Disney is aiming to make Disney+ an essential, if not the essential, streaming service by taking advantage of its extensive collection of properties. That means a robust selection of old titles like, oh, the entire Disney vault along with new shows inspired by proven franchises that Disney either created or acquired. That’s why we have the first-ever live-action Star Wars series, a Monsters, Inc. series, and a slew of shows set in the Marvel Cinematic Multiverse to look forward to. Now, we’re getting our first look at one of the most highly anticipated of those Marvel shows, Loki.
Disney just released photos from its Investor Day event, which took place on April 11, 2019. It was at this event that the details of the service were announced, and one photo shows Marvel Studios head Kevin Feige — the man as responsible for the MCU as anyone — talking to the audience with an image from Loki behind him.
The photo is frustratingly out of focus, but there are still plenty of clues for Marvel fans to pour over.
It shows a blurry figure resembling Tom Hiddleston — reprising the titular role — walking in front of what looks like an AMC Gremlin, next to the trunk of a less distinctive car with a similarly retro aesthetic. The cars match the vintage coats worn by a man and a woman walking away from the camera.
But the reason we’re confident that at least part of Loki will take place in the 1970s is the marquee behind Hiddleston. It reads JAWS in big red letters. Spielberg’s fourth film hit theaters in 1975, so the marquee matches the time period of the rest of the clues and offers a bit more specificity.
When we last saw Loki, he was in 2012 New York, a time and place before his death in Infinity War. He teleports away using the Time Stone, a move that, according to Joe Russo, creates a branched reality.
So our best guess is that the series will take place in that reality, one that takes place in the past and, if the Hollywood Reporter is right, will show him as he “pops up throughout human history as an unlikely influencer on historical events.”
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
There’s rarely a middle ground with military films. Either they’re masterpieces worthy of every accolade given or they’re so bad that troops turn them into drinking games, taking a shot every time something completely unrealistic happens.
Great military films take an in-depth look at actual service members and veterans and are written based on real experiences. The laughable, however, just take a quick glance at how other war films have done it and copy the wrong notes. This is how we end up with so many awful cliches that may work in a film, but would never happen in the real world.
1. Choice of mission
Many films use some variation of Mission: Impossible‘s “your mission, should you choose to accept it…” line. Sure, that works for Ethan Hunt — because he’s not a soldier and is able to make choices.
Troops don’t have that luxury. If the commander says it, that’s an order.
Using the TV series just to remind everyone Mission: Impossible existed before Tom Cruise.
2. Troops were secretly the bad guys all along
This one is most prevalent among movies set in some post-apocalyptic world. It turns out our reluctant protagonist now has to fight the “big bad” U.S. military because… uh… reasons?
Let’s take, for example, nearly every single zombie film. So, the world has already come to an end. At this point, the military would be too busy trying to restore order with some sort of martial law, but in the movies, the military is most concerned with figuring how to best weaponize zombies against their enemies (ignoring the fact that, if the world ended, the enemy was probably also ended by zombies). Once this revelation comes to light, everyone in the platoon is just totally cool with gunning down the protagonists.
Seriously, why are the only loyal and obedient soldiers evil?
3. Walking off post (while deployed)
To be completely fair to the modern war films that do this, yes: troops get more time off than most people think. We’re not on patrol every single waking moment of a deployment. That doesn’t mean, however, that we have the free time, ability, or desire to walk off-post to grab a beer.
There’s been one high-profile individual who’s done this and, uh, let’s just say that the military community doesn’t think highly of it.
Yeah, there’re many other things wrong with The Hurt Locker, but those have been pointed out a million and a half times.
4. Vehicles are always breaking down
It feels like whenever our heroes need to make a big break for it, the damn vehicle craps out on them.
Seriously, this cliche rears its head more often than a teenager trips as they try to escape Jason Voorhees. There are mechanics in the military and they dotake pride in their work.
Even great films can’t avoid cliches.
5. Saying the phrase, “with all due respect”
Characters find the courage within themselves to stand up to the high-ranking officer and say something that starts with, “with all due respect…” Suddenly, they’re given free reign to say whatever’s on their mind.
Nope. That’s a really quick way to get demoted. The line works in Talladega Nights because it’s not a war film. But even in Talladega Nights, they acknowledge that the line is, basically, worthless.
Ricky Bobby is basically every E-3 in the military.
6. Everything about the phrase, “if I told you, I’d have to kill you”
On film, how do show a spy tiptoeing around the fact that they’re a spy? Ah, yes! By having them almost tell someone in a bar — perfect!
Actual agents don’t even tell their families that they’re spies, let alone some random person at the bar. Thankfully, the granddaddy of all film spies, James Bond, doesn’t stoop that low.
It happens far more than you’d think.
7. No one is willing to fight until the protagonist gives a speech
It’s the darkest moment of the film. The good guys have nearly lost and the enemy is all around them. There’s only one person with the newfound courage to rally the troops. They stand in front of everyone and deliver a passionate speech. Those words inspire in everyone the courage they need to stand up and win. Our hero did it! Everyone lived and the bad guys lost. Roll credits…
Actual speeches before troops go out and “fight the good fight” usually involve safety briefs, radio frequencies, and contingency plans. In real life, nobody needs some Academy-Award winning speech before fighting the bad guys.
“Now that you mention it… Yeah, I do like freedom.”
*Bonus* Famous last words
To be completely real for a moment, I can almost guarantee the phrase “what the f*ck?” is a much more common set of last words than, “tell my wife… *cough* I love her.”
Dr. Vince Houghton is a U.S. Army veteran and Historian and Curator of the International Spy Museum in Washington, D.C. He grew up watching and loving the original Star Wars Trilogy. While in the Army, he served in a sort of intelligence role and after leaving the military, he earned a Ph.D. in Intelligence History with a background in diplomatic military history.
Every year on May 4th, he gives a lecture at the museum, making the argument for Star Wars being a series of spy films.
“People always debate about it,” Houghton says. “Is this fantasy, is this sci-fi, is it a western in space? For whatever reason, I’ve always seen it as a spy movie.”
Houghton argues that the backbone of the original trilogy is a spy operation — a story made into the latest Star Wars film, Rogue One: A Star Wars Story. That story is the catalyst for Star Wars IV: A New Hope, which he sees as a classic spy movie.
“You could replace the death star with V2 or V1 or a German atomic bomb or the Iranian atomic bomb or any kind of scientific and technological intelligence and it becomes a spy movie,” he says. “Strip away all the science fiction and it’s a woman with stolen plans for a weapon trying to get them to a group of guerrillas fighting against this totalitarian empire — it could be the World War II resistance.”
But Houghton takes his argument further.
“With Empire Strikes Back, the whole thing is kicked off by the Empire attempting to use imagery intelligence, their drones, their probes, to locate the secret base of the rebels,” he says. “It’s still an intelligence operation, just a different kind.”
Houghton claims Return of the Jedi is a story based on intelligence gathering and counterintelligence.
“That’s also the catalyst behind Return of the Jedi,” Houghton says. “It’s stealing the plans for the second death star. It turns out, that’s actually a big deception operation — another key issue when it comes to intelligence.”
The Spy Museum Curator is talking about Emperor Palpatine allowing the Rebel Alliance to know the location of the second Death Star. Rebel Bothan spies capture the location and plans for the space station, but it’s a ruse for the Emperor to defeat the Rebel fleet on his chosen battlespace; it was a trap, a classic deception operation designed to hide the true strength of his forces.
“You could go all the way back to Mongolians in this case,” says Houghton. “Genghis Khan did everything from tying brooms to his horses’ tails so it would kick up a lot of dust and make sure it looked like there were thousands of soldiers instead of hundreds.”
In the case of Return of the Jedi, the Emperor’s plan just didn’t work because, you know, it’s Star Wars.
Rogue One: A Star Wars Story is in theaters Dec. 16th. You can catch more of Dr. Vince Houghton on the International Spy Museum’s weekly podcast, Spycast, on iTunes and AudioBoom.
A lot of time and effort is put into every single advertisement that the U.S. military uses to leave a good, lasting impression on the minds of potential recruits. The best ads evoke emotion, tell the viewer what they stand to gain from service, and inform them that they’ll be a welcome addition to the team.
The following ads exhibit none of those qualities.
Remember, someone in the recruiting command for each branch decided that these videos were the best way to bring those numbers up. And don’t worry, we’re not leaving anybody out — every branch managed to push out a laughably bad commercial.
U.S. Air Force — “We’ve been waiting for you”
Hey, kid! You ever just sit and stare at an incoming tornado like an idiot when someone’s yelling at you to find shelter? Well, then you’re perfect astronaut material!
I’m not saying that every advertisement needs to be upbeat and cheery (you’ll see that those fill out the rest of this list), but this commercial is basically nightmare fuel set to a depressing piano score. Also, it’s cool and all to be fascinated by extreme weather, but if you’re the type of person that walks toward the huge freakin’ tornado in your backyard… you probably won’t score high enough on the ASVAB to get into the Air Force — let alone space command.
U.S. Army — “Sucked in”
It’s been beaten to death already — we all know how terrible of a campaign “An Army of One” was. That slogan completely dispels the notion that you’re becoming a part of something bigger than yourself and promotes Blue Falconry. This ad actually predates that monstrosity.
This ad is what you’d get if someone was sucked into the TV Poltergeist-style, but instead of being pulled into some ghostly dimension, they were instead transferred to the realm of sh*tty detail. Someone thought that layering on an upbeat song was all it’d take to make us how objectively creepy it is — they were wrong.
U.S. Navy — “It’s not just a job, it’s an adventure”
When you release a commercial, you typically want to make it abundantly clear what you’re actually pushing. In this video, a bunch of sailors get their port of call in the Caribbean and enjoy themselves, doing all the fun shore-leave stuff that any ol’ tourist would do — which is a far cry from actual service.
It also doesn’t help that this ad was mocked viciously on Saturday Night Live back in 1979, where they showed sailors on a working party to the tagline of, “It’s not just a job, it’s .78 a week!”
U.S. Marine Corps — “Chess”
Oh man, speaking of misleading advertising… At least the Navy’s laughably bad ad featured some sailors. It takes a full 54 seconds of watching this commercial before you realize that it’s trying to sell you on the Marine Corps.
It’s like someone who didn’t even understand the rules of chess decided that it deserved a dark, gritty reboot. First of all, that’s not how the knight piece moves at all. It starts out fine when he moves across the board to take out the lightsaber wielding bishop but, after that, he just does what he pleases.
To be fair, that’s how most Marines would react given a chess board…
U.S. Coast Guard — “Be part of the action”
Did you know that the Coast Guard actually runs commercials every now and then? And I’ll be honest, this commercial is actually the best of the worst on this list. It takes a fair and balanced understanding of what the Coast Guard does and gives it a Miami Vice tone.
The reason that this one stands out as being the worst of the Coast Guard ads is that it finishes with the dumbest criminals in history being stopped by the dorkiest dudes to ever sign up. On the bright side, having Academy Award winning actor Louis Gossett Jr. put on a Coastie Cap at the end earns them at least a couple cool points.
“We’ve passed on all we know. A thousand generations live in you now. But this is your fight. We’ll always be with you. No one’s ever really gone.”
A few more surprise credits include Mark Hamill’s Luke Skywalker (who, in addition to providing great trailer voiceover, will return, I suspect, as a Force Ghost, which really is canonically what they’re called) and Carrie Fisher’s Leia Organa (via archived footage reportedly from filming The Force Awakens).
OG Force Ghosts from Return of the Jedi.
Since J.J. Abrams’ highly anticipated release of The Force Awakens, it’s been clear that this trilogy is designed to pass the torch to the next generation of characters, including Daisy Ridley’s Rey, John Boyega’s Finn, Oscar Isaac’s Poe Dameron, and of course, (U.S. Marine) Adam Driver’s Kylo Ren. Episode IX will close out the triptych.
According to Disney CEO Bob Iger, this film will also close out the Skywalker saga, prompting the franchise to take a little hiatus.
“We have not announced any specific plans for movies thereafter. There are movies in development, but we have not announced them. We will take a pause, some time, and reset because the Skywalker saga comes to an end with this ninth movie. There will be other Stars Wars movies, but there will be a bit of a hiatus,” Iger told Bloomberg.
Challenges for this film will be to provide a satisfying resolution to a storyline that has spanned 40 years with some of the most beloved characters ever created (and a fan base whose vitriol has the capacity to rival even the military community’s yes I am looking at you in the YouTube comment section of our Mighty Minutes…).
More than that, Episode IX will also have to resolve the battle raging in Kylo Ren, the trilogy’s main antagonist — who also happens to be the son of Leia and Han Solo. That’s a lot to ask of one movie, but no matter what happens, it’ll be fun to watch it play out.
I get the sense that her family background will actually be significant…
(Lucasfilm’s Star Wars: Episode IX)
Should someone tell these guys that Rey is taking on a TIE fighter (variant unknown).
(Lucasfilm’s Star Wars: Episode IX)
The look on Billy Dee Williams’ face when he finally got the call from Disney.
(Lucasfilm’s Star Wars: Episode IX)
Star Wars: Episode IX – The Rise of Skywalker will open on Dec. 20, 2019, and the good tickets will sell out so buy them early and maybe buy some extra to sell on ebay. You’re welcome. And may the Force be with you, obviously.
Robert Duvall has had a remarkable career. With iconic roles in The Godfather I and II, Lonesome Dove, The Apostle, Tender Mercies, To Kill a Mockingbird, Apocalypse Now, Days of Thunder, and many more, Duvall is best known for his roles on screen and as an accomplished filmmaker. Perhaps lesser known is that he served in the Army for two years during the 1950s and comes from a military family where his father was a Rear Admiral.
WATM had the opportunity to speak with Duvall to hear about his fascinating life, from growing up as an Admiral’s son to working with some of the greatest minds in entertainment of all time.
WATM: What was your family like and your life like growing up?
We moved a lot because of being in a military family. We lived in San Diego and then Annapolis, MD, at the Naval Academy. I remember seeing a movie when I was really young at Camp Pendleton for a dime back in the 1930s when we lived in Mission Hills in San Diego. Right before WWII started, my dad was transferred from Pacific Fleet to the Atlantic Fleet, which led to our move to Annapolis for eight straight years. My father’s first ship was in the Atlantic. My grandmother lived with us for a while as well back then. As a young boy, I watched athletic events at the Academy and became inundated with their sports as a kid. I remember watching Army and Navy games when Army players such as Doc Blanchard and Glenn Davis were on the field.
My father was a good line officer and had a solid war record where he retired as a Rear Admiral. His first command was in San Pedro which was the USS Clark, which was a minesweeper. He was with destroyers from Europe to North Africa where his last command was USS Juno, which was a light cruiser. My father served on the USS Indianapolis (famous for delivering parts for Little Boy and then being sunk by the Japanese losing a large percentage of the crew to sharks) and carried President Roosevelt’s bags for him while he was on the ship. My father kept quiet about his service in retirement and didn’t go out on ships once retired..
We prayed and did our bit at home while he was abroad fighting in the war. One funny thing was how my father stopped smoking during the war, so we sent him chewing gum instead. My father worked with the British Navy and enjoyed serving with them. He told us how the British Navy would toast the Queen but not the President of the U.S. After they would have dinner and wine, the British would have wrestling matches where it was best two out of three falls. My dad respected the British and Churchill. Thank God for Churchill as he was likely the greatest man in the 20th century.
The USS Indianapolis- U.S. Navy photo 80-G-425615
As a young teen, me and my siblings went out to our uncle Harold Prescott’s 40,000-acre cattle and sheep ranch in Montana for two summers in a row. This happened at the end of WWII. These memories and experiences at the ranch I’ll never forget; they embedded in me a certain culture. We would go there by train on the Empire Builder of the Great Northern. It would take us from Chicago where we took the Baltimore Ohio the first way and my aunt would pick us up when the Empire Builder would stop in the open fields.
We rode horses, cleaned out the chicken coop, went camping in the mountains and fly fishing with my uncle. I met Jimmy Morrison, a great veterinarian and immigrant from Scotland, while at the ranch and learned a lot about handling animals from him. He was just good to be around where we pitched horseshoes every night with him. Jimmy roped a baby coyote from his horse once and he raced full speed on his quarter horse and touched a galloping antelope on the neck.
They would have big dances there in Montana where if you asked the wrong woman to dance the whole place would turn into a gigantic fist fight, thereby ending the dance. My uncle even gave us a salary at the end of the summer for the work we did around the ranch. He told us, “With your father off fighting the war the least I can do is pay you boys something for your work around here.” My uncle Harold fought in WWI in the Battle of Belleau Wood as a Marine.
Empire Builder of the Great Northern. Credit: Great Northern Railway Historical Society.
I went into a small college, Principia College where my military family pushed me into acting. I changed my major to drama after my first A in an acting course and found myself.
WATM: What is the most distinct memory of your mother and your father?
My mother ran the home while my father was away. My father could be gone for eight months and we respected him for his service. He was a good man and taught us work ethic by example. My mother ran a cotillion for dancing as we grew up where we learned social graces and how to interact with people, especially women. She made for us a good and stable home life with great experiences.
The US Naval Academy in the 1940s. Credit:HipPostcard.com
WATM: What values were stressed at home?
We were taught to believe in God, do good for other people and to be patriotic. We were taught to keep positive thoughts even in hard times.
Norman Rockwell’s “Saying Grace” painting. Credit Norman Rockwell.
WATM: What influenced you to join the U.S. Army and what lessons did you take away from your service?
I was drafted and went in for two years where the Army was okay. I did a lot of imitations of people I met in the Army which was shared with my family and friends. One experience really stuck with me was with a fellow soldier nicknamed 3-D, who was like six feet six inches tall and could hardly see. We were marching one night and he disappeared as he had fallen into a fox hole. It struck me as strange that Mickey Mantle was 4F, but that 3-D was considered service worthy. How is a star center fielder for the Yankees not able to serve but this guy is?
I really brought away humor and the ability to tell stories from the Army and served my time. It served me later for playing military roles and allowed me to have a respect for the part. I have a respect for the military, so I played those parts with credence and professionalism.
President George W. Bush stands with recipients of the 2005 National Medal of Arts, from left: Leonard Garment, Louis Auchincloss, Paquito D’Rivera, James DePreist, Tina Ramirez, Robert Duvall, and Ollie Johnston. Credit: White House photo by Eric Draper – whitehouse.gov
WATM: What are the best lessons that Sanford Meisner taught you?
I trained with Sanford on the GI Bill where he taught me how to be as simple as possible in connecting with people. He showed us how to be basic and get to the core of communication. He taught me a legitimate and helpful shortcut in acting. Meisner once said he was easier to please than Lee Strasberg at the Actors Studio. Meisner was friends with Horton Foote, who gave me my first film in “To Kill a Mockingbird.” Horton had seen me in a play that Meisner had directed at the Neighborhood Playhouse and liked what they saw, so from that I got Boo Radley. It was a wonderful part to start off with and Horton really helped me a lot in my career.
A photo of a young Robert. Credit unknown.
WATM: What was it like transitioning from stage actor to Film/TV actor?
I started out in the theatre and did summer stock. The main difference is you just speak up a little more on stage than you do in film and TV. You are still believing in an imaginary set of circumstances and going into an imaginary world. It is you doing it yourself where you are appearing as you are becoming something else as we have only one set of emotions and psyche. One of my favorite stage parts ever, American Buffalo, I did on Broadway, which is the Mamet play, it was the best. You do eight shows a week which can wear you down. I would nap between shows and just get up and stumble on stage from that deep nap. Rest is very important.
And Robert Duvall in the “Miniature” episode of the “Twilight Zone.” Credit IMDB.com
WATM: What are some of your best memories from your early to mid-career working on great shows and films?
There were parts I was able to grow in and was able to get better as I got older. There are always some parts you do better than other parts for whatever reasons. Eastwood was good to work with and I liked working with John Wayne as well. The Duke was just neat to be around. He did some good work and stuck up for me on the set of “True Grit.” I was having struggles working with the director of the film where Duke chimed in to balance the odds.
Ulu Grosbard was a close friend and gave me a lot of help early in my career. He directed me in Broadway and Off-Broadway plays. If I needed something from him, he would help me right away. He was a great guy.
Brando was the great one to work with and was so innovative. A memorable story is where I met a great English stage actor that went to see a Streetcar Named Desire when Brando was in it on Broadway. The English actor got embarrassed because he thought a stagehand had wandered on stage by mistake. The “stagehand” was so natural, but it turned out that it was just Brando on stage. The English actor went to see it seven times. Gene Hackman, Dustin Hoffman and I would meet at Cromwell’s drug store two or three times a week for an hour. We mentioned Brando nearly every day in those conversations. Working with Brando was amazing; he turned the world upside down when he came around.
Jimmy Caan is super funny and an extremely quick wit. James has a lot of talent and is a wonderful actor where we stay in touch with each other. De Niro was wonderful and I did summer stock with Gene Hackman. One note on Gene, when I busted my pelvis on set a long time ago, he offered me his last 0. I didn’t take it but he is a great guy to be around. Gene Hackman was a Marine and played on the USMC Football team with Joe Bartos, a Naval Academy grad and professional football player for the Redskins. Gene also served in Korea and stood duty in the cold there. He used to tell me stories about his time in Korea. Dustin Hoffman was my roommate and was a character where he belongs in the business. I kept in touch with Wilford Brimley as well when he was a bodyguard for Howard Hughes and a Marine.
Robert in his first feature film “To Kill a Mockingbird.” Credit IMDB.com
Francis Ford Coppola, Robert, and Marlon Brando on set for “The Godfather.” Credit IMDB.com
Robert with George Lucas and Donald Pleasance working on “THX 1138.” Credit IMDB.com
Robert and Tommy Lee Jones in “Lonesome Dove.” Credit IMDB.com
Robert Duvall with Clint Eastwood while filming Joe Kidd. Credit IMDB.com
WATM: What was your experience like working on the military films “Apocalypse Now” and “The Great Santini?”
When I went in to read for “Apocalypse Now,” the initial writing for the character I played wasn’t written very well. Colonel Carnage was the original name for LtCol Kilgore and was made more of a caricature of the Army than a realistic portrayal. It was just too much for me. Coppola allowed me to adjust the LtCol for the film and to find the uniform and the hat for the character. Coppola always allowed me to find the character and was very instrumental in my career. He helped me a lot. Coppola and I were so close, we would have arguments on the phone about artistic points, but we had a mutual respect. I really like working for him.
When I did “The Great Santini,” I went down early to location to get settled in Beaufort, South Carolina. I found a place to live and went into a real estate office where they thought I was a Marine. One funny memory was when I went up to a beautiful house on the hill when looking for a place to rent. I went up to the door with the real estate people where this sweet, little southern lady opened it and I asked her if she would allow me to rent the home from her. She had the most honest and funniest response with her draw, “Well where would I go?” I thanked her for her time, and we left.
I would get up at 5:30 in the mornings and go hang out with the drill instructors at MCRD Parris Island. They seemed more beat up and tired than the recruits were. They were hoarse and exhausted from their work training them. I went to the officers and non-commissioned officers’ ball while on base where I had a great time with them. I always try to be as accurate as I can with military parts, especially in “The Great Santini.” Overall, working with the Marines was great! I love Marines!
As LtCol Kilgore in “Apocalypse Now.” Credit IMDB.com
Robert Duvall with Francis Ford Coppola on set of “Apocalypse Now.” Credit unknown.
Robert Duvall in The Great Santini. Credit IMDB.com.
WATM: What are your favorite moments from your mid-career to now on such films?
“Tender Mercies” comes to mind where I insisted on Wilford being in the film with me where he had my back in dealing with the director. Wilford helped with the common distance between a foreign director and a native actor, which was taking place in my situation. One of the best memories from that set is when the director, Bruce Beresford, told us to, “pick up the pace,” on set. Wilford responded with, “I didn’t know anybody dropped it.” . Wilford’s retort drew laughter from the cast and crew.
I once walked into the dining room on “Lonesome Dove” and told them, “We were making the Godfather of Westerns.” I really believe that and playing Gus is probably my most favorite part to play overall.
“Days of Thunder” was a lot of fun working with Tom Cruise. Tom Cruise is a good guy to work with and he bought me a ,000 jumping horse. He really is a terrific and very giving guy. It was great to be with him again on “Jack Reacher.” I played a retired Marine in that film with him.
Working on “Falling Down” with Rachel Ticotin was wonderful. She is a smart and fun actress to work with. We had a great time on set for the film.
“The Apostle” was a wonderful film to make. Miranda Richardson was so talented in the film and we had Farrah Fawcett, who was underrated, in it as well. I put my own money in that film and we got it back. Marlon Brando loved it and so did Billy Graham, so I got praise on both sides from the secular and religious. Brando wrote me a letter that is framed on my wall and it still means a lot to me what he wrote.
Hank Whitman is another talented professional to work with where we worked together on “Wild Horses” in 2015. He is a Texas Ranger and served in the Marines. He is a classy guy and a man of his word.
My favorite film to work on recently was “Get Low,” just loved the character. It was just a nice production to work on, especially with Lucas Black who I worked with on “Sling Blade.”
Robert with Tess Harper in “Tender Mercies,” which he won the Oscar for Best Actor in 1984. Credit IMDB.com.
Susan Rinnell, Robert Duvall, Glenn Close, Jason Presson, Gail Youngs and Wilford Brimley in “The Stone Boy.” Credit IMDB.com.
Robert working on “The Natural.” Credit IMDB.com.
Robert with Tom Cruise while filming “Days of Thunder.” Credit IMDB.com.
Robert and Gene Hackman in Geronimo: An American Legend. Credit IMDB.com.
Rachel Ticotin and Robert Duvall in “Falling Down.” Credit IMDB.com.
Robert wrote, directed, produced and starred in “The Apostle.” Credit IMDB.com.
Robert with Nic Cage filming “Gone in 60 Seconds.” Credit IMDB.com.
On set in “Get Low” with Bill Murray. Credit IMDB.com.
WATM: What are you most proud of in your life and career?
I am proud of my wife Luciana and we have a nice relationship. She is a great cook, she is going for her brown belt in Brazilian Jiu-Jitsu and is studying Kali which is Filipino knife training. She has a great family she comes from in Argentina where she is the granddaughter of Argentinian aviation pioneer Susana Ferrari Billinghurst. We love our dogs and they are like kids.
Picture of Robert with his wife Luciana at an event for “The Judge.” Credit IMDB.com.
Military movies are emotional to watch as many are based on real and fascinating stories of man’s ability to overcome any obstacle and fulfill his or her goals and destiny and all that sh*t.
With so many important aspects to pay attention to, filmmakers commonly make mistakes that veteran moviegoers can spot.
So check out some epic mistakes we managed to find in our favorite Hollywood war films.
1. Where did the German tank go?
“Saving Private Ryan” is one of the best war movies ever recorded on film, but that doesn’t mean it’s flawless. In the 3rd act — just as the final firefight is about to end — Capt. Miller fires his pistol at a tank headed toward him. After firing a few shots, the tank blows up, bursting into flames and stopping dead in its tracks.
The tank surprisingly blowing up isn’t the mistake, but moments later the Tiger tank vanishes.
It must have been magic, right? (Source: Dream Works)
2. Playing musical chairs
In Mel Gibson’s “Hacksaw Ridge,” Desmond Doss sits on the right side of the bus saying his goodbye to his girl.
Cut to a few moments later and Desmond is now sitting on the left side of the bus after it departs the station.
3. No force protection…at all
In the Clint Eastwood directed “American Sniper,” the SEAL team enjoys a meal with an Iraqi man and his family who is about to be discovered for being a bad guy. Although the team is on a crucial mission, the lights are on, and someone forgot to close the curtains on the window.
4. A non-combatant?
We love the film “Full Metal Jacket” just as much as other veterans, but this Stanley Kubrick directed film has a lot of screw-ups — especially here. As the Marine squad advances on the Vietnamese sniper, you can spot a crew member in the bottom of the frame. Oops!
5. Marine sniper training on an Air Force base?
In 2006, Universal pictures gave us the Desert Storm film “Jarhead,” directed by Sam Mendes. In this scene, Anthony Swofford (played by Jake Gyllenhaal) reports for bugle tryouts at the Marine Corps parade deck. Look at the water tower behind him; the Air Combat Command emblem is clearly represented in this shot. The A.C.C. is a major command of the Air Force and wouldn’t be located on the Marine Corps base.
It’s been well over six months since Star Wars: The Last Jedi came out and audiences have gone through the full cycle of liking it on opening night and disliking it the longer they spend thinking about it. Now, it’s been released for viewing in homes across America and leaking potential spoilers is no longer a crime punishable by death.
That being said, this is your official spoiler alert. We are going to talk about Star Wars: The Last Jedi ahead.
And my personal question: If that was such an effective tactic, why not just attach hyperspace drives onto asteroids and use them to bombard enemies?
Still with us? Okay, here we go.
In the second act of the film, the First Order has the Resistance cornered. Vice Admiral Haldo orders her people to board the transport ships and evacuate to the nearby planet, Crait. She then pilots the Raddus and aims it right at the First Order fleet and their flagship, the Supremacy.
She floors the Raddus into near hyperspeed and smacks right into the bad guys in what was one of the coolest moments of the film. Pieces of the shattered Supremacy then domino-effect outward, into the other ships, destroying them as well.
As awesome as this moment was, it opens up many questions for the fans that could be better understood with some science. Like, is that even possible? What kind of force (not that kind) would be required to pull that off?
Everything always comes back to science.
The filmmakers behind the Star Wars universe have taken many creative liberties with the franchise, telling elaborate storiesat the expense of scientific reasoning— and that’s fine.The series is literally about magical space samurai that befriend countless alien species without translators and everyone seems to be just fine walking on random planets without wearing space suits.
In this one particular instance — the hyperspace Kamikaze move — everything seems to be perfectly in order. This all comes down to Albert Einstein’s famous mass-energy equivalency formula, otherwise known as E = mc2.
Even though many people see that formula and think it’s just some smart guy’s way of proving he’s smart, it’s actually the fundamentals of energy. It means, in basic terms, that energy and mass are interchangeable.
Cut the movie some slack. It’s far more interesting than reading science textbooks.
With a little algebra, however, this same formula can be rearranged to explain that achieving the speed of light would be nearly impossible because everything within the universe with mass would require a incalculable amount of energy to achieve such a speed. It’s challenging to send even a single atom at a fraction of light speed, let alone a massive frigate.
In the real world, achieving hyperspeed is near impossible for anything other than massless photons. But this is the universe with tiny green muppets teaching farmboys how to move rocks with their minds. Let’s pretend that the hyper-drives hand wave that all away and moving faster than the speed of light is possible and it can be achieved by things with mass.
It’s basically the idea behind the “Rod from God” that never happened.
Thankfully for the audience, the next scientific laws that apply to this scene are also very well-known: Newton’s First and Second Laws of Motion. The first says that every object in a state of uniform motion will remain in that state of motion unless an external force is applied to it. The second states that the rate of change of momentum of a body is directly proportional to the force applied, and this change in momentum takes place in the direction of the applied force.
In normal-people words, this means that since the Raddus was extremely massive and was working up to light speed (which meant that it still had mass at that point), it had an unfathomable amount of energy behind it’s punch that could, theoretically, shred through anything with ease.
This is a magnified version of a rail gun on planet Earth. You take something heavy, use magnets to send it extremely high speeds, and crash it into something. Boom. No more enemy.
Then again, this could also explain why two missiles could destroy a Death Star and a couple of laser blasts destroy the second one.
The real question is why don’t they use it more often in the Star Wars universe? We’ve accepted that, for the sake of storytelling, that hyper-drives really work, but this Kamikaze strategy hinges on how the fictional hyper-drive works. If achieves immense speeds by reducing a spacecraft’s mass to zero — similar to that of a photon — then the spacecraft couldn’t destroy something unless it was in the process of picking up speed. This version is more in line with the destruction we saw in the film.
The problem with this option is that if the ship doesn’t have enough speed, it’ll simply bump off the target’s shields. If it has too little mass, it’ll simply squash like a fly on a windshield. The conditions would have to be near perfect to make a serious impact.
The other way a hyper-drive could work is if it creates the insane amount of energy required to bring an object past light speed. If that’s the case, then the hyper-drive would be destroyed with the collision. For scale, the energy needed to send a Ford Mustang into hyper-speed would be more than a star going supernova. When a spacecraft containing an entire military crashes and the hyper-drive that powers it blows it, it’d let off enough energy to snuff out the entire galaxy in an instant. So, it probably wasn’t that.
Real grenades are puffs of smoke with a bit of high-moving metal. Why not give troops mobile fireballs that instill fear and awe in the hearts of all that see them? Why not arm our troops with something akin to Super Mario’s fire flower?
First, we should take a look at what, exactly is going on with a real grenade versus a movie grenade.
The grenades you’re probably thinking of when you hear the term “grenade” are likely fragmentation grenades, consisting of strong explosives wrapped up in a metal casing. When the explosives go off, either the case or a special wrapping is torn into lots of small bits of metal or ceramic. Those bits fly outwards at high speed, and the people they hit die.
The U.S. military uses the M67 Fragmentation Hand Grenade. 6.5 ounces of high explosive destroys a 2.5-inch diameter steel casing and sends the bits of steel out up to 230 meters. Deaths are commonly caused up to 5 meters away from the grenade.
U.S. Army soldiers throw live grenades during training in Alaska.
That’s because grenades are made to maximize the efficiency of their components. See, explosive power is determined by a number of factors. Time, pressure, and temperature all play a role. Maximum boom comes from maximizing the temperature and pressure increase in as little time as possible.
That’s actually a big part of why M67s have a steel casing. The user pulls the pin and throws the grenade, starting the chemical timer. When the explosion initiates, it’s contained for a fraction of a second inside that steel casing. The strength of the steel allows more of the explosive to burn — and for the temperature and pressure to rise further — before it bursts through the steel.
As the pressure breaks out, it picks up all the little bits of steel from the casing that was containing it, and it carries those pieces into the flesh and bones of its enemies.
Movie grenades, meanwhile, are either created digitally from scratch, cobbled together digitally from a few different fires and explosions, or created in the physical world with pyrotechnics. If engineers wanted to create movie-like grenades, they would need to do it the third way, obviously, with real materials.
The explosion is easy enough. The 6.5 ounces in a typical M67 would work just fine. Enough for a little boom, not so much that it would kill the thrower.
But to get that movie-like fire, you need a new material. To get fire, you need unburnt explosives or fuel to be carried on the pressure wave, mixing with the air, picking up the heat from the initial explosion, and then burning in flight.
And that’s where the problems lie for weapon designers. If they wanted to give infantrymen the chance to spit fire like a dragon, they would need to wrap something like the M67 in a new fuel that would burn after the initial explosion.
Makers of movie magic use liquid fuels, like gasoline, diesel, or oil, to get their effects (depending on what colors and amount of smoke they want). Alcohols, flammable gels, etc. all work great as well, but it takes quite a bit of fuel to get a relatively small fireball. The M1 flamethrower used half a gallon of fuel per second.
But liquid fuels are unwieldy, and even a quart of gasoline per grenade would add some serious weight to a soldier’s load.
So, yeah, there’s little chance of getting that sweet movie fireball onto a MOLLE vest. But there is another way. Instead of using liquids, you could use solid fuels, especially reactive metals and similar elements, such as aluminum, magnesium, or sodium.
The military went with phosphorous for incendiary weapons. It burns extremely hot and can melt its way through most metals. Still, the AN-M14 TH3 Incendiary Hand Grenade doesn’t exactly create a fireball and doesn’t even have a blast. Along with thermite, thermate, and similar munitions, it burns relatively slowly.
But if you combine the two grenades, the blast power of something like the M67 and the burning metals of something like the AN-M14 TH3, and you can create actual fireballs. That’s how thermobaric weapons work.
U.S. Marines train with the SMAW, a weapon that can fire thermobaric warheads.
(U.S. Marine Corps Cpl. Brian J. Slaght)
In thermobaric weapons, an initial blast distributes a cloud of small pieces of highly reactive metal or fuel. Then, a moment later, a secondary charge ignites the cloud. The fire races out from the center, consuming the oxygen from the air and the fuel mixed in with it, creating a huge fireball.
If the weapon was sent into a cave, a building, or some other enclosed space, this turns the secondary fire into a large explosion of its own. In other words, shoot these things into a room on the first floor of a building, and that room itself becomes a bomb, leveling the larger building.
But throwing one of these things would be risky. Remember, creating the big fireball can turn an entire enclosed space into a massive bomb. And if you throw one in the open, you run the risk of the still-burning fuel landing on your skin. If that’s something like phosphorous, magnesium, or aluminum, that metal has to be carved out of your flesh with a knife. It doesn’t stop burning.
So, troops should leave the flashy grenades to the movies. It’s better to get the quick, lethal pop of a fragmentation grenade than to carry the additional weight for a liquid-fueled fireball or a world-ending thermobaric weapon. Movie grenades aren’t impossible, but they aren’t worth the trouble.
Any time someone sets out to make a war film, he or she risks getting swept up into the action, the combat, the inherent drama that comes with the subject. The truly great war movies recognize the smaller elements, the ironies and subtleties of life during conflicts. Day One, a short film from U.S. Army veteran turned filmmaker Henry Hughes, is such a movie.
“We’re not having a lot of success in getting telling the soldier experience story,” says Hughes, an American Film Institute alum. “I don’t think we’ve changed much how we look at war and the stories that come out of it. Troops are portrayed as either victims or heroes. We still think war is ironic, that we go in and we’re surprised by the things that we find in war. Maybe there’s some bad things about it, and we’re like ‘oh that’s a surprise!’ But it’s not a surprise. War is a very mixed bag, but it can be spiritual and it can be fun and it can be dangerous and it can be morally wrong at times and it can also be one of the things you’re most proud of because you do some really good things.”
Day One is based on Hughes’ own experience with his translator while he was an infantry officer in 173d Airborne Brigade Combat Team. The movie follows a new female translator’s first day accompanying a U.S. Army unit as it searches for a local terrorist in Afghanistan. Her job brings up brutal complexities as gender and religious barriers emerge with lives hanging in the balance.
“Having a female interpreter definitely changed my perspective of fighting, particularly having been on two deployments,” Hughes says. “The first time, it feels very new and romantic and exciting. The second time, you aren’t seeing a lot of impact in the way you would like and so you start wondering if you’re doing the right thing. In this instance, I had this Afghan-American woman with me at all times, and she was the person I communicated with locals to and she had access to the Afghan women in a way that I have never had before.”
“In my first deployment we didn’t even look at the women,” Hughes continues. “I remember that was a thing we did as a company. When we were on a trail and a woman came by, we would clear the trail, turn out, and allow them to walk by. Now all of a sudden, I mean I’m not face to face with these women but my interpreter would tell me she just spoke with a woman that would give us a very different perspective from what we would usually get. It’s interesting in that way.”
Hughes’ Army perspective spans more than just his time as an Army officer. He was also a military brat, following his dad with the rest of the family, living in Germany and Texas. As an officer in the 173d, he went to Airborne and Ranger School, Armor School, and Scout Leaders Course to prepare for his time in Afghanistan during 2007 and 2008 and then again in 2010.
“I’m very interested in exploring the military stuff because it is such a hyperbolic life.” He says. “Things are just so condensed and so strange and powerful. It’s like the meaning of life is life hangs in balance sometimes. You get that moment in the military and most people don’t ever work in those types of absolutes.”
Hughes has always been the artistic type. He went to a high school that had a TV studio, which inspired the creative side of his personality. He’s also come to believe that the military is the perfect place to start a filmmaking career.
“You take so many lessons from your military experience and apply them into filmmaking because it is so team-oriented and team-based. The ability to communicate and draft up a single clear mission or objective. Those skills that I learned as a young officer are paying massive dividends now, being creative.”
Hughes also believes a good storyteller must step out of his or her comfort zone to empathize with the characters and relate them to the audience.
“With trying to express yourself artistically, you have to be a little bit more vulnerable. ‘What is actually at play here,’ as opposed to ‘How do I accomplish this?’ I think you have to be a little bit more introspective whereas in the military, we’re very external and action-driven. It’s just analysis but we all do tons of analysis in the military too. I think it’s a good thing.”
Oreo will release “Game of Thrones”-inspired cookies just in time for the series’ final season.
The limited-edition “Game of Thrones” Oreos, which taste like the original cookie, come emblazoned with one of four different decals inspired by the show. Three of the cookies feature the family sigils of the major houses vying for the Iron Throne, while the fourth cookie comes carved with a profile of the Night King.
The House Stark direwolf sigil is embossed on one version of the cookie.
House Stark Oreo.
The Mother of Dragons is represented with a House Targaryen-inspired cookie featuring the iconic three-headed dragon sigil.
House Targaryen Oreo.
Meanwhile, the famous “golden lion” of House Lannister makes an appearance on another version of the “Game of Thrones” Oreo cookies.
House Lannister Oreo.
Finally, the Night King represents the White Walker army with a cookie of his own.
The Night King Oreo.
Oreo is celebrating the collaboration by recreating the show’s title sequence with an animated landscape built entirely out of 2,750 Oreo cookies. Check out the video below:
Fans of the show can visit Oreo’s website or post on Facebook and Twitter using #GameofCookies or #FortheThrone to pledge their loyalty to any of the houses or the White Walker opposition. Oreo will then surprise some lucky participants with a special treat; the company has not yet disclosed what the treat will be.
The new “Game of Thrones” Oreos will hit shelves nationwide starting April 8, 2019, giving fans of the series plenty of time to stock up on the limited-edition snack prior to the hit show’s season eight debut on HBO April 14, 2019.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
Military movies are a lot of fun, and the Department of Defense loves how they prime plenty of young folks to join the service. But while military service and military movies are both great, there’s a huge gap between how military life is portrayed and how it actually works. So, here are nine scenes from military movies that are fun to watch but few troops ever get the chance to do:
This poor man hasn’t had a peaceful cup of coffee sicne the ’90s.
Buzzing the deck or tower
Yeah! Top Gun! And not the beach scene that makes our sisters act weird for 20 minutes afterward! But if you’re thinking about joining naval aviation in order to fly super fast past control towers on ship and shore, you should probably know that the beach scene is more likely to happen (but much less sexy) than “buzzing the tower” against orders.
See, F-14 Tomcats cost about million each. So, pilots taking dangerous risks with their birds weren’t told off by an angry commander, they were investigated and had their wings taken away. And Top Gun is a school, and the commander definitely should’ve had some pilots ready to go to school besides the one who keeps taking unnecessary gambles with aircraft.
Do not let this sexy archaeologist select your cup. She chooses poorly.
Hunt for lost technology with sexy archaeologists
In The Mummy, another awesome Tom Cruise flick, the hero is an elite soldier who, after a series of illegal mishaps, finds himself searching a tomb with a sexy archaeologist. The Nazi soldiers in Indiana Jones also spend a lot of time in ruins with sexy archaeologists (I’m talking about Dr. Elsa Schneider, but if you’re into Dr. René Emile Belloq, go for it).
But actually, modern military weapons typically come from laboratories, not ancient ruins. And the number of entombed monsters the Air Force is sent to re-secure like in The Mummy is also shockingly low. You’ll spend much more time in smelly port-a-johns with a smartphone than you will in Egypt with models.
Godzilla (1998) – Godzilla Babies Scene (7/10) | Movieclips
But about that weapons-coming-out-of-labs thing from the last paragraph — plenty of movies also show soldiers running into academics and being all superior because the soldiers are brave and covered in muscles and the scientists are pencil necks. For those of you lucky enough to have forgotten the 1998 Godzilla, the military ignores about 30 warnings that Godzilla may have laid eggs.
But scientists aren’t actually assigned to combat units very often. And the few scientists who do end up with military units aren’t typically biologists tracking the local zombie outbreaks that you can laugh off until you get bit. They’re usually anthropologists telling you that the local Afghans don’t like you much, mostly because of all the shooting. Thanks, scientists!
Alien invasions aren’t real. And if they ever are, pray the aliens don’t have miles-wide aircraft carriers.
We loved Independence Day and hated Battlefield: LA as much as the next guy but, and brace yourselves here, aliens have never invaded Earth, and that’s not what the Space Force is for. Offensive wars against aliens don’t happen much either. We won’t be mining unobtanium from Pandora.
I know, big shocker. You might get to work against the “immigrant” form of aliens, but that’s mostly putting up barbed wire and providing medical aid while you sit in the middle of the desert during Christmas. So, I guess what we’re saying is: weigh your options.
Pictured: Coolest way to kill a giant bug.
Slaughtering bug armies
The best kinds of armies, alien or otherwise, to kill are easily bug armies and zombies. So much killing, so much gore, so little moral squeamishness. No one worries much about the bugs in Starship Troopers, even when heroes are climbing on top of them, shooting a hole through their exoskeletons, and then throwing a grenade inside of them.
Sigh. Unfortunately for die-hard action fans, American forces actually spend most of their time fighting other humans. While this is often necessary (looking at you, Hitler), it also means a lot of real people just swept up in the currents of their times are killed (looking at you, all of the Wehrmacht who weren’t dedicated Nazis). Not nearly as much fun as killing the bugs.
Survive bomb after bomb, grenade after grenade
Also, you’re not nearly as survivable in future combat as movies and video games would have you think. Bombs, artillery fire, grenades, and even bullets can kill you very easily. You’re basically a big bag of soup with a little brain pushing it around the world, and wars are filled with all sorts of flying metal that can shred your bag.
When the enemy shows up with massive walker tanks, they probably have a dozen weaknesses. Aim for those before you count on the common cold taking them out.
(Alvim Correa, from 1906 War of the Worlds)
Defeat the enemy thanks to their one critical weakness
Luckily, your enemies will usually have the same weakness. Unfortunately, they won’t also have one big weakness that can be exploited by some savvy Jeff Goldblum type saying, “I gave it a cold. I gave it a virus, a computer virus.” Instead, when the British start rolling the first tanks against your lines, you just have to hit them with artillery and hope they get caught in the mud.
And you press every weapon in your arsenal against the new threat. Turns out, machine guns could break off rivets inside early tanks and injure or kill the crew. High-powered rifles would split the armor and send shards into the crew. Incendiary devices could set off gas and force the crew to evacuate. So, German soldiers used all of these things.
Retrain in four jobs before the final credits roll
Remember when Jake Sully in Avatar took over his brother’s job as a scientist and pseudo-alien, then became a spy for the human military, then became a pilot for the alien resistance, then a small strike team leader? Those are all still different jobs, right?
In reality, most soldiers spend weeks or months learning their first job, and they can only switch jobs with more weeks or months of training. Any movie realistically showing them moving from job to job would need to be a biopic with a story spanning years of the soldier’s life.
Fun fact: There’s only been one documented underwater submarine battle in history. And that was an exchange between two submarines in World War II. But that hasn’t stopped movie after movie that showed submarines hitting each other or even divers fighting to the death under the waves.
It is exciting, exciting stuff — I’m partial to the underwater spear gunfight in Thunderball — but actual underwater fighting is super rare since almost no military forces specialize in it or want to fight in the water. Even SEALs generally fight above the waves.
Our Mandalorian (Pedro Pascal) and the Yoda Baby (aka “The Child”) are back! Mando (I still hate that name) Din Djarin picks up where he left off at the end of season one: with a mission to find the ancient race of warriors who can move things with their minds in order to return the Yoda Baby to them.
If you need a recap of season one, check out the video below. And remember, there are spoilers ahead through The Mandalorian, season two episode one.
Season two opens with our Mandalorian and the Yoda Baby entering a fighting pit, where the Twi’lek (isn’t it fun when the mere presence of an OC trilogy species serves as an easter egg?) bouncer doesn’t even blink at bringing a baby into the bar.
A cyclops alien promptly betrays Djarin and launches his ambush with the intent of stealing the fancy Beskar steel armor. (For a touch of humor, pay attention to the Gamorrean fighter in the background.) Naturally, the attackers are no match for our hero. His whistling birds take out the opposition en force, leaving Djarin to chase down the cyclops and demand the information he wanted: there is another Mandalorian on Tatooine.
The first question in everyone’s mind at this point is and should be: “We talkin’ Boba Fett?” After a cutesy reunion with Amy Sedaris’ Peli Motto, we head to an old mining community called Mos Pelgo where we meet “The Marshal” — a man wearing the armor of Boba Fett. When he removes his helmet, the jig is up for Djarin; the man is no Mandalorian. It’s also up for us — that pretty face ain’t Fett (who, habeas corpus, could still be running around out there…).
The Marshal, we learn, is Cobb Vanth, played by Timothy Olyphant (who I 100% thought was Josh Duhamel — guys I literally cannot tell the difference between these two men; all I know is I’m a fan of both).
Vanth has served as the protector of Mos Pelgo since the destruction of the Death Star when they were invaded by the Mining Collective. He fled their attack, managing to take a camtono (ie: fancy bucket) of silicax crystals.
Near-death in the Dune Sea, Vanth was rescued by Jawas, who (quite honorably, might I say) traded him Boba Fett’s armor and some water for them. With the armor, Vanth was able to defeat the invaders and maintain the peace in Mos Pelgo.
Except for the krayt dragon (and shame on writer/director Jon Favreau for using the peaceful-minding-its-own-business Bantha as the butt of a joke when its eaten by the dragon). Djarin and Vanth strike a deal: if Djarin helps kill the krayt dragon, Vanth will give up the armor. Djarin negotiates an uneasy peace with local Tusken Raiders and the people of Mos Pelgo and they lay their plan: bury explosives in the ground and lure the krayt dragon over the explosives to destroy it at its vulnerable belly.
After a lot of collateral damage, some Mandalorian jetpack action, and a lot of krayt venom vomit, Djarin managed to deliver the killing blow by strapping explosives on another poor Bantha (not cool, Favreau, especially after you took the time to show the Tusken Raiders brushing the gentle beast’s teeth — kill characters, not creatures) and decemating the dragon from within.
And with that, Vanth surrendered the armor, leaving Djarin to consider his next move. The final scene of the episode introduced a mysterious character who just might be the Fett we’ve been waiting for.
IMDb has already listed the character as Boba Fett, played by Temuera Morrison. In the expanded universe, Boba Fett survived his tumble into the sarlacc pit (aka the Pit of Carkoon); now it seems clear that we will be seeing more of the legendary bounty hunter.
Another expanded universe fun fact: Cobb Vanth had a run-in with a baby Hutt. Sounds like you missed an opportunity, Hasbro!