But really, spoilers for The Mandalorian Chapter 12 ahead.
Let’s start with a bit of non-linear history. In the first season of The Mandalorian, we were introduced to the Yoda Baby — an “asset” sought out by the remnants of the Galactic Empire under the orders of Moff Gideon (Giancarlo Esposito). We knew Gideon and his scientist Dr. Pershing (Omid Abtahi) were using the child for experiments and we knew of course that the Yoda Baby has a powerful affinity for the Force, but we didn’t know what the connection was.
Let’s jump to the beginning of The Siege, shall we? Din Djarin and his little charge are working to repair the Razor Crest. Djarin’s got the Yoda Baby in a small compartment trying to re-work some electrical lines. This had me wondering, from a cognitive perspective, how old the Yoda Baby is meant to be here. I know he’s fifty years old (and we know that Yoda lived to be nearly 900 years old) but what’s the age that you would try having your kid accomplish a dangerous task where he can sort of understand your directions but not completely and he can’t speak yet? I’m not a parent, but, like, is this like dealing with a two year-old?
Anyway, after electrocuting the infant they realize they need some help so they head back to Nevarro. We meet some ballsack aliens Aqualish thugs gearing up to murder a cute alien muskrat. Luckily Cara Dune — Nevarro’s new Marshal — returns in time to save the little feller.
Dune and Greef Karga (Carl Weathers, also the director of this episode) have a little side-mission for Djarin while he waits for his ship repairs: they want his help in destroying a nearby Imperial base. (My Dungeon Master pointed out that each episode of The Mandalorian is like a DND session and it made perfect sense. I think that’s also the series’ greatest struggle — the connecting lore isn’t quite strong enough to throw us all around the galaxy with random characters and missions.)
They leave the yoda baby with the other school children (which basically just endangers the other children, right? When has the yoda baby literally EVER not been attacked?) and we are given some new Yoda Baby meme-fuel when he steals a kid’s macaron. Plus now we can eat macarons at Star Wars parties.
Djarin, Dune, Karga, and Mythrol (Horatio Sanz), who was once a target for Djarin and is now an indentured servant of Karga — and the butt of too many bad jokes — head off to the base. Thanks to The Rise of Skywalker, every time I see Stormtroopers die, I wonder if they’re child soldiers. I still hate that JJ Abrams did that to me. Gina Carano’s gleeful little cheers whenever she kills one don’t help.
So here we are back to the controversial little midi-chlorians, introduced to aghast Star Wars fans during The Phantom Menace. The higher a creature’s “m-count,” the more Force-sensitive they are. Here at the base, which turns out to be a laboratory, we learn that Pershing desired the Yoda Baby for his high m-count in order to conduct his experiments.
It looks like Moff Gideon is trying to create a unit of Force-sensitive combatants, which is why he’s so eager to recover the Yoda Baby. After a very Star Wars-y canyon chase and TIE Fighter aerial battle (seriously, how amazing is Star Wars sound design? TIE Fighters sound so cool and distinct), the remaining Imperials are defeated and all is well.
The final scenes reunite us with New Republic pilot Captain Carson Teva (Paul Sun-Hyung Lee), who attempts to recruit Dune to the cause, and introduce us to a new adversary, an Imperial Comms officer (Katy M. O’Brian) who ordered a tracking beacon attached to Djarin’s Razor Crest.
It’s easy to laugh at Hollywood when filmmakers use a basic blueprint to create one-dimensional “war hero” characters who are clearly clobbered together using stereotypes. But that got us thinking: What if Hollywood sees something in our military and veteran community that we’re too close to see for ourselves?
We talk so much about the disconnect between being a member of the military or being a civilian. It’s easy to see the differences and spotlight them – from language to attitude to what we choose to wear, a veteran always knows another veteran. But can a civilian spot one, too? Or is our community reduced to what film portrays us to see?
To help answer these questions, we turned to some of our favorite war movies and took a critical look at the main characters. We explored how they were presented – either as the hero, the anti-hero, the wildcard, or the leader, and then tried to distill what Hollywood is saying about us. What we discovered was pretty surprising. It turns out that Hollywood might just be onto something when they give us characters like Lt. Aldo Raine in Inglorious Basterds.
Here are the 5 most common archetypes we found in film.
Goose’s character in Top Gun did a lot to create this sort of irreverent service member who always has something quippy to add to briefs. Of course, we all know this person in real life, but the military is all about doing what we’re told to do, so when we see these jokester characters, it doesn’t totally ring true.
Ask civilians, and they’ll tell you that everyone in the military is just like Rambo … or at least, wants and tries to be as Rambo-esque as possible. We all know the type: a gym bro who spends all his extra hours building tree trunk thighs and a thick neck. Unfortunately, when we get characters like this in film, they’re all too trigger happy to be authentic. They’re so far from what real service members would consider a “superman” that the trope falls flat.
We’re really looking for a superman character who cares about those they lead, someone whose loyalty is unflinching and unwavering. A person who can take charge when needed and who possesses that rare confluence of confidence and competency. Sort of like Staff Sgt. Sykes in Jarhead. Sykes is funny, cares about his job, and those in his unit, traits that, by our count, make him a superman.
The strong, reserved and humble leader
Strong, humble leaders should be the cornerstone to our military, just like Morgan Freeman’s portrayal of Sgt. Maj. John Rawlins in Glory. Rawlins’ insight helps him gain the trust of his command, which leads him to promotion. But even as he gets his stripes, Rawlins is still questioning his ability to lead well. That’s a big distinction here since most films show us leaders who are so overly confident and never do any self-assessments. We’d much rather see more Rawlins-type characters than leaders who lead their units into peril.
Lifers are only golden for a few years in the middle of their careers – somewhere between years eight and twelve when they have enough experience to see things differently and still have enough relevance to make change happen. At least, that’s the way we see it on film. Just take a close look at Heartbreak Ridge. Gunnery Sgt. Tom Highway is all Marine, all the time. But as his years stack up and his influence begins to lessen, the lifer ultimately comes to a crossroads where reinvention is required in order to keep on living.
Here’s the thing: yes, many lifers have this experience, but many don’t. We all know plenty of people who have done their 20, gotten out, and started new and successful careers in civilian sectors. What we need to see more of is the way that the military helps shape second careers and how the lessons learned in uniform translate to what happens once the boots come off.
What’s not to love in a mentor character? Well, of course it’s all about recognizing talent early on and honing it. Pushing younger military members further than they think they can go is a big part of mentorship. Getting down in the weeds and explaining to younger members of a unit just what life is like is the only way to pass on lessons learned. Except all too often, we see mentors use this platform to their own advantage and to advance their agendas. Hollywood does a decent job of this – we’re thinking about Maverick and Viper in Top Gun.
Explaining the military culture to outsiders can be tough, especially if all they know about us is by watching war movies. What people seem to understand is that there are certain archetypes. Now it’s up to scriptwriters and Hollywood to make sure we get a clearer and more accurate picture of life in the military.
The year was 1988. Metallica had been making their way into the hearts and stereos of rock lovers for the better part of seven years. And wanting to make a political statement, the band decided to write and release an anti-war song. The result was their hit One from the album …And Justice for All.
Lead vocalist James Hetflied and drummer Lars Ulrich penned the song together, telling the story of a World War I soldier. In the gruesome song, the soldier was injured badly by a landmine, with arms and legs taken with the explosion, wanting to die in order to end his agony.
Anyone who knows anything about Metallica knows One went on to be a huge hit. In fact, it was their first top-40 song and reaching number one in Finland.
Enter the song’s music video.
By January of ‘89, Metallica’s music video for One began airing on MTV. What made it notable was the use of scenes from Johnny Got His Gun, a 1971 anti-war flick. The film was a box office failure and relatively unknown.
Soon after its release, the video ranked number one on MTV; the band ended up winning multiple awards for the song.
Johnny Got His Gun goes viral
After the release of the video, fans started paying attention to the movie, turning it into a cult film. What’s even more interesting is that Metallica itself owned rights to the film. To avoid paying ongoing royalties for their music video, the band decided to buy rights outright, allowing them to replay their own video with ease.
It’s worth noting that after its original release in 1971, the film did not even recoup its budget at the box office. Despite Donald Sutherland staring, fans paid little attention — and little in tickets, avoiding the film almost altogether.
Once Metallica used its scenes, the film seemingly came out of the woodwork, selling copies by the dozens, and even sparking multiple remakes.
Hetfield is quoted saying the movie Johnny Got His Gun was used for the music video because its storyline followed closely to the song’s theme. In fact, the band created their lyrics from the novel of the same title.
To date, One remains one of Metallica’s most-played songs. It was the first song to win the category for Best Metal Performance at the Grammy’s. It’s also the most played song from their …And Justice for All album.
The new Marvel Cinematic Universe movie, Black Widow, comes out this May. The standalone film will revolve around the Avenger Natasha Romanoff, otherwise known as the Black Widow.
The former assassin turned superhero has a dark and mysterious past that has been alluded to several times during the MCU run. Now, fans get to dive into that story and learn what made Black Widow and why her past haunts her.
The new trailer also featured more of the movie’s villain, the Taskmaster. The Taskmaster has the ability to learn and mimic the fighting style of anyone he faces. In the first trailer we see him take aim with a bow and arrow which means he must have gone up against Clint Barton, aka Hawkeye.
But in the new trailer, we see other Avengers mimicked by the Taskmaster. At the 1:12 mark, we see Taskmaster give the ole Wakanda Forever salute, prompting fans to wonder if there will be an appearance by Chadwick Boseman as T’Challa, also known as Black Panther.
Also, we see Taskmaster pull out a very iconic tool of one of the Avengers.
That’s right, he uses (pretty proficiently) a shield as a weapon just like Captain America.
Taskmaster is considered Marvel’s ultimate copycat
In the new #BlackWidow trailer you can see him:
– Studying Natasha’s moves in ‘Iron Man 2’
– Throwing a shield like Cap
– Mimicking Black Panther
– Shooting a bow and arrow like Hawkeye
Speaking of the Captain, the movie features his old Soviet counterpart. Played by Stranger Things star David Harbour, the Red Guardian has a big role in the movie as one of Black Widow’s family members. The premise of the movie seems to be that the Taskmaster has taken control of the Red Room (used to create Black Widow assassins) and Black Widow and her family must do battle to stop him. Rounding out the superhero family are Rachel Weisz and Florence Pugh.
The movie is supposed to be set after Captain America: Civil War, and has Romonoff alone and dealing with a sinister force that is using her past against her. She must battle both the Taskmaster and her past in order to prevail.
It sounds like this will be another great Marvel action flick!
It happens every single time a veteran sits down to watch a movie with friends and family. The civilians grab a bag of popcorn while the veteran starts biting their lower lip. The civilians start to enjoy themselves and the veteran starts offhandedly remarking on how “that’s not how it actually happens.”
Before you know it, the veteran hits pause and proceeds to give a full-length presentation on why the film is a disaster because they put the flag on the wrong side of the soldier’s uniform.
Most of what makes a military film bad isn’t intentional, of course. No one wants to spend millions on making a bad movie. But when done right, as so many have been before, troops and veterans will keep it on their top ten film list. So, Mr. Hollywood Producer, when you set out to make the next military blockbuster, use the following advice about the five biggest military movie mistakes.
Hire a good military adviser (and listen to them)
This may come as a shock to some veterans, but there are people on film sets whose entire job is to point out what would and wouldn’t happen in the real military. They’re called military advisers. The great military films are made or broken by how much the cast and crew decide listen to said adviser.
On a magnificent film set, like Saving Private Ryan, for example, everyone from Steven Spielberg to the background extras listened to every single word Dale Dye spoke. A good adviser knows they’re not on set to interrupt the creative team’s ideas. If they speak up to say something is wrong, it’s for a good reason.
Writing that reflects reality
When there’s something fundamentally wrong with a film, it can often be traced back to the writer. One of the first things they tell up-and-coming screenwriters is, “you can make a bad movie from a good script, but you can’t make a good movie from a bad script.” And the best writers are those who can make is something feel authentic and realistic, no matter how extraordinary the setting.
Military films are no exception. The fact is, no two troops are the exactly same. This goes for every character in the film. Every character, lead or background, should be fully dimensional and the audience should have a reason to care if they get unexpectedly shot in Act 2B.
Don’t expect a three-act character arc in the matter of one deployment
While we’re still poking fun at writers, let’s talk about the all-too-common problem of trying to turn real stories into scripts by shoehorning their actions into the Aristotelian structure. For those unfamiliar, this is your basic story of a random nobody becoming a legendary hero. Luke Skywalker did it — but it took him three movies, the loss of his mentor, and multiple failures to finally become a Jedi master.
Don’t expect to apply that same structure to a biopic that begins with a troop being a nobody at basic training and ends with them becoming a battlefield legend. In fact, some of the greatest war films rely on something simple, like “we need to go get this guy” to carry the story. A good story doesn’t need to be humongous in scope to be compelling.
Use authentic wardrobe
Despite how it may seem, there is no law that states that you must mess up uniforms if you’re to use them in a film. In fact, there’s actually a Supreme Court ruling that states you can use real uniforms in the arts — so there’s no excuse.
Use a military adviser and give them a say in the wardrobe department. Or, if you want to keep it simple, hire at least one veteran from whichever branch as part of the wardrobe team.
Retell the big scenes with smaller moments
It’s called a “set piece.” It’s the huge, elaborate moment that costs a boat-load of cash to capture. It’s what fits perfectly in the trailers. These are the scenes that action sensations, like The Fast and the Furious films, are known for. And yet, they often leave us feeling like something’s missing when done in military films — the personal touch
And that’s what really makes military movies different — sure, there are explosions in war, but it’s an intensely personal moment for the troops fighting. The gigantic scenes will sell much better if they focus on the fear in someone’s eyes more than flying a telephoto lens over the battlefield.
A US Army Ranger, Tim Abell (Army Ranger) and Harry Humphries (SEAL) at a VETNET event. (Photo credit Harry Humphries).
Harry Humphries has lived an amazing life, first as a highly decorated Navy SEAL in the Vietnam War then to partnering alongside fellow SEAL Richard Marcinko in business, and, most recently, to working on Hollywood blockbuster films such as The Rock, Black Hawk Down, The Transformers films, Lone Survivor and most recently Da 5 Bloods. He shares leadership and character traits that have served him across his diverse and storied career.
WATM: Tell me about your family and your life growing up?
Born in New Jersey and raised on the Jersey Shore. The Atlantic Ocean was my playground where I became skilled in most things aquatic. Under the tutelage of strong family leadership, specifically from my grandparents, the concept of Love of nation, Pride of Family and God was deeply instilled in my psyche.
This was during and shortly after World War Two, as with most Americans, my pride of country was deeply instilled. My four uncles fought in Europe — all came home safely….naturally, at this early age in my life I knew I would serve as well.
WATM: What is the most distinct memory of your mother and your father?
My parental experiences resulting from their divorce was a split upbringing for my sister and myself. Actually, our grandparents filled that role, however, that is not to say that my mother wasn’t a wonderful mom, a very strong woman, and extremely supportive of me through my mistakes and successes. Her remarriage was a blessing, as my stepfather became my first athletic coach and as a former college athlete and 101st Airborne Master Sergeant who made all five combat jumps in Europe became my mentor. Fairness on the athletic field and a pursuit of excellence in athletics was deeply ingrained in me as a result.
WATM: What values were stressed at home?
Faith, pride in self and pride in family, a strong sense of determination, tenacity, whatever you start finish, if it gets dark look towards your faith and most importantly, never quitting and finishing what was started.
WATM: What influenced you to join the US Navy and SEALs, what was your experience and what lessons did you take away from your service?
I joined the Naval Reserve as a Prep School senior, 1st classman at Admiral Farragut Academy in Pine Beach, New Jersey. My goal was to attend the Naval Academy, the reserve program at Farragut guaranteed an appointment, however the goal was not to be achieved. After attending Rutgers and Monmouth College for a few years, my reserve unit was called to active duty. I chose to serve out my two-year active obligation at that time which ultimately led to me extending several years in order to get Underwater Demolition Training UDT/R at Little Creek VA. Class 29 where I graduated as class Honor Man. Clearly my most treasured achievement.
I received orders to Underwater Demolition Team 22, UDT 22, where I made several Platoon deployments to the Caribbean after which a billet became available for an enlisted slot in the new command, SEAL TEAM 2. Again, another excellent achievement which changed my life. Reporting aboard was an experience I shall never forget, the quality of personnel, professionalism, all the attributes of becoming part of this outstanding organization was life changing to me.
The early days of the SEAL program were extremely secretive, not as publicized as today’s teams. One didn’t volunteer to punch a ticket and get out. The incentive was to operate with personnel at a level of professionalism not equaled in most commands.
My period was pre, during and some post-Vietnam. Having made two tours, one with Dick Marcinko’s 8th Platoon, ST2 when we were heavily engaged in the TET Offensive of 68 operating on the Cambodian Border supporting the CHAU DOC PRU led by DREW DIX MEDAL OF HONOR recipient for these actions. The 8th Platoon performed excellently going into the city seeking, engaging with the VC. I went with DREW and a fellow SEAL, Frank Thornton into the city on a “company” vehicle armed with an M-2 HMG in the rear. Our mission was to rescue some USAID Medical Personnel who were held captive in their villa by the insurgent VC. After several intensive firefights, the mission was successful, but unfortunately we lost one of our SEALs later in the day, Ted Risher, Frank and I were with Ted on a rooftop prepping a 57 recoilless rifle position overlooking the VC Command Center when Ted took a round in the head.
After several days operating in and around Chau Doc with Drew and his PRU, the platoon was ordered back to Can Tho base. The VC had been killed, captured or melded back into the local population. The city was free.
I returned to country, assigned to MACVSOG operating as a detached SEAL working for the CIA’s Phoenix program as The PRU Advisor in CAN THO Province. I remember this assignment as a dream job, working undercover, if you will, as an enlisted guy telling O-5s and 6s how we were going to execute our battle plans. I split my 150-man team into smaller units and spread them around the province. The plan worked very well increasing our operational tempo many fold.
My last action leading my PRU team was on a VIP Capture Kill mission for a high-ranking VC Commander when I was wounded in both legs. I’m here today only because of my troops. We fought our way out of the ambush and coordinated an air assault on the VC forces covered in a tree line. The UH-1 “POP POP” sounds are truly magnificent to hear, and the sight of WP rockets (no longer in the inventory) hitting as directed is beautiful to see in such times as these.
I eventually wound up in YOKOSUKA Naval Hospital recovering from leg wounds. It was during this time I spent weeks in a ward filled with young Marines ages 18 to 21ish. Mostly amputees. As the senior enlisted guy on the floor, I became their Gunny, sometimes maintaining discipline, sometimes feeding those who had no limbs to feed themselves, sometimes coaching those who needed a prod to get up and rehab their abilities to walk. Truth be told here; it was them who gave me the drive to get up and walk from bed to bed initially until I was able to get around to help them.
The lessons I learned here are immense but simply put, all warriors have a mutual respect for one another. I swore I would never forget these troops, a memory which has instilled a burning passion in me to help my fellow veterans, a passion which lives on to this day.
WATM: What values have you carried over from the SEALs into advising and producing?
Whether factual or fantasy, the characters playing military or law enforcement rolls must be as realistic as possible, we owe that to them.
I see my role as the reality conscience of the Writer, Director, Producer and HODs. Then on to the training of talent enabling them to appropriately play a role in many cases totally unfamiliar to them.
WATM: What is the most fulfilling project you have done and why?
Without hesitation I can say that BLACK HAWK DOWN was my thesis as an advisor and Co-Producer. My role entailed acquisition of period correct Equipment; Weapons, and to some extent Costume, assisting the departments in accuracy as pertained to their areas. My role as liaisons to DOD was immense. Jerry Bruckheimer and Ridley wanted the training to be as realistic as possible, once we had DOD’s Production Assist Agreement in place all specific training was provided by USASOC components, the commands being portrayed; the 75th Ranger Regiment provided a gentlemen’s RIP program, the 1st Special Forces Operational Detachment DELTA actors were trained at Bragg blowing and kicking doors, etc. the 160th SOAR provided UH-60 training on the simulators at FT. Campbell, etc.
USASOC stood up a detachment of Rangers, 160th Black Hawks and Little Birds, AIRSOC provided transport of all personnel and equipment to Morocco. A remarkable support effort, probably never to be repeated.
Most importantly, I was blessed to have Colonels Tom Mathews (OIC of the 160th element in Mogadishu) and Lee Van Arsdale, ( the C Squadron Commander of the CAG unit). As part of the Military department with me.
WATM: What was your experience like in working with such talents as Ridley Scott, Michael Bay, Antoine Fuqua, Tony Scott and Dominic Sena on projects like The Rock, Con Air, Armageddon, Pearl Harbor, Gone in 60 Seconds, Tears of the Sun, GI Jane, Bad Boys 2 and the like?
This is a tough question, all you mention have been great to have worked with. I’d have to say my projects with Ridley Scott all were excellent experiences. Ridley is without question one of the finest gentlemen I have ever known. As a director, few can compare with his talent, to call him friend is a blessing.
Mike Bay is a loyal friend, working with Mike is like an uncle/nephew experience. I understand and respect his drive for excellence, he truly stands out as a master of the work he does in the action genre. Not only is he truly a friend but also the guy who has worked me the most throughout our careers.
Working with Mike, thanks to Jerry Bruckheimer, on The Rock stands out to be more than just my first project but has to be the most enjoyable yet to be surpassed. Additionally, 13 HOURS stands out to me as my second favorite film. It tells an action story that had to be told accurately.
My projects with Tony Scott stand out in my mind as another exceptional talent and friend, may he rest in peace. We truly lost a great one with him leaving us.
Pete Berg, another friend for life. Working with Pete has always been a pleasure. His work on Lone Survivor was outstanding. I was proud to have played a small role in that project as military Liaison, consultant and Co Producer. Pete is the only director I’ve worked with who shoots as fast as Mike Bay, a joy to watch.
Antoine Fuqua, another artist in his field was also a pleasure to work with on Tears of the Sun. Working with Bruce Willis, we had an outstanding time both shooting and training. Hawaii locations weren’t shabby either.
Most recently Kevin Kent, (my #2 and SEAL war hero) and I had the pleasure of working with SPIKE LEE on DA 5 BLOODS, in retrospect, a Vietnam War period film. Spike was the consummate professional knowing what he wanted and how to get it. The recent loss of Chadwick Boseman, the lead, was a shock to us all. His athletic performance always at top speed was no indication of his condition. An excellent actor, another loss to the world.
WATM: What leadership lessons in life and from the SEALs have helped you most in your career?
The most important element of leadership is to create a team and to love the members of that team. The rest will follow if you do that right. Without the team there is no success.
WATM: As a veteran, how do we get more veteran stories told in Hollywood?
Veterans in Media and Entertainment is probably the best source of veterans in the industry. I did a talk with them several years back. Since The Rock I have put over a 100 SEALs, Marines and Rangers as special skills extras or talent in films and projects. I have been able to help a bunch of veterans in the industry.
WATM: What are you most proud of in life and your career?
My greatest pride resides in assisting veterans as with the VETNET program with Jerri Rosen, who started Working Wardrobes in Orange County offering dress clothing and job training for people who couldn’t afford them. Many veterans were coming through Working Wardrobes for suits and/or dress clothes for work and interviews, so VETNET was created to focus more directly on veterans.
Many of the California veterans are poverty stricken or homeless where they need help restarting in the civilian world. With VETNET we help them write resumes and get prepared for job interviews. We focus on the transitioning veterans as well as those that have come upon hard landings. The core of our program stresses that Veterans having fallen on hard times need to remember who they are and where they came from. It is imperative they believe that and then the pride in self returns. It makes no difference if you came from a high-speed combat unit or support. We all took the same oath essentially offering our lives to support and defend The Constitution of the United States against all enemies foreign and domestic…..
Nobody really believed the gritty, dark, and controversial version of Joker would lead to more movies set in the Batman universe. But now, it appears that is exactly what is happening. The standalone Joker origin story will no longer stand alone. Director Todd Phillips has secured the rights to at least one more story based on characters from DC comics, which means Joaquin Phoenix will likely meet at least one more famous DC character in a sequel. But will it be Batman?
On Nov. 20, 2019, The Hollywood Reporter published the news that Todd Philips was able to convince Warner Bros to let him do at least one more movie set in the Batman/DC Comics universe. According to the report, this is partly because Joker did pretty well at the box office, despite the fact that everyone was freaked out about the movie for like three weeks straight. “Phillips is in talks to reprise his role as director for a second Joker outing,” writes Tatiana Siegel.
But what does it mean? Is the next Todd Philips movie a direct sequel to the Joker? Or will this be another, bizarre take on a different DC villain?
The biggest question most sane people have is whether or not Batman would show up in a potential sequel. The huge age difference between this version of the Joker and the young Bruce Wayne we saw in the movie makes us think it’s unlikely. (Then again, the Fox TV series Gotham had this exact same problem, and ended up bringing in Batman anyway.) Plus, having a different Batman in a Joker sequel feels like a bad move from Warner Bros, since they’re clearly pouring all their resources into making us all happy about Robert Pattinson being the newest big-screen Dark Knight. Phillips has already said outright that his Joker won’t meet Robert Pattinson’s Batman.
Still, the news here is mostly centered on the fact that Phillips got the rights to do another DC Comics movie, which doesn’t necessarily mean he is doing a follow-up to the Joker. After all, because Joker was so successful, who is to say Philips couldn’t do another villain origin story? Depending on who you ask there hasn’t been a good Lex Luthor since Gene Hackman in the Christopher Reeve Superman movies. Could Phillips be ready to tackle a Joker-style Lex Luthor origin story? These days, anything is possible. But, when you consider that Lex Luthor shares a lot in common with Donald Trump, and at one point, DC Comics did have Luthor get elected president, a giant Lex Luthor movie is timely enough to not be out of the question.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Fans now have one more reason to be excited for the upcoming release of Avengers: Endgame. According to the film’s director, the fourth flick will feature Stan Lee’s final cameo in a Marvel movie.
“It’s his last one committed to film,” Joe Russo told Mashable at a press day in Los Angeles, squelching the rumor that had been going around that Lee’s final appearance would be in July 2019’s Spider-Man: Far From Home.
Russo went on to add, “I have to say, I think it’s astonishing that this would be his last cameo. It’s just kind of mind-boggling that he made it to the end of this run. I can’t believe it.”
Since Iron Man in 2008, the comic book legend, who passed away in 2018 at the age of 95, has found his way into every installment of the Marvel franchise, even after his death. His most recent cameo was in Captain Marvel, which came out in March 2019. In the brief clip, Lee plays himself as a passenger on a train, rehearsing lines from a script.
And while the upcoming film will be the last time viewers get to see Lee on-screen, some wonder whether the Avengers movie will contain more than one cameo due to its three-hour length. After all, at just over two hours long, Guardians of the Galaxy Vol. 2had not one but two appearances from Lee.
Regardless, fans of the superhero series don’t have to wait much longer to find out. Avengers: Endgames is set to be released in theaters nationwide on April 26 2019.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Once in a blue moon, Hollywood pops out a really great military movie. Not only does the film have a compelling story, but it’s also rich in technical detail — so troops don’t have to sit through 90 minutes of “dubble yew-tee-eff” when looking at uniform inaccuracies or crazy plot-lines.
But we’re not talking about those movies here. We put our collective heads together to come up with the cheesiest military movies. These are the ones that made us wince, yell at the screen, or walk out of the theater to run to the nearest liquor store.
1. Navy SEALs
In between shooting terrorists, Navy SEALs play golf polo set to “The Boys are Back in Town.” And Charlie Sheen is a cocky jerk. So we guess it’s sort of realistic.
2. The Hurt Locker
Yes, it won an Oscar. It’s also completely terrible. Put on your freakin’ EOD suit when you’re defusing bombs there, Rambo. And last time we checked, it wasn’t a good idea to leave your base at night in Iraq wearing nothing but a hoodie.
3. The Marine
Words fall short.
4. Iron Eagle
Along with the help of a retired colonel, a teenage Air Force brat steals a couple of F-16 jets without anyone really noticing. Then they both manage to take on an (unnamed) Arab state’s air force and rescue his captured dad. But totally worth it just for the bad guy’s quote of “I want these pigs … destroyed.”
5. Act of Valor
To the film’s credit, the action scenes with Navy SEALs taking down houses and shooting the hell out of enemy vehicles were top-notch. But the acting from those same real-life Navy SEALs was (understandably) forced and cheesy. And we were a bit disappointed the bad guys never said, “I want these pigs … destroyed.” And are you looking for a drinking game idea? Take a shot every time one of the SEALs calls another one “bro.”
6. G.I. Jane
A woman gets picked to go through Navy SEAL training. Actually, the movie calls it “Combined Reconnaissance Training,” which isn’t even a thing. So besides getting the name of the training course wrong right out the gate, Lt. O’Neil (played by Demi Moore) goes through training, shaves her head, and does one-armed pushups. Then she saves the day when the trainees (yes, TRAINEES) participate in a rescue mission in Libya. O-kay. (Bonus points for the shower scene, though.)
7. Jarhead 2
While “Jarhead” is based on a book written by a Marine sniper and offered a fairly realistic depiction of infantry life and all its absurdities, “Jarhead 2” is a sequel that has nothing to do with the original, has a ridiculous plot, and follows around Marines who work in supply. Yes, SUPPLY.
BONUS: Jonn over at This Ain’t Hell pointed this one out to us: “Flesh Wounds,” which he called the absolutely worst military movie ever made. To quote Jonn: “If you’re ever sitting around with your military friends and you want to have a contest counting the mistakes in a war movie, this is the one you want (if they can still see the movie through tears from laughter).”
At the end of June 2019, a new version of Avengers: Endgame will hit theaters, with a post-credits scene and new “surprises.”
On June 19, 2019, Insider reported that during a press junket for Spider-Man: Far From Home, Marvel president Kevin Feige confirmed the “rerelease” will happen on June 28, 2019, right before Far From Home hits theaters the following week. Feige made it clear that this wasn’t an extended cut but that “there will be a version going into theaters with a bit of a marketing push with a few new things at the end of the movie.” He continued: “If you stay and watch the movie, after the credits, there’ll be a deleted scene, a little tribute, and a few surprises. “
The Marvel Cinematic Universe has a long history of including post-credits scenes, with mixed results. In April 2019, audiences who were excitedly anticipating the post-credit scene after Endgame were treated to a trailer for Spider-Man: Far From Home instead. Chris Hemsworth later teased a “deleted scene” from the film on Jimmy Fallon. However, the “scene” ended up being a clip of the Australian actor singing a few lines of “Hurt” by Nine Inch Nails.
The point is when it came out in April 2019, Endgame was unique because it was the first MCU film that didn’t have a post-credits scene setting up what would happen in future installments. Now, apparently, that will no longer be the case.
As for the “surprises,” that’s anyone’s guess. Maybe one deleted scene will help explain what the hell happened to Loki and how he has his own time-traveling TV show?
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
First, the augmented reality game swept the barracks, and that was all right. But then it started filtering into the command suites and company headquarters.
When Pokemon Go got its claws/talons/hands/vines/paws/etc. into the commander, these 6 things happened:
1. Rare Pokemon delayed formations
Sure, he told all of you to be formed up behind the company headquarters at 1730 for release formation, but that was before he found out a Charizard was hiding in one of the training areas.
Once that happened, he and his driver were jetting through the backwoods trying to get to it before its timer ran out. Meanwhile, the platoon leaders were left trying to find enough rocks for everyone to paint until he got back.
2. There were a lot more ruck marches and company runs
It starts to seem like your commander has more eggs than the dining facility. And each of those eggs needs a nice, short run before it will hatch. Unfortunately, the runs aren’t so short when he has nine eggs stored up because his dog will no longer run with him.
Then there are the rucks. If some eggs still need love after the run, you can bet everyone is heading out for land nav or a long march.
3. Range operations gained a strange, new dynamic
Everyone is used to stopping range ops when wildlife appears, but it’s a whole other thing to have to cease fire because the commander spotted an Eevee and wants to try catching it and naming it “Rainer” to get a Vaporeon.
If you don’t understand that last sentence, it just means you haven’t played Pokemon Go much. If you did understand it and have an Eevee, then try renaming it before it evolves. It usually works.
4. The unit kept getting volunteered for missions to obscure places
You can get any Pokemon in an egg, but amid all the rumors that trainers can only catch Mr. Mime in Europe and Kangaskhan only wanders the plains of Australia, the commander started volunteering us for every overseas trip he could find.
Sure, he said that we were “voluntold,” but the company orderly room folks overheard first sergeant’s shouting match with him after the battalion planning meeting.
5. The ‘E4 Mafia’ taught him to cheat
Luckily, the local cell of the E4 mafia stepped in to salvage the situation. They hosted a secret meeting in the motor pool and invited the commander. Rumors circulated about the negotiations, but the final result was that the commander stopped his rampant volunteering, and the Joes in S6 borrowed the commander’s phone for a while.
When he got it back, the old Android had been rooted and hacked, and the commander could travel around the world with just his imagination and a GPS spoofing program.
6. Once the E4 Mafia owned the commander, everything got … topsy turvy
Of course, the E4 Mafia got plenty out of the deal. A few connexes fell off the property books and are now home to a shamming lounge and skating rink. The commander moved out of his office and the supply sergeant, a long supporter of the Mafia, is enjoying his new digs with the view.
Ron Meyer with Carol Eggert, Senior Vice President, Military and Veteran Affairs at Comcast and Jared Lyon National President and CEO of Student Veterans of America (SVA) at an SVA Event. (Photo courtesy of: NBCUniversal)
From the U.S. Marine Corps to the Hollywood mailroom, becoming one of the founders of CAA to being vice chairman at NBCUniversal, Ron Meyer has experienced a lot since growing up in West L.A.
Annenberg Media: Tell me about your family and your life growing up?
Meyer: My mother and father escaped Nazi Germany in 1939. They both immigrated and met in Los Angeles. They were German Jews; my father was a lady’s dress salesman and my mother worked with him until she had me and my sister. We had a very simple life here in west Los Angeles.
Annenberg Media: What is the most distinct memory of your mother and your father?
Meyer: They were loving and supportive parents. My father traveled four out of six weeks so he was gone a lot of the time. My mother raised us on a full-time basis. They were great parents and we loved each other unconditionally.
NBCUNIVERSAL EXECUTIVES — Pictured: Ron Meyer, Vice Chairman, NBCUniversal — (Photo by: Chris Haston/NBC)
Annenberg Media: What challenges did you face at school and in the community?
Meyer: I created challenges for myself. We didn’t have money so that wasn’t really an issue as none of us in that neighborhood had money. I worked from the age of about 12-years-old where I delivered and sold newspapers. If I saw a shirt that I liked, I had to work to pay for it. I washed cars at every job you could imagine. I did what I had to do. I was in trouble as a kid but I created most of it, so that definitely made it more challenging for my parents to deal with me. I went to three different junior high and high schools. I spent very little time going to school and I was suspended a lot. I don’t think I ever spent a full day in high school. When I was 16, I legally dropped out. That is what led me to the Marine Corps.
Annenberg Media: What made you want to join the Marines and what was your military occupational specialty (MOS)?
Meyer: I used to box and I was told there was a boxing program in the Marines. There was an active draft back then, so I had a draft card at 17. I thought I was a tough guy and the Marine Corps seemed like a good idea. I found out that there was no boxing program after joining. It was a different kind of Corps; corporal punishment was allowed, and you could fight bare knuckles. They could put hands on you, and you could put hands on them. It was a different kind of world back then.
I was a rifleman, which was my main MOS. I worked in the motor pool and as a radio man. I was a driver as well.
Annenberg Media: What values were stressed at home?
Meyer: My parents were good, honest and hardworking people. I was taught an early lesson when we went to someone’s house for a visit. When I came back home, I had four or five quarters in my pocket. When I told my mother and made up some story, she was not having it. She made me go back down, return the quarters and apologize. My parents never tolerated stealing. They taught me my values that never changed throughout my life.
Annenberg Media: What drew you to film and media while growing up?
Meyer: When I was in the Marine Corps, I got the measles and I was quarantined. I had never read a book in my life at that point. My mother sent me two books: “Amboy Dukes” which was about kids in trouble and a book called, “The Flesh Peddlers” by Steven Longstreet about a young guy in the agency business. I thought when I got out, I didn’t want to be this jerk anymore so I went looking for a job in the agency business. I didn’t have any friends or connections in the business, I just knew about it as a viewer. When a movie came out on a Friday, I thought it was finished on Thursday. I had no concept of the process. It seemed like a good way to make a living. Agents were salesmen and my father was a salesman. I was going to be a salesman of some kind so selling talent seemed like a thing to look into, so I went after it.
Annenberg Media: What was it like starting at the Kohner Agency?
Meyer: It was a great experience and I was lucky to get the job. I was a messenger there for six years. It was a fun time to live in L.A. back then. It was hard work and I worked five days-a-week and then was on call on the weekends for Mr. Kohner. It really was the best time of my life. Hollywood was a lot of fun on the Sunset Strip with all the restaurants and bars. It was just great and looking back on the time it was very Andy Hardy-ish.
Ron Meyer with reporter, Joel Searls at NBCUniversal. (Photo courtesy of: Joel Searls)
Annenberg Media: What leadership lessons in life and from the service have helped you most in your career?
Meyer: The most lasting value comes from what the Marine Corps taught me, teamwork is everything. At CAA it was about teamwork and certainly here at NBCUniversal it is about teamwork. I felt that way at CAA, you were either for us or against us.
We are all in it together. If we succeed, we all succeed and if we fail, we all fail together. You can’t be pointing your finger as a leader. If you trusted the wrong people to do the job, then you must be responsible for it. As a leader you are in it more than anyone else. It is pretty basic: you treat people the way you want to be treated, you tell the best truth you can, you do what you say you are going to do. Once you are a team those are all the fundamentals. You do the best that you can.
Annenberg Media: What are the keywords that you live by?
Meyer: I wish I could say I invented it, but when I was very young, I saw a sign that said, “Assumption is the mother of all f***! ups.” If you assume something you are at risk, I have lived by that forever and I believe that. Don’t assume anyone else is going to take care of the problem or assume you know what someone else is thinking.
Ron Howard, Brian Grazer, Tom Hanks and Ron Meyer at the APOLLO 13 premiere. (Photo courtesy of NBCUniversal/Alex Berliner)
Annenberg Media: What are your top three films while you have been at NBCUniversal?
Meyer: The films that I am most proud of being a part of are “Brokeback Mountain,” “United 93” and “Apollo 13.” I am proud of these films and they had a very important significance for me. “Apollo 13” was a perfect movie since we knew how it ended, but you were on the edge of your seat until the very ending. It entertained you and it made you care. “Brokeback Mountain” broke barriers that no one ever imagined before. It was two men falling in love with each other and the beauty of it. I was proud to be part of the studio that made it. “United 93” made you proud to be an American and it told a story of what people are capable of in the worst of circumstances. It was an extraordinary movie and it was the first post 9/11 film. There were no stars in it, and it was what really happened. I saw it with the families of the victims of Flight 93. It deserves to be a classic film and it is important for America. These are the three films that really stand out for me.
While deployed to Iraq in 2007, the U.S. Army’s then-Captain Matt Gallagher started a blog called Kaboom that quickly became very popular … and controversial — so controversial, in fact, that the Army shut it down.
After he separated from the military, Gallagher compiled the best of the blog into his 2010 memoir, “Kaboom: Embracing the Suck in a Savage Little War.” He has since written for the New York Times, The Atlantic, The Daily Beast, and Boston Review, among others. Now, with an Master’s degree from Columbia, he’s writing fiction. This week saw the debut of his first work of fiction, “Youngblood: A Novel.”
The U.S. military is preparing to withdraw from Iraq, and newly-minted lieutenant Jack Porter struggles to accept how it’s happening—through alliances with warlords who have Arab and American blood on their hands. Day after day, Jack tries to assert his leadership in the sweltering, dreary atmosphere of Ashuriyah. But his world is disrupted by the arrival of veteran Sgt. Daniel Chambers, whose aggressive style threatens to undermine the fragile peace that the troops have worked hard to establish.
Irreverent but dedicated like a modern day Candide, Jack struggles with his place in Iraq War history. He soon discovers a connection between Sgt. Chambers and and a recently killed soldier. The more the lieutenant digs into the matter, the more questions arise. The soldier and Rana, a local sheikh’s daughter, appeared to have been in love and what Jack finds implicates the increasingly popular Chambers.What follows finds Jack defying his command as Iraq falls further into chaos.
Gallagher’s storytelling is compelling and his characters are vibrant. “Youngblood” immediately immerses the reader into the Iraq War, defying genre and perspective. We equally see the war from the soldiers who fought there and the Iraqis who lived it, while Gallagher weaves a narrative that is engaging, thoughtful, and thought provoking.