A disgruntled group of Marvel fans is planning a protest at Sony headquarters after Sony Pictures, which owns the rights to Spider-Man, and Disney, which owns Marvel Studios, failed to reach a deal to keep the superhero in the MCU.
In a tactic that feels borrowed from Area 51 truthers with a gripe similar to Game of Thrones‘ final season haters, three Spidey fans created a Facebook event to organize simultaneous protests at both Sony Pictures in Culver City, California, and Sony Corporate Offices in New York on Oct.19, 2019.
“We storm Sony Pictures in solidarity dressed in Spider-Man costumes and bring our boy home! This is a peaceful demonstration and violence will not be tolerated.” the description reads, without any self-awareness at how ridiculous it sounds.
Thus far, the event has attracted over 7,000 “Yes” RSVP’s and plenty of mediocre memes.
The entire endeavor is misguided. Sony and Disney are two of the dwindling number of massive corporations that control the entertainment industry. They exist to make money for their shareholders. The only way fans could potentially make the powers that be change their mind is with a credible threat that their anger might hurt the bottom line.
It’s safe to say that’s unlikely in this case.
Even if every fan who signed up for the protest boycotted Sony forever it would be less than a drop in the ocean for the company. And the more likely scenario is that any fan who loves Spider-Man enough to wear a costume that they own to a protest would not be able to resist consuming new Spider-Man content despite their anger.
Mass protest can work, of course, but only when aimed at democratic institutions that have real reasons not to piss too many people off. And with no shortage of awful things to protest, it would be nice if this energy was redirected into something worthwhile like, say, beefing up antitrust law to prevent conglomerates from taking over the entertainment industry.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
The 2017 Got Your 6 Storytellers at Paramount: Caleb Wells (USMC), Bill Rausch (USA — Got Your 6 Executive Director), Leslie Riley (USA), Jared Lyon (USN), Sal Gonzalez (USMC), Jas Boothe (USA), Leaphy Kim (USMC). (Photo courtesy of Vivien Best)
The Veteran Fellowship Program is designed to help veterans navigate creative careers by placing them in corporate and creative internships with top-tier organizations.
Seriously, though. We hate to drop names, but…founding entertainment partners leading this initiative include 21st Century Fox, 44 Blue, A+E Networks, CBS, The Ebersol Lanigan Company, DreamWorks Animation, Endemol Shine North America, HBO, Lionsgate, Live Nation Entertainment (including its House of Blues, Ticketmaster, Insomniac, and Roc Nation groups), NBCUniversal, Paramount Pictures, Sony Pictures Entertainment, United Talent Agency, Valhalla Entertainment, and Viacom.
The 6 Certified show “Six” at the Got Your 6 Storytellers event in 2017. (Photo courtesy of Vivien Best)
So yeah, it’s kind of a big deal — and an incredible opportunity for the veterans of the program, who will be given mentorship and training in addition to the networking opportunities inherent with the position.
For information about the Veteran Fellowship Program, email email@example.com.
Many Russia-watchers are questioning or makinglight of the Foreign Ministry’s surprise appointment of Steven Seagal as a special envoy for humanitarian ties with the United States — but not the action-film actor himself.
“I take this honour very seriously,” Seagal tweeted late on Aug 5, a day after the Russian Foreign Ministry announced the appointment on Facebook.
Seagal, who has warm ties with President Vladimir Putin and was granted Russian citizenship in 2016, said he was “deeply humbled and honoured” by the appointment.
“I hope we can strive for peace, harmony, and positive results in the world,” Seagal wrote.
Seagal, 66, starred in Hollywood action movies such as Above The Law (1988), Hard To Kill (1990), and Under Siege (1992). His films were popular in the Soviet Union and then in Russia and other ex-Soviet republics.
Seagal has vehemently defended Putin’s policies, including Moscow’s 2014 annexation of Ukraine’s Crimea Peninsula, along with criticizing the U.S. government.
Kyiv last year banned Seagal from entering Ukraine for five years, citing what it said were national security grounds.
The Russian Foreign Ministry statement said that Seagal’s task will be to “foster the further development of Russian-American relations in the humanitarian sphere, including interactions in… culture, the arts, public and youth exchanges, and so forth.”
The position is not paid and will be similar to the United Nations’ goodwill ambassador positions, the statement said.
In 1987, Stanley Kubrick released one of the most acclaimed feature films that created a stir within the Marine Corps community — Full Metal Jacket. The movie was an instant hit and, suddenly, veterans and active-duty service members of all ages started memorizing the film’s dialogue and working it into their daily conversations.
Although the film debuted more than 30 years ago, its epic storyline and unique characters contribute to today’s popular culture. Full Metal Jacket still manages to engage audiences, even after we’ve seen it a dozen times. Now, in the age of memes, Full Metal Jacket lives on.
Why isn’t he standing at the position of attention?
We, of course, choose Animal Mother.
Taking jabs at Pvt. Pyle never gets old.
Too bad his vacation didn’t end well…
“Ain’t war hell?”
He was the guest of honor.
So that’s what Animal Mother’s problem was. We were way off!
Based off the book, “The Liberator: One World War II Soldier’s 500-Day Odyssey from the Beaches of Sicily to the Gates of Dachau,” written by Alex Kershaw and produced by A+E Studios for Netflix, is the story of Captain Felix Sparks (Bradley James) and the Thunderbirds’ incredible battle against the Axis Powers in Nazi controlled Europe. Using state of the art Trioscope Enhanced Hybrid Animation, the story is coming to life this Veterans Day, November 11, only on Netflix.
War movies have always been a bastion of innovation when it comes to experimental new styles and effects that, when successful, influence the film industry for years to come. Every tink, bang and boom draw us closer in an attempt to push the limits of movie magic. Between the rounds and dirt, the audience and characters, leave home behind to experience something greater than themselves.
Experimental visuals, cutting edge sound design and a strong narrative backed by a best selling book about a bad ass warrior?
Yeah, I’d watch that.
Trioscope Enhanced Hybrid Animation looks similar to the art style of Telltale Games used in The Walking Dead video game series. The Walking Dead Telltale series was cancelled due to behind the scenes changes but the audience demanded the series finished – and it was. Unprecedented proof that a strong story and this captivating style choice is enough to keep fans demanding for more.
GLENN ASAKAWA Getty Images
Felix Laurence Sparks
Felix Sparks was born on August 2, 1917 in San Antonio, Texas, and enlisted in the U.S. Army in 1935. His leadership would guide him and the 157th Infantry Regiment, 45th Infantry Division, through a literal odyssey across Nazi controlled Europe from Sicily to stepping through the threshold of the Dachau concentration camp.
There are no words for Dachau, and even the pictures of its horrors are pale beside its realities. Veterans of six campaigns to whom death was commonplace, sickened and vomited at Dachau. Not the sight and smell of death did this, but the decaying evidence of human cruelty that was beyond the understanding of the normal mind. Dachau was rot and stench and filth. Dachau was Hitler and the SS. And, deny it though its people did with every breath, Dachau was Germany of 1933-45. Let Dachau live in our memories. – Personal account by Felix L. Sparks Brigadier General, AUS(Retired)
Captain Felix Sparks is played by Bradley James whom you may recognize as Giuliano de’ Medici in another of Netflix’s powerhouse TV series Medici: The Magnificent. His portrayal of Captain Sparks stays true to the book. Historical accuracy has always been important to our warrior community and Bradley’s performance lands it.
45th Infantry Division, Thunderbirds
When you hear about the 45th Infantry in WWII as a history buff you know you’re in for a wild ride. First of all, the Division’s symbol used to be the a Swastika before the war. It was an ancient Native American symbol and used to honor the population of the South Western United States. However, once the Swastika was affiliated with the Nazi Party, it was charged to the Thunderbird we know today.
Second of all, the battles. The 45th goes through it all, from being on the sidelines as a National Guard Unit in Oklahoma to kicking down the doors of the Reich in Germany. I will not mention them here as to not risk any spoilers but if you’re a history buff like me, you know which parts I’m looking forward to.
Lastly, this is definitely something to curl up with a MRE and a beer to watch on Netflix on Veterans Day. ‘Murica!
Your division is one of the best, if not the best division in the history of American arms.” – General George S. Patton
Don’t miss the premiere on Veteran’s Day November 11th, 2020!
Let’s face it. The world likes — and America loves — zombie movies.
The idea of having to fight across the countryside and through clustered cities, cutting down hordes of the undead with a shotgun is enticing.
That’s why zombie movies and video games do so well. The “Resident Evil” franchise released its sixth film 20 years after its first video game hit the market. That’s a two-decade run for, “Zombies, but like, monsters, too.”
But, sorry, Milla Jovovich fans. There is no way that a zombie outbreak is taking over the U.S. or any allied country while the American military is around. Here’s how the U.S. would respond to a zombie outbreak, shutting it down quickly.
First, let’s assume that an entire country was ravaged before America geared up, just for funsies. (But, really, military human intelligence collectors and signal intelligence should have given us the heads up before a single town was wiped out). And let’s assume it’s a country that emphatically said the U.S. military wasn’t welcome, and that’s why the outbreak went on as long as it did.
And, Russia has good topography for containing zombies. Because of the mountain ranges (in black, below) and the Arctic Circle (in red), there are only a few places where zombies could conceivably break out of Russia to threaten the rest of the world in large numbers.
So, small contingents of the Navy can patrol the Arctic and a few dozen companies of POGs can guard the mountain ranges, picking off the few zombies lucky enough to make it through the mountain passes.
But the western and southern breakout zones could be huge problems for American allies and the world as a whole.
The southern breakout zones would give the zombies access to Kazahkstan and maybe Mongolia. The western gives a large front that hits Ukraine, Estonia, Latvia, and Finland. It also hits Belarus, but they hate America nearly as much as Russia does, so screw ’em.
So what could 632,000 ground combatants supported by the largest navy and the most advanced air force in the world possibly do against 130 million zombies?
Lol. They would kill an average of 205.7 zombies each, and it would be awesome.
The Navy would park multiple carriers in the Baltics and Barents seas. From there, they could fly strike aircraft and sensor platforms to find and target large clusters of zombies.
The Air Force would bring its own strike and ground attack planes as far east in Europe as they could hold the line. From there, A-10s and AC-130s would rain hot lead in support of ground pounders while B and F-series planes blanket the countryside with bombs.
Finally. Guilt-free carpet bombing is back.
And sure, none of these are the headshots needed to permanently put down a zombie. But a few hundred pounds of explosives will mess up a zombie’s legs pretty badly, as will 30 mike-mike through the chest. Pretty sure that will make the infantry and other ground maneuver forces’ jobs a little easier.
Speaking of which, the Marine Corps and Army are going to love the most entertaining range they’ve ever held. Think about it. What sucks most about range days? First, being put on target detail. And, second, having to shut down the range every time a turtle wanders by.
Guess what? No one is going to order a range halt because of a turtle when a bio menace is marching towards Paris. And there’s no need for a target detail when the targets can be lured with the sound of gunfire.
So, the Marines and soldiers basically get to call shots to each other as they gun down crippled zombies over a couple of thousand miles of the Russian border. If the engineers can wait to shoot zombies long enough to dig a couple of trenches and raise concertina obstacles, it’ll delay the already wounded zombies even further.
And don’t think the artillery and mortarmen are going to let a chance to practice against undead targets pass them by.
The biggest challenge is going to be making sure that all those cavalry, infantry, etc. have enough ammo. But remember, American logistics troops train to maintain operations in a contested environment. This time, they would have completely safe roads, railways, and rivers to use without fear of significant enemy resistance.
Hell, the operation could probably be catered.
So soldiers and Marines could simply mow down the oncoming hordes, talking the machine guns and interchanging barrels to prevent a meltdown. No Milla Jovovich needed (though she would probably be welcome on a USO tour or something).
Of course, the Navy SEALs can be used to clean out river deltas where zombies were washed downstream attempting a crossing, and the Green Berets can jump into zombie-held territory to try and train up survivors for resistance operations if they like.
But zombie operations are basically just the world’s easiest siege. None of the enemies can tunnel, or use weapons, or conduct coordinated military operations. Easy, peasy.
Godzilla’s roar has long been considered one of cinema’s most iconic and recognizable sounds. Oft-copied or otherwise homaged, the original and rather unique roar terrified audience goers in the 1950s and has been built upon to dramatic effect in the numerous sequels and remakes since. So how did they actually make the original sound and where did the idea for Godzilla come from in the first place?
As for the idea behind the monster, producer Tomoyuki Tanaka was looking for a project to work on after another film he was involved with got scrapped. Given the popularity of such films as King Kong among Japanese audiences, he decided to create a similarly themed movie. Except in this case, the monster would function as a not so subtle metaphor for the devastation of nuclear destruction and its radioactive aftermath ‚ hence Godzilla being a prehistoric creature awakened and energized by atomic explosions, and who in turn shoots a radioactive heat beam out of its mouth, leaving a wake of death and destruction, with many survivors in turn suffering from radiation sickness.
As for the final version of the creature itself (and, yes, while in Western versions Godzilla is generally referred to as a “he”, in the Japanese versions the creature is an “it”), before the iconic design we know today was settled on there were differing ideas on how to best realise the monster. An idea that was proposed early on before being eventually rejected was to make Godzilla resemble a large gorilla/whale hybrid, more or less mimicking the whole King Kong thing, but making the animal somewhat amphibious too. (Note here, the name Godzilla ultimately derives from the Japanese name “Gojira”, which is in turn a portmanteau of “whale” and “gorilla”.)
Behind the scenes photograph from the set of Godzilla Raids Again.
This whale/gorilla hybrid idea was initially proposed by Tanaka. However, when an artist was brought in to create a design for the creature based on this general idea, it was quickly rejected because the results ended up looking too human-like; they wanted something much more unique and ancient looking.
Switching it up, sculptor Teizo Toshimitsu and art director Akira Watanabe decided to base the design of Godzilla on that of dinosaur, specifically the T-Rex, with elements of other dinosaurs such as the Iguanodon and modern reptiles like the alligators thrown in. On top of that, to double down on the atomic radiation association, they put keloid scars all over its body, which would have been familiar to Japanese audiences, with these scars commonly showing up on survivors of the nuclear blasts.
As for Godzilla’s exaggerated dorsal fins, these originally were not meant to serve any purpose in the 1954 film, and were simply added to give the creature a more distinctive silhouette. However, it would ultimately be established that they can be used by Godzilla to absorb nearby radiation or even as a weapon.
After creating the monster, Godzilla needed a voice. As it was designed to be an unnatural combination of various creatures both alive and dead, the sound crew found it especially difficult to come up with something that worked for its roar. According to famed composer Akira Ifukube, who created both Godzilla’s roar, the sound of its footsteps, and composed the film’s soundtrack, sound engineers went to a local zoo and recorded the roars and cries of virtually every animal there to try to come up with something usable.
They then tried a number of combinations of these sounds to create something distinct, failing each time because the resulting roar always sounded too familiar. Ikufube notes that the engineers eventually got so desperate they even tried distorting the cries of random animals like herons to the point that they were unrecognisable, but nothing was satisfactory.
The problem, at least in Ikufube’s eyes, was that the roars of other animals, even when heavily distorted, still sounded too natural. What they really wanted was a unique sound like nothing ever heard from an animal before, but still animal-like, and a little terrifying. Thus, scrapping all the previous sounds, despite working under an incredibly tight deadline, Ikufube decided to look at other potential means to make the roar. For the solution, he states, “For the roar of Godzilla, I took out the lowest string of a contrabass and then ran a glove that had resin on it across the string…. The different kinds of roars were created by playing the recording of the sound that I’d made at different speeds.”
And just as a brief aside here when talking about the tight deadline in scoring movies in Japan at the time, when asked about whether his now iconic music for Godzilla was among his favorite compositions, Ikufube stated,
Unlike American film score composers, Japanese film score composers are given only three or four days in which to write the music for a movie. Because of this, I have almost always been very frustrated while writing a score. I therefore can’t select any of my scores as favorites.
Going back to the roar, the resin on the glove helped create the added friction needed while being dragged across the string to make a noticeably grating sound that would hopefully cause a feeling of unease in those who heard it— akin to nails on a chalkboard, but with a lot more depth.
Attempting to recreate some version of Ikufube’s sounds for the 2014 version, Erik Aadahl and Ethan Van der Ryn, who created the new roar, stated, “We dissected that original roar and figured out exactly which key musically it was in, which is a C to D on the piano, and the finishing bellow that has the same notes on a lower octave. We figured out the timing, cadence and musical pitch of that original roar, and then started to experiment with different ways to re-create it.”
After a whopping six months of experimenting, they settled on a combination of sounds, though as to how they came up with them, they’ve promised to take that secret with them to the grave. Said Aadahl, “I think more so than any other sound effect we’ve designed, we have a certain protectiveness over that sound. It’s when you’re giving voice to something, you’re giving it its soul. And if we tell everybody exactly how we did it, people will think of that when they hear the roar, and we want them to think of Godzilla.”
Scene from Godzilla: King of the Monsters.
That said, what little they have revealed is that the sound, much like Ikufube’s, was the product of friction using something man-made, rather than modifying an animal sound. They also note that over the course of their experiments they played with things like car doors with rusty hinges, as well as rubbing the heads of drums, among other things. They further state they found that using the plastic sole from a hiking boot on the strings of a double bass produced the closest they could get to the original roar in their experiments.
During the course of all of this, to get an even more unique sound, Van der Ryn states, “We bought a microphone that was able to record above the range of human hearing. We started experimenting will all different types of sounds — sounds that we couldn’t actually hear when we were recording. But when we slowed them down into the human range of perception, we had an incredible palette of normally invisible sounds that people normally don’t get to hear.”
Finally, to get proper echo sounds, as well as what it would sound like from within a building or a car, etc. (basically different ways it might be heard in the final film), they managed to convince the band Rolling Stones to let them use their tour speakers. They then set everything up outside at various locations at Warner Brothers studios, and simply blared the roars at high volume and recorded the result from various other locations nearby.
Naturally, they got some complaints about this, with Aadahl stating, “The neighbors started tweeting, like, ‘Godzilla’s at my apartment door! And we were getting phone calls from Universal Studios across town, because tour groups were asking, ‘What’s all that commotion going on down in the valley?’ The sound that we were playing actually traveled over 3 miles… 100,000 watts of pure power.”
Going back to the original Godzilla, if you’re wondering about the aforementioned footstep sounds, according to Ikufube, the story behind those was,
One of Toho’s electrical engineers made a simplistic amplifying device some time before production on GODZILLA – KING OF THE MONSTERS got underway. It was just a box that had several coils connected to an amplifier and a speaker in it. When you struck it, the coils would vibrate, and a loud, shocking sound would be created. I accidentally stepped on the device while I was conducting the score for a movie that was produced shortly before GODZILLA – KING OF THE MONSTERS was made. I said, “What the heck is that?” when I heard the noise that was produced. When I was asked to create Godzilla’s footfalls, I decided to use the device.
Ever wonder how they made the sound effect for the lightsaber? Well, wonder no more, sound engineer Ben Burtt states, “In the booth where we projected the films… Those projectors would make a hum. They weren’t running, they were idling, the motors would just sit there with this kind of magical, mysterious humming sound that I thought was musical in a way and I thought that’s probably what a lightsaber would sound like… And I was searching for some other element, and I had a tape recorder with a broken mic cable that the shielding had come off of and when I walked passed a television set in my apartment it picked up the hum from the picture tube directly into the broken wire, and that made a buzz, and I thought, that’s a great buzz, that sounds dangerous… normally a sound person doesn’t want a buzz or a hum, but in this case a buzz and a hum was the answer.”
Moving on to the famous “Star Wars scream”, more properly known as the “Wilhelm Scream”, heard in hundreds of movies, this was created via the vocal talents of Sheb Wooley, perhaps better known for his hit 1958 song “Purple People Eater”. The genesis of the scream was that Wooley had an uncredited part in the first film the scream was heard in, a 1951 film called Distant Drums. At one point during the film, Captain Quincy is leading his soldiers through a swamp when one of them gets attacked and dragged under by an alligator, screaming in the process. During post-production recordings, Wooley recorded various vocal sound effects for the film, including a batch of screams.
So why was it dubbed the “Wilhelm Scream” if the man who did the scream was named Sheb Wooley? After being plucked from the Warner Brothers stock sound library, the scream was used in the 1953 film The Charge at Feather River, starring Guy Madison as Private Wilhelm. The sound effect is used when Private Wilhelm is shot in the thigh with an arrow. The scream was nicknamed “Wilhelm” from then on.
The Hollywood tradition / inside joke of purposefully using the Wilhelm scream in a variety of films began with aforementioned sound effects designer Ben Burtt, who worked on numerous films, including Star Wars as noted. He noticed the scream being used in certain Warner Brother’s films, such as Them in 1954, Helen of Troy in 1956, and The Green Berets in 1968. Burtt then began slipping the Wilhelm Scream into every movie he worked on, beginning with George Lucas’s Star Wars: A New Hope. And it just sort of caught on from there.
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.
But if this trailer is any indication, they don’t stand a chance.
The star made waves online earlier this year when a video was released showing Reeves practicing his three-gun skills with tactical shooting master Taran Butler. The hard work appears to have paid off, as the trailer shows Wick aerating assailants in a variety of creative styles.
Reeves’ is joined by fellow Matrix star Laurence Fishburne, as well as Common, Bridget Moynahan, John Leguizamo, and Ian McShane.
‘John Wick: Chapter 2’ hits theaters everywhere on February 10th, 2017.
There’s no shortage of media featuring the good, bad, and ugly aspects of life at war or in the military. In fact, as we come out of the biopic zeitgeist and set our sights toward the digital era, the number of films, television shows, movies, and other forms of content featuring these elements is only growing. But not all depictions of combat are created equal.
It’s easier to make a film about war than it is to stay true to its source — so, which movies treat its combat with the most respect and realism? We asked some veterans, and here’s what they had to say.
While Christopher Nolan didn’t take home the 2018 Oscar for this particular war blockbuster, “Dunkirk” has gained universal acclaim as one of the best World War II films to date. It tells the story of trapped British and French forces attempting to evacuate a war-torn beach in May 1940, while German forces closed in. The clean-shaven soldiers may not be a testament to the details, but “Dunkirk” thrives on its atmosphere and closed cinema, which is used to communicate the overall gravity of the battle.
“‘Dunkirk’ succeeds in recreating the plight of tending to your fellow soldier while being under constant threat of bombardment,” said Tan Vega, a veteran of the U.S. Marine Corps. With gritty visuals and stellar performances, the film uses tight angles and extreme close-ups to create and emanate panic, desperation, and fear to its audience. In moments of true cinema, we can examine the bonds forged between the troops, as well as the intense pressure they’re under to survive.
With Empire Magazine lauding the Omaha Beach landing as “the best battle sequence of all time,” this entry should come as no surprise. “Saving Private Ryan” uses its artistic license to enrich its characters and depict realistic events of war in a way that had never been done before. The movie focuses on the personal journey of a few soldiers venturing behind enemy lines to save fellow soldier Private James Ryan.
“The most realistic thing about ‘Saving Private Ryan’ is nothing is off the table,” said Gay Dimars, a veteran of the Vietnam War. “The water’s bloody, the soldiers are nauseous, and as an audience, we’re there with them.” However, Steven Spielberg did sacrifice historic authenticity in favor of dramatic effect — the film’s climax is strewn with inaccuracies, but with top-notch performances depicting the effect of war and symptoms of post-traumatic stress disorder (PTSD), the film solidifies its place among the best war movies ever made.
Platoon 1986 Final battle scene with Charlie Sheen
“Platoon” is the first Hollywood film to be written and directed by a veteran of the Vietnam War. The script capitalizes on Oliver Stone’s experiences in various combat units to expertly depict the severity of combat as well as the rippling effects of war. As such, the toughest critiques of the movie come from Stone’s former platoonmates, some of whom say they felt too exposed after the film’s release. “Platoon” was shot on location in the Philippines and utilizes long lenses, careful lighting, and talented actors to craft the atmosphere of the Vietnam War and inform the audience of the confusion, psychological trauma, and deep-seated violence Vietnam veterans endured.
Black Hawk Down Battle Scenes 2001 NO FINAL BATTLE
The film “Black Hawk Down” has faced criticism for wavering from the highly accurate book upon which it was based. “The combat is realistic, but many details miss the mark,” said Sharm Ali, a U.S. Air Force veteran. “What it does really well is explain how a noble cause could go south really quickly.”
“Black Hawk Down” tells the story of the Battle of Mogadishu, during which U.S. service members were sent to kill or capture Somalia’s key warlord, Mohamed Farrah Aidid, in a broader effort to stabilize a country in the midst of a humanitarian crisis. However, Somali forces shot down their helicopters and effectively trapped them on the streets of the foreign country, forcing them to fight their way out. The film is most impressive in its depiction of the harsh realities of urban combat that soldiers were forced to endure during the Somali conflict, and was notable in that it lifted the curtain on the types of operations the shadowy Joint Special Operations Command (JSOC) were conducting at the time.
A sharp-eyed aviation photographer caught a photo of a U.S. Navy F/A-18F Super Hornet two-seat variant transiting through the Star Wars canyon, one of the most popular western U.S. low-flying areas, earlier this month during what appears to be filming of in-cockpit sequences for the upcoming “Top Gun: Maverick” movie.
The photo, posted to Instagram by Christopher Lohff (@lohffingfoto), shows the pilot/front-seater wearing the same HGU-68/P lightweight flight helmet with custom graphics as seen in previously leaked photos from the production of “Top Gun: Maverick”. The upcoming film, slated for release on June 26, 2020 in the U.S., is likely entering the final stages of its production phase before going to post-production and editing.
[instagram https://www.instagram.com/p/BvdEMuyAKOK/ expand=1]Christopher Lohff on Instagram: “Someone’s excited for the Top Gun sequel! This VFA-122 Flying Eagles F/A-18F pilot was sporting what I can only recognize as Maverick’s…”
Another interesting detail in the photo is the appearance of an array of what appears to be four of the new Sony VENICE CineAlta video cameras on the coaming of the rear cockpit. The new Sony VENICE CineAlta is a full-frame, 36x24mm digital video camera that shoots at a maximum resolution of 6048×4032 and can be modified to shoot at even higher quality resolution. The cameras cost about ,000 USD each without lenses or upgrades for higher resolution.
The Sony VENICE CineAlta array seen in the F/A-18 appears includes four rearward-facing cameras in the aft cockpit of the F/A-18 with various focal length lenses including at least two very wide-angle lenses. The camera array is fitted to the top of the rear cockpit coaming at the top of the instrument panel with a custom machined mount.
These photos give a clue about what some of the in-cockpit sequences may look like when the film debuts next year.
Just before the photos from the western low-flying areas appeared on Instagram, the Internet was filled with “spy” photos of an F-14 Tomcat being used in filming for the upcoming movie. The appearance of the Tomcat suggests a retrospective sequence, some kind of “flashback” to the original “Top Gun” in this upcoming release.
[instagram https://www.instagram.com/p/BvkSnlkl6uJ/ expand=1]Skid Voodoo on Instagram: “Our Hero Tomcat should be returning to the San Diego Air & Space Museum Annex soon. Its service to the new film is coming to a close after…”
The F-14 Tomcat that was sighted around Coronado Island and North Island NAS also showed up on the deck of the nuclear-powered aircraft carrier USS Theodore Roosevelt (CVN-71) for some filming sequences. One sequence included the aircraft being stopped in the large net/arresting barrier used for emergency recoveries onboard ship. The F-14 used in the filming is likely Grumman F-14A Tomcat #159638, an aircraft previously on display at the San Diego Air Space Museum’s Gillespie Annex in El Cajon, California.
This article originally appeared on The Aviationist. Follow @theaviationist on Twitter.
Did the retired Marine general say these things or did the rapper say these things?
On the surface, the two have nothing in common. The rapper-actor out of Queens, NY started his career selling drugs at age 12 during the crack epidemic. On the other hand, Mattis began his career as an enlisted Marine during 1960s.
As their careers progressed, 50 Cent left drug-dealing to pursue a music career. He quickly gained a reputation for being a shrewd businessman, becoming an actor, opening an apparel line, and eventually becoming an investor.
“Mad Dog” Mattis had a different path. He graduated to the officer ranks during the 1970s and became known as the “Warrior Monk” because of his bachelor life and lifelong devotion to the study of war. “Saint Mattis of Quantico, Patron Saint of Chaos” is the current secretary of defense.
Besides their different walks of life, the two seem to have a similar outlook. We gathered some of their most famous quotes to make this quiz. Can you guess who said what?