Sunday, August 9, 2026

Release: Ilvermorny: The Hidden School

 

Ilvermorny: The Hidden School
Genre: Action/Adventure/Fantasy
Director: Francis Lawrence
Writer: Dawson Edwards
Based on characters from JK Rowling's Wizarding World
Cast: Javon Walton, Elva Guerra, Mason Thames, Hilary Swank, Kyriana Kratter, Angela Bassett, Alexa Demie, Bob Odenkirk

Budget: $105,000,000
Domestic Box Office: $113,140,494
Foreign Box Office: $147,300,012
Total Profit: $30,044,424

Reaction: While not the blockbuster outcome most expect from the JK Rowling's Wizard World, and almost $100 million short of last season's The House of Black, Ilvermorny: The Hidden School still managed a decent little return on investment.




"Atmospheric, thoughtful, and genuinely interested in expanding the Wizarding World instead of remixing it. The Ilvermorny setting feels alive, the cast is refreshingly diverse, and the focus on memory, institutional erasure, and inherited trauma gives the story real weight. It can get very heavy and dense (sometimes to a fault), but unlike some recent spinoffs, it actually has something to say. More dark than fun, but purposeful; and that counts for a lot." - Dexter Quinn, Cinematic Observer Newsletter 


"Ilvermorny: The Hidden School deserves credit for trying something genuinely different within the Wizarding World, introducing intriguing mythology and a distinctly American magical identity. Francis Lawrence keeps the mystery engaging, and several supporting performances, particularly Hilary Swank and Angela Bassett, add welcome gravitas. Still, the film struggles to balance its coming-of-age adventure with its dense mythology, resulting in a story that feels more ambitious than satisfying."- Pierce Moore, London Post


"For a film introducing a new generation of young wizards, Ilvermorny: The Hidden School makes some baffling casting decisions. Javon Walton and Elva Guerra both feel noticeably too old for their teenage roles, creating a tonal disconnect that's difficult to ignore, while much of the supporting cast appears to be acting in an entirely different movie. Dawson Edwards' screenplay buries itself beneath convoluted mythology that rarely feels connected to the established Wizarding World, leaving Ilvermorny feeling less like a natural extension of Harry Potter than an unrelated fantasy wearing its robes. It's an ambitious swing, but one that never quite earns its place in the franchise." - Dave Manning, Ridgefield Press






Rated PG-13 for fantasy violence, thematic material, and some frightening images.





Top 10 Dawson Edwards Films

 

Sherman J. Pearson here for another Top 10. Writer Dawson Edwards has only been with LRF since Season 33, but he's now penned 11 films for the studio. Time for a Top 10 list to find out which film doesn't make the cut (meaning I have already viewed Ilvermorny: The Hidden School prior to this list).

Top 10 Dawson Edwards Films
10. Assata
9. Spelljammer
8. Ghost Recon
7. Blade
6. Ilvermorny: The Hidden School
5. The Legend of Zelda
4. The Quiet Between Us
3. Metroid
2. Unkempt Garden
1. Before Love Came to Kill Us 

Saturday, August 8, 2026

Now Showing: Ilvermorny: The Hidden School

 

Ilvermorny: The Hidden School
Genre: Action/Adventure/Fantasy
Director: Francis Lawrence
Writer: Dawson Edwards
Based on characters from JK Rowling's Wizarding World
Cast: Javon Walton, Elva Guerra, Mason Thames, Hilary Swank, Kyriana Kratter, Angela Bassett, Alexa Demie, Bob Odenkirk

Plot: September '97. Queens, New York. Noah Sullivan (Javon Walton) stood in the smoldering remains of the Lockwood Institute, an unsanctioned magical school hidden above a shuttered restaurant. Fire hadn't done this; Noah had, a surge of the building's ancient fury channeled through him until it broke. 

That night, a subway car appeared beneath Queens Plaza, waiting on a platform that shouldn’t exist. Noah stepped in. Across from him sat a woman in cranberry robes, her eyes like stone. She didn’t ask his name. Just said, “Welcome to Ilvermorny.”

Mount Greylock in Massachusetts loomed like a god asleep. Fog skirted its peaks as the train spiraled toward a platform etched into its side. Noah's first view of Ilvermorny came with his heart in his throat: towers that hummed with enchantments, stained-glass windows moving like thoughts behind a skull, and turrets shaped like old colonial watchtowers. The whole school seemed to breathe in fog and exhale memories.

Inside the grand rotunda, students stood before a smooth, circular stone floor, the Sorting Circle. Four glowing house sigils pulsed faintly: Horned Serpent, Thunderbird, Pukwudgie, Wampus. When Noah stepped into the circle, all four symbols flared... then dimmed. A moment of held breath. Then a fifth mark, unseen by any student in generations, sparked into flame: a burning branch, curling and alive, before vanishing in a hiss of light.

Murmurs broke out at once. He felt them like insects crawling under his skin. Headmistress Locke (Hilary Swank), tall and controlled as marble, stepped forward and placed him “provisionally” in Horned Serpent. Though his robes bore no sigil. By evening, whispers followed him down the halls. “No-House.” Someone muttered it like a curse as he passed.

That night, a hall of ancestral portraits began weeping ink. The black ran down the frames like tar. Professors blamed a shift in magical humidity. But Locke lingered alone long after the rest had gone, her fingers pressed to the ink, eyes far away.

Noah’s magic misfired in class like nerves fraying. In Charms, when a girl mentioned her brother's funeral, Noah burst into sobs. His wand shot sparks, then snapped. A heavy static built behind his eyes. Feelings weren’t just his anymore, they were leaking into him, out of him. He stopped raising his hand. He stopped sleeping.

Then came Zia Crowfeather (Elva Guerra) of Wampus House.

She found him trembling in the solarium corridor, back pressed to a window. She crouched, met his eyes, and said, “You’re not broken. The school’s loud and it’s been quiet too long. It’s aching. You’re feeling it.”

Zia taught him how to breathe, not magically, but from memory. She touched her chest. “My grandmother called it grounding. We use it when the land remembers too loud.”

She introduced him to Hana Park (Kyrianna Kratter), of House Pukwudgie, who seemed like she belonged in a Magical Congress of the United States (or MACUSA) boardroom despite being fourteen. Hana had a leather-bound notebook filled with diagrams, cross-referenced dates, and red thread between pages. “Something’s off,” she said without looking up. “Magical misfires are increasing around a closed-off wing.”

Eli Locke (Mason Thames), the son of the Headmistress and Thunderbird House member, joined them in the attic sanctuary above the bell tower, an abandoned space cluttered with enchanted junk: comedian portraits, a levitating chessboard that refused to stop mid-game, and a nest of quills that rearranged themselves when no one watched. Noah loved it immediately.

Eli never spoke much in class, but when a professor dismissed magical creatures as “tool-adjacent,” Eli said quietly, “They grieve. They remember. Doesn’t that count as magic?” No one responded. But Noah noticed.

In Transmutative Theory, Professor Burnbridge (Bob Odenkirk) extolled the purity of Ilvermorny's four-house legacy. Zia interrupted. “There were five,” she said flatly. Burnbridge smirked. “Tribal myth, Miss Crowfeather.” He said with emphasis. Zia stormed out, and Burnbridge unsurprisingly docked the Wampus House points. Noah stared at the spot where she'd stood, anger crawling in his gut.

By the time dusk blurred the stained-glass windows into watercolor, the corridors of Ilvermorny had begun their nightly singing of the school song, the soft groaning of ancient timbers, the occasional hiss of shifting stone, and the whispered gossip of portraits too old to forget. Zia walked ahead of them, she hadn’t spoken in minutes. Eli and Hana followed, trading uneasy glances. Noah brought up the rear, the castle’s heartbeat still echoing faintly behind his ribs.

They descended past the Wampus dormitories. A long stretch of wall appeared before them, patched with uneven bricks. Runes stitched across.

“This is it,” Zia said, halting. “Whisper House. Or what’s left of it.”

The wall looked like it had been cauterized shut. Black scorch lines marked the lintel. Something had once been etched above it, but the name had been chipped out. Just below it, Noah noticed a sigil, half-formed, soft and branching, like the memory of fire.

“I thought there were only four wards protecting the school,” Eli muttered, half to himself.

Hana was already thumbing through a dog-eared booklet from her robes. She squinted at the rune-seal matrix. “No... that’s just what’s printed. Look here, five wards. Five elemental protections, five anchor runes.”

She tapped the last one with her wand. It shimmered briefly, then blinked unevenly, like a dying star. “But only four houses.”

“Because one’s gone,” Zia said quietly. “Or hidden.”

They stood there a moment, four silhouettes against stone and secrecy, the castle holding its breath around them. The fifth ward pulsed weakly, but alive. Then all at once, it stilled. The runes fell silent again.

“Something's bleeding through,” Noah whispered. “Even if no one wants it to.”
Weeks later they returned to Whisper House. In the East Atrium, beneath ancestral portraits, Eli knelt beside a hidden hatch he’d researched for weeks, tucked behind a statue of Dorcas Elwin, third headmistress and advocate of 'polished obedience.' When Eli whispered a charm in Parseltongue, the statue shifted, revealing a crawlspace. A runespoor slithered forward.

Its three heads hissed, scaring all but Eli. The opening widened, revealing stone steps so old they had half-dissolved into silence. They descended together.

Whisper House had no torches. The light came from cracks in the wall, where old magic shimmered faintly like dying stars trapped in the stone. The floor had collapsed in places and been rebuilt with charmwork too temporary to trust. Mosaics lined the corridor, charred depictions of students in robes marked with a burning branch, many faces erased violently, as if someone had tried to scrub them out of memory by brute force. One mural showed a circle of five students, standing hand-in-hand beneath a storm. The storm was flickering with muted lightning.

They found the Echo Basin in a collapsed chamber beneath a warping arch. It was just a wide stone bowl on a pedestal, stained with something darker than water, with the name “Temperance Blackwell” carved into its rim. Beside it sat remnants of lives long erased: a cracked ashwood wand, several broken memory beads glinting softly, and a shattered locket that bled whispers when Noah touched it. He yanked his hand back.

Zia reached for the basin. As soon as her fingers brushed its edge, her body locked and her eyes whitened. The others rushed toward her, but she stood still, breathing in slow tremors. Her voice, when it came, wasn’t her own. She spoke in a chorus of voices: one woman, one child, one dying elder, echoing across time.

She saw witches shielding crying Muggle-born children in a snow-covered grove. Flames rose in a hidden courtroom as a young girl, Temperance, stood before a jury, her eyes burning, her mouth chanting an untraceable name. The courtroom’s walls collapsed into water, then darkness. When she finally staggered back, her knees gave out and she collapsed. “They didn’t record memory,” she whispered. “They reflected it.”

That night, she dreamwalked for real. Wrapped in a circle of cedar smoke and Diné beadwork, her spirit drifted back to the buried root of the Ashwalkers. She saw them not only feeling pain but wielding it. Mirror-magic, they called it. A boy had hurt a girl in secret, mocked her lineage. When he stood before her, the Ashwalker placed a hand to his chest and he lived her humiliation, moment by moment, until his legs gave out.

“We weren’t cruel,” Temperance (Alexa Demie) told Zia. “We were mirrors. We gave the world what it showed us.”

Meanwhile, Hana, using an old password from a retired groundskeeper and a contact in Magical Oversight, dug into a locked faculty archive. She found redacted scrolls, burned letters, and misfiled logs. MACUSA hadn’t just feared the Ashwalkers for their magic; they feared what their magic revealed: evidence of government participation in Salem’s worst acts, or pre-Statute campaigns to silence Indigenous magical communities. “They didn’t want the truth sealed,”
“They wanted it forgotten.”

Noah’s condition worsened. The glyph on his chest pulsed so brightly it left burn marks on his undershirt. In one class, a boy mocked another for mispronouncing a Levitation Rite. The boy burst into tears mid-sentence and collapsed. When questioned, he couldn’t remember the insult but he felt the shame. “I didn’t mean to make him feel it,” Noah said. 

Ilvermorny itself began to show signs of possession. Cafeteria walls oozed ink that, when frozen mid-drip, became apology letters written by students expelled long ago. A Magical History reenactment meant to simulate the Treaty of Secrecy became a full-body projection, students lived through betrayals and silences they never studied. Screams echoed. Teachers panicked. No spell could reverse it. The castle was… remembering.
Eli confronted his mother beneath the Portrait Archway, where headmasters from centuries past watched in silence.

“You know what’s happening,” he said, voice breaking. “Why won’t you stop pretending?”

Adira Locke didn’t raise her voice.

“Because truth never saved anyone.” 

She led him into her private study, bare except for one painting that never spoke. There, she told him everything. In 1974, she and another Ashwalker, Eli’s father, tried to reawaken mirror-magic to expose a cover-up: MACUSA officials were quietly sentencing Muggle-born witches to “evaluation centers.” Eli’s father projected the memory at a policy summit. It lasted twelve seconds before he died. “His body didn’t burn,” she said. “It collapsed inward. Like the memory ate him.”

She recanted the next morning and was allowed to stay on as faculty under Pritchard’s protection. “I wanted to teach you safety,” she said, tears forming. “But safety is forgetting. And forgetting makes us sick.”

A storm rolled in.

Cassandra Pritchard (Angela Bassett) arrived the same evening. She wore no MACUSA seal. Her boots tracked no dirt. Her presence needed no introduction. She met with Locke in the Velvet Room and emerged with only five words: “Audit of magical integrity begins.” Her voice was warm. Her eyes were not.

Across campus, magical sensors flickered to life. A dozen gray-robed enforcers sealed wings and collected spell traces. Hana’s logs were confiscated. Zia’s beads placed in containment wards. Noah’s wand refused to cast even a simple Lumos. The runespoor, once gentle, began to hiss at empty corners, recoiling from doorframes.

Zia got caught a few days later. The storm hadn't broken yet, but tension in the corridors crackled like it already had. During class, she tried a grounding chant, a sacred Diné rhythm layered through her wand and the energy it produced shattered every jar of powdered arithmancy in the cabinet. Professor Burnbridge demanded a written confession. “This school was not built to accommodate every untraceable tradition,” he said. Zia didn’t respond. Later, Hana would find a sealed reprimand in the faculty archive: “One more unsanctioned cultural practice will result in expulsion under Clause Nine.” That night, Zia went silent. The kind of silence that wasn’t sulking, but a deep stillness built for survival.

Eli changed too, but it was harder to see from the outside. He stopped using light spells to guide their late-night wanders. The runespoor did it instead. One night, it led him behind the Charms wing to a corridor of doors no one could open. But Eli could see straight through them. “The castle’s skin is thin here,” he muttered, eye unfocused. “Like it wants to be known.” The snake’s center head hissed and pressed against the stone. A ripple ran across the wall, stone briefly becoming water, then snapping back. “It’s bleeding,” he said once. “Just very slowly.”

Hana kept writing. But the thread around her wrist, once steady in its pulses, now jittered like a heartbeat skipping steps. She told no one what she’d found, at first. But Noah noticed her anxious during mealtimes, always scanning, always cataloguing. Then one evening in the attic sanctuary, she said it aloud.

“We don’t know what we’ve found. And maybe we’re not supposed to.” She held up her logbook, pages lined with clustered disruptions, sudden bursts of residual spellwork. “This school has secrets older than MACUSA. Older than the Statute. And we’re poking holes in the seal. If we keep going…” She didn’t finish. But her voice cracked when she added, “And if we report it… I don’t think they’ll protect us. I think they’ll bury us too.”

They followed the runespoor down a tunnel behind the Herbology annex, beneath the West Tower where no bells rang. The space was hollowed from root and rock, older than any blueprint. At its center: a glyph circle embedded in the floor. Five arms branched outward like a compass, and in the center, the Echo Basin waited, only this time it was full…of light.

Zia began the chant, her voice braided with cedar smoke and the sharp scent of juniper. Hana layered runes along the floor, tracing MACUSA suppression symbols over the cracks. Eli steadied the runespoor and closed his eyes.
Noah stepped into the basin. He didn’t fall. He dissolved. And found himself in Temperance’s final memory.

The fire was everywhere. A grove outside Ilvermorny, winter-cracked trees glowing with wardlight. A girl stood surrounded by judges in blue. One raised a wand. Another lit a torch. She wasn’t screaming. She was singing. Her mouth shaped a name so old the wind forgot how to carry it. But her eyes found Noah, through time. She didn’t ask for rescue.

She asked to be remembered.

Then came betrayal. A voice simply said, “You mustn’t let her speak again.” And the fire rose.

Noah woke gasping, the glyph seared across his chest, visible even through cloth. His hands glowed. Temperance’s ghost stood beside him. Her eyes burned like coals that had waited too long to die.
“They erased our names,” she said. “Not our pain.”

She turned to the others, voice breaking. “He speaks for me now. But only if he chooses to.” She looked back to Noah. “Tell them. Speak it. Because if you don’t…”

She vanished.

Weeks later Zia was caught in the old growth behind the grounds, cedar ash still in her palms, ancestral chants still cooling in her throat. Her beads were yanked from her belt, beads she’d woven with her grandmother, encoded with dreams, grief, and Diné ritual. The Auror wore no insignia. Just gray robes and contempt. “Unauthorized cultural magic,” he pronounced, as if he were reading from a menu. He called her beads “untraceable mnemonic conduits,” as though she had weaponized memory. Burnbridge sat nearby, impassive. Locke entered late. She studied the Auror for a beat, then turned to Zia and said, softly, “This never happened.” It was not mercy. It was strategy.

Later, Hana was summoned to the Director’s antechamber, where Director Pritchard stood with folded arms and a silk-black stare. A silent projection hovered beside her: Hana’s notepad: every log, diagram, and annotated scroll she’d recorded. “You are not a journalist,” Pritchard said, low and measured. “You’re barely a student. The question is whether you remain one.” 

Hana said nothing. But the bruise of silence deepened when she returned to her dorm and found a letter from her parents waiting, signed and sealed with MACUSA wax. If she continued her ‘extracurricular behavior,’ her scholarship would be retracted. “You will not endanger your future over a ghost,” her mother had written. Hana stared at the wax until it melted in her grip.

Eli found his warnings elsewhere. He followed the runespoor’s agitated stares into the shuttered wing of the East Annex, a place no map acknowledged. The walls there were cold with unfinished magic. When he pressed his palm against the brick, his vision snapped into threes. Through the runespoor’s eyes, he saw flashes, corridors brimming with unsanctioned wards, sigils scratched in invisible ink, spectral blueprints of a castle built to contain something, not protect it. At midnight, Burnbridge found him in the corridor and said, without preamble, “Your mother’s protection will end. Do not make her regret it.”

The Autumn Equinox arrived with a golden stillness. Light skewed, clocks faltered. In the depths of Whisper House, the four gathered at the cracked seal. Zia sang in ancestral rhythm, laying down her beadwork. Across from her, Hana unraveled MACUSA’s runes and rewove them into unraveling spells. “Let them bind themselves,” she said.

Eli stepped forward, the runespoor coiled around his arm. Its gaze met the basin, channeling the fifth ward’s energy. The glyph on Noah’s chest flared white. He stepped into the basin and the world dissolved.

Snow. A grove. Screams.

They stood in Salem now, though their bodies had not moved. Ghosts of witches sheltered children beneath burning branches. Then, in a blink, the space cracked open again, Ilvermorny, 1693. A courtroom hidden beneath the school, marble columns twisted in shadow. Temperance stood in chains, eyes glowing, voice unshaken. Her accusers spoke lies in the name of preservation. The third layer broke through like a rising tide: a MACUSA tribunal in the early 20th century. Ashwalkers stripped of their wands, forced to recant. Every voice that spoke truth echoed with agony.

Students collapsed. Some screamed. Others shook as if waking from dreams they didn’t know they’d had. Staff staggered. Even Burnbridge fell to one knee. Pritchard, near the threshold, took one look at the memories filling the air, living, bleeding, undeniable and tried to flee. But the doors sealed. Memory would not be escaped.

Noah rose, his eyes white with Temperance’s fury. But her voice came from everywhere.

“You sealed us to protect yourselves. But pain will always find a voice. You sealed ours. But not his.”
The light shattered. The memories dissipated like smoke.

Noah crumpled. Locke stepped forward, slow and shaking. Her voice trembled. “I buried what I was to protect what I loved,” she said, looking at her son. “But you… you remembered.”

Pritchard didn’t speak again that night. She left before dawn.

Publicly, MACUSA concluded the audit. “No credible threat to institutional integrity.” The enforcers disappeared like ghosts. Whisper House was unsealed. No announcement, no ceremony. Just a quiet change to the floor plan and a new line of wards that didn’t work.

Privately, surveillance remained. Spells hung in the halls like condensation.

Zia’s beads were returned with a warning not to use them outside sanctioned channels. She nodded. But a week later, a parcel arrived from her grandmother, woven in cedar bark and threaded with crimson. Inside was a pouch of new beads, burning with both Diné and Ashwalker sigils. A note: “You carry two fires. Let them burn through stone.”

Eli left the runespoor at the Echo Basin one night. It did not return to him. Some things had seen too much. 

And Noah stood again in Whisper House. The glyph had faded, but its memory remained in the stone, embedded like a scar. The basin now glowed faintly, not with pain, but with potential.


Writer Commentary: The Hammer of Thor: The Frost War

 

The Hammer of Thor: The Frost War - Writer Commentary
Genre: Action/Superhero/Fantasy
Director: Roar Uthaug
Writer: Roy Horne
Based on Marvel Comics characters
Cast: Channing Tatum, Sam Riley, Phoebe Dynevor, Mark Hamill, Sophie Lowe, Laurie Davidson, Denis Menochet, Sung Kang, Jeanne Tripplehorn, Caitriona Balfe, Thomas Ian Griffith

Plot: Thor (Channing Tatum) reigns as a legendary Viking king in the village of Heorot. While the people still sing songs of his might and raise cups of mead in his honor, Thor feels the ache of time. The thrill of battle and glory has dulled, and his thoughts drift increasingly toward Johanna—the love he lost. One quiet night beneath the stars, he travels to Asgard and asks Odin (Mark Hamill) for permission to enter the Odinsleep, hoping to be awakened when her soul returns to Midgard. Odin agrees, though with reluctance, and seals Thor in the golden chamber, whispering that the thunder god’s time will come again. [1]

[1] Welcome back for Thor's second film in LRF's Marvel Universe. While a lot of what I had planned in this second film was planned from the beginning, I'm the few critics who had qualms with my choices in The Hammer of Thor thought they had an impact on the story for this one. Sorry to disappoint.

This opening scene was all about subverting expectations. At the end of the first film, Thor has become everything he thought he wanted to be. He's worthy, he's a hero, he's beloved by his people. But grief doesn't really work that way. Losing Johanna still hurts. One thing I knew pretty early was that I didn't want Thor spending centuries simply waiting around for her return. The Odinsleep felt like a very Thor way to solve that problem, and it also let us flip the traditional Marvel dynamic where Odin is usually the one entering it. More than anything, though, I liked the idea that Thor's journey to become worthy was finished, but his journey to find happiness wasn't.

Centuries later, in the icy realm of Jotunheim, King Laufey (Thomas Ian Griffith) gathers his frost generals in a glacial fortress. He informs them that Odin’s power wanes and now is the time to strike. But to truly seize Asgard, Laufey knows he must sow chaos from within. A swirl of green mist signals the arrival of Amora (Caitriona Balfe) the Enchantress. She proposes a deeper alliance, promising to use her seidr to unlock the seals binding Loki within Yggdrasill itself. In exchange, Laufey must lend his armies and magic to her cause. They clasp hands, sealing the pact. [2]

[2] One thing I wanted to establish immediately was that this wasn't another story about Thor proving himself. That journey ended in the first film. The Frost War is much more about kingdoms, alliances, and old enemies taking advantage of weakness. That's why Laufey appears so early. I didn't want him to be a surprise. I wanted him looming over the entire movie. I also knew this was the scene where Amora needed to step out of Loki's shadow a little. In the first film she was mostly enabling Loki's worst impulses. Here she's the one bringing the plan to the table. The audience starts realizing she's every bit as dangerous as he is. Another interesting aspect I was going for with this scene is that Laufey thinks he's using Amora, and Amora thinks she's using Laufey.

In the golden city, Odin’s steps are slower, his breath heavier. Frigga senses his time nearing.  Odin clutches Gungnir tighter, knowing his final days approach. Sensing Laufey’s first waves, Odin leads Lady Sif (Sophie Lowe) and the Warriors Three - Fandral (Laurie Davidson) the Dashing, Volstagg (Denis Menochet) the Valiant, and Hogun (Sung Kang) the Grim - into battle against advancing frost scouts near the cliffs of Vanaheim's border. Frost giants lumber from the mists, hurling spears of ice into the Asgardian lines. Volstagg barrels through the front ranks, swinging his axe, cleaving frost giant limbs that shatter upon impact. Hogun uses a grappling chain to topple a frost behemoth into a crevasse. Fandral sprints ahead, leaping onto a frost giant’s shoulder and driving his blade through its eye, riding the collapsing corpse down. Sif cuts down frost giants trying to breach the line. She ducks under a hammer swing and slashes through a giant’s leg, then impales its throat as it falls. [3]

[3] One thing I wanted to do in the sequel was give Sif and the Warriors Three a chance to really shine. The first film is very much Thor's story, but once we committed to making this a war movie, it felt important to show why these characters have become legends in their own right. Everybody gets a moment that reflects who they are—Volstagg through strength, Hogun through discipline, Fandral through style, and Sif through sheer skill. The battle itself is fun, but the most important thing happening in the scene is actually Odin. For the first time, he's slowing down. He's still leading from the front, but age is finally catching up to him, and the audience starts realizing that Asgard may soon have to face this war without its king.

In the icy citadel of Jotunheim, King Laufey convenes his frost generals amid a chorus of clashing weapons and stomping feet. Amora emerges from a plume of green mist, her presence drawing a mixture of reverence and suspicion. One particularly defiant general steps forward, voicing doubt about Laufey’s reliance on seidr and accusing him of cowardice. Laufey answers not with words, but with swift execution, summoning a jagged spear of ice that impales the giant, leaving him encased in frozen death. The remaining generals fall silent. Laufey states that this war will be fought with magic, not brute strength, and with Amora by his side, they will bring a new age of winter upon the realms. [4]

[4] This scene was really about establishing Laufey as more than just Loki's father. I wanted him to feel like a legitimate rival to Odin—a king who's spent centuries waiting for an opportunity and isn't interested in letting tradition stand in his way. That's why he executes the general. The giant isn't completely wrong. Frost Giants usually solve problems with strength. Laufey is deliberately choosing a different path.

Meanwhile, far beneath the heart of the city, Amora creeps through the roots of Yggdrasill, where a shimmering veil of magic holds Loki captive. She draws an ancient, enchanted blade, and plunges it into a knot in the Yggdrasill. The roots twist and groan. A pulse of green energy bursts outward as Loki collapses forward. Loki is hurled into a mental abyss of memory and illusion — Odin glaring in disappointment and Frigga turning away with sorrow in her eyes. The tree releases its hold, and Loki awakens on the ground. He rises slowly, brushing sap from his tunic. Loki tells Amora that he never intends on being caged ever again. [5]

[5] This scene was never really about breaking Loki out of prison. Everybody knows he's getting out. The interesting part is what centuries inside Yggdrasill have done to him. I liked the idea that his punishment wasn't physical so much as emotional. He's forced to relive the moments that shaped him—Balder's death, Odin's disappointment, Frigga's sorrow. One thing that's always fascinated me about Loki is that he spends so much time acting like he doesn't care what his family thinks, when in reality he cares more than anyone.

Loki does not go straight to the battle. Instead, he slips away into the realm of the frost giants. In Jotunheim, he confronts Laufey, demanding the truth. Laufey reveals the secret of Loki’s bloodline — that he is Laufey’s son, abandoned and left for dead by Odin, who raised him as an Asgardian only to cast him aside. The revelation stirs something deep and cold within Loki. Laufey tells him that he can choose where he truly belongs. Loki does not hesitate, deciding to join Laufey and Amora in the fight against Asgard. [6]

[6] This is one of those scenes where I wasn't trying to surprise anybody. Most Thor fans know the frost giant reveal is eventually coming. What interested me was the timing. In a lot of versions, Loki discovers the truth before he falls. Here he learns it after everything has already gone wrong. He's spent centuries imprisoned, replaying his mistakes, feeling abandoned by his family, and then Laufey shows up with the one explanation he's always wanted to hear.

Odin storms forward atop a silver war-steed, blasting enemies with Gungnir. He dismounts and meets Laufey in a clearing surrounded by broken statues and burning trees. Laufey, powered by Amora's enchantments, drives a shard of ice into Odin's side. Odin, weakened from Laufey's strike, turns to see Loki approaching. Loki whispers something in Odin's ear, then plunges a dagger directly into Odin's heart. Odin gasps, then crumples to the ground. The battle continues to rage, now around Odin's fallen body. [7]

[7] I knew from the beginning that if Odin died, it couldn't just be another battle casualty. The Frost War is the backdrop, but the real story is still this family. That's why Laufey doesn't get the killing blow. Loki does. In a lot of ways, this moment has been building since the opening scenes of the first movie. Odin spends years trying to protect Asgard, but the thing he never quite figures out is his own son. One detail I always loved was the whisper before the stab. We never tell the audience what Loki says because I think the mystery is more interesting than the answer. For me, Odin isn't really killed by Laufey or even by Loki. He's killed by the consequences of mistakes that have been following this family for generations.

Frigga senses the loss of her husband in her heart. She enters the Odinsleep chamber and awakens Thor. As his eyes open, she tells him that Odin has been slain by Laufey and Loki, and that the frost giants have returned to Jotunheim for now. Amora has vanished - and Asgard mourns. Thor descends upon the battlefield where Odin fell. His father's spear lies shattered. Thor’s knuckles tighten around Mjolnir. The Warriors Three and Lady Sif approach to offer their condolences. Frigga joins her son to mourn the God of Wisdom. She tells her son that he must decide what truly matters to him. Not out of obligation to a throne or a legacy — but from his own heart. Thor nods and says that he must go to Midgard. Frigga lets him go, saying he will find his answer there.

Jane Foster moves through her busy life as a London nurse. At night, Jane wakes in a cold sweat in her London flat, her heart pounding from a vivid dream. She walks to her window to see storm clouds forming unnaturally in the sky. Drawn by an urge she doesn’t understand, she picks up her sketchbook and begins to draw—first the ruins of a village, then a monument bearing her own face beside a man in armor. As she flips through earlier pages, she sees images of the Bifrost, a sea serpent, and a golden city she’s never seen. When a bolt of otherworldly lightning crashes into a remote part of the city, Jane finds herself drawn to the crater — where a figure in armor slowly rises from the smoke - Thor. He follows her through the city, insisting she is someone he once loved. She resists, dismissing him as a lunatic. But when he describes places and memories from dreams she never told anyone about, her skepticism falters. He asks her to come with him to Denmark — to the ruins of a village named Heorot. There, Jane sees a monument - one that bears her own likeness beside Thor's. Her memories begin to stir. Thor tells her the truth: that she is the reincarnation of Johanna, and that fate has brought them together again. [8]

[8] This was probably the scene I was most nervous about because so much of the movie depends on it. The audience has to believe that Jane isn't simply somebody who looks like Johanna. She has to feel like Johanna. That's why the dreams, the sketches, and the memories all start showing up before Thor ever explains anything

Lady Sif finds Thor and Jane in London. Just as she arrives, frost giants descend upon the city, targeting Thor before he can return to Asgard. Thor channels a burst of lightning that levels the pavement and the giants themselves, confirming everything Jane feared — and hoped — was true. She watches in awe as he becomes the god she’s seen in dreams. Sif warns Thor that Asgard has been gripped in an unnatural winter since his departure. The skies have remained overcast, the ground frozen solid, and the frost giants’ magic lingers everywhere. She tells him Loki and Amora are surely behind it, working with Laufey to poison the realm. Sif pleads with him to return home, insisting that Asgard needs him more than ever. Thor glances at Jane, torn between his destiny and his heart. Jane, sensing the weight of his conflict, steps forward and says she’s coming with him. Thor and Jane step into the Bifrost with Sif, bound for the golden realm. [9]

[9] This is really the scene where all the separate storylines finally collide. We'd spent the first act with Odin, Loki, Laufey, Jane, and Thor all moving in different directions. Now they're finally headed toward the same destination. One thing I especially liked was making sure Jane chose to go to Asgard. The easy version is Thor asking her to come. The stronger version is Jane deciding for herself. That's the moment she really starts becoming the same kind of person Johanna was. I also liked letting her finally see Thor as the God of Thunder. Up until now she's only known him through dreams and stories. For the first time she gets to see the legend with her own eyes.

When they arrive back in Asgard, they find the golden city under an invasion. Great ice pillars have formed across the Rainbow Bridge while Laufey stands at the heart of the invasion, commanding frost giants. Thor, Jane, and Sif step off the Bifrost and quickly rendezvous with the Warriors Three near the shattered gates. [10] The reunion is brief — Fandral grins but nods solemnly toward the battle, while Volstagg clasps Thor’s arm in welcome. Hogun wastes no time updating them on the state of the defenses. Seeing the danger all around them, Thor turns to Jane. He tells her she must stay safe and asks her to go with his mother. Jane hesitates, but Frigga emerges from the shadows, reassuring her. Frigga takes Jane’s hand, and the two disappear into the golden corridors as Thor, Sif, and the Warriors Three charge toward the fray. 

[10] I always loved those classic Kirby splash pages where Thor arrives and immediately reunites with his friends in the middle of a battle. If Asgard is losing a war, nobody has time for a reunion scene. This is close as it gets. I also wanted to make sure that Jane's first proper visit to Asgard isn't a tour - it's a literal disaster.

Fandral leads a squad of cavalry atop winged beasts. At one point, he leaps from his saddle onto a towering ice golem and slashes its core, bringing it crashing down. Volstagg holds a shattered gate alone, swinging his massive axe through wave after wave of giants. Meanwhile, Sif and Hogun track Amora to the deep forest of Vanaheim. Sif challenges Amora directly. Amora conjures illusions that attack Sif. Hogun fends off the conjurings, allowing Sif to push toward Amora, who blasts magic at Sif, who barely is able to defend herself with a shield. Sif swings her sword - not at Amora, but at Amora's staff, shattering it into pieces. Amora panics. Sif then punches her in the face, knocking her out cold. [11]

[11] This scene was really about giving Sif her moment. Across both films she's usually the most competent person in the room, but she's rarely the center of the story. I knew eventually she needed a victory that belonged entirely to her. One thing I liked was that she doesn't beat Amora by overpowering her. Amora is probably the more powerful character in a raw magical sense. Sif wins because she figures out where that power is coming from and takes it away. That's very different from how Thor approaches problems. It's also probably the most comic-booky thing Sif does in either movie. And after all the magic and illusions, I always enjoyed ending the fight with a punch. Sometimes the simplest solution is still the most satisfying one.

Thor ascends the steps of Valaskjalf to confront Laufey, who conjures ice chains, binding Thor to the mountain. Laufey taunts Thor, claiming that Thor cannot begin to comprehend his plan for the future of Asgard. Loki emerges, confronting Laufey, demanding to know if this was ever meant to be a shared rule as Laufey had alluded. Laufey scoffs, telling him that he was never more than a discarded heir, a means to an end. Angered, Loki declares that he’s done with fathers and vanishes in a swirl of emerald flame. [12] Thor breaks free and launches Mjolnir into the heavens. The hammer, supercharged with lightning, crashes into Laufey and shatters him into a thousand frozen shards.

[12] The irony is that Loki spends centuries convinced Odin never truly wanted him, only to discover Laufey wants him even less. While I was tempted to follow the traditional path of a big, epic battle between Thor and Laufey, it honestly seemed to obvious. The big moment was already with Loki rejecting Laufey, so I felt that arc was complete without further spectacle. Plus, we're obviously not quite done yet as I always thought that Laufey worked best as the man who opened the door, not the thing that came through it.

Before the dust can settle, the ground begins to tremble. Frigga realizes that Laufey's death was a catalyst - a sacrifice to summon the Father of All Frost, Ymir. From the chasm of Ginnungagap, a towering being of glacier emerges. Ymir rises from the void, dwarfing the mountains of Asgard. He speaks in ancient tongues, roaring as he steps onto the edge of Asgard. With each movement, he reshapes the realm in ice. Loki, never made aware of the summoning of Ymir, decides to leave the side of Amora and frost giants. [13]

[13] Laufey was important, but once I decided I wanted include Ymir, I knew Laufey could not be the final obstacle. The first movie builds toward Jormungandr. The second builds toward Ymir. I wanted to pull from new layers in Norse mythology for each entry. And for the first time in the entire series, Loki isn't involved or behind what's happening. 

Thor realizes he cannot defeat Ymir alone. He calls for the heroes to regroup. Volstagg rallies wounded Asgardian warriors to hold the gates. Fandral mounts one final flight with the last of the Valkyrian steeds to distract the behemoth from above. Sif and Hogun return with the unconscious Amora. Sif turns to Frigga, asking for ancient seidr to weaken Ymir’s core. Frigga agrees but needs time to complete the spell. As the chaos of Ymir’s emergence escalates, Loki suddenly appears among the defenders. Thor levels Mjolnir at him, demanding to know why he has returned. Loki simply states that the ice he thought he belonged to now threatens all nine realms, not just Asgard. Thor hesitates. Sif and Volstagg urge caution. But Frigga steps forward and speaks to Loki — not as a queen, but as a mother. She asks both of her sons what Balder would have done. Thor lowers Mjolnir. Loki nods, smirking faintly, and says they’ll settle things after. For now, they will fight side by side. [14] 

[14] The Thor from the first film absolutely attacks Loki here. Odin spent two movies trying to hold the family together as a king, but I felt Frigga should have the opposite parenting approach and manages to unite those left not as a queen but as a mother. Loki may be choosing to help his family, but he's definitely not a hero - he's still the same person he was before just with a slightly different allegiance. 

Thor and Loki soar through the skies, combining thunder and illusion magic to blind Ymir. Frigga opens a golden seidr beam into Ymir’s heart — revealing a crystalline core pulsing with ancient cold. Thor rises high into the sky, calling down the largest storm Asgard has ever known. With one final burst, he hurls himself straight into Ymir’s heart. Mjolnir follows, wrapped in thunder and Loki's magic. The blast shatters the core. Ymir screams once, then collapses into an avalanche of ice. Loki vanishes before anyone can thank — or arrest — him. A folded note is pinned to Gungnir. It reads only: “I kept my word. For now.” [15]

[15] I never wanted Thor to beat Ymir alone. One thing I knew from very early on was that this story couldn't end with Thor defeating Loki or Loki defeating Thor. It had to end with them accomplishing something together. Across two movies they're constantly pulling in opposite directions, but Ymir is finally a threat big enough that neither one can solve the problem alone. That's why I liked combining Thor's lightning, Loki's magic, and Frigga's seidr into the final solution. It's really the entire family contributing to the victory. The other thing I always felt strongly about was Loki leaving afterward. The easy version is reconciliation. And anyone who knows my writing knows I rarely choose the easy way out for the characters.

Deep beneath the golden palace, Frigga and Sif descend into the hollowed heart of the World Tree. Amora is bound in glowing chains of siedr. With a word, Frigga awakens the roots of the tree, which wrap around Amora, cocooning her. [16]

[16] One thing I didn't realize as I was writing the project was that while the first film clearly belonged to Thor, this sequel quietly belongs to Frigga.

The people of Asgard finally have a moment to properly mourn Odin and hold a grand funeral. Frigga passes Gungnir to Thor. The other gods kneel before Thor. Frigga tells Jane that she may have been Johanna once, she has the chance now to shape her own story. Thor meets Jane at the Bifrost. She tells him that she intends to return to Earth as it is her home. Thor understands. Before she leaves, Jane asks about the woman Thor once loved. He describes Johanna as beautiful and the only soul that ever made him question himself. He then says that he gets the same feeling when he's around Jane. They lean into each other and kiss goodbye - for now.

Back in Midgard, Jane visits the ruins of Heorot. She looks up to the skies. Somewhere beyond the clouds, she knows thunder rolls. Meanwhile in Asgard, Thor takes Odin's place at the throne. All the residents of Asgard kneel before Thor, their new king. [17]

[17] The idea of this ending was to bring Thor back to where he was in the first scene of the first film, but now on the throne himself rather than looking up at his father alongside his brothers. 

Post-Credits Scene: 
Deep within Muspelheim, a massive horned figure opens its eyes - Surtr. He watches the void left behind by Ymir’s fall and begins forging a massive molten sword. [18] 

[18] Obviously this is the set up for the third Hammer of Thor film, which is still very much in development. This is probably the least subtle thing I've ever written.

Thanks again for listening to my ramblings. See you next time at the movies.



Friday, August 7, 2026

Release: Kill Bin Laden

 

Kill Bin Laden
Genre: Drama/Thriller/Historical
Director: Darren Aronofsky
Writer: Alex Conn
Cast: Jamie Foxx, Liam Neeson, Jamey Sheridan, Annette Bening, Stanley Tucci, Adam Scott, Stephen Lang

Budget: $50,000,000
Domestic Box Office: $39,229,943
Foreign Box Office: $17,505,995
Total Profit: -$29,221,700

Reaction: Kill Bin Laden unfortunately joins Repeal and Replace, Mises, and Dean as another costly political flop for the studio from writer Alex Conn.




"Kill Bin Laden has a strong premise and an inherently tense historical endpoint, but the execution is far too blunt to fully work as drama. Scenes are overloaded with exposition, characters explain themselves instead of revealing themselves, and the dialogue often sounds more like cable-news reenactment than lived-in human conversation. Jamie Foxx and the supporting cast are interesting on paper, but the material gives them little room for nuance. There’s a solid political thriller buried in here somewhere, but this version feels more like a first draft than a finished film." - Cooper Wilson, The Earl Hayes Press


"Kill Bin Laden is a film of heavy subjects and light insight - talky, shapeless political thriller that mistakes repetition for tension. Nearly every scene unfolds in the same handful of rooms, with the same small circle of characters reciting the same clunky, wood exposition-laden dialogue. Darren Aronofsky's trademark style is suffocated here by the teleprompter-style script. Despite a strong cast on paper, everyone from Jamie Foxx to Liam Neeson seems stranded, lost in endless meetings that go nowhere. For a story about one of the most high-stakes missions in modern history, Kill Bin Laden somehow manages to make killing the world’s most wanted man feel pointless." - Cal Crowe, Washington Globe


"Kill Bin Laden feels like a Wikipedia article came to life — and not in a cool, Fincher-style procedural kind of way. The filmmakers try to turn the hunt for the world’s most wanted man into an intense political chamber piece, but the result is two hours of people standing in the same rooms, explaining the same thing over and over like a bad group project. There’s no sense of time, place, or even urgency - all talk, no tension. Jamie Foxx’s Obama smokes, paces, and debates, but we never feel the stakes of his decisions. For a movie about tracking down Osama Bin Laden, Kill Bin Laden somehow forgets to make us care that anyone’s hunting him." - Dave Manning, Ridgefield Press





Rated R for strong language and thematic material






Fact to Film: Kill Bin Laden

 

Welcome back for another edition of Fact to Film! This time around we will be taking a look at the cast of the White House drama, Kill Bin Laden. Darren Aronofsky is directing the project from a script by Alex Conn.











Thursday, August 6, 2026

Now Showing: Kill Bin Laden

 

Kill Bin Laden
Genre: Drama/Thriller/Historical
Director: Darren Aronofsky
Writer: Alex Conn
Cast: Jamie Foxx, Liam Neeson, Jamey Sheridan, Annette Bening, Stanley Tucci, Adam Scott, Stephen Lang

Plot: The film begins with footage of 9/11 and the two twin towers going down and news of also the Pentagon and the United 93 crashing into a field in Pennsylvania after the passengers stormed the cockpit. Also news footage of Bin Laden taking responsibility for 9/11 and his threatening messages to America promising more attacks.

There is a text saying Osama Bin Laden is the most wanted international criminal around the world and he is on the loose. The CIA has been trying to find Osama since 9/11 and he has been a mystery for American officials and bad leads have led to officers losing lives like in the attack at Camp Chapman where a double agent brought a bomb and bombed Camp Chapman after he agreed to give information.. Footage from the Camp Chapman attack is shown.

It is April 2011 President Of The United States Barack Obama’s secretary says Leon Panetta (Liam Neeson) the CIA director is here to see him. Obama (Jamie Foxx) says send him in. He shakes hands with Barack Obama. They make small talk for a little bit. Panetta says to Obama we may have found Bin Laden. He shows Obama the drone footage of a man who’s 6 ft 5 exactly the same height as Bin Laden pacing through the garden every morning. He says that CIA analysts all call him The Pacer. The compound has high walls and a covered balcony which stood out. Obama asked what other intelligence did you have that Bin Laden is in the compound. Panetta says that the CIA tried to pose as polio vaccine doctors to get the blood confirmed but they weren’t allowed.

Obama asks how did you get the intelligence Panetta says our agents tracked down a man that we believe is the courier for Al Qaeda who brings the messages from Al Qaeda to the TV news channels by hand instead of electronically to avoid being found out. We know that his name is Abu Akmed. We have been tracking this guy since 2002 and from information we got from bugged phones and from tracking him we believe he’s led us to Bin Laden. Obama says so what’s the cost benefit analysis. Panetta says there are clear indicators that it could be Osama. The bad thing is it’s located right near the Pakistani military academy and unless you intend to inform the Pakistanis who might not be trustworthy.
Panetta also says that when we interrogated Khalid Sheikh Muhammad about a possible courier we bugged him warning other prisoners not to say anything about the courier.

Panetta when he leaves gives Obama the audiotape where the courier Abu Ahmed Al Kawait calling his friend saying he thinks he’s being recorded and the friend saying go with Allah. Panetta says this was recorded while we Abu Ahmed was dropping off something then coming back to the compound. Obama says it’s definitely interesting and I want you to keep on this lead.

Obama has a burger and he thinks of his 2008 promise to kill Bin Laden and to make that a priority.

Obama informs his war cabinet: Hillary Clinton (Annette Bening) Secretary Of State, Joe Biden (Jamey Sheridan) Vice President and John Brennan (Stanley Tucci) National Security Advisor. Obama presents the intelligence that was given to him the tape of Abu Ahmed being recorded and also the facts of being tracked down to this large compound in Abottabad Pakistan. He says it’s right near the Pakistan Military Academy known to the United States military as the Pakistani West Point.
Obama then goes around the room for people’s opinions. John Brennan says I think we should go forward I’ve been in national security a long time and this courier lead is nothing new. We have evidence that he may be in Pakistan. This is consistent with everything we know about Osama Bin Laden.

Joe Biden says i think it is too big a risk. If we tell the Pakistanis and he’s in there I think you’re right that the Pakistanis may move him. But if we do the raid and it’s a failure then we look like fools in an election year no less Biden says there were more evidence there were WMDs in Iraq. . Hillary then interrupts and says that this was a signature Obama campaign promise. Obama said this on the campaign trail if we kill Osama Bin Laden that’s going to be the biggest thing on your presidential resume and the biggest middle finger to your doubters. Hillary says we have the information.

Obama says the other question we have is hypothetically we give the go ahead to the operation how do we do it. Do we do a bomb like some have suggested or we bring in Seal Team Six. Those are the two options he has been given. He has brought in Admiral McRaven (Stephen Lang) who basically says that bombs would not risk American lives but we do risk flattening the compound to the ground and even incinerating the body which could leave him unidentified. Potentially this will lead to having the wrong guy and not even knowing it. . . McRaven says the other option is bring in my guys. McRaven says it’s risky but we’ll know it’s him. The cabinet agrees that if the operation happens it should be the SEALS . Obama greenlights the trial runs and training for a hypothetical mission.

Joe Biden says to Obama in the rose garden you really want to risk your legacy on this? Obama says every intelligence official I’ve talked to has been behind this. Obviously it’s not greenlit yet but it’s looking good for it. Joe says Barack just thinks what if he’s not there and it’s someone with a gun and they shoot back and the SEALS die because of it. Barack says it’s the Navy SEALS we're talking about, not the 8th grade hall monitors. Joe Biden says to Obama just think of Desert One which was a well meaning mission to rescue hostages but failed miserably and very may well have cost Carter the election the point is this has happened before in American history. If this mission misses that’s your legacy you’re the politician who fucked around with American lives when we had more evidence that WMDs were in Iraq. If this thing goes like that that’s all Mitt Romney, Rick Santorum and Newt Gingrich and Ron Paul are going to be talking about. All of our progress on Wall Street reform, the ACA all out the window because of a well meaning but flawed mission.

Obama asks Secret Service to buy him a pack of cigarettes. Secret Service officer says I thought you quit smoking Obama says these are extreme circumstances. I’m making a decision that could very well cost me my legacy, the election everything. The officer says yes sir Mr President. Barack then when he gets back goes out and has a cigarette.

Obama runs into his chief foreign policy speechwriter Ben Rhodes (Adam Scott) and informs him of the discussion to do the raid or not . Ben Rhodes asks Obama what way are you leaning on. Obama says he’s leaning towards going to the raid. The 9/11 families deserve justice and many intelligence officers are sure of this. Ben says I’ve known you since May 2007 when everyone was sure you had no chance but you trusted your gut and look what it got you. Point is I think you should trust your gut. I can tell your gut is with this and that same gut that won you the presidency then we should trust it. Ben Rhodes says that this will bring a lot of happiness to the victims of the Khost Camp Chapman attack. Obama has flashbacks to when Leon Panetta tells him excitedly about the possibilities of this former Al Qaeda member confessing and coming clean about Bin Laden’s whereabouts. Then the explosion at Camp Chapman when the suicide bomber who lied to the government.

Leon Panetta comes to the war room and gives even more intelligence. Panetta describes how we have tracked the courier’s car down several times now. He is dropping things off often at news agencies which is typical.

Biden questions Panetta’s logic he says news agencies you say then why haven’t we seen an Osama Message To America video in a whil couldn’t it be some for Pakistani Disneyland if there’s a Pakistani West Point they’re better be a Pakistani Disneyland. Panetta then says that this can be print as well and we do have Al qaeda news fairly often and there is no such thing as Pakistani disneyland. The rest of the team is smirking at Joe Biden.

Ben Rhodes has a cigarette with the president s. Obama says if I get this it will be like my moon landing. I promised the voters this in 08 and if I ok this mission it will be a uniting moment for the country. Ben says when Bin Laden gets killed who’s going to be the next villain that when they die will unite the country and give them a nice bit of dopamine. Ben Rhodes says I don’t think people are going to have that same happiness when Aynan Al Zawahiri is killed by the US government. Obama quips hopefully when.

He also shows even more footage of a man who’s 6 ft 5 the exact same height as Osama Bin Laden everyday on the roof garden we know someone with the exact height and beard is in that house. We have tracked the courier from news agencies back to this Abottabad compound. I think this is some serious evidence not to mention the compound is built high security you think a civilian with nothing to hide is going to have a house like that.

Joe then questions if this house is close to Pakistani West Point or whatever why the Pakistanis haven’t found him and turned him in. Leon says we know some in the Pakistani government and you know this Joe are in the pocket of Al Queda that’s a fact. If you want to deny that I got a bridge to sell you. The table does a final vote and everyone except Biden supports the raid. Hillary adds that there is more of a danger if we let this go then if we go with it. We can’t let the Pakistani government move him or outside forces moving him. Obama says he’s going to sleep on the decision. Before he goes to bed he reflects on the entire search for Bin Laden from 9/11 to the 2009 Camp Chapman attack that cost 9 intelligence analysts’ lives and at the funerals the parents telling Obama don’t give up on the mission that cost our loved ones’ lives .

Obama is in his room and he has a Republican debate. They are all criticizing his foreign policy. Obama shuts the tv off. He goes to the balcony and he runs into Ben Rhodes and they both have cigarettes together.

Ben Rhodes wants to talk about the Bin Laden hunt as he’s been writing different versions of speeches. Barack says hold your horses man. Let’s see how this all works out.

Ben says to Obama so you don’t think that you’re going to do the raid. Obama says no no no I’m leaning towards it but you know if this goes south I’m fucked. Every news outlet will talk about how we sacrificed American lives meaninglessly on bad intel. Every Fox News talking head will talk about how I embarrassed America. Ben says I get that but think of the gain of being the President who’s middle name is Hussein being the one who got Bin Laden plus that drone video was pretty convincing to me.

The next morning when Obama wakes up and he showers and gets dressed and sends his daughters off to school with Michelle. After this he tells the team we’re going with the raid on May 2. Biden defeated tells Obama if you think this is good I guess I’ll support you. But if this fucks up just know Joe Biden warned you. Obama tells Admiral McRaven the mission is a go.

The Saturday before the raid is the White House Correspondents dinner and Obama attends and does his usual routine. Sees Leon Panetta also at the dinner and says we’re going to make history soon and drinks to that.

The next day Leon Panetta goes to church and is praying about the mission. The team all meets at the White House and discusses the mission.

That night Obama calls Admiral McRaven and wishes the SEALS good luck. They are given real time updates. Many of the White House officials order food. Barack Obama orders burgers for everyone as they wait for updates. Hillary says she’s been thinking about this motherfucker since 2001 and we’re finally on the verge of killing him. Joe says don’t get ahead of yourself. Hillary says give me a fucking break. Brennan says if we get this guy this is one of the biggest wins in the history of the Republic. Brennan brings out a bottle of vodka. Obama asks to take a break and goes to the White House gym and goes on the bike. Ben Rhodes and the rest of the team exchange 9/11 stories and stories of where they were when they saw the twin twin towers go down or some of them have cousins that were on some of the flights. Just as that happened it is reported that the helicopter crash landed. The team sends Ben to alert the president. Ben Rhodes rushes upstairs to say the Seal Team Six helicopter crash landed. The landing is on Twitter. Obama freezes and falls off the bike.

When Obama comes back he learns that the SEALS are back on it but the Pakistani military and people are seizing in. We cut to the compound where Navy SEALS are guarding the property from onlookers. One of the SEALS shoots Osama Bin Laden and confirms it is him and then shoots Khalid Bin Laden. The SEALS confirm they killed Bin Laden.

The Situation Room celebrates and Biden admits he was wrong. Ben Rhodes starts writing on his laptop the speech that Obama is going to give to the nation. In the Knick of time Rhodes gives Obama the speech. Panetta, Brennan and Obama reflect on the long search for Bin Laden and do a toast to the 9/11 victims and the victims of the Khost attack in Camp Chapman. Panetta tells Brennan and Obama that Osama’s body will be given Islamic funeral rites and buried at sea in the Indian Ocean. As Panetta is speaking this is happening on screen. There is an Imam on board the ship giving the last rites to Osama’s lifeless body and the body is lowered before it is dropped into the Indian Ocean.

The film ends with Obama announcing to the American people that “The United States has conducted an operation that killed Osama Bin Laden” . Ben Rhodes says to Joe Biden jokingly it wasn’t Desert One.. Biden has an annoyed grin. Ben Rhodes tells Obama that apparently one of the SEALS found weed growing in the garden. Obama says shut the fuck up Ben. Obama says” just kidding Ben it’s the morning Ben do you want to have some coffee with me to celebrate this incredible accomplishment”. Ben says it would be my honor. They walk off screen.