After leaving us with a fun (probable Boba Fett) easter egg last week, Chapter 10 opens with a meaningless action sequence that has no real consequence other than a long walk for Djarin (Pedro Pascal). The Yoda Baby is definitely going to need therapy if he’s going to be a wise Jedi leader — the kid has been thrown, concussed, and exposed to violence and murder a lot, you guys. Like, a lot.
Djarin is still searching for some Mandalorians and conveniently, Peli Motto (Amy Sedaris) just met a creature who has a lead. “The Frog Lady,” as she’s credited, needs secure passage to rendezvous with her husband in The System in order to fertilize her eggs — and in exchange, her husband will tell Djarin where he might find a Mandalorian cohort.
In the ship, the Yoda Baby is left alone with the eggs and here’s what I wrote in my notes: “I’m legit worried that Yoda Baby will eat the spawn…ew, Jesus, I was right.” This became a running joke(???) throughout the episode that was extremely problematic. The Frog Lady has made it clear that her only hope to prevent extinction is to reunite with her husband so he can fertilize her eggs and they can reproduce.
In other words, those eggs are her unborn children. To imply that it’s funny or cute that The Child keeps eating them, keeps literally murdering them, is very obtuse coming from a male writer and male director. It makes my skin crawl. Such a crime and violation should be treated with the severity of when Starbuck’s ovary was surgically cut out from her while she was imprisoned by Cyclons in Battlestar Galactica.
The Frog Lady was dehumanized and her desire to have children was treated as a joke. Considering how few female characters there even are in the series (it has yet to pass the Bechdel Test — though it received praise for hiring female directors), it further displays how tone-deaf stories can be when women are shut out of telling them.
During their space flight, Djarin and his cargo were intercepted by two New Republic X-Wings who started asking too many questions for Djarin’s comfort. In an effort to evade them, he crashed on an ice planet, wrecking the hull of his Razor Crest. While he sought to repair it, his cargo made some decisions.
The Frog Lady decided to take a hot spring dip with her eggs while the Yoda Baby decided to eat some eggs he discovered in the ice caves. Inside the eggs were calamari-looking spiders and the whole scene was disgusting — but not as bad as what came next.
The hundreds of eggs reacted and began to hatch, joined by creatures Star Wars Rebels fans will recognize as Krykna — giant (ice) spiders.
Hundreds of Krykna then scuttled after the trio, ranging from babies to horse-sized spiders, to enormous monsters that were heavier than Djarin’s ship. It was tense and gross. They were saved at last by the return of the X-Wings, who had checked in on Djarin’s records and determined that he wasn’t a bad guy.
After slaying the hordes of Krykna, the pilots left Djarin to repair his ship and limp his shaky way to The Frog Man.
Imagine attempting to make your way across the United States with the entirety of America and the Internet on the lookout for you. Now imagine there are a million dollars at stake: a half-million for the Chase Teams after you and almost a half-million for you if you can evade capture. These are the stakes for “The Runner,” an original series available on go90 and AOL.com and perhaps the most innovate audience-participation reality competition ever devised.
“This new show is the most participatory, the most fun, and most exciting to watch,” says Vice News’ Kaj Larsen, a former Navy SEAL and one of the hosts of “The Runner.” “I think the really amazing part is that the audience has buy-in, all puns intended, in a fundamentally different way.”
The rules of the game seem complex, but in practice, they’re really very simple. One chosen Runner will attempt to cross the U.S. in thirty days, trying to go unnoticed through predetermined checkpoints by any means necessary. Meanwhile, five two-person teams of “chasers” will receive clues on mobile devices in an effort to track the Runner before the next checkpoint can be reached.
Kaj Larsen is just one of the hosts. He checks in on the progress of the Runner and the Chase Teams’ locations. His co-host, Mat “MatPat” Patrick, a YouTube star and self-proclaimed “Information Addict,” will ensure everyone understands how “The Runner” is played and what is currently happening in the game.
“I’m really the boots on the ground guy,” says Larsen. “My role is to help the audience understand exactly what’s happening with the game of cat and mouse going on between the chasers and the runner. I’ll be watching the Chase Teams working towards their challenges. I’m the tactical, kinetic element.”
“The Runner” uses a proprietary technology that allows the Chase Teams to geotag The Runner within five feet. This is how they “capture” the Runner. Their reward starts at $15,000 and goes up every second of every day of game play, up to a half million dollars. The more the Runner evades the Chase Teams, the more money he gets. The chase teams are given a new challenge every day, a challenge both cerebral and physical which will give them clue to the Runner’s movements.
“We cast a really wide net in trying to find people who had interesting, diverse skill sets that could be applicable to hunting the Runner,” says Larsen. “For example, two guys known as Brother Nature, they’re a group of surfer kids from Hawaii with a large social following.”
That social media following actually matters in this game because their built-in audience will help them crowdsource the answers to these clues. “The Runner” is a more than a game for just the Runner and the Chase Teams. It’s a live game for everyone on the internet. Viewers on social networks will have the opportunity to help interpret the clues for the Chase Teams and get their own cash prize. $15,000 is awarded to viewers every day with a $20,000 bonus to the most socially active viewer.
“The stakes are really high,” Larsen says. “But it’s a really fun game and Verizon is the perfect platform, given how exciting it is to play on mobile. The more people who play, the more exciting it is and the more money can be won.”
The show is the result of a decade and a half of collaboration and development between Executive Producers Ben Affleck and Matt Damon. It really is groundbreaking – From the core concept to the technology used to track the competitors to the inclusion of the nationwide audience, what we can expect is something truly unique.
“The truth is when Matt and Ben conceived it, the idea was so innovative that the technology didn’t really exist to make it work,” says Larsen. “That’s changed over the last decade. The ability to crowd-source, to use social media to unlock the clues, and to play the gamification side of the game, that’s all here and ready for prime time.”
The Runner launches July 1st, 2016 on go90 and AOL.com. Don’t expect to just be voting every week for an idol or waiting for the show to return from a commercial break to find the outcomes of a segment. “The Runner” features real-time video and three episodes daily, including a recap of the previous day, live updates, current standings, and performance analyses.
“It’s exciting and different,” Larsen says. “We’re getting into new, super-competitive territory. I love competition in any form, but for me, it’s an easy day. I can’t wait to watch these teams compete.”
The last major movie of the summer is upon us, and you’re in for a good time and a few surprises with “Hobbs and Shaw.”
The “Fast & Furious” spin-off puts Vin Diesel in the backseat as the Los Angeles lawman Luke Hobbs (Dwayne Johnson) and the former British military elite operative Deckard Shaw (Jason Statham) are forced to reluctantly work together to save the world.
What went so wrong that Dominic Toretto couldn’t be called? The two enemies need to save the world from Brixton Lorr (Idris Elba), a cybergenetically enhanced superhuman who, along with an evil global organization, is trying to get his hands on a virus to make more of the human race just like him.
Does the premise seem a bit silly? You bet! But if you’ve been following this franchise since 2001, then you know what you’re in for — fast cars, big action sequences, and a bad guy who needs to be stopped. It’s just another day at the office for the Fast fam.
This is a fun one that feels right at home in the “Fast and Furious” universe.
How much did you want to see a movie with these two after this scene?
(Universal Studios image)
Why you should care: It’s the first ‘Fast & Furious’ spin-off movie, and it features two fan-favorites from the franchise.
This is simple. It’s the Rock/Dwyane Johnson and Jason Statham in a movie. If you saw 2017’s “The Fate of the Furious,” you’ve been waiting for this team-up since their memorable prison-escape sequence.
According to the film’s production notes, the idea for a spin-off Hobbs film had been floated around since he joined the “Fast” franchise in 2011’s “Fast Five.” The “Deadpool 2” and “John Wick” director David Leitch is in the directing chair for this one, so buckle up for some great fight sequences.
The fate of the world is in these guys’ hands… if they can stop fighting long enough.
(Universal Studios image)
What’s hot: The chemistry of The Rock and Jason Statham, the addition of Vanessa Kirby, some unexpected surprises, and two of the big action sequences.
If you told me years ago that I’d be rooting for Deckard Shaw, the man who killed off one of the most beloved characters in the “Fast” franchise (RIP Han), I’d think you were joking. But here we are. Whoever thought it was a good idea to put Johnson and Statham in a movie together made the right call.
You can easily watch Johnson and Statham banter for a full two hours. One of the jokes may get old after its third run-through, but their inability to cooperate for a majority of the film to save the world makes for a fun watch.
One of the biggest delights of “The Fate of the Furious” was seeing the Academy Award winner Helen Mirren join the cast as Shaw’s mother. She had said she really wanted to be a part of the franchise, so it was great to see her in “Hobbs and Shaw,” if only for a bit. You can tell she has so much fun doing these films. Mirren told Entertainment Weekly she wanted to drive in the next “Fast and Furious” film. She’ll be in next year’s ninth film, so here’s to hoping.
Helen Mirren is in “Hobbs and Shaw” and in jail for some unknown reason.
The addition of Vanessa Kirby as Shaw’s little sister Hattie is simply great casting. Not only does she look and sound like a young, feisty Helen Mirren, but Hattie is exactly what Johnson and Statham needed to ground their characters so they simply weren’t bickering for over two hours.
Vanessa Kirby is convincing as Helen Mirren’s badass daughter.
(Universal Studios image)
If you felt as if you saw the majority of “Hobbs and Shaw” in the trailers released, that’s relatively true. However, Universal did a great job of leaving two major surprises out of the film I won’t name here. You’ll never guess them, but one of the major additions received the most laughs of the entire movie.
While watching, I couldn’t stop thinking that one or two of the large action sequences would make for a great ride at Universal’s theme parks. Yes, they already have “Fast and Furious” rides at the Hollywood and Orlando, Florida, parks, but two, even three, chase scenes felt immersive enough to make for good additions. You’ll feel as if you’re on a ride yourself.
And pay attention to the music while watching. Elba, who’s also a DJ in real life, also wrote and performed a song that appears in the movie called “Even if I Die (Hobbs Shaw).”
I love Idris Elba, but when did the “Fast and the Furious” become “The Terminator”?
(Universal Studios image)
What’s not: There are some really silly moments, and the entire premise of the movie’s villain starts to take the franchise into the sci-fi genre.
Over the years, the “Fast” franchise has gotten more ridiculous in pushing the limits of where the films can go. If you’re along for the ride, you kind of just go with it. (The seventh film had Dom’s team go after a device called God’s Eye.)
But the villains thought up for “Hobbs and Shaw” make the “Fast” franchise feel as if it’s moving from action genre to sci-fi. And it should probably stick to action.
The bad guys want to genetically enhance and evolve the human race for unspecified reasons I’m guessing we’d learn more about in a sequel. That’s textbook villainy from a superhero movie.
That’s not all. There are a few moments when Idris Elba’s character, Brixton, starts to feel like a “Terminator” villain who just keeps coming back for more.
I guess at some point heist movies and chasing after drug cartels aren’t large-enough stakes when you’re 10 movies into a franchise.
(Universal Studios image)
Brixton is even referred to as such at one point on-screen because his character has been fused with some sort of machine so he can accurately predict others’ hits and movements. As a result, he’s a super soldier who’s more machine than man and appears unstoppable. At another point in the film, he’s called Black Superman.
Then there’s a faceless omniscient machine that’s pulling the strings behind-the-scenes. I’m sure the wizard behind the machine will be revealed to be someone with a grudge against Hobbs or Shaw in an inevitable sequel. But in this film, at least, the machine is a bit over-the-top. Every time its booming voice comes on-screen, it feels as if you’re watching a cheesy superhero film from the early 2000s.
It would all be a lot tougher to swallow if the chemistry between Johnson and Statham weren’t so good. Their wisecracks and fight scenes against Brixton’s goons are good enough to keep you distracted from thinking about how silly the villains are.
Jason Statham fight scenes? Sign me up.
(Universal Studios image)
Other than the villain, the entire third act of the film gets a bit silly when the group abruptly heads to Hobbs’ birth place of Samoa (eagle-eyed viewers will notice that they actually filmed in Hawaii) to enlist his estranged family to take down some high-tech baddies. What about the rest of the Fast fam? Where are they? Shaw only saved Dom’s baby in the previous movie. Surely, they owe him one.
I’ll let the location slide because the Rock himself is from Samoa. Throughout the “Hobbs and Shaw” press tour, he has repeatedly said he wanted to honor his culture on-screen. He even speaks in Samoan in the film. That’s sweet.
But once the Rock meets up with his older brother, Jonah, it’s a little bit tough to take Cliff Curtis seriously as someone who’s related to Hobbs. Curtis is fine in the movie, but he’s given two giant braids of hair to wear for the part. If you’re familiar with the actor from “Fear the Walking Dead,” it’s a jarring look that you never get used to while watching the movie.
It’s not a perfect film, but it has family at its heart. That’s the mainstay of a “Fast and Furious” film.
(Universal Studios image)
The bottom line: The Rock and Jason Statham keep the energy high in this crowd-pleasing spin-off. Expect more from these two.
I say this every time a “Fast and Furious” movie comes out. These aren’t movies that you take too seriously. They’re a good, fun time with explosions, high action, fast cars, faster car chases, and a few good brawls. If that’s what you go in expecting, that’s what Universal delivers with “Hobbs and Shaw.”
Is it a bit silly? Sure. Did I laugh and enjoy watching the Rock and Jason Statham bicker back and forth? Definitely. But most important, the film doesn’t forget its franchise roots. For as ludicrous as some of the film’s plot becomes, family is always at the heart of the spin-off.
If “Hobbs and Shaw” performs well at the box office, and I expect it will, get ready for a whole lot more of Luke, Deckard, and maybe Hattie as well. Make sure to stay until the film’s very end for a few unexpected end-credits scenes.
“Hobbs and Shaw” is in theaters Friday. Watch a trailer for the movie below.
Fast & Furious Presents: Hobbs & Shaw – Official Trailer #2 [HD]
Movie fans everywhere rejoiced when Tom Cruise officially announced that a sequel to Top Gun was in the works, as the original remains a beloved classic for its memorable quotes, thrilling action, and, of course, the most badass volleyball sequence in the history of film. Now Top Gun lovers have even more of a reason to get excited, as it was announced early July 2018 that Miles Teller has been cast to play the son of Goose, Maverick’s original flying partner, in the highly anticipated sequel.
On July 3, 2018, Teller confirmed he was pumped about Top Gun 2, linking to an article announcing his casting with the caption: “I feel the need…” For now, it is not entirely clear how prominent of a role Teller will have in the film, though rumors have circulated that Goose’s son will be one of Maverick’s proteges in the new Top Gun.
Remember that guy who bought a Harrier? Well, now, Art Nalls is adding reality TV star to his resume as the only civilian owner of a Harrier jump jet.
According to a release by AARP Studios, Nalls is starring in Badass Pilot, which tells the tale of how he acquired a British Aerospace Sea Harrier FA2 retired by the Fleet Air Arm and made it into a civilian warbird. The series premiered Nov. 14 on the YouTube page of AARP Studios.
“I think the title of this show says it all. Art is, in fact, a badass pilot, and the perfect example or embodiment of how age doesn’t define anything,” AARP Studios Vice President Jeffrey Eagle said in the release. “Art certainly answers the question ‘How do you become the only civilian to own a Sea Harrier Fighter jet?’ but there’s a lot more to the series than that. Art’s purchase of the plane was just the beginning of the adventure.”
The Sea Harrier entered service with the Fleet Air Arm in 1978. Four years later, it proved instrumental in winning the Falklands War while flying from the carriers HMS Invincible and HMS Hermes (and, later, from the INS Vikrant). The Royal Air Force, United States Marine Corps, India, Spain, Italy, and Thailand have all flown versions of the Harrier.
According to MilitaryFactory.com, the Sea Harrier has a top speed of 734 miles per hour, a maximum range of 2,237 miles, and carries up to 5,000 pounds of ordnance. It’s able to carry various air-to-air missiles, including the AIM-9 Sidewinder, AIM-132 ASRAAM, and the AIM-120 AMRAAM.
A sharp-eyed aviation photographer caught a photo of a U.S. Navy F/A-18F Super Hornet two-seat variant transiting through the Star Wars canyon, one of the most popular western U.S. low-flying areas, earlier this month during what appears to be filming of in-cockpit sequences for the upcoming “Top Gun: Maverick” movie.
The photo, posted to Instagram by Christopher Lohff (@lohffingfoto), shows the pilot/front-seater wearing the same HGU-68/P lightweight flight helmet with custom graphics as seen in previously leaked photos from the production of “Top Gun: Maverick”. The upcoming film, slated for release on June 26, 2020 in the U.S., is likely entering the final stages of its production phase before going to post-production and editing.
[instagram https://www.instagram.com/p/BvdEMuyAKOK/ expand=1]Christopher Lohff on Instagram: “Someone’s excited for the Top Gun sequel! This VFA-122 Flying Eagles F/A-18F pilot was sporting what I can only recognize as Maverick’s…”
Another interesting detail in the photo is the appearance of an array of what appears to be four of the new Sony VENICE CineAlta video cameras on the coaming of the rear cockpit. The new Sony VENICE CineAlta is a full-frame, 36x24mm digital video camera that shoots at a maximum resolution of 6048×4032 and can be modified to shoot at even higher quality resolution. The cameras cost about ,000 USD each without lenses or upgrades for higher resolution.
The Sony VENICE CineAlta array seen in the F/A-18 appears includes four rearward-facing cameras in the aft cockpit of the F/A-18 with various focal length lenses including at least two very wide-angle lenses. The camera array is fitted to the top of the rear cockpit coaming at the top of the instrument panel with a custom machined mount.
These photos give a clue about what some of the in-cockpit sequences may look like when the film debuts next year.
Just before the photos from the western low-flying areas appeared on Instagram, the Internet was filled with “spy” photos of an F-14 Tomcat being used in filming for the upcoming movie. The appearance of the Tomcat suggests a retrospective sequence, some kind of “flashback” to the original “Top Gun” in this upcoming release.
[instagram https://www.instagram.com/p/BvkSnlkl6uJ/ expand=1]Skid Voodoo on Instagram: “Our Hero Tomcat should be returning to the San Diego Air & Space Museum Annex soon. Its service to the new film is coming to a close after…”
The F-14 Tomcat that was sighted around Coronado Island and North Island NAS also showed up on the deck of the nuclear-powered aircraft carrier USS Theodore Roosevelt (CVN-71) for some filming sequences. One sequence included the aircraft being stopped in the large net/arresting barrier used for emergency recoveries onboard ship. The F-14 used in the filming is likely Grumman F-14A Tomcat #159638, an aircraft previously on display at the San Diego Air Space Museum’s Gillespie Annex in El Cajon, California.
This article originally appeared on The Aviationist. Follow @theaviationist on Twitter.
Far too many of us believe the things we see in TV shows and movies. Sometimes, the things we watch alter how we look at history or how we live our lives moving forward.
Many fictional stories are so engrossing that we buy into their mythology — it becomes our new truth.
Unfortunately, just because it’s dramatic and holds our attention tightly doesn’t mean it’s true. Rarely, however, do we go back and fact check the medical myths perpetuated by movies.
So, let’s do a little truth seeking.
The beginning of frostbitten hands.
Rubbing cold injuries to keep them warm
We’ve all heard stories of people heading into frigid environments and developing cold-related injuries during to their excursions.
No, we’re not talking about that “cold” that gave you the sniffles; we’re talking about human tissue damaged from exposure to freezing temperatures. Frostbite, as it’s known, has been the cause of many lost fingers, toes, ears, and cheeks among adventurous outdoorsmen. In the brutal cold, the body limits the flow of warm blood to comparatively frivolous areas in order to keep your vital organs up and running. As a result, the distal areas don’t the oxygen they need to sustain living tissue, and they start to die off.
In many movies, you’ll see characters rub these areas together to keep them warm — bad idea. On the inside of the near-frozen human tissue usually lay small icicle-like formations that can act as teeny-tiny razors, cutting the neighboring tissue when smashed together.
The best way to treat cold-related injuries is by covering the affected area with clean cloth and adding a warm compress.
Holding a person’s tongue during a seizure
People with epilepsy are prone to experiencing seizures. We’ve seen them occur time and time again in movies. During the frantic episodes, we invariably hear a character instruct someone to put something in the seizing character’s mouth to prohibit the patient from swallowing their tongue.
The truth is, however, that putting something in their mouth may obstruct the airway, causing further, greater damage. The correct way to treat an epileptic seizure is by clearing the nearby area of any potentially harmful objects, laying the patient on their side, loosening any clothing that may be caught around their neck, and waiting that sucker out.
We’ve seen this awful way of treating a simple nose bleed in several TV shows. Yes, tilting your head back does prevent blood from pouring out of one’s nose. However, the blood doesn’t just disappear. When you tilt your head back during a bloody nose, three things can happen:
The blood enters the oral cavity and the patient spits it out.
The blood enters the oral cavity and the patient swallows it. Yuck.
The blood passes into the windpipe and the patient chokes on it.
Your best bet is to lean the patient forward, catch the blood, and pinch the bridge of the nose to occlude the blood vessels.
Choking happens when an object blocks the trachea or windpipe. This life-threatening emergency needs to be handled quickly and in the right way as you only have few minutes before permanent damage occurs.
Patting someone on the back is one of the worst things you can do. Tapping on a choking person’s back can cause the object to move further down the person’s throat — and that’s really, really bad.
The Heimlich maneuver is the best thing you can do — if you do it properly. Here’s a primer:
Please, never take medical advice from an action movie. We’ve watched both Vincent Vega (as played by John Travolta) in Pulp Fiction and Stanley Goodspeed (as played by Nicolas Cage) in The Rock administer medication via a long-ass needle directly into a heart.
This is a bad, bad idea. You could puncture your lung, collapse it, or, straight-up stab the heart muscle, causing terrible internal bleeding.
The eighth chapter is finally here and this time it’s directed by Thor: Ragnarok’s Taika Waititi – and it’s everything you thought a Star War directed by Taika Waititi would be. Everything we hoped it might be.
Even the scout troopers got a touch of personality in this episode. Consider this your spoiler warning.
With an appearance by Jason Sudeikis and Adam Pally.
In this chapter of The Mandalorian, we learn a lot about Our Mandalorian. After we learn the scout troopers have murdered Kuiil and taken the Yoda Baby. We see one of the troopers actually punch the Yoda Baby before getting murdered themselves by the avenging nurse droid, IG-11. Back in the city, we find the heroes still trapped by a legion of Stormtroopers, led by everyone’s favorite villain Giancarlo Esposito, Moff Gideon, who gives them until nightfall to decide if they’re going to cooperate with the Imperial leader’s demands.
IG-11 rides into town like a one-droid army on a speeder bike, dropping stormtrooper bodies all over the streets until he reaches the square where our heroes are pinned down. IG, with the Yoda Baby on his back, continues his rampage as our pinned-down heroes break out of the building. Our Mandalorian even picks up an E-Web Heavy Repeating Blaster that looks like something Carl Weathers might have used in Predator.
But before this amazing gunfight takes place, we learn a lot about our heroes – from Moff Gideon. It turns out the Moff was more than just an Imperial leader, but was part of an intelligence network. He knew the names of Cara Dune, and that she was from Alderaan, which explains why she hated the Empire so much. We also learn Our Mandalorian has a name, Din Djarin and he wasn’t born on Mandalore. In fact, Mandalorian isn’t even a race, it’s a creed. More importantly, we learn how Our Mandalorian became Mandalorian and why the Yoda Baby means so much to him.
In a flashback, we learn Djarin’s village and his parents were massacred by B2 Super Battle Droids when he was a boy. Just before meeting his own death at the hands of these droids, the young Djarin is rescued by a band of Mandalorian warriors who destroy the droids and carry the young boy off, presumably to Mandalore. Back on Nevarro, however, things look grim for our heroes.
Until the Yoda Baby comes into play.
“I’ma stop you right there.”
Moff Gideon critically wounds Our Mandalorian by shooting the power cell of the E-Web blaster. He is rescued by his compatriots but they are once again trapped in the building with certain death outside. As Our Mandalorian lays dying, he refuses Dune’s help as it would require removing his helmet. IG-11 opens the sewer grate right as an Incinerator Stormtrooper walks in to blast the room. Instead of burning the room, however, the flames blast him right out the door, thanks to the Yoda Baby, who stepped up to defend his injured father. Once all the humanoids are in the sewer, IG-11 convinces Djarin that since the droid is not alive, he can take his helmet off to receive medical treatment and for the first time, we see our antihero’s face.
Once healed and looking for the Mandalorians in the sewer, they instead find the remnants of their armor. The remaining Mandalorians had been hunted or killed after the Imperials arrived, though some may have escaped. The Armorer survived, however, and after hearing about the Yoda Baby’s strange powers, tells Djarin about the Jedi. Unable to determine the baby’s race, Karga reminds Djarin that his mission will now be to raise the baby or find his home world – reminding him that “this is the way.”
She also give him his earned signet. Oh, and a jetpack called “Rising Phoenix.” She tells them the way out and covers their exit with the dopest slaughter of stormtroopers seen in the Star Wars universe since IG-11 and the Yoda Baby in the town square fifteen minutes before.
Can we talk about this most brutal stormtrooper kill?
Our heroes make their way down a river of lava, thanks to a boat propelled by a droid. IG-11 sacrifices himself so that the group isn’t killed by a platoon of stormtroopers waiting to ambush them, and then Mando takes on Moff Gideon flying a TIE Fighter, thanks to his handy new jetpack. Every thing is reset for season 2, as Cara Dune decides to stay on Nevarro and become a member of the Guild and Karga forgives Mando, offering him the choice picks of the bounty hunter jobs.
But our Mandalorian is now a full warrior, with a mission. He returns to his ship and flies into the sunset, presumably determined to find the Yoda Baby’s home.
Meathead generals just can’t understand what the brilliant scientist is trying to explain. Soldiers can’t get the job done without the help of the brilliant criminal. The only strategy the military knows how to use is a carpet-bombing campaign.
Seriously, we know that movie and TV writing is complicated, and that movie makers have to take some liberties in order to get their plots jump started, but these seven tropes that rely on military stupidity should really be used less often — if at all.
In Battlestar Galactica, the military got behind a plan to deploy thousands of immortal robot warriors over which they had little control. But, in their defense, the Cylons came back sexy. So… win?
1. Military leaders use dangerous technology because science is hard
The Terminator movies are awesome. Arnold Schwarzenegger is swole, explosions are fun, and robots fighting robots is exhilarating. But does it really make sense that the U.S. military gives control of nearly all of its weapons, from nukes to stealth bombers to cyber defenses, to Skynet, a single computer program that they don’t understand? No human pilots? No man in the loop? No kill switch? Great idea.
The same issues exist within the Cylons of 2004’s Battlestar Galactica, the zombies in Return of the Living Dead 3, and the indominus rex from Jurassic World (yeah, supposedly, the military was secretly buying the data from that research in order to create dinosaur units).
Plots like these rely on the military looking at lethal weapons, over which they have no direct control, and going, “huh? Yeah, sure. We should deploy these things. Preferably, within easy range of our own troops and citizens with little or no real safeguards.”
Seriously, in Terminator Salvation, terminators physically touch John Connor, like, four times and don’t manage to kill him. I don’t think terminators need to eliminate John Connor to win. They need to figure out how to kill in the first place.
Remember when your entire battalion, squadron, or fleet’s mission revolved around one guy, and if he didn’t succeed then the entire battle would be lost? No? Maybe because that’s a horrible way to form a strategy. Nearly all military units spend a lot of time and energy ensuring that everyone can be replaced in case of battlefield loss.
And yet, only one Hobbit can deliver the ring to Mordor even though there are multiple armies standing by to do whatever needs done. John Connor is the only one who can stop Skynet, so much so that the factions fight to protect or destroy Sarah Connor’s womb rather than just promoting a new leader. Surely there’s some other small-unit leader that can fail to detect Terminators until they throw him across the room.
Snake Plissken is the only one who can get people out of dangerous, crime-ridden cities. Maybe because he’s the only one who is this calm while his helicopter is on fire.
In the trope above, at least it’s a soldier that the military is relying on. In Rambo: First Blood Part II, Rambo is freed from prison to complete missions. Snake Plissken, a notorious outlaw, is the only person who can save the president in Escape from New York. Dirty Dozen sees an entire special operations unit constructed out of the Army’s hardest criminals.
It’s weird that the military doesn’t have any other special operators with, you know, more training — and discipline. And impulse control.
“Literally anything has happened. It’s time to bomb people.”
(U.S. Air Force photo by Airman 1st Class Xiomara Martinez)
4. The military just wants to bomb everyone
The only way to defeat an enemy force is to bomb it into oblivion — at least according to some movie military leaders. General Brigham, leader of the United Defense Front in Edge of Tomorrow, is asked about what he would do if it turned out one of his soldiers could time travel and knows where the time-controlling hivemind of the enemy is. His reply? Bomb it.
That’s also the military’s response to a quarantine breach in 28 Weeks Later. In just a couple of minutes, they’re firebombing apartment buildings filled with civilians. “Well, about 20 sniper shots failed to solve the problem… I guess we should turn to firebombing civilians.”
Speaking of which …
Soldiers in zombie movies are just so bad. So very bad.
5. The military completely fails to enforce basic security measures
Why is it that the military can’t enforce a quarantine or lockdown in nearly any movie ever? The aforementioned 28 Weeks Later catastrophe occurs when the military decides to study the single human carrier of the dormant strain of the rage virus. They leave her locked behind doors that her husband, a glorified janitor at the facility, has the ability to unlock. Then, the now-zombified janitor is able to access the shelter where all the civilians have been sequestered, causing an outbreak.
Seems like they almost want the infection to spread. And then there’s that gum-chewing scene in 1998’s Godzilla, in which a gate guard lets a Humvee through because the occupants swear a sergeant called for them. He doesn’t check IDs, he doesn’t call the supposed sergeant — great job. I guess that barely matters when base walls in movies like The Hurt Locker are jumpable AF.
“Hey, this fight against these seemingly dead people is getting pretty serious. Think we should take off in any of our helicopters or drive any of our Humvees in either attack or retreat?” “Nah, that’ll screw up the ambiance for any unlikely survivors. Let’s leave them parked and get eaten.”
6. Military units are overrun by zombies and other slow monsters
Maybe that lax security is why zombies overrun mobile military units in shows like The Walking Dead and movies like 28 Days Later and Dawn of the Dead. Sure, you need to get rid of the military for your zombie survivor story to make sense and have high stakes, but how did a helicopter unit and tanks get overrun by zombies that shamble no faster than 5 miles per hour?
Please, at least claim they ran out of fuel or something. (Yes, yes. We know the 28 Days Later zombies are fast, but still.)
A rogue commando officer armed with a rifle, a knife, and years of experience fails to take down a lab-rate chemical weapons specialist in The Rock.
7. Trained killers can’t quite hit the hero or villain
In 28 Weeks Later (I love that movie, but, seriously, come on), an Apache chases a station wagon through the streets of London and is able to stick with it through some determined flying but, somehow, can’t make contact with a single round. An Apache attacks a station wagon and the station wagon survives — what?
It’s sort of like how Nicholas Cage’s character in The Rock, Stanley Goodspeed, survives numerous encounters with elite commandos who shoot at him with rifles and pistols in addition to attacking him with knives and grenades, but the worst damage he takes is self-inflicted when he uses a nerve gas capsule to poison one of the commandos.
Hollywood knows that Marines are really good at killing people, right?
The world is abuzz for the new trailer for Top Gun: Maverick that dropped during the San Diego Comic-Con – and no one is more curious than the United States Department of Defense, who lent considerable support to the film’s production. And why not? The first Top Gun was quite possibly the Navy’s best tool for recruiting new sailors since the draft.
But support from the Pentagon didn’t come without some strings attached (it never does). In exchange for support from the DoD, the film’s producers and Paramount Pictures had to agree to give the top brass an exclusive screening before the film is made public.
Not a bad exchange.
Most importantly for the filmmakers of Top Gun 2, the production staff was able to fly aircraft around secured facilities and restricted airspace usually reserved for Naval Aviators. Also important for a movie depicting Naval Aviators, the production crew received escorted access to a Nimitz-class aircraft carrier. For safety, the cast and crew were also trained by the Navy’s sailors in the art of water survival and aircraft ejection seats.
Two things Goose could have really used.
On top of the unparalleled access to Navy facilities, ships, and F/A-18 Super Hornets (as well as the ability to place cameras in the cockpits and on the fuselage of these Super Hornets), the Navy gave Top Gun: Maverick staff a staff of Public Affairs troops in order to “review with public affairs the script’s thematics and weave in key talking points relevant to the aviation community.” On top of the PA crew, a Navy subject matter expert was on hand during filming to ensure action scenes were depicted with accuracy. Of course, the Navy also reviewed the days’ footage to ensure there were no security violations.
The coolest part (if you were in the Navy at the time, I mean) is that active-duty troops and real Naval Aviators were used as extras and background in the film. Tom Cruise and Val Kilmer reprise their original roles and are joined in the cast by Ed Harris, Jon Hamm, Miles Teller, Glen Powell, and Monica Barbaro. Top Gun: Maverick hits theaters in 2020 and the Pentagon shortly before that.
When Airman 1st Class William H. Pitsenbarger posthumously received a Medal of Honor for his valor and sacrifice during the Vietnam War, retired Air Force Pararescueman SMSgt John Pighini was at the ceremony.
In March 1966, Pitsenbarger was killed in action after intentionally placing himself in harm’s way to rescue Army infantrymen pinned down by the enemy during Operation Abilene during the Vietnam War. He received the Air Force Cross for his actions, but the men he saved never forgot what his sacrifice meant.
After 34 years, his Air Force Cross was upgraded to the Medal of Honor in a ceremony that took place on Dec. 8, 2000, just in time for Pitsenbarger’s father to accept the medal on his son’s behalf.
Nearly 20 years later, The Last Full Measure tells the story of Pitsenbarger’s heroism and the efforts it took to present him with the Medal of Honor, the highest military award in the United States of America.
The film recreates the moving Medal of Honor ceremony. John Pighini was there for that, too, which is how his filmmaking journey began.
This is the true story that inspired The Last Full Measure
“We’d known about the movie for years — it took almost 20 years to get it done. They’d always told us [members of the pararescue community] we could be in the remake of the Medal of Honor ceremony,” Pighini recalled. While there he noticed some military details that weren’t quite correct — so he spoke up and found the director and crew willing to listen and make adjustments.
Director Todd Robinson quickly recognized that Pighini was a valuable resource for his film. Pighini served in Vietnam after graduating from his pararescue training program in November 1966. He would earn a Silver Star and a Distinguished Flying Cross for his rescue missions during the war. He would also serve as the first pararescue superintendent for the 24th Special Tactics Squadron and he now serves as vice president of the Pararescue Association.
So, he knows a thing or two about providing medical aid on the battlefield and combat in Southeast Asia.
Todd Robinson, Jeremy Irvine, August Blanco Rosenstein, John Pighini on set for The Last Full Measure in Thailand, 2017. (Photo by Eddie Rosenstein)
His unique experience made him a particularly helpful resource for creating accuracy for the film. “I taught combat medicine so I was very much in tune with setting up exercises and working with people to ensure everything is done correctly. I was also involved in helicopter operations for so many years,” Pighini stated. He was brought on to film on location with the cast and crew as they shot the Vietnam scenes for the film.
Of course, anyone who has worked on a film knows that it isn’t always possible to be completely accurate. Budget limitations or storytelling choices will often take precedence.
“The important thing was that we told Pits’ story and it resonated with people. There are those who point out that we didn’t have the right helicopter, but there was only one 43 [Kaman HH-43F] and the guy just wouldn’t let it go so we used the Huey [Bell UH-1 Iriquois]. But the movie wasn’t about the Hueys, it was about Pits. It was about going down and saving lives, knowing full well what was coming his way that night. It was about our creed: these things we do that others may live,” Pighini reflected.
When I asked him about the idea of heroism, Pighini grew solemn. “Pararescuemen…it’s in your blood. Like nurses and doctors — when people want to help people, it’s a calling. To me, it was always about saving a life. I didn’t feel like I was being a hero. The guys that gave the last full measure…they’re the heroes.”
The Last Full Measure – Arrives on Digital 4/7 and on Blu-ray, DVD, and On Demand 4/21
But even though the men who would respond to an incident involving the Pope have traded poofy pants for tactical gear, and bladed weapons for Sig SG 550 rifles, those razor-sharp halberds weren’t always just ceremonial. There was a time when the halberds, pikes, and swords carried by the ceremonial guards were the latest in military technology. The Swiss Guard are, after all, the oldest, continuous standing army in the world.
In 1527, the Holy Roman Emperor Charles V had just beat down the French in Italy. the only problem was, he couldn’t afford to pay the massive army he used to do it. Understandably pissed, the 34,000-strong army began to march on Rome, believing the Papal States would be an easy target to sack and pillage. They were right… for the most part.
On May 6, 1527, that army broke through Rome’s defenders and looted and pillaged the city for 12 days.
But the city didn’t just roll over for the renegade army.
Defending Rome was a militia made up of 5,000 and 189 of the Pope’s Swiss Guard. Of those, around 40 or so escorted Pope Clement VII to safety – and they were the only survivors of the assault. The rest were slaughtered, choosing to hold their ground in the Vatican.
The popular Netflix show Love, Death & Robots lacks an Oxford comma in the title and gets some details of military service wrong (really wish people would stop having Marines call each other soldier), so you would think a former military journalist would spend the whole time nitpicking it. But it actually portrays vets so well as a whole, that that’s what you walk away thinking about.
Soviet soldiers even get an episode.
(Netflix’s Love, Death Robots)
To understand what’s going on here, you need to understand that the series is an anthology, mostly of science fiction stories but with some entries that would more neatly be classified as fantasy. Most of them are animated, and one of the live-action episodes stars Topher Grace, so you’re going to be rooting for the animated portions.
None of the stories directly feed into each other, and the animation styles are all over the place, but the stories that touch on military service are surprisingly good and come at military service with a real understanding of veterans and military lifestyle. The show isn’t about the military, by the way, but about four of the episodes in it are.
(Note, we’re going to avoid spoiling the ends of any of the stories here, but there are spoilers for the starts and second acts of multiple episodes after this disclaimer, like, literally in the next paragraph. If you want to watch the series and you want to see each episode completely fresh, click away.)
The mercenaries continue to make fun of each other even as a centuries-old evil hunts them. Anyone who has patrolled with combat arms soldiers will know this is realistic.
(Netflix’s Love, Death Robots)
Take the episode where Marines are bolstered by werewolves. The werewolves are part military working dog, part racially disparaged service members. A lot of the conflict comes from the tension between humans and werewolves, but the moments of bonding come when the Marines lose men and wolves to a Taliban attack and bond together because, regardless of blood, you do not mess with Marines.
Or there’s the story of accidentally freeing Dracula from a centuries-long imprisonment. At least one of the mercenaries guarding the archaeologists is a veteran. Likely, all three of them are. They make fun of the academics and each other, came to the fight well-prepared for conventional attacks, and quickly improvise while fighting Dracula. And no matter how dark their mission gets, they still work through it with a dark, dark sense of humor.
In episode Lucky Number 13, a dropship pilot bonds with an “unlucky” ship that, when treated right, saves the lives of the pilot, the co-pilot, and the Marines who ride aboard her. As the dropship performs better and better, the Marines love her more and more, and protect her as fiercely as she protects them.
Marines casually discuss just how haunted their dropship is as they fly into a hot LZ. “We’re gonna die, right?” “Probably.”
(Netflix’s Love, Death Robots)
As mentioned at the top, the series isn’t perfect. The werewolves are offended when senior Marines keep saying they aren’t “real soldiers.” Some of the tactics are sloppy, some of the discipline is nonsense.
But, as a whole, the writers clearly treated their military characters as full humans, worthy of a deep and real look at what fuels them, what lines they would and would not cross, and what motives may have driven them to cross otherwise uncrossable lines.
Even Soviet troops get a deep and respectful depiction as they brave frozen forests in hunt of an ancient evil summoned by the governments past mistakes. Again, there are great moments of dark humor and familiarity with death that are great.
If you have Netflix, there’s a 90 percent chance the service has already suggested the series for you, so just click on it if you want to see what we’re talking about. Just search “Love, Death…” if, somehow, it’s not in your suggested content. It’ll come up quick.
If you don’t have Netflix, well, make your own decisions. The episodes are short, so you can easily binge it in a day. You probably don’t want to buy a month-long subscription for a one-day series.