Based directly on the real Karen Silkwood. Streep's portrayal captures her spirit, activism concerning safety violations at the Kerr-McGee plant, and her personal life complexities, though some aspects are dramatized.

Based on the real Drew Stephens. The film accurately portrays their relationship and shared life, including the tensions arising from Karen's activism. The real Stephens praised the film's humanity.

A composite character based on Silkwood's real-life roommate Sherri Ellis and possibly another friend. Cher's portrayal captures the supportive but complex friendship, though Ellis objected to implications of betrayal.

Likely a composite or fictional character representing co-workers and relationships within the plant environment. Played by Craig T. Nelson.

Represents officials from the Oil, Chemical & Atomic Workers union who worked with Karen. Possibly based on figures like Steve Wodka, though Wodka felt the film downplayed Silkwood's political savvy.

Represents Dolly's personal life and potentially based on real individuals, highlighting the dynamics within the shared house.

Silkwood worked at the plant making plutonium fuel rods for nuclear reactors, as depicted.

Concerns about inadequate safety measures, poor training, and worker exposure to plutonium radiation were real issues at the plant and central to Silkwood's activism.

Karen Silkwood was an active member and elected leader in the Oil, Chemical & Atomic Workers union, advocating for safety improvements.

Silkwood documented numerous safety concerns, including faulty equipment and alleged falsification of quality control records (like doctored fuel rod x-rays).

Silkwood experienced multiple contamination incidents in November 1974, including finding high levels on herself at work and, later, inexplicably high levels in her apartment (on food, surfaces).

The painful and humiliating decontamination showers depicted were standard procedure after significant radiation exposure. Silkwood endured these multiple times.

Kerr-McGee officials did suggest during investigations and the later lawsuit that Silkwood may have intentionally contaminated herself, a claim disputed by her supporters.

Silkwood traveled to Washington D.C. to present her concerns and evidence to national union officials.

Her activism created tension with Kerr-McGee management and also alienated some co-workers who feared losing their jobs or distrusted her motives.

Silkwood was scheduled to meet with New York Times reporter David Burnham and a national union official on the night she died, intending to give them documents proving her allegations.

Silkwood died when her car ran off the road and hit a concrete culvert.

The film accurately reflects the unresolved questions surrounding her death. Evidence suggested potential foul play (damage to car rear, missing documents), while an autopsy found sedatives in her system.

The documents Silkwood allegedly had with her to give the reporter were never found in the wreckage, adding to the suspicion surrounding her death.

The Kerr-McGee Cimarron plant did cease operations about a year after Silkwood's death (though the film's epilogue could imply Kerr-McGee itself closed, which it did not).

Though filmed elsewhere (primarily Texas), the sets effectively recreated the industrial environment of the plutonium fuel plant, including labs, glove boxes, and decontamination areas.

Accurately captures the look and feel of rural Oklahoma/Texas in the early 1970s through costumes, cars, hairstyles, and production design.

Realistically portrays the atmosphere of a blue-collar community reliant on a single industrial employer, including the social dynamics and economic pressures.

Shows processes like working in glove boxes, radiation monitoring, and decontamination showers, reflecting the potentially hazardous nature of the work.

The depiction of the modest, somewhat messy house shared by Karen, Drew, and Dolly grounds the characters and contrasts with the sterile plant environment.

Represents the typical settings for union activities and the atmosphere of organizing efforts during that era.

Effectively conveys the feeling of being watched and the potential danger faced by Silkwood due to her whistleblowing activities.