Summer blockbuster season is almost officially over (The Atlantic claims it stretches from March to Labor Day), and with that, we here at We Are the Mighty have been talking about our favorite movie soundtracks. Of particular interest are our favorite songs from war movies.
This list was nearly impossible to cull down, because many of the best soundtracks are instrumental compositions (which are great), but don’t exactly scream “turn me up!” So we collected a series of songs (many from Vietnam movies) that are sure to either make you sing along, dance, or cry.
1. “These Boots Are Made For Walkin'” Nancy Sinatra – “Full Metal Jacket”
“These Boots Are Made for Walkin'” with the line “Me love you long time” from Stanley Kubrick’s “Full Metal Jacket”, made RR in Vietnam seem way more entertaining than it probably was.
2. “(Sittin’ on) the Dock of the Bay” Otis Redding – “Platoon”
There’s just something about this song that makes you wanna roll one and kick back on a dock somewhere.
3. “California Dreaming” The Mamas and Papas – “Forrest Gump”
Speaking about rolling one…
4. “Get Around” Beach Boys – “Good Morning Vietnam”
We couldn’t have a list of our favorite songs from war movies without a little Robin Williams. In “Good Morning Vietnam,” Robin Williams’ character boosts morale much like Robin Williams did on his many USO tours.
5. “Don’t Worry, Be Happy” Bobby McFerrin – “Jarhead”
“Sir, I got lost on the way to college, sir!” Classic.
6. “Brown Eyed Girl” Van Morrison – “Born on the Fourth of July”
Though Van Morrison never intended to release this song on an album when he recorded it, we’re sure glad he did. The Grammy’s were, too, as the song was inducted into the Grammy Hall of Fame in 2007.
7. “Miracles” Coldplay – “Unbroken”
You can’t possibly listen to this song and watch this video and NOT immediately want to watch this movie.
8. “There You’ll Be” Faith Hill – “Pearl Harbor”
I know battle hardened Marines who cry during this. It’s the military version of crying after Old Yeller.
Except for all the beer and BBQ, Vietnam isn’t anything like America for an FNG…and other lessons to be learned from Forrest Gump.
10. “Sgt. Mackenzie” Joseph Milna Mackenzie – We Were Soldiers
This haunting melody perfectly captures “We Were Soldiers” final battle in la Drang Valley.
As the story goes, the singer, Joseph Milna Mackenzie wrote the song just after his wife’s death. He stared at a picture of his grandfather above his fireplace and was overcome with wonder about his grandfather’s final moments before he died on the battle field in WWI. The song, according to Mackenzie, suddenly came to him.
Warning: Contains spoilers from Game of Thrones Season 7 Episode 5.
After last week’s sh*t show, Khaleesi fans have been waiting for her revenge against Euron Greyjoy. Who knew that the secret to destroying the Iron Fleet would be found in the Bloody Red Baron’s playbook?
(Maybe we all should have — there’s a reason he’s the most infamous fighter pilot of all time…)
One move in particular was the key to her success:
Daenerys attacking Iron fleet with dragons | Game of Thrones Season 8 Episode 5
Baron Manfred von Richtofen has been credited with 80 kills, most of which were won in planes painted bright red — not exactly the camouflage used on military aircraft today. He faced many obstacles in his military ambitions, but he had one major thing going for him: he was recruited by Lt. Oswald Boelcke, one of the most skilled fighter pilots of his time.
In World War I, Boelcke codified 8 rules for rookie combat pilots. The Red Baron — and the Mad Queen, it turns out — would secure victory through number 1: keep the sun behind you.
When target acquisition is accomplished through a visual scan of the skies, keeping the sun to their back blinds an aviator’s adversary. Just ask Euron Greyjoy.
Oh wait. You can’t.
There were many ways Daenerys could have attacked those ships. The nice thing about airpower is that gravity will really step up when taking care of your enemies. I always envisioned staying out of range and dropping barrels of burning pitch onto the ships, but of course she’d lose accuracy.
Instead, she chose to reward his ambush with one of her own, popping in from the clouds to overwhelm the naval sharpshooters. She then took advantage of their slow recovery time and destroyed them at close range as they attempted to re-load.
In last year’s Rogue One: A Star Wars Story, they finally sealed the thermal exhaust port sized plot hole of how to destroy the First Death Star without “many Bothans” dying.
Jyn Erso, a former criminal turned rebel soldier, leads her team in the Battle of Scarif where they capture the blueprints — and vulnerabilities — of the Death Star, which helps Luke Skywalker eventually destroy the moon-sized weapon. Before she goes on that mission she’s given another: hunt down and locate Saw Gerrera for Capt. Andor to kill.
Makes sense in the logic of the series. The group labelled “The Rebel Alliance” is a ragtag group comprised of many different rebel groups to restore the Galactic Republic. Gerrera was an extremist who gave the Rebellion a bad name and needed to be removed so they could claim morale superiority over defeat the Empire and the Dark Side.
However, in Saw Gerrera’s final moments, he isn’t given the “good riddance” treatment as with most villain deaths — he has a sweet farewell. Nothing about his character was deserving of that moment.
Comparing him to all of the heinous and messed up things done by the real world Osama bin Laden isn’t too far of a stretch.
The Rebels aren’t exactly without blood on their hands. Remember, they were willing to blow up a Death Star — and everyone on it — three times.
Gerrera isn’t just a one-off character in the Star Wars canon. He’s appeared in novels, cartoons, and comics as well. In the novel “Rebel Rising,” Saw proves that he’s willing to do just about anything to achieve his ends — including gunning down thousands of innocent lives to get to just a few Imperials.
The Mujahideen did the same thing happened to Osama after the Soviet-Afghan War.
It’s very subtly talked about and most people gloss over it, but the book mentions that he trained Jyn Erso from a young age. She mentions the reason she left was because she couldn’t handle the fighting at age 16.
This is not unlike how the Taliban uses child soldiers to fight and plant IEDs. The Taliban knows that Americans and our NATO allies would hesitate before pulling the trigger on a child. So they use kids.
Just this scene in Rogue One
To set the scene: a group of soldiers are patrolling through an occupied desert city. Some on foot, others in the vehicle. An insurgent grenade is tossed in the crowded street, taking out a few. The insurgents pull weapons out of their robes and start gunning down the soldiers.
It’s true the soldiers cause collateral damage, but the insurgents intentionally kill innocent to get to the soldiers. The insurgents are not afraid to blow themselves up to kill a soldier or two.
Which am I talking about? The real life fight in Afghanistan or Rogue One: A Star Wars Story?
Gina Elise and Pin-Ups for Vets are on a mission. Her nonprofit and the pin-ups who work therein are on a a 50-state hospital tour, visiting veterans at their bedside at military and VA facilities. In their 12th year, Elise and her cadre of volunteers will have visited over 12,000 veterans.
Choosing who gets to be in the yearly calendar is a much more difficult decision.
“We received so many incredible submissions from female Veterans all over the U.S.,” Elise says. “It is always so hard to select our calendar models, but there are only 12 months in a calendar, so we have to narrow it down. We are featuring an outstanding group of female Veterans in our 2018 edition, from a gunner’s mate to a surgery technician to a range coach. These ladies come from each of the five branches.”
Daphne Bye was selected for this year’s calendar. Bye was a TMO Marine, making sure equipment and other materiel got to where it was going. But she later became a range coach, teaching her fellow Marines how to properly use their weapons.
“The fact that I was the only female [on the range as a coach] was even better for me not only because we are so few in the Corps but because most would be shocked to see me there as a coach,” Bye says. “I was proud!”
Another Pin-Up featured in the calendar is Allison Paganetti. Paganetti was a Signal Corps in the Army and came from a veteran family. Both her grandfathers also served in the military.
“The truly brave and selfless individuals who provided my freedom should always be respected and never forgotten,” she says. “I am proud to do my part to shine light on any cause that supports my fellow veterans.”
Megan Marine was a Motor Vehicle Operator in the Marine Corps but has been watching the work of Gina Elise and Pin-Ups for Vets for over ten years. She always wanted to be a part of the the organization and in the calendar. This year is her year.
“Undoubtedly, there are a lot of people living in this world who are in need of care, time, and attention,” says Tess Rutherford, another 2018 calendar alum. “But for me, I feel it is my duty [and] my responsibility to extend a helping hand to my fellow veteran.”
“It gives us vets the opportunity to do what we did while serving,” Rutherford says. “We are able to to put a smile on the face of a veteran who has just undergone horrific surgery or lighten up the countenance of one who is on their dying bed. The only thing that changes is we are allowed to be elegant, regal, sophisticated, and beautiful during the process. It brings a great feeling of euphoria to change lives in such a way!”
Brendena Kyles was a gunner’s mate in the U.S. Navy. She remembers being on call when the ship called her up in the middle of the night.
“I thought it was a drill till I saw three small boats mounted with weapons following us in our wake…it was definitely not a drill,” she says. “I sighted in with my 240 just waiting for the call, after a good 30 mins of nervously waiting for the call to shoot. They finally gave up and stopped following us, could not go back to sleep after that adrenaline rush.”
Michelle Rivera wanted to be part of the calendar because it’s important for her to try to find a way to give back to the other people in the veteran community. She’s a 3rd-generation Army veteran who loves the fact that Pin-Ups for Vets gives female veterans a chance to do something meaningful for hospitalized veterans.
Gina Elise and her volunteer pin-ups are incredible human beings who makes it their goal to ensure the pin-ups make it to all 50 states.
A disabled veteran once told Elise, “When you are here, my pain is gone!” Since then, Pin-Ups for Vets has donated more than $56,000 to help VA Hospitals purchase new therapy equipment and to provide financial assistance for Veterans’ healthcare program expansion across the United States.
You may know Tom Skerritt for his iconic roles (Viper in Top Gun, anyone?) or his tell-tale mustache. But did you know he is an Air Force veteran? WATM had the opportunity to sit down with this Hollywood legend to learn more about his childhood, his work ethic and his time in service. Here are 10 questions with the unbeatable Tom Skerritt:
Can you share about your family and your life growing up?
My parents suffered through the Depression and lost quite a bit through it. I was born toward the end of the Depression and we had hard times and lived in Detroit. Detroit was a depression ridden city; I didn’t know the differences as a kid. I thought it was how life is. My school had creative programs where we were in public schools growing up. We had dance, shop, painting and similar programs. One Saturday morning a month, a school bus would take us to creative venues and I remember getting off the bus in front of the Detroit Institute of Arts. The first thing I see is Rodin’s The Thinker in front of the museum. I was about 7 or 8 years old then and am thinking, “naked guy, sitting on the toilet without the sports section.” We go into the museum and see a bronze plaque with a Shakespeare phrase, “There is nothing either good or bad, but thinking makes it so.” It stands as a distinct memory because the teacher had us write these things down, so it sticks with me. I then remember seeing a painting at the museum by Diego Rivera that was just so powerful. I had not seen anything like that so full of opinion, feeling, talent and genius.
The next time was a Saturday morning where they took us to a rehearsal for a concert to be done that night. We were setting in the hall and out comes this guest conductor. He was Arturo Toscanini, who was a great conductor of the 20th century. He was very old and physically in bad shape. He was dressed in white and his hair was shooting off in every direction like Albert Einstein. He looked like a white angel. He raised the baton and physically he became thirty years old. He straightened out and came alive like a ballerina conducting this orchestra. The sound of it was unbelievable and he was yelling at them in Italian throughout the rehearsal. These two moments compelled me by knowing there was another world out there beyond the common neighborhood I grew up in. It stayed with me — to know there is something more to this life than the Depression.
What made you want to join the Air Force and what was your experience like?
My father instructed me to get a trade after high school and nothing really registered to me, so I enlisted in the Air Force. I knew I needed direction and discipline. I needed something to accept as progress. I thought I could learn to fly… what did I know at 17? My older brother was a P-51 Mustang pilot in WWII so there was a dream there to do something bigger. I was very proud of my older brother where he was more like a father than my father could be. The Air Force gave me a purpose. I learned so much about the country by just being in the Air Force. It is a wonderful frame of reference that informs my intelligence and how I look at life.
The Air Force was about me taking in where I was. My duty station was the Bergstrom Air Force Base, which is now closed. I got a lot out of living close to Austin, Texas. They offered me a promotion if I re-enlisted where I decided I needed an education and should use the GI Bill. The military made me feel like I needed to have that college education. I didn’t get to fly, but I sure tried. I didn’t know the math or anything towards flying. I didn’t have a frame of reference of what was required to be a pilot.
After service for four years in the Air Force I used the GI Bill to go to UCLA. At that time UCLA was affordable where it was about $150 a year to study there. The GI Bill basically helped me pay the rent. I could go over to the West LA VA center for anything else I needed. LA in the 1960’s was laid back, easy and was nice then. I look back at LA with a great favor and what it gave me from going to school, learning to write, act and direct and the career I have. It makes me so damn appreciative of all it. The military was good for me and hope I was good for it.
I went to the university and studied English. The previous experiences with creative endeavors pushed more towards doing something creative. My other older brother used to play music for me as well when we were growing up, especially when our parents were out. My brother introduced me to classical music and jazz like Charlie Parker and Billie Holliday. The exuberance my brother exhibited when listening to the music and speaking of it left an indelible impression on me. I saw Citizen Kane growing up and was so impressed with it I decided I am going to write and direct that movie. I set the bar high.
I thought of having to understand writing and how it is to be an actor. So, I decided to take courses in acting and it would help me get through my shy phase. I was doing some local theater outside of UCLA to work with professional actors. Everything was about the challenge and going after it. After I got hired on a small film, I came out wanting to know how it was all put together, the sets, the actors and the writing. During this time, two people I became friends with were Robert Redford and Sydney Pollack.
I found the quotes on leadership by John Wooden, a UCLA coach and professor at the time, to be so life giving, especially with how he influenced the players. He gave his guys a way of looking at things that they wouldn’t consider as athletes. I think the small things that your brain picks up across life sticks with you, which he taught the players. Wooden had a great philosophy approach to doing what you got to do. Whether it was passing a ball to another player where you just pass the damn thing or bigger in life. Wooden would instruct in such a way that was a lot more than just passing a ball.
While at UCLA, I became friends with a neighbor who was a TV director where he hired me to do a couple acting jobs and TV work. I was mentored by him in film making, editing them and how he looked at the business. One day he calls up and says, ‘I have a movie to direct’. That movie turned out to be M*A*S*H and the director was Robert Altman. The studio initially hated the film where they weren’t going to release it. Altman got the critics to review it and they went berserk. Mentorship was a day to day thing from those in the industry where it was very important to me and my career.
When I had completed M*A*S*H, an up and coming director named Hal Ashby connected with me. I started mentoring with him for about three years, so I was being mentored by Ashby and Altman at the same time. These guys invited me to see their work and wanted to be friends. I was then hired to do movies in Italy for over four years.
What are you most proud of from your service in the USAF?
My service in the Air Force… I was a classification specialist at Bergstrom. If there was a motor vehicle airman in some air base in Italy, I would have to select them to be sent to Korea or wherever off the base. It was not what I wanted to have, but it was okay.
What values have you carried over from the Air Force back into the civilian world?
Focus and discipline with a better sense of who I was.
What was one of the toughest lessons to learn coming from the service to Hollywood?
I don’t have one other than a lesson from childhood — an old man told us young kids to “just keep moving.” Every day I am writing, and people ask me why I work so hard. I am busy working on Triple Squirrels where we are collecting a lot of documentaries that have been on shelves for years. All of this stuff is still related to film. We are covering artists doing unique things in the Pacific North West from great fishing rivers from Idaho to the Pacific Ocean or some guy who claims he saw the sasquatch which is a legendary character in the forest. The man filmed it and it looks like a moose and not the sasquatch where the man was so serious about the event. Five guys up in Bellingham all had that common purpose, let’s put a motorcycle together that can break the land speed record. Unfortunately, the motor blew out on the motorcycle while running it at the salt flats before it could break the record.
It is all wonderful, entertaining stuff such as glass workers like Dale Chihuly, one of the great glass artists in the world lives up here. It’s guys doing imaginative stuff. I keep going back to that and the imagination is such a gift to us human beings and sets us apart from all the other animals. It makes us curious and gives us the highs and lows that we have emotionally. It gives us the questions we have where it is all driven by our imaginative experience. The Air Force is the same thing with imagining to fly and being able to fly. I had a little bit of that experience in Top Gun, which made me feel like I was the real thing.
All of these things of being an actor and writer and director where I look back on all of it and say, “Holy shit man, did you really cover some territory where you have some advantages that you could employ to give to other people?” There is one thing from the service such as having the back of the other person and you are looking out for them. That was one of the big things I loved about the military. In the military, you have the training to be aware of other people for their benefit and your own. Not always the same in the civilian world
What are your most favorite projects to have worked on?
I was fortunate to have worked with Ashby, Altman and then into The Turning Point which starred Mikhail Baryshnikov, Anne Bancroft and Shirley MacLaine. All of these extraordinary people that I worked with where how could I pick out one favorite from M*A*S*H to Alien with Ridley Scott? Alton, Ashby and Ridley Scott were new when I worked with them. I met Tony Scott on the set of Alien, which led me to being involved in Top Gun. Being in films with just wonderful people from craft and how they approached life itself and how they applied it to the work they did. M*A*S*H was the best time I ever had in anything where I knew we had something and no one else did except, Altman and I. I just knew he was going to do something remarkable with all of the shooting he was doing. Alien was done about seven to eight years after M*A*S*H where those two films are in the top twenty-five films of the 20th century. So, I wanted to work to the level of Citizen Kane…*Tom laughs.
My getting close to Citizen Kane is being in two of the top films of the 20th century and then Top Gun and A River Runs Through It. All quite different with different approaches as an actor to each one of them. Doing interesting real people in every one of them where you had to make it real. It is hard to pick one out.
You bring all your past experiences into the roles you do in the future. My whole sense about life itself its how much of the good and not so good that you ingest and reject. All of it is there. This goes back to the Shakespeare quote from earlier, “there is nothing either good or bad, but thinking makes it so.” The creative process I began and later on understood what that meant. You have to have thinking processes based on what your imagination has to draw upon. I understand this through writing and looking back. I understand that everything leads to the next day, everything I got from life, the military, which has given me this discipline to write every day, it has given me a sense that words have value. That is not something you are conscious of, it is just who you are and part of who you are.
For me having been in a situation to the military and bringing it to a role, you’re damn right it is still with me. I appreciate it and still do. I still have my gig line and can remember my serial number 16401805! Why would I remember these things if they didn’t have something meaningful for me? You know about your posture as well from the military.
Doing “Picket Fences” in the 90s for four years and getting sixteen Emmys over four years for best show, actor, writer and that sort of stuff. To be in that environment, especially high end, you get spoiled in it and I admit that. It is an unusual career for a person that wants to be a writer and director. I did some directing on David E. Kelly’s TV shows such as “Picket Fences” and “Big Little Lies”. Kelley was another mentor of mine which he makes about the best TV can get.
What I am trying to give people through Triple Squirrels is the enjoyment of their own imagination. I ought to try and fish, or try to mess around with some glass, or get some scrap metal and make a motorcycle. You feel better about yourself when you feel there is something you might be able to do that makes you feel good. Life is largely a stew with salt, pepper and onions where you come up with this extraordinary stew of life.
I am trying to share a lot about life where I have been working with young filmmakers to get in touch with themselves. They want to make a movie like someone else where you make your own movie based on who you are and what comes out of that.
Can you share about some of your experiences working on “Gunsmoke”, “The FBI”, “Bonanza”, “The Virginian”, “Combat!”, “12 O’Clock High”, “Pickett Fences” and then on M*A*S*H, Alien, The Dead Zone, Top Gun, A River Runs Through It, Tears of the Sun and the like?
A great sense of gratitude and appreciation and good fortune to be able to do all of that. I don’t think many people in the business I am in have not had that overreaching of two or three decades of extraordinary projects. Stage acting is quite different than TV and motion pictures. Each one has a different approach to it. TV is always geared for twelve-minute segments before going to commercial. You have an unreal behavioral pattern in TV more so than film or stage or real life. In TV you have to get the answers real quick, respond real quick and draw that gun and shoot a guy. In film you want to resolve the issue more without the shooting. Let’s get down to see what we really want to work out here. On stage it becomes never getting around to shoot each other it is about getting to understand each other. Your honest engagement of that story in resolving our difference of opinion in theater, film is different and in TV you are working towards a commercial. TV lacks the grace of film and the courage stage has.
For Top Gun I read the script where I didn’t know who the director was at the time. I thought it was really solid and then heard that Tony Scott was going to direct it. I heard about the film like having heard about Ridley doing Alien. I read the Alien script and thought it was solid where they had only been to me, so Ridley was not attached to it that early on. Top Gun was already going to be done with the budget and good producers. I knew nothing else and then found out Tony was going to direct. It came together and then met Tom Cruise in the office to meet with Tony and with the producers. Tom was out in the waiting area with me. I had seen Tom act in Risky Business and thought he was a good young actor. I said to him, “you are a pretty good actor, where did you come up with that juice?” Tom responded, “By watching guys like you, Sir.” I thought, “Wow, a young gentleman that appreciated his opportunity in Top Gun.” He was not egomaniacal the way some actors can be in the movie business where it is all about me. For me I am always learning so I never felt that way where Top Gun is that type of thing where Tony is teaching me as well.
I get it from Ridley on Alien and then from Tony where they were both similar. They were both soccer players and believe in getting into rhythms as athletes and musicians do. All of these rhythms come into what we do. I felt very strong about Tony and for one of the few times really pushed to get into the film. Some of the producers felt I was too lethargic or casual and not military enough. I had been in the military so I could pull that one off going back with the gig line on and pack into that presence you had when you were in the service.
Once I got the role, I met the actual Top Gun commander. I used him as he was a thoughtful guy. I think the producers wanted someone who would be barking at the guys and getting on them all the time. I didn’t think the officer had to be someone shouting at other people. You just look them in the eye and say, “Why would do such a dumb thing as that? What accounts for that behavior you pulled off out there because you didn’t pull it off that’s why you are in this office right now?”
The reality of our life informs us in how we perform and that’s really all I could do in getting that role. To work with Tony, that script and then Tom Cruise pulled it all together. I was very sure about that film being very successful before I got into it. The instincts come back to me from going back into the Air Force where they never leave you. It becomes all things if you are conscious of them or not. They do lead our behavior patterns and how we pursue our life we have to live. I am delighted to have the life I have even with all of the not so good.
What leadership lessons in life and from the USAF have helped you most in your career?
Self worth and the will to do more. I don’t feel all that I need to do and all that I can do. There is a lot to learn still. When you have that in your life it is a big purpose.
When I started hearing about veterans coming home from the Middle East with severe PTSD during the 2000s, I felt responsibility for them. I was not in a position to do it for them when it pulled on me. I was able to level out through setting up a writing program for them. In some way this is all a gift where you just fully appreciate the best you can give. We, through the Red Badge Program, took veterans down to Ft. Lewis-McChord AFB to teach those guys coming back how to utilize PTSD experience in terms of telling a story. Usually the bad stuff of what happened took place when under extreme stress. We had teachers come in to teach them how to tell their story and the best way they possibly can. It has to do with these dealing with their own feelings and being able to express that.
The best way for me to relate to veterans is from some of my own PTS experiences. During the 60s and 70s as a young father and husband I had to deal with some intense family issues, many times dealing with the safety of my children. I was on 24/7 surveillance and did not always know when and who to trust. It was a tough time for me personally, but a good time for me professionally where acting was this cathartic release for me. Things did get better for me and my family thankfully.
We had musicians come in to play music for them so they could write lyrics to the music. The veterans came out of their feeling so much better about themselves. I had veterans come up to me and tell me, “I was ready to do myself in. You saved my life.” We had it for about seven or eight years where it was a hot news item with so many veterans committing suicide. We had to teach the veterans off base at the University of Washington-Tacoma branch because the military was not consistent with us since we were some soft, fluffy thing. The military was keeping veterans from coming at times, which stood in the way of what we were doing. We were able to set up a community away from the military where they can feel comfortable in that environment without being evaluated. I gave the veterans my stories and they gave me theirs where we could trust each other. That’s really what they got. Most often they said, “I could trust myself; I got a trust of people and I felt like I could be true.” That sounds simple, but it’s not simple.
How do we get more veteran stories told in the Hollywood arena?
The Hollywood arena has changed so much where I don’t know how it works anymore. Most of the films I was involved had a good story line. It was always about the story first. Hollywood has gotten so much into nine-digit budget films in the summer being a financial resource. Once you get to there its like saying, “I know it all.” They would make their own audience, age 17-39, from the early 90s on with every generation that came along they would replicate the same special effects, same story line just realigned to where they lost touch with the good stories they could tell. The screenplays became soft from then on and once they are soft there is nothing shocking about it. When you make films that have a lot to do with shooting and killing, some of it may be comedy, but it is the most influential of mediums, so you must be responsible. We have a responsibility to do the best we possibly can for the audience. It’s not the right approach to have aggressive, hostile and angry films like how to blow some up. Whatever it may be, and it does influence impressionable young minds. It does influence some kids in high schools killing other students. It does influence people.
The concern with studios and blockbuster ran out about six summers ago. All of those films had a sense of darkness and fear in them. We are running downhill where people are not reacting the same way they used to be scared. It is the same in so many ways that you have seen before. Once the reaction is gone you don’t return to the movies where less tickets have been sold the last six summers. Studios realized how in debt they were and always relied on big blockbusters to bring revenue back to the studios. When the revenue falls out you still have a lot of bills to pay. We are in a pit now in the lion’s den with movies. Hollywood will make some crafty films but will not be making as many as before.
What are you most proud of in life and your career?
I don’t think that way, where I am just grateful to have done so many projects. It has been extraordinary where working in Europe and Italy for three or four years and seeing ruins of great civilizations and the Renaissance buildings. Finding that only culture can come from conflict and resolution. We are in the deepest conflict here in America right now. We should be concerned about where we are going. What am I most proud of? I don’t know how to answer that because I have had a lot of good fortune. I am proud of what I can say to you and proud to have the capabilities and the wife I have and the children that I have. I know what they have had to go through with me, and they are still with me and we have that love. I have this wonderful woman, Julia where we have been together for 25 years. I have to tell you I appreciate her beyond words in a way that I could not if I hadn’t had all of these other life experiences, I related to you. That is the first time I ever said that. I have this woman I have now. I am also proud to have been in the US military.
It’s one of the coolest moments in medieval fantasy films. A blacksmith sweats over the forge, slowly pouring bright-orange, molten iron into an open-topped stone mold of a mighty sword while the audience watches a cool shot of the weapon taking shape.
Go ahead and toss in a shot of the warrior looking on with joy, let the audience watch as they quench the hot blade in snow, a person, or whatever, and presto, our hero has a neat toy for the next scene.
It’s too bad that this isn’t how any of it’s done in real life — and if it were, it’d be a sign of terrible craftsmanship.
The switch to iron and steel meant that they could make weapons longer without sacrificing durability. Which is important when you’re trying to stab someone without getting stabbed.
(Picture by J.J. Luder)
First, it should be stated that there’s a huge difference between casting a weapon and forging one. Back in the Bronze Age, before blacksmiths knew any better, they would take molten bronze and pour it into a stone cast to create a battle-ready weapon. This is casting.
Bronze was made from mixing copper and tin. For blacksmiths in 1200 BCE, this wasn’t a problem as both were abundant enough. Mankind had known about iron for hundreds of years at this point, but using it required a tremendous effort to create a product that was on par with bronze alternatives. When it was discovered that just a bit of carbon could turn the Earth’s most abundant metal into steel, they embraced the challenge.
Steel makes for stronger, more durable weapons, so blacksmiths began using this metal instead, but the process required was much different. To create something, smiths needed to forge it, starting from a blank (or piece of metal) that was the relative size of the weapon they intended to make, heating it, and painstakingly hammering it into shape.
No matter how cool of an opening scene this is, it’s still kinda of wrong.
It’s not impossible to cast iron weapons — but the process will yield a cheap, crude weapon. This works for the Uruk-hai Orcs of The Lord of the Rings, but it’s just not practical for anyone else. This is also how most cheapo swords that medieval fans have on their walls are made. For decorative weaponry, that’s fine, but the blade would probably snap in half given just a bit of pressure.
When you pour the metal into the cast, it’s going to take shape of the mold. Which means that it’s only going to be half made when it’s done with an open-top cast. The other half of the sword will be flat when the metal hardens. If they were to rework the metal into a complete shape after that, it’d defeat the purpose of the mold all together.
If you want a durable weapon made out of anything but bronze and looks beautiful, you’re going to need to forge it. This process can take days — even just to get a standard-looking sword. You’re looking at weeks of master craftsmanship to get the caliber of weapons used by main characters.
Most films opt to go with the more cinematic approach. Bright-red liquid (fun side note: Molten iron heated to the point where it can be cast is actually more of a pale yellow. They’re using aluminum) looks cool when it takes form, but the actual process of making real weapons is far more impressive — even if it takes a lot longer than a montage.
Think of the most famous starfighters of film and TV. You know them — The X-wing, the Y-wing, the VF-1 Valkyrie, the Colonial Viper, the F-302 — pop culture has gifted us with many famous planes we fly in our dreams… or on our personal computers and game consoles.
But if they existed for real, which squadrons would they be assigned to?
Here’s what We Are The Mighty is thinking:
Valkyrie from Robotech
Suggested Markings: VF-84 “Jolly Rogers”
The cartoon Robotech gave us this variable-configuration multi-role aerospace fighter in its first season, which was based on the Japanese anime Super Dimension Fortress Macross. With the jet mode looking like an F-14 and the famous “Skull One,” the markings from VF-84, the “Jolly Rogers,” are really the only call you can make.
Colonial Viper from Battlestar Galactica (Either Series)
Suggested Markings: VMFA-323 “Death Rattlers”
The Colonial Viper was an icon of whichever iteration of Battlestar Galactica you watched, whether it’s the classic one with Lorne Greene as Commander Adama and Dirk Benedict as the Starbuck, or whether it’s the new version with Edward James Olmos as Adama and Katie Sackoff as Starbuck. A number of squadrons have adopted nicknames based on snakes, but Marine Fighter Attack Squadron-323’s “Death Rattlers” seem particularly appropriate. The Vipers dominated their opponents when not caught by surprise or disabled by a cyber-attack – dealing death out far more than they received it.
Cylon Raider from Battlestar Galactica (Either Series)
Suggested Markings: VFA-127 “Cylons”
Yes, this is an adversary unit. But there is no other squadron arsenal appropriate for the front-line fighter used by the villains of either version Battlestar Galactica.
Incom X-Wing Fighter from Star Wars
Suggested Markings: VF-194 “Red Lightning”
“Red Five standing by.” Luke Skywalker’s call in the first Star Wars movie makes this designation a good one. Coincidentally, one of the planes flown by Navy Fighter Squadron-194, the F-8 Crusader, featured four 20mm cannon – while the X-wing has four lasers that proved to be capable of destroying TIE fighters easily.
Koensayr BTL Y-wing from Star Wars
Suggested Markings: VA-128 “Golden Intruders”
Best known as the fighters flown by the ill-fated Gold Squadron in the first Star Wars movie, the Y-wing was intended as an attack plane – and in the first movie, the Y-wings were torn to bits by Darth Vader’s TIE fighters (with only one surviving the Battle of Yavin). So, Attack Squadron-128, which flew the A-6 Intruder, seems to be appropriate markings for this space fighter.
This is another case where an easy call comes in. Gou’ald were called “snakes” by the heroes of Stargate SG-1. So, the 160th Fighter Squadron, Alabama Air National Guard — also called the “Snakes” — is really the only fitting mockup for this fighter.
This was a space-superiority fighter designed to take on other fighters. The 1st Fighter Squadron flew the F-15C Eagle, the definitive “not a pound air-to-ground” fighter in Air Force service. Appropriately, the 1st Fighter Squadron was called the “Fighting Furies.”
Thunderfighter from Buck Rogers in the 25th Century
At the start of the 1980s series Buck Rogers, the title character went into space on a rocket before things went south and he had 500 years in a deep freeze. Using the livery of the 336th Fighter Squadron makes a lot of sense, particularly since the F-15E is also a multi-role fighter that can be a capable dogfighter.
PWF-12 Peregrine Fighter from Deep Space Nine
Suggested Markings: VF-96 “Fighting Falcons”
This fighter is another multi-role vessel, which could handle opposing fighters like the Romulan Scorpion or take on capital ships with proton torpedoes. With a decent war load, and a two-man crew, it seems reminiscent of the F-4 Phantom. Fighter Squadron-96 saw several tours during Vietnam, and was notable for producing the only Navy ace of that conflict. Their nickname also fits with this Starfleet fighter.
Sienar Fleet Systems TIE Advanced x1 from Star Wars
Suggested Markings: VMF(AW)-114 “Death Dealers”
Darth Vader dealt death in this fighter in the first Star Wars movie, scoring six kills and becoming an ace in a day for the bad guys. This fighter was arguably able to take on the snub fighters of the Rebel Alliance in a one-on-one fight. This would make it a “Death Dealer” to any overconfident Rebel pilot.
“Spider-Man: Far From Home” is in theaters. And if you head out to see it, make sure you stay until the very end.
There are two must-watch end-credits scenes that will have fans talking long after the movie is over. The last one will change the way you see the entire movie.
If you left the theater early, or were confused at all, INSIDER has you covered.
The first end-credits scene
MJ and Peter Parker are officially a couple.
The scene picks up right where the movie ended with MJ and Peter Parker across the street from Madison Square Garden in New York City after the two flew through the city skies.
“Are you OK?” asks Peter Parker.
“Yeah, I’m never doing that again,” MJ tells Parker.
Peter’s about to head off when a breaking news report comes on a screen on the side of Madison Square Garden. The newsman says he has “disturbing revelations” about last week’s attack in London.
“An anonymous source provided this video,” says the newsman. “It shows Quentin Beck aka Mysterio moments before his death.”
The news stream then cuts to Mysterio looking right into the camera saying that he managed to send the Elementals back through an inter-dimensional rip in time and space, but he’s not confident he’s going to make it.
“Spider-Man attacked me for some reason,” says Beck. “He has an army of weaponized drones. Stark technology. He said he’s going to be the next Iron Man.”
The video then cuts to footage of Spider-Man speaking with his Stark technology glasses, E.D.I.T.H.
“Are you sure you want to commence the drone attack? There will be significant casualties,” says E.D.I.T.H. The Stark glasses stand for “Even Dead, I’m the hero.”
Spider-Man is then heard saying he doesn’t care.
“Execute them all,” Spider-Man appears to say.
The newsman says the video was released on the “controversial news website” theDailyBugle.net.
J.K. Simmons then appears on screen reprising his role as J. Jonah Jameson, the head of the fictional New York City tabloid.
“There you have it, folks. Conclusive proof that Spider-Man was responsible for the brutal murder of Mysterio, an inter-dimensional warrior who gave his life to protect our planet and who, will no doubt, go down in history as the greatest superhero of all time,” says Jameson.
Jameson’s not done yet. He then shows another clip of Mysterio.
“Spider-Man’s real name is Peter Parker,” he says.
Photos of Parker show up on the big screen. Parker, shocked, yells out, “What the —?”
The scene cuts to black.
J.K. Simmons as J. Jonah Jameson in “Spider-Man.”
The return of J. Jonah Jameson!
None other than J.K. Simmons, who played the same character in the original “Spider-Man” trilogy starring Tobey Maguire, appears at the film’s end.
In the original trilogy, which ran from 2002 until 2007, Jameson plays a newspaperman who is constantly demanding photos of the webslinger. Jameson thinks Spider-Man is a menace and is set on exposing the vigilante in The Daily Bugle.
In the Marvel Cinematic Universe, Jameson has left the newspaper business behind and is running his own Daily Bugle website.
Jameson has aged accordingly since the last time we’ve seen him on screen; however, his appearance leaves a big question up in the air. Is this the same version of Jameson who we saw in the Tobey Maguire era of “Spider-Man” movies? Probably not.
If you’re familiar with 2018’s “Into the Spider-Verse,” which introduced different versions of Peter Parker living in parallel dimensions, we’re thinking this is simply a different version of Jameson suited for the MCU. We’re here for it.
Peter’s going to be panicking for a little.
What this means for future “Spider-Man” movies: It’s not looking great for Peter at the moment.
Not only does Parker have to juggle a new relationship with his superhero responsibilities, but now he’s probably going to be on the run, at least for a little now that his secret identity is out there.
Any new potential threats to Spidey will likely come after Aunt May, MJ, or anyone else close to Peter. While this may present immediate concern, it shouldn’t be a danger to Parker forever.
We’re not that concerned about Peter’s identity being leaked to the world. Something tells us Parker’s pals Pepper Potts and S.H.I.E.L.D. will be able to swoop in and fix this real quick. We’d be surprised if they’re not able to show that the video footage from Jameson is fake news, at some point, and make it seem as if Peter isn’t really Spidey. This is a minor hiccup for the young Spidey.
Unfortunately, Spidey’s now on Jameson’s radar and you better believe he’s probably going to be asking for more photos of Parker and Spider-Man to get further proof that the two are one and the same.
The second end-credits scene
Nick Fury and Maria Hill go for another car ride similar to the end of “Avengers: Infinity War.”
We open up to Maria Hill and Nick Fury driving around in an Audi, a scene that’s reminiscent to the end of “Infinity War.”
As they’re in the car, Hill shapeshifts back into the Skrull, Soren.
“You gotta tell him, Talos,” Soren says.
Fury shapeshifts back into Soren’s husband, Talos.
“It was fine,” says Talos. “The little boy handled it. We helped.”
“How was I supposed to know that the whole thing was fake? I mean that was all very convincing,” he adds. “This is embarrassing for a shapeshifter.”
Talos decides to call the real Nick Fury.
“Hey, I hope your mission is going well. We gave the glasses to Parker about a week ago, like you said,” Talos tells Fury. “Shortly after that, everything kind of went off the rails, and so we need you to come back. Everyone kept asking where the Avengers are and I don’t know what to say to that.”
The scene cuts to the real Nick Fury who hangs up on Talos. He’s on a beach with a drink in a coconut. Fury gets up and stretches to reveal that he’s not really on a beach. He’s on a ship with other Skrulls.
“Back to work,” Fury claps. He walks further around the ship barefoot to show that he’s in space.
The scene cuts to black.
Talos was introduced in “Captain Marvel.”
Who are those green aliens?
If you haven’t seen “Captain Marvel,” you may have been surprised by the reveal of the shapeshifters. Soren and Talos (Ben Mendelsohn) are two friendly skrulls who were first introduced in the March 2019 movie.
A general in the Skrull Empire, Talos’ people were caught in a war with the Kree, who destroyed their home planet. Talos was reunited with his wife, Soren, and his child by the movie’s end.
Where is Nick Fury and what is he up to?
Fury’s been hanging out with the Skrulls since returning from Thanos’ life-altering Snap in “Avengers: Infinity War.” It looks like he’s trying to relax a little bit more after initially vanishing for five years.
That doesn’t mean Fury isn’t still focused on work. We see him on some unidentified Skrull ship alongside a flurry of the green guys. Fury tells everyone to get back to work. What kind of work?
Our best guess is that Fury is probably off looking for more alien life to recruit more superheroes. He’s the one who started the Avengers’ initiative. Now that Captain America and Iron Man are toast, he may need some new heroes to fill their shoes. Space seems like a good place to search.
There’s a little piece of evidence to support this. Captain Marvel tells Black Widow early in “Avengers: Endgame” that she can’t be back on Earth because she’s busy on other planets. Thanos’ Snap affected life throughout the universe and Carol Danvers looked like she was checking in on a lot of different people. We wouldn’t be surprised if Fury was going to meet Danvers on one of these planets that needed her help or if he’s looking into beings on another one of the worlds.
Peter Parker’s been to space, but he may not be ready for what’s next in the MCU.
What does this mean for the next phase of Marvel movies? Prepare to get more celestial
“Spider-Man: Far From Home” closes out the third phase of the MCU. After more than 20 movies, where are we heading next?
The sight of Fury in space has us thinking about the future lineup of Marvel movies and most of them are reportedly pretty cosmic. Of Disney’s upcoming movie slate, there are eight untitled Marvel movies. Among the movies Marvel is currently working on are “Guardians of the Galaxy Vol. 3” and “The Eternals,” two movies which deal with space and cosmic beings.
While James Gunn is returning to direct the third “GOTG” movie, we’re more interested in the latter film. Marvel Studios’ president Kevin Feige previously told TheWrap the film was in development. Ma Dong-seok (“Train to Busan”), Richard Madden (“Game of Thrones”), and Kumail Nanjiani (“Silicon Valley”) are reportedly among the cast, with Angelina Jolie in talks to join. We could easily see Fury hearing about these characters and jetting off to find them.
Jack Kirby created the Eternals in 1976.
Perhaps the answer is simpler. The end of “Far From Home” could simply be teasing the next “Captain Marvel” and filling us in on what Carol Danvers has been up to since the ’90s and since Fury vanished at the end of “Infinity War.”
Hopefully, we’ll only have to wait for San Diego Comic-Con in a few short weeks to potentially hear more about the upcoming Marvel Cinematic Universe films.
This article originally appeared on Insider. Follow @thisisinsider on Twitter.
World War I veteran John Ronald Reuel “J.R.R.” Tolkien published The Hobbit in 1937 and followed it up with The Lord of the Rings (1954-1944), books that would shape fantasy epics forever. The stories take place in Middle Earth, a medieval-esque land inhabited by humans, elves, dwarves, hobbits, dragons, orcs, and trolls, as well as sorcerers and wizards and witches and all manner of magics.
Thanks to sexy Legolas Peter Jackson, everyone has heard of Tolkien’s creations, but not everyone knows where he drew his inspiration from. Finally, the biopic Tolkien will tell the author’s tale.
Tolkien would lost two friends in the Battle of the Somme, a heavy toll for anyone to bear. Tolkien would also suffer from ‘trench fever’ — a typhus-like condition — that would heavily debilitate him for the rest of his service.
The journey from warrior to artist is a fascinating one, and Tolkien is one of the greatest. He had already begun writing some of his earliest tales, and after the war he sought employment as an Assistant Lexicographer on the New English Dictionary and later as an Associate Professor in English Language at the University of Leeds.
Based on the trailer, the film appears to celebrate Nicholas Hoult’s Tolkien, from his early education, love of language, and close friendships; to the war; and, of course, to his relationship with Edith Bratt, played by Lily Collins.
For fans of his work, the film looks promising.
For anyone who knows the toll that war can take, the film looks familiar — and perhaps promises a way “back again.”
Tolkien is directed by Dome Karukoski and will open on May 10, 2019.
Netflix dropped its latest British TV series on March 29, a spy thriller set at the end of World World II.
“Traitors” is streaming globally exclusively on Netflix outside of the UK and Ireland, and airs on the UK’s Channel 4 network. It stars “Call Me by Your Name” actor Michael Stuhlbarg, Emma Appleton, and Keeley Hawes.
Netflix describes the series like this: “As World War II ends, a young English woman agrees to help an enigmatic American agent root out Russian infiltration of the British government.”
Netflix has built a library of British shows in its effort to draw worldwide audiences, many of which are co-productions with UK networks. The strategy benefits both Netflix and British TV networks like the BBC, as the shows reach a wider audience and can reel in potential subscribers.
Other British shows Netflix has acquired include “The Last Kingdom,” which wasn’t a hit in the UK but found a worldwide audience; “The End of the F—ing World,” which Netflix renewed for a second season; and “Bodyguard,” which was nominated for the best drama series Golden Globe this year and won the Globe for best actor in a drama series for star Richard Madden.
From left to right: Luke Treadaway, Michael Stuhlbarg, Emma Appleton, Keeley Hawes, Brandon P. Bell.
(‘Traitors’ on Netflix)
Critics are mixed on “Traitors” but leaning positive. “Traitors” has a 71% Rotten Tomatoes critic score. Den of Geek called it a “satisfyingly grown-up spy thriller,” but others criticized how it takes historical liberties.
“I don’t usually mind this kind of revisionism; can appreciate, revel in its freshness, its new eyes, but this is in mild danger of being slathered on with a trowel,” Observer’s Euan Ferguson wrote. “It’s always heartily good to keep an open mind. Maybe not so open that your brains fall out.”
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
The Bad Batch seems primed to follow a structure that’s worked well in plenty of TV shows and movies, in everything from The Great Escape to Captain Planet to the Avengers films. It will revolve around “the unique and experimental clones” of Clone Force 99, a group of clone soldiers genetically distinct from the rest of the Clone Army. Basically, this isn’t the Ewan McGregor Obi-Wan show you were promised, but instead a spin-off from the existing (and complicated) animated Star Wars shows that have been running for over a decade.
All four members of the Bad Batch have a “desirable mutation” that makes them formidable soldiers. Crosshair has enhanced eyesight, Wrecker is strong, Tech is intelligent, and Clone Sergeant Hunter, the leader of the crew, has enhanced sensory abilities.
The Bad Batch was first introduced in the final season of The Clone Wars, so it’s appropriate that Dave Filoni — a director, writer, animator, and producer on that series — will executive produce the spin-off. Filoni is a key figure in Disney’s Star Wars plans, doing animation for The Force Awakens and four other animated Star Wars series. He also directed, wrote, and executive produced episodes of The Mandalorian.
All in all, this is good news for parents whose kids are still mourning the loss of The Clone Wars, as the creative talent and choice of subject matter for The Bad Batch makes it seem as though the new series will preserve what made the old one great. That said, it is kind of bad news for parents who wanted a little bit more of a strong female lead, Ahsoka Tano, or, you know, a new Star Wars show that wasn’t a cartoon.
Star Wars: The Bad Batch will come to Disney+ in 2021.
And, luckily, The Mandalorian Season 2 will still hit Disney+ sometime in late 2020.
WARNING: CONTAINS SPOILERS FROM “DRAGONSTONE,””STORMBORN,” AND “THE QUEEN’S JUSTICE.”
Daenerys Targaryen (played by Emilia Clarke) has had a bad couple of weeks in this penultimate run of “Game of Thrones.” As of the first three episodes in season seven, her forces are well on their way to being defeated in detail.
For the audience, this makes for satisfying conflict and suspense. Most everyone is rooting for fall of Cersei at the hands of Khaleesi, and this will make their final showdown exceptional.
But we can’t help but note that if the Mother of Dragons had studied a little U.S. military history, she might not have suffered such losses. Instead, Daenerys has managed to blunder away large parts of her forces — and her advantage over the Lannisters — and she did it with a number elementary mistakes that cadets at West Point or Annapolis could have pointed out in an instant.
This is not exactly a resume-enhancer for the Commander-in-Chief of the Seven Kingdoms.
Check out her four biggest mistakes since returning to Westeros:
1. Dispersion of Forces
She made the decision to split her naval forces, trying to do too much at once. She sent part of her fleet to pick up the Dornish Army and to bring them back to Dragonstone, while sending the rest to deliver the Unsullied to take Casterly Rock.
Japan made similar mistakes in the weeks leading up to the Battle of Midway, costing them a light carrier sunk, two fleet carriers rendered combat ineffective due to battle damage or losses, and two other carriers with substantial combat power diverted to a secondary task.
2. Failure to Secure Control of the Sea
Knowing that Yara and Theon Greyjoy were fleeing from the person who had usurped the throne of the Iron Islands, Daenerys should have sought to replicate the Battle of the North Cape, in which a pair of convoys was used to draw out the German battlecruiser Scharnhorst to where it could be destroyed by a superior force (or in this case, by the dragons). After that she could transport armies at leisure.
Instead, she didn’t deal with the enemy fleet, and look what happened.
3. Acting with Inadequate Intelligence
Daenerys also failed to establish a means to determine enemy intentions, which, as Joe Rochefort proved, can be vital to defeating a foe. As a result, the Tyrells, not to mention their fortune and bannermen, fell to the combined Lannister/Tarly army.
4. Observing Restrictive Rules of Engagement
Daenerys did have the option of going straight at Cersei Lannister, but declined due to concerns about civilian casualties.
This has been a subject of controversy during conflicts throughout history. Every military leader is faced with measuring out the cost of “collateral damage” and so, too, must Daenerys — especially when her opponent has no sense of moral restraint. How many more losses will she suffer before she resorts to fighting at Cersei’s level?
Hopefully by now she must know not to underestimate her enemy…especially considering Cersei’s hiding a surface-to-air missile under King’s Landing…
Brace yourselves — the death of at least one dragon is coming. (Game of Thrones screenshot | HBO)
Believe it or not, there is one gun very notable for having been taken by the United States Air Force to other planets. That said, it was only on TV.
The “Stargate” TV franchise — based on the 1994 movie featuring Kurt Russell — starred Richard Dean Anderson of “MacGyver” for its first eight seasons. The series was notable in having two separate Air Force Chiefs of Staff cameo as themselves, Gen. Michael Ryan in “Prodigy” and Gen. John Jumper in “Lost City, Part Two.”
The central premise around the series was that the Air Force had acquired a “stargate” that was set up in Cheyenne Mountain. The team led by Anderson’s character, SG-1, was pretty much carrying out a mission similar to of the Army Special Forces: building alliances with native populations.
The adventures eventually took SG-1 all the way across the galaxy and beyond, where they not only faced off against hostile nations, but also made contact with friendly aliens and acquired new technology.
And as is the case with special operations forces, SG-1 had gear that average grunts didn’t get their hands on — usually. In addition to all the alien tech, they did get some earth weapons, too. Notable among them was the P90 personal defense weapon from FN Herstal.
The P90 is a select-fire weapon that fires the 5.7x28m cartridge. It is a compact weapon with a 50-round magazine. The gun made its combat debut during Operation Desert Storm with Belgian special operations troops.
You can see a video about this PDW that has gone to other worlds below.