Hollywood seems to have a skewed idea of veterans who return to the civilian world. They’re either over-the-top action junkies, like John Rambo (in movies outside of First Blood), or they’re a broken-down husk of who they once were, like, well, basically any character in any drama set after a war’s end.
In real life, veterans are cut from the same cloth as everyone else. You’ve got your outstanding, Captain America-types, your aggressive Punisher-types, and just about everyone in between. But all of the characteristics of your everyday veteran can be seen clearly in Chris Pratt’s character, Owen Grady, in 2015’s Jurassic World.
Grady’s service is barely hinted at in the movie. In the scene where Owen and Claire are trying to find her nephews, Claire implies that Owen could, simply, just track them down by their scent or footprints. Owen quickly (and hilariously) responds with, “I was with the Navy, not the Navajo.”
This one line gives a whole new meaning to everything that he does throughout the film.
Owen is reclusive, professional, mission-oriented, and reasonable — much like a real-life veteran. They don’t have him claim some overly badass job description — he just says that he was in the Navy. He, like 97% of the military, wasn’t a special operator.
In fact, his role in the military is never explicitly stated, but when you look at his skills in leading Blue and the raptors, he shows talents very similar to those of a dolphin and marine animal trainer — which makes sense since it explains why the film’s antagonist, Vic Hoskins, hired him directly out of the Navy. Vic also mentions Owen’s military service and refers him as a “dog of war,” which Owen shrugs off.
But what really defines Owen as a character is he demeanor. He’s smart enough to know the ins-and-outs of the island while also being jaded enough to only speak up once. This usually involves him telling people that raptors aren’t able to be controlled right before the raptors rips someone to shreds. Hey, at least he tried to tell ya.
It’s unclear if they will further elaborate on Owen’s backstory in the upcoming Jurassic World: Fallen Kingdom but, so far, Owen Grady’s character is an excellent, authentic representation of veterans that doesn’t make us look like heroes or broken men — but rather just like any other guy who’s good at surviving bad situations.
The internet is a giant dumpster fire but it is made slightly redeemable based on pop-culture content shared by your favorite Air Force vet random and completely unnecessary but much-needed gems like the reviews of the Three Wolf Moon shirt or everything surrounding the Storm Area 51 event.
The internet also gives us access to hot takes we never knew we needed, like Sean Kelly’s deepest, most pure thoughts on Star Trek transporters.Twitter
In the Star Trek franchise, a matter transportation device — or “transporter” — dematerializes matter (humanoids, objects, etc) and sends their constituent particles in the form of energy to another location before reconverting them back to their original form.
It’s cool futuristic technology, but it also makes for convenient story-telling. Need to get your characters down to that strange alien ship? Energize away! Need to rescue them in the knick of time before a singularity in a planetary core destroys them all? Beam them up, Scotty, and don’t be a b**** about it!
But, as Kelly points out, there are some missed opportunities for the inhabitants of the many Star Trek worlds when it comes to transporter capabilities. Why? Well, because television is only entertaining when the characters have obstacles to overcome.Twitter
Still, thanks to Kelly, we can debate the implications of transporter potential to our little hearts’ content. From medicinal achievements to murder, those transporters could do some crazy sh** if Star Trek writers wanted them to.
Not to mention the Ship of Theseus Paradox, which fans of The Prestige might be familiar with. The paradox poses the philosophical question about whether a ship that has systematically had all of its parts replaced is actually the same ship at the end of the journey. In other words, if a person’s matter is dematerialized, will that actual person rematerialize on the other end — or have they essentially died while their copy continues to live?
It’s been roughly two weeks since the release of Black Panther and the frenzy is still unfolding. The movie is the 18th in Marvel Cinematic Universe and it doesn’t disappoint — unless you are among the most anal of comic geeks. All in all, the movie is amazing and, by now, you’ve had plenty of time to go see it.
There is one particular character that stands out among the fray and that is Erik “Killmonger” Stephens. Michael B. Jordan brought the screen adaptation of this character to life and immediately shot straight up the ranks of the great comic-book-inspired villains in cinema.
Killmonger stands out for various reasons. From his origin story to his amazing fighting skills, there is one thing that just cannot be ignored: how operator Killmonger actually is.
It is revealed that Erik Stevens is a graduate of both the Naval Academy and MIT. In the movie, they don’t tell you which type of degree he pursued and obtained, but in the comics, they make it clear that he has multiple PhDs.
Erik Killmonger is considered to have a genius-level intellect and a charismatic leadership style.
In the same monologue that reveals Killmonger’s education, we also learn that Stevens was a Navy SEAL! We all know that SEALs are some of the most insane badasses around.
If Killmonger was one of them and later joined a JSOC unit, it’s an extremely safe bet to assume he could hang with any fighter in the world.
In the comics, Killmonger nearly defeats the Black Panther in combat but is undone by his own aggression.
Just think about this for a moment. T’Challa was born, raised, and groomed to one day be king and to assume the mantle of Black Panther.
Killmonger was an orphan who somehow attended and graduated from the Naval Academy by 19 and ended up being a Navy f*cking SEAL! Killmonger handily defeated T’Challa in hand-to-hand combat, which says a lot about the level of skill he reached.
In the MCU storyline, Killmonger is actually T’Challa’s first cousin. He was abandoned after T’Chaka murdered his father. He had a legitimate right to the throne and he took it through wit, training, and might.
World War I, The Seminal Catastrophe of the 20th Century, hasn’t spawned nearly as many films as did the Second World War that was to follow only 20 years later. For every Warhorse, Lawrence of Arabia, and All Quiet on the Western Front, there are troves of iconic films like Schindler’s List, Dunkirk, Thin Red Line, Saving Private Ryan, Sands of Iwo Jima, The Longest Day, etc…
Perhaps this is related to the good versus evil rationale on which WWII was fought, whereas WWI had a much more nuanced and convoluted reason for its existence, i.e. a series of binding treaties that exploded into a global war.
In the newest WWI film, 1917, the overarching causes behind why the soldiers are in trenches become irrelevant thanks to an expertly-crafted, human story that envelops the viewer with a common principle found in all wars and in the films that depict it; you fight for the soldiers next to you. Along with sharp performances and thoughtful writing, the filmmakers enlist a technique as difficult to achieve as it is powerful in its reception; a simulated single camera shot following the action from mission-start to mission-finish.
The film’s use of one continuous shot (or perhaps a few hundred stitched-together shots) is designed for one specific reason; to put the audience in the shoes of two young British soldiers, tasked with carrying an urgent message of life or death to the frontlines. Effectively nullifying the safety blanket of the traditional editor where multiple shots can be combined into a film, 1917’s continuous shot leaves very little room for error with the director, cinematographer, and other crew on set. In military terms, to make this film a blockbuster, Director Sam Mendez took a chance with a 0 million sniper shot, and he nailed it.
When Mendez and cinematographer Roger Deakins (both Oscar winners) decided to craft 1917 using only one shot and rely on the edit only to mask or stitch the various sequences together, they set out to bring the audience into the world of frontline war-fighting. There are no breaks. There are no pauses between frames or shots or scenes to give your brain time to catch up. The viewer is embedded with these men from mission-start to mission-finish and thus given a proximity not often afforded to audiences. The result is a visceral and captivating glimpse into the heartbreakingly painful agonies of war; especially a war as devastating as WWI. Yet, in doing so, it also provides the audience with a heightened sense of triumph as the young soldiers conquer insurmountable odds.
Whereas the creative choice of using one shot adds elemental gravitas and depth to 1917, it’s execution also proves the filmmakers’ dedication to this story. Due to the complexity and continuous nature of the one-shot format, the planning of every shot, performance, movement, light, wardrobe detail, effect, etc. called for the utmost military precision.
Employing the preparation, foresight, ingenuity, and assiduousness needed to lead an army into battle, Mendez and his lieutenants triumphed.
Military movies traditionally focus the lens on the troops fighting overseas while skipping the story of the families at home.
Here are 6 movie scenes that remind viewers how hard the lives of military spouses and children can be:
1. “We Were Soldiers” – Notification of next of kin
Families of deployed service members live with the dread of a casualty notification officer showing up. Families from the Vietnam War and earlier conflicts had the same fear, but it was embodied in taxi drivers who delivered dreaded telegrams. In “We Were Soldiers,” Julia Moore almost loses it when a cabbie walks to her door. Luckily he’s not there for her, just directions to another house.
2. “A War” – Family members are never the only priority
Service members have to juggle the needs of the nation with the needs of their family. In this clip from the Oscar-nominated “A War,” the commander’s wife argues for her husband to say whatever it takes to avoid jail time after an errant airstrike. For Claus Pederson, the commander, the necessity of supporting his family’s needs has to be balanced with the needs of his troops.
3. “American Sniper” – The family never knows when the service member is safe, except when they know they aren’t
Troops usually know whether the current danger level is high or low. They get updated on local threats, know when they’re safe behind walls or in the most dangerous part of the battlefield, and are watching out for enemies.
For family members, the threat is always real and they never know if their soldier is in relative safety or outside the wire. The only exception is when they’re actively speaking to their loved one, in which case every background noise is terrifying.
4. “The Hurt Locker” – The soldier who comes home may not be the one who left
“Hurt Locker” was Oscar gold but hated-on by vets (for good reason). But it got some parts of the military experience right. In this scene, explosive ordnance disposal technician William James is playing with his son while talking through his own scars from deployment. The family will often want to help, but troops may want to talk only rarely or not at all.
For James, the best course of action was apparently to talk to the only family member who can’t possibly understand.
5. “American Sniper” – PTSD can be a tough problem for military families
While most movies overplay the symptoms of PTSD, “American Sniper” earned a lot of credit for portraying a vet afflicted by the disorder as mostly just stuck in their own thoughts, rather than showing them as a caricature of violence.
American Sniper had other good scenes about vets struggling with normal relations at home, including this one from a barbecue and the scene in a mechanic’s shop.
6. “Independence Day” – Military families face national crises without a head of household
While “Independence Day” is hardly a gritty war movie, it contains one scene that reflects a dark reality for military families. When Will Smith’s Capt. Steven Hiller learns that aliens have arrived on earth, he immediately heads to base to get ready for a fight.
When the U.S. was attacked on 9/11, most Americans were reeling from the surprise attack and military families had to recover while their loved ones went to bases to get ready for deployment. President George W. Bush even said in his speech for all Americans with a uniform to get it ready.
If you haven’t given Triple Frontier a go on Netflix, you definitely should. If you’re unfamiliar, the story follows five Special Forces veterans who travel to a multi-bordered region of South America to take money from a drug lord. It stars Ben Affleck, Oscar Isaac, Charlie Hunnam, Pedro Pascal, and Garrett Hedlund, who all do a fantastic job capturing the attitudes of their characters. But one thing especially helped make this film feel realistic: the presence of Special Forces veterans.
While Hollywood productions generally do have military advisors, it isn’t necessarily common that those advisors take the time to work with the cast to really nail down things like tactics and weapons handling. In this case, J.C. Chandor had two Special Forces veterans who did just that — Nick John and Kevin Vance.
Here’s why they were the most important part of the production:
This may not seem like a big deal but nicknames are a huge part of military culture and knowing how service members earn their nicknames can help you really understand the culture itself.
They taught the actors about nicknames
Charlie Hunnam plays William Miller who goes by the nickname “Ironhead,” and, of course, he wanted to know why, so he asked one of the advisors who explained that the nickname likely comes from the character having survived a gunshot to the head.
This film will have you saying, “Wow, these actors actually know what they’re doing with that weapon.”
They taught the actors how to handle weapons
Most of us who spent a lot of time training in tactics can really tell when the actors on screen haven’t had enough training, if any at all. It’s probably most evident in the way they handle weapons. In the case of Triple Frontier, Nick John and Kevin Vance really took the time to train the actors, and it shows.
They trained the actors with live ammunition
When learning how to handle a weapon, it helps to shoot live ammunition. Well, at the end of the first day of the two-week training, Nick John felt the actors were prepared to handle it. So, they gave them live ammunition and let them shoot real bullets, which is not standard for a film production, but it really pays off in this film.
The way these actors clear buildings is very smooth and convincing.
They taught tactics
After trusting the actors with live ammunition, Nick John and Kevin Vance ran them through tactics. From ambushes to moving with cover fire, the actors learned the basic essentials to sell their characters on screen, and they do so extremely well.
Actor Charlie Hunnam said, “It was amazing. I was shocked by how much trust they put in us. Very, very quickly, they allowed us to be on the range with live fire, doing increasingly complex maneuvers. We started ambush scenarios, shooting through windows and panes of glass, doing cover fire, and operating movements I’ve never done before.”
Veterans have a tendency to spot inaccuracies immediately. But, what Triple Frontier brings to the table is realism. While not perfect, it does a great job of really making you believe these characters are real and all the work Nick John and Kevin Vance put into teaching the actors really pays off.
If you haven’t checked out Triple Frontier on Netflix yet, you definitely should.
Sony Pictures’ “Jumanji: The Next Level” pulled off what’s been a difficult task in 2019: It topped its predecessor’s opening weekend at the box office with $60 million domestically over the weekend.
“It looks like ‘Jumanji’ is immune to the so-called sequel or reboot ‘curse’ that has plagued many films this year and is set for a long run throughout the holidays and into 2020,” Paul Dergarabedian, the Comscore senior media analyst, told Business Insider. “‘The Next Level’ should perform much like its predecessor that similarly had a ‘Star Wars’ movie to contend with in the early weeks of its release and have solid long-term success.”
“Jumanji: Welcome to the Jungle” rebooted the 1995 classic starring Robin Williams with a million domestic debut. And with 2 million globally and 4.5 million domestically, “Welcome to the Jungle” was 2017’s fifth biggest movie in the world and the fourth biggest movie in North America.
Jack Black and Karen Gillan in “Jumanji: The Next Level”
A sequel was inevitable, but not a guaranteed success if this year’s box office was any indication. While there have been exceptions (i.e. “John Wick: Chapter 3” and most things Disney), sequels and reboots this year have flopped hard. Here are some examples:
“Godzilla: King of the Monsters” grossed nearly 0 million less than 2014’s “Godzilla.”
“Dark Phoenix,” Fox’s final “X-Men” movie before joining Disney, was the lowest-grossing “X-Men” movie yet with just million domestically and 2 million worldwide.
“Men in Black: International” tanked with only million domestically and 4 million globally.
“It: Chapter Two” wasn’t a flop with 2 million worldwide, but performed far worse than the first “It,” which earned 0 million.
“Terminator: Dark Fate” could put an end to the “Terminator” franchise after a measly 8 million worldwide off of a nearly 0 million production budget.
And the “Shining” sequel “Doctor Sleep” fizzled out at only million worldwide.
Sony avoided those movies’ fates by dropping “The Next Level” during a smart weekend, according to box-office experts. And “Welcome to the Jungle” also debuted the same month as a new “Star Wars” movie (then “The Last Jedi,” this time “The Rise of Skywalker”), which didn’t stop it from being a box-office powerhouse.
“[‘The Next Level’] has time to build audience enthusiasm and become a part, not a casualty, of what should be an enormous weekend for the box office when ‘The Rise Of Skywalker’ opens this week,” Dergarabedian said.
Jeff Bock, the Exhibitor Relations senior box-office analyst, said that family-friendly movies are in high demand during the holiday season and the positive response to “Welcome to the Jungle” helped its chances even further.
But the all-star cast doesn’t hurt, either. It includes Kevin Hart, Jack Black, and Dwayne “The Rock” Johnson, a global superstar and Forbes’ highest-paid actor of the year.
“Big names [can still mean] big box office game,” Bock said. “It still works if you do it right.”
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
When “Black Hawk Down” hit theatres in 2001, it was marketed as a cast of ‘no names’. The real “stars” were the elite troops depicted onscreen: the Army Rangers, Delta Force soldiers and 160th SOAR pilots who made up Task Force Ranger in the fall of 1993 in Mogadishu, Somalia. The movie chronicles their 18-hour battle with Somali militias in which 18 Americans died.
But in the 15 years since, Black Hawk Down’s cast has turned into a roster of certified Hollywood A-listers or perennial movie “That Guys.” In fact, BHD’s alumni have made more big movies than any other military ensemble cast.
BoxOfficeMojo.com is a website that tracks career box office earnings of hundreds of actors. All told, the movies featuring Black Hawk Down alumni have been in have earned a staggering $12.6 billion – more than the combined career box office for the cast of Oceans 11.
The cast falls into three military groups:
The $B-Boys – Black Hawk Down actors who crossed the billion-dollar line (in the book, though less so in the movie, Delta Force is nicknamed “D-boys”)
The Regulars – you know their faces, if not their names
Asymmetric Warriors – Two roles – a Delta Force operator and a 24th Special Tactics Squadron pararescueman – were played by actors who now have massive careers, but not as traditional movie stars. We had to measure their careers differently (leave it to JSOC to be hard to pin down).
Orlando Bloom, “PFC Todd Blackburn”
Career Box Office: $2,815,831,431
You hardly recognize him when he’s not: an elf or a pirate.
The wispy, slightly-sour-faced Brit spends just a few minutes on screen and hardly speaks. But after five installments of “Lord of the Rings” and three “Pirates of the Caribbean,” movies starring Bloom have made more money than those starring George Clooney or Brad Pitt (whom Bloom starred with in “Troy”).
Ewan McGregor, “PFC John Grimes”
Career Box Office: $2,080,785,955
You hardly recognize him when he’s not: a Jedi; lusting for life.
He was a brash talking, un-Tabbed underachiever consigned to coffee duty until pushed outside the wire, but McGregor’s John Grimes – “Grimesy” – was the closest thing to an Everyman in the movie. But by the time Black Hawk Down hit screens, McGregor had already played Obi Wan Kenobi in the “Phantom Menace,” with two other mega Star Wars prequels just ahead. Together, they pulled in $1.1 Billion.
William Fichtner, “SFC Jeff Sanderson”
Estimated Box Office*: $1,495,000,000
You hardly recognize him when he’s not: getting killed.
Fichtner, one of the all-time That Guys in movie history, might be America’s answer to Sean Bean, the oft-murdered Englishman. Fichtner dies a lot. He’s met his on-screen fate on George Clooney’s doomed fishing boat (“The Perfect Storm”) and as an outlaw in Johnnie Depp’s wild west (“The Lone Ranger”), and only barely survived Bruce Willis’ doomed space shuttle (“Armageddon”). In Black Hawk Down, Fichtner’s fiction Delta soldier Sanderson is a battlefield Svengali, coaxing a team of scared, out-gunned Rangers through the day’s fight. He grows ever cooler as the fire gets heavier, dispensing tactical hints that also serve as deep life wisdom (“stay off the walls”).
*Fichtner, like several Black Hawk Down actors, doesn’t register on BoxOfficeMojo. So we added up only the giant hits you’ve almost definitely forgotten he was in.
Tom Hardy, “Pvt. Lance Twombly”
Box Office: $1,242,535,310
Oh, it’s the guy from: “driving for his life in a desert hell hole. But with girls.”
For 12 years after the movie’s release, Hardy wasn’t even the most famous actor among his small trio of Rangers separated from the main force. One of the soldiers, Nelson, is temporarily deaf, a condition played for laughs by Ewan Bremner, a.k.a. Spud from “Trainspotting.” But in 2012, he played Bane in “The Dark Knight Rises” and stole the summer of 2015 in “Mad Max: Fury Road.”
Jason Isaacs, “Cpt. Michael Steele”
Box office: $1,952,955,239
Oh, it’s the guy who is usually: a punchable, dickish authority figure. But in a wig.
Some guy you definitely don’t know has made two billion dollars – pretty funny, hooah? As one of many roles in a classic “That Guy” career, Isaacs plays Cpt. Steele, the uptight Ranger commander who spends most of the movie not getting along with Delta’s cool kids. His most famous moment is as the butt of Eric Bana’s classic joke, “this is my safety, sir.” Steele was right on type for Isaacs, who was also a total dick to Harry Potter as Lucius Malfoy and to 18th-century churchgoers in “The Patriot.”
Ioan Gruffudd, “Lt. John Beales”
Oh, I think he was in: A total disaster, probably (“San Andreas,” “Titanic”).
A career character actor, Gruffudd has played small-to-medium roles in almost 20 films that, combined, have brought in a little over $800 million. He also played a bit part in one of the biggest hits of all time, “Titanic.” The role was so small that BoxOfficeMojo doesn’t count it, but we’re giving it to him. Grufford plays 5th Officer Harold Lowe, who in both the movie and real life, was the only officer who went back to rescue survivors in the water. It’s Grufford who rescues Kate Winslet – and what is “Black Hawk Down” at heart if not a rescue mission? We’re counting it in Gruffudd’s total.
Eric Bana, “Sgt. 1st Class Norm ‘Hoot’ Gibson”
Box Office: $1,029,166,799
Oh, isn’t that the guy from: Tough one. You know you know Bana.
He’s definitely “a movie star.” But he’s never held top billing in a major hit. His fictionalized Delta operator Gibson – who bookends the movie with meditative soliloquies on combat and soldiering – might be Bana’s defining role. Still, Bana is a hell of a 2nd Chair, scoring 9-digit box office in “Troy,” “Star Trek,” and “Lone Survivor.” And as a sheer badass, he reached near-“Hoot” levels as an Israeli assassin in “Munich.”
Tom Sizemore, “Col. Danny McKnight”
Box Office*: $780,000,000
Oh, it’s that guy from: same character type, different war.
Sizemore’s career has been a string of grizzled combat leaders, including Sgt. Horvath in Saving Private Ryan, another NCO in Pearl Harbor and shoot-first detective Sgt. Jack Scagnetti (great name!) in Natural Born Killers. In BHD, when gunfire breaks out, he memorably orders a nervous Ranger: “shoot back.”
*Like Fichtner, we looked at Sizemore’s biggest hits and rounded up.
Josh Hartnett, “Sgt. Matt Eversmann”
Box Office: $678,425,308
Wait, was he in…: not much lately, tbh.
With all the future superstars and famous faces, it’s a little jarring to look back and realize that Hartnett was the guy featured on BHD’s original movie poster. Much of the movie tracks his trial by fire as a new Ranger team leader. But after BHD, Hartnett’s career stalled. He played the lead in Pearl Harbor, as bad a military movie as BHD is a good one, and hasn’t been in a big hit – or big poster – since.
Jeremy Piven, “CW3 Cliff ‘Elvis’ Walcott”
Box Office: $575,659,624
Hey, it’s: Ari!
Jeremy Piven has played in about 60 films but he’ll never escape being Ari Gold, the preening talent agent in HBO’s “Entourage.” Unfortunately, Piven plays his role as 160th pilot Walcott in full proto-Gold style, with cocky, hot-shot dialogue that sound more like “Top Gun” than 160th operators. Piven isn’t on BoxOfficeMojo, but he did make six movies with John Cusak, so we modified Cusak’s career box office total for Piven.
Tom Guiry, “Staff Sgt. Ed Yurek”
Box Office: $388,375*
Guiry is a chalk leader in BHD, where he’s unrecognizable from his only other well-known role, the kid-classic “The Sandlot.” I just hope that when he “fired” his weapon on set, his intended target always yelled, “You’re killing me, Smalls!”
(*the record price paid for a Babe Ruth autographed baseball)
Oh, it’s the guy who: hasn’t been funny since Season 2.
In late 1998, about when BHD came out as a book, I was a trainee at the Pararescue Indoctrination course in San Antonio – a ‘cone’ as you’re called before graduating – when Wilkinson visited. Our class knew Wilkinson as one of two Air Force PJs that fast-roped into the heart of the fighting. He gave our class a great pep talk about sticking together and, even more impressively, jumped into our training for a day. That night, our class went out for a team dinner at an Outback. Wilkinson and two of our instructors were there. After eating, we tried to sneak out but the instructors caught us and put us through several sets of feet-up pushups in the parking lot as confused diners looked on. As we knocked them out, I remember seeing Wilkinson with his arms folded, laughing his ass off.
I tell this story here to distract you from noticing that one of the most decorated PJs in history is played by the dad from “Modern Family.”
*guess-timate of Modern Family’s total ad and syndication revenue
Nikolaj Coster-Waldau, “SFC Gary Gordon”
Box Office: $560,000,000*
Oh, it’s: Cersei’s Bro With Benefits.
Waldau plays Gary Gordon, one of two Delta soldiers awarded the Medal of Honor for volunteering to be dropped on a crash site to defend an injured crew. Both were killed in the firefight. And now he’s the Kingslayer. That’s about as badass as a “That Guy” gets.
(*we used the total revenue Game of Thrones effect on HBO in subscriptions, DVD sales and rights fees).
One of if not the most dramatic moments in Avengers: Endgame is the scene in which a shieldless Captain America wields Mjolnir, Thor’s hammer that Odin enchanted so that only the worthy are able to lift it. There’s an entire scene in Age of Ultron showing the other Avengers trying and failing to pick it up. Or at least that’s what we thought was happening.
In a new interview, Endgame directors Joe and Anthony Russo were asked why Cap is able to pick up Mjolnir in Endgame but not in Age of Ultron. What changed between the two films, about nine years of Marvel Cinematic Universe time?
Anthony replied: “In our heads, he was able to wield it. He didn’t know that until that moment in Ultron when he tried to pick it up. But Cap’s sense of character and humility and, out of deference to Thor’s ego, Cap, in that moment realizing he can move the hammer, decides not to.”
Avengers: Age of Ultron – Lifting Thor’s Hammer – Movie CLIP HD
There is a brief moment in that Ultron scene in which the hammer appears to move ever so slightly and a look of panic flashes across Thor’s face, so it’s not as though Russo’s explanation comes completely out of left-field. The problem is simply that his version is just not as interesting as the prevailing theory.
Many thought that in Ultron, Cap couldn’t quite pick up the hammer because he was keeping a huge secret from Tony. In Captain America: Civil War he was forced to admit that Bucky was the one who killed the Starks. So by the time that scene in Endgame rolls around, he is worthy of wielding Mjolnir. It’s a nice arc that makes narrative sense and puts adherence to a moral code, the foundation of any good superhero story, at the forefront.
And now the Russos have deflated it. Because as nice as it is to be humble and not show up your friends, it’s not nearly as interesting as telling your friend that you’ve been keeping the identity of his parents’ murderers a secret.
J.K. Rowling learned the hard way that fans don’t particularly like it when architects of elaborate fictional worlds make statements outside of their work that alters their experience.
So while theorizing about this stuff is fun, creators have to know that when they do it comes from a place of authority that can have the effect of erasing fan speculation. That robs fans of the fun of speculating themselves and, as in this case, it can provide a less interesting “answer” to the most exciting questions the work in question raises.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
When the Nazis came to power in January 1933, the party only won 37 percent of the vote across Germany. In the Reichstag, the German parliament, the National Socialists only controlled a third of the seats when Hitler came to power. When they held another election two months later, after crushing other parties and quieting opposition, they still only won 43 percent of the vote and less than half of the Reichstag.
So it’s safe to say that not every German was huge supporter of the Nazi party and its leadership. But after a while, criticizing the government became more and more hazardous to one’s health. How does a population who can’t openly object to their government blow off the built-up popular anger among friends? With jokes.
For many Germans, laughing at Hitler within their homes was the most they could do. Far from brainwashed, they were fed up with the laws forcing them to do things against their will. As Rudolph Herzog writes in “Dead Funny: Telling Jokes in Hitler’s Germany,” these jokes could get you in a concentration camp or in front of a firing squad. These are the jokes people living under Hitler and the Third Reich told each other.
1. The crude behavior of regime officials offended Germans immediately.
The German word “wählen” means “to dial someone” and “to vote for someone.”
2. Did you notice a lot of Nazis were overweight? So did the Germans.
3. Not all Germans were thrilled to greet each other with “Heil Hitler.”
4. Everyone knew who really set the Reichstag fire.
5. Clergy were the first to point out Hitler’s hypocrisy.
6. Germans wondered why the Nazis pretended to have a justice system.
7. Many Germans knew of some concentration camps and what happened to dissenters there.
8. Dachau was the one everyone knew about.
9. German Jews who escaped joked about those who stayed.
10. The people knew what was coming.
11. Their Italian allies weren’t exempt from ridicule.
12. Italian inability didn’t go unnoticed.
13. After a while, the German people felt stupid for believing it all.
14. They got more cutting as time passed.
15. Telling this joke was considered a misdemeanor:
16. The end became apparent in jokes long before the reality of the situation.
If you were among the millions of Americans that tuned into the Super Bowl last night, you probably saw the powerful, patriotic ad in the lead up to kick off. Featuring Marine and Medal of Honor recipient Kyle Carpenter, the NFL spot is a video set to Johnny Cash’s spoken word song, “Ragged Old Flag.”
Tracing the flag’s (and America’s) journey through major wars and events, the video also shows images of protest and anger with several shots of the flag being burned before going back to images of the military, first responders and ordinary, everyday Americans.
The video spot struck a nerve immediately with some saying it was a dig at Colin Kaepernick.
Cash released the song as part of his 47th album in 1974, at a time during great turmoil in the USA, much like today. The U.S. was winding down its involvement in Vietnam and was dealing with the Watergate scandal with President Richard Nixon just resigning the office. The song was penned to be an optimistic song for Americans dealing with such tumultuous times.
Cash, an opponent of the war and believer in social justice, had actually met Richard Nixon a couple of years before and performed several songs for him, including an anti-Vietnam War song, “What is Truth” and “The Ballad of Ira Hayes,” a heartbreaking song about one of the Flag Raisers of Iwo Jima and his life as a Pima Indian.
Cash himself would open his concerts with the song and preface it with the following:
“I thank God for all the freedom we have in this country, I cherish them and treasure them – even the right to burn the flag. We also got the right to bear arms and if you burn my flag – I’ll shoot you.”
“Ragged Old Flag” was a hit upon its release with his fans who embraced the message that one can have criticisms of this country but should still respect those people and images that symbolize it. It is a message that resonates with many to this day.
The moving lyrics of the song:
I walked through a county courthouse square On a park bench an old man was sitting there I said, your old courthouse is kinda run down He said, naw, it’ll do for our little town I said, your old flagpole has leaned a little bit And that’s a ragged old flag you got hanging on it.
He said, have a seat, and I sat down Is this the first time you’ve been to our little town? I said, I think it is He said, I don’t like to brag But we’re kinda proud of that ragged old flag
You see, we got a little hole in that flag there when Washington took it across the Delaware And it got powder-burned the night Francis Scott Key Sat watching it writing say can you see And it got a bad rip in New Orleans With Packingham and Jackson tuggin’ at its seams.
And it almost fell at the Alamo
Beside the texas flag, but she waved on though She got cut with a sword at Chancellorsville And she got cut again at Shiloh Hill There was Robert E. Lee, Beauregard, and Bragg And the south wind blew hard on that ragged old flag
On Flanders field in World War one She got a big hole from a Bertha gun She turned blood red in World War Two She hung limp and low a time or two She was in Korea and Vietnam She went where she was sent by Uncle Sam
She waved from our ships upon the Briny foam And now they’ve about quit waving her back here at home In her own good land here she’s been abused She’s been burned, dishonored, denied, and refused
And the government for which she stands
Is scandalized throughout the land And she’s getting threadbare and wearing thin But she’s in good shape for the shape she’s in ‘Cause she’s been through the fire before And I believe she can take a whole lot more
So we raise her up every morning We take her down every night We don’t let her touch the ground and we fold her up right On second thought, I do like to brag ‘Cause I’m mighty proud of that ragged old flag
“Everyone’s preconceived ideas of what T. rex acted like and looked like are going to be heavily modified,” Mark Norell, a curator at the American Museum of Natural History, told Business Insider. The museum just opened an exhibit devoted to the dino, called “T. rex: The Ultimate Predator.”
The exhibit showcases the latest research on the prehistoric animal. And as it turns out, these predators started their lives as fuzzy, turkey-sized hatchlings. They also had excellent vision, with forward-facing eyes like a hawk for superior depth perception. And T. rexes couldn’t run — instead, they walked at impressive speeds of up to 25 mph.
But to be fair to Steven Spielberg, only seven or eight T. rex skeletons existed in the fossil record when his classic movie was produced in 1993. Since then, a dozen more skeletons have been discovered, and those bones have changed scientists’ understanding of the creatures.
Here’s what the T. rex was really like when it hunted 66 million years ago, according to the experts at the AMNH.
Henry Osborn, Fred Saunders, and Barnum Brown on the AMNH scow Mary Jane, 1911.
1. The first T. rex skeleton was discovered in 1902 by Barnum Brown, a paleontologist with the AMNH.
Today, the institution boasts one of the few original T. rex skeletons on display.
Tyrannosaurus rex — from the Greek words for “tyrant” and “lizard” and the Latin word for “king” — lived between 68 million and 66 million years ago, during the late Cretaceous period (just before the asteroid impact that ended the era of the dinosaurs).
2. The T. rex rocked a mullet of feathers on its head and neck, and some on its tail too.
Feathers are rarely preserved in the fossil record, so they haven’t been found on a T. rex specimen. But other dinosaur fossils, including other tyrannosaur species and their relatives, do have preserved feathers.
That means paleontologists can “safely assume” T. rex had feathers as well, Norell said.
Though adult T. rexes were mostly covered in scales, scientists think they had patches of feathers on attention-getting areas like the head and tail.
3. T. rex hatchlings looked more like fluffy turkeys than terrifying predators.
T. rex hatchlings were covered in peach fuzz, much like a duckling. As they aged, they lost most of their feathers, keeping just the ones on the head, neck, and tail.
Most hatchlings didn’t survive past infancy. A baby T. rex had a more than 60% chance of succumbing to predators, disease, accidents, or starvation during its first year of life.
4. T. rex had a fairly short lifespan by human standards. No known T. rex lived past the age of 30.
The T. rex was like “the James Dean of the dinosaurs,” said Gregory Erickson, a paleontologist from Florida State University who consulted on the museum’s new exhibit.
The Hollywood actor, often connected to the famous quote “Live fast, die young, and leave a good-looking corpse,” died in a fiery car crash at the age of 24. T. rexes, similarly, were spectacular but died quite young.
Paleontologists can estimate the age that a dinosaur was when it died by analyzing its fossilized bones, which have growth rings that correspond to its age, much like trees. Experts can count the number of rings to determine its age, as well as compare the spaces between rings to find out how fast the dinosaur was growing at different ages.
5. A T. rex grew from a tiny hatchling to a 9-ton predator in about 18 to 20 years, gaining an unbelievable 1,700 pounds per year.
A full-grown Tyrannosaurus rex weighed about 6 to 9 tons. It stood about 12 to 13 feet tall at the hip and was about 40 to 43 feet long.
6. The “king of the dinosaurs” evolved from a larger group of tyrannosaurs that were smaller and faster.
While the T. rex emerged about 68 million years ago, its tyrannosaur ancestors were 100 million years older than that.
The tyrannosauroidea superfamily consists of two dozen species spanning more than 100 million years of evolution.
7. That evolutionary lineage might explain why T. rex had tiny arms.
For earlier tyrannosaur relatives with smaller bodies, these tiny arms were long enough to grasp prey or pull food into their mouth.
“The earliest tyrannosaur species had arms that were perfectly proportioned,” Erickson said.
He said he thinks T. rex’s puny arms were vestigial — a body part or organ that no longer serves a function but is nevertheless retained (kind of like a human’s appendix or wisdom teeth).
8. An adult T. rex didn’t need its arms to hunt — its massive jaws, filled with sharp teeth that constantly grew back, were enough.
“T. rex was a head hunter,” Norell said. The predator had the rare ability to bite through solid bone and digest it.
Paleontologists know this from the dinosaur’s fossilized poop; they’ve discovered T. rex feces containing tiny chunks of bone eroded by stomach acid.
9. The force of a T. rex bite was stronger than that of any other animal.
No other known animal could bite with such force, according to museum paleontologists.
10. T. rex was also a cannibal.
Scientists are pretty sure that T. rex ate members of its own species, but they don’t know whether the dinosaurs killed one another or just ate ones that were already dead.
Arguments about whether the dinosaur was a hunter or a scavenger have raged over the years, but “a bulk of the evidence points to T. rex being a predator, not a scavenger,” Erickson said. “It was a hunter, day in and day out.”
What Did a Baby T. rex Look Like? ? Find out in T. rex: The Ultimate Predator (Now Open!)
11. The predator had a keen sense of smell, acute vision, and excellent hearing, making it hard for prey to avoid detection.
When “Jurassic Park” came out in 1993, scientists knew only that the T. rex was big and carnivorous and had a small brain, Erickson said.
But now paleontologists know that the dinosaur had some of the largest eyes of any land animal ever.
About the size of oranges, T. rex eyes faced forward like a hawk’s and were spread farther apart on its face than most other dinosaurs’ eyes, giving it superior depth perception during a hunt.
12. One of the biggest differences between the museum’s depiction of T. rex and the images in popular culture is that the real animal appears to be much svelter.
The new model shows a T. rex with even smaller forelimbs than previous ones and more prominent hind limbs.
According to museum paleontologists, an adult T. rex walked with fairly straight legs, much like an elephant. Walking with bent legs would have placed immense stress on its bones and joints, quickly exhausting its leg muscles.
13. So unlike the creature in “Jurassic Park,” the real T. rex couldn’t run. It just walked quickly.
An adult T. rex had a long stride, helping it reach speeds of 10 to 25 mph. But the dinosaur never reached a suspended gait, since it always had at least one leg on the ground at all times.
Juvenile T. rexes, which weighed less than an adult, could run.
14. There are still a few lingering mysteries about T. rex, including what color it was.
In movies and illustrations, the animal is often depicted in drab colors, similar to those of a crocodile. But the new museum exhibit suggests that, since reptiles come in every color, the T. rex could have been brightly colored.
It’s also challenging for experts to determine the sex of the T. rex skeletons they dig up, leaving questions about differences between males and females unanswered as well.
15. Scientists aren’t sure what T. rex sounded like, but the best guesses are based on the dinosaur’s closest living relatives: crocodiles and birds.
A 2016 study suggested that T. rex probably didn’t roar, but most likely cooed, hooted, and made deep-throated booming sounds like the modern-day emu.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
A trailer dropped today for a Sonic the Hedgehog film and honestly I don’t know how to feel about it.
The Lego film proved that anything is on the table with regards to nostalgia and storytelling. There’s no reason not to make a Sonic the Hedgehog film — 9/10 90’s kids agree that game was radical — and yet…I just don’t know if these guys can pull this one off.
Check out the trailer — and then let’s discuss.
Sonic The Hedgehog (2019) – Official Trailer – Paramount Pictures
Now, the best thing they did was use Coolio’s Gangsta’s Paradise in this trailer. Coolio was both a firefighter and a crack addict and this song evokes that exact combination. It always has. It always will. When Gangsta’s Paradise plays, sh** is about to go down (which reminds me: who else was today old when they learned that there’s an entire Sonic fetish subculture? Don’t look into it at work).
The film is a live-action adventure comedy about Sonic and his new human friend Tom Wachowski (played by Cyclops James Marsden, the hero gets Jody’d in every film he’s in) as they take on Jim Carrey’s Dr. Robotnik.
In the trailer, our fast friend captures the attention of the U.S. military when he causes an energy surge that knocks out power across the entire Pacific Northwest. They team up with Dr. Robotnik to track down the little fella, presumably unaware that Robotnik is one of the most notorious 90s villains out there.