Don’t get me wrong. Cherry was a very well-done film that authentically portrays the cluster f*** of the military. And it should — the screenplay was based on a semi-autobiographical novel written by Nico Walker, who served as an Army medic in Iraq from 2005-2006. After over 250 combat missions, Walker suffered from undiagnosed PTSD, became addicted to heroin, robbed banks to get money for his addiction before he was arrested and sentenced to eleven years in prison for his crimes.
While in jail, he wrote his novel, Cherry; both it and the film portray the horrors of war and addiction. Most veterans I’ve spoken to don’t love watching war films, which can be very triggering. A friend of mine was killed in her humvee during an IED attack, making caravan attack scenes extremely painful for me to watch. I can’t imagine what those scenes are like for the men and women who have lived through caravan attacks.
And Cherry doesn’t pull any punches.
The film does not glamorize or romanticize the military experience, which is refreshing. From duck walks at MEPS to boot camp shenanigans to the absolute carelessness afforded to service members overseas to the violence of war and the inevitability of addiction and depression as a result of untreated trauma, Cherry gets it right.
I’m just not sure who wants to watch it. Maybe veterans who need to see themselves and their pain reflected in art, but I’d argue it’s more important for our government leaders to confront the reality of the wars they engage in. Maybe teens interested in enlisting should watch before they sign up to be a hero.
No one I know feels like a hero. Superbly directed by Anthony and Joe Russo (Captain America: The Winter Soldier, Avengers: Endgame), written by Angela Russo-Otstot (The Shield, V) and Jessica Goldberg (The Path), and starring Tom Holland (currently playing Spider-Man in the Marvel Cinematic Universe), Cherry was released in theaters on Feb. 26, 2021 and premiered digitally on Apple TV+ on March 12, 2021.
When the trailer for 13 Hours: The Secret Soldiers of Benghazi dropped, netizens were quick to dub it “Bayghazi,” a portmanteau of the location of the now-infamous embassy attack and the name of director Michael Bay. But the film deserves more credit than that for a number of reasons, but mostly because it manages to celebrate the human elements of an otherwise overly-politicized event.
“We all think we know Benghazi,” Bay says. “But we all only really know so much. There was a great human story in Benghazi that was never told. It’s an inspirational movie, even though it’s tragic.”
The movie is a faithful retelling of the events on the ground during that day in the Libyan port city, as written in journalist Mitchell Zuckoff’s book 13 Hours: The Inside Account of What Really Happened in Benghazi, which he co-authored with the surviving security contractors who were on the ground. The way Zuckoff writes the story in the book lends itself to Michael Bay’s directing style.
“The book, when I read it, it was an amazing human experience,” Michael Bay says. “It’s my most realistic movie. I think it opens eyes to what they really go through. It’s a collection of 36 Americans coming together, figuring out how the hell to survive. It starts at 9:42 and we follow the waves and the adrenaline and the ebbs and flows for 13 hours.”
The movie is rife with commentary, damning of the military’s failure to act in support of the CIA annex in any way. Fighter planes remain motionless on flightlines while bureaucrats make late night phones calls to plan meetings, but the movie is inspirational, thanks to its exceptional cast. With the help of the real military veterans-turned CIA security contractors who were on the ground in Benghazi that night, they all deliver exceptional performances.
“There’s such a responsibility in this particular story,” says John Krasinski, who plays Jack Silva, one of the CIA contractors and former Navy SEAL. “Not only because it’s so highly politicized, but also because it’s so intense and is a story not really being told. For me, there was a great responsibility to make sure we told it right, especially since it’s about these six guys who are the definition of heroes.”
The real-life defenders of the Americans in Benghazi, the members of the annex security team who were on the ground, are unanimous in what they hope audiences will take away from the film: The truth.
“They got it right,” says Marc “Oz” Geist, one of the contractors at Benghazi. “When you watch the movie, you’re seeing the guys, you’re seeing the team,” Kris “Tanto” Peronto adds. “They did an excellent job. That shows a lot of work.”
“You have a group of people who overcome what most would consider insurmountable odds,” Geist continues. “There are positives that comes from that. It’s not a negative thing. You’re gonna have troubles, you’re gonna have things go bad. We lost four people and that’s tragic, but that’s not the defining moment. The defining moment is that we never lost because we never quit.”
The film has all the hallmarks of its director’s signature style: slow shots of dialogue between characters contrast fast-paced action with explosions; a weak leader gets usurped when the “right thing to do” becomes apparent, even though it isn’t “by the book;” and what starts as a rescue turns out to be an epic battle for survival. Yet all of it is a faithful retelling of the Benghazi story, seconded by the guys who were there that night, right down to the funny one-liners of comic relief (called “Tantoisms” by the Benghazi team).
The portrayals of the team are realistic and intense. Anyone who’s ever met Navy SEALs, Marine Scout Snipers, Army Rangers, or any other special forces operators will recognize the personalities portrayed on screen by Krasinski, James Badge Dale (“Rone”), Pablo Schreiber (“Tanto”), David Denman (“Boon”), Max Martini (“Oz”), and Dominic Fumusa (“Tig”).
“It’s about the human spirit and the will to win,” the directors said. “No one ordered them to go. They volunteered and they volunteered at the drop of a hat. At a time when there’s so much crap going on in the world, you are appreciative that people like this exist.”
Cartoonist E.C. Segar created Popeye the Sailor in 1919 after taking a correspondence course on drawing from a guy in Cleveland. Segar’s hometown of Chester, Ill. was chock full of characters that Segar easily adapted to print. Dora Paskel, the owner of a local general store, was unusually tall and thin, wearing her hair in a loose bun at the nape of her neck. J. William Schuchert was the local theater owner who had a voracious appetite for hamburgers.
And Frank Fiegel was a one-eyed, pipe-smoking brawler who never turned down a fight.
Frank Fiegel died in 1947 and was originally buried in an unmarked grave. Popeye fans rectified this in 1996.
Fiegel was more likely to down a few bourbons instead of a can of spinach to get his super fighting prowess, but the rest of his caricature fit the Sailor Man to a T. He had the same jutting chin, built frame, and trademark pipe as his cartoon counterpart. But kids were rather scared of Olive Oyl’s real-world inspiration, as she was more apt to stay inside her store. Wimpy’s rotund figure was based on Popeye creator E.C. Segar’s old boss at the local theater. When Segar wasn’t lighting lamps, he was sent out to pick up burgers for the owner.
Popeye’s real-life inspiration is sometimes attributed to a photo of an old sailor who really does resemble Popeye the Sailor Man, but this is just internet folklore.
(Imperial War Museum)
The sailor in the above photo is really a sailor, but he’s a British sailor. His name is lost to history, but the Imperial War Museum lists him as “A Leading Stoker nicknamed ‘Popeye,'” with 21 years in service and fighting aboard the HMS Rodney in 1940. Fiegel would have been at least 70 years old when this photo of the battleship sailor was taken.
Frank “Rocky” Fiegel was actually a bartender and not any kind of sailor, but he did love the kids around Chester, and they used to love to play pranks on the old barfly. Fiegel would impress them with his feats of strength as well as his telltale corncob pipe – something young Segar would never forget. “Popeye” was an homage to an unforgettable man who lived to know his image was soon in 500 newspapers nationwide, the symbol of sticking up for the little guy.
2018 marks the 20th anniversary of Steven Spielberg’s Saving Private Ryan, an iconic film that remains one of the most honest depictions of war.
“It was a mentally demoralizing experience for us,” Spielberg told film critic Roger Ebert. Nevertheless, it was important for the director “to show America the dark side of the face of war.”
(Photo by DreamWorks Studios and Paramount Pictures)
Spielberg made many deliberate decisions to ensure the authenticity and the truth of war portrayed in this film, and the behind-the-scenes footage is riveting. The D-Day invasion scene took over two weeks to shoot and involved thousands of extras — including Irish Army reservists and real amputees.
Even the camera movements and lenses were all designed to follow the movement of combat and obscure the viewer’s vision, replicating the chaos and confusion of battle. Spielberg shot the film chronologically, which is an unusual choice for filmmakers.
“We shot in continuity, from beginning to end. We were all reliving the story together…but I didn’t realize how devastating that was going to be for the whole cast to actually start off with Omaha Beach and survive that as a film team, and then move into the hedgerows, move into the next town, as we all began to get whittled down by the storytelling.”
It was important for Spielberg to honor those who fought in World War II. “I think it is the key — the turning point of the entire century. World War II allowed my generation to exist.” His own father, Arnold Spielberg, enlisted in the U.S. Army after the attacks against Pearl Harbor.
(Photo by DreamWorks Studios and Paramount Pictures)
Saving Private Ryan perfectly balanced the inhumanity of war with the very-human warfighters, and continues to be one of the most celebrated films of all time.
To honor the 20th anniversary, the film is now available on 4K UltraHD™ as well as Blu-Ray™ and Digital. Check out the video below for a deeper look at how it was made:
I wish every veteran could get a makeover from the Queer Eye Fab Five — and before you reach for your beers and bullets, hear me out: the military teaches us to suck it up and prepares us for the worst conditions on earth…and that gruffness becomes the standard of living even after we get out.
It doesn’t have to be that way. Not for us. Not for our families.
Just ask Brandonn Mixon, U.S. Army veteran and co-founder of Veterans Community Project, an organization that provides housing and walk-in services for service members in order to end veteran homelessness. Mixon literally builds houses for homeless vets.
The Queer Eye team decided to return the favor, helping Mixon finish his own home, upgrade his professional look, and learn to process his service-connected Traumatic Brain Injury. In spite of all the good Mixon does for his brothers and sisters in arms, Mixon confided to Karamo Brown that he feels like he’s failing in life.
“Who told you that you’re failing?” Brown pressed.
James Bond has fallen and it looks like his final mission has been put on hold. But for how long?
On May 14, 2019,Variety reported that 007 actor Daniel Craig reportedly “slipped and fell quite awkwardly,” which resulted in a twisted ankle and led to him being “flown to the U.S. for X-rays.” This report comes from unnamed sources at The Sun, meaning, for now, the top-secret allies of James Bond (or anyone from EON productions) have not confirmed this is real.
According to the report, Craig was filming the final scenes of the new film in Jamaica, and subsequent scenes, thought to be shot at Pinewood Studios in London have been suspended. Should Bond fans worry? Will the movie ever be completed?
In all likelihood, Daniel Craig will bounce back and the movie will still come out on time. After all, Harrison Ford broke his leg in 2014, and The Force Awakens still came out on time in 2015. We’re not saying who is tougher — Daniel Craig or Harrison Ford — but if Han Solo can deal with a broken leg, then James Bond can get over a twisted ankle.
That said, here’s hoping Craig makes a swift recovery, if only so he can get back to his dad duties as well as his secret agent work, too.
Bond 25 doesn’t have a title yet is and is scheduled to be out sometime in February 2020.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Vigilance Elite just released footage from a training session with Reeves for John Wick: Chapter 3 – Parabellum, and you can see that he’s training like an operator, not just an actor. In the video below, trainer and former Navy SEAL Shawn Ryan walks Reeves through room clearing with a rifle — in particular, negotiating the “fatal funnel.”
This kind of dedicated training is just one reason why Reeves is highly respected and his films are so fun. Check out the video for a bit of Reeves-worship…but stay for the refresher in case you ever get into a sh*t sandwich.
Keanu Reeves Tactical Training for John Wick 3 with Vigilance Elite .MP4
“My character’s always in shit sandwiches,” jokes Reeves.
Reeves maintains a professional, respectful demeanor throughout the process, which is exactly the kind of attitude that bridges the divide between military and civilian audiences. Reeves is believable as an assassin because he puts in the work to understand weapons and tactics; military audiences can spot a phony a mile away and it ruins the cinematic experience.
It never fails. You sit down to watch a “Three Musketeers” movie or TV show and you’re quickly introduced to Athos, Porthos, and Aramis…and also D’Artagnan.
Not one of the movies ever takes the time to explain why the Three Musketeers blatantly features four musketeers.
But first, a little about the French Musketeers: Musketeers were actually a common European military unit, known for carrying, well, muskets. In France, they were a little more serious than that. Their full name was “Musketeers of the Guard” and the unit was created by King Louis XIII when he purchased muskets for a unit of light cavalry.
And of course, swords.
The Musketeers became the Royal bodyguard but also fought in France’s wars. they were like the Secret Service, if the Secret Service had a special operations unit that worked in frontline combat.
Back to the four musketeers.
French author Alexandre Dumas’ epic takes place in the 1620s and follows a young man named D’Artagnan who has just left his home to go to Paris and join the Musketeers of the Guard. The young man meets and befriends “The Inseparables,” a trio of Musketeers named Athos, Porthos, and Aramis.
The barracks party with these three must have been off le chaîne.
D’Artagnan does not actually become a Musketeer of the Guard until two-thirds through the book. Since the story is from D’Artagnan’s point of view and he’s not yet a Musketeer, it would be a very early version of stolen valor on the young man’s part to call himself one.
If you read the book or watch the movie and just can’t get enough D’Artagnan, I have good news for you. The character was based on a real person, Charles de Batz-Castelmore d’Artagnan.
Dumas continues his adventures in “The Vicomte de Bragelonne: Ten Years Later” and “Twenty Years After.”
Imagine a Michigan student spending a semester at Ohio State. Or a UT student going to Oklahoma University. Getting sent to a rival should would be intense – and that’s exactly what Army and Navy have been doing for decades.
Every year, juniors at West Point and the Naval Academy switch places, spending an entire semester in enemy territory. Before they go back to their respective institutions, they go through the “prisoner exchange” at the annual Army-Navy Game.
Rivalries exist between all branches of the military – and college students are no different. The Army-Navy rivalry is so intense because it’s so old, but like all those other rivalries, it’s all in good fun. At the end of the day, the Cadets and Mids are still U.S. troops and we all fight on the same team.
That doesn’t mean they don’t get to have fun. The “Prisoner Exchange” is a time-honored tradition – one of many.
As for the differences between the academies, Cadet Tyrus Jones said it’s all about academy culture.
“Life is different because everything is centered around the Navy,” Jones told Army Public Affairs. “It’s a little bit of a different lifestyle and culture between the two services. It has to do with our history and how it’s evolved over the years.”
We’ve talked before about the bizarre Hollywood phenomenon of Twin Films – essentially films with near identical premises inexplicably released around the same time – and all of the machinations that can lead to them existing. Today, rather than focusing on an industry wide trend, we’re going to discuss a specific example of something similar — the bizarre tale of the time two comic artists based in the UK and US respectively somehow both created “Dennis the Menace” at almost the same time, with the first editions of each published on the exact same day, despite neither one knowing anything about what the other was doing.
While it’s commonly misstated that the UK version of “Dennis the Menace,” which debuted in Beano #452, came out on March 17, 1951, in truth both “Dennis the Menace” comics hit the shelves on March 12, with the incorrect date for the British version coming from the fact that this date was on the original cover. As to why, a common practice at the time was to post-date editions to try to keep them on the shelves longer.
Beyond sharing a name, both characters own dogs that usually aid in their mischief, with American Dennis having a snowy white Airedale mix called Ruff, and British Dennis owning a “Abyssinian wire-haired tripehound” called Gnasher. Like their owners, each dog has a distinct personality, Gnasher being decidedly more violent than Ruff, with his favourite pastime being chasing and biting postman. Another similarity between the two Dennises is their penchant for causing mischief with a slingshot, which is considered to be a trademark of each character in their respective home markets.
Dennis the Menace and his dog Gnasher.
That said, it should be noted for those unfamiliar that the British Dennis is an intentional menace who relishes in the mayhem he causes, whereas the U.S. version tends to be over all good natured and ends up being a menace in many cases via trying to do something good, but having it all go wrong.
Nevertheless, given the similarities, it should come as no surprise that soon after each comic hit the stands on the same day in 1951, news of each other’s comics quickly reached the two creators. While initially foul play was suspected, it became clear to all parties involved that the whole thing couldn’t possibly be anything but a massive, inexplicable coincidence.
In the end, both creators agreed to continue as if the other comic didn’t exist and the only real change made to either comic was that as both comics gained in popularity, the name of the British version evolved, initially just in foreign markets, but eventually everywhere to Dennis and Gnasher.
During discussions about how each creator came up with the idea of “Dennis the Menace,” it was revealed that British Dennis was the brainchild of Beano editor, George Moonie. Moonie was inspired to create the character after hearing the lyric “I’m Dennis the Menace from Venice” while visiting a music hall. With this lyric in mind, Moonie tasked artist David Law with creating a character called, you guessed it, Dennis the Menace, saying simply that the character was a mischievous British schoolboy.
Although Law was responsible for drawing Dennis from his conception until 1970 when Law fell ill, the now iconic look of Dennis was first suggested by Beano Chief Sub Ian Chisholm who is said to have sketched a rough drawing of what would come to be Dennis’ default look on the back of a cigarette packet while Chisholm and Law were at a pub in St Andrews, Scotland.
Billed as “The World’s Wildest Boy!” in his debut strip, proto British Dennis looked markedly different from his modern counterpart, with some of his more iconic features, such as his pet dog and bestest pal Gnasher or his iconic red and black striped sweater, not being introduced until later comics.
In the end, “Dennis the Menace” played a big part at revitalizing Beano, as noted by Beano artist Lew Stringer, “‘Dennis the Menace’ was like a thunderbolt. The Beano was flagging by 1950 and no longer radical. But there was an energy to ‘Dennis the Menace,’ it was modern and became one of the first naughty kids characters of the post-war period.”
As for American Dennis the Menace, he was the creation of Hank Ketcham. Ketcham briefly attended the University of Washington in Seattle, but had a passion for drawing from a very young age when a family friend had showed him his, to quote Ketcham, “magic pencil”, and how it could draw things like cartoon characters such as Barney Google.
Fast-forward to his freshman year of college in 1938, after seeing “The Three Little Pigs” Ketcham promptly dropped out of school and left Seattle, stating,
I had one thing on my mind: Walt Disney. I hitchhiked to Hollywood and got a job in an ad agency, changing the water for the artists for [about 9 today] a week. Which was OK because I lived at a rooming house on Magnolia – three meals a day and a bike to ride to work – for a week. Then I got a job with Walt Lantz at Universal, assisting the animators, for . It was the tail end of the glory days of Hollywood and I loved it! I was on the back of the lot, where W.C. Fields, Bela Lugosi, Crosby, Edgar Bergen were all parading around. My neck was on a swivel! Marvelous!
As he notes there, he eventually achieved his goal, doing some work for Disney on movies like Fantasia, Bambi, and Pinocchio.
When the U.S. entered WWII, he found himself in the Navy drawing military posters for things like War Bonds and the like. By 1950, he was working as a freelance cartoonist. On a fateful day in October of that year, his toddler son, Dennis, did something that changed the family’s fate forever.
His wife, Alice, went to check on the toddler who was supposed to be napping, but instead she found Dennis’ dresser drawers removed and contents unceremoniously dumped out, his curtain rods removed and dismantled, mattress overturned and just a general mess everywhere.
Ketcham would recount in an interview with the Associated Press on the 50th anniversary of his comic that Alice remarked in an exasperated tone after witnessing the destruction, “Your son is a menace!”
This statement resonated with Ketcham who quickly devised and refined the idea of a mischievous toddler who accidentally causes wanton destruction wherever he goes. Dennis the Menace was born, and a mere five months later debuted in 16 newspapers. This is despite the fact that Ketcham himself would later state, “Oh, the drawings were terrible! Even when I started with Dennis they were just wretched! How any editor ever bought that junk…”
Hank Ketcham in 1953.
Nevertheless, within a year of its debut, 245 newspapers across the world had picked it up representing a readership of over 30 million people. At its peak, the number of outlets that carried “Dennis the Menace” grew to over 1,000.
Unfortunately, things did not have a happy ending for the real Dennis. Much like with Christoper Robin Milne, who A.A. Milne based his character of Christopher Robin on, Dennis came to loathe the fact that his father had created a famous character after himself. Unlike Christoper Robin, Dennis never got over it.
That said, despite his son’s accusations, Ketcham vehemently denies ever using anything from his son’s childhood as fodder for the comic other than the name, noting he almost always used a team of writers to come up with the comics’ content, stating, “Anyone in the humor business isn’t thinking clearly if he doesn’t surround himself with idea people. Otherwise, you settle for…mediocrity — or you burn yourself out.”
Whatever the case, the comic was perhaps just a side issue. You see, as her husband’s fame grew, Dennis’ mother became an alcoholic and by 1959 she filed for divorce. Around the same time, with Alice no longer capable of taking care of Dennis, he was shipped off to a boarding school. Said, Dennis, “I didn’t know what was going on except that I felt Dad wanted me out of the way.”
Very soon after, his mother died after mixing barbiturates with a lot of alcohol. As for Dennis, Ketcham didn’t end up getting him from boarding school to attend the funeral, nor did he tell him about his mother’s death until weeks later, reportedly as he didn’t know how to break it to him, so delayed as long as possible. Said Dennis of this, “Mom had always been there when I needed her. I would have dealt with losing her a lot better had I been able to attend her funeral.”
Things didn’t improve when mere weeks later, Ketcham married a new woman, then moved the family off to Switzerland where he once again placed Dennis in a boarding school, which ultimately didn’t work out. To begin with, his new wife and Dennis weren’t exactly pals. Said Ketcham, “Jo Anne was unused to children. and she and Dennis didn’t get along.”
Seeing his son struggling academically because of a learning disability, combined with being in a foreign country and issues between his new wife and Dennis, Ketcham sent Dennis off to a different boarding school back in the United States where he hoped he’d be more comfortable.
After graduating two years later than most, Dennis joined the Marines for a tour in Vietnam and subsequently suffered from severe post-traumatic stress disorder.
As for his relationship with his father, it never improved, with Ketcham even losing track of him completely at one point. As Ketcham stated when asked about his son, “He’s living in the East somewhere doing his own thing. That’s just a chapter that was a short one that closed, which unfortunately happens in some families… He checks in about twice a year. And if he needs something, I try to help him.”
As you might imagine from all this, Ketcham would come to greatly regret using his son’s name for his character because of how he felt it negatively impacted him. “These things happen, but this was even worse because his name was used. He was brought in unwillingly and unknowingly, and it confused him.”
He also regretted not being there for his son. “Sometimes, young fathers scrambling to make a living, to climb the ladder, leave it to the mother to do all the parental things. But you get back what you put into a child. It’s like a piano. If you don’t give it much attention, you won’t get much out of it… I’m sure Dennis was lonely. Being an only child is tough.”
He goes on, “In my family now. I’m much more active with the kids and their schooling than I was before. I listen better. And I think I’m more patient. Maybe not. But I’d like to think so.”
As for Dennis’ side, he stated, rather than a successful, famous father, “I would rather have had a father who took me fishing and camping, who was there for me when I needed him… Dad can be like a stranger. Sometimes I think that if he died tomorrow, I wouldn’t feel anything.”
When Ketcham died on June 1, 2001, Dennis didn’t show up for the funeral and a family spokesman stated they hadn’t heard from him in years and didn’t know where he was.
To finish on a much lighter note, in 1959, Ketcham was invited to visit the Soviet Union as a part of a cartoon exchange trip. Never ones to miss an opportunity, the CIA asked Ketcham if he wouldn’t mind sketching anything significant he saw while in the Soviet Union. Said Ketcham, “We were flying from Moscow to Kiev, and it was during the day and I looked out the window and I saw some shapes. I had my sketch book, and I would put them down, and the flight attendant would walk by, and I would put a big nose and some eyes and make the whole thing into a funny face. So I had a whole book of funny-face cartoons at the end that I didn’t know how to read.” Needless to say, the CIA didn’t exactly appreciate his work.
“Dennis the Menace” creator Hank Ketcham.
Going back to British Dennis, Kurt Cobain was known to wear a jumper remarkably similar to that of the British Dennis the Menace on stage. As it turns out, the jumper was a genuine piece of official Dennis the Menace merchandise, though the singer didn’t know this. Apparently Courtney Love bought the jumper for Kurt for for £35 (about £70 or today) from a fan called Chris Black at a concert in Northern Ireland in 1992 after taking a liking to it.
Speaking of having to find a way to be original week after week in comics, Charles Schulz, creator of Peanuts, once sagely stated, “A cartoonist is someone who has to draw the same thing every day without repeating himself.” That’s a tall order for someone who created nearly 18,000 strips- and it wasn’t always easy. On this note, Cathy Guisewite, creator of the comic strip Cathy, revealed in an interview that Schulz once called her in something of a panic as he couldn’t think of anything to draw and was doubting whether he’d be able to come up with anything. Exasperated, she stated, “I said, ‘What are you talking about, you’re Charles Schulz!’… What he did for me that day he did for millions of people in zillions of ways. He gave everyone in the world characters who knew exactly how we felt.”
Bill Watterson, creator of “Calvin and Hobbes,” famously not only passed up but fought vehemently against merchandising of “Calvin and Hobbes,” costing himself many tens of millions of dollars in revenue. He stated of this that it wasn’t so much that he was against the idea of merchandising in general, just that “each product I considered seemed to violate the spirit of the strip, contradict its message, and take me away from the work I loved.” Despite this, it’s not terribly difficult to find merchandise of “Calvin and Hobbes,” but all are unauthorized copyright infringements, including the extremely common “Calvin Peeing” car stickers. Despite never having earned a dime from these, Watterson quipped in an interview with mental_floss, “I figure that, long after the strip is forgotten, those decals are my ticket to immortality.”
Most of the characters and names in “Winnie the Pooh” were based on creator A.A. Milne’s son’s toys and stuffed animals with the exception of Owl, Rabbit, and Gopher. Christopher Robin Milne’s toy teddy bear was named Winnie after a Canadian black bear he saw at the Zoo in London. The real life black bear was in turn named after the hometown of the person who captured the bear, Lieutenant Harry Colebourn, who was from Winnipeg, Manitoba. The bear ended up in the London Zoo after Colebourn was sent to England and then to France during WWI. When he was sent to France, he was unable to bring the bear so gave it to the London Zoo temporarily and later decided to make it a permanent donation after the bear became one of the Zoo’s top draws. The “Pooh” part of the name was supposedly after a black swan that Christopher Robin Milne saw while on holiday. A black swan named Pooh also appears in the “Winnie-the-Pooh” series.
This article originally appeared on Today I Found Out. Follow @TodayIFoundOut on Twitter.
We first learned of the Yautja when Arnold Schwarzenegger went toe-to-toe with one in a South American jungle in the 1987 sci-fi action-thriller, Predator. Since then, these aliens have become a lauded piece of nerdy pop-culture. The latest installment in the franchise is coming out later this year, so now’s the time to learn as much about these interstellar hunters as possible.
You might know that these aliens are efficient trackers and killers — hence the name Predator. You might even know about their active camouflage, energy blasters, and cool nuke wristbands. But if you didn’t know the proper name for this species before now, then you’ve got a lot to learn.
We’re here to lead you down the rabbit hole. Here are a few things you should know about these badasses before checking out The Predator later this year.
There are two main tribes of Yautja — who are at constant war with each other.
(Twentieth Century Fox)
They have a warrior culture
Despite being capable of interstellar travel, the Yautja’s civilization is built around a tribal structure and a warrior culture. They value experienced warriors and the only way to earn respect is through battle.
They hunt for sport
You may have picked up on this in the original Predator when the mercenaries come across skinned corpses and shrines made of skulls. They don’t hunt for survival, they hunt for trophies. We mentioned above that the Yautja earn respect in battle — what better way to command respect than by weaving a vest of your enemies’ skulls?
They respect opponents who choose to face them head on.
(Twentieth Century Fox)
They only hunt formidable prey
They don’t just hunt something easy and say, “I killed a cricket, respect me.” No, they only target opponents who present a real threat to them, like Dutch’s mercenary team in the original film.
Any human who defeats one in single combat earns their respect
Compared to the Yautja, that humans are weak, fragile creatures. So, it’s pretty obvious why an alien race that prides itself on hunting and killing extremely dangerous creatures would respect a human who can survive a one-on-one fight.
Comrades of a fallen Yautja have been known to even award the human with a rare weapon as a sign of respect.
Humans can only hope they hunt each other into mutual extinction…
(Twentieth Century Fox)
They hunt Xenomorphs as a rite of passage
Remember the aliens from, well, Alien? When a Yautja is coming of age, they must endure a ritual in which they hunt a Xenomorph, which are considered the ultimate prey in their culture. If one can defeat a Xenomorph, they earn the respect of their tribe.
To signify their success in hunting a Xenomorph, a Yautja will mark their helmets using the alien’s acidic blood.
In the final episodes of the Mandalorian Season 2, the writer dives deep into the inner conflict Din Djarin “The Mandalorian” feels when he is confronted by meeting Mandalorians outside of his sect, who don’t follow the extreme code of rules that he has been taught from a very early age. While we see these interactions early in the series, this exchange is perfectly illustrated through the rest of the season, as the Mandalorian tries to rescue baby Grogu from the hands of Moff Gideon.
In Episode 15: The Believer, as the Mandalorian and Mayfield make their way to the Imperial base, Mayfield points out how he and the Mandalorian are alike.
“Seems to me like your rules start to change when you get desperate. I mean, look at ya. You said you couldn’t take your helmet off, and now you got a stormtrooper one on, so what’s the rule? Is it, you can’t take off your Mando helmet or you can’t show your face? ‘Cause, there is a difference. Look I’m just sayin’, we are all the same. Everybody’s got their line they don’t cross until things get messy. As far as I’m concerned, if you can make it through your day and still sleep at night, you’re doing better than most.”
As a veteran who has gone to war, this line in particular, stuck out. So much of who I was and what I believed about the world changed during my deployment overseas. In a way, I was lucky on my deployment: I saw a small amount of combat and come home with everyone who arrived in Afghanistan with me.
But the dynamics inside the wire (on the base) were not so calm. Why physically I wasn’t hurt, emotionally my shift toward being part of a team and trusting others was shattered. It was a weird circumstance because at the same time the lies and distrust were happening on the base. I then had to leave the base and go on missions off base while relying on the same people who were working hard to manipulate and undermine who I was.
It isn’t something we talk about enough as veterans. So many people believe the only danger of going to war is when you leave the base and go and fight. But besides the incoming rockets that make living on base not safe, so many of us have had to deal with the hurt and pain that happened to us by our fellow soldiers: the people who are supposed to protect us.
As I transitioned out of the military, three years after coming home from my deployment, I was part of the Transition Assistant Program and we took part in mock interviews. In my interview, the interviewee asked me if I liked to work alone or in a team. I said alone. When he dug into why, I said I didn’t trust people. His initial reaction was to explain to the people in the room with me how that answer could lead to being destroyed in an interview. But when he followed up with questions and began to understand what happened to me during my deployment, his tone changed. And after the interview session was over and we were dismissed, he came up to me and apologized for how I was treated on my deployment … and gave me personal advice on how to answer questions he had asked in a civilian interview I may face in the future.
He was a veteran and understood the deep betrayal that can happen when you are in a situation where your life could end. It is something that we need to talk about more. But even as a writer it is a topic I steer away from — just putting the words on paper makes me pause to re-read, and then stop again to ensure the deep hurt is ready to be shared with the world.
I even wonder how this truly relates to The Mandalorian. How did those final episodes bring up something in me that reminded me of the pain I have kept hidden? I think it is the inner conflict and struggle that was portrayed so well.
What do you do in life when everything you have been led to believe is questioned or unhinged? What do you do when your training fails you? And you learn that even when you follow the rules and are in a “safe” place, you are still at risk for everything falling apart.
This is one of the questions I believe so many veterans face, along with others like, Why did I live and my friend die? Why didn’t I go on the mission where everything went wrong? Why did I decide to leave the office right before a rocket destroyed it?
Deep inner conflict. Often hidden from the discussion. And things we live with inside of us wondering how this can be. How do I move forward now?
I think to move forward we have to be brave and tell our stories in a safe place. I found healing through a 12-step program where I could talk openly about the deep pain and not be expected to provide answers of how this made me feel. Instead, bringing the pain inside of me to light helped it not trap me in the pain I had hidden in the darkness for so long. Speaking it out loud allowed me to move forward. To find hope and to be able to start trusting people again.
There is healing and hope after struggling through the pain of war. But we first have to be brave and bring that pain out of the darkness and into the light.
Troops are very acquainted with using blank rounds. We slap in a magazine filled with them, screw on a blank-firing adapter (or BFA), and continue training for the day. Without fail, we go out and someone inevitably takes a photo of themselves trying to look all badass like in the movies — but they can’t. That BFA just looks ridiculous and lets everyone know immediately that they’re just training.
So if you really want to look as badass as they do in the movies, you have to look at how the special effects teams on a film set do it. They’re obviously not firing actual, live rounds at each other during the film’s climactic ending — that’d violate so many safety regulations and break countless union rules — but to us, the audience, it feels real.
They’re firing firing blanks, just like the troops in training, but they’ve some ingenious ways of hiding that fact.
When you put the flash hider back on, you can’t tell the difference unless you’re up close and personal.
(Combat Disabled Veteran’s Surplus)
Most semi-automatic firearms use the gas expelled from ejected rounds to cycle in another round. Blank rounds don’t create enough gas pressure in the barrel to make this happen, so, if you’re firing blanks, you need a blank-firing adapter. Firing without a BFA will inevitably cause a failure-to-feed.
The BFA acts more as a plug for the gas. It keeps in just enough gas to build the pressure needed in the chamber for a person to continue shooting without interruption while still letting enough oxygen in.
On a film set, however, you can’t have the actors looking like they’re troops in basic (unless that’s what the film is about). Instead, they screw a tiny blank-firing adapter onto the end of the barrel, underneath the flash hider, as shown below.
If you love ‘Sons of Anarchy’… just don’t hit pause during the gunfights of the first season. Yikes.
Other film sets use entirely decommissioned firearms that have been repurposed as production weapons. Propsmasters will replace most of the assembly with components that require less gas pressure to function. These are close copies, but, ultimately, they’re just replicas — and enthusiasts can tell.
People who’ve been around firearms can quickly spot when filmmakers add an abundance of flash coming out of the muzzle. But it’s a known inaccuracy and it’s done with a purpose. Films, in general, are shown (and often captured) at a rate of 24 frames per second. Without enhancing the muzzle flash, there’s a good chance that the camera won’t capture a flash at all — and that visual bang is an important part of selling the illusion of real gunfire.
But then there are the films crews that skip all of these mechanical steps and add the flashes and sound effects entirely in post-production. It’s comparatively cheaper when you factor in the costs of safety crews and whatnot, but the results aren’t always so great…
An interesting and positive side note: Lee’s stunt double, who’d also replace him for the rest of the film was Chad Stahelski, the man who’d later direct John Wick.
Which leads us to the elephant in the room — the incident that took place on the set of 1994’s The Crow, which lead to the death of the actor Brandon Lee. One of the special effects guys tried to save time and money by making their own blank rounds from live .44 rounds. The weapon they were using on set was an actual handgun and made use these modified rounds. Well, one day, it didn’t work perfectly and a piece of the cartridge broke off and got lodged in the barrel. No one bothered to inspect the firearm or clean it. They tossed it aside and carried on with production.
A few days later, when they needed more firearms for a bigger scene, they grabbed that same handgun. Loaded with another home-made blank and with that fragment of the cartridge still in the barrel, a stunt actor fired it at Lee. Since his character was supposed to react to the shot (and Lee was known for being a gifted actor) no one noticed that Lee had actually been shot until well after the camera stopped rolling.
Though nothing can undo the tragedy that befell Brandon Lee, the silver lining is that firearms have since been treated with more care on set. Many safety regulations are now in place to prevent such a horrible tragedy from happening again.