First Amendment rights in certain cases, including with national security concerns. And so it’ll be up to a judge on whether those concerns pass muster and justify this sale and even a potential ban of TikTok.

Got it. So TikTok will argue free speech, First Amendment. And the government will counter by saying, look, this is about China. This is about America’s national security interests.

That’s right. And the legal experts that I’ve spoken with say this is a really big and sticky area of the law, and it’s a huge case. And they really think that this will go to the Supreme Court, regardless of who wins in the first round of this.

So where does that leave the millions of Americans who use TikTok, and many of them, of course, who earn a living on the platform?

I mean, it’s really uncertain what happens now with the company, and the clock has started ticking. When I’ve looked at TikTok and looked at videos from users —

This is about the impending TikTok ban. And it just triggered me so much. It makes my blood boil, and I have to get this out there.

There’s a lot of shock —

The most success I’ve had has been here on TikTok, and now they’re trying to take it away.

This is so stupid!

— and anger.

You can’t ban apps! You can’t ban things from people!

People are confused.

Word on the street is that in the next 9 to 12 months, TikTok could be banned.

And they’re also caught a bit off guard, just because there have been these years of efforts to do something about TikTok. People on the app have been hearing about a TikTok ban, really, since 2020.

The government can take away a literal app on our phones, and we’re supposed to believe we’re free?

A few TikTokers have said, how can this be the thing that the government is pushing through so quickly?

Can we stop funding a genocide? No. Can we get free COVID tests? No. Can we stop killing the planet? No. Can we at least watch videos on an app of people doing fun things and learn about the world around us? No.

So there’s this sense of distrust and disappointment for many people who love this app.

We got rid of TikTok. You’re welcome. Protecting you from China. You know that phone was made in China. Ah!

And I think there’s also this question, too, around what about TikTok makes it so harmful? Even though it has increasingly become a place for news, there’s plenty of people who simply use this app for entertainment. And what they’re seeing out of Washington just doesn’t square with the reality they experience when they pull out their phones.

And I wonder, Sapna, I mean, just kind of stepping back for a second, let’s say this ban on TikTok succeeds. If it goes through, would Americans be better off?

It depends who you ask. For the users who love TikTok, if it actually disappeared, it would be the government taking away a place where maybe they make money, where they get their entertainment, where they figure out what to read or what to cook next. To free speech advocates, this would be dystopian, unheard of for the government to crack down on an app with such wide usage by Americans.

But for the American political class And the National security establishment, this is a necessary move, one that was years in the making, not something that was just come up with on the fly. And ultimately, it all comes down to China and this idea that you can’t have a social media app like this, a source of news like this, that is even at all at risk of being influenced by the Chinese government and our greatest adversaries.

Sapna, thank you.

Here’s what else you should know today. On Monday, in its latest high-profile showdown with pro-Palestinian protesters, Columbia University gave students until 2:00 PM to clear out from an encampment at the center of campus or face suspension. It appeared to be an effort to remove the encampment without relying on New York City Police, whose removal of a previous encampment there two weeks ago inspired similar protests on campuses across the country.

Free Palestine!

Hi, this is Sharon Otterman reporting for “The New York Times.”

00 PM deadline for protesters to clear out of the encampment at the center of Columbia University has come and gone, and there’s still quite a large contingent inside the encampment.

But Monday’s warning seemed only to galvanize the Columbia protesters and their supporters.

And hundreds of students and others from around the campus have come out to support them. They are currently walking around in a picket around the encampment.

Hundreds of students, standing for or five people deep, encircled the encampment in a show of solidarity. They were joined by members of the Columbia faculty.

There’s also dozens of faculty members, who are prepared to stand in lines in front of the main entrance to the encampment, in case Public Safety or the NYPD move in. But as of 2:00, there was no sign of that happening.

Then, on Monday evening, Columbia announced it had begun to suspend students who had failed to leave the encampment. It was unclear exactly how many students had been suspended.

[PRO-PALESTINE CHANTING]:

Today’s episode was produced by Will Reid, Rachelle Banja, and Rob Szypko. It was edited by Marc Georges and Liz O. Baylen, contains original music by Dan Powell and Marion Lozano, and was engineered by Chris Wood. Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly. Special thanks to Sharon Otterman.

That’s it for “The Daily.” I’m Sabrina Tavernise. See you tomorrow.

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American lawmakers have tried for years to ban TikTok, concerned that the video app’s links to China pose a national security risk.

Sapna Maheshwari, a technology reporter for The Times, explains the behind-the-scenes push to rein in TikTok and discusses what a ban could mean for the app’s 170 million users in the United States.

On today’s episode

Sapna Maheshwari , who covers TikTok, technology and emerging media companies for The New York Times.

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A tiny group of lawmakers huddled in private about a year ago, aiming to bulletproof a bill that could ban TikTok.

The TikTok law faces court challenges, a shortage of qualified buyers and Beijing’s hostility .

Love, hate or fear it, TikTok has changed America .

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Sapna Maheshwari reports on TikTok, technology and emerging media companies. She has been a business reporter for more than a decade. Contact her at [email protected] . More about Sapna Maheshwari

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‘The Fall Guy’ Writer Details How Hollywood’s Biggest Stunts Inspired the Movie: ‘We Are Unashamedly Playing the Hits’

By Todd Gilchrist

Todd Gilchrist

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Ostensibly a big-screen reboot of the 1980s television series of the same name, “ The Fall Guy ” is actually director and former stunt performer David Leitch ’s love letter to both his wife, producer Kelly McCormick, and the undersung art of stunt work — only not always in that order.

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Speaking to Variety ahead of the May 3 opening day of “The Fall Guy,” Pearce explained how he tossed the original series, ‘70s dramedies like “The Long Goodbye” and “California Split,” film history’s most famous stunts, Leitch and McCormick’s relationship (both personal and professional), and the star wattage of Gosling and Blunt into a blender to create a smart, sexy, thrilling crowd-pleaser.

When did you start writing “The Fall Guy?” What onus was on you to either revive or maintain the iconography of the TV series?

When did the love story come into that equation?

We always had a love story, and then Ryan came on board and really wanted to run towards that — and it was an incredible instinct on his part. That’s how it coalesced. The ’80s and ’90s parts of it, we accumulated along the way. We are unashamedly playing the hits with this movie. From my perspective, like a lot of people, the last four, five years have been challenging on some level and as the process of making “The Fall Guy” went along, I relearned the value of a Friday night movie. I think maybe we all did. Ryan was on that journey anyway, and Dave and Kelly were looking to capitalize on one of David’s skills that gets overlooked, which is his comedy rather than just his action. Those three parts came together and that’s how we got the Trojan horse of this movie that it is a rom-com [where] we don’t force the life and death stakes. It’s more about the adult intricacy of having a relationship.

A lot of the action sequences evoke ones from other movies, be it “Mad Max: Fury Road,” “Mission: Impossible,” “Dune,” et cetera, but sort of plussed up with a stunt expert’s input.

I literally made a list of my favorite set pieces, or ones that [set] a record. The 220-foot fall from “Sharky’s Machine,” the “Casino Royale” cannon roll with the Aston Martin. The trashcan sequence over Sydney Harbor Bridge was Dave and I going, what’s our take on the “Stage Coach,” “Raiders of the Lost Ark” distance drag? It’s a real gift to have a stunt man as your central character because you can naturalize some of the heightened-ness of what a set piece is. But I approach set pieces or stunts the same way that people approach musicals, which is, if the plot of the musical hasn’t been advanced by a song, then the song can just be lifted. And as long as the story and the character is already built in, then the rest of the team goes to town. I do a bullet pass on what the action sequence is, David finds it and plusses it, I write a more scripted version of it, and then it goes into the real world.

What does showing all of the wires, logistics and tricks of each stunt allow you to do that you wouldn’t in a traditional action film?

That’s the trick of the movie. It’s real Magic Castle sleight of hand, because we start with a big set piece [with the cannon roll] where we see how we do the stunt, but it’s still scary, because doing a cannon roll is fucking scary. And so we show the workings up front, but then, spoiler alert, some of the other stunts are assisted with rigs and other practical stunting that we don’t see in the film, but I think we’ve kind of tricked the snake brain into thinking that every single thing you see has the same amount of danger that the first stunt legitimately has.

How difficult was it to top that initial, record-breaking stunt by the end of the film while also closing the loop on all of these different narrative threads?

That’s the kind of rhythmic thinking you have to apply if you are doing an action movie or set pieces, because my biggest worry is always that it works on an emotional level and a stunt level. You don’t want to feel like the movie has been emotionally resolved going into Act Three because then there’s nothing to root for, whether that’s between the characters or the emotional resolve of the plot, and when it comes to the action, you don’t want to feel like the best has already passed.

The movie is very earnest, but it also is very self-aware of action movie tropes and dialogue. How actively referential did you want the film to be?

It was always going to be a movie about making movies, because that’s what a stunt man does. But we didn’t want it to be “Tropic Thunder.” We wanted it to be a much more universal love story and action movie. I tried to think about it as a blue collar story rather than an entertainment industry story — the best version of a metaphor for people who work really hard for the sake of richer, more successful, more seen humans, and actually risk their life for it for all of our entertainment’s sakes. That’s baked into the DNA of the idea of the unknown stuntman, so the self-referential stuff built as it went along. David and Ryan and hopefully myself embedded those quotes or tropes into a reality where even if it gives you a wry smile about what we’re referencing, it stays in the authentic reality of who the characters are.

Are there moments as a screenwriter where you go, because it’s a movie, that allows you to take that leap of escalation, or dramatic license?

That’s where Leitch is a real master of his craft. I think that you can define the tone of a movie by the movie’s relationship to death, which sounds very doomy, but for example, in the shootout in the apartment there’s a lot of incredibly powerful ammunition being let off. If any of it hit Colt, it would literally blow the top half of his body off. But because of the way David approached it, you get the frisson of the excitement from it, but I don’t think anyone’s ever expecting Ryan to be maimed on the sofa of a chic apartment. As long as the reality’s relationship to the character is that you feel something, I don’t think that jeopardy needs to feel like the reality of somebody shooting a powerful gun at you. I don’t think that’s dishonest, I think that’s the language of cinema.

David Leitch told Variety that when filming began, the third act was not locked. How much did the making of the movie in some ways mirror the telling of the movie?

In this case, the greatest VFX that we have is the chemistry between Ryan and Emily. That’s why, at its best moments, their relationship does feel like a Billy Wilder movie, does have that kind of zing of a classic romance. How we made this movie is organic and it is a big group of people all playing at the top of their game to feed into each other.

To what extent were you inspired by David and Kelly, given that he’s indicated that this very much is a love letter to their relationship?

I told David when I started this movie, “I want to help you make the best ever David Leitch movie.” In the first and second drafts, I was putting stuff in there that Dave, two weeks afterwards, would be like, “You stole that from my life.” Kelly was such an important voice in the development of the Jody character that it can’t help but organically become a story that’s infused by their relationship and the support of each other they have as filmmakers.

The interesting thing about this as a blockbuster is I think we have a certain understanding of tentpole movies where we assume they are there to fill a date in a schedule because of the quarterly needs of shareholders of multinationals. This movie’s very different … our real lives are in the film.

What are some examples of the moments David said were stolen from his, or even your own experiences?

Well, let me first go on the record to underline the fact that to my knowledge Kelly has never tortured Dave with multiple fire burns. But the action and the romance are fused because you’re using the language of stunts to tell the love story. As for real life, the scenes that speak to me the most are the ones [between Colt and Jody] around the hotel — the split screen sequence where Emily’s character and Ryan’s character connect properly for the first time. They’re using the language of their jobs as the way to remember what they loved about each other, and that certainly comes from my real life. Whether you work in a bakery or on a film set, mutual admiration is hot, and it’s my favorite kind of romantic dynamic — game respects game.

There’s an interesting juxtaposition between Colt’s emotional intelligence via his work, and yet his inability to communicate his feelings to Jody. How did you navigate that balance?

In the fusing of the romance and the action, Colt’s challenges and limitations as a human are part of the reason that he went into being a stuntman — his physical expression of things, but maybe his fear that showing weakness will push someone away. Now, sure, that’s what can make you a good stuntman, but does that make you a good partner?

You are screenwriter and executive producer on “The Fall Guy,” but you’ve also directed. How has cultivating those different skill sets enabled you to compartmentalize them when you’re shouldering just one of those responsibilities?

Every project is completely different. For this movie, I knew David, I know his wide skill set, so in creating the story, I want to lean into each of those. Then, directorial experience tells you when to speak up and when to shut the fuck up because the buck stops with David. And so understand that what you should really be doing is helping him make the best version of the idea that speaks to him best. I am there to offer energy, offer ideas, offer joy, offer good lines, and frankly, there is a joy in being a part of that, that only comes when you really trust the people you’re working with. The reason I hope “The Fall Guy” team stays together forever is because it feels like there is such a mutual respect for what everybody does, and a sense that everybody is working at the top of their game, that it makes it very easy to be the component that I need to be to help the movie be as good as it can be.

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