Military movies traditionally focus the lens on the troops fighting overseas while skipping the story of the families at home.
Here are 6 movie scenes that remind viewers how hard the lives of military spouses and children can be:
1. “We Were Soldiers” – Notification of next of kin
Families of deployed service members live with the dread of a casualty notification officer showing up. Families from the Vietnam War and earlier conflicts had the same fear, but it was embodied in taxi drivers who delivered dreaded telegrams. In “We Were Soldiers,” Julia Moore almost loses it when a cabbie walks to her door. Luckily he’s not there for her, just directions to another house.
2. “A War” – Family members are never the only priority
Service members have to juggle the needs of the nation with the needs of their family. In this clip from the Oscar-nominated “A War,” the commander’s wife argues for her husband to say whatever it takes to avoid jail time after an errant airstrike. For Claus Pederson, the commander, the necessity of supporting his family’s needs has to be balanced with the needs of his troops.
3. “American Sniper” – The family never knows when the service member is safe, except when they know they aren’t
Troops usually know whether the current danger level is high or low. They get updated on local threats, know when they’re safe behind walls or in the most dangerous part of the battlefield, and are watching out for enemies.
For family members, the threat is always real and they never know if their soldier is in relative safety or outside the wire. The only exception is when they’re actively speaking to their loved one, in which case every background noise is terrifying.
4. “The Hurt Locker” – The soldier who comes home may not be the one who left
“Hurt Locker” was Oscar gold but hated-on by vets (for good reason). But it got some parts of the military experience right. In this scene, explosive ordnance disposal technician William James is playing with his son while talking through his own scars from deployment. The family will often want to help, but troops may want to talk only rarely or not at all.
For James, the best course of action was apparently to talk to the only family member who can’t possibly understand.
5. “American Sniper” – PTSD can be a tough problem for military families
While most movies overplay the symptoms of PTSD, “American Sniper” earned a lot of credit for portraying a vet afflicted by the disorder as mostly just stuck in their own thoughts, rather than showing them as a caricature of violence.
American Sniper had other good scenes about vets struggling with normal relations at home, including this one from a barbecue and the scene in a mechanic’s shop.
6. “Independence Day” – Military families face national crises without a head of household
While “Independence Day” is hardly a gritty war movie, it contains one scene that reflects a dark reality for military families. When Will Smith’s Capt. Steven Hiller learns that aliens have arrived on earth, he immediately heads to base to get ready for a fight.
When the U.S. was attacked on 9/11, most Americans were reeling from the surprise attack and military families had to recover while their loved ones went to bases to get ready for deployment. President George W. Bush even said in his speech for all Americans with a uniform to get it ready.
When you talk about a career after military service, oftentimes the conversation veers toward opening a small business, going back to school for a degree or entering the corporate world.
But for a select few, it can mean more of the same — and sometimes a lot more than they’d ever bargained for.
That’s what happened to Bill Fulton when he left the Army after an accident blew out his knees. Not satisfied that his days of working with soldiers would be over, Fulton started a military surplus business in the wilds of Alaska.
And he had no idea just how wild it would eventually get.
Dubbed the “Drop Zone,” Fulton’s store in Anchorage eventually became a kind of sanctuary for fellow vets — sharpshooting hippies, crew-cutted fundamentalists, PTSD sufferers — all seeking purpose and direction.
But the Last Frontier is vast wilderness, the perfect refuge for fugitives, and the perfect place for vets itching for a mission. So Fulton and his crew formed a fugitive recovery business, nabbing bad guys for law enforcement across the state. In the end, more than 400 fugitives would meet Fulton and company on the wrong end of a gun.
Maybe it was the dark or the cold or the isolation, but Alaska provided a never-ending stream of violent felons, meth cookers, heroin dealers, and thieves. For Fulton and his fellow vets, reminding these fugitives they weren’t above the law, and going out with guns in hands to bust bad guys was way more therapeutic than laying on a couch talking about the war.
From tiptoeing through cracking snow on a bust to confiscating a fugitive’s handgun from the place “where the sun don’t shine,” Fulton and his crew had their share of adventure. But it all came to a head when the FBI asked the Army vet to go undercover to blow the lid off of a separatist leader and his band of crooks.
That’s when his raid focused on a small house in Wasilla, Alaska, home of 2008 vice-presidential candidate Sarah Palin. What he found there was a lot more than Fulton and his band had bargained for.
But “Blood of Patriots” is about a lot more than guns and glory, it’s about a team of men who came together in the remotest corner of the U.S. to bring justice to those who avoided it. Guys like “Suicide,” who had an “act first and think later” mentality.
And “Clay Aiken,” who got his country-singer handle from his Southern drawl. Everyone loved Clay and trusted him with their lives—but not their women.
The ironically-named and always mopey “Sunshine” spread his Eeyore vibe wherever he went. The Big Mexican was both, and came to snowy Alaska from East LA via the military.
And then there was “Gunny,” a six-foot-four brick sh@thouse of a man, who stood in a doorway like a solar eclipse, with thick, black, coiled tribal tattoos creeping up his neck and out the bottom of his black leather trench-coat sleeves.
Gunny was a former Marine who worked for a three-letter government organization he wouldn’t name, disappearing for months on special ops missions to parts unknown.
“Blood of Patriots” is the kind of adventure story that makes you wonder if fact really is stranger than fiction, but it also reminds you that some of our fighting men and women carry on the call long after their military service ends.
Bill Fulton’s “Blood of Patriots” is available on Amazon.com.
In a press release on March 7, 2019, the company finally announced the opening dates for Star Wars: Galaxy’s Edge — and it’s ahead of schedule. The 14-acre expansion will open on May 31, 2019, at Disneyland in California and on Aug. 29, 2019, at Disney’s Hollywood Studios in Florida.
“On opening day for phase one, guests will be transported to the remote planet of Batuu, full of unique sights, sounds, smells, and tastes,” the release describes. “Guests can become part of the story as they sample galactic food and beverages, explore an intriguing collection of merchant shops, and take the controls of the most famous ship in the galaxy aboard Millenium Falcon: Smugglers Run.”
Star Wars: Galaxy’s Edge to Open May 31 at Disneyland Resort, Aug. 29 at Disney’s Hollywood Studios
According to the statement, however, the park will open in phases “to allow guests to sooner enjoy the one-of-a-kind experiences that make Star Wars: Galaxy’s Edge so spectacular.”
Phase two won’t open until later in 2019. It will feature the park’s largest attraction, Star Wars: Rise of the Resistance, where guests will board a full-size starship and join the battle against the First Order, including a face-off with Kylo Ren.
To visit the Disneyland park between May 31 and June 23, 2019, Disney says that guests will not only need valid theme park admission but also a “no-cost reservation.” Details on how to make that reservation have not yet been released but will be posted on Disneyland.com. The park will then open to the general public on June 24, 2019.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
But a lot will change for the MCU after this year.
Disney, which owns Marvel, will own the film rights to the X-Men and the Fantastic Four after merging with Fox. The producer Kevin Feige has said he expects that to happen within the first six months of 2019, at which point he’ll get the green light to develop projects with those characters.
It comes at a good time, as “Endgame” marks the end of this era for the MCU, and veteran actors like Chris Evans (who plays Captain America) are expected to retire from their roles.
But before the MCU faces a big shakeup, we ranked all 21 movies — including “Captain Marvel” — from worst to best.
Here’s every Marvel Cinematic Universe movie, ranked:
The MCU has since become a well-oiled machine that knows how to balance it all. But in 2010, it was still working on that.
20. “Thor” (2011)
Directed by Kenneth Branagh
There’s nothing particularly horrible about “Thor,” but there’s nothing memorable either. It’s impressive that the movie works at all, considering that Thor, an alien god with daddy issues, was such a little-known character at the time, and Chris Hemsworth was not the superstar he is now. But James Gunn managed to turn even lesser-known and weirder characters into MCU standouts in “Guardians of the Galaxy.” It would take a while for Thor to really come into his own.
We now know Mark Ruffalo as Bruce Banner/Hulk, but in the second MCU movie, Edward Norton was in the role.
Out of all the MCU movies, “The Incredible Hulk” feels the least connected to the universe. Liv Tyler’s Betty Ross, Banner’s love interest, has never appeared again, and neither has Tim Blake Nelson, who was teased as the Hulk’s archnemesis, the Leader.
But even with that tease, a sequel never happened, and the only character besides the Hulk to have any meaningful connection to the MCU has been General “Thunderbolt” Ross, played by William Hurt, who popped up again in 2016’s “Captain America: Civil War.”
(Disney / Marvel)
18. “Thor: The Dark World” (2013)
Directed by Alan Taylor
It’s almost pointless to compare the first two “Thor” movies, as they’re both toward the bottom of the MCU barrel. But “The Dark World” is a tad more fun than “Thor,” and it’s integral in introducing one of the Infinity Stones (the Reality Stone) that Thanos ends up using to destroy half of humanity.
But Marvel still hadn’t realized that Hemsworth’s best attribute in the role is his humor, and the character — and the first two movies — suffer because of it.
17. “Doctor Strange” (2016)
Directed by Scott Derrickson
“Doctor Strange” is the most overrated movie in the MCU. By 2016, movies like the Russos’ “Captain America: The Winter Soldier” and “Civil War” had progressed the MCU into new territory, but “Doctor Strange” felt like a step back. Sure, the magic was cool, but it also relied on a formulaic plot with a forgettable love interest. (How do you not give Rachel McAdams more to do?!)
16. “Avengers: Age of Ultron” (2015)
Directed by Joss Whedon
This “Avengers” sequel made the same mistake as “Iron Man 2”: cramming too much into its plot to serve the future of the franchise.
The movie features some cool action sequences, notably the Iron Man-Hulk battle. But it fails to distinguish Ultron, the Avengers’ biggest enemy in the comics, from other two-dimensional MCU villains, and it spends too much time setting up future movies. (What exactly is Thor doing?)
15. “Ant-Man” (2015)
Directed by Peyton Reed
“Ant-Man” is a fun little Marvel movie, but not much else. Paul Rudd is charming in the lead role, and Evangeline Lilly is more than just a love interest as Hope van Dyne (the future Wasp). But the movie still falls into familiar territory, including a lackluster villain in Corey Stoll’s Yellowjacket.
(Disney / Marvel)
14. “Captain America: The First Avenger” (2011)
Directed by Joe Johnston
“The First Avenger” is arguably the first movie that “mattered” in the MCU. While “Iron Man” is better, “The First Avenger” sets up “The Avengers” better than “Iron Man,” which basically acts as a prequel to the big team-up movie.
“The First Avenger” would prove essential to the movies that came after — even “Infinity War” with the unexpected return of a character thought to be dead.
13. “Iron Man 3” (2013)
Directed by Shane Black
“Iron Man 3” is the most divisive movie in the MCU, and for good reason. It takes some wacky turns, with a major twist that ruined the movie for plenty of people. But I admire that Black just went for it with this movie and delivered something that fans still argue over.
12. “Ant-Man and the Wasp” (2018)
Directed by Peyton Reed
While it’s not necessarily an “essential” MCU movie, it improves on the first “Ant-Man” in nearly every way, with plenty of heart and humor.
Reed came back to direct after replacing Edgar Wright at the last minute on the first movie, and “Ant-Man and the Wasp” feels as if he was more adjusted to the job, with some well-polished action sequences and a great handle on the characters.
11. “Captain Marvel” (2019)
Directed by Anna Boden and Ryan Fleck
Maybe in time “Captain Marvel” will inch higher on this list. But for now, it’s a solid entry into the MCU, but not a fantastic one.
Boden and Fleck are at their best in the character-driven aspects of the movie. Unfortunately, it’s the action the movie is lacking, which hurts it by the end.
Brie Larson is perfect in the title role, though, and her chemistry with Samuel L. Jackson’s Nick Fury makes the movie. There are also some surprising twists that elicited plenty of reactions from theater audiences. If anything, this is a worthy appetizer for “Avengers: Endgame.”
10. “Spider-Man: Homecoming” (2017)
Directed by Jon Watts
I didn’t have a strong positive reaction to “Homecoming” when I first saw it, but it’s grown on me. Peter Parker’s motivations throughout the movie to be a hero — impressing Tony Stark — rubbed me the wrong way at first. But it’s hard not to like Tom Holland’s spot-on portrayal of the character, and the movie knows exactly what it wants to be: high-school ’80s classic meets modern superhero flick. And Michael Keaton is truly menacing as Adrian Toomes/Vulture in what began a hot streak for villains in the MCU.
9. “Guardians of the Galaxy Vol. 2” (2017)
Directed by James Gunn
Though “Guardians of the Galaxy Vol. 2” is a step back from the first movie, it’s still the most underrated MCU movie. The “Guardians” movies are unique entries in the franchise, and it’s a shame Gunn was given the boot from the third movie, which is in limbo.
8. “Iron Man” (2008)
Directed by Jon Favreau
The first movie — and still among the best — “Iron Man” kicked off what has become the most lucrative movie franchise of all time. But in 2008, it was just a fun superhero origin movie that defied the odds.
Robert Downey Jr. is Tony Stark, and it’s hard to think of anyone else who could have embodied the role with so much of the necessary charisma to sell a character who casual audiences hadn’t cared about.
7. “The Avengers” (2012)
Directed by Joss Whedon
Four years after “Iron Man,” “The Avengers” proved that Marvel had what it takes to pull off a connected universe of movies. It’s even more impressive considering that the early MCU movies, like “Thor,” “Iron Man 2,” and “The Incredible Hulk,” are some of the worst in the franchise. But “The Avengers” course-corrected, delivering a bona fide blockbuster that hadn’t been achieved before.
(Disney / Marvel)
6. “Captain America: The Winter Soldier” (2014)
Directed by Joe and Anthony Russo
2014 marks the point when the MCU really got it together. There have been minimal low points since, and it’s because Kevin Feige and crew finally had the machine running smoothly with low-profile directors who could deliver surprising superhero movies.
Among those filmmakers were the Russos, who have become somewhat of the architects of the universe. After “The Winter Soldier,” an expertly crafted espionage thriller posing as a superhero movie, they went on to direct “Civil War,” “Infinity War,” and “Endgame.”
(Disney / Marvel Studios)
6. “Thor: Ragnarok” (2017)
Directed by Taika Waititi
“Thor: Ragnarok” is the most absurd movie in the MCU, but that’s only part of what makes it so good. This is when Marvel finally realized that Chris Hemsworth is an extremely funny guy with loads of charm and built a movie around that.
It’s also probably the closest thing we’ll get to another Hulk movie in the MCU.
4. “Captain America: Civil War” (2016)
Directed by Joe and Anthony Russo
“Civil War” is loosely based on a 2007 comic-book event of the same name that pits Marvel’s superheroes against one another over the ethics of a registration act making it illegal for any superpowered person to not register their identities with the government.
The MCU version is obviously more contained, but that’s what makes it so good. It takes a huge storyline and successfully tells it through Captain America’s perspective, making it even more personal.
(Walt Disney Studios Motion Pictures)
3. “Black Panther” (2018)
Directed by Ryan Coogler
“Black Panther” is a lot of firsts: the first superhero movie to be nominated for best picture, the first movie to win Oscars for Marvel Studios, the first superhero movie with a predominantly black cast.
It was more than just an MCU movie — it was a cultural event. And its box office reflects that. It was the highest-grossing movie in the US in 2018, breaking barriers and riding its success all the way to Oscar gold.
2. “Avengers: Infinity War” (2018)
Directed by Joe and Anthony Russo
“Infinity War” is an order of magnitude bigger than “Avengers” or “Civil War.” With a cast of over 20 characters, “Infinity War” is the culmination of 10 years of universe-building.
The Russos pulled it off, and they’re not done yet. After the most shocking ending in an MCU movie, the story will continue in “Endgame.”
But on its own, “Infinity War” is an impressive balancing act, and Josh Brolin’s Thanos lives up to the hype.
1. “Guardians of the Galaxy” (2014)
Directed by James Gunn
“Guardians of the Galaxy” was the first MCU movie that really felt disconnected from the rest of the universe, but not in a negative way like “The Incredible Hulk.” It’s an important entry in the franchise from a story standpoint — but it’s also just a hilarious, fun, self-contained movie that turned an unknown group of characters into fan favorites.
It’s the most rewatchable movie in the MCU, with a brilliant soundtrack, but it’s the characters that really make it, from the dynamic between Rocket and Groot to the oblivious Drax. They don’t like each other at first, but the audience loves them as soon as they’re introduced.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
With a $716 billion budget and the mission to be the best at everything, the Pentagon finds some pretty creative ways of going about it. No, they didn’t have an actual underground boxing club among the military’s highest-ranking chiefs at the Pentagon (that we know of), but they did have some experiments that could have proven fruitful in giving America’s enemies a black eye.
The only problem is that Congress found out about it. That’s why the first rule is not to talk about it.
The Mantis Shrimp, club cocked (more on that later).
In 2015, Arizona Sen. Jeff Flake decided he was going to take on wasteful spending, releasing a “Wastebook” that detailed what he believed was government spending run amok.
Quoting the movie Fight Club, Flake says,“We buy things we don’t need with money we don’t have,” in the Wastebook, which is titled The Farce Awakens. Flake is referring to a 6,800 research grant given to Duke University researchers, who allegedly used it to pit 68 Panamanian mantis shrimp against each other to see who would win and why.
“To see so much money so outlandishly wasted, it’s clear that Washington’s ballyhooing over budget austerity is a farce,” Flake said. “Hopefully, this report gives Congress – which only ever seems to agree when it comes to spending money – something to Chewie on before the taxpayers strike back.”
This is the cover of the wastebook, no joke.
But the study wasn’t really useless, as it turns out. In fact, there’s an entire field of science called biomimetics dedicated to the idea of solving human problems with abilities and designs from animals found in nature. Duke University was doing research in just that vein. So far, they’ve been able to harness the mantis shrimp’s weapons and armor for human needs. It turns out the mantis shrimp (neither mantis nor shrimp) is one of the ocean’s premier brawlers.
The study didn’t really spend 0,000 on a fight club of shrimp. The grant covered the entire span of research on the mantis shrimp. What they discovered is a roving tank on the ocean floor. Its two main appendages act as underwater clubs to knock its prey out in a single punch – and that punch is what had the researchers so fascinated.
Did you see that? I doubt it. Read on!
The mantis shrimp punch goes from an underwater standing start to 50mph in the blink of an eye. It generates 1,500 newtons of force, the equivalent of a 340-pound rock hitting you in the face. If a human could manage 1/10th of that force with its arms, we’d be chucking baseballs into low Earth orbit. To top it all off, those clubs pop out with the velocity of a .22-caliber bullet (one that isn’t underwater) and the sudden change in water pressure causes the water around them to boil at several thousand degrees Kelvin. If the punch doesn’t kill the prey, the punch’s shockwave still can.
But wait, there’s more.
The researchers also wanted to know how mantis shrimp defend against this kind of attack – how their natural armor protects them from other mantis shrimp super weapons. This punch goes right through the shells worn by crabs and clams as well as the natural protections of some species of fish (and aquarium glass, FYI. In case you’re thinking you want one). The clubs themselves are also intensely durable, maintaining their performance throughout the mantis shrimp’s lifespan.
Its primary weapon is a complex system of three main regions, all lightweight and durable, tougher than many engineered ceramics. Civilian applications could improve the performance of cars and airplanes while military applications include body armor and armor for vehicles and potentially aircraft.
“That’s the holy grail for materials engineers,” said University of California professor and researcher David Kisailus, who is pioneering such studies these days.
The Super Bowl is where the stakes are highest in the world of professional football.
But for some who have played in that big game, they have staked far more than whether or not they help hoist the Vince Lombardi Trophy — they’ve served in the military, signing “a blank check to the United States of America for an amount of up to and including my life,” to paraphrase a popular quote.
Here are some of the more famous names (and not-so-famous) names who served in the military and played in the Super Bowl:
1. Hall of Fame OLB Kevin Greene
While Greene is not well known, he is one of the NFL’s all-time great pass rushers, and played in Super Bowl XXX with the Pittsburgh Steelers. He also served in the Alabama Army National Guard, according to a 1986 article in the Poughkeepsie Journal, getting paratrooper wings and also at times commanding a tank platoon.
In the 2017 season, he will coach linebackers for the New York Jets.
According to NFL.com, Greene totaled 160 sacks and five interceptions over 15 seasons.
2. New England Patriots LS Joe Cardona
Cardona will be playing in Super Bowl LI with the New England Patriots, serving as a long snapper. He did the same with the U.S. Naval Academy’s football team – starting as a freshman and for all four years.
A 2015 DoD feature on military-NFL ties reports he serves on active duty, and has assignments with the Naval Academy Preparatory School in Newport and with the destroyer USS Zumwalt (DDG 1000).
3. Hall of Fame QB Roger Staubach
Prior to Pat Tillman, Roger Staubach was probably the most famous person who had his feet in both the military and National Football League. He played 11 years in the NFL, all with the Dallas Cowboys, throwing 153 TD passes according to NFL.com. He played in four Super Bowls, winning Super Bowls VI and XII.
Perhaps best known for his Super Bowl XXI heroics as a member of the New York Giants, including a 6-yard TD catch, McConkey wasn’t drafted by an NFL team when he graduated from the Naval Academy.
His naval service included time as a helicopter pilot, but he decided to go for his dream of playing pro football. A 2013 Buffalo News article revealed that it was a family connection to New England Patriots coach Bill Belicheck (whose father was an assistant coach at the Naval Academy) that launched McConkey’s NFL career.
A 4.4-second time in the 40-yard dash didn’t hurt, either. Over his six-season professional football career, NFL.com notes that McConkey had 67 receptions for 1,113 yards and two TDs for the Giants, Chargers, Cardinals, and one other team.
5. Retired DT Chad Hennings
Though Hennings won three Super Bowls with the Dallas Cowboys, he also was very well known as an Air Force pilot flying the A-10 Thunderbolt II close-air support plane, according to GoAirForceFalcons.com. According to NFL.com, Hennings had 27.5 sacks over his nine-season NFL career.
6. Retired RB Rocky Bleier
Rocky Bleier was overshadowed in the Steelers’ backfield that won four Super Bowls by NFL Hall of Fame legends Terry Bradshaw and Franco Harris.
One reason may have been the fact that in December, 1968, he was drafted by the Army and volunteered to serve in Vietnam. According to a 1969 AP report printed in the Pittsburgh Post-Gazette, Bleier was wounded on Aug. 20 of that year — shot in the thigh and hit by grenade fragments, losing part of his right foot.
According to NFL.com, Bleier only played six games in 1971 after missing all of 1970. He would rush for 3,865 yards and 23 TDs, while catching 136 passes for 1,294 yards and two more TDs.
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.
The guy who created Cloverfield and directed The Force Awakens wants everyone to know he’s trying really hard to not mess up the ending of the Star Wars saga as we know it. On Oct. 18, 2019, Entertainment Weekly reported that J.J. Abrams said outright that “we are not screwing around” when it comes to creating a legit ending for the nine-part “Skywalker saga” in Star Wars: The Rise of Skywalker. Do we trust him? Do we have a choice?
According to EW, J.J. Abrams knew how hard it was going to be to write The Rise of Skywalker (along with Justice League writer Chris Terrio) because “Endings are the thing that scare me the most.” The director and co-writer of the movie also doesn’t really think The Rise of Skywalker is supposed to be the ending to the existing new trilogy which started in 2015 with The Force Awakens, but instead, he views it as the end of a nine-part story, which begins with The Phantom Menace and goes all way through the classic movies everyone loves.
“This is about bringing this thing to a close… if years from now, someone’s watching these movies, all nine of them, they’re watching a story that is as cohesive as possible.”
(Photo by Gage Skidmore)
Whether or not Abrams pulls that off remains to be seen, of course. If you were a fan of Lost, now is probably not the time to remind yourself that Abrams was involved with the ending of that series, too. Then again, maybe because Abrams has dealt with so many controversial endings of big pop-culture properties, that he’s the perfect guy to tackle the ending of Star Wars.
Or then again, maybe that’s wishful thinking. Let’s keep a little optimism here! Right?
In any case, we’ve now got J.J. Abrams’s promise: he’s not screwing around. Hopefully, the Force is listening.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Catch-22 was written six decades ago by World War II veteran Joseph Heller, but change the B-25s to CH-47s and make the sands of Pianosa (an Italian island) the sands of Afghanistan, Iraq, or Kuwait, and all the characters and most of the plots would fit right in.
The new miniseries from George Clooney, which features him in the supporting role of an insane commander of cadets, includes all the best moments from the novel. The funny ones, and the ones that capture the horror of conflict. Moments like these seven: (Spoilers below.)
When a slight error in directions puts a man in mortal danger
When a new gunner shows up to the squadron, he’s bunked in the tent of Yossarian, the main protagonist of the novel and the only one of the miniseries. Yossarian isn’t the most helpful of lieutenants, but he gives the new sergeant directions to the administration tent. A slight miscount of tents sends the sergeant to the ops tent, instead.
So the sergeant, instead of signing in to the unit, gets thrown into the next plane going up on a mission, a dangerous one over Nazi-controlled Italy.
When an Army sergeant tries to marry an Italian whore
Tell me if you’ve heard this one before: A young Army sergeant meets an attractive sex worker, falls in love, and wants to get married, even though everyone in the unit tells him it’s a horrible idea.
In Catch-22, that’s Nately, and his enduring loves goes to “Nately’s Whore,” an Italian woman with a funny pimp and a clever younger sister. While Nately’s story is a bit cliche, it also features one of the better lines of sergeants loving sex workers.
“Sure, she’s a prostitute now, but she won’t be once I marry her.”
When a piece of flak almost sends the hero home
During one of the bombardier’s missions, he almost gets his “million dollar wound,” the one that would let him go home. Slight spoiler: He’s hit in the nuts by flak. As the American doctor later explains, any man who gives up a nut for his country is entitled to go home. But any man who almost loses a testicle has to fly more missions.
And, spoiler, Yossarian only almost lost his testicle. A piece of shrapnel passed through his scrotum, between his testicles.
When an aviator creates a mock scrotum to ask about his testicles
And how did Yossarian learn that he still had two testicles? An Italian doctor told him. But the Italian man only spoke Italian, and Yossarian only spoke English, so he did a bit of improvisation, just like any soldier trying to communicate with a local would do.
In Yossarian’s case, that was turning a handkerchief into an improvised scrotum filled with two nearby pieces of fruit. Then he pointed at the fake nut sack, said, “Two,” pointed at his own sack, and asked, “Two?” The doctor got the idea, laughed, and confirmed the boys were still present.
When the colonel tries to cover up failure by giving an award and promotion
At one point, our hero is so distracted on a bombing run that he goes through the whole run-up, gives all the verbal commands and watches for the release point, but forgets to actually throw the lever to release the bombs. Yossarian, pretty strung out by this point, decides to just get his plane to go around for another pass.
(Major spoiler) But on that second pass, a beloved character is killed, and Yossarian blames himself for making the second run. His bosses blame him too. But when they go to punish him, they suddenly realize that punishing the bombardier would send the message that the mission failed. So, to maintain the perception that the mission was a success, they promote him and give him a medal instead.
(Then, for slightly related reasons, they have him arrested about 24 hours later.)
When the whole world turns dark
But the most familiar parts of the miniseries, and the novel, are the dark moments, when the humor melts away, and the terrifying reality of the war smashes its way in like the world’s most horrible Kool-Aid Man. We aren’t going to list any moments here, because all of them are major spoilers.
But the themes of loss, vulnerability, the futility of war, rampant capitalism, and more are all explored. The “loss” one comes up a lot.
It’s in most of the ads, so you’ve probably seen how Catch-22 works. If not, it’s a piece of bureaucratic genius that sounds exactly like something the Army would come up with.
Flying bombing missions is suicidal and, therefore, insane. Anyone who is insane doesn’t have to fly bombing missions. All they have to do is present themselves to a doctor and ask to go home. Except.
Except that the moment they ask to go home, the doctor is required to take that as the thought process of a rational mind. Rational people aren’t crazy and can’t be sent home for insanity.
So anyone who asks to go home, can’t. Anyone who doesn’t ask can go home anytime, as soon as they ask.
If you’ve got Hulu, you can check out the show anytime. If not, the book is probably better anyway. Sure, you don’t get to watch Hugh Laurie, but there are even more jokes than in the miniseries. And the novel was written by a vet, so it avoids some of the military mistakes like the show makes. (One guy wearing massive sergeant stripes introduces himself as a lieutenant. There’s about one mistake like that per episode.)
But really, spoilers for The Mandalorian Chapter 12 ahead.
Let’s start with a bit of non-linear history. In the first season of The Mandalorian, we were introduced to the Yoda Baby — an “asset” sought out by the remnants of the Galactic Empire under the orders of Moff Gideon (Giancarlo Esposito). We knew Gideon and his scientist Dr. Pershing (Omid Abtahi) were using the child for experiments and we knew of course that the Yoda Baby has a powerful affinity for the Force, but we didn’t know what the connection was.
Let’s jump to the beginning of The Siege, shall we? Din Djarin and his little charge are working to repair the Razor Crest. Djarin’s got the Yoda Baby in a small compartment trying to re-work some electrical lines. This had me wondering, from a cognitive perspective, how old the Yoda Baby is meant to be here. I know he’s fifty years old (and we know that Yoda lived to be nearly 900 years old) but what’s the age that you would try having your kid accomplish a dangerous task where he can sort of understand your directions but not completely and he can’t speak yet? I’m not a parent, but, like, is this like dealing with a two year-old?
Anyway, after electrocuting the infant they realize they need some help so they head back to Nevarro. We meet some ballsack aliens Aqualish thugs gearing up to murder a cute alien muskrat. Luckily Cara Dune — Nevarro’s new Marshal — returns in time to save the little feller.
Dune and Greef Karga (Carl Weathers, also the director of this episode) have a little side-mission for Djarin while he waits for his ship repairs: they want his help in destroying a nearby Imperial base. (My Dungeon Master pointed out that each episode of The Mandalorian is like a DND session and it made perfect sense. I think that’s also the series’ greatest struggle — the connecting lore isn’t quite strong enough to throw us all around the galaxy with random characters and missions.)
They leave the yoda baby with the other school children (which basically just endangers the other children, right? When has the yoda baby literally EVER not been attacked?) and we are given some new Yoda Baby meme-fuel when he steals a kid’s macaron. Plus now we can eat macarons at Star Wars parties.
Djarin, Dune, Karga, and Mythrol (Horatio Sanz), who was once a target for Djarin and is now an indentured servant of Karga — and the butt of too many bad jokes — head off to the base. Thanks to The Rise of Skywalker, every time I see Stormtroopers die, I wonder if they’re child soldiers. I still hate that JJ Abrams did that to me. Gina Carano’s gleeful little cheers whenever she kills one don’t help.
So here we are back to the controversial little midi-chlorians, introduced to aghast Star Wars fans during The Phantom Menace. The higher a creature’s “m-count,” the more Force-sensitive they are. Here at the base, which turns out to be a laboratory, we learn that Pershing desired the Yoda Baby for his high m-count in order to conduct his experiments.
It looks like Moff Gideon is trying to create a unit of Force-sensitive combatants, which is why he’s so eager to recover the Yoda Baby. After a very Star Wars-y canyon chase and TIE Fighter aerial battle (seriously, how amazing is Star Wars sound design? TIE Fighters sound so cool and distinct), the remaining Imperials are defeated and all is well.
The final scenes reunite us with New Republic pilot Captain Carson Teva (Paul Sun-Hyung Lee), who attempts to recruit Dune to the cause, and introduce us to a new adversary, an Imperial Comms officer (Katy M. O’Brian) who ordered a tracking beacon attached to Djarin’s Razor Crest.
Making Alita, the humanoid main character in “Alita: Battle Angel,” work next to live-action characters onscreen was the biggest challenge for the visual effects team to bring to life in the film.
You may not have realized it, but a lot of work went into making the character’s big, bright brown eyes look just right, especially after the film’s first trailer.
“We had our original design, all based on the original artwork and [producer] Jim [Cameron]’s artwork and [director] Robert [Rodriguez]’s artwork, and even after the first trailer that came out, we got some criticism online about, ‘Hey, the eyes are too big. They don’t look right. Uncanny valley,'” visual effects supervisor Eric Saindon told Insider during a visual effects press day for the film at the Walt Disney Studios lot.
Here’s how Alita looks in the first trailer released for the film.
(20th Century Fox)
Based on the Japanese manga series “Gunnm,” the film follows a female cyborg, Alita, who has trouble remembering her past.
Saindon said the visual effects team spoke with Cameron and Rodriguez after the trailer came out in December 2017 to see what they thought of the criticism and whether or not they should change Alita’s look at all as a result.
“‘Do we want to shrink the eyes?'” Saindon said. “They came back and both said, ‘Absolutely not, we’re going to go bigger on the eyes.'”
“We didn’t actually go bigger on the eyes, but we did enlarge the iris,” Saindon continued. “We reduced the amount of sclera, the white around the eyes, and it sort of just popped everything back together. It popped her to be that manga character, but to be able to sit next to a live-action character. You never questioned it.”
You can see how Alita changed from that first trailer to the final film here. It’s a subtle change you may not have noticed:
Alita’s face is also softened a bit more in the final film. The lighting in this scene is a bit brighter on her face now.
(20th Century Fox)
Why Alita’s eyes were the most important to get just right
For the team, it was important to get the eyes right because not only is that the first thing you see when you meet Alita, but they believed that was going to be one of the main things that helped sell the believability of the character to audiences.
“Eyes are really critical in an actor’s performance,” said animation supervisor, Mike Cozens. “That’s why, you know, as shots get more intimate, we cut in closer and closer… Eyes are sort of what are telling you what’s going on inside the head, keeping that performance alive in the eyes, beyond the design and into performance was really critical, a critical part of the storytelling.”
Here’s how Alita looks when she opens her eyes for the first time in the films first trailer versus the final film.
(20th Century Fox)
“Truly, the eye size shouldn’t matter,” added visual effects supervisor for Lightstorm Entertainment, Richard Baneham. “Ultimately, when we look at a screen, I think it’s point-four of a second for us to read whether there are eyes onscreen or not. We immediately, as humans, go to that, because we want to understand how somebody is emotionally, what their state is. It’s what we do when we meet people, it’s how we read the room.”
Baneham said that regardless of the eye size, you can usually tell a person’s emotional state almost instantly through posture and their facial expression. That’s why it was important to get Alita’s eyes just right.
“So long as you communicate properly the emotional state of the character, the eye size, not that it’s irrelevant, it shouldn’t be the thing that’s in the way,” added Baneham. “We often say on our side, you don’t smile with your face, you don’t smile with your mouth, you smile with your eyes… As soon as you, you can cut to a pair of eyes and tell whether somebody’s smiling.”
If you covered up everything but Alita’s eyes in this image, you would be able to tell she’s smiling.
(20th Century Fox)
This isn’t the first time a trailer’s criticism has resulted in changes to a film.
After the release of the first trailer for the Sonic the Hedgehog film in April 2019, the video game character’s design sparked criticism and jokes online.
The image on the left shows Sonic’s original design. The image on the right shows how Sonic looks after the redesign.
How does the “Alita” visual effects team feel about receiving audience criticism right away after a trailer’s release?
“I didn’t mind hearing input from the outside world. It really solidified us, though,” said Saindon of reactions to the first trailer. “It kind of got everybody together and the real choices that were made beforehand kind of held. There was hardly any change, if you will, because I remember having, we had various different sizes and stuff out there and we were pretty big on the trailer, and it just kind of stayed there. It just made everybody reconsider what they were doing.”
“Whether she had big eyes or not, towards the end, I think all of us realized it was worthwhile worrying about it, and certainly it’s all about this expression that’s getting through or not getting through and worrying about that.”
Most of Alita’s design comes directly from the performance of actress Rosa Salazar who embodies the character.
(20th Century Fox)
Baneham added that it’s about making sure the audience invests in the character and comes along for the journey.
“That’s what you care about first and foremost, is making sure when the audience watch the movie, they’re not thinking about the technical aspects of the movie in any way, sort or form. They go on this, hopefully, immersive journey with the character,” said Baneham of what he wants viewers to get out of watching “Alita.”
“All the changes that happened afterward were not about, you know, pandering to the noise in any way. It was about bettering the character,” Baneham added.
“Alita: Battle Angel” is one of 10 finalists in the visual effects category at the 92nd Academy Awards. The Oscar nominations will be announced Monday morning.
This article originally appeared on Insider. Follow @thisisinsider on Twitter.
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.
Maximilian Uriarte is the renowned creator of the popular Terminal Lance comics and New York Times Best Seller The White Donkey. Uriarte’s new graphic novel, Battle Born: Lapis Lazuli, lends a raw and compelling, modern voice to the combat veteran experience. But before he did all of that, he was a Marine.
Artistry and the Marine Corps aren’t words that you typically see put in the same sentence, but Uriarte himself defies any Marine stereotype. “I’ve been an artist my whole life. I was always the kid in school drawing in the back,” he said with a smile. “I joined the Marine Corps infantry to become a better artist. I viewed it as a soul enriching experience.” He’s well aware that most people don’t use those words as a reason to join what is thought of as the toughest branch of service.
When Uriarte joined the Corps in 2006, he was adamant about becoming an infantryman – even though his high ASVAB scores allowed him to pick almost any MOS. But he shared that he wanted to do something that would shape him as a person, making him better. So, with his recruiter shaking his head in bafflement in the background, Uriarte signed on at 19 years old to become a 0351 Assaultman.
It was a decision that took his family by complete surprise, especially with the Iraq war in full swing. Raised in Oregon, Uriarte hadn’t been around the military but always knew he wanted to do something to challenge himself — something he was confident the Marine Corps would do. The year after he joined, Uriarte was deployed to the Al Zaidan region of Iraq with the 3rd Battalion, 3rd Marines from 2007 to 2008.
Uriarte deployed to Iraq once again in 2009 and this time, had the chance to be a part of Combat Camera. It was here that he really started examining his experiences as a Marine and he began developing the now infamous Terminal Lance comic strip. He launched it in 2010, five months before his enlistment with the Corps was up.
“When I put it out [Terminal Lance] I really thought I was going to get into trouble,” Uriarte said with a laugh. What sparked its creation was being surrounded by positive Marine stories, told in what he describes as an ever-present “oorah” tone. “To me, it seemed not authentic to the experience I had as a Marine Corps infantryman going to Iraq twice. Everyone hated being in Iraq, no one wanted to go there.”
The Marines loved Terminal Lance. It wasn’t long before it became a cultural phenomenon throughout the military as a whole and Uriarte became known as a hero among young Marines.
Uriarte shared that he had always wanted to do a web comic and the Marine Corps was definitely an interesting subject matter for him to dissect. “In a way, it was cathartic. The experience isn’t something most humans go through. Doing it helped me move on in a healthy way,” he said. While authoring the comic strip, he earned his Bachelor of Fine Arts degree with a major in Animation through the California College of the Fine Arts.
In 2013, Uriarte self-published The White Donkey after a successful kickstarter, which raised 0,000 for the book. A few months after its release, it was so successful it was picked up by traditional publishing and went on to become a New York Times Best Seller. The gripping graphic novel pulls back the curtain to expose the raw cost of war, especially for Marines serving in combat.
Uriarte knew he wanted to keep going and this time, wanted to take his storytelling a bit further. It was his hope that he could create something focused on the importance of human connection. Through all of this, he created Battle Born.
“It’s a story of a platoon of Marines going to Afghanistan, to fight the Taliban over the gemstone economy…. But it’s really about Sergeant King and his emotional journey,” Uriarte explained. He shared that he really wanted the character to reflect a modern day Conan The Barbarian, who he feels would definitely be a Marine.
“It’s really a meditation on the history of Afghanistan in the shadow of western imperialism, colonialism and looking at the tragic history of Afghanistan,” Uriarte said. “What does it mean to be civilized, is really the central theme of the book.”
Uriarte’s main passion is creating good stories that he himself wanted to see. He had never seen anything like Battle Born before – a Marine infantryman story that was very human grounded. “I truly believe that representation matters. It’s a lens I don’t think we’ve seen a war movie through before – the eyes of a black main character,” he explained.
Hollywood agrees: The book is currently in film development to become a live action film.
The biggest piece of advice he hopes to impart on service members getting out of the military is to use their GI Bill and go to school when their enlistment is up. “Just go and figure yourself out. It is a very safe place to decompress,” he explained. “The Marine Corps is very good at making Marines, but it’s bad at unmaking them. It’s a hard thing come back to the world and not be a Marine or in the military anymore.”
The 2018 annual suicide report found that soldiers and Marines took their own lives at a significantly higher rate than the other branches.
Uriarte struggled himself when he got out, but he found that school and writing was therapeutic for him. “When you get out, the thing Marines struggle with the most is, ‘Who am I?’ We always say, ‘Once a Marine always a Marine,’ but I think that is unhealthy,” he said. “People wonder why we have such high veteran suicides and it’s because we turn them into something they aren’t going to be for the rest of their lives.”
When asked what he wants readers to take from his work, Uriarte was quick to answer. “These are really stories of human experiences; passion, love and loss. It’s just showing that people are human and that Marines, especially, are human,” he explained. Uriarte also feels that his latest full-color graphic novel will appeal not just to those who enjoy comics, but to a wide spectrum of readers through a beautiful visual journey.
Uriarte uniquely tackles the difficulty of being a Marine and serving in the military with raw honesty and creativity through all of his work. His newest book, Battle Born: Lapis Lazuli is a deeply compelling compilation of the human experiences that affect us all.
You can purchase Battle Born Lapis: Lazuli and his other work at your local Walmart, Target or online through Amazon by clicking here.