Neal Schrodetzki and Ethan Morse, who served together as guards at the Tomb, have created a docu-series about the intense training cycles that prepare soldiers for The Regiment, the Honor Guard Caisson Platoon, the U.S. Army Drill Team, or a Full-Honors funeral ceremony at Arlington National Cemetery.
The four-part Sam Elliott-narrated series has been acquired by Amazon and it will debut online digitally Christmas Day. The series will then arrive on more than 50 streaming services throughout 2021.
WATCH THE TRAILER:
The four-part docuseries took more than three years to complete, and showcases four unique specialty platoons of the 3rd U.S. Infantry Regiment in Washington D.C. Also known as The Old Guard, the 3rd Infantry Regiment is perhaps best known for hosting the Sentinels who guard the Tomb of the Unknown Soldier.
Neal and Ethan were ecstatic to have Hollywood legend and Air Force veteran Sam Elliott as the narrator for the series.
“Working with an icon like Mr. Elliott was surreal. I grew up watching his movies, and I had just viewed A Star Is Born a few days before meeting him for the first time in the recording
studio. It was like a dream come true,” recalled Morse. Neal received exclusive access to film their former unit, the 3rd U.S. Infantry Regiment, after releasing an award winning documentary called The Unknowns in 2016. “The amount of history and honor on display in the 3rd Infantry Regiment is difficult to encapsulate in a four-hour docuseries, but it’s a story we want to share with the world,” stated Schrodetzki.
If there’s one criticism fans of the Jack Reacher book series had with its movie adaptation and its sequel, Jack Reacher: Never Go Back, it was the star of the series. In the novels, author Lee Child’s former Army MP protagonist would tower over his opposition — but the movies’ producers cast Tom Cruise to portray the character. The less-imposing Cruise just didn’t measure up to the part.
“Cruise, for all his talent, didn’t have that physicality,” writer Lee Child said.
By physicality, Child means the actor was too short to fit the role. As a consequence, Cruise will be replaced by a yet-to-be-named actor for the series’ upcoming longform TV reboot.
Creative cinematography helped a lot.
Reacher readers got short with the creator of the hero when Crusie was announced as the actor for the film adaptation of the series. Child’s Jack Reacher series is wildly successful, selling more than 100 million copies of his books and short stories worldwide. The two movies were considered successful in their own right, but never met the high acclaim of the novels.
In Child’s book series, the character of Jack Reacher is a towering 6’5″. Cruise is just 5’7″.
Because Jack can’t be sitting in every shot.
“I’ve got tens of thousands of letters saying they didn’t like Cruise because he’s too small, basically,” Child told The Guardian. “Part of Reacher’s appeal is that he’s very intimidating. Even without doing anything, if he walks into a room, people are a little bit uneasy. It was felt that, for all his virtues, Cruise didn’t represent that. So the readers were cross from the beginning.”
Child, who worked in television before his writing career took off, likes that a television series can be produced without the need of an A-list actor of Tom Cruise’s stature.
He’s not short if he’s always closer to the camera, right? Right.
As long as authors still have say in the screen adaptation of their work, it’s nice to know the opinions of true fans can loom so large over any final creative decisions.
If you’ve seen the flick, then you know that his character, the evil Sith Lord Kylo Ren, has a bit of a temper. Some hilariously associate his character to being emo, which is fitting given the way he spoofed himself on Saturday Night Live. As the sketch goes, Kylo Ren infiltrates Starkiller BaseUndercover Boss style as a radar technician to find out what his employees think of him. It turns out that the truth hurts, and Kylo reacts in typical Kylo fashion.
The 1997 science fiction classic, Starship Troopers, is a futuristic thrill ride filled with larger-than-life characters and heart-pounding situations. What separates this cinematic masterpiece, however, is the source material.
The directorial prowess of Paul Verhoeven and the military advising of the legendary Dale Dye (who also plays “General”) combined to create what has become one of the most watched, influential, and beloved military movies of all time. Here’s what makes it so freakin’ motivating.
The Federation’s mobile infantry division is basically the Marine Corps of the future. There’s an uncanny parallel between the two services’ leadership values, extreme enforcement of standards, and emphasis on combat readiness.
6. Volunteer spirit.
The Federation’s military service is an all-volunteer organization that believes in attrition. In the book, there is no pursuit or punishment for those who do not show up to ship out for basic training.
Those who feel this new way of life is not for them can simply sign form 1248 and take a stroll down washout lane.
5. Hands-on instructional style.
Senior drill instructors may demand total dedication and effort from their recruits, but they also instruct, inform, and cultivate an atmosphere of learning.
4. Gender equality.
There are no males or females in the mobile infantry: only troopers. Everything is equal. This includes opportunities for leadership, responsibilities, occupations, and even billeting and rain rooms. (showers)
3. Inter-service relations and fraternization policies.
Services work together in harmony to accomplish the mission. Whether you’re an officer or enlisted, there is a standing open-door policy for venting concerns.
2. Community outreach.
The mobile infantry may be an armed force with a primary mission of fighting the human race’s enemies, but they also take the time to make an impact on the community and set a positive example for the youth.
Burke Waldron is U.S. Navy veteran who participated in the invasions of Makin and Saipan in the Pacific during World War II. He left the Navy in 1946 at the rank of Petty Officer 2nd Class.
On Memorial Day 2016, the Seattle Mariners asked Waldron to throw out the first pitch in their game against the Padres. With veteran pride, Waldron took the mound in his dress uniform and hurled a left-handed heater to Mariners’ catcher Steve Clevenger.
See Waldron’s awesome game-opening throw in the video below:
There is nothing more heart-wrenching to veterans with families than having to explain why daddy hasn’t been the same ever since he returned from the war. A reasonable adult can grasp the idea that war is hell and that it can change a person forever, but an innocent kid — one who was sheltered from such grim concepts by that very veteran — cannot.
A. A. Milne, an English author and veteran of both World Wars, was struggling to explain this harsh reality to his own child when he penned the 1926 children’s classic, Winnie-the-Pooh.
This might help give you a picture of just how awful the Battle of the Somme was. Fellow British Army officer and writer J.R.R. Tolkien fought in the Battle and used it as inspiration for the Dead Marshes in The Lord of the Rings: The Two Towers.
(New Line Cinema)
As a young man, Alan Alexander Milne stood up for King and Country when it was announced that the United Kingdom had entered World War I. He was commissioned as an officer into the 4th Battalion, Royal Warwickshire Regiment, as a member of the Royal Corps of Signals on February 1, 1915. Soon after, he was sent to France to fight in the Battle of the Somme.
The description, “Hell on Earth” is apt, but doesn’t come close to fully describing the carnage of what became the bloodiest battle in human history. More than three million men fought and one million men were wounded or killed — many of Milne’s closest friends were among the numerous casualties. Bodies were stacked in the flooded-out trenches where other men lived, fought, and died.
On August 10, 1915, Milne and his men were sent to enable communications by laying telephone line dangerously close to an enemy position. He tried warning his command of the foolishness of the action to no avail. Two days later, he and his battalion were attacked, just as he had foreseen. Sixty British men perished in an instant. Milne was one of the hundred or so badly wounded in the ambush. He was sent home for his wounds suffered that day.
A.A. Milne, his son, Christopher Robin, and Winnie the Pooh.
(Photo by Howard Coster)
Milne returned to his wife, Daphne de Selincourt, and spent many years recovering physically. His light finally came to him on August 21, 1920, when his son, Christopher Robin Milne, was born. He put his writings on hold — it was his therapeutic outlet for handling his shell shock (now known as post-traumatic stress) — so he could be the best possible father to his baby boy.
One fateful day, he took his son to the London Zoo where they bonded over enjoying a new visitor to the park, a little Canadian Black Bear named Winnipeg (or Winnie for short). Alan was drawn to the bear because it had been a mascot used by the Canadian Expeditionary Force in WWI. Despite being one of the most terrifying creatures in the zoo, Winnie was reclusive, often shying away from people.
Alan saw himself in that bear. At the same time, Christopher loved the bear for being cuddly and cute. Understandably, Alan bought his son a teddy — the real-life Winnie the Pooh bear.
It all kind of makes you think about that line Winnie’s says to Christopher, “If you live to be a hundred, I want to live to be a hundred minus one day so I never have to live without you.”
(New York Public Library)
The demons of war followed Milne throughout his life. It was noted that when Christopher was little, Alan terrified him when he confused a swarm of buzzing bees with whizzing bullets. The popping of balloons sent him ducking for cover. Milne knew of only one way to explain to his son what was happening — through his writing. A.A. Milne started writing a collection of short stories entitled Winnie-the-Pooh.
It’s been theorized by Dr. Sarah Shea that Milne wrote into each character of Winnie-the-Pooh a different psychological disorder. While only A. A. Milne could tell us for certain, Dr. Shea’s theory seems pointed in the right direction, but may be a little too impersonal. After all, the book was written specifically for one child, by name, and features the stuffed animals that the boy loved.
It’s more likely, in my opinion, that the stories were a way for Milne to explain his own post-traumatic stress to his six-year-old son. Every stuffed friend in the Hundred Acre Woods is a child-friendly representation of a characteristic of post-traumatic stress. Piglet is paranoia, Eeyore is depression, Tigger is impulsive behaviors, Rabbit is perfectionism-caused aggression, Owl is memory loss, and Kanga Roo represent over-protection. This leaves Winnie, who Alan wrote in for himself as Christopher Robin’s guide through the Hundred Acre Woods — his father’s mind.
The books were published on October 14, 1926. As a child, Christopher Robin embraced the connection to his father, but as the books grew in popularity, he would resent being mocked for his namesake character.
Christopher Robin Milne eventually followed in his father’s footsteps and they both served in the Second World War. His father was a Captain in the British Home Guard and he served as a sapper in the Royal Engineers.
It was only after his service that he grew to accept his father’s stories and embraced his legacy, which endures to this day.
In fact, Christopher Robin, a film starring Ewan McGregor and directed by Marc Forster (known for Finding Neverland), is opening this weekend. Be sure to check it out.
Without Rick and Morty, Westworld, or Game of Thrones, Sunday nights are getting fairly thinned out with regards to binge worthy TV shows. Luckily we still have The Walking Dead, a great show that keeps fans watching every week because of the fantastic cast of characters living out the zombie apocalypse fantasy we all think about.
One of the key components of the show is the over indulgence of firearms. Makes sense, right? Zombie apocalypse would need plenty of nobodies to pack some heat to survive. Not everyone can be a bad ass with a crossbow or katana.
However, people who have actually seen a firearm cringe when they see how the weapons are actually portrayed.
Some things can be hand-waved away by the user being a idiot and no one correcting them in the apocalypse (I’m looking at you, everyone with sh*tty trigger discipline!).
Other times the writers throw in a spotlight piece of dialogue, such as when someone gets a headshot on a walker from maybe 500 yards and someone else says, “Wow! That’s impressive!” and they respond with “I wasn’t aiming for that one.”
This is called “hanging a lantern” on stretches of the imagination (but it still doesn’t explain the max effective range on a 9mm Glock).
This list is ranked from “Okay, I guess the show creators are taking some creative freedom with that” to “Wait… what? But why… what?”
Minor non-specific spoilers ahead if you care about spoiler tags.
#6. Cocking your weapon multiple times
This one isn’t specific to just The Walking Dead. If you’ve never picked up a weapon before, you might think guns are ready to jump into bang-bang mode at any moment. This doesn’t happen in reality. A weapon won’t fire a round if there’s no round in the chamber. And it is possible that they did chamber their weapon off-screen — not everything in life is cinematic enough to make good cinema/television.
But this isn’t like weapon maintenance and cleaning. Even more egregious is when they show the same weapon being cocked when they’re about to start fighting. And then again when they’re seconds away from a fire fight. Possible? Totally. But we’d see that round that was chambered a few minutes ago fly out. Just going to gloss right over the manual cocking sound of a revolver being applied to semi-auto pistols, but you catch the drift.
I won’t bore you with my rant on how there’s never any brass on the ground, unless it’s for a cool low-angle “after battle” shot (Television Series “The Walking Dead” by AMC)
#5. Who needs a rear sight post anyways?
Quick run down on how aiming works: Think of when you were looking at the stars. If you line up a tree with, say, a fence post and sit in the same spot days later. You can observe the movement in the sky. You lined up the object at four points. The star, the tree, fence post, and your eye. You need two points between your eye and the star to keep positioning just right in a straight line.
In the case of a firearm, that straight line is also the barrel. Take away a sight post, that straight line is skewed. All of this means that it won’t hit jacksh*t, and the characters wasted their time zeroing their weapons.
Or maybe no one needs to zero their weapon in the zombie apocalypse…
#4. Who needs an eye to look through the scope anyways?
Okay. Maybe they’re so intertwined with their weapon that it becomes second nature. Like previously mentioned, everyone is an expert as shooting walkers from god knows how far. The rifle being brought up to the shoulder may just be out of second nature.
What about our characters that don’t have their dominant firing eye? What the hell are they even aiming at?
Apparently everyone types this in before every episode of the show, because unless it’s for dramatic tension, no one runs out of ammunition. The world is ending. It’s a constant worry in the show to find food. But ammo? Nah. We got it covered.
#2. Misunderstanding what certain bullets do
Last science rundown: Newton’s Third Law of Motion. All forces between two objects exist in equal magnitude and opposite direction. Every action has an equal and opposite reaction.
In firearm science, this means that the kickback from firing a weapon will hit the target with a similar kick, accounting for minor air resistance and many other factors. So if you were to shoot a handgun at someone, they are hit with the same force. It’d hurt like a b*tch, but no one is flying through a window.
Same works the other way around to. If you shoot a M2 .50 Caliber machine gun into the engine block of a civilian jeep, it won’t just ding off like some dirt.
#1. Head shots for days against zombies, but no one can seem to hit a human for some reason
Why whyWHY can no one hit a single living person? Plot armor must be a hell of a thing. At least the Stormtroopers have a reason for why their aim ‘sucks’.
Here’s a short list of items on Roland Emmerich’s bookshelf: a bronze Chewbacca bust; props from Godzilla and Stargate; and copies of Frank Hebert’s Dune, Lewis Alsamari’s Out of Iraq, and Seth Grahame-Smith’s The Big Book of Porn.
I was invited to his sophisticated (and exceptionally nerdy) office space to talk about the director’s latest film, Midway, which chronicles the Pacific Theater during World War II beginning with the infamous attack on Pearl Harbor through the Battle of Midway — the pivotal turning point for Allied forces.
What followed was a conversation with a man who knows more about WW2 naval and aerial warfare than most and used his passion to create a film that honors the heroes in the Pacific.
Midway begins with the Japanese attacks against Pearl Harbor on Dec. 7, 1941, continues to the Doolittle Raid against the Japanese mainland in April 1942, the Battle of Coral Sea the next month, and finally the decisive Battle of Midway on June 4, 1942.
Emmerich became fascinated with the (insane) dive bombing tactics conducted by Allied pilots in the Pacific Theater and knew how important it was to convey the challenges the pilots faced. After studying WW2 footage, he knew he had to get those attacks right on film.
“It could not look like visual effects. That was the biggest challenge — but of course it couldn’t be practical,” Emmerich shared, the implication obvious: it isn’t exactly easy to blow up a bunch of WW2 battleships or aircraft carriers. His standards were high: any shots that didn’t work for him were cut.
A group photo of the American dive bomber pilots of VB-6 from Enterprise, three of whom fatally damaged Akagi. Best is sitting in the center of the front row. The other two who attacked Akagi with Best were Edwin J. Kroeger (standing, eighth from the left) and Frederick T. Weber (standing, sixth from the right).
In his Director’s Commentary, Emmerich points out moments where he had to walk the fine line between accuracy and entertainment. Richard “Dick” Best was the dive bomber pilot who was able to sink the Akagi aircraft carrier against terrible odds and at great danger to himself.
“We had problems depicting the dive bombing. We tried to shoot it practically but we struggled because the pilot wasn’t diving steep enough. I asked if he could go steeper and he said if he dove any steeper then he could die,” which Emmerich acknowledged was a fair point. “And then you realize…oh my god, these [World War II pilots] were daredevils! Nobody flies like those guys anymore.”
I am so honored to share with you all that Midway is now on Digital. Be sure to grab yourself a copy today!pic.twitter.com/ysCvON4ZEK
“We didn’t want to just show the Japanese as the bad guys. The men fighting the war weren’t responsible for the decision to start the war,” Emmerich said. His uncle was a German pilot in the European Theater, so he knows all too well the wounds carried over on both sides of World War II. It was important that he depict the humanity and honor of the men who lost their lives in the conflict.
I couldn’t tear myself away from his audio commentary that comes with the Blu-Ray package: his World War II knowledge, his artistic choices, and his respect for the military community were so clear.
Though known for his doomsday themes (think 2012, The Day After Tomorrow, and even Independence Day), Emmerich considers himself an optimist. His films, though huge in scope and destruction, concentrate on people — the heroes who endure, the lone voices that cry out against ignorance, the people who fight to protect each other.
4K UHD / BLU-RAY/ DIGITAL SPECIAL FEATURES
Audio Commentary by Roland Emmerich
“Getting It Right: The Making ofMidway” Featurette
“The Men of Midway” Featurette
“Roland Emmerich: Manon a Mission” Featurette
“Turning Point: The Legacy ofMidway” Featurette
“Joe Rochefort: Breaking the Japanese Code” Featurette
“We Met at Midway: Two Survivors Remember” Featurette
Midway is available now on Digital and on 4K Ultra HD , Blu-ray, and DVD from Lionsgate.
When we last saw (the Marvel Cinematic Universe’s) Wanda Maximoff, she was at the funeral of Tony Stark after the Avengers finally defeated Thanos. During Avengers: Infinity War, she was forced to destroy the Mind Stone — killing her lover, Vision, in the process — until Thanos used the Time Stone to undo her actions and tear the Mind Stone from Vision, killing the sentient android himself. Wanda disappeared — along with half the universe — during ‘The Snap’ before being restored in Avengers: Endgame; but sadly, Vision remained among the casualties of the war.
So when Marvel announced that a six-episode series called WandaVision would be added to its Phase 4 lineup, there were questions. Would it take place in the past (a popular Loki theory)? Did Vision somehow survive (like Agent Coulson in Agents of S.H.I.E.L.D.)?
Once the official trailer dropped…well…the questions just keep coming.
WATCH THE OFFICIAL TRAILER HERE:
Set to debut on Disney+ on Jan. 15, 2021, WandaVision appears to take place in an alternate dimension. Star Elizabeth Olsen told the New York Times that the series will explore Wanda as the Scarlet Witch much as she is in the comic books — including addressing the character’s mental health and illness.
The series begins in a 1950s television sitcom where the characters are blissfully unaware of the tragedy that has befallen them. Marvel literally filmed the pilot in front of a studio audience (who signed “very, very strict NDAs,” reported Entertainment Weekly).
“It is even better than it was pitched. It’s even more complicated and fun and interesting and playful than I could have ever imagined this job being,” gushed Olsen. Her co-star Paul Bettany, who plays the titular Vision character, called it “totally bonkers” with a grin.
“Our content is so different from Marvel. It’s like a conversation of American sitcom through the decades with Marvel Film and they’re constantly in dialogue with each other. So it’s really fun!” hinted Olsen.
After a decade of successful films and television series within the MCU, Marvel has earned the right to take some risks. The show will bridge itself to Doctor Strange in the Multiverse of Madness, according to Marvel Studios president Kevin Feige. Due for release in March 2022, the sequel to 2016’s Doctor Strange promises to feature Olsen’s Wanda Maximoff alongside Benedict Cumberbatch’s zany Dr. Stephen Strange.
Army veteran Russell Davies knows all about taking the big plunge back into civilian life after military service. As a member of the Army’s 101st Airborne Division, he served tours in Iraq and Afghanistan and became a recipient of the Purple Heart.
Now a professional whitewater kayaker, Davies has made a name for himself both in competition and as a dominator of the biggest, burliest whitewater on the planet.
“Yeah, sometimes Class V just isn’t enough.” “Totally.” (Go90 Oscar Mike screenshot)
“Oscar Mike” host Ryan Curtis caught up with Davies in Horseshoe Bend, Idaho, to see what a day on the water is all about, but what he found there goes a whole lot deeper.
As a civilian, Davies has given himself a new mission: to help returning veterans address the challenges of PTSD and depression through participation in extreme sports. His organization aims to connect vets to the kind of positive, purpose-driven adrenaline rush that he found through kayaking.
But, lest you fear the day was all mutual support and quiet healing, our host — true to form — came through with an 11th hour challenge that once again pushed him to the brink of washing out.
Watch as Davies shows Curtis why real men wear (spray) skirts and the only water worth knowing is white in the video embedded at the top.
Maximilian Uriarte is the renowned creator of the popular Terminal Lance comics and New York Times Best Seller The White Donkey. Uriarte’s new graphic novel, Battle Born: Lapis Lazuli, lends a raw and compelling, modern voice to the combat veteran experience. But before he did all of that, he was a Marine.
Artistry and the Marine Corps aren’t words that you typically see put in the same sentence, but Uriarte himself defies any Marine stereotype. “I’ve been an artist my whole life. I was always the kid in school drawing in the back,” he said with a smile. “I joined the Marine Corps infantry to become a better artist. I viewed it as a soul enriching experience.” He’s well aware that most people don’t use those words as a reason to join what is thought of as the toughest branch of service.
When Uriarte joined the Corps in 2006, he was adamant about becoming an infantryman – even though his high ASVAB scores allowed him to pick almost any MOS. But he shared that he wanted to do something that would shape him as a person, making him better. So, with his recruiter shaking his head in bafflement in the background, Uriarte signed on at 19 years old to become a 0351 Assaultman.
It was a decision that took his family by complete surprise, especially with the Iraq war in full swing. Raised in Oregon, Uriarte hadn’t been around the military but always knew he wanted to do something to challenge himself — something he was confident the Marine Corps would do. The year after he joined, Uriarte was deployed to the Al Zaidan region of Iraq with the 3rd Battalion, 3rd Marines from 2007 to 2008.
Uriarte deployed to Iraq once again in 2009 and this time, had the chance to be a part of Combat Camera. It was here that he really started examining his experiences as a Marine and he began developing the now infamous Terminal Lance comic strip. He launched it in 2010, five months before his enlistment with the Corps was up.
“When I put it out [Terminal Lance] I really thought I was going to get into trouble,” Uriarte said with a laugh. What sparked its creation was being surrounded by positive Marine stories, told in what he describes as an ever-present “oorah” tone. “To me, it seemed not authentic to the experience I had as a Marine Corps infantryman going to Iraq twice. Everyone hated being in Iraq, no one wanted to go there.”
The Marines loved Terminal Lance. It wasn’t long before it became a cultural phenomenon throughout the military as a whole and Uriarte became known as a hero among young Marines.
Uriarte shared that he had always wanted to do a web comic and the Marine Corps was definitely an interesting subject matter for him to dissect. “In a way, it was cathartic. The experience isn’t something most humans go through. Doing it helped me move on in a healthy way,” he said. While authoring the comic strip, he earned his Bachelor of Fine Arts degree with a major in Animation through the California College of the Fine Arts.
In 2013, Uriarte self-published The White Donkey after a successful kickstarter, which raised 0,000 for the book. A few months after its release, it was so successful it was picked up by traditional publishing and went on to become a New York Times Best Seller. The gripping graphic novel pulls back the curtain to expose the raw cost of war, especially for Marines serving in combat.
Uriarte knew he wanted to keep going and this time, wanted to take his storytelling a bit further. It was his hope that he could create something focused on the importance of human connection. Through all of this, he created Battle Born.
“It’s a story of a platoon of Marines going to Afghanistan, to fight the Taliban over the gemstone economy…. But it’s really about Sergeant King and his emotional journey,” Uriarte explained. He shared that he really wanted the character to reflect a modern day Conan The Barbarian, who he feels would definitely be a Marine.
“It’s really a meditation on the history of Afghanistan in the shadow of western imperialism, colonialism and looking at the tragic history of Afghanistan,” Uriarte said. “What does it mean to be civilized, is really the central theme of the book.”
Uriarte’s main passion is creating good stories that he himself wanted to see. He had never seen anything like Battle Born before – a Marine infantryman story that was very human grounded. “I truly believe that representation matters. It’s a lens I don’t think we’ve seen a war movie through before – the eyes of a black main character,” he explained.
Hollywood agrees: The book is currently in film development to become a live action film.
The biggest piece of advice he hopes to impart on service members getting out of the military is to use their GI Bill and go to school when their enlistment is up. “Just go and figure yourself out. It is a very safe place to decompress,” he explained. “The Marine Corps is very good at making Marines, but it’s bad at unmaking them. It’s a hard thing come back to the world and not be a Marine or in the military anymore.”
The 2018 annual suicide report found that soldiers and Marines took their own lives at a significantly higher rate than the other branches.
Uriarte struggled himself when he got out, but he found that school and writing was therapeutic for him. “When you get out, the thing Marines struggle with the most is, ‘Who am I?’ We always say, ‘Once a Marine always a Marine,’ but I think that is unhealthy,” he said. “People wonder why we have such high veteran suicides and it’s because we turn them into something they aren’t going to be for the rest of their lives.”
When asked what he wants readers to take from his work, Uriarte was quick to answer. “These are really stories of human experiences; passion, love and loss. It’s just showing that people are human and that Marines, especially, are human,” he explained. Uriarte also feels that his latest full-color graphic novel will appeal not just to those who enjoy comics, but to a wide spectrum of readers through a beautiful visual journey.
Uriarte uniquely tackles the difficulty of being a Marine and serving in the military with raw honesty and creativity through all of his work. His newest book, Battle Born: Lapis Lazuli is a deeply compelling compilation of the human experiences that affect us all.
You can purchase Battle Born Lapis: Lazuli and his other work at your local Walmart, Target or online through Amazon by clicking here.
As Hollywood’s awards season wraps up with the Oscars, it’s easy to believe that Hollywood glamour and military might are like oil and water: Two very separate worlds that only intersect on the screen.
While Hollywood might love taking military stories and putting them up on the screen, the military involvement is usually all but forgotten when the red carpets are rolled out and the glitterati are all dressed up in their tuxedos and gowns with the flash bulbs popping.
Like the military, for every high-profile celebrity, there’s a couple hundred crew members supporting them, from the always present agents and assistants, to the camera and lighting crews, and even the guys who drive the trucks and cook the food every day on set. Just as any admiral or general could never win a battle without the hard work of the brave men and women in their command, every big-name actor and director also owes their celebrity on the work of the often under-appreciated crew behind the scenes.
One of those valuable yet often under-appreciated components is that provided by the US military, which could fill an article on its own, but we’ll leave that for another day.
Among the many awards offered by Hollywood this year, one award deserves special recognition.
The California On Location Awards recognizes the contributions of the logistical backbone of Hollywood: the location professionals and public employees responsible for making filming possible. Without the contributions of location managers and public employees, Hollywood could never venture off the studio lot, and it’s the location managers who negotiate with the city, state, and federal employees in order to facilitate access to public roads, gritty alleys, exquisite mansions, alien landscapes, and the tanks, aircraft carriers, and military transports required to give any military-based project the level of realism viewers expect.
One man has been responsible for providing much of the military hardware seen on screen.
Phil receives his award from the California On Location Awards.
(Courtesy of Kent Matsuoka)
That man is Phil Strub, the recently retired Department of Defense’s Entertainment Liaison. A former Navy cameraman and Vietnam vet, he used his GI Bill to earn a film degree from USC, and was appointed to the Entertainment Liaison Desk at the Pentagon in 1989 following the phenomenal success of Top Gun; not only for Hollywood, but for DoD as well.
As the Department of Defense’s point person for any project wishing to use US military assets on screen, Phil has provided a constant bridge to Hollywood for almost 30 years. From his first project, Hunt For Red October to the new Top Gun, Phil has been a true asset to Hollywood and America.
This year, the COLAs recognized Phil’s contributions to Hollywood with its Distinguished Service Award. Presented by David Grant, Marvel’s VP of Physical Production, he praised Phil’s efforts on their films, from the first Iron Man to the eagerly awaited Captain Marvel.
While Hollywood loves to honor themselves for their own contributions, this award is a testament to Hollywood’s appreciation of all that DoD and the brave men and women who serve can provide, and for that reason, was one of the most important, under-reported award given out this year due to the morale value such awards have in sustaining Hollywood’s continued relationship with its government partners.
If there’s one thing the military does well, it’s recognizing the immense value of each and every member of its chain of command. Whether it be the individual qualification certificates, promotion ceremonies, retirement shadow boxes, or the fruit salad of ribbons on a soldier’s chest, they make a point of recognizing every individual from the lowest enlisted recruit to the five star brass, and understand that such recognition is important to unit cohesiveness and morale.
It’s a lesson Hollywood would do well to remember. It’s not just the big names that deserve recognition, but the hundreds of lesser known craftsmen behind the scenes who also deserve their 15 minutes of fame. Without them, the big names wouldn’t have anything to celebrate.
Rebecca Murga is an Army Public Affairs Officer with a passion for storytelling. Since she was commission through ROTC in 2004, documenting the stories of soldiers has become the foundation of her service.
“I became a 25 Alpha [signal officer] but at the time I didn’t realize officers don’t do the things enlisted folks do,” Murga says. “But I happened to be in a unit that didn’t have a lot of video support and they really wanted their story told, so I covered all the communications systems and all the networks in Iraq and Afghanistan.” The experience of meeting soldiers in the field and relaying their lives to viewers changed her career forever.
“I got to meet a lot of soldiers, and I think that’s where I really started to fall in love with telling these stories,” Murga recalls. “I would talk to these people on the ground. They all came from different places and had unique individual stories. I think documenting these stories is important.”
After her time in active duty, she continued serving as a contractor in the CENTCOM theater, deploying in 2011 attached to Combined Forces Special Operations Command in Afghanistan. She supported Navy SEALs and Special Forces and other SOF units doing village stabilization and cultural support. That year was the first time women were embedded with special operators in teams called Cultural Support Teams.
“Ask any Marine that was in Helmand,” Murga says. “When you can’t search a woman because of cultural sensitivities, it becomes a security problem. When you have a woman with you who can pull an Afghan woman from the field to be searched, that’s incredibly important.”
She deployed at a time when the combat exclusion rule for women was still in place. Women were not supposed to be embedded with these combat units, but the operational needs made it necessary.
Murga is now an award-winning filmmaker who has produced work for Fox, ABC, and CBS. Last year, she was one of ten selected for the American Film Institute Conservatory Directing Workshop for Women.
“The military actually gave me the courage to pursue something that I love,” she says. “It’s a struggle. It’s definitely not something that you go in to naively. You can only choose it if you absolutely love it.”
Murga’s latest work is Earning the Tab, a three-part digital series about Maj. Lisa Jaster, the third woman to graduate from the U.S. Army Ranger School.
The need for women in forward-deployed combat zones despite the rules against it, coupled with requests from those units, made Murga wonder why the controversy surrounds women graduating from Ranger school.
“It’s a leadership school,” Murga says. “It trains you how to deal with high stress combat situations. A lot of people that go to Ranger school don’t necessarily go to the 75th Ranger Regiment. They’ll get fielded out. Until this past year no women have been allowed to go to leadership schools like that. It goes to how well trained you want your force.”
Graduating from Ranger School does not automatically earn a spot in the 75th Ranger Regiment. The 75th has its own requirements and initiation processes. Murga’s point is especially important, however, because the Army’s plan to integrate women into combat functions starts with putting female officers in combat leadership positions.
“There’s talk about how they expected less from these folks and they weren’t allowed to go to certain schools,” Murga says. “But you can’t send people out to war and limit the amount of training you give. I’m talking about offering training that was not given to women.”
Maj. Jaster is a 37-year-old Army Reserve officer and engineer. She is a West Point graduate, a veteran of the wars in Iraq and Afghanistan and she was not eager to be a part of Murga’s series.
“I had to convince her,” Murga says. “It took a lot of convincing. She knew there would be backlash like ‘Oh, you only did this to be famous and you only did this because you wanted a TV show,’ but it’s historic. I suggested we just video tape her around her house, five days before and then you have it and if nothing ever comes of it, then nothing ever comes of it.”
Murga did not film Jaster in training at Fort Benning. Ranger training is closed to external media. The Ranger training footage in Earning the Tab was shot by the U.S. Army’s own combat camera troops. Murga interviewed Jaster before and after the training, with the idea of documenting it because of its historical importance. Murga was just as interested as any one else in the rumors surround Jaster: Did she really earn it? Did the Army lower the standard? Why did she want to go through something so rigorous?
“I wanted to know why this mother of two, who loves fitness, who loves spending time with her family, why she wanted to do this,” Murga recalls. “She gave me the same answer most men I talk to gave me which is ‘I wanted to just prove to myself and see if I can do it.'”
Though she did her best to strip away the politics, Murga still found the same polarization over women in Ranger training, even among her friends.
“The tricky part for me as a filmmaker was to try to tell this story in a way that was just storytelling,” she says. “It really wasn’t taking up a side or political position. It wasn’t examining the idea of women in combat, it was looking at this one school with this one woman and her experience there.”