Troops have an ironic love of Disney films. Some of them are just way too upbeat and chipper to resist, others are simply too perfect for laughing away terrible situations, and certain songs (this is especially true among troops with kids) have been forced into our heads because we’ve heard them over and over and over again.
It’s winter blockbuster season, and this year, you don’t even have to brave the snow or leave the comfort of your couch.
Ryan Reynolds stars in 6 Underground, which centers around six individuals from around the globe who have been chosen to join a tight-knit team on a mission to topple a dictator. And though they all have, you know, a particular set of skills, they’re mainly there to escape their pasts—by faking their deaths.
If that isn’t enough to convince you to switch whatever you’re watching right now—it’s a Friday afternoon, we know you’ve got Netflix open already—these are the six reasons you should settle in right now for some classic high-stakes action:
1. Michael Bay is back!
What can we say? We love action movies, and no one delivers like Michael Bay.
True to form, 6 Underground is back in the director’s seat of a high octane action flick, littered with explosions, car chases, and enough infrastructure damage to remind you that it’s pretty nice living in the real world.
2. Call outs specifically for the military community
In the beginning of the film you can see “The Operator” wearing a Black Rifle Coffee Company shirt, and in a different scene he’s wearing a Bottle Breacher shirt. It’s the little things that make his character authentic.
We’re all about authenticity with military characters, and these are the details that really make his background—even more than the training and badass moves—shine through. Civilians may not notice, but we definitely appreciate these call outs.
3. Their cast got put through their military paces/training
Of course, there was plenty of military training involved! With guns and explosions dominating the film, it’s no surprise that the case trained with one of the best—Navy SEAL Remi Adeleke, whose fascinating life story rivals those of the film’s characters.
The actors spent several weeks with Adeleke, and Corey Hawkins, who portrays “The Operator,” describes the grueling obstacle courses Remi put them through on top of weapons and ammunition training.
4. Ryan Reynolds at his finest
The man who brought you two cinematic versions of Daredevil is perfect in Michael Bay’s combo of badassery, high-stakes, and comedic timing. If you weren’t already expecting one-liners, you are now.
We have no idea how he hasn’t managed to work with Michael Bay until now, but this is an action movie match made in heaven.
5. The bad guy gets what’s coming to him
Of course you saw this coming, but we always like to see the hero overcome evil. He’s not based in reality, but, you know, that never mattered to other action movies — remember Schwarzenegger’s nemesis in Commando from the fictional country Val Verde?
Call us old-fashioned. We don’t care. We’ll be munching away on popcorn watching some sweet, sweet justice.
6. Did we mention explosions?
Explosions in explosions in explosions. Explosion-ception.
Airborne soldiers have some particular fears that most other troops don’t have to worry about. Total malfunctions of the parachute like a “cigarette roll” can cause them to hurtle into the earth at terminal velocity while mid-air entanglements can leave them with broken bones or worse.
One of their most unique fears is that of becoming a “towed jumper,” something that happens when their chute fails to separate from their static line and they are literally towed behind the plane like the pet dog from “National Lampoon’s Vacation.”
(Younger readers should not Google that reference. Instead, just imagine the worst possible version of parasailing.)
For Army Ranger Spc. Brian Hanson, the nightmare became a reality during a training jump under the stars of Fort Benning, Georgia. He and the rest of his company were under strict orders to conduct the perfect nighttime jump, to include not losing any gear.
But Hanson’s chute failed to separate and he became a towed jumper.
This left Hanson flying through the night sky as he fervently tried to keep all of his gear as close as possible despite the wind rushing over him while he dangled 1,200 feet above the surface of Benning. Watch the video above to learn how he made peace with these developments as well as the moment when he realized he was truly screwed.
There’s no doubt about it. Steven Spielberg’s 1998 war epic, Saving Private Ryan, was a masterpiece in every aspect of filmmaking. It won five of the eleven Academy Awards for which it was nominated. The immense scale of the invasion of Normandy was expertly recreated for film in a way that hasn’t been replicated since — and likely never will be.
Despite the massive war that characterizes the film, the movie’s primary conflict wasn’t between warring nations, but rather between Tom Hanks’ character, Captain Miller, and his duty to return Pfc. Ryan (as played by Matt Damon), who refuses to leave behind the brothers with whom he’d fought so far.
The film, being the masterpiece that it is, wraps the story up nicely, leaving few loose ends, but there’s that ever-burning question in Hollywood — how do you make that special lightning strike twice? How can you create another story surrounding the incomparable D-Day and find just as much success?
The truth is, simply, that you can’t. The story has already been perfectly told by one of the finest filmmakers in Hollywood at just the right moment. But that doesn’t mean that the story has necessarily ended…
What made this scene so great wasn’t the million put into it — it was Tom Hank’s reaction to everything happening around him.
As stated by Jack Knight of War History Online, there is serious interest in following-up Saving Private Ryan by continuing the story of the Rangers at D-Day and the mission that occurred at Pointe du Hoc. What made the beach landing scene so spectacular wasn’t the battle itself, but rather how the battle was seen — through Capt. Miller’s eyes.
The audience felt the immense gravity of war in a truly human way. In one moment, we’re listening to a guy joke on the landing craft; one second later, his blood is splattered on Miller’s face. This is the essence of what made Saving Private Ryan so great. World War II was just the backdrop to a more personal story, but the sheer, raw horrors of war were still very much present.
The audience saw the enemy in the distance, but the focus was entirely on the Capt. Miller. Any spiritual successor (or direct sequels) should keep that in mind.
It’s a grim reality, but it’s comforting in it’s own way.
Such a sequel, a movie that follows someone’s personal life after a major conflict, has been dreamt up before. One film, known as “the greatest war film never made,” that was to explore this theme was to be called The Way Back.
The 1955 film To Hell and Back was an amazing anomaly. It was the World War II experience of Audie Murphy, based on the autobiography of the same name that was written by Audie Murphy and David McClure, starring Audie Murphy himself. But this wasn’t the only film the war hero wanted to make. Everyone wanted to see his heroic stand on the back of the Sherman, but he never got the finances for the script that told the story of what happened after he was bestowed the Medal of Honor.
He struggled daily with post-traumatic stress. His family life was, to put it lightly, troubled. He turned to drugs and alcohol to cope with the pain. He even famously locked himself in a dirty motel room to kick his morphine addiction. He was lost in a world that wanted “him,” but not the real him. But he knew countless children looked up to him, so he put one foot in front of the other with a forced smile on his face.
This movie, were it ever made, would’ve been a powerful piece. Audie Murphy, arguably the greatest soldier to ever don a uniform, would’ve told everyone that not everything is fine when the war’s over. There’s a pain there that nobody can see, but many of us feel.
It’s not like there are too many war films out there specifically made for Post 9/11 vets. The bar is set kinda low…
War films are a dime a dozen in Hollywood and rarely will they have any impact on the public because they’re just action scenes after action scenes until the credits roll. If Hollywood really wanted a powerful message to send to the world, they could make a grounded story following the life of one of the Rangers after D-Day. Use Saving Private Ryan’s personal approach and make it about one soldier. They could keep the action scenes, but make them a background to the story of just surviving. Then, as Act II rolls around, shift the story to show how a returning soldier survives this world he left behind to fight in D-Day.
Hollywood could have their cake and eat it to while also sending a powerful message to the countless returning veterans of the Post-9/11 wars, telling them that they’re not alone.
Forty years ago, a two-day, American rescue mission launched on April 24 to free the hostages held by Iran in the U.S. Embassy in Tehran. For John Limbert, who was held hostage for more than a year during his role as a diplomat in the U.S. Embassy in Tehran, it feels like yesterday.
Last fall, the documentary “Desert One” debuted at the Toronto International Film Festival, telling the story of Operation Eagle Claw, the secret mission to free the hostages.
“For better or worse, the film does bring back memories,” Limbert told We Are The Mighty.
“Memories fade, you don’t remember all the details and particularly when you’re in the middle of it, but that was one of the powers of the film.”
Desert One is a 107-minute documentary directed by Barbara Kopple. The film gives viewers an intimate look into the military response led by then-President Jimmy Carter to rescue 52 hostages that were being detained in Tehran, Iran in the U.S. Embassy and Foreign Ministry buildings. Ultimately, the mission was aborted due to unoperational helicopters, with zero hostages rescued, eight servicemen dead and several others severely wounded. The crisis received near 24-hour news coverage and is widely considered a component of Carter’s eventual landslide loss to Ronald Reagan.
Through interviews with hostages, Delta Force soldiers, military personnel and President Carter, as well as animation done by an Iranian artist intimately familiar with the topography of the country, Kopple’s film chronicles the mission from every aspect, taking care to tell the story through people who lived it, a detail that was paramount for the two-time Academy Award winner.
“You can’t tell a story unless you have a lot of different angles of people coming at it from different places,” Kopple said. “They’re all feeling something. Whether it’s the special operators, or the hostages, or the people in Carter’s administration – there are so many different elements to it, which is also why it drew us in. We didn’t want to leave any stone unturned. Why should we tell everything about the Americans’ experience and not tell everyone about the Iranian’s experience? We’ve got to know these things exist to communicate. That’s so important. It’s a tough thing to do, but a very important thing to do.”
The ill-fated Operation marked the emergence of special operations in the American military. In 1986, Congress passed the Nunn-Cohen Amendment, citing this tragedy as part of their justification. The amendment mandated the President create a unified combatant command for Special Operations, and permitted the command to have control over its own resources.
“The film captures the best of our military colleagues,” Limbert explained. “This wasn’t a suicide mission, but that’s what it was. They didn’t have to go, but they did it. I have nothing but admiration for them. It was me and my colleagues that they were trying to rescue. They were willing to do this for people they didn’t know. It’s absolutely amazing. That’s the strength of the film. That willingness to self sacrifice so beautifully.”
Added Kopple, “What I felt is that these guys were all willing to give up their lives for the rescue. That was incredible that they wanted to get the American hostages out and they were a team. Even if one of them doubted it, they thought … well my buddies are going. They all had each other’s back — that thing inside of them not to leave anybody behind. That was their duty and that was their job.”
For Kopple, the hardest part of the filmmaking process was tracking down President Carter to speak on camera for his role in the mission and how it impacted his presidential legacy.
“I tried for three months [to get access] and there’s a guy named Phil who works for his administration who would never call me back,” she said. “So I started to have a relationship with his voicemail. I would tell them all about filming and every few days, I would call and beg him, ‘Please let us film President Carter.’ Three months had gone by and Phil called, and he introduced himself and I said, ‘I know, I’d know your voice anywhere.'”
Kopple was eventually granted just 20 minutes of access to the former president for the making of the film.
“He gave us 19 minutes and 47 seconds and we used a lot of it in Desert One,” Kopple said.
Desert One is expected to be released in movie theaters in late 2020 or early 2021, with an eventual television debut on the HISTORY channel.
“When you’re [making a film], you don’t think – where will this show?” Kopple said. “Hopefully the film presents an opportunity for Iranian and American audiences to find healing and reconcile with this very complicated history, not to stereotype people, [and] to really see who people are as individuals.”
“Everyone’s preconceived ideas of what T. rex acted like and looked like are going to be heavily modified,” Mark Norell, a curator at the American Museum of Natural History, told Business Insider. The museum just opened an exhibit devoted to the dino, called “T. rex: The Ultimate Predator.”
The exhibit showcases the latest research on the prehistoric animal. And as it turns out, these predators started their lives as fuzzy, turkey-sized hatchlings. They also had excellent vision, with forward-facing eyes like a hawk for superior depth perception. And T. rexes couldn’t run — instead, they walked at impressive speeds of up to 25 mph.
But to be fair to Steven Spielberg, only seven or eight T. rex skeletons existed in the fossil record when his classic movie was produced in 1993. Since then, a dozen more skeletons have been discovered, and those bones have changed scientists’ understanding of the creatures.
Here’s what the T. rex was really like when it hunted 66 million years ago, according to the experts at the AMNH.
Henry Osborn, Fred Saunders, and Barnum Brown on the AMNH scow Mary Jane, 1911.
1. The first T. rex skeleton was discovered in 1902 by Barnum Brown, a paleontologist with the AMNH.
Today, the institution boasts one of the few original T. rex skeletons on display.
Tyrannosaurus rex — from the Greek words for “tyrant” and “lizard” and the Latin word for “king” — lived between 68 million and 66 million years ago, during the late Cretaceous period (just before the asteroid impact that ended the era of the dinosaurs).
2. The T. rex rocked a mullet of feathers on its head and neck, and some on its tail too.
Feathers are rarely preserved in the fossil record, so they haven’t been found on a T. rex specimen. But other dinosaur fossils, including other tyrannosaur species and their relatives, do have preserved feathers.
That means paleontologists can “safely assume” T. rex had feathers as well, Norell said.
Though adult T. rexes were mostly covered in scales, scientists think they had patches of feathers on attention-getting areas like the head and tail.
3. T. rex hatchlings looked more like fluffy turkeys than terrifying predators.
T. rex hatchlings were covered in peach fuzz, much like a duckling. As they aged, they lost most of their feathers, keeping just the ones on the head, neck, and tail.
Most hatchlings didn’t survive past infancy. A baby T. rex had a more than 60% chance of succumbing to predators, disease, accidents, or starvation during its first year of life.
4. T. rex had a fairly short lifespan by human standards. No known T. rex lived past the age of 30.
The T. rex was like “the James Dean of the dinosaurs,” said Gregory Erickson, a paleontologist from Florida State University who consulted on the museum’s new exhibit.
The Hollywood actor, often connected to the famous quote “Live fast, die young, and leave a good-looking corpse,” died in a fiery car crash at the age of 24. T. rexes, similarly, were spectacular but died quite young.
Paleontologists can estimate the age that a dinosaur was when it died by analyzing its fossilized bones, which have growth rings that correspond to its age, much like trees. Experts can count the number of rings to determine its age, as well as compare the spaces between rings to find out how fast the dinosaur was growing at different ages.
5. A T. rex grew from a tiny hatchling to a 9-ton predator in about 18 to 20 years, gaining an unbelievable 1,700 pounds per year.
A full-grown Tyrannosaurus rex weighed about 6 to 9 tons. It stood about 12 to 13 feet tall at the hip and was about 40 to 43 feet long.
6. The “king of the dinosaurs” evolved from a larger group of tyrannosaurs that were smaller and faster.
While the T. rex emerged about 68 million years ago, its tyrannosaur ancestors were 100 million years older than that.
The tyrannosauroidea superfamily consists of two dozen species spanning more than 100 million years of evolution.
7. That evolutionary lineage might explain why T. rex had tiny arms.
For earlier tyrannosaur relatives with smaller bodies, these tiny arms were long enough to grasp prey or pull food into their mouth.
“The earliest tyrannosaur species had arms that were perfectly proportioned,” Erickson said.
He said he thinks T. rex’s puny arms were vestigial — a body part or organ that no longer serves a function but is nevertheless retained (kind of like a human’s appendix or wisdom teeth).
8. An adult T. rex didn’t need its arms to hunt — its massive jaws, filled with sharp teeth that constantly grew back, were enough.
“T. rex was a head hunter,” Norell said. The predator had the rare ability to bite through solid bone and digest it.
Paleontologists know this from the dinosaur’s fossilized poop; they’ve discovered T. rex feces containing tiny chunks of bone eroded by stomach acid.
9. The force of a T. rex bite was stronger than that of any other animal.
No other known animal could bite with such force, according to museum paleontologists.
10. T. rex was also a cannibal.
Scientists are pretty sure that T. rex ate members of its own species, but they don’t know whether the dinosaurs killed one another or just ate ones that were already dead.
Arguments about whether the dinosaur was a hunter or a scavenger have raged over the years, but “a bulk of the evidence points to T. rex being a predator, not a scavenger,” Erickson said. “It was a hunter, day in and day out.”
What Did a Baby T. rex Look Like? ? Find out in T. rex: The Ultimate Predator (Now Open!)
11. The predator had a keen sense of smell, acute vision, and excellent hearing, making it hard for prey to avoid detection.
When “Jurassic Park” came out in 1993, scientists knew only that the T. rex was big and carnivorous and had a small brain, Erickson said.
But now paleontologists know that the dinosaur had some of the largest eyes of any land animal ever.
About the size of oranges, T. rex eyes faced forward like a hawk’s and were spread farther apart on its face than most other dinosaurs’ eyes, giving it superior depth perception during a hunt.
12. One of the biggest differences between the museum’s depiction of T. rex and the images in popular culture is that the real animal appears to be much svelter.
The new model shows a T. rex with even smaller forelimbs than previous ones and more prominent hind limbs.
According to museum paleontologists, an adult T. rex walked with fairly straight legs, much like an elephant. Walking with bent legs would have placed immense stress on its bones and joints, quickly exhausting its leg muscles.
13. So unlike the creature in “Jurassic Park,” the real T. rex couldn’t run. It just walked quickly.
An adult T. rex had a long stride, helping it reach speeds of 10 to 25 mph. But the dinosaur never reached a suspended gait, since it always had at least one leg on the ground at all times.
Juvenile T. rexes, which weighed less than an adult, could run.
14. There are still a few lingering mysteries about T. rex, including what color it was.
In movies and illustrations, the animal is often depicted in drab colors, similar to those of a crocodile. But the new museum exhibit suggests that, since reptiles come in every color, the T. rex could have been brightly colored.
It’s also challenging for experts to determine the sex of the T. rex skeletons they dig up, leaving questions about differences between males and females unanswered as well.
15. Scientists aren’t sure what T. rex sounded like, but the best guesses are based on the dinosaur’s closest living relatives: crocodiles and birds.
A 2016 study suggested that T. rex probably didn’t roar, but most likely cooed, hooted, and made deep-throated booming sounds like the modern-day emu.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
Chapter 16 “The Rescue” absolutely nailed three things: fight choreography, music, and Star Wars lore. It was so good, in fact, that I don’t know how the show will ever be able to top it, but if nothing else, season two showed that creator Jon Favreau is hitting his stride.
Spoilers through season 2 episode 8 ahead.
The hunt for Grogu the Yoda Baby is on.
The episode opens with a successful attack against Dr. Pershing’s transport ship, where Alderaan native Cara Dune faced an Imperial soldier who had proudly been aboard the first Death Star when it destroyed her planet. After exploring so many enslaved Stormtrooper stories in Episodes VII-IX, it’s nice to face an enemy with violent ideals that deserve to be quelled again.
Anyway, he’s dead now.
For Alderaan. #NeverForget (The Mandalorian, Disney+)
With Dr. Pershing (Omid Abtahi) and his ship captured, discovering the location of Moff Gideon (Giancarlo Esposito) becomes easy work. Din Djarin (Pedro Pascal) recruits the help of some old friends, the Mandalorians Bo-Katan Kryze and Koska Reeves (Mercedes Varnado) and they devise their plan: fly the transport ship to Gideon’s cruiser under pursuit by Boba Fett’s Slave II. Once on board, Kryze, Reeves, Dune, and Fennec Shand (Ming-Na Wen) will attack the bridge and subdue Gideon while Djarin shuts down the Dark Trooper activation and rescues the child.
Again I want to iterate, the fight sequences are just plain fun in this episode. The Mandalorian armor means new fight tactics and choreography, and the stunt coordinators really capitalized on each fighter’s different attributes. At one point Dune’s weapon jams and she just starts pummeling Stormtroopers with it like a baseball bat.
When Djarin makes it to the Dark Trooper bay, he’s a heartbeat too late: one Dark Trooper manages to open the blast door. Director Peyton Reed really nailed some of the camera shots here while Ludwig Göransson’s score is better than ever. The Dark Trooper music really is bitchin’ — it almost reminds me of Daft Punk’s Tron: Legacy work.
“Siri, play Dark Trooper music” (The Mandalorian, Disney+)
Here we get to see the full strength of the Dark Troopers. Djarin really struggles to defeat just one — his Beskar armor is the only thing keeping him alive. Meanwhile, the rest of the platoon pounds the blast doors, breaking through at any moment. Finally, Djarin’s Beskar spear destroys the Dark Trooper and he opens the external launch door and sucks the troopers out into space.
The women successfully take the bridge…but no Moff Gideon. Instead, Djarin finds him in Grogu’s cell, holding the Darksaber over the little guy’s head. Djarin fights Gideon and manages to defeat and disarm him before marching him to the bridge.
Here, things get interesting. All Bo-Katan has been wanting is to find Gideon and reclaim Darksaber, which will give her the right to rule the throne of Mandalore. Unfortunately, it turns out that she needed to have won the saber in combat — much like the Elder Wand in Harry Potter. As Djarin was the one who took it from Gideon, Bo-Katan refuses to accept the saber when Djarin yields it back to her.
Put a pin in that.
Cool weapons never get old. (The Mandalorian, Disney +)
This is when the platoon of Dark Troopers returns, boarding the ship and making quick work of the blast doors. Our group of heroes will never be able to take them…but we know from last week’s episode that a Jedi is coming…
…and sure enough, one does. The reveal is as predictable and f***ing satisfying as it could have possibly been. An X-Wing fighter appears outside the ship. Through the security footage we see a robed figure emerge and begin to battle the Dark Troopers. Finally, we see the green blade.
One by one, the Jedi and his lightsaber destroy the Dark Troopers. Little Grogu feels his presence and watches the footage with curiosity. Finally, he enters: Luke Skywalker.
Recently there’s been speculation about Sebastian Stan playing Luke Skywalker — the resemblance is uncanny and Stan (aka Marvel’s Bucky Barnes/The Winter Soldier) is already beloved by Disney audiences. But Favreau decided to go with a CGI version of Mark Hamill — and it’s the best CGI real human to date. Very little uncanny valley detected here.
In a heartwarming scene, Luke promises to protect Grogu with his life and train him to use the Force. Djarin removes his mask and Pascal delivers a fantastic and moving performance (considering there were so few words and he was holding a doll) as he says goodbye.
R2-D2 shows up and is cute as shit. Luke takes the baby. The day is won.
Okay, remember that pin? Let’s talk about it.
The first two seasons have all been about Djarin protecting the child. Now that Grogu is off to Luke’s Jedi Temple, what will Djarin do? Well, I have a feeling he’ll be diving deeper into his Mandalorian roots. Bo-Katan wants to rule and restore the Mandalorians — and she wants to do it with Darksaber. Will she become a nemesis to Djarin? Will they solve the ownership of the Darksaber with a friendly duel? I guess we’ll find out in season three!
Oh, and make sure you check out the post-credits for a fun little revenge scene.
The Warriors was controversial when it was released in 1979. Some critics panned it for stilted dialogue and lazy writing; President Ronald Reagan enjoyed it so much he had it screened at Camp David. The story of a street gang fighting its way through New York City to make their way home continues to captivate audiences today. But how many people know the book that the movie was based on?
The Warriors is based on the novel of the same name by Sol Yurick. However, Yurick’s work is based on the ancient Greek philosopher Xenophon’s Anabasis. Anabasis is Xenophon’s autobiographical account of the march of the Ten Thousand mercenaries through Asia Minor (modern Turkey).
In 401 BC, the Persian emperor was Artaxerxes II. His brother, Cyrus the Younger, had spent years preparing to seize the throne and was now primed to strike. Cyrus hired Xenophon’s Ten Thousand to march through Asia Minor and meet up with his own army in Mesopotamia so Cyrus could overthrow Artaxerxes.
Fans of the movie can probably guess how Cyrus’s plans turned out. At the Battle of Cunaxa the rebels were defeated and Cyrus was killed, leaving Xenophon and the Ten Thousand stranded in enemy territory with a furious emperor on their heels.
Anabasis (a Greek word meaning “a march up country”) details the experiences of Xenophon and the remaining Ten Thousand during their march north through Mesopotamia. The army was traveling to the Black Sea, where the Greeks could escape to their own coastal cities. Xenophon and his men were forced to fight their way home through hostile forces in one of the Western world’s first nonfiction adventure stories.
The Warriors follows Xenophon’s narrative rather closely. The film begins as Cyrus, a powerful gang leader in New York, calls a meeting of all the city’s gangs to work together and overthrow the police. However, Cyrus is assassinated and the blame falls on the Warriors, another gang which now has to fight its way to their turf of Coney Island through gangs and police alike.
The parallels between the Warriors and the Ten Thousand are striking. The Ten Thousand consisted mostly of hoplites, Greek soldiers who formed an interlocking wall of shields in a rectangular formation called a phalanx. The strength of the phalanx was the strength of the men holding it up; if one man broke formation, then everyone was put in danger. Similarly, the Warriors depend on each other to survive their perilous journey through New York. In both narratives, the soldiers or the gang members cannot survive without one another.
The Anabasis was widely influential throughout ancient Greece. According to some ancients, the Anabasis inspired King Philip of Macedon to conquer Greece. Xenophon’s descriptions of the Persian landscape were so detailed that supposedly, Philip’s son Alexander the Great used the Anabasis to navigate his own invasion of the Persian Empire.
Hundreds of years later, the parallels between Xenophon and Alexander were still being noted by the Greeks. Arrian of Nicomedia titled his histories of Alexander The Anabasis of Alexander and wrote it in seven books, just like Xenophon.
Unfortunately, The Warriors was also an inspiration for violence. The film was popular with street gangs, who would often encounter each other going to or coming back from the movie. There were three killings in the weekend after the release of The Warriors.
The violence did not stop the film from becoming a commercial success. The film made .5 million on a million budget, and in recent years became a cult film that currently holds a 90 percent approval rating on Rotten Tomatoes.
The Warriors, like the Anabasis, is a classical tale of companionship, survival, and homecoming, that continue to be popular in the modern day. The next time you watch this classic film, remember that there were real people for whom that ending walk on the beach meant home.
James Bond isn’t quite as deadly on the screen as he was when we all played him on Nintendo 64’s legendary Goldeneye 007 video game, but he still made short work of any number of psychotic evildoer in the name of Her Majesty the Queen. As a matter of fact, the world’s most non-secret secret agent has killed so many people over the years it would take 38 minutes to see them all.
Luckily, someone compiled all those kills for us.
While they didn’t include a count of clever puns, we can be reasonably sure the numbers mirror one another. But there is one other thing the video didn’t break down: who was the deadliest Bond? Unless George Lazenby went on a murder rampage in On Her Majesty’s Secret Service, my guess is it was probably one of the other five.
Here they are, the deadliest Bond by average kills per movie.
1. Timothy Dalton
Timothy Dalton takes a hard fall at number five here, with only two movies and 20 kills, giving him an average of 10. But Dalton does get two of the most interesting kills, one for killing someone by sealing them in a maggot-filled coffin and another kill where the murder weapon is a bust of the Duke of Wellington.
2. Sean Connery
Connery had two runs as the dashing secret agent hero, with a total of seven Bond films and an average kill count of 12.5. If Connery’s Bond is in some way riding in a motor vehicle, look out: chances are good that someone is going to meet their maker very soon.
3. Daniel Craig
While Craig may not be the deadliest Bond, he is definitely the drunkest, averaging at least five drinks per movie.
Film and Television.
4. Roger Moore
Roger Moore’s Bond is long-known to be both the quippiest and at times creepiest Bond, but he’s also the second deadliest. The Bond films with the least number of kills, The Man With The Golden Gun, and the most number of kills, Octopussy, are both Roger Moore films. Still, it wasn’t enough because even if you take out the one-kill outlier, it’s not enough to catch up with…
5. Pierce Brosnan
Pierce Brosnan’s Bond was Murder, Incorporated, far outpacing the kill rate of his nearest competitor (including one of Sean Bean’s onscreen deaths). Keep this man away from any kind of explosives or firearms, almost every time he touches one, someone in the movie goes to walk with god.
Warning: Major spoilers below. Do not read if you haven’t seen “Spider-Man: Far From Home.”
Director Jon Watts calls “Spider-Man: Far From Home” a “con movie,” and if you’ve seen it already, you know exactly why. The movie uses the audience’s collective knowledge of the Marvel Cinematic Universe to present a story that completely messes with their heads.
From the real motives of the movie’s villain, Quentin Beck (aka, Mysterio; played by Jake Gyllenhaal), to the surprise cameos, “Far From Home” is a rapid-fire series of twists, all the way to the post-credit scene.
And Watts said that sleight-of-hand feel was ingrained in the project from the development phase — which began just weeks after “Spider-Man: Homecoming” opened in theaters in 2017 — because of the movie’s villain.
“It was such a core concept because it’s Mysterio’s whole philosophy,” Watts told INSIDER. “When you’re dealing with a character who works in illusions and deception, that’s going to be one of the major themes.”
So Watts beefed up on his con movies, specifically spending a lot of time studying “The Sting” and “The Usual Suspects,” and embarked on telling a unique Marvel movie, one where almost everything is not what it seems.
Below, Watts gave INSIDER insight on 6 of the biggest spoilers in “Far From Home,” including stuff you may not catch until you see the movie again.
(Jay Maidment/Sony Pictures)
1. The moment Watts knew the bar scene, in which Peter Parker hands over the E.D.I.T.H. glasses to Mysterio, would work.
Halfway through the movie — after Spider-Man (Tom Holland) and Mysterio defeat one of the Elementals — the two have a celebratory drink at a bar. The scene gradually becomes a dramatic moment in which Peter Parker questions if he has what it takes to be a superhero like his idol, Iron Man. He even doubts if he’s worthy to have the high-tech E.D.I.T.H. glasses that Tony Stark had Nick Fury give him earlier in the movie. By the end of the scene, Parker hands Mysterio the glasses, which have an AI embedded in them that can power all of Stark Industries’ weapons.
But once Parker walks out of the bar, it’s revealed that Mysterio played a huge trick on him. The bar was actually an illusion. Many of the patrons were working for Mysterio and the decor was all artificially projected by clones (they were actually sitting in an abandoned storefront). It was all a con job to get the glasses from Parker so Mysterio could have control of Stark’s high-tech weapons. Even the Elementals Spidey was battling was an illusion put together by Mysterio.
The ambitious scene was one Watts knew had to hit perfectly with the audience if the movie was going to work.
“The movie hinges on that scene,” Watts said. “It’s a culmination of Mysterio’s con. I anticipate that a lot of people will know that Mysterio is the villain, they aren’t just exactly sure how or why.”
Watts said there were not multiple versions of the scene shot. What you see in the movie is how the scene was scripted. And though he spent months with the screenwriters getting the scene to feel right, he wasn’t convinced it would work until Holland and Gyllenhaal got their hands on it.
“What’s great about working with actors like Tom and Jake is that they bring it to life,” he said. “They have to make sure that none of it feels false. I remember the first time we ran it, we tweaked a couple of lines but as soon as they started going through it between the two of them, it was a huge relief for me. It was one of those moments where you have talked about it a lot and prepared so much, but it has to come to life with the actors or the whole movie feels false.”
2. The bar scene is also filled with hidden messages to influence Peter Parker to give up the glasses.
The whole trick with the bar scene is Mysterio has to get the glasses without ever asking for them. Peter has to be the one who hands them over. Watts said to drive that home, along with watching how classic con movies from the past have done it, he also studied how deception is done on people in real life. And his major takeaway was visual persuasion.
“You may not have caught this, but all the things on the wall behind Quentin [in the bar scene] are things that feed into the idea that Peter would hand the glasses over to him,” Watts said. “So even the art direction is part of the con. There’s military medals, that sort of helps remind Peter what Quentin said about being a hero soldier. There’s a picture of glasses, again, embedding that idea. So there are all these things in the background of the bar in Peter’s eye line that will subconsciously motivate him to hand these glasses over.”
Did you catch any of those visuals? Keep an eye out for them in the bar scene next time you see the movie.
3. The origin of “The Blip” term.
One of the funniest moments in the opening of the movie is the reveal of the term “The Blip,” which refers to people who were affected by Thanos’ snap that happened in “Avengers: Infinity War” and then came back after the events in “Avengers: Endgame.”
Watts said it was something that they came up with while writing the movie.
“We had our own logic,” he said. “‘The Snap’ was what made everyone disappear, but for everyone who came back it was like no time had passed. So we felt, ‘It’s just like a blip to them.’ That’s just how we started talking about the passage of time. And we also felt it was just a funny phrase to refer to this devastating event.”
And thanks to the term, a running joke came out of it.
Though The Blip felt like just moments for people affected, they were actually gone for five years. So they came back five years older. It does wonders for one of Peter Parker’s high-school classmates, Brad (Remy Hii). Pre-blip he was a short geek, but in those five years, he hit puberty and post-blip he’s a hunky stud clashing with Parker for MJ’s (Zendaya) affection.
4. Quentin Beck is behind some of the most memorable Stark Industries tech, but never got the credit.
Another great thing about the bar scene is that it gives us Mysterio’s backstory. And it’s steeped in MCU lore.
It turns out he’s the one who created B.A.R.F., the binary augmented retro-framing tech Stark shows off in the beginning of “Captain America: Civil War” — though it was Stark who came up with the silly name (and took the credit).
Mysterio’s past in the movie is a little different than his origin in the comics. In the pages of “The Amazing Spider-Man,” Quentin Beck is a special-effects wiz and stunt man who turns to crime when his dreams of making it big in Hollywood fizzle out. But for the movie, Watts realized that Beck would fit perfectly in the MCU if he made him a bitter former employee at Stark Industries.
“The idea around that was we knew Quentin would have a relationship with Tony,” he said. “The illusion tech that Quentin uses, we’ve actually seen it in the Marvel universe from the beginning. Tony has always dealt with holographic tech, but it’s never been said who made it. And then it really comes to the fore in ‘Civil War.’ But Tony didn’t make it. He doesn’t build all the Stark tech on his own, there’s a whole organization that does it. So we thought that would be how Mysterio pulls this all off. Once that clicked, then we just decided he would have a team of disgruntled Stark Industries employees. We used that B.A.R.F. flashback as a jumping-off point.”
5. The return of J. Jonah Jameson.
The mid-credit scene in “Far From Home” is a fun moment for those who were fans of the Sam Raimi movies, as the beloved character J. Jonah Jameson makes a cameo. And like those movies from the early aughts, actor J.K. Simmons returned to play the role.
In the scene, Jameson is not the loud-mouthed editor of the Daily Bugle, but a loud-mouthed host of an Alex Jones-like TV show. In the middle of Manhattan, Jameson appears on a billboard and shows shocking footage of Mysterio, just before his death (which he doctored to make it look like Spider-Man killed him), revealing the true identity of Spider-Man: Peter Parker.
“It made so much sense in the context of the story we were telling,” Watts said of bringing back Jameson. “We knew we wanted Mysterio to be the one who revealed Peter’s identity and it had to be on the news, so we felt if it’s on the news it has to be the Daily Bugle, and if it’s going to be the Daily Bugle, it has to be J.K. Simmons. There was never any question about. And if he didn’t do it, we weren’t going to do it. We would have come up with something else.”
But why make Jameson a TV personality? Watts said putting him on TV instead of overseeing a newspaper was just commenting on the times we live in today.
“He’s still doing a very similar character to what he was doing in the Sam Raimi movies, but now there’s just a real-world comparison that there wasn’t before,” he said. “It’s less that he has changed and more that the world has changed.”
6. Nick Fury and Maria Hill were really Skrulls.
“You didn’t see that one coming, right?” Watts asked with a laugh.
We certainly did not. In the scene that immediately follows the end credits, we are given the movie’s biggest con: Nick Fury (Samuel L. Jackson) and fellow S.H.I.E.L.D. member Maria Hill (Cobie Smulders) were really Skrulls the entire movie. Yes, Skrulls, those shape-shifting beings we were introduced to in “Captain Marvel.”
It turns out Talos (Ben Mendelsohn) and one of his compatriots came to Earth with instructions from Fury (who we learn is lounging out in space on a big ship) to hand deliver the E.D.I.T.H. glasses to Peter Parker. Clearly things got a little complicated. But it is a fun coda for a movie that completely messes with the audience.
“Once you get into the vocabulary of a con man movie like this, I feel you have more leeway to just keep doing reversals like that,” Watts said. “Everyone is lying. Everyone is hiding something. No one is who they seem. It just made sense that at the end of it we would do this. As we were developing the story, there was always a lingering question of, ‘But, how could anyone fool Nick Fury? His super power is being skeptical.’ But we knew he needed to be fooled in order to make the story work. So as soon as I saw ‘Captain Marvel’ it became obvious how we do it.”
Watts added: “When you watch the movie again with this knowledge about the Skrulls there are some fun things you will catch, especially Fury’s dialogue.”
This article originally appeared on Insider. Follow @thisisinsider on Twitter.
When you talk about a career after military service, oftentimes the conversation veers toward opening a small business, going back to school for a degree or entering the corporate world.
But for a select few, it can mean more of the same — and sometimes a lot more than they’d ever bargained for.
That’s what happened to Bill Fulton when he left the Army after an accident blew out his knees. Not satisfied that his days of working with soldiers would be over, Fulton started a military surplus business in the wilds of Alaska.
And he had no idea just how wild it would eventually get.
Dubbed the “Drop Zone,” Fulton’s store in Anchorage eventually became a kind of sanctuary for fellow vets — sharpshooting hippies, crew-cutted fundamentalists, PTSD sufferers — all seeking purpose and direction.
But the Last Frontier is vast wilderness, the perfect refuge for fugitives, and the perfect place for vets itching for a mission. So Fulton and his crew formed a fugitive recovery business, nabbing bad guys for law enforcement across the state. In the end, more than 400 fugitives would meet Fulton and company on the wrong end of a gun.
Maybe it was the dark or the cold or the isolation, but Alaska provided a never-ending stream of violent felons, meth cookers, heroin dealers, and thieves. For Fulton and his fellow vets, reminding these fugitives they weren’t above the law, and going out with guns in hands to bust bad guys was way more therapeutic than laying on a couch talking about the war.
From tiptoeing through cracking snow on a bust to confiscating a fugitive’s handgun from the place “where the sun don’t shine,” Fulton and his crew had their share of adventure. But it all came to a head when the FBI asked the Army vet to go undercover to blow the lid off of a separatist leader and his band of crooks.
That’s when his raid focused on a small house in Wasilla, Alaska, home of 2008 vice-presidential candidate Sarah Palin. What he found there was a lot more than Fulton and his band had bargained for.
But “Blood of Patriots” is about a lot more than guns and glory, it’s about a team of men who came together in the remotest corner of the U.S. to bring justice to those who avoided it. Guys like “Suicide,” who had an “act first and think later” mentality.
And “Clay Aiken,” who got his country-singer handle from his Southern drawl. Everyone loved Clay and trusted him with their lives—but not their women.
The ironically-named and always mopey “Sunshine” spread his Eeyore vibe wherever he went. The Big Mexican was both, and came to snowy Alaska from East LA via the military.
And then there was “Gunny,” a six-foot-four brick sh@thouse of a man, who stood in a doorway like a solar eclipse, with thick, black, coiled tribal tattoos creeping up his neck and out the bottom of his black leather trench-coat sleeves.
Gunny was a former Marine who worked for a three-letter government organization he wouldn’t name, disappearing for months on special ops missions to parts unknown.
“Blood of Patriots” is the kind of adventure story that makes you wonder if fact really is stranger than fiction, but it also reminds you that some of our fighting men and women carry on the call long after their military service ends.
Bill Fulton’s “Blood of Patriots” is available on Amazon.com.
The Armed Forces Network provides American troops, their families, and government contractors with a nice slice of the American media and entertainment from back home. But because the way the Armed Forces Radio and Television Service (AFRTS, and yes, it is pronounced like “a farts”) is run, the programming needs to remain neutral, balanced, and ad-free.
AFRTS is a nonprofit enterprise owned by the U.S. government. It does not and cannot air commercials during its programs. This is to avoid looking like any company has the endorsement of or sponsorship from the Department of Defense. Television shows are created with three commercial gaps in mind and, on AFN, these get replaced with public service announcements and command information spots that are just comically bad.
AFN does run PSAs from the Ad Council that are actually high-quality and are made with great care. The Ad Council is a nonprofit organization that works heavily with agencies of the U.S. Government. Because they’re meant to raise awareness on non-partisan issues, they’re allowed to play on AFN.
They’re intended for general audiences and need to have the quality to compete against a paid advertisement. This is why troops still see ads for McGruff the Crime Dog while they’re trying to catch the latest episode of Game of Thrones.
Which brings us to the most ill-received commercials: the command information spots. To put it bluntly, the top priority is to get the message across. This can range from just a Drill Instructor telling you to wear a seat belt to ads like Squeakers, The OPSEC Mouse.
It’s funny the first time, but watching the same ad every time you go to the chow hall will rot your brain. This isn’t the fault of the creators: The budget just isn’t there, the equipment is dated (if there at all), and deadlines are tight. A typical AFN commercial request comes down from command with little more than a call to action and a quick turnaround demand. Some of the nicer AFN commercials are made at Fort Meade, while the less-polished ones are made overseas. Both are created by civilian talent and troops with film-making aspirations.
When it comes time to create a new ad, brainstorm meetings are held to come up with something that’s memorable — that’s the key to all of this. It can be goofy. It can be weird. It can even be about a man in a Batman mask running around Bagram Airfield, shaking people down for breaking rules — as long as you remember the message.
That said, the military’s got gear that might give Zordon (played by Bryan Cranston) some inspiration.
1. M1A2 Abrams tank
This is one tough vehicle. In “Armored Cav,” Tom Clancy related the tale of how one Abrams tank survived being hit multiple times by T-72 main gun rounds from as close as 400 yards!
The Abrams also has superb firepower in the form of its 120mm main gun, a M2 .50-caliber machine gun, and two M240 7.62mm machine guns. In essence, this tank is already a Zord in many respects.
Might as well make it official.
2. B-1B Lancer
This plane carries a lot of firepower – 84 Mk 82 500-pound bombs – and that is considering that its external weapons carriage was disabled as a result of the United States signing the Strategic Arms Reduction Treaty. The plane is also fast, and capable of flying at treetop level.
3. A-10 Thunderbolt
There is no reason why the A-10 – and its ability to BRRRRRT the bad guys with the GAU-8 — shouldn’t be a Zord. It is very tough (remember how Kim Campbell brought back a busted-up A-10?). It also carries a lot of bombs.
Put it this way — even a skyscraper-sized minion of Rita’s would be hard-pressed to stand up against a squadron of baseline Warthogs, but against an A-10 Thunderbolt Zord?
4. M270 MLRS
This vehicle gets the nod for its firepower. The various rockets it fires can spread bomblets or a unitary charge. That ruins the day for infantry and enemy vehicles, but when it uses the MGM-140 ATACMS – or the Army Tactical Missile System – it could probably put the hurt on one of the skyscraper-sized monsters as well.
5. M50 Ontos
This is more a blast from the past. That said, the six 106mm recoilless rifles provide a huge punch. The rifles could fire anti-personnel or anti-tank rounds.
In Vietnam, the Ontos was deadly against enemy infantry – and given that the fighting against Rita’s minions is likely to involve a lot of hand-to-hand fighting (until she calls in her big guns), the Ontos makes sense.
6. M1097 Avenger
A lot of this has been focused on the air-to-ground aspect. But it never hurts to be ready for some ground-to-air action. DefenseNews.com notes that Boeing is proposing some upgrades to the baseline Avenger, notably the AIM-9X Sidewinder and the Longbow version of the AGM-114 Hellfire.
Now, we have no idea what any Megazord from these vehicles would look like, but given their firepower – would they need a Megazord configuration? We doubt it. We’d also like to know, what military vehicles do you think Zordon should use as the basis for his next generation of Zords?