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 first official Captain Marvel trailer finally dropped, teasing one of Marvel’s most anticipated new films — and its new hero, whom the president of Marvel Studios, Kevin Feige, has touted as Marvel’s most powerful yet. Needless to say, it’s an exciting time for nerds.
Warning: Potential Captain Marvel and Avengers 3 and 4 spoilers ahead.
The opening sequence drops Brie Larson’s Carol Danvers out of the sky and onto a Blockbuster video store, reminding the audience that this film takes place in the 90s — which is also why we’re going to be seeing some classic Air Force fighters instead of newer (sexier?) stealth jets, like the F-22 or F-35.
Don’t call it a Fighting Falcon. NO ONE CALLS IT A FIGHTING FALCON.
(Still from ‘Captain Marvel’ trailer by Marvel Studios)
U.S. Air Force Captain Carol Danvers flew the F-16 Viper before becoming a part-Kree, part-human intergalactic superhero…
“You see, an explosion spliced my DNA with a Kree alien named Mar-Vell so now I call myself Captain Marvel and I can fly and shoot energy bursts out of my hands and stuff.”
Captain Marvel is the Marvel Cinematic Universe’s first film to star a female superhero, but it won’t be an origin story. When this film begins, Carol already has her powers and works with Starforce, described in Entertainment Weekly as the “SEAL Team Six of space.”
Once on earth, she finds herself with questions about her past.
“I keep having these memories. I see flashes. I think I had a life here but I can’t tell if it’s real.”
That’s kind of how my active-duty memories look — except with a lot more paperwork and despair.
The trailer shows what appear to be Carol’s memories, including her military training and time on active duty. Here, we get a peek at Maria “Photon” Rambeau, Carol’s closest friend and, we’re guessing, wingman.
Maria also has a daughter named Monica — whom comic book fans will know as an iteration of Captain Marvel, among others. By the time the events in Avengers 4 come around, Monica will be an adult. We know that Nick Fury’s last act before Thanos dusted him was to page Captain Marvel (yes — with a pager… because of the 90s? I don’t know how that inter-dimensional/time-traveling/vintage technology works yet).
So far, fans have only been able to speculate where Carol has been since the 90s, but a favorite theory includes Ant-Man (who was also absent during the fight against Thanos) and a time vortex.
Keep the wings level and true, ladies.
(Still from ‘Captain Marvel’ trailer by Marvel Studios)
Both Larson and Lynch spent time with Air Force pilots, flying in F-16s, learning how to carry their helmets, and how to properly wear the flight suit (except I know — I know — those actors had tailored flight suits and it’s not fair and I’m bitter because my flight suit looked like they threw a pillow case over a guitar and called it a uniform).
We definitely see some of Cadet Danvers’ determination (and disregard of safety protocols). I remember climbing ropes, but, like, not 20-foot ropes?
Let’s hope that last bit was about healing TBIs, am I right?
As superhero films get bigger and better, expanding the mythology from the hero who saves the city to the hero who saves the universe with unparalleled powers and abilities, it’s a point of pride to see a hero begin exactly the way they do here at home: with a calling to serve.
Back in the 90s, Carol Danvers was just a kid who graduated high school and decided to attend the United States Air Force Academy. She decided to serve her country. She worked her ass off and became a pilot — a fighter pilot, no less. It’s the most competitive career choice in the United States Air Force.
All of that happened before her she gained her superpowers.
There’s no doubt about it. Steven Spielberg’s 1998 war epic, Saving Private Ryan, was a masterpiece in every aspect of filmmaking. It won five of the eleven Academy Awards for which it was nominated. The immense scale of the invasion of Normandy was expertly recreated for film in a way that hasn’t been replicated since — and likely never will be.
Despite the massive war that characterizes the film, the movie’s primary conflict wasn’t between warring nations, but rather between Tom Hanks’ character, Captain Miller, and his duty to return Pfc. Ryan (as played by Matt Damon), who refuses to leave behind the brothers with whom he’d fought so far.
The film, being the masterpiece that it is, wraps the story up nicely, leaving few loose ends, but there’s that ever-burning question in Hollywood — how do you make that special lightning strike twice? How can you create another story surrounding the incomparable D-Day and find just as much success?
The truth is, simply, that you can’t. The story has already been perfectly told by one of the finest filmmakers in Hollywood at just the right moment. But that doesn’t mean that the story has necessarily ended…
What made this scene so great wasn’t the million put into it — it was Tom Hank’s reaction to everything happening around him.
As stated by Jack Knight of War History Online, there is serious interest in following-up Saving Private Ryan by continuing the story of the Rangers at D-Day and the mission that occurred at Pointe du Hoc. What made the beach landing scene so spectacular wasn’t the battle itself, but rather how the battle was seen — through Capt. Miller’s eyes.
The audience felt the immense gravity of war in a truly human way. In one moment, we’re listening to a guy joke on the landing craft; one second later, his blood is splattered on Miller’s face. This is the essence of what made Saving Private Ryan so great. World War II was just the backdrop to a more personal story, but the sheer, raw horrors of war were still very much present.
The audience saw the enemy in the distance, but the focus was entirely on the Capt. Miller. Any spiritual successor (or direct sequels) should keep that in mind.
It’s a grim reality, but it’s comforting in it’s own way.
Such a sequel, a movie that follows someone’s personal life after a major conflict, has been dreamt up before. One film, known as “the greatest war film never made,” that was to explore this theme was to be called The Way Back.
The 1955 film To Hell and Back was an amazing anomaly. It was the World War II experience of Audie Murphy, based on the autobiography of the same name that was written by Audie Murphy and David McClure, starring Audie Murphy himself. But this wasn’t the only film the war hero wanted to make. Everyone wanted to see his heroic stand on the back of the Sherman, but he never got the finances for the script that told the story of what happened after he was bestowed the Medal of Honor.
He struggled daily with post-traumatic stress. His family life was, to put it lightly, troubled. He turned to drugs and alcohol to cope with the pain. He even famously locked himself in a dirty motel room to kick his morphine addiction. He was lost in a world that wanted “him,” but not the real him. But he knew countless children looked up to him, so he put one foot in front of the other with a forced smile on his face.
This movie, were it ever made, would’ve been a powerful piece. Audie Murphy, arguably the greatest soldier to ever don a uniform, would’ve told everyone that not everything is fine when the war’s over. There’s a pain there that nobody can see, but many of us feel.
It’s not like there are too many war films out there specifically made for Post 9/11 vets. The bar is set kinda low…
War films are a dime a dozen in Hollywood and rarely will they have any impact on the public because they’re just action scenes after action scenes until the credits roll. If Hollywood really wanted a powerful message to send to the world, they could make a grounded story following the life of one of the Rangers after D-Day. Use Saving Private Ryan’s personal approach and make it about one soldier. They could keep the action scenes, but make them a background to the story of just surviving. Then, as Act II rolls around, shift the story to show how a returning soldier survives this world he left behind to fight in D-Day.
Hollywood could have their cake and eat it to while also sending a powerful message to the countless returning veterans of the Post-9/11 wars, telling them that they’re not alone.
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.
Troy Nunley was 17 years old when he left the farm and joined the Navy. He was assigned to the USS Indianapolis (CA 35), and as he stood on the pier at Mare Island he couldn’t believe any man-made thing could be so massive.
“I’d never seen a tractor that big,” he says.
The recollections of Nunley and over a hundred others are the main thread of “The USS Indianapolis: The Legacy Project,” a documentary directed and produced by Sara Vladic who spent over ten years putting it together. Her choice to let the surviving crew members tell their own story has resulted in a powerful film, one that tells the story of a star-crossed surface combatant while also capturing the timeless themes of survival, courage, and the fight to set the record straight on behalf of the man who led them.
(Photo: U.S. Navy Historical Center)
The Indianapolis was very active in the early years of World War II, fighting in campaigns across the Pacific Ocean, from the Aleutian Islands and Iwo Jima where the ship was close enough to see what was going on ashore.
“They said they’re raising the flag, and I said big deal and walked away,” says Adolfo Celaya, who was a fireman’s apprentice aboard the big battle cruiser. “How did I know it was going to be famous?”
At Okinawa the Indianapolis’ luck ran out. After shooting dozens of Japanese kamikazes out of the sky, one got through and hit the ship on the fantail. The airplane’s bomb knifed through several levels until it exploded in the engine room, killing nine members of the crew and injuring 30 others. The ship was forced to limp back to San Francisco for repairs, sailing the entire leg of the journey with a 17-degree list.
As the ship was being repaired at Mare Island, the crew was given 30 days of leave, and when it was over many of them returned fearing what the next leg of their deployment might bring.
“The last day I was home my mother was sitting on the front porch, and she said, ‘I know something’s wrong. You don’t act like yourself,” Cleatus LeBow says. “And I said, ‘I’m dreading going back this time.”
The Indianapolis stopped by Hunter’s Point on the way out to sea and picked up a large crate that was heavily guarded and bolted to the passageway outside of the commanding officer’s cabin. Rumors started to fly among the crew about what the mysterious cargo might be.
Lebow says his guesses were, “Cadillac for MacArthur or whiskey for everybody to sell at the end of the war.”
“The best scuttlebutt I heard was that we were carrying was that we had 20,000 rolls of scented toilet paper for Douglas MacArthur,” adds Paul Murphy, who was a third class petty officer at the time.
As the Indianapolis sailed under the Golden Gate Bridge, one of the senior enlisted men turned to Buck Gibson and said, “Look at that bridge good. A lot of us will never see it again.”
The ship transited the Pacific at a record pace, averaging 29.5 knots between San Francisco and Tinian.
“There was more gold braid on that pier that I’ve ever seen before,” Clarence Hershberger says.
After unloading its mystery cargo, the Indianapolis headed west across the Philippine Sea for Leyte. The ship was sailing solo in spite of the fact that, as Hershberger says, “It is stated many times in Navy manuals that our ship our size must have a destroyer escort.”
At midnight on July 30, 1945, the Indianapolis was hit by several torpedoes fired from a lurking Japanese submarine. The first one sliced the bow off; the second ignited the aviation gas stores, causing many of the sailors to burn to death. The ship sank in 12 minutes.
“I had only been on the ship for 13 days,” Donald Blum remembers.
The crew spent five days and nights in the water, fighting thirst, sun, and sharks. Some men succumbed to madness and swam for a mirage only to drown or be attacked by sharks. Some drank seawater and died of dehydration.
On the fourth day, a lone PV-1 spotted the survivors. From that point forward, the pilot, Lt. Chuck Gwynn, would be known to them as “our angel.”
Another pilot landed a PBY seaplane and loaded 56 men aboard, including laying them across the top of the wing. Ships started arriving in the area, shining searchlights, which hazarded them in potentially enemy sub-infested waters but raised the spirits of the survivors.
The survivors were loaded aboard the rescue vessels, and only then — after the oil-soaked men identified the ship that they were attached to — did the rest of the fleet realize that the Indianapolis had been sunk. Of the 1,197 men who went into the water, only 317 were pulled out of the water alive.
In time, the survivors were taken to Guam to convalesce. In mid-August, one of the nurses showed a group of them a newspaper with the headline that the bomb had been dropped on Hiroshima. The mystery of their cargo was finally solved.
But their trial wasn’t over, literally. That fall the Indianapolis commanding officer, Capt. Charles McVeigh, was court-martialed for “failure to zigzag” and for waiting too long to give the order to “abandon ship.” In a wild twist of fate, the Navy called the commander of the Japanese submarine, Mochitsura Hashimoto, to testify.
Hashimoto said that zigzagging wouldn’t have saved the Indianapolis, but the court found McVeigh guilty anyway. Admiral Chester Nimitz later remitted his sentence, but the court of public opinion never did. McVeigh — harboring great guilt for those lost under his command — shot himself on his front lawn, holding a toy sailor in his other hand. He was 70 years old.
The remaining survivors, always of a mind that their skipper got a raw deal from the Navy, kept pushing for legislation that would clear his name. The finally found a champion in Cdr. Bill Toti, the CO of the new USS Indianapolis, a nuclear submarine. Toti invited the survivors to join him at the commissioning ceremony for his sub, and after sitting down with them and realizing their enduring love and respect for their skipper, he led an effort to get the Navy to exonerate Capt. McVeigh’s record. President Clinton signed the resolution in 2000, 55 years after the Indianapolis went to the bottom of the Pacific.
(Editor’s note: Sara Vladic won “Best Female Director” honors at this year’s GI Film Festival that was just held in the Washington, DC area. For more on “The Legacy Project” go here.)
Believe it or not, there is one gun very notable for having been taken by the United States Air Force to other planets. That said, it was only on TV.
The “Stargate” TV franchise — based on the 1994 movie featuring Kurt Russell — starred Richard Dean Anderson of “MacGyver” for its first eight seasons. The series was notable in having two separate Air Force Chiefs of Staff cameo as themselves, Gen. Michael Ryan in “Prodigy” and Gen. John Jumper in “Lost City, Part Two.”
The central premise around the series was that the Air Force had acquired a “stargate” that was set up in Cheyenne Mountain. The team led by Anderson’s character, SG-1, was pretty much carrying out a mission similar to of the Army Special Forces: building alliances with native populations.
The adventures eventually took SG-1 all the way across the galaxy and beyond, where they not only faced off against hostile nations, but also made contact with friendly aliens and acquired new technology.
And as is the case with special operations forces, SG-1 had gear that average grunts didn’t get their hands on — usually. In addition to all the alien tech, they did get some earth weapons, too. Notable among them was the P90 personal defense weapon from FN Herstal.
The P90 is a select-fire weapon that fires the 5.7x28m cartridge. It is a compact weapon with a 50-round magazine. The gun made its combat debut during Operation Desert Storm with Belgian special operations troops.
You can see a video about this PDW that has gone to other worlds below.
The Star Wars train is still rolling along and the toy shelves are filled with those freaking adorably annoying porgs (as a true Star Wars fan, I personally hope that they don’t become the new Jar-Jar).
A while back, we touched on the downside of being a Stormtrooper and why they have it worst. Now, let’s look at why the rebels are a very close second.
In the The Force Awakens, Finn left the previously mentioned terrible First Order and joined the Resistance, a successor to the Rebellion in all but name. The poor guy doesn’t even know that he just traded one terrible assignment for another.
At least Stormtroopers had a few things going for them, such as armor, reliable gear, force of numbers…
The rebels out “fighting the good fight” had next to nothing in nearly everything.
Here’s why it sucks to be a rebel:
6. Very little funding…
Good will can take you a long way against an evil empire, but you still need financing.
Those blasters aren’t just going to buy themselves. Historically, rebellions (in our galaxy) have been financed via a combination of three sources: Other governments, wealthy sympathizers, or outright stealing what they needed.
There aren’t really many options for the Rebel Alliance as far as governments or sympathizers go. When the Galactic Empire called themselves the Galactic Empire, they meant it. Nearly every government in the galaxy fell underneath Emperor Palpatine’s control.
You can’t just turn to the Hutt-controlled space in the Outer Rim for financing because scum and villainy just don’t care about noble causes. The rebels did have an extremely wealthy donor in Bail Organa (Princess Leia’s adoptive father)…but he and his wealth were destroyed on Alderaan.
So, if you estimate the Earth’s total combined wealth at $241 trillion in 2014 and multiply that by the god-knows-how-many planets under the Empire’s control, do you think it’s possible to steal enough stuff to stand a reasonable chance against an enemy that rich?
5. …which means little gear and training.
The Stormtroopers had acclimatizing suits that were designed to stop blaster shots. The rebels wore…blue shirts and vests. The Stormtroopers had a blaster rifle that works as a machine gun, rifle, and sniper rifle. The rebels stole a few of the same. The Empire had massive fleets of TIE fighters and pilots at their disposal. The Rebels had outdated X-Wings with only a handful of pilots.
And it keeps going on.
4. They’re painted as the villain – because some are.
The problem with being the Rebel Alliance was that it was loosely-formed from many rebels doing their own thing. This was most prominent during the events of Rogue One, where the rebels struggled to keep Saw Gerrera from giving the wrong impression of what the rebellion means.
It’s not too clear how the average citizen of the Galactic Empire feels about the rebellion. The closest we get in the films is when Luke talked about joining the Imperial flight program, and no one reacted as if the Imperials were the bad guys.
Albeit, their opinions did change after the destruction of Alderaan.
3. Little to no chain of command.
Sure, the pilots get fancy pep talks and are often given commands, but that barely constitutes good advice, let alone a real military order.
Take the Battle of Hoth, for instance. One of the three major rebel bases was under attack and needed to be evacuated. The duty of making sure everyone made it out alive fell entirely on the shoulders of a princess who hadn’t demonstrated any military capabilities until that point.
There were actual generals there, and yet her plan to fly weaponless transport ships full of high ranking officers directly at the enemies didn’t raise a red flag to anyone.
Even still, most rebels just acted on their own free will rather than having some actual military decorum. What would you expect from a chain of command that was literally made up of six officer ranks?
Which leads us to…
2. Rank makes no sense.
Case in point: Han Solo. A man who laughed at the Rebellion eventually gave in and helped his new friend. He flew in at the last minute, shot out Darth Vader’s TIE fighter, and earned a medal from the Princess. Got it. It makes some sense to why he’d become Captain Solo by the time of the Battle of Hoth.
We can forgive the battlefield commission/promotion to Captain, even if he wasn’t nearly as much help as Skywalker. The real concern is how he got promoted to General before the Battle of Endor. He didn’t really do anything but fly around space before being captured on Cloud City and imprisoned in carbonite.
When he was released and reunited with the Rebel forces, he was automatically granted the rank of General.
In the U.S. military, POWs are promoted with their contemporaries while captured and we stretch things in Star Wars to assume it worked the same way. But seriously? Did enough captains get promoted to general in the span of a year to warrant Han being promoted that quickly?
1. No recognition.
All of that can be explained away as the fighting spirit of the rebellion. Sure, they terrible gear, inexperienced leaders, and wacky organization, but at least you could hold true to the knowledge that they were doing what was right. Too bad the “Empire” turned into the “First Order.”
But your contemporaries will remember you? Right?
Nope. All of that glory went to some civilian contractor (Luke), a seriously unqualified General (Han), and the inexperienced (though highly motivated) adopted daughter of the guy who pays the bills (Leia).
An estimated 300,000 “war brides,” as they were known, left home to make the intrepid voyage to the United States after falling in love with American soldiers who were stationed abroad during World War II. There were so many that the United States passed a series of War Brides Acts in 1945 and 1946. This legislation provided them with an immigration pathway that didn’t previously exist under the Immigration Act of 1924, which imposed quotas on immigrants based on their nation of origin and strategically excluded or limited immigration from certain parts of the world, particularly Asia.
Equipped with little but a feeling and a sense of promise, war brides left everything that was familiar behind to forge a new identity in the United States. Many spoke little to no English upon their arrival in the country, and they were introduced to post-war American culture through specially designed curricula and communities. To this day, organizations for war brides in the United States provide networks for military spouses and their children, helping them keep their heritage alive and share their experiences of their adopted home.
To commemorate the 75th anniversary of the end of World War II on September 2, 2020, We Are The Mighty is proud to collaborate with Babbel, the new way to learn a foreign language. Babbel conducted interviews with surviving war brides as much of the world endured lockdown. Many of these women are now in their 80s and 90s, and their oral histories celebrate the challenges and successes of adapting to a new culture and language, as well as reflect on the leap of faith they all took to travel across the world to an unknown country. Spoiler alert: there are few regrets.
War Brides is a 5 part series.
My full name is Antonina, but I go by Nina. I’m 92, almost 92 and a half. I was born in Manila and we lived in a compound where the superintendent of city schools also lived. There were several American teachers and their families in that compound, so we were speaking English a lot.
Growing up wasn’t easy, because the war broke out when I was in seventh grade. They had sentry boxes every few miles, and everyone who passed by had to bow. And if you didn’t bow correctly, they’d slap you. The Japanese would come out of the sentry box and slap you and show you that this is the way to bow to them. So my dad said, “Don’t go outside if it isn’t necessary.”
During the war, our house was burned down and we had run for our lives because the Japanese were trying to kill as many civilians as they could while the American soldiers were pursuing them. We tried to shelter in one of the burned-out houses, and we went under the foundations to try to hide. But before that, we had to cross a big wall. It took me a long time to get in through the passage, and a Japanese soldier came over to me and poked me in the back with his bayonet. That’s why even now, I don’t want anyone touching me from the back. It has remained with me. I was so scared. I was 13, 14 at that time.
That night we could hear the Japanese yelling and running and then at around 2 or 3 o’clock when it started getting light, I saw a pair of feet. I knew that the Japanese did not have boots like that. And then after a while, I said, “Oh my God, these are different. These are big feet.” One of the soldiers bent down and said, “Oh, hello there.” When he said “hello,” I knew he was an American!
He told us we were in the firing line and to go as far back as we could. I was so excited. I said, “The Americans are here!” While I was running I looked down, and I didn’t realize that I was running over dead bodies. I said, “Please help me, dear God, help me.” I couldn’t walk anymore because I saw so many of them. And I was in the midst of them. Dead people. That was terrible. I still occasionally dream of that, and then I can’t sleep.
Eventually, we were able to get to a Red Cross station. They were standing there serving cookies and food, so we grabbed some and ate like there was no tomorrow. Thank God we didn’t get sick when we ate, especially me!
It was in early 1945 that I met my husband. We hadn’t seen the ocean for three years, so my sister said, “Let’s go and see how the beach is.” That was where we met a few soldiers, and my sister said to me, “Don’t say anything. I’ll do the talking!”
They introduced themselves and said they were Filipinos from the United States, and they said that they wanted to meet some of the Ilocano, which is my parents’ language and dialect.
They asked, “Would you like some candy?” Well, God, due to the war I hadn’t tasted candy for years! So they gave us some Hershey’s candies, and that’s why some of the war brides call me “Hershey Girl!”
A month after that I met my husband, in May 1945. I didn’t know who he was at that time, but he walked in singing “Sleepy Lagoon.” My sister said, “Oh, he has a beautiful voice.” I said, “No, he can’t sing!”. He was a Filipino man in the U.S. Army and could speak the same dialect that my parents spoke. He was very nice and polite, and they liked him.
We married on December 2, 1945. It was in a small church, and I wore a short dress that my friend made for me. We didn’t have buttons, so she found what looked like little pebbles that she covered to make the buttons. We didn’t have zippers or anything like that, so it was buttons all the way down the back. Another friend had found an old Communion veil that her daughter wore, and they made that into my little veil.
When my husband finished his tour of duty in Japan, we came home to the United States. I had two children at that point, who were both born in Tokyo. In Tokyo, my children learned to speak a bit of Japanese, and I couldn’t understand them. They would come home and tell me things in Japanese, and I would say, “Just speak in English. I don’t understand Japanese!” They would laugh. They had such fun doing it.
When we came to America, we arrived in San Francisco. I was seasick the whole time, so I was anxious to get off the ship. But we sailed under the Golden Gate Bridge at night, and it was all lit up, and it was just beautiful. The first thing that struck me about San Francisco was the cars. There were so many cars! They were just whizzing by. In Japan, there were not many cars around. Usually, the soldiers were the ones who had cars — and some of the richer Japanese people — but the Japanese tended to rely on streetcars and the subway. It was 1954, and San Francisco seemed so bright and crowded.
The way people spoke in America was also very different. In Japan they don’t speak slang, and it took me a while to understand American lingo. My husband eventually found a job in Los Gatos, California, for the Sisters of the Holy Names of Jesus and Mary. He worked for them as a second cook, and they provided us with a home.
Los Gatos was a very small town at that time. There were barely 5,000 people living there. We were the only Filipinos in that area, and they did not know what to make of me. When I took my eldest daughter to kindergarten, the children would say, “What are you? Chinese, Native American?” And I said, “No, we’re from the Philippines!” They didn’t have any idea where that was.
I was a seamstress for the convent the whole time. I made habits out of thick wool. There was a lot of hand sewing involved, and making the skirt required about five yards alone that I had to pleat to fit each person, and it was heavy!
On the whole, people were very nice. I missed my parents, but my sister ended up coming to America as well. I get to speak Ilocano with her still, which is nice because I haven’t been back to the Philippines since 1950. It was too expensive to travel back when I first came to America. I regret that, though. I don’t know if I’m strong enough to travel now.
For me, America hasn’t really changed from the time when I first arrived, because the way people of color are being treated now seems to be the same as when I first got here.
Technology, though, is one change that is so overwhelming for me. Going to the moon left me in awe. And my massage chair — I like my massage chair.
My advice for young people moving to another culture or country is: Love conquers all. That’s my philosophy. I loved my husband and he loved me, too. He took good care of me. I miss him so much. We were married almost 57 years. It was fun to hear him sing.
“Star Wars” movies are going on hiatus after this year’s Star Wars: The Rise of Skywalker, but fans can still expect plenty of content to come.
Disney’s upcoming streaming service, Disney Plus, will not only include the entire collection of “Star Wars” movies, but new original titles. The first live-action “Star Wars” TV show, The Mandalorian, will be available at launch on November 12, and more original series will follow.
Disney Plus will have to satisfy fans for the time being, as new “Star Wars” movies won’t make it to theaters for some time. After Solo: A Star Wars Story disappointed at the box office, failing to crack even $400 million worldwide, Disney CEO Bob Iger said to expect a “slowdown.”
Lucasfilm president Kathleen Kennedy reiterated Iger’s point during “Star Wars” Celebration over the weekend. Kennedy told Entertainment Weekly that the “Star Wars” movies are “going to take a hiatus for a couple of years.”
“We’re not just looking at what the next three movies might be, or talking about this in terms of a trilogy,” Kennedy said. “We’re looking at: What is the next decade of storytelling?”
But Kennedy did confirm that Star Wars: The Last Jedi director Rian Johnson and Game of Thrones showrunners David Benioff and D.B. Weiss are still working on their own sets of films, and even coordinating with each other. We don’t know whether these movies will be released in theaters or head straight to Disney Plus, though.
“As they finish Game of Thrones, they’re going to segue into Star Wars,” Kennedy said of Benioff and Weiss. “They’re working very closely with Rian.”
Below are more details on all the Star Wars projects in the works for after December’s The Rise of Skywalker:
The Mandalorian will be the first live-action “Star Wars” TV series ever, and it will be available to stream on day one when Disney Plus launches November 12.
It stars “Narcos” actor Pedro Pascal as the title character, a lone warrior traveling the galaxy after the fall of the Empire, but before the rise of the First Order. It also stars Carl Weathers and Werner Herzog.
The series is written and produced by Iron Man and The Lion King director Jon Favreau, and directed by Jurassic World actress Bryce Dallas Howard, Thor: Ragnarok director Taika Waititi, and more.
Cassian Andor Live-Action Series Announced! | The Star Wars Show
Lucasfilm announced in November 2017 that Star Wars: The Last Jedi director Rian Johnson would write and direct a new trilogy of movies separate from the Skywalker saga, which is set to end with the ninth installment, “The Rise of Skywalker,” in December.
After rumors swirled that Johnson was no longer developing the trilogy, he confirmed on Twitter in February that he actually is. Lucasfilm president Kennedy reiterated over the weekend that Johnson is still working on the movies, and collaborating with Game of Thrones showrunners David Benioff and D.B. Weiss on their own series of films.
New Star Wars Films Announced! | The Star Wars Show
Lucasfilm announced in February 2018 that Benioff and Weiss, the showrunners of “Game of Thrones,” would write and produce a new series of films that would be separate from Rian Johnson’s planned trilogy and the Skywalker saga.
The number of films and story details are under wraps, but Lucasfilm president Kathleen Kennedy recently said that they are “working very closely” with Johnson.
“As they finish Game of Thrones, they’re going to segue into Star Wars,” Kennedy said.
You may know Tom Skerritt for his iconic roles (Viper in Top Gun, anyone?) or his tell-tale mustache. But did you know he is an Air Force veteran? WATM had the opportunity to sit down with this Hollywood legend to learn more about his childhood, his work ethic and his time in service. Here are 10 questions with the unbeatable Tom Skerritt:
Can you share about your family and your life growing up?
My parents suffered through the Depression and lost quite a bit through it. I was born toward the end of the Depression and we had hard times and lived in Detroit. Detroit was a depression ridden city; I didn’t know the differences as a kid. I thought it was how life is. My school had creative programs where we were in public schools growing up. We had dance, shop, painting and similar programs. One Saturday morning a month, a school bus would take us to creative venues and I remember getting off the bus in front of the Detroit Institute of Arts. The first thing I see is Rodin’s The Thinker in front of the museum. I was about 7 or 8 years old then and am thinking, “naked guy, sitting on the toilet without the sports section.” We go into the museum and see a bronze plaque with a Shakespeare phrase, “There is nothing either good or bad, but thinking makes it so.” It stands as a distinct memory because the teacher had us write these things down, so it sticks with me. I then remember seeing a painting at the museum by Diego Rivera that was just so powerful. I had not seen anything like that so full of opinion, feeling, talent and genius.
The next time was a Saturday morning where they took us to a rehearsal for a concert to be done that night. We were setting in the hall and out comes this guest conductor. He was Arturo Toscanini, who was a great conductor of the 20th century. He was very old and physically in bad shape. He was dressed in white and his hair was shooting off in every direction like Albert Einstein. He looked like a white angel. He raised the baton and physically he became thirty years old. He straightened out and came alive like a ballerina conducting this orchestra. The sound of it was unbelievable and he was yelling at them in Italian throughout the rehearsal. These two moments compelled me by knowing there was another world out there beyond the common neighborhood I grew up in. It stayed with me — to know there is something more to this life than the Depression.
What made you want to join the Air Force and what was your experience like?
My father instructed me to get a trade after high school and nothing really registered to me, so I enlisted in the Air Force. I knew I needed direction and discipline. I needed something to accept as progress. I thought I could learn to fly… what did I know at 17? My older brother was a P-51 Mustang pilot in WWII so there was a dream there to do something bigger. I was very proud of my older brother where he was more like a father than my father could be. The Air Force gave me a purpose. I learned so much about the country by just being in the Air Force. It is a wonderful frame of reference that informs my intelligence and how I look at life.
The Air Force was about me taking in where I was. My duty station was the Bergstrom Air Force Base, which is now closed. I got a lot out of living close to Austin, Texas. They offered me a promotion if I re-enlisted where I decided I needed an education and should use the GI Bill. The military made me feel like I needed to have that college education. I didn’t get to fly, but I sure tried. I didn’t know the math or anything towards flying. I didn’t have a frame of reference of what was required to be a pilot.
After service for four years in the Air Force I used the GI Bill to go to UCLA. At that time UCLA was affordable where it was about $150 a year to study there. The GI Bill basically helped me pay the rent. I could go over to the West LA VA center for anything else I needed. LA in the 1960’s was laid back, easy and was nice then. I look back at LA with a great favor and what it gave me from going to school, learning to write, act and direct and the career I have. It makes me so damn appreciative of all it. The military was good for me and hope I was good for it.
I went to the university and studied English. The previous experiences with creative endeavors pushed more towards doing something creative. My other older brother used to play music for me as well when we were growing up, especially when our parents were out. My brother introduced me to classical music and jazz like Charlie Parker and Billie Holliday. The exuberance my brother exhibited when listening to the music and speaking of it left an indelible impression on me. I saw Citizen Kane growing up and was so impressed with it I decided I am going to write and direct that movie. I set the bar high.
I thought of having to understand writing and how it is to be an actor. So, I decided to take courses in acting and it would help me get through my shy phase. I was doing some local theater outside of UCLA to work with professional actors. Everything was about the challenge and going after it. After I got hired on a small film, I came out wanting to know how it was all put together, the sets, the actors and the writing. During this time, two people I became friends with were Robert Redford and Sydney Pollack.
I found the quotes on leadership by John Wooden, a UCLA coach and professor at the time, to be so life giving, especially with how he influenced the players. He gave his guys a way of looking at things that they wouldn’t consider as athletes. I think the small things that your brain picks up across life sticks with you, which he taught the players. Wooden had a great philosophy approach to doing what you got to do. Whether it was passing a ball to another player where you just pass the damn thing or bigger in life. Wooden would instruct in such a way that was a lot more than just passing a ball.
While at UCLA, I became friends with a neighbor who was a TV director where he hired me to do a couple acting jobs and TV work. I was mentored by him in film making, editing them and how he looked at the business. One day he calls up and says, ‘I have a movie to direct’. That movie turned out to be M*A*S*H and the director was Robert Altman. The studio initially hated the film where they weren’t going to release it. Altman got the critics to review it and they went berserk. Mentorship was a day to day thing from those in the industry where it was very important to me and my career.
When I had completed M*A*S*H, an up and coming director named Hal Ashby connected with me. I started mentoring with him for about three years, so I was being mentored by Ashby and Altman at the same time. These guys invited me to see their work and wanted to be friends. I was then hired to do movies in Italy for over four years.
What are you most proud of from your service in the USAF?
My service in the Air Force… I was a classification specialist at Bergstrom. If there was a motor vehicle airman in some air base in Italy, I would have to select them to be sent to Korea or wherever off the base. It was not what I wanted to have, but it was okay.
What values have you carried over from the Air Force back into the civilian world?
Focus and discipline with a better sense of who I was.
What was one of the toughest lessons to learn coming from the service to Hollywood?
I don’t have one other than a lesson from childhood — an old man told us young kids to “just keep moving.” Every day I am writing, and people ask me why I work so hard. I am busy working on Triple Squirrels where we are collecting a lot of documentaries that have been on shelves for years. All of this stuff is still related to film. We are covering artists doing unique things in the Pacific North West from great fishing rivers from Idaho to the Pacific Ocean or some guy who claims he saw the sasquatch which is a legendary character in the forest. The man filmed it and it looks like a moose and not the sasquatch where the man was so serious about the event. Five guys up in Bellingham all had that common purpose, let’s put a motorcycle together that can break the land speed record. Unfortunately, the motor blew out on the motorcycle while running it at the salt flats before it could break the record.
It is all wonderful, entertaining stuff such as glass workers like Dale Chihuly, one of the great glass artists in the world lives up here. It’s guys doing imaginative stuff. I keep going back to that and the imagination is such a gift to us human beings and sets us apart from all the other animals. It makes us curious and gives us the highs and lows that we have emotionally. It gives us the questions we have where it is all driven by our imaginative experience. The Air Force is the same thing with imagining to fly and being able to fly. I had a little bit of that experience in Top Gun, which made me feel like I was the real thing.
All of these things of being an actor and writer and director where I look back on all of it and say, “Holy shit man, did you really cover some territory where you have some advantages that you could employ to give to other people?” There is one thing from the service such as having the back of the other person and you are looking out for them. That was one of the big things I loved about the military. In the military, you have the training to be aware of other people for their benefit and your own. Not always the same in the civilian world
What are your most favorite projects to have worked on?
I was fortunate to have worked with Ashby, Altman and then into The Turning Point which starred Mikhail Baryshnikov, Anne Bancroft and Shirley MacLaine. All of these extraordinary people that I worked with where how could I pick out one favorite from M*A*S*H to Alien with Ridley Scott? Alton, Ashby and Ridley Scott were new when I worked with them. I met Tony Scott on the set of Alien, which led me to being involved in Top Gun. Being in films with just wonderful people from craft and how they approached life itself and how they applied it to the work they did. M*A*S*H was the best time I ever had in anything where I knew we had something and no one else did except, Altman and I. I just knew he was going to do something remarkable with all of the shooting he was doing. Alien was done about seven to eight years after M*A*S*H where those two films are in the top twenty-five films of the 20th century. So, I wanted to work to the level of Citizen Kane…*Tom laughs.
My getting close to Citizen Kane is being in two of the top films of the 20th century and then Top Gun and A River Runs Through It. All quite different with different approaches as an actor to each one of them. Doing interesting real people in every one of them where you had to make it real. It is hard to pick one out.
You bring all your past experiences into the roles you do in the future. My whole sense about life itself its how much of the good and not so good that you ingest and reject. All of it is there. This goes back to the Shakespeare quote from earlier, “there is nothing either good or bad, but thinking makes it so.” The creative process I began and later on understood what that meant. You have to have thinking processes based on what your imagination has to draw upon. I understand this through writing and looking back. I understand that everything leads to the next day, everything I got from life, the military, which has given me this discipline to write every day, it has given me a sense that words have value. That is not something you are conscious of, it is just who you are and part of who you are.
For me having been in a situation to the military and bringing it to a role, you’re damn right it is still with me. I appreciate it and still do. I still have my gig line and can remember my serial number 16401805! Why would I remember these things if they didn’t have something meaningful for me? You know about your posture as well from the military.
Doing “Picket Fences” in the 90s for four years and getting sixteen Emmys over four years for best show, actor, writer and that sort of stuff. To be in that environment, especially high end, you get spoiled in it and I admit that. It is an unusual career for a person that wants to be a writer and director. I did some directing on David E. Kelly’s TV shows such as “Picket Fences” and “Big Little Lies”. Kelley was another mentor of mine which he makes about the best TV can get.
What I am trying to give people through Triple Squirrels is the enjoyment of their own imagination. I ought to try and fish, or try to mess around with some glass, or get some scrap metal and make a motorcycle. You feel better about yourself when you feel there is something you might be able to do that makes you feel good. Life is largely a stew with salt, pepper and onions where you come up with this extraordinary stew of life.
I am trying to share a lot about life where I have been working with young filmmakers to get in touch with themselves. They want to make a movie like someone else where you make your own movie based on who you are and what comes out of that.
Can you share about some of your experiences working on “Gunsmoke”, “The FBI”, “Bonanza”, “The Virginian”, “Combat!”, “12 O’Clock High”, “Pickett Fences” and then on M*A*S*H, Alien, The Dead Zone, Top Gun, A River Runs Through It, Tears of the Sun and the like?
A great sense of gratitude and appreciation and good fortune to be able to do all of that. I don’t think many people in the business I am in have not had that overreaching of two or three decades of extraordinary projects. Stage acting is quite different than TV and motion pictures. Each one has a different approach to it. TV is always geared for twelve-minute segments before going to commercial. You have an unreal behavioral pattern in TV more so than film or stage or real life. In TV you have to get the answers real quick, respond real quick and draw that gun and shoot a guy. In film you want to resolve the issue more without the shooting. Let’s get down to see what we really want to work out here. On stage it becomes never getting around to shoot each other it is about getting to understand each other. Your honest engagement of that story in resolving our difference of opinion in theater, film is different and in TV you are working towards a commercial. TV lacks the grace of film and the courage stage has.
For Top Gun I read the script where I didn’t know who the director was at the time. I thought it was really solid and then heard that Tony Scott was going to direct it. I heard about the film like having heard about Ridley doing Alien. I read the Alien script and thought it was solid where they had only been to me, so Ridley was not attached to it that early on. Top Gun was already going to be done with the budget and good producers. I knew nothing else and then found out Tony was going to direct. It came together and then met Tom Cruise in the office to meet with Tony and with the producers. Tom was out in the waiting area with me. I had seen Tom act in Risky Business and thought he was a good young actor. I said to him, “you are a pretty good actor, where did you come up with that juice?” Tom responded, “By watching guys like you, Sir.” I thought, “Wow, a young gentleman that appreciated his opportunity in Top Gun.” He was not egomaniacal the way some actors can be in the movie business where it is all about me. For me I am always learning so I never felt that way where Top Gun is that type of thing where Tony is teaching me as well.
I get it from Ridley on Alien and then from Tony where they were both similar. They were both soccer players and believe in getting into rhythms as athletes and musicians do. All of these rhythms come into what we do. I felt very strong about Tony and for one of the few times really pushed to get into the film. Some of the producers felt I was too lethargic or casual and not military enough. I had been in the military so I could pull that one off going back with the gig line on and pack into that presence you had when you were in the service.
Once I got the role, I met the actual Top Gun commander. I used him as he was a thoughtful guy. I think the producers wanted someone who would be barking at the guys and getting on them all the time. I didn’t think the officer had to be someone shouting at other people. You just look them in the eye and say, “Why would do such a dumb thing as that? What accounts for that behavior you pulled off out there because you didn’t pull it off that’s why you are in this office right now?”
The reality of our life informs us in how we perform and that’s really all I could do in getting that role. To work with Tony, that script and then Tom Cruise pulled it all together. I was very sure about that film being very successful before I got into it. The instincts come back to me from going back into the Air Force where they never leave you. It becomes all things if you are conscious of them or not. They do lead our behavior patterns and how we pursue our life we have to live. I am delighted to have the life I have even with all of the not so good.
What leadership lessons in life and from the USAF have helped you most in your career?
Self worth and the will to do more. I don’t feel all that I need to do and all that I can do. There is a lot to learn still. When you have that in your life it is a big purpose.
When I started hearing about veterans coming home from the Middle East with severe PTSD during the 2000s, I felt responsibility for them. I was not in a position to do it for them when it pulled on me. I was able to level out through setting up a writing program for them. In some way this is all a gift where you just fully appreciate the best you can give. We, through the Red Badge Program, took veterans down to Ft. Lewis-McChord AFB to teach those guys coming back how to utilize PTSD experience in terms of telling a story. Usually the bad stuff of what happened took place when under extreme stress. We had teachers come in to teach them how to tell their story and the best way they possibly can. It has to do with these dealing with their own feelings and being able to express that.
The best way for me to relate to veterans is from some of my own PTS experiences. During the 60s and 70s as a young father and husband I had to deal with some intense family issues, many times dealing with the safety of my children. I was on 24/7 surveillance and did not always know when and who to trust. It was a tough time for me personally, but a good time for me professionally where acting was this cathartic release for me. Things did get better for me and my family thankfully.
We had musicians come in to play music for them so they could write lyrics to the music. The veterans came out of their feeling so much better about themselves. I had veterans come up to me and tell me, “I was ready to do myself in. You saved my life.” We had it for about seven or eight years where it was a hot news item with so many veterans committing suicide. We had to teach the veterans off base at the University of Washington-Tacoma branch because the military was not consistent with us since we were some soft, fluffy thing. The military was keeping veterans from coming at times, which stood in the way of what we were doing. We were able to set up a community away from the military where they can feel comfortable in that environment without being evaluated. I gave the veterans my stories and they gave me theirs where we could trust each other. That’s really what they got. Most often they said, “I could trust myself; I got a trust of people and I felt like I could be true.” That sounds simple, but it’s not simple.
How do we get more veteran stories told in the Hollywood arena?
The Hollywood arena has changed so much where I don’t know how it works anymore. Most of the films I was involved had a good story line. It was always about the story first. Hollywood has gotten so much into nine-digit budget films in the summer being a financial resource. Once you get to there its like saying, “I know it all.” They would make their own audience, age 17-39, from the early 90s on with every generation that came along they would replicate the same special effects, same story line just realigned to where they lost touch with the good stories they could tell. The screenplays became soft from then on and once they are soft there is nothing shocking about it. When you make films that have a lot to do with shooting and killing, some of it may be comedy, but it is the most influential of mediums, so you must be responsible. We have a responsibility to do the best we possibly can for the audience. It’s not the right approach to have aggressive, hostile and angry films like how to blow some up. Whatever it may be, and it does influence impressionable young minds. It does influence some kids in high schools killing other students. It does influence people.
The concern with studios and blockbuster ran out about six summers ago. All of those films had a sense of darkness and fear in them. We are running downhill where people are not reacting the same way they used to be scared. It is the same in so many ways that you have seen before. Once the reaction is gone you don’t return to the movies where less tickets have been sold the last six summers. Studios realized how in debt they were and always relied on big blockbusters to bring revenue back to the studios. When the revenue falls out you still have a lot of bills to pay. We are in a pit now in the lion’s den with movies. Hollywood will make some crafty films but will not be making as many as before.
What are you most proud of in life and your career?
I don’t think that way, where I am just grateful to have done so many projects. It has been extraordinary where working in Europe and Italy for three or four years and seeing ruins of great civilizations and the Renaissance buildings. Finding that only culture can come from conflict and resolution. We are in the deepest conflict here in America right now. We should be concerned about where we are going. What am I most proud of? I don’t know how to answer that because I have had a lot of good fortune. I am proud of what I can say to you and proud to have the capabilities and the wife I have and the children that I have. I know what they have had to go through with me, and they are still with me and we have that love. I have this wonderful woman, Julia where we have been together for 25 years. I have to tell you I appreciate her beyond words in a way that I could not if I hadn’t had all of these other life experiences, I related to you. That is the first time I ever said that. I have this woman I have now. I am also proud to have been in the US military.
EDITOR’S NOTE:An earlier version of this story incorrectly characterized the operating system and capacity of the M1. It is a gas operated rifle that has an eight-round capacity.
This is his rifle. There are many like it, but “Ginger Dinger” is his.
That was the name ‘Gunny’ R. Lee Ermey gave his beloved M1 Garand rifle. It’s been heralded by General George S. Patton as “the greatest battle implement ever devised.”
In an era of lever-action or bolt-action rifles, nothing can compare the speed and accuracy of a semi-automatic that uses the high-pressured gas from the cartridge being fired to do all the work for you. All troops had to do was just pull the trigger, the spent shell is ejected, the next round is chambered, and you’re ready to fire again. At the time of it’s creation in 1936, this was an absolute game changer.
Once you pop in a eight round en-bloc clip of .30-06, the M1 Garand becomes one of the most reliable weapons any service member has been issued. It was issued to the U.S. Army in 1938 and has seen service in World War II, Korean War, and selectively used in a sniper variation for the Vietnam War.
Currently, it is still available for civilian ownership and is widely praised by collectors and marksmanship competitors.
The U.S. Military still uses the M1 Garand for ceremonial purposes by drill teams. It’s said that they are also very well balanced, spin easily, and present well.
Also, both pronunciations are widely accepted. As in it’s either “Gahr-rund,” as if it rhymed with ‘errand,’ or “gur-rand,” as if Tony the Tiger was trying to say ‘grand.’
Check out the video down below if you want to watch R. Lee Ermey sh*t talk during a shooting competition with British Rifle Expert Gary Archer in his show “Lock ‘N Load with R. Lee Ermey.”
*Writer’s Note: At first I mistakenly attributed the M1 Garand as a recoil operated rifle with a five round clip. This is not the case and I own up to my mistakes. Thank you to everyone in the comment section.
Vietnam outlawed Dreamworks’ new animation “Abominable” on Oct. 14, 2019, because it showed a map acknowledging China’s claim to a disputed part of the South China Sea.
Multiple countries — including China, Vietnam, Malaysia, and the Philippines — have overlapping claims to the sea. Beijing claims a large portion of it as its own, and calls the U-shaped region demarcating it as the “nine-dash line.”
Dispute over waters near Vietnam flared in October 2019 after Vietnam claimed a Chinese ship rammed and sank a fishing vessel.
A still from “Abominable” circulating widely on Twitter on Oct. 13, 2019, showed a map clearly showing a variant of the dashed line in the South China Sea.
“We will revoke [the film’s license],” Ta Quang Dong, Vietnam’s deputy minister of culture, sports and tourism, told the country’s Thanh Nien newspaper on Sunday, Reuters reported.
The decision was directly a response to the map scene, Reuters added, citing an employee at Vietnam’s National Cinema Center.
The movie, directed by “Monsters, Inc.” writer Jill Culton, follows a young Chinese girl who wakes up to find a Yeti on her roof, and and is led on to a journey to the Himalaya mountains to find his family.
The Vietnamese-language edition of the movie — titled “Everest: The Little Yeti” — premiered in the country on Oct. 4, 2019, Reuters reported. It appeared to play for nine days before the culture ministry banned the movie.
Sen. Tom Cottons of Arkansas criticized the ban on Oct. 15, 2019, saying in a tweet that Dreamworks’ display of the nine-dash line was an example of “kowtowing to the Chinese Communist Party by American liberal elites.”
Country sovereignty is a sensitive topic in China too: Multiple Western designer brands have also landed in hot water in China for identifying the semi-autonomous cities of Hong Kong and Macau as countries, rather than Chinese regions.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
Ron Meyer with Carol Eggert, Senior Vice President, Military and Veteran Affairs at Comcast and Jared Lyon National President and CEO of Student Veterans of America (SVA) at an SVA Event. (Photo courtesy of: NBCUniversal)
From the U.S. Marine Corps to the Hollywood mailroom, becoming one of the founders of CAA to being vice chairman at NBCUniversal, Ron Meyer has experienced a lot since growing up in West L.A.
Annenberg Media: Tell me about your family and your life growing up?
Meyer: My mother and father escaped Nazi Germany in 1939. They both immigrated and met in Los Angeles. They were German Jews; my father was a lady’s dress salesman and my mother worked with him until she had me and my sister. We had a very simple life here in west Los Angeles.
Annenberg Media: What is the most distinct memory of your mother and your father?
Meyer: They were loving and supportive parents. My father traveled four out of six weeks so he was gone a lot of the time. My mother raised us on a full-time basis. They were great parents and we loved each other unconditionally.
NBCUNIVERSAL EXECUTIVES — Pictured: Ron Meyer, Vice Chairman, NBCUniversal — (Photo by: Chris Haston/NBC)
Annenberg Media: What challenges did you face at school and in the community?
Meyer: I created challenges for myself. We didn’t have money so that wasn’t really an issue as none of us in that neighborhood had money. I worked from the age of about 12-years-old where I delivered and sold newspapers. If I saw a shirt that I liked, I had to work to pay for it. I washed cars at every job you could imagine. I did what I had to do. I was in trouble as a kid but I created most of it, so that definitely made it more challenging for my parents to deal with me. I went to three different junior high and high schools. I spent very little time going to school and I was suspended a lot. I don’t think I ever spent a full day in high school. When I was 16, I legally dropped out. That is what led me to the Marine Corps.
Annenberg Media: What made you want to join the Marines and what was your military occupational specialty (MOS)?
Meyer: I used to box and I was told there was a boxing program in the Marines. There was an active draft back then, so I had a draft card at 17. I thought I was a tough guy and the Marine Corps seemed like a good idea. I found out that there was no boxing program after joining. It was a different kind of Corps; corporal punishment was allowed, and you could fight bare knuckles. They could put hands on you, and you could put hands on them. It was a different kind of world back then.
I was a rifleman, which was my main MOS. I worked in the motor pool and as a radio man. I was a driver as well.
Annenberg Media: What values were stressed at home?
Meyer: My parents were good, honest and hardworking people. I was taught an early lesson when we went to someone’s house for a visit. When I came back home, I had four or five quarters in my pocket. When I told my mother and made up some story, she was not having it. She made me go back down, return the quarters and apologize. My parents never tolerated stealing. They taught me my values that never changed throughout my life.
Annenberg Media: What drew you to film and media while growing up?
Meyer: When I was in the Marine Corps, I got the measles and I was quarantined. I had never read a book in my life at that point. My mother sent me two books: “Amboy Dukes” which was about kids in trouble and a book called, “The Flesh Peddlers” by Steven Longstreet about a young guy in the agency business. I thought when I got out, I didn’t want to be this jerk anymore so I went looking for a job in the agency business. I didn’t have any friends or connections in the business, I just knew about it as a viewer. When a movie came out on a Friday, I thought it was finished on Thursday. I had no concept of the process. It seemed like a good way to make a living. Agents were salesmen and my father was a salesman. I was going to be a salesman of some kind so selling talent seemed like a thing to look into, so I went after it.
Annenberg Media: What was it like starting at the Kohner Agency?
Meyer: It was a great experience and I was lucky to get the job. I was a messenger there for six years. It was a fun time to live in L.A. back then. It was hard work and I worked five days-a-week and then was on call on the weekends for Mr. Kohner. It really was the best time of my life. Hollywood was a lot of fun on the Sunset Strip with all the restaurants and bars. It was just great and looking back on the time it was very Andy Hardy-ish.
Ron Meyer with reporter, Joel Searls at NBCUniversal. (Photo courtesy of: Joel Searls)
Annenberg Media: What leadership lessons in life and from the service have helped you most in your career?
Meyer: The most lasting value comes from what the Marine Corps taught me, teamwork is everything. At CAA it was about teamwork and certainly here at NBCUniversal it is about teamwork. I felt that way at CAA, you were either for us or against us.
We are all in it together. If we succeed, we all succeed and if we fail, we all fail together. You can’t be pointing your finger as a leader. If you trusted the wrong people to do the job, then you must be responsible for it. As a leader you are in it more than anyone else. It is pretty basic: you treat people the way you want to be treated, you tell the best truth you can, you do what you say you are going to do. Once you are a team those are all the fundamentals. You do the best that you can.
Annenberg Media: What are the keywords that you live by?
Meyer: I wish I could say I invented it, but when I was very young, I saw a sign that said, “Assumption is the mother of all f***! ups.” If you assume something you are at risk, I have lived by that forever and I believe that. Don’t assume anyone else is going to take care of the problem or assume you know what someone else is thinking.
Ron Howard, Brian Grazer, Tom Hanks and Ron Meyer at the APOLLO 13 premiere. (Photo courtesy of NBCUniversal/Alex Berliner)
Annenberg Media: What are your top three films while you have been at NBCUniversal?
Meyer: The films that I am most proud of being a part of are “Brokeback Mountain,” “United 93” and “Apollo 13.” I am proud of these films and they had a very important significance for me. “Apollo 13” was a perfect movie since we knew how it ended, but you were on the edge of your seat until the very ending. It entertained you and it made you care. “Brokeback Mountain” broke barriers that no one ever imagined before. It was two men falling in love with each other and the beauty of it. I was proud to be part of the studio that made it. “United 93” made you proud to be an American and it told a story of what people are capable of in the worst of circumstances. It was an extraordinary movie and it was the first post 9/11 film. There were no stars in it, and it was what really happened. I saw it with the families of the victims of Flight 93. It deserves to be a classic film and it is important for America. These are the three films that really stand out for me.