In a decade full of big mustaches and goucho pants, bell bottoms ruled the earth; something about extra ankle space was all the rage. Meanwhile, military surplus clothing was a must-have hit, and when it came to hair styles, bigger was better. These are only a few attributes that describe the 1970s. It’s also a decade that loved a good macho war flick — gruff soldiers with heartfelt stories fit right in with the counterculture and everything it stood for.
From these titles which are still modern favorites, to the films that changed the face of cinema as we know it today, take a look at these blockbusters and campy faves.
Released in 1970, Catch-22 is the film adaptation of the classic war novel of the same name. It’s considered a black comedy, “anti-war” movie where the main character tries to get himself declared insane so he no longer has to participate in the war — therefore a catch-22. It’s known for starring big names such as Art Garfunkel, Bob Newhart, Martin Sheen, Jon Voight, and Orson Welles.
2. M*A*S*H, 1970
Yes, MASH made a movie! In fact, the movie came before the show. An acronym for Mobile Army Surgical Hospital, MASH was first based on a book, then made into a film starring Donald Sutherland, Elliott Gould, and Robert Duvall. The Korean War film won an Academy Award for best film adaptation, as well as taking home the title for Grand Prix du Festival International du Film at the Cannes Film Festival.
3. Johnny Got His Gun, 1971
Another anti-war flick — a common theme in the 70s — comes with Johnny Got His Gun. Donald Sutherland also plays in this film, however, it was a box office bomb and not well received. Years later, in 1988, the band Metallica used clips from the movie in their music video. They even purchased the rights to avoid paying ongoing royalties, and in the process, brough the film to prominence and turned it into a cult classic.
4. The Last Valley, 1971
Michael Caine stars in this movie covering the thirty-years war in Central Europe. Set in the 1600s, the flick follows Caine as a mercenary soldier, during a religious war. Despite being one of the most popular movies at the box office, it still became a financial failure, only gaining popularity in decades since.
5. The Hiding Place, 1975
Another WW2 classic, The Hiding Place follows a Jewish family who’s taken into captivity and their hardships within a concentration camp. The film is based off of Corrie ten Boom and her family’s struggles and her famous book of the same name.
6. Midway, 1976
The Battle of Midway is arguably one of the more famous battles from WW2, partly thanks to this film. Midway covers the invasion of Midway Island when the U.S. attacked the Japanese Navy in April of 1942. The movie comes with a star-studded cast, including: Charlton Heston, Henry Fonda, James Coburn, Glenn Ford, and Hal Holbrook.
7. The Eagle Has Landed, 1976
This flick takes place in a world where the Germans plotted to kidnap Winston Churchill at the end of WW2. It was directed by John Sturgess in his last film as a director. Donald Sutherland, Michael Caine, and Robert Duvall star in yet another war film, this time playing Germans in their attempt to find and take down the British Prime Minister.
8. Coming Home, 1978
Set in the timeframe of Vietnam, Coming Home brings a fresh twist to war films; it’s set back in the states and covers a love triangle between a military spouse, her husband, and another injured soldier. Jane Fonda stars as the film’s temptress, with Jon Voight playing another leading role.
9. The Inglorious Bastards, 1978
The original title to this film is actually an Italian film. The translation means, “That damned armored train.” A Euro War movie, the film was pitched to American filmmakers, but moved to Italy when it was not picked up. The film gained most of its success decades later when director Quentin Tarantino made his own war flick reusing the name Inglorious Basterds.
The 1970s was certainly a power decade for WW2 films, among others. Whether you’ve seen them or simply have these titles on your “must watch” list, don’t overlook the power they can bring to modern day viewers in cultural and historical importance.
This article contains spoilers for Season one of Homecoming. You have been warned.
The second season of Homecoming is live on Amazon Prime Video. A psychological thriller based on the podcast of the same name, Homecoming unravels a conspiracy around an organization that ostensibly exists to help military veterans transition to civilian life but in reality was designed to make warriors forget their trauma so they’d be willing to reenlist.
In the first season, Julia Roberts played a character named Heidi Bergman, a therapist working for the Homecoming Transitional Support Center. The season followed two timelines: one in 2018, where Heidi worked with veterans at homecoming; the other in 2022, where Heidi couldn’t remember the details of her previous job and worked to unravel the mystery of what really happened there.
Season two begins with another mystery, as lead actress Janelle Monáe wakes up adrift in a rowboat with no memory of how she got there or who she is. Here’s the trailer:
HOMECOMING | Trailer – New Mystery on Prime Video May 22, 2020
“I knew something was wrong with me, but I couldn’t explain it to anyone. It was like the people around me were keeping a secret,” her character shares. As images of the red fruit from season one — which was responsible for the characters’ memory loss — flood the trailer, Monáe uncovers an image of herself in uniform.
“What was I doing? Why was I there?” Monáe asks Hong Chau’s Audrey Temple, who appeared as an assistant in season one until she forced her boss to confess to Homecoming’s dark purpose.
“It’s complicated,” replied Chau.
What makes conspiracy stories – especially military conspiracy stories — so compelling is that they are uncomfortably conceivable. Service members are expected to color inside the lines and follow orders without question. The conflicts they fight in, the targets they neutralize, the people they kill are all ordered by someone above them they hope they can trust.
“The amazing thing about RDJ is that he’s arguably the most famous movie star on the planet, or the biggest movie star on the planet,” Holland said while participating in a panel at a convention called FanX in Salt Lake City, Utah on Sep. 7, 2019. “But he’s always early, he knows every crew member’s name, he always knows his lines. He’s professional, he’s kind, he’s caring.”
The 23-year-old actor, who made his Marvel Cinematic Universe debut as Spider-Man/Peter Parker in 2016’s “Captain America: Civil War,” went on to say that Downey Jr. was immediately welcoming to him.
“I was sick on set one day and I didn’t really know the guy,” Holland said, adding that Downey Jr. invited him to his trailer and was comforting.
“He was really sweet and he kind of looked after me and took me under his wing a little bit,” the “Spider-Man: Far From Home” star said. “Entering the Marvel Universe is daunting, it’s a big process.”
Robert Downey Jr. and Tom Holland in “Spider-Man: Homecoming.”
(Sony Pictures Entertainment)
He added: “The thing I’ve learned most from him, and I’ve learned from [Chris] Hemsworth and [Chris] Evans and Scarlett [Johansson] and everyone really, is that just because you’re at the top, doesn’t mean you can be a d—.”
Downey Jr.’s character, Iron Man/Tony Stark, acted as a mentor to Holland’s young webslinger throughout the movies he has appeared in. Holland also revealed that he has the veteran actor’s name saved as “The Godfather” in his phone and thought their friendship was over after he accidentally hung up on Downey Jr.
Despite Tony’s heartbreaking death in 2019’s “Endgame,” the two stars have remained close. Amid news that Holland will be departing the MCU due to a deal between Sony and Marvel falling through, the actors met up to spend time together.
“We did it Mr Stark!” Holland captioned a series of photos of the stars taking selfies together, referencing a similar line that Peter said during Tony’s final moments in “Endgame.”
This article originally appeared on Insider. Follow @thisisinsider on Twitter.
The Tiger tank had brutally efficient front armor. (Credit: Sony Pictures Releasing)
Out of nowhere, a shot cuts through the last Sherman tank in the column, blowing its turret off. The three remaining Shermans reverse from the road as another shot whizzes into the dirt, narrowly missing them. Backed into a wood line, the Shermans spot their ambusher – a German Tiger I tank. With no way out, the Shermans return fire and charge the Tiger. The shots from the Shermans bounce off of the Tiger’s 100mm frontal armor with no effect.
Undeterred, the Tiger fires an 88mm shell straight through the front of a second Sherman. Continuing their charge toward the Tiger, a third Sherman is hit, its turret blown off of its hull. The last surviving Sherman finally gets around the Tiger and traverses its gun to aim at the weaker armor at the rear of the tank. Only after taking two shots through its vulnerable engine compartment does the deadly Tiger grind to a halt. With their tank ablaze, the surviving German crew members abandon the Tiger and are cut down by Sherman’s hull-mounted .30-cal machine gun.
This scene from Sony Pictures’ Fury has been viewed by millions of people online. Produced with the help of The Tank Museum in Bovington, UK, the scene features the only operating Tiger I tank in the world today.
Officially called the Panzerkampfwagen VI, Tiger I, Sd.Kfz. 181, the Tiger tank was heavily armored and equipped with the deadly 88mm gun. Paired with a well-disciplined crew, the Tiger was a menace to the allied armies during WWII. However, it was prone to track failures and mechanical breakdowns. The Tiger’s operational range was also restricted by its high fuel consumption.
Built in February 1943, Tiger 131 was issued to the German 504th Heavy Tank Battalion and was shipped to Tunisia in March 1943 to reinforce the German defense of North Africa. As the allies prepared a major push toward Tunis, German forces launched a spoiling attack in April. On April 24, the British 2nd Battalion Sherwood Foresters, a line infantry regiment, took a location known as Point 174. The Germans immediately counter attacked with armor, including Tiger 131.
During the counter attack, British tanks of the 142nd Regiment Royal Armoured Corps and 48th Royal Tank Regiment arrived to reinforce the Foresters. German and British tank shells streaked past each other as the two sides vied for control. During the exchange, Tiger 131 was hit by three 6-pounder solid shot shells from British Churchill tanks.
A British Churchill Mk IV tank like the ones used at Point 174. (Credit: Imperial War Museum)
The first shot hit the Tiger’s barrel and ricocheted into its turret ring. The shell jammed the turret’s traverse, destroyed the radio, and wounded the driver and radio operator. The second shell disabled the gun’s elevation device when it hit the turret lifting lug. The third shot hit the loader’s hatch and deflected shrapnel fragments into the turret. Unable to aim their main gun and continue the fight, the crew of Tiger 131 abandoned their tank.
Tiger 131 with its damaged loader’s hatch. (Credit: Imperial War Museum)
After repelling the German counter attack, British forces discovered Tiger 131 on the battlefield and were surprised to find it intact and drivable—the first Tiger to be captured in such a state. Using parts from destroyed Tigers, British engineers repaired Tiger 131 to be inspected and evaluated. The tank was displayed in Tunis where it was shown to Prime Minister Winston Churchill and King George VI. In October 1943, Tiger 131 was sent to England and displayed around the country as a trophy to boost morale and fundraise before it was turned over to the School of Tank Technology. There, it was thoroughly inspected and assessed in order to aid future British tank design and evaluate its weaknesses to be exploited by allied troops on the front.
King George VI inspects Tiger 131 in Tunis. (Credit: Imperial War Museum)
On September 25, 1951, Tiger 131 was transferred from the British Ministry of Supply to The Tank Museum in Bovington, UK, where it was put on display. In 1990, the tank was given a complete restoration by museum staff and the Army Base Repair Organisation, an executive agency of the UK’s Ministry of Defence. In 2003, Tiger 131 returned to the museum in a fully functional state, making it the only working Tiger tank in the world. After further work and a repainting in period colors, the restoration was completed in 2012.
Because of its rarity, Tiger 131 has been the subject of many books, toys, and models. As previously stated, the tank gained further fame after it was used in the 2014 film Fury. It has also been featured in the popular online tank game World of Tanks. The Tank Museum keeps Tiger 131 well-maintained, taking it out for a “Tiger Day” exhibition at least once a year for the public to see it in motion.
Tiger 131 on display. (Credit: The Tank Museum)
The Tiger tank inspired confidence in its crew and fear in its enemies. Today, Tiger 131 serves not as a weapon of war, but as a well-preserved piece of history for people to see and learn from. The stewards of this history at The Tank Museum take great pride in their work and hope to continue to share it with the world for many decades to come.
A senior Army modernization official said that the service needs to look to the visionaries of Hollywood for ideas on how future tech could change the Army in 20 years.
“I often tell people ‘hey, if you want look to the future … don’t look toward the people that wear this,'” said Lt. Gen. Paul Ostrowski, principal military deputy to the Assistant Secretary of the Army for Acquisition, Logistics and Technology, pointing to his camouflage uniform.
“Where are you going to look? Hollywood. Think about it. How many things do we have in our hands today, or just right around the corner, that you saw on the movies when you were growing up?”
But it’s up to Ostrowski, and other senior Army leaders, to carry out the service’s ambitious new modernization strategy.
The Army announced its new modernization effort in October 2017 that’s designed to replace its Cold-War era, Big Five combat platforms — the M1Abrams tank, Bradley fighting vehicle, Black Hawk helicopter, Apache attack helicopter and Patriot air defense system.
UH-60 Black Hawk helicopter
(U.S. navy photo by Clayton Weis)
Speaking at a breakfast, hosted by the Association of the United States Army, Ostrowski explained how the new Army Futures Command — to be based in Austin, Texas — will create a future force capable of operating in the unknowns of 2036.
“What is the battlefield going to look like in 2036?” Ostrowski said. “What are … the tactics, techniques and procedures that we are going to need to have to fight and win in that war, in that battle?
“Where is it going to be conducted?” He continued. “Megacities? What will be our unit of action? Right now we are organized around brigade combat teams. Is that what we are going to need to be organized in the future?”
The futures and concepts group within Army Futures Command will be working on these issues as well as figuring out how future technologies such as quantum computing, high-energy lasers, directed-energy weapon, hypersonics and artificial intelligence will play a role in the future force, Ostrowski said.
“What is going to be capable of being produced and available in 2036? The visionaries of the futures and concepts group have to get after that particular piece,” Ostrowski said.
The Army is actively recruiting talent to work on the technological challenges of the future — Hollywood may be the place to start, Ostrowski said.
“We have to get after those visionaries to help us get after that fight and what it is going to look like in 2036,” he said.
This article originally appeared on Military.com. Follow @military.com on Twitter.
Jeremy Lee MacKenzie is an artist & filmmaker whose career began after being incarcerated as a teenager. His artwork, “Hidden Blueprints,” is a collection of wood-scrollwork cut from blueprints that were hidden in the prison system. He discovered the blueprints while serving sentences that totaled eight years, for bank robbery & drug trafficking.
He was inspired to become a filmmaker while working as a prison movie projectionist where he studied screenwriting and was released with scholarships to Champlain College. In 2015, he was awarded a screenwriting fellowship to Stowe Story Labs and that same year, won gold in the PAGE International Screenwriting Awards in LA.
In 2017, MacKenzie completed his film “Hidden Blueprints: The Story of Mikey,” and received the James Goldstone Emerging Filmmaker Award. In 2018, he was chosen for the Vermont Symphony Orchestra Award and was then admitted to the USC School of Cinematic Arts to pursue his MFA on a George Lucas Scholarship.
Annenberg Media: Tell me about where you are from and your life growing up?
MacKenzie: I’m from Burlington, VT and my childhood was complicated. I had a lot of challenging things happen while growing up and I ended up in adult prison at the age of 17 for bank robbery. Looking back, it feels like it was 100 years ago, like I’ve lived in quantum time where every year contained the events of five years.
Annenberg Media: What is the most distinct memory you have of your mother and father?
MacKenzie: A positive memory I have of my mother is how she always encouraged me to be an artist and be creative. She was always very honest and encouraging if she thought I was good at something. My father encouraged storytelling and read me a lot of books growing up. He tested me on the stories to see if I was listening. He would reread me the same story and then change certain plot lines to see if I was paying attention. I would stop him and tell him, “no dad, the storyline goes like this…”
Annenberg Media: What challenges did you face at school and in the community?
MacKenzie: My parents separated after my younger sister passed away. I lived with my mother most of the time and my father during summers. When I was really young, I did well in school. At a certain point in my childhood we moved into a trailer park where we were living in poverty. A lot of the people living in that trailer park did not care much about school and were into drugs. Those became really tough years since I valued education but was now being punished for valuing academics.
At first I had to fight kids often when getting off the school bus because I was into focusing on school. My parents always tried focus my attention on education. I was very young and got sick of fighting and being an outsider, so I ended up joining the crowd. I got into drugs to succeed in that world. I often wondered if people around me who chose the drug path, went through those same bad experiences as I did.
At the age of 12 or 13, I transitioned into selling drugs and became a drug dealer. I wanted to excel in a world I was way behind in. By 14-years-old, my parents had lost full control. I had an 18-year-old stripper girlfriend living with me. I was deep into the world of drug dealing: at age 14, it was cocaine, 15, it was opiates, at 16, I was arrested for dealing heroin and at 17, I was locked up for bank robbery.
Bang, that escalated quickly! My parents were baffled at how things changed so rapidly.
Annenberg Media: Where did this lifestyle lead you?
MacKenzie: I served three sentences totaling eight years. During one of those sentences, I earned my high school diploma but was still struggling to separate from the drug world. During the course of one of my sentences, I was sent to a corporate prison in Kentucky. When I got there, I got my first college opportunity. Hazard Community College selected 20 inmates who they gave grants to start college while incarcerated.
Due to overcrowding and the mistreatment of inmates, a lot of violence was going on in the facility. It was a for-profit prison and the administration was not friendly. I had to make a choice between focusing on college or joining an uprising in the prison. A group of inmates were planning a revolt and ended up having a riot at the facility. The riot took over the facility for a night and the administration building was burned which included the education facility. The college opportunity went up in smoke. We were in lockdown for many months while they rebuilt the prison around us. This gained a lot of national media attention.
Annenberg Media: Did you have any creative outlets while incarcerated?
MacKenzie: Isolation can be a powerful tool. After the riot, while in lock down I started designing artwork. I would design blueprints for big pieces of wood-scrollwork. I had learned this wood cutting technique as a teenager from an old clock maker in prison and I taught myself how to design. I was designing on taped-together pieces of paper but we weren’t allowed to have the paper so I had to hide my blueprints until I could bring them home.
Those blueprints came to be my artwork years later. I used them as a tool for storytelling. Many of the blueprints I drew didn’t directly depict prison but told the stories of our experience on the inside through ancient themes. When I was not designing I started getting into TV and movies and I started watching this show called “Medium.” Everybody watched it. It was a way to escape from prison.
MacKenzie: My darkest moment came during my third sentence when I could no longer hide from my darkest truths and my responsibilities. I couldn’t hide the impact my actions had on my friends, family and community; I experienced a paradigm shift. I was in a segregation cell where I had more charges coming. The drug dealers who had been supplying me since I was an adolescent, who I had been protecting my whole life, were not protecting me or anyone else. The whole veil of that world came crashing down.
I realized the effect my life was having on everyone around me and the people I had protected and followed didn’t care about me anymore. I was in the segregation cell and I noticed there was a broken razor blade on the floor. “This is my out,” I thought. This was one of the few moments in my life where I contemplated suicide. But, I looked out the window and thought to myself, “No one could explain this to my dog, she’s never gonna know what happened.” I just wanted to see my dog again. She probably saved my life. Tests find a way of placing themselves in your path, especially at your darkest moments. I needed to let things play out until the end.
Annenberg Media: How was your life impacted after making the decision to stay alive?
MacKenzie: That was a very challenging period of time, but it passed. And I ended up getting a job as a prison movie projectionist. It was a makeshift movie theater with prison walls. We screened everything from the original “Star Wars” to “Casablanca” and “Chinatown.” It was a powerful experience watching “Star Wars” projected onto a prison wall.
While working as a prison movie projectionist, I started writing stories with the women’s prison. The women were relatable and had similar situations to mine. But we weren’t allowed to write to other prisons so I would send the letters to my father and he would re-address them to the women I was writing. I invited them to write a story where the women and I could insert our own characters and set them off on a journey together. I was very grateful to the women for that, as it provided a creative medium that was very valuable. It also provided companionship and helped with loneliness.
Working with the prison movie theater was a crucial time for me. All those earlier years of my father testing me on stories came back to me. I decided I wanted to become a filmmaker. I focused on screenwriting and reached out to different colleges to get the books they used in their screenwriting courses. I was no longer in a corporate prison and I made a deal with teachers to recycle prison paperwork. The education offices would print scripts on the back of the recycled paperwork I brought them. Filmmaking was like life or death- in my previous life I was going to die and this new life was the only way out. There were no other choices.
Annenberg Media: Did you plan on getting further education?
MacKenzie: I got a scholarship to go to college when I came home. The scholarship letter came from Bernie Sanders, which I still have. When I came home I realized there was all this time that I had missed. I did a lot of catching up in college.
As soon as I got to undergrad, I won gold in the Page International Screenwriting Awards for a screenplay. The award and screenplay got me connected with Julie Pacino, Al Pacino’s daughter. I began to excel and was pushed more towards directing. Julie ended up producing my film, “Hidden Blueprints.” Things began to happen much more rapidly and I ended up using “Hidden Blueprints” to apply to USC.
Back then, Ben Stiller was making his show “Escape at Dannemora” and his group reached out to have me in the show as an inmate. I have an escape on my record- at one point I tried to run away from prison- so I was not able to get security clearance to enter prison. But, I took a role as an extra on a different part of his show so I could still be apart of the production. I had this really funny moment where I was standing on set with Ben Stiller to my right and I was quietly watching him work. Then, the main actress comes out and I’m suddenly hit with this really familiar feeling: the actress was Patricia Arquette who I watched in the TV show, “Medium” years ago in that destroyed prison in Kentucky. I realize I’m standing in the middle of a show about escaping from prison starring the actress of the show we all used to watch to escape from the prison we were in. It was an interesting and affirming moment.
I sent the production staff of the show an email about it. It made me reflect on how far my arc had brought me. Within a matter of days the George Lucas Scholarship came in for USC. It gave me chills. I had projected “Star Wars” movies on a prison wall. Now I was headed to LA.
Aron Meinhardt, J. Lee MacKenzie, and Julie Pacino
Annenberg Media: Why Hollywood and why now?
MacKenzie: This is the epicenter of storytelling. I came here to fully engage in storytelling and USC helped me get here. I knew this was the path. This is the place to begin and branch off. This is a time when people from all different places and backgrounds can tell stories. I felt like I was one of those people that could have a place here.
Annenberg Media: What is it like to be a George Lucas Scholar at the School of Cinematic Arts?
MacKenzie: From where I come from, it has been extremely helpful and it has been an honor to have the opportunities I’ve had. I had the opportunity to work with some incredible people like Riley and Austin Lynch, Julie Pacino, Aron Meinhardt and many others. I got to collaborate with C. Craig Patterson who is a great friend, he is on a George Lucas Scholarship as well. I look forward to seeing who else I get to meet and work with.
Annenberg Media: What are your career and life goals?
MacKenzie: I want to direct movies. I direct films not because I love it, but because I feel compelled to. Telling stories was my only way out and it is the only pathway I see forward. I am going to continue on that path and see where it leads. It took a lot of people helping and believing in me to get this far. It didn’t start out that way. I deeply appreciate the people that helped me along the way. Wherever this path goes, I hope it is fruitful for both myself and for those that helped.
Annenberg Media: How is the coronavirus social distancing affecting you and do you have any recommendations?
MacKenzie: As I said, isolation can be a very powerful thing. I know a lot of people are stuck inside right now, for much longer than they are used to. A lot of movies are not getting made. People are scared and they are experiencing their own moments of darkness. But some of the most creative years of my life began with isolation and darkness like this. It wouldn’t surprise me if the solitude of this pandemic inspires and gives birth to a lovely period of filmmaking in its wake, the likes of which the world has perhaps never seen. I really hope to be a part of that movement and I think we will all feel fortunate when we see it happen.
Featured image shows J. Lee and Isabela Penagos—USC arts students.
The first promotional poster for the long-awaitedStar Wars: Episode IXhas hit the internet and it’s pretty shocking. What’s shocking about the poster isn’t what it depicts, but rather, what — and who — is missing. In fact, this is the first promotional image for a new Star Wars movie since 2005 that hasn’t contained a big-deal character from the original classic trilogy. (The Force Awakens had Han and Leia, and The Last Jedi had Luke and Leia. Even the Rogue One poster had Darth Vader!) So, sure, with this one, you’ve got Chewbacca and a hardcore version of C-3PO repping for the ’70s and ’80s, but Leia and Luke (who are both confirmed for the film!) are missing from this poster. What could that mean?
On March 27, 2019, the Star Wars fan-run site Making Star Wars posted leaked art for what they are calling a “retail” poster for Star Wars: Episode IX. This image does not contain the long-awaited title for that movie but also notably omits any depiction of the Skywalker twins — Leia Oranga and Luke Skywalker. (Note: StarWars.com has not posted this yet. This is a leak discovered by a fan site.) Is this legit? Seems like it.
Still, though this leak looks legit, this isn’t necessarily the “official” movie poster. It could be a promotional collage created for anything from a toy package to a cereal box. The point is, we’re not sure what this image is intended for. But there are several things about it that are interesting. In order, here’s the big stuff.
Kylo Ren is wearing his helmet, which, we saw him break into a million little pieces during a hissy fit in The Last Jedi. (So is it really Kylo Ren? Or someone rocking his style?)
Kylo Ren is holding his lightsaber at a weird angle, which really makes you wonder if it’s actually him. Like is this his new fighting style?
Rey’s lightsaber seems to be in one piece. (It was destroyed in The Last Jedi. What’s up with that?)
On the upper right, we can see Naomi Ackie as “Jannah.” (She’s rumored to be Lando’s daughter.)
The masked character behind Poe Dameron on the right is thought to be “Zorri.” This is probably who Kerri Russell is playing in the movie!
The Knights of Ren are back, and seemingly, not in a flashback. (Are they gonna take their masks off or what?)
C-3PO is holding a weapon, that looks almost exactly like Chewbacca’s famous bowcaster. Most Star Wars pundits don’t think this a cropping mistake. It seems like this is totally real. (Does this mean C-3PO is gonna be a badass now?)
New all-red Stormtroopers are revealed. The rumor here is they only report to Kylo Ren.
The title is not revealed.
And finally…Rose, Luke, Leia, and R2-D2 are all missing from the poster.
Jason Ward, who runs Making Star Wars has theorized, that this leaked art isn’t final. His theory — which makes sense — is this is an early concept piece which might not reflect what is actually happening in the movie.
Right now, the first trailer and title-reveal for Star Wars: Episode IX are both expected in a few weeks at Star Wars Celebration, a convention that takes place from April 11- April 15, 2019, in Chicago. Back in 2017, the title for The Last Jedi dropped before the first trailer, but the trailer itself did debut at Star Wars Celebration.
Star Wars: Episode IX is out everywhere on Dec. 20, 2019.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Taking a break from their pre-season training camp in O’ahu, Hawaii, the LA Clippers basketball team, coaches, and staff paid their respects during a tour of the USS Arizona Memorial on Sept. 27, 2017.
Service members from all branches of the military accompanied them at Merry Point Landing, located on Joint Base Pearl Harbor-Hickam, to guide them through the hallowed grounds of the memorial.
It wasn’t a publicity stunt — the only official photographer was on site was Mass Communication Specialist 1st Class Meranda Keller. No news site has reported on this at the time of this article’s writing.
These players are genuinely here to honor resting place of the 1,102, of the 1,117 sailors and Marines who lost their lives Dec. 7, 1941.
While at the memorial, players were each guided by service members who would tell them of the history of the site and what happened on that tragic day.
After the tour, the Clippers spent time with the troops. They joked and took photos with members of the Armed Forces.
Troops have an ironic love of Disney films. Some of them are just way too upbeat and chipper to resist, others are simply too perfect for laughing away terrible situations, and certain songs (this is especially true among troops with kids) have been forced into our heads because we’ve heard them over and over and over again.
Every year, a new “Call of Duty” game comes out — it’s an annual franchise, like “Madden” and “FIFA,” except it’s a first-person shooter instead of a sports game.
2017 is no different, and this year’s “Call of Duty” is on the verge of being revealed. On Friday we found out one crucial detail about the unannounced game, demonstrated in this image:
The new game is named, “Call of Duty: WWII.”
That’s important for a few good reasons, but one stands out: It means that the “Call of Duty” franchise is returning to a type of warfare it otherwise abandoned years ago. Aside from the setting, the time period means slower weaponry with less precision and fewer bullets — a notable change from the type of futuristic weaponry seen in recent “Call of Duty” games.
2016’s “Call of Duty” was set in space, in a near-future that leaned more sci-fi than gritty realism. You could literally run on the walls, and double-jump with rocket boots.
The newest game in the “Call of Duty” franchise is being created by Sledgehammer Games, the same studio behind “Call of Duty: Advanced Warfare.” That’s also a good sign, as “Advanced Warfare” was an especially good entry in the annual franchise.
There’s no release date or game console specified in the information provided, but we’d guess that “Call of Duty: WWII” will arrive in November on the Xbox One, PlayStation 4, and PC. And maybe Nintendo Switch? Maybe.
Maximilian Uriarte is the renowned creator of the popular Terminal Lance comics and New York Times Best Seller The White Donkey. Uriarte’s new graphic novel, Battle Born: Lapis Lazuli, lends a raw and compelling, modern voice to the combat veteran experience. But before he did all of that, he was a Marine.
Artistry and the Marine Corps aren’t words that you typically see put in the same sentence, but Uriarte himself defies any Marine stereotype. “I’ve been an artist my whole life. I was always the kid in school drawing in the back,” he said with a smile. “I joined the Marine Corps infantry to become a better artist. I viewed it as a soul enriching experience.” He’s well aware that most people don’t use those words as a reason to join what is thought of as the toughest branch of service.
When Uriarte joined the Corps in 2006, he was adamant about becoming an infantryman – even though his high ASVAB scores allowed him to pick almost any MOS. But he shared that he wanted to do something that would shape him as a person, making him better. So, with his recruiter shaking his head in bafflement in the background, Uriarte signed on at 19 years old to become a 0351 Assaultman.
It was a decision that took his family by complete surprise, especially with the Iraq war in full swing. Raised in Oregon, Uriarte hadn’t been around the military but always knew he wanted to do something to challenge himself — something he was confident the Marine Corps would do. The year after he joined, Uriarte was deployed to the Al Zaidan region of Iraq with the 3rd Battalion, 3rd Marines from 2007 to 2008.
Uriarte deployed to Iraq once again in 2009 and this time, had the chance to be a part of Combat Camera. It was here that he really started examining his experiences as a Marine and he began developing the now infamous Terminal Lance comic strip. He launched it in 2010, five months before his enlistment with the Corps was up.
“When I put it out [Terminal Lance] I really thought I was going to get into trouble,” Uriarte said with a laugh. What sparked its creation was being surrounded by positive Marine stories, told in what he describes as an ever-present “oorah” tone. “To me, it seemed not authentic to the experience I had as a Marine Corps infantryman going to Iraq twice. Everyone hated being in Iraq, no one wanted to go there.”
The Marines loved Terminal Lance. It wasn’t long before it became a cultural phenomenon throughout the military as a whole and Uriarte became known as a hero among young Marines.
Uriarte shared that he had always wanted to do a web comic and the Marine Corps was definitely an interesting subject matter for him to dissect. “In a way, it was cathartic. The experience isn’t something most humans go through. Doing it helped me move on in a healthy way,” he said. While authoring the comic strip, he earned his Bachelor of Fine Arts degree with a major in Animation through the California College of the Fine Arts.
In 2013, Uriarte self-published The White Donkey after a successful kickstarter, which raised 0,000 for the book. A few months after its release, it was so successful it was picked up by traditional publishing and went on to become a New York Times Best Seller. The gripping graphic novel pulls back the curtain to expose the raw cost of war, especially for Marines serving in combat.
Uriarte knew he wanted to keep going and this time, wanted to take his storytelling a bit further. It was his hope that he could create something focused on the importance of human connection. Through all of this, he created Battle Born.
“It’s a story of a platoon of Marines going to Afghanistan, to fight the Taliban over the gemstone economy…. But it’s really about Sergeant King and his emotional journey,” Uriarte explained. He shared that he really wanted the character to reflect a modern day Conan The Barbarian, who he feels would definitely be a Marine.
“It’s really a meditation on the history of Afghanistan in the shadow of western imperialism, colonialism and looking at the tragic history of Afghanistan,” Uriarte said. “What does it mean to be civilized, is really the central theme of the book.”
Uriarte’s main passion is creating good stories that he himself wanted to see. He had never seen anything like Battle Born before – a Marine infantryman story that was very human grounded. “I truly believe that representation matters. It’s a lens I don’t think we’ve seen a war movie through before – the eyes of a black main character,” he explained.
Hollywood agrees: The book is currently in film development to become a live action film.
The biggest piece of advice he hopes to impart on service members getting out of the military is to use their GI Bill and go to school when their enlistment is up. “Just go and figure yourself out. It is a very safe place to decompress,” he explained. “The Marine Corps is very good at making Marines, but it’s bad at unmaking them. It’s a hard thing come back to the world and not be a Marine or in the military anymore.”
The 2018 annual suicide report found that soldiers and Marines took their own lives at a significantly higher rate than the other branches.
Uriarte struggled himself when he got out, but he found that school and writing was therapeutic for him. “When you get out, the thing Marines struggle with the most is, ‘Who am I?’ We always say, ‘Once a Marine always a Marine,’ but I think that is unhealthy,” he said. “People wonder why we have such high veteran suicides and it’s because we turn them into something they aren’t going to be for the rest of their lives.”
When asked what he wants readers to take from his work, Uriarte was quick to answer. “These are really stories of human experiences; passion, love and loss. It’s just showing that people are human and that Marines, especially, are human,” he explained. Uriarte also feels that his latest full-color graphic novel will appeal not just to those who enjoy comics, but to a wide spectrum of readers through a beautiful visual journey.
Uriarte uniquely tackles the difficulty of being a Marine and serving in the military with raw honesty and creativity through all of his work. His newest book, Battle Born: Lapis Lazuli is a deeply compelling compilation of the human experiences that affect us all.
You can purchase Battle Born Lapis: Lazuli and his other work at your local Walmart, Target or online through Amazon by clicking here.
He is widely known as a Hollywood animation legend who worked at the studios that created Bugs Bunny and Mickey Mouse. But Hal Geer also flew 86 combat missions as a combat cameraman in World War II.
According to a report by the Hollywood Reporter, Geer died Jan. 26 at the age of 100. According to IMDB, his credits included the movies “Daffy Duck: Fantastic Island,” “Bugs Bunny: All-American Hero,” and “The Bugs Bunny Mystery Special” as well as over twenty short cartoons.
Geer’s World War II service took him over the China-Burma-India Theater, flying in Consolidated B-24 Liberator heavy bombers and North American B-25 medium bombers assigned to the 14th Air Force under Major General Claire Chennault, who founded the legendary Flying Tigers of the American Volunteer Group.
According to a 2007 report in the Ventura County Recorder, Geer made the documentary film “China Crisis” while serving. Geer told the Recorder that this World War II film was the one he was the most proud of.
In a 2005 interview with China Youth Daily, Geer discussed more about his time with the 14th Air Force. “China Crisis” discussed how the United States supported the 14th Air Force, getting supplies over what was called “The Hump.”
Today, it’s better known as the Himalaya Mountains. The film also covered the Japanese Army’s 1944 offensive in China (which doesn’t get as much press when compared to how America advanced in the Pacific that year). Thirteen combat cameramen shot over 300 hours of footage to make a film that was less than an hour long. Five cameramen were killed in action.
“China Crisis” had been slated to be shown along as part of a 1946 War Bonds drive. That drive would not take place, as Japan surrendered in August 1945 after atomic bombs were dropped on Hiroshima and Nagasaki.
Perhaps, someday, DOD will find a way to make that film, and many others, available online for Americans to view.
When Elvis Presley turned 18 years old in 1953, he registered for the draft – just like every other young American male during that time. The rules governing the draft stated that all young men that were in good health were required to serve in the United States military for a minimum of two years. When he signed his name on that line, promising to serve, he had no idea of the superstar fame that would soon be coming his way.
After signing up for the draft, he graduated high school and soon began his entertainment career. Three years later in 1956, he was a film and recording star. Presley was in the middle of filming King Creole when he received his draft notice. He requested a delay so he could finish filming, which he was granted.
On March 24, 1958, with his family and friends by his side, The King reported to the Memphis draft board. Once he was sworn in and processed with others into the Army, he boarded a bus to Arkansas.
He would go on to coin the phrase “hair today, gone tomorrow” after he received his G.I. haircut.
Once Presley finished his basic training, he was on leave and managed to do a concert and recording session in Nashville. He then headed back to Ft. Hood, Texas, to complete his advanced training. His mother became ill during this time and passed away and Presley was granted leave to be with her.
When he returned to Ft. Hood, he was assigned to the Third Armored Spearhead Division. He soon boarded the U.S.S. Randall and sailed for Germany. Upon arrival, he served in Company C, which was a scout platoon. He was declared off limits to the press.
Presley would be right there in the thick of things alongside his unit. He completed all required duties. Some research suggested that he did more than what was required of him because he didn’t want people to assume he got special treatment. He would go on to earn a medal for expert marksmanship and rise to the responsibility of an NCO, all without seeking celebrity treatment.
He was honorably discharged from active duty in 1960.