Where in our culture, do you find the difference between the artistic freedom of Star Wars and the commercial viability of Star Wars? The answer is clearly what you can and can’t say at Star Wars: Galaxy’s Edge at Disneyland. After a decidedly mixed reception to the opening of the hugely anticipated theme park attraction, one small detail emerged relevant for parents and children. Do you remember what Yoda and Obi-Wan call children-Jedi-in-training in the Star Wars prequels? Well, if you do, don’t expect the in-character staff at Star Wars: Galaxy’s Edge to say that word.
That’s’ right, according to early reports, you can’t say “younglings” at Disneyland, and that’s because of one line for Revenge of the Sith. On June 6, 2019, Newsweek reported that according to Star Wars YouTuber Jenny Nicholson, staff will no longer say “younglings,” and instead say “kids” or “children.” The reason why is: “Parents didn’t like it because one of the only times you hear it in the movies is the phrase ‘killing younglings.'”
Now, this isn’t an officially confirmed press release from Disney or anything like that, so it’s not clear that this is 100 percent true. And though Obi-Wan does say “I’ve seen security footage of Anakin killing younglings,” in Revenge of the Sith, Yoda also warmly and affectionately calls the smallest Jedi Padawans “younglings.” It’s also notable that the word “younglings” is spoken with affection and reverence relative to young Jedi children throughout the popular animated cartoon seriesStar Wars: The Clone Wars. Also, at some point, before George Lucas sold Lucasfilm and the Star Wars IP to Disney in 2012, he was considering a spin-off series just about younglings.
If parents really are objecting to the use of the word “younglings” at Disneyland because it triggers the line “killing younglings” in the minds of their younglings, then two things become true right away.
First: these parents are letting their kids watch Revenge of the Sith enough times that this “killing younglings” line is burned in their brains. This is a dubious parenting decision. You could argue that Revenge of the Sith shouldn’t really be a movie kids should watch until they are at least in their early tweens, perhaps later.
Second: Despite the huge hoopla made in the fandom about the return of The Clone Wars, families maybe don’t really care about Star Wars cartoons? Because if their younglings were watching the programming aimed at younglings and not the murder-fest that is Revenge of the Sith, then they would know “younglings” is a word to be celebrated.
Star Wars: Galaxy’s Edge is open now, and you can start making new reservations in early July 2019
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Fort Jackson, SC is a major hub of military education. The base hosts, Army basic training and AIT, the Adjutant General School, Finance School, Chaplain School, and the Interservice Postal Training Activity. Consequently, hundreds of thousands of people come through the base every year. This year, the base hosted a very special guest and assisted him with research.
Michael B. Jordan spent four days at Fort Jackson to prepare for an upcoming movie role. He was hosted by the base Commanding General, Brig. Gen. Milford Beagle, Jr. “Glad we could show him Army hospitality and the training excellence that we have here,” Brig. Gen. Beagle said.
Jordan previously appeared in the blockbuster hits Creed and Black Panther. Although it is unclear what movie he was preparing for, the actor is appearing in the upcoming action thriller Without Remorse. Based on the Tom Clancy book of the same name, Without Remorse follows a former CIA Navy SEAL who seeks revenge after his wife is killed by a drug lord and finds himself in a larger conspiracy. The book exists in the same universe as Jack Ryan.
Recently, the Tom Clancy film franchise has been in a slump. Although older films based on the late author’s works like The Hunt for Red October and Patriot Games are still widely popular, recent films like The Sum of All Fears and Jack Ryan: Shadow Recruit have been met with mixed reviews. The Tom Clancy name was reinvigorated with the release of Amazon’s television series Jack Ryan. Moreover, the titular main character is played by 13 Hours star John Krasinski. The show has been renews for a third season.
Without Remorse was originally slated to be released by Paramount Pictures. However, in July 2020, the studio began talks with Amazon who seeks to acquire the rights to the film.
The Falcon and the Winter Soldier finale had a lot of loose ends to tie up — and a lot of Phase 4 fun to set up. The series began with Sam hesitant to accept the legacy left to him by Steve Rogers and Bucky traumatized from his past. By the end of the action-packed finale, both men have found what they were looking for.
The focus of this episode — and one of the most timely and relevant arcs of the series — was Sam’s journey to become Captain America. After a lot of struggle, he became Captain America the same way that Steve Rogers did — through the integrity of his actions. With his new flight suit from Wakanda, Sam was able to hold his own against Super Soldier Flag Smashers, the acrobat, crashing helicopters and plummeting trucks.
In sharp contrast to John Walker’s downfall, Sam’s heroics were also caught on camera and seen by the public. The message was clear: This is what Captain America looks like.
And while for many Black people in America and around the world a happy ending may feel too perfect, too unrealistic, Marvel has made it clear they are bringing messages of hope in their stories.
Sam’s final victory was not in combat: it was in speaking to the lawmakers in the Global Resettlement Council and asking them, “Who is in the room with you when you’re making decisions?” He pointed out unless the people in power consult with the people who need their help, they’ll never actually be of service.
A moment that hits hard is when Bucky, seeing his friend in action, finally calls Sam “Cap.”
Bucky remains a stalwart wingman, an epic fighter and a man of humor throughout this episode, but it’s in the finale’s final moments when we really see his healing come to fruition. He finally crosses the last name off his list: Yori, the father of the man he’d killed as The Winter Soldier. In offering Yori closure, Bucky found some of his own. Seeing him celebrate with Sam’s family, laughing and playing with the children feels like the happy beginning for the World War II vet.
Sam returns to Isaiah’s home, where we can see the healing that has transpired for Isaiah through Sam’s actions. Isaiah acknowledges that Sam accomplished something he’d never dared dream of: a Black man has become Captain America.
More than that, in one of the most touching moments of the show, Sam brings Isaiah to the Captain America exhibit at the Smithsonian and reveals that Isaiah and his men have been included in a tribute of their own, finally telling their story that the world may never forget.
John Walker makes an appearance here in an “the enemy of my enemy is my friend” moment. It was a nice touch to give him a choice between attacking the Flag Smashers or saving a truck filled with hostages. Walker chose to save the hostages, reminding us of the man he was — the man with Medals of Honor who served with valor in the Army.
No one is ready for a full John Walker redemption story — but perhaps he will be more understood going forward. It’s clear Marvel has plans for him. Contessa Valentina Allegra de Fontaine gives Walker his new suit and title — U.S. Agent — and warns us all that “things are about to get weird.” Can’t wait.
When Sharon shows up with WMDs and straight up murders a Flag Smasher with a chemical agent, I knew it wasn’t good. We learn that during her time on the run, Sharon was the eponymous Power Broker, responsible for funding Dr. Nagel’s Super Soldier research, running the criminal underworld of Madripoor, and influencing the actions of the Flag Smashers.
She kills Karli Morgenthau, the teenager she was responsible for radicalizing, and finally earns her pardon from the U.S. government, who offer her a position within the CIA. She accepts and makes a call to an unknown entity, promising access to “government secrets, prototype weapons, you name it.”
Whether Marvel will order more from these heroes remains unknown (though Sebastian Stan has reportedly said he’s down for anything) but it feels great to see the Disney+ title card shift at the end of the episode. Though it would have been even better to see “Captain America and the White Wolf”… just saying…
Those attending the current four-week run of The Shakespeare Center of Los Angeles’ production of “Henry IV” at the West Los Angeles VA Campus may immediately recognize Tom Hanks as Falstaff, but what they probably don’t realize is that a crew of veterans not only built the stage, but are also working behind the scenes to make the production a success.
“It’s exciting to partner with The Shakespeare Center to provide our veterans incredible opportunities like the chance to work alongside professional actors, and to view live entertainment right here on the West LA VA campus,” said Ann Brown, director of VA’s Greater Los Angeles Healthcare System. “Partnerships like this one are vital to bringing the vision for this campus to life and to transform it into a vibrant, welcoming, veteran-centric community.”
“Henry IV” performances began June 5, 2018, and run through July 1, 2018, at the Japanese Garden located on the West Los Angeles VA Campus. The Shakespeare Center, in partnership with West LA VA, set aside 2,000 tickets for eligible veterans and active duty service members free of charge. To find out more on these tickets, visit http://www.ShakespeareCenter.org to receive information about reservations when they become available.
“We’re grateful to the United States Department of Veterans Affairs and the leaders of the West LA VA for this opportunity to bring our company to the Japanese Garden at the VA,” said Ben Donenberg, the founder and executive artistic director of The Shakespeare Center prior to construction. “We’re hiring and training 40 veterans to work on this production alongside consummate theater professionals to tell a riveting story about the forging of a Shakespearean hero. We’re proud to bring the vision of one of the American theatre’s most esteemed Broadway directors and the talents a world-class cast lead by Rita Wilson and Tom Hanks, our long-time supporters, to this very special venue.”
Rita Wilson and Tom Hanks, have been long-time supporters of the Shakespeare Center of Los Angeles through their 26 consecutive years of hosting and participating in Simply Shakespeare, a no holds barred impromptu reading of a Shakespeare comedy with celebrity casts and musicians that raises funds and awareness.
“The VA location speaks to our mission to present Shakespeare in urgent, vital, relevant and accessible ways that reflect the history, landscape and people of Los Angeles,” Donenberg said. “Our work with the VA and veterans inspires personal and community transformation.”
This article originally appeared on the United States Department of Veterans Affairs. Follow @DeptVetAffairs on Twitter.
We’re getting a little excited here. An out-of-left-field rumor is making the rounds that Michael Keaton might play Bruce Wayne again in the strangest way possible. That’s right, your favorite Batman and star of “Mr. Mom” might once again play an older version of the millionaire playboy who also likes dressing up like a bat.
On Oct. 21, 2019, We Got This Coveredsuggested that certain sources are claiming that Michael Keaton could play an older Bruce Wayne in a live-action version of “Batman Beyond.” What is “Batman Beyond,” you ask? Well, from 1999-2001 it was an animated follow-up to the beloved “Batman: The Animated Series,” and focused on a new young Batman in a kind of futuristic Gotham City. Instead of Bruce Wayne underneath the mask, it was a guy named Terry McGinnis. But, here’s the rub, in that storyline, Bruce Wayne was still alive: We was just an old guy who worked out of the Batcave as Terry’s Obi-Wan Kenobi.
Basically, in “Batman Beyond,” Bruce Wayne becomes like the new Alfred fused with Lucius Fox from the “Dark Knight” movies. So, if Michael Keaton played Bruce Wayne in a live-action “Batman Beyond,” that would mean he’d be whispering in a younger Batman’s ear from a sick-ass control room.
Most likely this is just a rumor, but then again, what if this is secretly part of the new Robert Pattinson film; “The Batman.” We all assumed Pattinson was playing Bruce Wayne, but what if he’s not? What if he’s a new Batman and Keaton is playing the old Batman?
It’s likely not true. But for now, we can dream.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Ever since a 2015 poll revealed that a certain slice of Americana supported bombing Agrabah, the fictional city Disney’s Aladdin calls home, it’s been interesting to consider what other fictional countries have actually messed with the United States and totally gotten a pass. Agrabah didn’t actually damage its relations with the U.S., presumably because the U.S. either doesn’t exist yet in that world, or because they don’t have oil.
Meanwhile, a number of other countries have attacked America and/or its American heroes and haven’t yet met the full-on retaliation they deserve.
1. Pottsylvania — “Rocky and Bullwinkle”
These guys have been sending special agents to try and kill American heroes FOR YEARS. Pottsylvania is populated entirely by special agents and saboteurs.
Their children are taught assassination techniques and espionage practices from an early age, their highest medal is the Double Cross and their mysterious dictator (known only as “Fearless Leader”) makes Kim Jong-Un look like a teddy bear. Their two most active agents are skilled infiltrators and have never been captured.
2. Bilya — “Iron Eagle”
Bilya is supposed to be a fictional Arab state in the Middle East. These guys had the balls to shoot down an American F-16, capture its pilot, and then sentence him to hang in a show trial.
Luckily, the pilot’s 16-year-old son Doug (an Air Force Academy reject) and Chappie, an Air Force Reserve pilot, steal two F-16s of their own and fly off to Bilya to rescue him. What should have happened was America launching an all-out raid on Bilyan infrastructure and military targets. Then, after they released the American they took for no reason, the Bilyans would pay us back the $18 million they owe us for shooting down our F-16.
3. Val Verde — “Commando,” “Predator,” and “Die Hard 2“
This nondescript South American country has more coups than a flock of pigeons (say that sentence aloud for the full effect). For some reason, all of their worst representatives seem to end up in the United States, ready to coerce American heroes to do their bidding.
Fortunately, John Matrix lives inside an unlimited ammo cheat code world.
In “Commando,” a deposed dictator named Arius kidnaps John Matrix’ daughter to force him to kill the current president (of Val Verde). Spoiler Alert: he doesn’t even make it to Val Verde. Instead, he ices every single person who came near his daughter.
In “Die Hard 2,” terrorists hit an airport to free another captured dictator, ruining John McClane’s Christmas, everyone’s flight schedules, and never taking any blame for what they do.
And that is United Airlines’ job.
In “Predator,” Dutch Schaeffer’s commando team has to mount a hostage rescue from guerrillas in Val Verde. You might know what happens next (hint: it has something to do with an invisible alien).
Seriously, how many times do they get to mess with America before we do something about this? Who is the President in this movie universe? And I am dying to know more about this place – what are the exports, other than terrorism and contras?
4. Latveria – Marvel Comics
Latveria is an Eastern European nation tucked back into the Carpathian Mountains, led by a guy whose name is freaking Dr. Victor von Doom. Even George W. Bush could convince the world that this guy needed to be ousted, and he wouldn’t have to throw Colin Powell under a bus to do it.
Dr. Doom is obviously a state sponsor of terrorism. Doom is responsible for the proliferation of chemical weapons, attempted assassinations of allied heads of state, and oh so many crimes against humanity.
“Throughout history different cultures all over the world reference a great tournament of champions. That dragon marking…I think it’s an invitation to fight for something known…as Mortal Kombat.”
In his feature film debut, director Simon McQuoid is rebooting Mortal Kombat and by the looks of this red band trailer (released simultaneously as the one approved for all audiences), he’s gonna be celebrating the over-the-top violence and gore the titular video games are known for.
MMA fighter Cole Young will join fellow defenders of Earthrealm Liu Kang, Sonya Blade, Jax Briggs, and more in a tournament against supernatural kombatants like Shang Tsung, Sub-Zero, and Mileena.
WATCH THE TRAILER:
Based on one of the most popular video game franchises of all time, Mortal Kombat will be the first live-action installment since 1995’s Mortal Kombat and 1997’s shall we say less popular Mortal Kombat: Annihilation. The film will be rated R and it will feature game-accurate Fatalities — in fact, you can watch Kano rip a heart out in the trailer above. “Kano wins.”
“The Fatalities were always in from the get-go, there was never any question from anyone at all. There was no resistance from the studio. They wanted them, I wanted them. There’s a Fatality from Kano; he ripped someone’s heart out. But what was important to me was that even when the Fatalities arrived, we couldn’t just do a Fatality and have it mean nothing. It actually becomes an important ingredient in the rhythm of the action scene.” — Director Simon McQuoid
(Mortal Kombat | Warner Bros.)
Starring Joe Taslim as Sub-Zero, Jessica McNamee as Sonya Blade, Sisi Stringer as Mileena, and Lewis Tan as newcomer Cole Young, the film teases many promising moments for fans, including a fight between Scorpion (played by Hiroyuki Sanada) and Sub-Zero. McQuoid opens his film with the face-off, which he describes as a “pretty brutal, nasty fight.”
If nothing else, viewers can expect an action-packed film with centuries worth of lore, easter eggs, and blood. Mortal Kombat will hit HBO Max and theaters simultaneously on April 16, 2021.
An estimated 300,000 “war brides,” as they were known, left home to make the intrepid voyage to the United States after falling in love with American soldiers who were stationed abroad during World War II. There were so many that the United States passed a series of War Brides Acts in 1945 and 1946. This legislation provided them with an immigration pathway that didn’t previously exist under the Immigration Act of 1924, which imposed quotas on immigrants based on their nation of origin and strategically excluded or limited immigration from certain parts of the world, particularly Asia.
Equipped with little but a feeling and a sense of promise, war brides left everything that was familiar behind to forge a new identity in the United States. Many spoke little to no English upon their arrival in the country, and they were introduced to post-war American culture through specially designed curricula and communities. To this day, organizations for war brides in the United States provide networks for military spouses and their children, helping them keep their heritage alive and share their experiences of their adopted home.
To commemorate the 75th anniversary of the end of World War II on September 2, 2020, We Are The Mighty is proud to collaborate with Babbel, the new way to learn a foreign language. Babbel conducted interviews with surviving war brides as much of the world endured lockdown. Many of these women are now in their 80s and 90s, and their oral histories celebrate the challenges and successes of adapting to a new culture and language, as well as reflect on the leap of faith they all took to travel across the world to an unknown country. Spoiler alert: there are few regrets.
War Brides is a 5 part series.
My full name is Antonina, but I go by Nina. I’m 92, almost 92 and a half. I was born in Manila and we lived in a compound where the superintendent of city schools also lived. There were several American teachers and their families in that compound, so we were speaking English a lot.
Growing up wasn’t easy, because the war broke out when I was in seventh grade. They had sentry boxes every few miles, and everyone who passed by had to bow. And if you didn’t bow correctly, they’d slap you. The Japanese would come out of the sentry box and slap you and show you that this is the way to bow to them. So my dad said, “Don’t go outside if it isn’t necessary.”
During the war, our house was burned down and we had run for our lives because the Japanese were trying to kill as many civilians as they could while the American soldiers were pursuing them. We tried to shelter in one of the burned-out houses, and we went under the foundations to try to hide. But before that, we had to cross a big wall. It took me a long time to get in through the passage, and a Japanese soldier came over to me and poked me in the back with his bayonet. That’s why even now, I don’t want anyone touching me from the back. It has remained with me. I was so scared. I was 13, 14 at that time.
That night we could hear the Japanese yelling and running and then at around 2 or 3 o’clock when it started getting light, I saw a pair of feet. I knew that the Japanese did not have boots like that. And then after a while, I said, “Oh my God, these are different. These are big feet.” One of the soldiers bent down and said, “Oh, hello there.” When he said “hello,” I knew he was an American!
He told us we were in the firing line and to go as far back as we could. I was so excited. I said, “The Americans are here!” While I was running I looked down, and I didn’t realize that I was running over dead bodies. I said, “Please help me, dear God, help me.” I couldn’t walk anymore because I saw so many of them. And I was in the midst of them. Dead people. That was terrible. I still occasionally dream of that, and then I can’t sleep.
Eventually, we were able to get to a Red Cross station. They were standing there serving cookies and food, so we grabbed some and ate like there was no tomorrow. Thank God we didn’t get sick when we ate, especially me!
It was in early 1945 that I met my husband. We hadn’t seen the ocean for three years, so my sister said, “Let’s go and see how the beach is.” That was where we met a few soldiers, and my sister said to me, “Don’t say anything. I’ll do the talking!”
They introduced themselves and said they were Filipinos from the United States, and they said that they wanted to meet some of the Ilocano, which is my parents’ language and dialect.
They asked, “Would you like some candy?” Well, God, due to the war I hadn’t tasted candy for years! So they gave us some Hershey’s candies, and that’s why some of the war brides call me “Hershey Girl!”
A month after that I met my husband, in May 1945. I didn’t know who he was at that time, but he walked in singing “Sleepy Lagoon.” My sister said, “Oh, he has a beautiful voice.” I said, “No, he can’t sing!”. He was a Filipino man in the U.S. Army and could speak the same dialect that my parents spoke. He was very nice and polite, and they liked him.
We married on December 2, 1945. It was in a small church, and I wore a short dress that my friend made for me. We didn’t have buttons, so she found what looked like little pebbles that she covered to make the buttons. We didn’t have zippers or anything like that, so it was buttons all the way down the back. Another friend had found an old Communion veil that her daughter wore, and they made that into my little veil.
When my husband finished his tour of duty in Japan, we came home to the United States. I had two children at that point, who were both born in Tokyo. In Tokyo, my children learned to speak a bit of Japanese, and I couldn’t understand them. They would come home and tell me things in Japanese, and I would say, “Just speak in English. I don’t understand Japanese!” They would laugh. They had such fun doing it.
When we came to America, we arrived in San Francisco. I was seasick the whole time, so I was anxious to get off the ship. But we sailed under the Golden Gate Bridge at night, and it was all lit up, and it was just beautiful. The first thing that struck me about San Francisco was the cars. There were so many cars! They were just whizzing by. In Japan, there were not many cars around. Usually, the soldiers were the ones who had cars — and some of the richer Japanese people — but the Japanese tended to rely on streetcars and the subway. It was 1954, and San Francisco seemed so bright and crowded.
The way people spoke in America was also very different. In Japan they don’t speak slang, and it took me a while to understand American lingo. My husband eventually found a job in Los Gatos, California, for the Sisters of the Holy Names of Jesus and Mary. He worked for them as a second cook, and they provided us with a home.
Los Gatos was a very small town at that time. There were barely 5,000 people living there. We were the only Filipinos in that area, and they did not know what to make of me. When I took my eldest daughter to kindergarten, the children would say, “What are you? Chinese, Native American?” And I said, “No, we’re from the Philippines!” They didn’t have any idea where that was.
I was a seamstress for the convent the whole time. I made habits out of thick wool. There was a lot of hand sewing involved, and making the skirt required about five yards alone that I had to pleat to fit each person, and it was heavy!
On the whole, people were very nice. I missed my parents, but my sister ended up coming to America as well. I get to speak Ilocano with her still, which is nice because I haven’t been back to the Philippines since 1950. It was too expensive to travel back when I first came to America. I regret that, though. I don’t know if I’m strong enough to travel now.
For me, America hasn’t really changed from the time when I first arrived, because the way people of color are being treated now seems to be the same as when I first got here.
Technology, though, is one change that is so overwhelming for me. Going to the moon left me in awe. And my massage chair — I like my massage chair.
My advice for young people moving to another culture or country is: Love conquers all. That’s my philosophy. I loved my husband and he loved me, too. He took good care of me. I miss him so much. We were married almost 57 years. It was fun to hear him sing.
U.S. Navy Surface Warfare officer, Jesse Iwuji, is a rising star in the NASCAR K&N Pro Series West. A veteran of two Arabian Gulf deployments, Jesse spends his time on land meticulously building each element of his pro racing career.
And of course, the bedrock of pro racing is the ability to move a ton of steel around a track at bone-rattling velocity.
“Jesse, let me know when it’s safe to unpucker.” (Go90 Oscar Mike screenshot)
As he related to Oscar Mike host Ryan Curtis when they met up at the Meridian Speedway in Boise, Idaho, success in life is all about finding the thing you’re passionate about and then making a firm decision to go and get it.
In Iwuji’s experience, hot pursuit starts with putting one foot in front of the other. He finished the 2016 season ranked Top 10 overall in points and entered the 2017 season newly partnered with three time NFL Pro Bowler Shawne Merriman as his car owner for Patriot Motorsports Group.
Curtis, of course, couldn’t wait for his chance to get behind the wheel.
“How about now?” “Just drive the car, man.” (Go90 Oscar Mike screenshot)
Watch as Iwuji pushes the K&N Pro Series stock car to it’s outer limits while Curtis makes the lamest joke in military history in the video embedded at the top.
The film A Private War follows the real life of Marie Colvin, a journalist who covered stories of war and conflict from ahead of the front lines in places from Iraq and Afghanistan to Sri Lanka and Syria, but its greater contribution may be the light it shines on the human cost of conflict.
Marie Colvin explains a point to her friend Paul Conroy in the 2018 film, A Private War.
Spoiler alert: This article focuses on Marie Colvin and how the new movie illuminates her life and contributions, but it does contain some minor spoilers of the movie, including the nature of Colvin’s death and the accompanying scene in the film.
Colvin was famous for donning an eyepatch and wearing designer lingerie under her body armor, but among journalists, she was known for coverage that saved thousands of lives, telling the stories of those besieged by government forces under tyrants. In coverage from East Timor in 1999, she stayed behind when many other journalists fled, keeping the pressure on Indonesian Forces who were besieging 1,500 refugees in a U.N. compound.
Thanks to the efforts of Colvin and other journalists, U.N. personnel remained at the compound until the refugees were able to peacefully leave.
Now, Matthew Heinneman, himself a documentary filmmaker who has covered conflict in Syria, Mexico’s drug wars, and other places, has made a narrative film that aims to not only tell Colvin’s life to whoever might be interested, but also sheds light on the human stories Colvin worked so hard to tell.
Marie Colvin attempts to surrender to government forces in the 2018 movie, A Private War.
“I really didn’t want to make this film as a traditional biopic,” Heinneman told WATM. “I wanted to make it more of a psychological thriller examining what pushes someone to go to these places, and then show the effect that it had on her. I wanted to examine what she suffered from. I wanted to examine PTSD. I wanted to examine all the sort of ramifications of what she saw and what she experienced.”
“At the same time,” he continued, “I also wanted to obviously highlight the work that she did and her effort in shedding light on these stories. I guess in another way, the film is a continuation of her work. Sadly and tragically, what she died covering, the conflict in Syria, has persisted until this day. And I think she would be devastated to know over half a million civilians have been killed since the conflict began. She probably would be in Idlib, or somewhere else right now covering the story if she were still alive.”
Colvin was tragically killed in Homs, Syria, in 2012.
Paul Conroy takes a photo of refugees during the 2018 movie A Private War.
The movie really hits its stride when showing the plight of the vulnerable populations that Colvin covered. While Rosamund Pike and Jamie Dorman do a great job playing Colvin and Paul Conroy — Colvin’s longtime journalism partner — they both fade into the background as victims of government forces or insurgent strikes tell their stories to the journalists.
Heinemann credits this to the people he cast into these “roles.” He didn’t cast actors, he recruited actual refugees to tell the real stories of what they suffered at the hands of Bashir Al-Assad, ISIS, or others. These scenes were filmed in Jordan, a country allied with the U.S., which has accepted large numbers of refugees.
“In the film, [Colvin] is walking into a room filled with Syrian refugees. In real life, the two women that [Rosamund Pike] speaks to are real women from Homs, telling their own real stories and shedding their own real tears.”
Refugees huddle together in the 2018 movie A Private War. The filmmakers recruited actual refugees to play the parts of hunted populations in the movie.
“It’s a really deeply emotional atmosphere on set,” he continued. “In another scene taking place in the hospital in Homs, a man brings his injured son after a mortar attack into the room. He also was from Homs. He was at a protest with his nephew who was shot off his shoulders and bled out in front of him.”
“The grief and the trauma that he brought into that room was almost unbearable. And it really created an atmosphere that felt both incredibly intimate and incredibly real that I think helped give the film the feeling that it has.”
One of the recurring events in the film is that Colvin goes into a combat zone to cover violent events, then heads back home to cities where people want to toast her for her accomplishments. This rapid, hacksaw motion between violent areas and parties is something many veterans can understand, and Heinemann used quick cuts between the two extremes to play up the difference.
Marie Colvin accepts an award for her coverage in the 2018 movie A Private War.
“…those transitions in life are never that graceful, and so, editorially, artistically, stylistically sort of smashing in and out of those two worlds was something that was in the script, but definitely something we played with and discovered a lot in the editor room with our editor, Nick Fenton,” Heinemann said. Quick cuts allowed them to “sort of drop you in and out of these war zones in a way that makes you uncomfortable and disoriented and as it was her experience. As much as possible in this film, I tried to put you in her shoes.”
This focus on Colvin’s experience shifts in the final moments of the film when Colvin is killed by a government airstrike. In the movie, as in real life, Colvin is killed while trying to escape the city with Conroy and a French photographer, Remi Ochlick. Ochlick was also killed and Conroy was severely wounded, barely surviving a massive wound in his leg.
“Dealing with the final moments of her life was something that was quite obviously delicate and something that I ruminated over for many, many, many months.”
Marie Colvin, Remi Ochlick, and Paul Conroy try to escape a Syrian government airstrike in A Private War.
“Through Conroy’s face, we feel her loss so immensely.”
But Conroy’s grief slowly morphs into the grief for a lost city as the camera moves upwards.
“But also as we move away from her and as the camera lifts,” he said. “I wanted to show that she was just one person amidst a sea of devastation, and that yes her death was tragic, but so is all that she was covering.”
“I think journalism and journalists are under attack, obviously, as we’ve seen with the murder of Jamal Khashoggi. When Marie Colvin started her career, the traditional dangers of being a journalist were that of being embedded with soldiers. It was being shot or being blown up by an IED or being hit by a mortar. It wasn’t that journalists were being targeted. And this, obviously, has changed over time.”
A Private War had a limited release on November 2. It has a much wider release, meaning it will likely be available near you, on November 16.
Although some of our favorite films are pretty “out there” when it comes to pulling off some amazing feats, there are quite a few movie moments that Marines would love to train their asses off for and totally pull off.
In a hostage situation, shooting around the victim and nailing the assailant would come in quite handy — if we could master it. But we doubt we ever could.
How awesome would this be?
2. Shooting out the floor (Underworld)
In many cases, service members have to find clever ways to evacuate from a desperate situation. In 2003’s Underworld, Selene (played by Kate Beckinsale) shoots the floor out in order to escape from vicious werewolves.
This is a great idea; you know, if the physics were possible and humans could handle 20-foot drops.
If it worked for her, it should work in real life.
3. Inverting you fighter jet (Top Gun)
When flying in an aerial dogfight, there’s no better way to send the enemy an FU message like Maverick’s in 1986’s Top Gun. He managed to fly inverted and flip the bird to his rival flying ace.
This feat is near impossible, but “Mav” makes it look easy as hell.
They went ballistic!
4. Putting on a parachute in mid-air (Eraser)
In 1996, director Chick Russell took on a stunt that had audience asking, “How did they do that?” when U.S. Marshal John “The Eraser” Kruger threw a parachute outside of a speeding plane at high-attitude then retrieves the “chute” in mid-air.
We think that’s pretty badass.
Who wants to go skydiving?
5. The backbend bullet dodge (The Matrix)
At times, Marines fight in close quarters combat when charging in enemy territory, and, unfortunately, sometimes they get shot. Wouldn’t it be awesome if they could just dodge incoming rounds like Nero? We think so.
6. Shooting someone through their scope (Saving Private Ryan)
Steven Spielberg knows how to tell an effective story, and he did just that directing 1998’s critically-acclaimed Saving Private Ryan.
After showing the world how American troops stormed the beaches of Normandy, he brilliantly captured the moment when Pvt. Jackson (played by Barry Pepper) takes out a German sniper with a perfectly aimed round right through his scope.
Although it’s reported Marine legend Carlos Hathcock made this historic shot, the myth has been both deemed both “busted” and “plausible” by the same people — the Myth Busters. Regardless, we want to be able to pull it off again, and again. Mostly for bragging rights.
Professional pain-factory John Wick (Keanu Reeves) is back for a sequel. And once again, there’s a whole cadre of well-dressed people who want him dead.
In anticipation of the film’s release on Feb. 10, We Are The Mighty talked to director Chad Stahelski and stunt coordinator and Army vet J.J. Perry about John Wick’s gunplay style, and how they made mag changes cool.
The early 1980s brought us some epic action movies like “Conan the Barbarian,” “Blade Runner,” and let’s not forget “E.T.”
Although these films were fun to watch, they didn’t have the impact on veterans like the movie “First Blood” did.
Directed by Ted Kotcheff, John J. Rambo (Sylvester Stallone) was a former Green Beret who just wanted to visit his Vietnam buddy when things took a turn for the worse and he ended up battling a small town’s police force after an unlawful arrest.
But we’ve always wondered what it would have been like to serve under his command. Here’s our take on how being in Rambo’s platoon would be.
1. Alternate shooting techniques
In most boot camps we’re taught proper weapons handling. But forget all those safety briefs you were forced to listen to when Capt. Rambo reports in as the new commanding officer, because every shot you fire from here on out will be from your hip.
Plus it looks awesome if you can handle the recoil. (Giphy)
2. No bayonets
Having the ability to mount a knife on the barrel of your rifle isn’t enough.
If you were in Rambo’s company, your blade would have to be up to such standards that it can slice a bad guy up and be thrown across the room with perfect precision.