The Army-Navy game is a big deal. That said, over the course of this 120-year rivalry, it’s been important for different reasons.
Through World War II, Army and Navy were two college-football powerhouses, able to hold their own against the likes of Rutgers and Norte Dame. Both Army and Navy have won National Championships, but that hasn’t happened for either team since 1946 and 1926, respectively. Currently, across the 117 meetings of these two teams, Navy leads the series 60-50-7, thanks, in part, to a 14-year winning streak that ended with Army’s 21-17 win in 2016.
Times have changed: Today, Army and Navy aren’t regular contenders for the national championship. But even if these teams aren’t competing for a national title, the Army-Navy game, which has been played routinely since 1890, is still a big deal. In fact, it’s the only game played the weekend after conference championships.
Why is this game so fervently followed? There are a number of reasons outside of exciting football, two of which are unique to this match-up. First, while many Division-I college players eye professional football after graduation, those going to military academies are to fulfill a five-year service obligation. The fact is that most professional teams selecting players in the seven-round NFL draft don’t have the luxury of waiting for that service obligation to end.
Although this hasn’t stopped some of the greats in the past, including Roger Staubach, Phil McConkey, and Joe Cardona, it’s not very likely today. That means that the men on the field are playing purely for the love of the sport, not for a contract down the line.
Second, what sets the Army-Navy game apart from other college football matches is the fact that the players in this game, at some point in the next four years, will be defending our country. Each year, first-class cadets and midshipmen storm Lincoln Field in Philadelphia, ready and willing to play for pride, while they’re just months away from joining a military still fighting a global war on terror.
All will serve bravely and, unfortunately, some of them may even make the ultimate sacrifice. In July 2010, former Army quarterback Chase Prasnicki was killed in action while serving in Afghanistan. The Army-Navy game is just as much a celebration of the brave, young service members that defend our home as it is a celebration of sport. That is why the Army-Navy game is such a big deal.
Alexander Skarsgard and Jon Huertas in Generation Kill. Photo credit Jon Huertas
Jon Huertas is one of the most successful Latino actors of today. Having been a lead on shows such as Generation Kill, Castle, This Is Us, and in the military film The Objective, Huertas is well-known for the depth of his talent. Perhaps lesser known: He’s an Air Force veteran. Huertas served in the Air Force before transitioning over to acting where he comes at his craft and profession from a much deeper perspective than one might recognize at a quick glance. He shares his stories here about where he has been, where he wants to go and changes he believes are necessary in the Entertainment industry.
Photo credit IMDB.com
WATM: Tell me about your family and your life growing up?
My upbringing was sometimes tough at times, although my mom and grandparents tried their best to make family life easier. You are born what you’re born into, where you try to come out with a smile on your face.
WATM: What is the most distinct memory of your mother and your father?
My mother worked very hard and the best as she could for her family. I grew up with my grandparents where my grandfather was adamant about studying effectively and always being a student of life. You never really master anything and need to keep an open mind because nothing is solid and everything in life tends to be fluid. So, I always try to learn something new to be ready for life’s many changes. My grandmother had a good sense of humor and she didn’t take herself too seriously. She was always laughing and always having fun. Our life on this planet is super short, with how small of creatures we truly are in the universe. And in retrospect to how long the earth has been here.
WATM: What values were stressed at home?
In many ways I raised myself and made mistakes where I could have landed on a completely different path in life. I had a dream to be an actor and also a hero complex with a developing desire to also serve my country. These desires mostly kept me out of trouble growing up…”mostly,” but getting in trouble a few times steered me in the right direction. My goals kept me focused and not ending up in situations where I shouldn’t be. It was like I would have internal conversations with myself about my goals and which forced me to grow up.
WATM: What influenced you to join the US Air Force, what was your experience and what lessons did you take away from your service?
A lot of men in my family served, including my grandfather who was in the Navy, my uncle was in the Navy and I had several uncles that served in the Marine Corps as well. I saw pictures of them, especially the black and white picture of my grandfather in uniform, where I actually saw myself in that photo. I went to the Navy recruiter first then off to MEPS but then joined the Air Force after a conversation with a family member. I’d always loved flying, I loved airplanes and helicopters, so it was only natural that I joined the AF instead.
Serving your country is one of the last rites of passage in our country. And while I served, I identified and followed good leaders so I could aspire to one day become one myself. That’s my biggest take away from my time in the AF. You can find your family anywhere and when you’re in the military, you create this family around you at your duty stations. When you leave that one, you then have to find your new family at your next duty station. It’s actually fairly easy for humans to adapt in a situation where you have to find “your people”. I learned that I needed to surround myself with the people that were going to help me attain my goals. I got this from the AF, but I feel it can work for anyone whether the serve or not.
WATM: What values have you carried over from the USAF into acting?
The two most valuable things I took away from the AF is having a strong sense of initiative and discipline. It takes initiative to get your career started. Becoming an actor is one of the hardest careers. It is not even really a career; it is a lifestyle. So having the initiative to figure it all out was huge for me. And you have to have the discipline to stick with it and not give up. Knowing that being in constant training will keep you sharp and ready. In the military we are always improving on our training. It is the same with acting, I am constantly training. There are wonderful acting classes, books to read and films to watch. When you get the opportunity to finally go in for an audition, you should feel like you are the best that you think you can be, then show them that you are the best one for that job.
WATM: What is the most fulfilling project you have done and why?
My most fulfilling role is definitely in “Generation Kill” as Sgt. Tony Espera. This was because they had developed a wonderfully complex Latino character. It was unlike any other show that I had worked on. My character, Espera, wasn’t a narco trafficker or a low-level thug, he was someone who had chosen to serve his country. Probably the most developed Latino character I have ever played. HBO, David Simon, Ed Burns and Evan Wright showed gumption by making Espera one of the leads in the show. And it was so gratifying to portray a character like him — to tell an authentic story to the men and women who serve our country and to stay truthful to what happened during the invasion. The writer of the book, Evan Wright, was on set and would provide key advice. Evan had a micro recorder that he always had on him to where if we questioned some of the dialogue, he would pull out the recorder and we could hear our dialog being said, as it happened, by the real guys we were portraying. For advisors on the story, we had the real Rudy Reyes playing himself, with Jeff Carazales and Erick Kocher, also there but being portrayed by actors. Of course, we would them if, in these scripts, it was the way that it really happened, and they let us know it was.
The two biggest compliments I’ve ever received as an actor was when Tony Espera’s wife saw GK at the Camp Pendleton premiere and she asked me, “How was I able to be Tony?” and the other was Tony himself telling me, “I felt like I was watching memories, not a TV show.” Because of that, Generation Kill is the pinnacle of my career.
Jon Huertas, Alexander Skarsgard, and Lee Tergeson in “Generation Kill”. Photo credit IMDB.com
WATM: What was your experience like in working with such talents as Nathan Fillion, Stana Katic, Rob Bowman, Alex Skarsgard, Susana White, Simon Cellan Jones, Milo Ventimiglia, Mandy Moore, Dan Fogelman, and the like?
Castle is something that I had never experienced before. It is probably the most collaborative show I have ever worked on. They let me help develop Esposito, the character I played. He wasn’t a veteran in the pilot. I asked the producers if I could make him an Army veteran and they let me do it. The relationship I had with Nathan Fillion and Seamus Dever, where our characters, were normally the looser part of the story when compared with the Beckett character played by Stana Katic. We could play around a little more and Stana usually played the straight woman, mirroring the audience’s perspective. She was so good at portraying that character and bringing the three of us back to a more grounded place for the procedural aspect of the show. We were able to figure out how to play, what could’ve been repetitive tropes, differently by infusing character and humor into it that made us stick out. Rob Bowman directed our pilot and he is a mentor to me. He was my first teacher as a director, and he was so encouraging for us to bring more humor. He loved to laugh and wanted us to improve the story by having us not take ourselves too seriously which I think allowed the audience to root for us.
Jon Huertas and Seamus Dever in “Castle”. Photo credit IMDB.com
I can’t say enough about Seamus Dever who played my partner on the show. He is not only a loyal actor but an even more loyal friend. He was always protective of me and our work. He made my time on Castle the best time I could have had. Nathan is such a giving person and super generous. He wasn’t always trying to be the center of the show, he loved highlighting what the rest of us did. The most fun I had was trying to make Nathan laugh during a take, which I reprised when I got to guest with Nathan on The Rookie last year.
Stana Katic, Nathan Fillion, and Jon Huertas in “Castle”. Photo credit IMDB.com
After working on Generation Kill, it was amazing to see so many of the guys go off and do such wonderful work after the show. Alexander Skarsgard’s career has been amazing, from doing True Blood to Tarzan and tons of other amazing gigs. And to think he was thinking about quitting acting right before the GK?! Brad “Iceman” Colbert, who Alexander portrayed in Generation Kill, was super proud of Alexander’s work portraying him. Alex and I are still tight as well as most everyone from the show like, James Ransone, Stark Sands, Wilson Bethel, Michael Kelley, and many others. We’re all like brothers now. Almost every single guy from Generation Kill was at my wedding and it was a destination wedding in Mexico, I still can’t believe they all came there for me. I even flew with guys from Generation Kill to England to go to Stark Sands’ wedding. There have been several destination weddings from guys on that show. Everyone on Generation Kill was such a joy to work with, they pushed me, and I pushed them and their dedication in getting the story right made me very proud.
Kellan Lutz, Sal Alvarez, Jon Huertas, Pawel Szajda, and Stefan Otto in Generation Kill.
The experience was almost like being deployed. We shot for nearly eight months in Africa in the countries of Namibia, South Africa’s and in Mozambique. We were a cast made up of almost all guys and for Susana White to not only keep us all from killing each other, she did such an amazing job with the subject matter and was so open to getting the story right. She ended up nominated for Emmy for GK and, in fact, the show was nominated for eleven Emmys. Simon Kellan Jones is a blast to work with and made the set such a fun place to be. Even though we were telling a story that sometimes had us calling in an air strike on the civilian populace, Simon helped us process it so we didn’t bring in too much darkness where people may not watch it.
Now, This Is Us is a family show with no guns like a lot of shows I’ve done in the past. It does feel like a family and all that trickles down through Dan Fogelman. He sets the tone for the show. It is rare to be part of a show that has the impact that this show has. It’s another once in a lifetime experience to be on a show that has touched so many people in so many profound ways.
Jon Huertas, Milo Ventimiglia, Mandy Moore and Wynn Everett in “This Is Us”. Photo credit IMDB.com
All of the projects I’ve been a part of have been amazing in their own way. But working in this industry for the past 25 years, I’ve seen a lack of people behind the scenes that I can say have had similar experiences as an adult male Latino. Meaning…I’ve been working a lot of episodes of television from guest stars to series regulars to leads and I’ve only been directed by one adult male Latino. That is one a hole that still needs to be filled as well as TV writers, Show Runners, Producers and Executives.
After This Is Us ends, I’d like to spend more time behind the camera in the director’s chair and in writing. With the lack of Latino writers in TV, so many characters and storylines featuring Latinos are in roles of a negative stereotype or in menial roles like the gardener or cook instead of as heroes, champions, romantics and role models. So, until you can get people that are writing about it, producing it, developing it, greenlighting it or directing it you are not going to see it. I feel a responsibility to be a part of pushing that message forward. I see a lack of representation at the network, studio and production level for Latinos and I hope to be a part of changing that as well.
As a little kid I had this hero complex. I watched TV and movies, but rarely did I see anyone who looked or talked like me. I watched the old “Batman” TV series with Adam West and I loved Adam West but… he didn’t look like me. So in the back of my mind, I thought that I couldn’t be Batman because he was white. Marvel still hasn’t stepped up with Latino representation. In the TV world there was a recurring character called, Ghost Rider on Agents of Shield but for 20 plus years of doing Marvel in the cinematic universe, they’ve yet to have one adult male Latino as a superhero in his own title.
Erik Estrada was an influential to me while growing up as well as Esai Morales, who was another mentor of mine. I saw him for the first time in a Sean Penn movie called Bad Boys and I think that was the first time I saw someone who really looked like me. It took me seeing someone like me to have the confidence to aspire to become an actor. Latino characters need to be portrayed as the hero, the guy that gets the girl, and the wealthy guy. We have to force ourselves to tell stories that are an equal slice of life. The best bite of a stew is one with all of the pieces of the stew, not just the same three or four pieces.
WATM: What leadership lessons in life and from the USAF have helped you most in your career?
Instead of making emotional decisions allow your emotions to inspire a calculated decision. That is what shows a true leader: You are not letting your emotions speak for you are letting your emotions inspire you to make the best decision. Emotional decisions can be like gut punches where you just react. A person may not think a certain way where they lash out after being hurt.
As an actor your job is to convey an emotion so you can get an emotional response from your audience. If a director and another actor come in and they’re trying to guide your personal choices to benefit them and you feel they’re trying to manipulate your artistic vision for your character, you could become emotional. If you let your emotion take over, you might regret reacting the way you do and end up looking like the problem in the moment. Now there’s tension between actor and director or actor and actor. If you take just a moment and think internally, “How do I get what I want?” You say, “I see where you are coming from, but does this have any value?”You may get them to see it from your perspective and you help them make your decision for you. Now that is, “if” your decision does have value. If so, how can they deny it?
Good decision-making trickles down from the top. From the president to Chairman of the Joint Chiefs of Staff, to the Pentagon. Even on the unit level from the battalion commander to the platoon commander and on down.
WATM: As a veteran, how do we get more veteran stories told in the Hollywood and stage arena?
Think back to It’s a Wonderful Life with Jimmy Stewart where he was a WWII veteran. Stories are already being told that veterans like to watch but we need to encourage veterans to step up and write, direct, produce stories that speak not only to veteran audiences but also the general market. Veterans a lot of times make the focus of their stories completely from a veteran POV but instead need to create a story everyone will be into and then just happen to make the characters veterans. It’s almost like when you are laying out your characters and mark one with a green dot “veteran”. Back in the day, we just wouldn’t watch a lot of the TV shows or films that centered on veterans because Hollywood usually got it wrong. But now that’s changed. Some bars have been set high because some of the more recent military based projects, especially the higher quality ones, have hired advisors and/or worked with veterans from the inception of the projects. Just like I have to step out as a Latino and encourage others to do so, we need to encourage veterans to step out as well to write the stories.
Just like what I shared about training, not only when serving, when starting out as an actor but also veterans who want to tell their stories need to study creative writing and learn how to write a, treatments, out lines, pitches, log-lines and eventually an amazing screenplay. You have to write something that is not only a great story, but that is produce-able. The hope is that you can sell it somewhere and it’s given a proper budget so the integrity and authenticity can be upheld. As a veteran that wants to write a series about a veteran you may have to work as a staff writer on a show that is not about veterans, so you have to have an open mind. You have to have the skills to write a good script and then after a season or so you can talk to the producers about trying to introduce a character that is a veteran. You have to get into that writer’s room and win hearts and minds. Invest in the writer’s room and then move to the director’s chair and the executive’s chair at the studio, be in charge of what is getting made. You might be able to get into a position to inspire every project created at the studio level, who knows.
WATM: What are you most proud of in life and your career?
I’m proud to have been a working actor who happens to be Latino and also proud to be veterans who has represented veterans truthfully on screen. Portraying veteran and Latino characters positively has hopefully affected someone out there positively as well.
…I was goin’ over the Cork and Kerry Mountains…
Musha rain dum a doo, dum a da…
There’s whiskey in the jar, oh
— Thin Lizzy,
Whiskey in the Jar
Whiskey is a mountain spirit. After a cold day on the slopes, are you thirsting for a Cosmo? A margarita? Nope. And we’re not even offering rum as an option. In the mountains, you long for an end-of-day bourbon, scotch, or rye to light your insides on fire. It’s tradition and it’s awesome.
…complete me. (
Meals Ready To Eat screenshot)
In Vail, Colo, there’s another mountain spirit that has to be reckoned with and unlike whiskey, it’s 100 percent military. It’s the legacy of the Army’s venerable 10th Mountain Division, the special alpine tactical force that trained at nearby Camp Hale during WWII.
Spirits, however, are made to blend. It’s tradition and
Now, almost 75 years after 10th Mountain defeated the Germans in Italy, a Vail whiskey distillery is honoring the Division by taking its name. In the tradition of service, 10th Mountain Whiskey & Spirits Co. is distinguishing itself as an ardent supporter of area veterans.
Sensing the makings of a 90-proof military food story,
Meals Ready To Eat host August Dannehl made the trek out to the Colorado mountains to meet the founders of the 10th Mountain Whiskey over two fingers of their best bourbon.
The distillery was founded by Christian Avignon, the grandson of an 86th Mountain Infantry Regiment medic, and his friend and fellow Colorado ski obsessive, Ryan Thompson. Together, they made it their mission to honor the 10th, whose veterans are responsible not only for key victories against the Nazis, but also for the establishment and leadership of so many of America’s great mountain institutions.
The Northern Outdoor Leadership School (NOLS), the Sierra Club, the Peace Corps chapter in Nepal, even the famous ski resorts at Vail and Aspen, all count 10th Mountain Division vets among their founding leadership. A storied fighting force inspires a whiskey maker determined to give back. It’s a potent cocktail of tradition, patriotism, and mountaineering that will absolutely warm your insides on a cold day.
In a decade full of big mustaches and goucho pants, bell bottoms ruled the earth; something about extra ankle space was all the rage. Meanwhile, military surplus clothing was a must-have hit, and when it came to hair styles, bigger was better. These are only a few attributes that describe the 1970s. It’s also a decade that loved a good macho war flick — gruff soldiers with heartfelt stories fit right in with the counterculture and everything it stood for.
From these titles which are still modern favorites, to the films that changed the face of cinema as we know it today, take a look at these blockbusters and campy faves.
Released in 1970, Catch-22 is the film adaptation of the classic war novel of the same name. It’s considered a black comedy, “anti-war” movie where the main character tries to get himself declared insane so he no longer has to participate in the war — therefore a catch-22. It’s known for starring big names such as Art Garfunkel, Bob Newhart, Martin Sheen, Jon Voight, and Orson Welles.
2. M*A*S*H, 1970
Yes, MASH made a movie! In fact, the movie came before the show. An acronym for Mobile Army Surgical Hospital, MASH was first based on a book, then made into a film starring Donald Sutherland, Elliott Gould, and Robert Duvall. The Korean War film won an Academy Award for best film adaptation, as well as taking home the title for Grand Prix du Festival International du Film at the Cannes Film Festival.
3. Johnny Got His Gun, 1971
Another anti-war flick — a common theme in the 70s — comes with Johnny Got His Gun. Donald Sutherland also plays in this film, however, it was a box office bomb and not well received. Years later, in 1988, the band Metallica used clips from the movie in their music video. They even purchased the rights to avoid paying ongoing royalties, and in the process, brough the film to prominence and turned it into a cult classic.
4. The Last Valley, 1971
Michael Caine stars in this movie covering the thirty-years war in Central Europe. Set in the 1600s, the flick follows Caine as a mercenary soldier, during a religious war. Despite being one of the most popular movies at the box office, it still became a financial failure, only gaining popularity in decades since.
5. The Hiding Place, 1975
Another WW2 classic, The Hiding Place follows a Jewish family who’s taken into captivity and their hardships within a concentration camp. The film is based off of Corrie ten Boom and her family’s struggles and her famous book of the same name.
6. Midway, 1976
The Battle of Midway is arguably one of the more famous battles from WW2, partly thanks to this film. Midway covers the invasion of Midway Island when the U.S. attacked the Japanese Navy in April of 1942. The movie comes with a star-studded cast, including: Charlton Heston, Henry Fonda, James Coburn, Glenn Ford, and Hal Holbrook.
7. The Eagle Has Landed, 1976
This flick takes place in a world where the Germans plotted to kidnap Winston Churchill at the end of WW2. It was directed by John Sturgess in his last film as a director. Donald Sutherland, Michael Caine, and Robert Duvall star in yet another war film, this time playing Germans in their attempt to find and take down the British Prime Minister.
8. Coming Home, 1978
Set in the timeframe of Vietnam, Coming Home brings a fresh twist to war films; it’s set back in the states and covers a love triangle between a military spouse, her husband, and another injured soldier. Jane Fonda stars as the film’s temptress, with Jon Voight playing another leading role.
9. The Inglorious Bastards, 1978
The original title to this film is actually an Italian film. The translation means, “That damned armored train.” A Euro War movie, the film was pitched to American filmmakers, but moved to Italy when it was not picked up. The film gained most of its success decades later when director Quentin Tarantino made his own war flick reusing the name Inglorious Basterds.
The 1970s was certainly a power decade for WW2 films, among others. Whether you’ve seen them or simply have these titles on your “must watch” list, don’t overlook the power they can bring to modern day viewers in cultural and historical importance.
After finishing off Avengers: Endgame with a definitive and decidedly sweet ending, the next big Marvel movie — Spider-Man: Far From Home — will return to Marvel’s diabolic plans to get you to sit through the credits for extra scenes. Are there post-credits scenes for Spider-Man: Far From Home and do that matter? The answer is a big yes.
No spoilers ahead.
It’s hard to know which of these facts feels more surreal:
Tom Holland has been in five Marvel movies as Spider-Man at this point
It’s only been five years since Andrew Garfield was in his second Spider-Man movie; which also starred Jamie Foxx getting bitten by electric eels.
2019 marks twelve years since Tobey Maguire did his emo-Spider-Man dance routine in Spider-Man 3.
Feeling old yet? If so, there’s some very good news about Spider-Man: Far From Home. The post-credits scene is basically made for olds. If you remember seeing the first Tobey Maguire Spidey-flick like the same year you were able to legally buy alcohol for the first time (or maybe even before) then this post-credits scene is for you.
We aren’t going to spoil what it is exactly yet, but let’s just put it this way: There are two post-credits scenes for Spider-Man: Far From Home, and the first one is the one you’ve got to see. Technically, this is what the pros call a “mid-credits” scene because it happens pretty quickly after the movie “ends.” (These movies never end.)
Will this scene make everyone happy? Yes. Does it set-up great things for the next big phase of Marvel movies. Big yes.
So, word of warning, between now and July 2, 2019, avoid spoilers as much as you can. This might not as Endgame-level as some thought, but if you’re of a certain age, it’s going to be very, very cool.
Spider-Man: Far From Home is out in theaters on July 2, 2019, which is, friendly reminder, a freaking Tuesday.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
In addition to playing a Resistance lieutenant, Carrie Fisher’s daughter Billie Lourd had a special second role in “Star Wars: The Rise of Skywalker.”
Lourd stepped in to play Princess Leia during the short flashback scene in “Episode IX.”
“Billie was playing her mother,” Industrial Lights & Magic visual effects supervisor Patrick Tubach told Yahoo Entertainment. “It was a poignant thing, and something that nobody took lightly — that she was willing to stand in for her mom.”
Here’s a reference of how Leia looks in most of “Return of the Jedi.” The look is reminiscent of how we see her in the new film.
“If you’re going to have someone play [Fisher’s] part, it’s great that it’s [Billie] because there are a lot of similarities between them that we were able to draw from,” added Tubach. “The real challenge was just making the Leia footage we had to work with fit in that scene.”
The ILM team told Insider that bringing Fisher back was “a gigantic puzzle.” The team utilized previously unused footage from director J.J. Abrams’ “The Force Awakens” to help bring her to life.
Despite the running “Night Before Christmas” motif and a soundtrack that almost exclusively features Christmas carols, some still challenge the status of “Die Hard” as a Christmas movie — even, much to our horror, Bruce Willis himself. This year, we’ll be solving the annual debate once and for all.
If you haven’t seen it — first of all, what’s wrong with you? Are you a German terrorist? — here’s the gist of the 1988 action-thriller: “A New York City cop faces overwhelming odds when his Christmas visit to California is interrupted by a terrorist invasion of his estranged wife’s office building.”
Before we can prove that something is a Christmas movie, we first have to define what a Christmas movie is. The problem is that Christmas — or the holiday season, rather — isn’t an overarching genre so much as it as a convention that flavors other genres. Every year, we’re greeted by dozens of holiday films, but if we break them down by genre, it looks a little different. There are family films set during the holidays (“Arthur Christmas”); there are Santa-centric adventure films (“The Santa Clause”); there are quirky romantic ensemble comedies that border on horror about surviving your screwed-up family (“Love, Actually”). Each of these films spans a different genre, however, they all fall under the category of “holiday movies.”
Bruce Willis as John McClane in “Die Hard.”
(Photo courtesy of IMDB.)
In order to navigate this timeless convention, we have to create criteria using patterns spanning holiday films in the past. From timeless classics such as “A Christmas Carol” to Christmas-based comedies like “Home Alone,” the biggest defining factor for a Christmas film seems to be the impact that the time of the year has on the film.
The physical holiday setting is of the utmost importance, which usually manifests in two ways: art direction and audio. For holiday films, that means holiday imagery and holiday-associated sound effects (bells), as well as seasonal music. “Die Hard” is rife with all of these, from the glorious shredding of the bearer bonds in conjunction to “Let it Snow” and even Run DMC’s “Christmas in Hollis,” which very loudly proclaims “This is Christmas.” “Die Hard” may not necessarily rely on its Christmas imagery, but it does feature several allusions to the holiday. For example, “Now I have a machine gun, ho ho ho”? How about the snow at the ending — in Los Angeles? All of that seems to imply that “Die Hard” is a Christmas film. In fact, all the holiday references makes it odder to consider that it may not be a Christmas film. The setting, of course, pales in comparison to the emotional and thematic contents of the movie.
Holidays movies usually take a pretty firm moral stance, usually about the forces of family and the holiday spirit. “Die Hard” frames these themes through John McClane’s quest to reconcile with his wife, which is the driving motivation of this film. There would be no plot without that seed of a familiar desire — no McClane versus Gruber, no grand shootout. Sure, “Die Hard” could have taken place during the summer, but the emotional stakes for John McClane’s character wouldn’t have been as high.
“Die Hard” is built around an innately deep issue: reconciliation and family bonding, which relies on the holiday spirit to intensify the stakes. At its core, this movie is about a man seeking redemption. Is it the same redemption that Scrooge was seeking? Not necessarily, but the running, gunning, and general action-packed nature of the its genre makes it no less of a Christmas film in our book.
The destruction of King’s Landing on the penultimate episode of Game of Thrones came as a shock to fans of the show who didn’t see Daenerys’s dark turn coming. It apparently wasn’t a shock to the people behind The Simpsons, as a two-year-old episode of the show seems to have predicted how Daenerys and Drogon would torch the city.
Soon after the episode ended, people on Twitter posted a clip from the season 29 premiere, “The Serfsons.” In the final scene of that episode, the family watches a dragon burn their village from atop the wall of a castle.
“Look the dragon is burning our village!” Bart says, and the show cuts to a long shot of the hovering dragon spitting fire down below. It’s a shot that looks just like one from “The Bells,” a shot of Drogon spitting fire on the people of King’s Landing. He is observed by Cersei in a tower in the Red Keep, a vantage point similar to the Simpsons’ that makes the shot composition eerily similar.
This isn’t the first time The Simpsons has “predicted” something that later came true. The most famous example probably comes from “Bart to the Future,” a flash-forward episode from 2000 in which Lisa, the president of the United States, says “We inherited quite the budget crunch from President Trump.”
The show has also had a knack for predicting Super Bowls, with three different picks proving correct over the years.
A season 10 episode also showed the 20th Century Fox logo with “A Divison of Walt Disney Co” written underneath it. That one aired two full decades before Disney actually acquired Fox.
And while all of these predictions likely add up to a series of coincidences, we won’t exactly be surprised if the next week’s Thrones finale features a shyster coming into King’s Landing and convincing Cersei that building a monorail to Bravos is a good idea.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
If you sometimes struggle with strength and optimism in difficult situations, keep reading.
I recently discovered motivational speaker and all-around role model Ryan Manion through her podcast, titled The Resilient Life. Honestly, I was hooked on Ryan’s story after learning about the foundation she started in her brother’s honor and name, following his death in Iraq. The Travis Manion Foundation strives to “unite and strengthen communities by training, developing and highlighting the role models that lead them.” Ryan has pledged to inspire others to improve themselves through service, and has done so through her work in TMF and, more recently, through her podcast.
In The Resilient Life, Ryan discusses how struggles shape people and the different ways we can face them. In her words, “Every human will struggle in this life. Our challenge is to struggle well.”
I think Ryan’s podcast is so impressive to me because I, too, am constantly struggling (and, subsequently, am always learning). It’s common for me to find myself thinking about the best ways to deal with pain and handle conflict. Listening to Manion’s podcast felt like hearing my own personal thoughts put into words that made sense, were inspiring, and additionally were directly applicable to my life. Through Ryan’s personal stories, dialogue with guest speakers and practical advice, aspects of my life that had previously seemed utterly cryptic are starting to make sense.
Something good happening during 2020!?
Manion dives further into the deeper topics discussed in the podcast in her book, The Knock at the Door.
The foundation of TMF in itself is the product of Ryan’s own productive struggling. Travis was killed in combat with other members of his battalion in the Al Anbar province of Iraq during his deployment in 2007. While many people use a life altering tragedy such as this one as a reason for pity and squander opportunities to learn from their own suffering, Ryan took the opportunity, or “knock at the door,” to grow and to improve herself. Her podcast and her book demonstrate her growth and put her wisdom into words.
In fact, The Resilient Life has a new episode airing today. In the second ever episode of the podcast, Manion and Brian “Tosh” Chontosh, a well-known force in the Marine Corps, discuss failure, discipline and more. Tosh is a retired Marine Corps officer who was awarded the Navy Cross for his heroism and patriotism during the 2003 invasion of Iraq.
The most encouraging thing about the podcast is the reassurance that even successful, strong people such as Manion and Tosh can struggle and fail. Listen to the podcast to hear the details of Tosh’s struggles with the “ultra” marathon, taking place in Minnesota during wild blizzards.
Personally, I feel good about myself after running a 5K. We all have different definitions of success. And that may be why Tosh and Manion’s joint work is so amazing.
Manion’s podcast, work with and foundation of the TMF, and book are all examples of how we can use pain for productivity; suffering for efficiency. In a time where it’s so natural to be passive and let time pass us by as the world is shut down around us, it’s very easy to lose our sense of urgency in the doldrums of quarantine. However, with Manion’s inspiration, it’s a little easier to get up and get shit done.
The Travis Manion Foundation is inspiring people every day. Let yourself be one of them by listening to The Resilient Life.
Bishop and motion capture actors for EA’s Battlefield4 video game.
Greg Bishop advanced from private in the Army to Lieutenant Colonel, across a spectrum of specialties from Infantry to the Signals Corps and finally to Public Affairs. He had a dream to work in Hollywood when he was young which he fulfilled through his military service. Bishop runs MUSA Consulting now for the entertainment industry advising on different projects. Bishop has produced his own feature Ktown Cowboys and worked on projects such as Transformers: Revenge of the Fallen, The Day the Earth Stood Still, GI Joe: The Rise of Cobra, Battlefield4 and Snitch.
1. Can you share about your family and your life growing up?
I grew up in the suburbs of Louisville, KY, in a normal, all-American, middle-class family and experience. I was the third of four boys, I had loving parents who are still married today. My father, who was a Marine Corps officer and Vietnam Veteran, was tough but a great role model. My mother took great care of us boys and she was our superhero. We grew up in the pre-home-video game era, so we spent most of our time outside, playing sports, riding bikes, chasing girls and getting into normal boyhood trouble complete with skinned knees and elbows, broken bones and hearts.
2. What values were stressed at home?
With my father being a Marine, and having four boys within six years of one another, discipline, hard work and personal responsibility were paramount in the Bishop household. A strong work ethic was instilled in all of us, so all of the Bishop Boys worked as soon as we were big enough to rake leaves, shovel snow, or cut grass. Our family also pretty much had a newspaper delivery dynasty in the neighborhood for several years. All of us delivered papers until we were old enough to have a regular job, and that was back in the days when newspapers were delivered two times a day. Once old enough, we all had after school jobs washing dishes, busing tables, working in fast food, or whatever we could do to make money legally.
We all went to private Catholic high schools and we were expected to pay half of our tuition for the first three years; our parents covered all of it in our senior year. At the time it was tough. My friend’s parents were giving them money for their hobbies and entertainment while I had to work to pay for the things I wanted or wanted to do. My Mom would slide us a couple bucks if she knew we were tight on cash, but for the most part if I wanted to go to the arcade and play video games, those were my quarters going in the machine. I bought my first car at 15 before I even had a driver’s license. It was a lot of work for a kid, but in the end, my parent’s lessons paid off. All of my brothers currently work for themselves in one capacity or another.
3. What made you want to become a soldier and what was your experience like?
I wasn’t the best student in high school. I had to go to summer school my freshman year, and I think I only had two A’s in my four years…one in Physics and one in Film Appreciation. Don’t ask me to explain that. In my junior year I was cast as an actor in a local educational video on teen suicide. The director allowed me to tag along throughout the production and post-production process. That was my first taste of video production and I really loved it. My senior year, in the film appreciation class, I made a Super-8 movie as the final project, and that’s when I really fell in love with film and video production. I loved the process and everything about it. I knew I needed to go to film school.
Now, there were no film schools in Louisville, so I attended a couple regional colleges for a couple of years, but it wasn’t really doing anything for me. I desperately wanted to go to film school. Then one day I saw an Army commercial promoting the GI Bill and the Army College Fund which just so happened to be the amount of money I needed. I went to see a recruiter; told him I wanted the college money and if I was going to join the Army, I also wanted to paint my face green and run through the woods with a gun. I signed up for the infantry and I shipped off to Basic Training February 27, 1989. While at Fort Benning, I was offered the opportunity to apply for Army OCS (Officer Candidate School). I was accepted and made it through OCS. I was commissioned a year and a day after I arrived at Basic Training and spent the first half of my career as an Army Signal Officer serving in Korea, Fort Campbell and Germany. I wasn’t really thrilled with being a Signal Officer.
While at Fort Campbell I met, fell in love and married my amazing wife, and then the Army let me finish my degree through their Degree Completion Program. I got my bachelor’s degree from Austin Peay State University, which is right outside of Fort Campbell. I studied public relations there and did a summer internship in an advertising firm. At this point the film school dreams began to dwindle, but I enjoyed advertising because it was still very creative. So while still serving I took the GMAT, applied for MBA programs, all with the intention of getting out of the Army and going to work in advertising.
I still owed the Army a few years because of the time they gave me to finish my degree, so fast forward a couple of years, in the mid-90’s, I was stationed in Germany and deployed to Bosnia. One day I stumbled on an article in the Stars and Stripes, about Army Advertising, that changed my life. I learned that I could do advertising IN the Army. I loved being a Soldier, I just didn’t like the Signal Corps. I learned I needed to become a public affairs officer to get that job, so after my company command time in the Signal Corps, I transitioned over to Army Public Affairs, and my first job in that career field was with Army Recruiting Command’s Advertising Directorate at Fort Knox.
While stationed at Fort Knox I was accepted into the Army’s Advanced Civil Schooling program and I went to USC (University of Southern California) where I got my MA in Strategic Public Relations. While there, I learned about this awesome job in LA where a Public Affairs Officer served as the Army’s liaison to the entertainment industry. I really wanted THAT job one day.
While at USC, OIF and OEF started, so after graduating I was assigned to Fort Campbell and deployed to Iraq with the 101st Airborne Division from ’05-’06. I was one of the first brigade combat team PAOs during the Army’s “Transformation” period. I had a great team, an important mission, and was part of one of the best divisions in the Army. It was a tough but rewarding year.
After Iraq I was assigned as the Deputy PAO for the Headquarters of the U.S. Army Corps of Engineers in downtown DC. After serving there for a couple of years it was again time for a reassignment. I learned an important lesson from a senior officer once and it was to not just accept any assignment the Army offers you. If you want something, you have to fight for it. I fought very hard to get the PAO job in Hollywood. My branch manager told me that the entertainment office position was open, but he would not fill the slot because the Chief of Public Affairs (2-star general) believed it didn’t need to be filled. I told my branch manager that that position was one of the most important public affairs jobs in the Army, but he assured me the general had made his decision, and it was “final.” I told him that I was going to write a white paper on why it was such a critical position and why I was the right guy for it…I asked him to promise me that he’d read it. He did, and he agreed, but now had to go change the mind of a 2-star general to put me into that position.
The general called me into his office a couple weeks later, told me my white paper made sense and he thanked me for keeping him from making a mistake. I admired him for his humility. He told me to pack my bags, you’re going to Hollywood. A few months later, I was on the set of Transformers: Revenge of the Fallen and I thought to myself, “Holy shit, the Army got me to Hollywood.” It was a surreal experience. I retired from the Army about 10-years ago and have been working in the entertainment industry ever since.
Bishop with his Drill Sergeant on Basic Training graduation day.
4. What are you most proud of from your service in the Army?
I am most proud of just being a soldier and serving. I am proud to represent our country. I’m proud that I began my Army career as a Private First Class with no degree and finished as a Lieutenant Colonel with a master’s degree. My proudest achievement in service was the year I spent in Iraq where I like to say we fought the information war. Serving as a PAO doing media relations with major news agencies was interesting but working with the Iraqi people to set up their own newspapers and media outlets was the most rewarding. I helped Iraqi citizens run their own businesses, instructing them on how to create a revenue model for their newspapers, radio and TV stations. I also helped my two interpreters create a market research company that helped the local government, the U.S. Army and the U.S. State Department understand the concerns and opinions of local Iraqi citizens. We advised the police, fire and government public affairs of what it means to tell their citizens the truth. We were there for the first election in Iraq and I got to be a small part of it. It was an incredible experience.
Bishop (top left) deployed in Bosnia.
5. What values have you carried over from the Army into Hollywood?
The military and entertainment business are very similar. I told Michael Bay once that, “you shoot film and we (the Army) shoot bullets, everything else is the same.” People in entertainment might be shocked to hear this, but both industries require teamwork, leadership, planning, and even OPSEC. You deal with fiefdoms, budgets and timelines. Hard work and discipline are key. Understanding the commander’s intent, or the director’s vision, it’s the same. Neither culture suffers fools for very long. Both are meritocracies for the most part. I think it’s more so in the military than in Hollywood, and Hollywood is more nepotistic that the military, even though that exists in both worlds. But if you’re good at what you do, you’ll succeed. I knew the Army trained me to be a producer, I just needed to learn the entertainment industry language.
6. What project did you most enjoy doing while working in Hollywood?
I worked in Hollywood as a soldier and as a civilian. As a soldier, Transformers: Revenge of the Fallen was the most fun. It was a Michael Bay movie, so we blew things up and we fired thousands of rounds on set. We had nearly everything in the Army inventory in that movie. There were so many explosions. We shot live rounds from Abrams tanks and Bradley Fighting Vehicles on set. The set caught on fire a couple times. Everybody was out there putting the fire out. Even Michael Bay had a hose in his hand putting out the fire. Every day was just a blast.
As a civilian, it has to be producing my first movie Ktown Cowboys with my business partner Brian Chung. We took it from script all the way to distribution. It premiered at SWSX (South-by-Southwest) in 2015 and it was a nerve-racking experience having so many strangers watching our film. But there’s nothing more rewarding than watching an audience laugh and enjoy a film that your team made. Finishing a movie is very tough. Making a bad movie is hard, making a great film is almost impossible. The military trained us to face challenges and solve difficult situations. That’s true in a military operation and it’s true in the film business.
MLRS from the Army in Transformers Revenge of the Fallen. Photo credit Paramount Studios.
MLRS from the Army in Transformers Revenge of the Fallen. Photo credit Paramount Studios.
The film that Greg produced. Photo credit IMDB.com
7. What was it like transitioning to Hollywood?
Even though I had worked in the Entertainment industry for the Army it was harder than you may think. The industry doesn’t have the time to help anybody else achieve their dreams unless it’s a family member. Most people stop returning my phone calls once I no longer “had the keys” to Army helicopters, troops, vehicles, locations, etc.
I knew some people at Electronic Arts who worked on the Battlefield franchise. Working with them was one of our first gigs. One of the early challenges we had was knowing how much to charge for our services. As a Soldier, you work as long as it takes to accomplish the mission and your pay is the same regardless of outside circumstances. There’s really no relationship between pay and time in the military. I remember in one of our early phone calls with EA one of the producers asked us how much we charge for our services. At the time we had no idea what our time and expertise was worth. We threw out a number and the EA guys laughed at us. They literally said, “We can pay you more than that!” Lesson learned.
We probably wasted a lot of money and time starting a business immediately after retirement because we were career military guys and not trained businessmen. We made some mistakes, learned a lot, but we’ve been doing this for more than 10-years now.
One other similarity between Hollywood and the military is both cultures tend to slap labels on people. In the military we literally wear those labels on our uniform. That’s one of the things that always bothered me about the military culture. Promotions and career paths tend to be very rigid and bureaucratic. In the civilian world there are 25-year old CEOs and they’re judged on performance of their leadership and the company. There aren’t any 25-year-old generals. The entertainment industry is similar though because if you’re a consultant, in their mind you’ll always be a consultant. It’s tough to use that role as a stepping stone into something bigger like acting, or directing, or producing.
Our consulting company was essentially our film school. It helped us learn the language of the industry. In 2012 we created our production company, and while our consulting company is still operating and growing, our production company is our primary focus these days.
Bishop working with Norman Lear on Netflix’s reboot of “One Day at a Time”.
Keanu Reeves in The Day the Earth Stood Still. Photo credit IMDB.com
A screenshot of Battlefield 4. Photo credit imdb.com.
GI Joe: The Rise of Cobra released in 2009. Photo credit IMDB.com.
8. What leadership lessons in life and from the Army have helped you most in your career?
I have a few leadership lessons.
For big challenges, eat the elephant one bite at a time. Don’t let the scope of the challenge intimidate you. Take it on incrementally.
You have to do the work. A lot of young people think accomplishing something is as easy as Googling it. It isn’t. You have to do the work, and oftentimes the work is more difficult than you imagine.
Don’t take “no” for an answer. Write the white paper telling the two-star general he is making a mistake.
Teamwork. It’s critical that you come together to achieve a common mission or objective. You won’t do it alone.
For those getting out of the military soon, I recommend that you find and do something you’re passionate about. Do something that excites you. Do something that will make you look at weekends as a distraction and look forward to Monday mornings. Whatever you are passionate about and love doing, find a way to do it and make money from it. If it doesn’t work, you can always get a government job or contracting job or whatever job other retired military people do.
9. As a service, how do we get more veteran stories told in the Hollywood arena?
In 1927 the first Academy Award for Best Picture went to the Army for a movie called Wings. The military has been part of Hollywood ever since and military stories have always been a part of the DNA of filmmaking and storytelling in Hollywood. For decades Hollywood was patriotic and told mostly pro-American stories portraying our troops against foreign enemies. Yes, it was probably borderline propaganda, but it was a unifying effort from people who loved their country. After the Vietnam War, and even more so after 9/11, most films and television programs about our troops were about fighting their own government, their chain of command or themselves. The politics in the industry shifted along with the way Hollywood portrayed our military. Hollywood struggles with telling authentic stories about our military. It seems we’re mostly portrayed as superheroes or broken mental patients. To answer your question, the only way we can change Hollywood is to do it ourselves. That is the only way it is going to get done authentically. We need to work to become the writers, or producers, or financiers to fund our own content. It’s easier to do that today than it’s ever been, but it’s still extremely difficult.
A scene from Wings in 1927 that won the first Oscar for Best Picture. Photo credit Paramount Studios.
10. What are you most proud of in life and your career?
Personally, I am most proud of my marriage to my wife of 25 years. She is my life’s purpose. Career wise, building three businesses with my business partner Brian Chung. But I am not done yet, so we will see what comes next.
Marine Corps veteran and beloved character actor R. Lee Ermey was missing from the “In Memoriam” segment of the 2019 Academy Awards telecast.
Ermey, who passed away in April 2018, is best remembered for his role as Gunny Hartman in Stanley Kubrick’s classic movie “Full Metal Jacket,” a legendary performance that should have made him a lock to be included in the video segment.
Ermey also played memorable roles in “Se7en,” “Mississippi Burning,” “The X-Files,” “Toy Story 2” and that 2003 remake of “The Texas Chainsaw Massacre.” He also hosted the TV shows “Mail Call” and “Lock ‘N Load With R. Lee Ermey.”
Other Hollywood legends left out of the tribute include Verne Troyer (Mini-me in the “Austin Powers” movies); the incredible Dick Miller (best known for playing a WWII vet in the “Gremlins” movies); Danny Leiner (director of the classics “Harold and Kumar Go to White Castle” and “Dude, Where’s My Car?”); Carol Channing (Oscar-nominated for her role in “Thoroughly Modern Millie”); Sondra Locke (Oscar-nominated for her role in “The Heart is a Lonely Hunter”); and the director Stanley Donen (“Charade,” “Singin’ in the Rain” and the unfortunate 80s sex comedy “Blame It on Rio.”).
We can all take a moment to remember Ermey with the “Left from Right” clip from “Full Metal Jacket.” RIP, Gunny.
Captain Wild Bill Wichrowski of the Cape Caution. Photo courtesy of Discovery.
Capt. Wild Bill Wichrowski’s year started tragically.
A Navy veteran, Wichrowski is one of the captains on “Deadliest Catch,” a Discovery Channel series about Alaska’s crab industry. He was close friends with two of the five men who died when the Scandies Rose, a 130-foot crab boat, went down in icy, turbulent conditions in the Gulf of Alaska on New Year’s Eve. Two crew members survived.
The Coast Guard’s 20-hour search for survivors will be featured on “Deadliest Catch” at 8 p.m. Tuesday (Eastern time).
“It’s hard to drum all this up again, really,” Wichrowski said. “You lose friends. You lose family. And the part that sticks is that any time, it could be you.”
Captain Wild Bill Wichrowski is in the wheelhouse at the helm of the Summer Bay.
The episode of the long-running reality series follows the Coast Guard’s role from the time it received a distress call until the search, which covered 1,400 square miles, was suspended.
Although Wichrowski was not in contact directly with the Coast Guard during that time, he followed the rescue mission’s progress closely.
“They’re our lifeline,” Wichrowski said. “Some of the stuff they do with the helicopters and the C-130s and the ships and the hard-bottom inflatables [boats] is truly amazing. The Coast Guard’s our last chance for survival when we’re having trouble.”
The investigation into the Scandies Rose disaster is ongoing and could last “many months,” said Scott McCann, the Coast Guard’s public affairs officer for the 17th District.
Captain Wild Bill Wichrowski stands proudly on deck of his boat.
Wichrowski’s own ties to the military began early.
His father, Charles Thomas Wichrowski, was a drill instructor at Parris Island in South Carolina during the Korean War. The youngest of three brothers, Wichrowski said he did not always appreciate his strict upbringing in Pennsylvania.
“I probably didn’t really like [my father] that much at the time, but he was training me to be a leader from Day One,” Wichrowski said. “In his eyes, there was only one place to be, and that was in charge.”
Wichrowski’s tour in the Navy happened almost by accident.
Before he wrecked his father’s new car on homecoming night, he had planned to go to school and study business administration. The cost of the repairs, along with other financial constraints in his family, prompted Wichrowski to enlist in 1975.
Armed with a love of the ocean, he headed West. He served as an electrician’s mate at naval stations in California, Idaho and Washington State.
Wichrowski enjoyed the camaraderie and travel in the military and proved to be invaluable in stressful situations. He recalled one time a typhoon in Taiwan knocked out a generator. Wichrowski ran to the other end of the tossed ship on a wall, hurdling people along the way, to work on it.
On another occasion in San Diego, Wichrowski was about to go on liberty when a transformer caught fire. He was not on duty, but he restored the power anyway, then left suddenly to meet his girlfriend before other potential issues arose.
“When I got back, the XO [executive officer] on the bridge, he had seen the whole thing,” Wichrowski said. “And I’m thinking, ‘Oh, I’m going to get my butt reamed.’ But he said he was pretty amazed about how quickly I reacted.”
Wichrowski said the bonds of boat crews are similar to those in the military. Photo courtesy of Discovery.
Wichrowski, who served for four years, said what he learned in the Navy resonates today.
“It’s the whole reason why I’m successful,” he said.
The bonds formed among boat crews are not unlike those developed in the military. That’s why the sinking of the Scandies Rose hit Wichrowski hard. He knew the boat’s captain, Gary Cobban Jr., and engineer, Art Gacanias, well, but thankfully the loss of life was not worse.
Landon Cheney, Wichrowski’s No. 2 man on the Summer Bay, used to work on the Scandies Rose and considered returning before it sank.
“I’m pretty certain that if he was on board, he wouldn’t have made it,” Wichrowski said.
As painful as the loss of the Scandies Rose remains, Wichrowski intends to watch Tuesday night.
“I hope to,” he said. “… It should never be forgotten, but it’s still tough to review over and over.”