Its upcoming TV show, “Watchmen,” is inspired by the 1986 graphic novel of the same name by writer Alan Moore and artist Dave Gibbons, which is considered a classic deconstruction of the superhero genre.
But if you ask the show’s creator, Damon Lindelof, his series isn’t so much a deconstruction because “nobody has superpowers.”
In his first in-depth interview for the series with Entertainment Weekly, Lindelof — who also cocreated “Lost” and HBO’s “The Leftovers” — was asked how he plans to “break new ground on super anti-heroes” when other movies or TV shows like “Deadpool” and Amazon’s “The Boys” have recently tackled the idea.
“I started to think that for ‘Watchmen’ maybe the more interesting point is to think about masking and authority and policing as an adjunct to superheroes,” Lindelof told EW. “In ‘Watchmen,’ nobody has superpowers — the only super-powered individual is Dr. Manhattan and he’s not currently on the planet.”
(Amazon Prime Video)
He added, “In ‘The Boys,’ you have superpowered individuals in capes that can shoot lasers out of their eyes and fly around and have feats of strength and turn invisible. Nobody on ‘Watchmen’ can do that.”
In “The Boys,” a group of government operatives keep corrupt superheroes in check, from the Superman-like Homelander to the Flash-esque A-Train.
The “Watchmen” graphic novel follows a group of costumed vigilantes who uncover a vast conspiracy after one of their own is murdered. In Lindelof’s “Watchmen” show, which takes place nearly 30 years after the events of the novel, vigilantes are outlawed and police officers wear masks.
“I felt like we wouldn’t be deconstructing the superhero myth because all the characters in Watchmen are just humans who play dress up,” Lindelof continued. “It would be more interesting to ask psychological questions about why do people dress up, why is hiding their identity a good idea, and there are interesting themes to explore here when your mask both hides you and shows you at the same time — because your mask is actually a reflection in yourself.”
There’s a widespread belief that MPs will look the other way for other MPs in certain situations. Now, I am in no way saying that there should be unfair advantages given when it comes to the law. That being said, there is no denying that this practice exists in various ways.
MPs hold one another to a standard that is often a few pegs above the written, established standard. So, a lot of times the “looking out” comes in the form of keeping other MP to task and up to snuff when the human element rears its head. Sometimes, “looking out” means offering just a ride home — it depends on the variables.
4. People want to be cool with you… when they don’t hate you
Everyone wants to be cool with MPs. It means they’ll probably get through the gate on personal recognition a little more frequently and, if they have an encounter with an MP, it’ll likely be pleasant.
This rapport is typically built through politeness, a few well-timed store runs, and some glazed pastries.
3. Face of the base
These days, we hear a lot of references to the ‘tip of the spear.‘ The expression is typically reserved for those special few among us who are truly and undeniably badass.
As a Military Policeman, not only are you the first face to greet every single visitor and vehicle to enter the base, you are, by definition, the tip of that extremely local spear. Not to pat ourselves on the back too much, but hey, that is a pretty big deal.
2. Rapid maturity
Having an authority that supersedes rank can be a lot to handle. With young MPs, you typically get one of two types:
Type A is someone who has walked with a big stick for most of their life and now they have some actual weight behind their actions. They are likely to push the limits of their authority a bit further than most until they learn better.
Type B is someone who is timid and unsure of how to impose their authority the right away. They’re more likely to tiptoe towards competence with fewer mistakes along the slower road.
Both of these guys are going to have to make their way through the gauntlet fast if they hope to survive through their enlistments.
After years of waiting, Star Wars: Galaxy’s Edge is finally opening, offering fans the chance to leave our world behind and head to a galaxy far, far away. But while you are undoubtedly stoked to visit Galaxy’s Edge at Disneyland (opening May 31, 2019) or Disney World (opening August 29, 2019), you are probably also a little anxious about making the most of your trip. Fortunately, Carlye Wisel visited the 14-acre expansion at Disneyland and she shared her experience with Polygon, giving insight into the best way to spend your time and money at the park. Here is what she shared.
There are two main areas in Galaxy’s Edge: Black Spire Outpost and The Resistance Forest. And according to Wisel, you are best of avoiding the latter for the time being, as it is mostly home to “Star Wars: Rise of the Resistance, which won’t open until later this year.” But there’s more than enough to do at Black Spire Outpost, which features “Toydarian Toymaker, The Jewels of Bith, Creature Stall, and Black Spire Outfitters, as well as Kat Saka’s Kettle, offering colorful, spicy-sweet popcorn.”
If you are someone who is primarily looking for an awesome souvenir, Wisel recommends Dok-Ondar’s Den of Antiquities, which is “packed with all the high-end, super-insidery merch that fans are bound to freak out about, sold under the gaze of its mysterious Audio-Animatronic proprietor.” As for more casual shopping, First Order Cargo features a litany of cool pins, while Black Spire Outfitters will get you looking like a real-life Jedi.
Of course, the main attraction are the personalized lightsabers and droids, which can be found at Droid Depot and Savi’s Workshop, respectively. However, it’s worth noting that for the lightsabers, there are limited spots.
“The merchandise experience, which lets guests hand-select their own kyber crystals and build a heavy-duty personalized lightsaber, has approximately three build show experiences per hour, and each turn is limited to 28 people — 14 builders with a single allotted guest,” Wisel writes.
Star Wars: Galaxy’s Edge to Open May 31 at Disneyland Resort, Aug. 29 at Disney’s Hollywood Studios
Perhaps the biggest tip of all doesn’t involve what you should do at Galaxy’s Edge but rather, what you should not do. According to Len Testa, co-author of The Unofficial Guide and founder of Touring Plans, you might be better off not heading straight to Smugglers Run, as it is almost guaranteed to be overrun with visitors during the first few hours but may become less crowded by lunchtime.
Whatever you want to do, Wisel suggests that the best thing to do before you visit is to come up with a gameplan to ensure you don’t waste your time there.
“Whatever you do, download the Play Disney Parks app before you enter,” Wisel writes. “It’s being used to facilitate and enhance the Galaxy’s Edge experience — and you’ll be way too busy sucking down cantina drinks and taking in the otherworldly delights of Batuu to do it once there.”
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
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.
While deployed to Iraq in 2007, the U.S. Army’s then-Captain Matt Gallagher started a blog called Kaboom that quickly became very popular … and controversial — so controversial, in fact, that the Army shut it down.
After he separated from the military, Gallagher compiled the best of the blog into his 2010 memoir, “Kaboom: Embracing the Suck in a Savage Little War.” He has since written for the New York Times, The Atlantic, The Daily Beast, and Boston Review, among others. Now, with an Master’s degree from Columbia, he’s writing fiction. This week saw the debut of his first work of fiction, “Youngblood: A Novel.”
The U.S. military is preparing to withdraw from Iraq, and newly-minted lieutenant Jack Porter struggles to accept how it’s happening—through alliances with warlords who have Arab and American blood on their hands. Day after day, Jack tries to assert his leadership in the sweltering, dreary atmosphere of Ashuriyah. But his world is disrupted by the arrival of veteran Sgt. Daniel Chambers, whose aggressive style threatens to undermine the fragile peace that the troops have worked hard to establish.
Irreverent but dedicated like a modern day Candide, Jack struggles with his place in Iraq War history. He soon discovers a connection between Sgt. Chambers and and a recently killed soldier. The more the lieutenant digs into the matter, the more questions arise. The soldier and Rana, a local sheikh’s daughter, appeared to have been in love and what Jack finds implicates the increasingly popular Chambers.What follows finds Jack defying his command as Iraq falls further into chaos.
Gallagher’s storytelling is compelling and his characters are vibrant. “Youngblood” immediately immerses the reader into the Iraq War, defying genre and perspective. We equally see the war from the soldiers who fought there and the Iraqis who lived it, while Gallagher weaves a narrative that is engaging, thoughtful, and thought provoking.
Marine corporal and well-known TV and film actor Tim Matheson spent a morning with We Are The Mighty. He discussed everything from growing up in Hollywood, to his service in the Corps in the late 1960s and 1970s, to his starring in many great, classic films.
Matheson is notable to audiences worldwide for his performances in John Landis’ Animal House, Steven Spielberg’s 1941, Mel Brooks’s To Be Or Not To Be, with Chevy Chase in Fletch, as Vice President John Hoynes in the award-winning show West Wing and more recently as President Ronald Reagan in the TV movie Killing Reagan. He got his start in TV back in the 1960s on such series as Leave It to Beaver with Jerry Mathers; being the voice of Jonny Quest in Jonny Quest and guest-starring on Bonanza, The Virginian and Adam-12. His early film roles offered him the chance to work with Dick Van Dyke, Bob Hope, Jackie Gleason, Lucille Ball, Debbie Reynolds and Jane Wyman in such films as Divorce American Style; Yours, Mine, and Ours; and How to Commit Marriage. He starred with Clint Eastwood, David Soul, Hal Holbrook, Robert Urich and Kip Niven in the second installment of the Dirty Harry series Magnum Force.
Matheson described coming up in the industry as: “I learned on the job as an actor. I took classes when I was younger, but most of it was OJT. I’d get a day job here and a day job there. I sort of got the hang of it and it evolved into me learning my craft. The most interesting show I did was Yours, Mine, and Ours with Lucille Ball. It was like my first big movie and it was a big part with Henry Fonda, and he played a Naval Officer. It was based on a real story about this family. My character had a draft physical and then enlisted in the Marines. I think I was 18 and the day I was to shoot that scene. It was the day I actually had a draft physical. Passed it of course and became 1A, which means I am available to be drafted. Then I am wearing a Marine uniform (for the scene), I remember walking and didn’t know any of the etiquette or anything, I just knew I felt really strange wearing a uniform. I was actually out on the street. I had to walk from where I had lunch over to the studio, where someone yelled, ‘Hey Marine!’ I didn’t know what to do.”
Shortly after that experience, Matheson enlisted in the Marine Corps Reserve and went to bootcamp at MCRD San Diego. He kept his identity incognito during his bootcamp experience so as not to stick out as the “Hollywood” type in his platoon. During boot camp, he was chosen to be a squad leader and he picked up PFC out of bootcamp.
Matheson told a story while marching on base by the base theater which was showing a film he had worked on. The base was showing Divorce American Style with Dick Van Dyke and Debbie Reynolds as they marched by. He thought, “Oh dear, I don’t want to blow my cover now!” He considers boot camp the toughest time of his life. He described it as, “One of those things that you hated every minute of it and yet when you look back at it you learn so much. I think mostly about yourself and what you can do and what you are capable of doing. I was a Hollywood actor. I had never really done anything physically, I could run … there were these kids in my squads who were from the south and played football; I remember one kid, in particular, that would just break down. He couldn’t run. He’d just say, ‘I can’t do it,’ and broke down in tears. I would tell him, ‘Listen, look at me, if I can do it you can do it. I’m telling you seriously, you are in better shape than me. It’s all here (points to mind)…Get your mind right,’ and we nursed him all through that. That is the training that everybody gets. You all have your breaking point and you all have to learn how to get beyond it.
“There is a reserve and a resource inside you can call upon when is necessary and you can go farther than you think you can.” The Marines offered him the opportunity to compete for a slot at OCS. He declined the offer and was happy with being enlisted. He was stationed at the Naval and Marine Corps Reserve Center in Chavez Ravine, which is close to Dodger Stadium. It is now the Frank Hotchkin Memorial Training Center and run by the LAFD. He would go to 29 Palms with his reserve unit in the summers. He was part of his unit’s press department that would put out a paper even though he served in an artillery unit. Matheson made good friends in the Corps and enjoyed going through training with fellow Marines. He said, “There is a bond there you created that will never, ever go away. You have gone through something together. You’ve supported each other. You are there for each other….such a memorable time.”
One of Matheson’s funniest moments in boot camp was during pugil sticks training. His platoon fought against one of the platoons that was mostly made of up inner-city tough guys from Chicago. The tough guy platoon had a recruit named “Melson”, who looked, sounded and acted like Mike Tyson. Melson was considered the baddest guy in all of the platoons. While waiting for his pugil stick match, Matheson realized he was about ten recruits back from the start in which case Melson was about seven back, so he was in the “clear” or so he thought. He had not been paying attention when he realized he was six back and Melson was six back. His fellow recruits had been peeling off and going to the back, so they didn’t have to face Melson. Matheson was too close to the front of the line to get out of it. At the time he weighed about 160lbs and Melson was, “formidable.” His DI’s suited him and wished him luck in the pugil stick bout. Matheson said, “I’m just gonna go for it, I’m not going to just jab him. So, I go out there, KABAM! I hit him as hard as I could. He (Melson) looked at me, he throws down the pugil stick and dives on me. We have helmets on and he starts pounding my helmet. Everybody is laughing so hard.” The DIs separated the two of them.
Matheson found his way to the Corps through one of his industry friends, Mike Stokey Jr. Stokey’s family was in the Hollywood business as well. Matheson would take Stokey down to Camp Pendleton at times and his experiences of the Corps led him to pursue enlistment in the Marines. After boot camp, he did four weeks of ITR, which was that era’s infantry training. During ITR, the students of the school that ran the show were hardened street kids from Chicago. If other students didn’t go along with how things were being run, at night they would be chased through the billeting, likely en route to a beating of sorts. Matheson then went to radio school for his primary MOS of Field Radio Operator and was trained on the PRC-25.
While finishing up his time after radio school he was put on mess duty and then was sent to NYC to be on the “Ed Sullivan Show”. He shared, “…the Sergeant in charge of wherever I was….he said, ‘Matheson there is a car coming to pick you up tomorrow and you’re getting four days to go to NYC to do the Ed Sullivan Show for Yours, Mine, and Ours.'” Lucille Ball had called Bob Hope who then called HQMC to get Matheson permission to appear on the show. A car picked up Matheson and took him right to the airport. He had only one dollar in his pocket on the way to NYC; he didn’t have enough time to eat breakfast and couldn’t afford it arriving at The Plaza Hotel in the city. Until given some money, he was unable to eat. He said of being in NYC, “It was night and day different from being in training.” The Bee Gees were the guest of the week on the Ed Sullivan Show and he said, “It was a thrill to be on The Ed Sullivan Show (Matheson does his best Ed Sullivan impersonation).” Sullivan was filmed on Sunday and he was sent back to Camp Pendleton on Monday morning. By Tuesday he was back to swabbing the deck and he kept the visit to the show under wraps with Marines in his unit. He said of potential reactions, “Oh, here comes Hollywood, oh yeah, let’s get you down here. Scrub that toilet.” He made sure to fly below the radar most of the time, which made for a smooth enlistment.
When asked about Vietnam, Matheson shared, “I had mixed feelings about it and mixed feelings about what I should do, yet I did feel an obligation and sense of devotion to my country that I needed to do something. The Marine Corps Reserve was the perfect solution for me. If I am activated, at least I will be a Marine. With all due respect to the US Army, I did not want to be one of a huge number of people that was not seriously training. I knew the training in the Marine Corps was going to serve me well, so that if I ultimately ended up in combat I would be better prepared to handle it than I would if I had just been drafted and rushed through with the herd….it made me proud to be a brother of theirs (Marines that served and went to Vietnam), to stand alongside them and to feel that I had done a little bit for my country. And then it made me realize the obligation a citizen really does have in terms of service. It is so different today.” He said of the Corps, “I was proud to be part of that organization…I totally respected the price that was paid by all my brothers and sisters who did what they did and paid the ultimate price.” He shared, “It grew me up from being some kid in the valley…to seeing really what it was like to be trained and then shipped right over. Getting to know them when they came back or didn’t come back….You really learn the mettle of the men and women that you train with.”
Matheson retains a strong sense of pride, maturity and appreciation from his service. He carries over many values from his service such as, “Your word is your bond. It takes a team and you need leaders. Leadership was the thing I learned. I was a squad leader and then a guide at ITR. I learned how to take control and command. You couldn’t just stand in the back.” He credits the Corps with helping him ultimately become a director in TV and movies because of his leadership and initiative training. He believes running a film set is similar to running a military unit, especially in getting people to do things they don’t want to do yet need to be done. He was taught during automatic weapons training at Camp Pendleton if caught out in the open with no possible cover, to turn and to run toward the guns. His unit crossed paths in the chow hall with Navy SEALs and he was impressed with their toughness. “I had never seen any group eat as much and as fast as those guys. I thought we Marines were tough, and then I saw those guys! That was the first time I’d ever heard of SEALS. I never forgot them!”
Matheson is proud of his work with Clint Eastwood on Magnum Force. He said of Eastwood, “He was quiet, but filled with authority. He was the real deal.” He trained and qualified with the pistol for his role in the film. Matheson also did ride alongs with the police. He shared, “Clint always had a crew that just stayed with him through the years and they were the best.” Prop master Eddie Aiona on the film gave Matheson a .357 magnum to practice speed loading with to take back to his hotel room. Eastwood told Matheson of running lines and rehearsing before their scene, “No, I think there is something very special the first time that you hear those words and it should be on camera.” Eastwood’s comments surprised Matheson. He said of Eastwood, “He was the best listener I had ever worked with….he is totally listening to what I say and then I say what I had to say, and then he responded and changed one word that affected my next line…it was totally natural and totally spontaneous. I walked away at the end of that day saying, ‘This guy is the real deal; I mean wow.’ He was gracious to everybody and in public, he was very personable. Generally speaking, he had a way of moving around the city that you didn’t notice him. He just cut through all the blather. But if anybody stopped him, he would say ‘Hi’ and he would sign his autographs. He was the real deal and I just loved working with him.”
When asked who some of his more memorable colleagues were, Matheson shared, “Certainly John Belushi on Animal House was one of my favorites. He was one of the greatest guys, tremendous actor, wonderful improv. I remember the scene in the cafeteria where he is eating his lunch and stealing the food — he did it in one take. ” Belushi invented a lot of his work on the spot. “He couldn’t have been more gracious and generous to me. It was my first comedy.” Matheson speaks of the rivalry between New York and Los Angeles actors with, “None of that with John. Belushi set the tone of the film. John was just generous and loving and supportive of everybody and just great. Heartbreaking that his multiple successes took his life…that was when drugs weren’t bad for you…he just couldn’t get away from it. It was just a tragedy that we lost him.”
Matheson as a young actor got to work with many Vaudeville performers turned actors; Lucille Ball, Jackie Gleason, Bob Hope. “I learned a sense of discipline and how professional they were. Lucy was like a DI. I remember one scene with Lucille Ball where there were 11 kids around and there is a prop guy hiding under the sink … he has got to pop toast up that she’s gotta catch on a certain line. And at one point she looked around at everybody and she said, ‘Always rehearse with your props.’ It was just like a DI…it was one of those moments where this is what you do.” He is grateful for his good fortune in working with such greats and in the wisdom they imparted to their cast-mates.
Additionally, Matheson is grateful for having been able to work with great voice actors such as Mel Blanc (voice of Bugs Bunny), Dawes Butler (voice of Yogi the Bear, Snagglepuss, Huckleberry Hound, etc.) and Don Messick (voice of Papa Smurf, Scooby-Doo, Bamm Bamm Rubble, etc.). He got to see Mel Blanc perform a scene as two different characters/voices talking to each other, which floored Matheson. He said, “One of the finest actors I have ever worked with was Mel Blanc. Because he created the third-dimension voice, and you could see the character.” Matheson was a series regular on The Virginian,Bonanza and his own western with Kurt Russell called The Quest for a year each. His career was part of the waning time of western TV shows in the 1970s. He decided to start doing improv comedy to change the kind of parts he got which opened the door for doing Animal House, which opened even more doors for him.
He plans to keep on working as an actor with his current characters being more doctor roles now. “I must say the one thing I also learned from the Marine Corps was, ‘Get your ass in shape.’ I ran and ran and ran for years and did marathons until my knees started acting up. Now I am into spinning bikes and stuff like that. That was the main thing it instilled in me a sort of discipline; get up, work out…I see actors come to the set at 6:30 or 7 o’clock in the morning. They just woke up. I have been up for two hours, worked out because I want the blood flowing in my brain before I get to the dialogue — film is forever and pain is temporary so you are not embarrassed when your kids look at it in 20 years.”
Regarding veteran stories in Hollywood, Matheson sings high praises of Rod Lurie’s work directing The Outpost. He said, “ I thought it was an exemplary piece of work.” Matheson has positive feelings for Eastwood’s film Letters from Iwo Jima, as well. He shared, “I thought that was a masterful film…that he just threw together….I actually liked it better than the other film (Flags of Our Fathers)…I just think that those personal stories like that show the valor, gumption, strength and what it takes to be a leader in the service.” He said of working with Steven Spielberg on 1941: “Steven was one of the most wonderful, giving….and was very collaborative and encouraged me and my directing life and was quite an inspiration. He is just one of those guys that thinks differently. He is a genius and I look at his films and just study them because I find I learn so much in simply watching how he does things.” Working with Lurie on Killing Reagan was a great experience for Matheson and he describes Lurie as, “What a gem…and a gift he gave to me and Cynthia Nixon who played Nancy…to create an environment for us to play in…it was a memorable experience….I hold him (Lurie) in the highest esteem.” He said of political candidates that have served in the military: “I want them in our government. I want them to run a lot of different things.” His faith in military service and the Corps is still intact.
The Corps provided him with the following leadership takeaways: “The buck stops with me and I should be there for people that need help….To create a team in whatever situation you are in to do it better.” He is most proud of his kids in life and making them into responsible adults. He is glad to be in a position to keep learning his craft and is grateful to share the screen with great artistic craftsmen.
This article contains spoilers from “Game of Thrones” Season 8 Episode 4: “The Last of the Starks.”
Really, though, if you haven’t seen “The Last of the Starks” go watch it, call a loved one, and then come back because we’re going to break down the military failures tactics from the episode. You should know going into this that I’m pretty pissed off about it.
Here we go.
King’s Landing would later be built upon the site of the Aegonfort, but this map shows the distance from there through Blackwater Bay to Dragonstone is estimated at under 500 miles.
In the final twenty minutes of last night’s episode, Euron Greyjoy’s fleet managed to ambush Daenerys Targaryen in broad daylight about 400 miles from the last known location of her enemy. Worse, Greyjoy’s first volley took out Rhaegal, one of her surviving two dragons. This should never have happened. Ever.
At the very least, Daenerys should have prepared for an ambush from the castle of Dragonstone or its surrounding waters.
She knew her enemy would expect her to return there to stage her attack on King’s Landing.
She knew her enemy had developed weapons capable of attacking the dragons.
She knew her enemy not only had access to wildfire, but the will to use it at sea and against the population as needed.
Advancing on Dragonstone should have been conducted with caution. Where the f*** were her advanced scouts? And more importantly, where was her ISR???
Euron Attacks Daenerys | Rhaegal Death | Game of Thrones S08E04
This stupid WW1 pigeon is more useful than two of the most dangerous predators on the planet and a cognitive human with ancestral powers and multiple battles under her belt…
Intelligence, Reconnaissance, and Surveillance are some of the most critical military components if one hopes to achieve victory against the enemy. You have to know where your enemy is if you want to defeat them.
Daenerys has global air superiority and she can literally see her enemy from dozens and dozens (if not hundreds — I don’t know how high the dragons can fly) of miles away — well beyond the range of medieval SAMs.
I would think that after the scorpion missile struck Drogon during the Loot Train Attack, Daenerys would have been more cautious against the Lannister threat.
She should have surveilled Dragonstone and Blackwater Bay from a safe distance for the Iron Fleet and scanned Dragonstone for signs of scorpion sites or occupation. Then an amphibious insertion of Unsullied should have infiltrated Dragonstone under the cover of darkness and cleared every damn room and cave of personnel and wildfire.
When Tyrion was outmaneuvered at Casterly Rock and Highgarden was taken, his enemy defeated his good plan with a better one.
When Yara’s fleet was ambushed by Euron’s, it was because he built a stronger naval force and attacked her when she was overconfident and vulnerable.
When Viserion was killed, it was shocking and painful — but earned. It established the White Walker’s physical strength and the threat they posed to the dragons — just as the scorpion did in the highlands.
But this? Eleven ships sitting in the open on a clear day in contested waters somehow managed to sneak up on an air force? It’s cheap. It does a disservice to clever characters and it makes the viewing experience unsatisfying.
Still, I remain hopeful that the showrunners have set up our heroes as the underdogs at their lowest so their upcoming victory will feel that much more gratifying.
Then again, it’s Game of Thrones and we’re not allowed to have nice things.
“My name is Sarah Connor. August 29, 1997 was supposed to be judgment day. But I changed the future. Saved three billion lives. Enough of a resume for you?”
Terminator: Dark Fate will follow the events of Terminator 2: Judgment Day and disregard all other Terminator works and reboots (Rise of the Machines, Salvation, Genisys, Sarah Connor Chronicles etc.).
Make no mistake, the disregarded projects were profitable, but none had the same critical laurels as Judgment Day, which was not only the highest grossing film of 1991, but earned multiple Academy Awards.
Plus, it was a great film. Will Dark Fate live up to its standards?
Based on the trailer…maybe!
Terminator: Dark Fate – Official Trailer (2019) – Paramount Pictures
Terminator: Dark Fate – Official Trailer (2019) – Paramount Pictures
Let’s look at the team making this film. We’ve got Linda Hamilton and Arnold Schwarzenegger returning in their iconic roles (you got a lot of explaining to do, T-800) — and totally hamming it up, as they should:
Arnold’s cool and strong and whatever, but Linda Hamilton is a BAMF and you know it.
Another thing going for Dark Fate is that it’s directed by Deadpool’s Tim Miller, who has proven that he knows how to entertain. Deadpool’s outlandish personalitymakes his films unlike any other superhero movie out there, which is true to the character created in the comics, but is still a challenge to pull off.
Miller nailed it with both films. Finger’s are crossed that he brought that ‘out-of-the-box’ thinking to the Terminator franchise as well.
The consensus on the twitterverse seems to be “cautious optimism” — we’ve been hurt before, but this trailer looks like the film could be pretty cool. At a minimum, pouring through the tweets about it definitely doesn’t suck:
ATTN: The Terminator is wearing flannel #TerminatorDarkFate #Terminatorpic.twitter.com/NADClmiAU0
She’s back. Linda Hamilton takes you inside #TerminatorDarkFate and the role that helped define a franchise. Share what Terminator means to you in honor of #JudgmentDay below.pic.twitter.com/TkLIT2HFKr
The 1994 movie “True Lies” is a classic Arnold Schwarzenegger action-comedy flick with several memorable scenes, but perhaps none more iconic than Arnold flying in an AV-8B Harrier to (spoiler alert) rescue his daughter from terrorists. That twenty minutes or so of film time involving the Harrier is particularly important for a relatively small community of Marines, Harrier mechanics and pilots, that I happen to be part of.
This may come as a shock to a lot of you: these scenes are riddled with mistakes and inaccuracies. Imagine how betrayed we all felt by the movie that has the bad guy successfully jump a motorcycle from the top of a hotel to land in the pool across the street without a scratch. The movie where Jamie Lee Curtis (Helen Tasker) drops a MAC-10 machine pistol down a flight of stairs, and the gun fires a burst of rounds during every bounce on the steps, dispatching an entire squad of terrorists and leaving the female lead unharmed. The nerve of these Hollywood types to take creative license with the jet we know and love. They went too far!
Alright, the truth is, most of the people I know saw the movie before they even knew what a Harrier was, and even after the fact, the movie is entertaining and good for a chuckle. But on the other hand, picking apart mistakes made by military movies is a favorite past time of all veterans, and we in the Harrier community are no exception. There are some things that stood out to me as immediately wrong, but as I have mentioned, I wasn’t the most knowledgeable Harrier guy on the block, either. I had to put some of these questions to my more qualified friends from those days, and got a lot of help from a current Harrier pilot who asked to remain anonymous. So let’s get to dissecting these discrepancies, one by one.
Harriers are LOUD
The amount of hearing loss alone that would have taken place in this movie is devastating. The “ground noise” of an AV-8B is 140 decibels, which actually falls slightly under that of similarly-sized aircraft like the F/A-18 or F-35, but still well over what it takes to cause permanent hearing damage. When we worked on the flightline and a jet was turning nearby, we were actually supposed to wear double hearing protection in the form of ear plugs and our “cranials” (basically a plastic helmet with earphones). Admittedly, I didn’t always wear both (maybe those class-action lawsuit guys will stop bothering me now that I’ve admitted that publicly), but let’s just say no hearing protection at all would have put a real strain on my marriage considering my wife already gets frustrated with how deaf I am.
However, no hearing protection at all is exactly what we see in multiple scenes. First, the two Harrier pilots land at the end of Seven Mile Bridge in the Florida Keys (1:59:10), where a significant amount of police are seen directing the confused and frightened civilians away from the bridge, and Tom Arnold’s character (Gibb) is instructing them to avoid looking at the flash from the imminent nuclear blast. Presumably, most of these people did not have earplugs handy, but they appear somehow unphased by the two ear-splitting beasts descending upon them.
Within a couple of minutes, Arnold’s character (Harry Tasker) has found out his daughter Dana has been kidnapped, and commandeers one of the Harriers to take matters into his own hands (2:02:10). Once again, plenty of bystanders nearby are mostly unphased by the turning jet only about 50 yards away. One could make the flimsy argument that the police and Gibb have had their hearing ruined by years of service involving firearms, but this seems less likely for Harry’s wife, Helen, who instead uses her hands to cover her mouth in concern.
Then, our protagonist (who, by the way, also has no hearing protection) receives a situation report from their man on the inside using a handheld radio (2:06:15). The only problem is, there’s no way that he could hear a single thing on that radio, according to my pilot source. So the critical information he receives about the location of his targets and the ever-important hostage never would have been possible.
The whine of the Pegasus turbofan engine is only faintly heard while Harry instructs a frantic Dana to “Hang on!” or when the boss bad guy, Salim, trains his AK-47 on Harry and demands he take the plane down. Any pilot or maintainer would be happy to tell you that none of this dialogue would be taking place, and while you couldn’t hear it, they would just be screaming something to the effect of, “Oh my God! I think my brain is leaking out of my ears!”
The gun doesn’t work that way
The Harrier’s GAU-12 Equalizer five-barrel Gatling cannon fires a devastating burst of 25mm rounds at a rate of 3,600-4,200 rounds per minute. There’s just one problem: Harriers are only armed with 300 rounds. Sparing you the math lesson on proportions, that’s a total of five seconds, at best, before the Harrier expends all its ammunition. Were the guns fired for longer than five seconds in the movie? Let’s take a look.
Before Harry takes control of one of the jets, both pilots fire a realistic burst of about four seconds at one of the trucks trying to get across the bridge. The second pilot neutralizes the lead vehicle (1:53:10). Nice shooting, sir!
But that’s the last we see of the cannon, right? Nope. Harry’s first move when he gets to the skyscraper is to hover menacingly up to the floor with the bulk of the terrorists, pausing briefly to allow his badassery to soak in while his enemies realize the error of their ways. He then unloads a 12-13 second burst from what would have been an empty gun (2:07:44).
Then three adversaries in a helicopter begin firing upon Harry as he is trying to retrieve his daughter from the crane she is stranded on. He yaws the jet to his right and returns fire with another six or seven-second burst before the helicopter escapes behind another building (2:09:16). This was a fun trip to imagination-land where a Harrier carries an additional 1,000 rounds or so!
To be fair, “True Lies” is far from the first movie to take liberties with a weapon’s capacity, and it won’t be the last. But there’s another problem with these scenes besides the unlimited ammo cheat code: The Harrier’s GAU-12 runs on bleed air from the engine. While the jet is in its trademark hover, that bleed air is prioritized for use by the Reaction Control System (RCS) that keeps the jet from spinning out of control. My pilot source tells me that it would be “theoretically plausible” to squeeze off a few rounds before the gun jammed, if all the conditions (wind, temperature, weight distribution, fuel load) are perfect, but nothing like the firestorm Harry unleashes.
Hovering is incredibly difficult, for both pilot and jet
Making a 20,000-pound aircraft float on air is no simple task. From the pilot’s perspective, hours upon hours of training are necessary to master the skill, without even mentioning all of the time dedicated to conventional flight. Our hero, Harry Tasker, is evidently a former Harrier pilot. His partner, Gibb, conveniently informs us when he says, “Do you realize it has in fact been ten years since you’ve been behind the wheel of one of these things?”
Ten years… Harrier pilots have to train constantly and are required to qualify multiple times per year in various scenarios just to prove they are worthy of the cockpit. But Harry Tasker is one of the government’s top intelligence operatives. We can play along and cast aside that he hasn’t flown in a decade, because he’s basically a superhero capable of retaining skills at a level far above the average human. Fine, I’ll bite.
But unless “True Lies” takes place in the same universe as the “Terminator” franchise, and Harry becomes one with the jet because he is actually another cyborg sent from the future to prevent a nuclear war (wait a minute, that actually almost makes sense), then there are some things that even he couldn’t do. There is a sequence where Harry keeps the jet steady, while he is focused on trying to keep his daughter alive and also fending off a knife attack from Salim (2:10:15). My pilot source, in particular, takes issue with this:
“Hovering is very intensive with control inputs. There’s no way he let’s go of the stick for more than a couple seconds without the jet going into an irrecoverable situation.”
This is all before mentioning how taxing maintaining a hover is on the jet. Harry is only in a hover for about five minutes of movie time, which actually is line with the Naval Air Training and Operating Procedures Standardization (NATOPS) flight manual that governs aviation for the Navy and Marine Corps. However, I asked my very helpful pilot about the stresses that would be placed on the jet in this action-packed sequence, and his expert opinion is that the engine would have flamed out at some point.
It would take a dissertation to explore all the different possibilities and permutations, but a brief summary will suffice for our purposes. There are only 90 seconds worth of water in the Harrier. This is both to cool the engine and to improve the aircraft’s performance in a hover, as it creates heavier air for the jet to produce upward thrust. Given the conditions, like increased weight due to ordnance (or children hanging from the nose), and warmer temperatures like you’d expect in Miami, the engine likely wouldn’t have the performance numbers to maintain a hover much longer than that 90-second window.
Then there’s the issue of fuel consumption. The Harrier consumes about 160-170 pounds of fuel per minute while in a hover. Once again accounting for conditions, our pilot says that “best-case scenario” is that Harry’s Harrier (hey, do you think they did that on purpose?) could only have had about 1,200 pounds of fuel remaining in order to be able to take off vertically. It is roughly a 100-mile flight from the end of Seven Mile Bridge to downtown Miami. Considering that time was of the essence in this situation, we can safely assume Harry was at full power and guzzling fuel along the way. Then he is in a hover for five to six minutes during the downtown battle, and all of this coming after a takeoff that is very demanding in itself. The numbers add up to Harry hitting “E” sometime before he safely lands on the street below.
Misunderstandings of the Harrier’s durability
Surprisingly, I’ll start with an instance of the movie actually underestimating the Harrier. The windscreen and canopy of Harry’s aircraft have the structural integrity of a lightbulb when they take a few rounds from an AK-47 (2:08:40), but there are plenty of videos online that show how bulletproof glass will stand up to that. It wouldn’t be in particularly good shape, and you wouldn’t be able to see much through it, but it would still be there.
That is where the slights of the Harrier ended, though. The average viewer of the movie snickers during Harry’s “rusty” take-off where he very likely would have obliterated his nose landing gear, bouncing it off the road and then running over a police car (2:02:25). Every Harrier maintainer, on the other hand, just grimaced and had flashbacks to conditional/hard landing inspections.
That being said, damage to the nose landing gear wouldn’t have jeopardized Harry’s impromptu mission. After all, Captain William Mahoney landed his Harrier on the USS Bataan in June 2014 without the use of his nose landing gear at all. Catastrophic damage to flight controls, on the other hand, would have given the movie a very different ending.
While Harry puts up his heroic fight to maintain control of the jet, the aircraft backs into another skyscraper, sending the entire aft portion of the aircraft crashing into a high-rise office (2:10:50). Skyscrapers, it turns out, are made of quality steel and glass, not paper mache. Harry pulls the jet back out of the wreckage and it’s no worse for the wear, while Harrier mechs everywhere threw up their hands and said “Oh, c’mon!”
In the aviation community, Harriers or otherwise, we were taught that pebbles and screws can take down an entire aircraft by getting into the intake or jamming up flight controls. It’s called FOD (foreign object debris), and we walk shoulder to shoulder across the flight line at least twice a day hunting for it like a reverse easter egg hunt (because you hope you don’t find anything).
So seeing no noticeable decline in performance after a significant impact with a sturdy building that surely would have caused severe damage to the vertical stablilzer, rudder, and rear RCS (at the very least), is a tough pill to swallow for anyone that got yelled at for forgetting their pen on the flight line.
More fun with weapons
There are a few other minor gripes with the movie’s depiction of the Harrier’s weapons that can’t really be proven or disproven, but still cause raised eyebrows for anyone who can’t just watch the damn movie and enjoy it. One thing my overthinking brain had to challenge was a Cherry Point, NC-based Harrier squadron “on maneuvers” out of Naval Air Station (NAS) Key West, as Gibb informs Harry (1:51:50). This part is rare, but not impossible. The two jets armed to the teeth with Mavericks, rockets, Sidewinders and gun pod for a training sortie? Now that’s where I draw the line, and my pilot source confirms:
“Carrying actual AIM-9 (Sidewinders) is super rare. I don’t know any Harrier pilot who has shot a live one… LMAVs are super expensive and rare to shoot as well. For training we typically get maybe one live one a year, if that. If it was a dedicated air to surface sortie, a more plausible loadout would be gun and 2x Mk-82 or GBU-12.”
Fast-forward again to when Harry is about to put an end to the terrorist threat for good. Right before he sends Crimson Jihad’s leader screaming through the air on a missile towards his comrades in the helicopter, he flicks the “Master Arm” switch on. This is a little strange considering he has fired the gun twice in the last few minutes, but maybe he’s just cautious and responsible, and flicked it off after both bursts. If Harry had a motto, it would be “safety first,” right? In fairness, this is the aviation equivalent of every movie bad guy chambering a round in their pistol because it’s cool and intimidating, even though they’d just eject a perfectly good round. Once again, “True Lies” is not the only guilty party on this one.
And finally, there is Salim being attached to the Sidewinder missile itself. The Sidewinder weighs about 190 pounds, and its propulsion system is designed for… 190 pounds. I am not aware of any tests where one was fired with roughly 200 pounds of dead weight attached to it, but it’s at least worth asking how much doubling up its weight and killing its aerodynamics would have on its performance. Where are the Mythbusters these days? I’ve got a job for them.
It’s all in fun
All of this being said, I’ll be the first to recognize some of these criticisms fall into “splitting hairs” territory. The movie is obviously very entertaining, and we Harrier folks still appreciate our fifteen minutes of movie fame from “True Lies” after being overshadowed by F-14s. And yes, veterans are sure to jump all over errors or omissions in military-themed movies, but we’ll also give credit where it’s due. We’re just here to keep you honest, Hollywood. You’re welcome.
Retired Rear Adm. John Kirby was a Navy public affairs officer for decades and now serves as the State Department’s top spokesman, so he’s been around journalists for a while and given plenty of briefings.
That may explain why he was so chill when — in the middle of reading a statement about defeating ISIS propaganda — he noticed a journalist playing Pokemon Go on a smartphone.
Look, WATM isn’t one of those places that wants to take people’s joy away. Do your thing and enjoy life. If Pokemon make you happy, chase those Pokemon.
But maybe let’s don’t interrupt a briefing about the importance of defeating ISIS on the internet by playing video games — Pokemon Go or otherwise.
Unless, of course, you’ve found a way to defeat ISIS via video games. Then please forward your idea to WATM so we can spread the word.
On April 11th, 1966, three companies of the 1st Infantry Division, known as the “Mud Soldiers,” were pinned down by Viet Cong forces outside of Cam My, Vietnam. Pararescuemen of the 38th Aerospace Rescue and Recovery Squadron were dispatched to evacuate the wounded. The battle raged and the soldiers were taking a heavy beating.
As if an angel were descending from the heavens, Airman First Class William H. Pitsenbarger, lowered onto the battlefield to tend to the wounded. When given the opportunity to fly back to base, he elected to stay and care for the men he didn’t even know that remained in harm’s way.
He did all he could to save his fellow troops before paying the ultimate price. Pitsenbarger’s sacrifice ensured at least nine men made it home. It took him 34 years to be recognized fully for his incredible actions.
The Last Full Measurefaithfully and honestly retells this story — and it’s something that our military community must see and support.
In the aftermath of the battle, Pitsenbarger was awarded the Air Force Cross. However, his fellow PJs and the Mud Soldiers he fought with continued to advocate for the award to be upgraded to the Medal of Honor. It wasn’t until the year 2000 that he was finally bestowed the Congressional Medal of Honor for giving, what President Lincoln said during his Gettysburg Address, his last full measure of devotion.
Keep an eye out for Jeremy Irvine. His portrayal of William Pitsenbarger will catapult him far in Hollywood.
Written and directed by Todd Robinson, The Last Full Measure follows Scott Huffman, a jaded Pentagon lawyer (played by Sebastian Stan) as he is tasked with upgrading Pitsenbarger’s Air Force Cross to the Medal of Honor at the behest of Pitsenbarger’s fellow pararescueman veteran (played by William Hunt) and father (portrayed by Christopher Plummer).
The story unfolds as Huffman pieces together the gallantry of Pitsenbarger by interviewing the soldiers who had been saved back in Vietnam. Samuel L. Jackson, the late Peter Fonda, Ed Harris, and John Savage each portray the Mud Soldiers and give fantastic performances as they crawl through painful memories. The audience watches the fateful day in Vietnam through flashbacks as the veterans recall being saved by Pitsenbarger (portrayed by Jeremy Irvine).
Pictured left to right: Kimberly Breyer, producer of Last Full Measure, Sidney Sherman, and Kimberly’s husband Sean Breyer
(Photo by Eric Milzarski)
Kimberly Breyer, the niece of William Pitsenbarger, was in attendance of the world premiere of The Last Full Measure. She told We Are The Mighty,
“This film means people get to hear the very important true stories of my uncle Billy Pitsenbarger, Frank, Alice, and all the people who fought with him. We want as many people who possibly can so these stories keep being told and retold.”
She also noted how true-to-life Christopher Plummer’s portrayal of her grandfather, Frank Pitsenbarger, felt. “When we saw it, especially my grandma Alice, the hair went up on the back of her neck and she started to cry. He makes me miss Frank so much. We’re very grateful to him for how beautifully he portrayed our grandfather on screen and how hard everyone worked for so many years to get this project to come together because it’s so unique in so many ways.”
(Photo by Eric Milzarski)
The production covers two key time periods, from the jungles of Vietnam to the halls of the Pentagon. The star-studded cast filmed in the United States and Thailand to portray the retelling of Pitsenbarger’s sacrifice. The film stays away from typical action movie tropes and instead dives deep into the psyche of the troops who returned home. It gives an accurate depiction of what goes on behind-the-scenes when a Medal of Honor is to be awarded. The film helps us understand the excruciating lengths (and sheer volume of bureaucratic red tape) that stands between valor and recognition — and leaves you wondering how many heroes haven’t been given the credit they deserve.
Dale Dye, USMC veteran who served in the Vietnam War and military advisor for many of the greatest war films, played a large role in ensuring the film was as accurate as possible. It’s all the perfectly-captured, little moments that help set the stage.
Dye tells We Are The Mighty, “This is a film that goes directly to my heart and soul. And the reason is because it talks about the selfless nature of veterans and the dedication we have towards each other. This is a story of veterans who go to extraordinary lengths to get recognition for one of their own. And that’s the nature of every combat veteran.”
The writer and director of the film, Todd Robinson, tells We Are The Mighty, “The military was very bullish about this film. It promotes a career field called pararescue, which promotes saving lives. So it wasn’t hard for them to get behind this film.“
The Last Full Measure is a beautiful film that is rare in Hollywood. It’s not an action-packed film made with set pieces for the trailers. It’s not an overly played-out drama that uses war as backdrop. It’s the real-life story of a man who gave his all for his fellow troops and those men fighting tooth-and-nail to get him the honor he deserved.
I can’t recommend this film enough for every veteran, active duty troop, their family, and anyone who’s life has been touched by the actions of these brave men and women.
Within our military community, the tools of rehabilitation and reintegration of veterans of our nation’s wars changes each year.
One of the most popular ways to take a mental break for the post-9/11 generation comes from video games. They’ve become an interactive hobby that allows you to turn your brain off for a while, focus on the story, and receive positive stimuli as you progress through the levels.
Simple mobile games like Candy Crush reward the players with in-game text that display positive messages or the opposite end of the spectrum; Dark Souls, where the challenge is the reward. These are all benefits in a world where some veterans live in constant fight-or-flight mode.
Gaming also provides an outlet for those who suffered brain trauma. Rhythm games like Guitar Hero or puzzle games like Portal are an excellent tool used by Army Therapists to work on and measure progress.
But do shooter games that take place in the setting of modern conflict played by those who fought there help?
YouTuber “Clients Incoming” — an Army combat veteran whose channel is dedicated to digital marketing strategy — said it best. In his video “Treating PTSD with Video Games” he says, “The adrenaline rush of being in the fight, knowing that death hangs in the balance, is not something you can recreate outside of combat.”
“More importantly, what I get out of the gaming experience in games like [Battlefield 3] is the team aspect,” he adds. “And if you’re with a group of guys that know what they’re doing and know how to approach the situation tactically and they communicate really well. That’s an awesome ride.”
Online gaming provides a platform for our veterans to interact with each other again. I’ll admit I don’t call the guys from my old unit as much as I’d like, but I’m always able to catch them online for a round or two of Playerunknown’s Battleground.
Things always pick up just like it was the last day we were all drinking in the barracks together.
What are your thoughts? Do you use video games as a therapy or a way to reconnect with your buddies? Let us know in the comment section.