Riddle me this: Who would make a great contemporary Batman villain? That’s right! The dude from Looper who was also pretty great in nearly everything he’s been in; Paul Dano.
Though Jonah Hill was heavily rumored to play the Riddler (or the Penguin) in the new upcoming Matt Reeves-directed, and Robert Pattinson-starring film The Batman, it looks like there’s a new Riddler in town. On Oct. 17, 2019, The Hollywood Reporter broke the news that Paul Dano will be stepping into the role of the Riddler in the new caped-crusader epic. Dano will join Zoë Kravitz as Catwoman and Jeffrey Wright as Commissioner Gordon in the new film. Though the new film won’t be released until June, 2021, nearly everything about its production seems exciting. So far, even though certain corners of the internet complained about the casting of Robert Pattinson, nearly everything about his cast seems amazing.
The reason why Dano is such a great choice for the Riddler is there’s arguably not been a great Riddler since Frank Gorshin in the old ’60s Batman TV series. Sure, Jim Carrey was fine in Batman Forever, but he wasn’t truly unhinged the way the Riddler should be. Carrey was goofy. But Paul Dano can do unhinged. Paul Dano is like Shia LaBeouf if the latter was slightly more likable. He’s a great actor who doesn’t really get the credit he deserves. Go watch the movie Being Flynn right now and tell me I’m wrong. It’s great.
In addition to the already pretty solid cast, there doesn’t seem to be much that The Batman can screw-up. Let’s just hope they avoid even thinking about rebooting yet another version of the Joker. We’re all Joker-ed, out, right?
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
A video story produced by VA focusing on a veteran boxing training program at Gleason’s Gym – America’s oldest active boxing gym – received an Emmy Award at a ceremony June 22, 2019, in Bethesda, Maryland.
The National Capital Chesapeake Bay Chapter of the National Academy of Television Arts and Sciences recognized the segment produced for VA’s “The American Veteran” video series, and honored the series with its second Emmy since the show was relaunched in 2017 after a three-year hiatus.
The recognition was announced at the 61st annual regional Emmy Awards ceremony and was presented in the Health/Science – Program Feature/Segment category. The segment, titled “The American Veteran: Veteran Boxing Training,” was produced, shot and edited by VA’s digital team, which is part of the Office of Public and Intergovernmental Affairs (OPIA).
The production team included lead producer/photographer/editor Ben Pekkanen, co-producer Timothy Lawson, executive producer Lyndon Johnson, and VA NY Harbor Healthcare System Adaptive Sports Program’s developer, Jonathan Glasberg.
Historic New York boxing gym opens its doors to Veterans
Located on the banks of the East River in the DUMBO (Down Under the Manhattan Bridge Overpass) neighborhood of Brooklyn, Gleason’s Gym is owned and operated by Vietnam veteran Bruce Silverglade. Silverglade, who has owned the gym since 1983, had long been interested in creating a training program for veterans, but wasn’t sure he could do it on his own. “I got a call from the VA hospital in Manhattan, from a fella by the name of Jonathan,” said Silverglade. “He came over to talk to me about a program they had.”
In the following weeks, Silverglade and VA’s New York Harbor Healthcare System’s clinical coordinator for prosthetics, Dr. Jonathan Glasberg, developed the framework for the veterans in the Ring boxing training program offered at Gleason’s Gym.
The video is one part of VA’s ongoing effort to engage and reach out to the veteran community directly. The VA digital portfolio includes: more than 150 Facebook pages, most of which belong to individual VA medical centers; the VAntage Point blog; nearly 100 Twitter feeds; Instagram; a Flickr photo library; and a YouTube channel. The department also distributes the “Borne the Battle” podcast.
“The American Veteran” was produced by VA for more than a decade before going on hiatus in 2014. During its active season, the show garnered numerous Telly, CINE and Aurora awards, as well as multiple Emmy awards and nominations.
According to its website, the National Academy of Television Arts Sciences (NATAS) is dedicated to the advancement of the arts and sciences of television and the promotion of creative leadership for artistic, educational and technical achievements within the television industry. NATAS recognizes excellence in television with the coveted Emmy Award; regional Emmys are given in 19 markets across the United States.
Looking for a great show to watch that will challenge the way you look at things?
Netflix has just released “The Business of Drugs,” a documentary series that goes deep within the drug trade around the world. Now, I know what you are thinking: You have seen “Narcos,” Narcos Mexico,” “Cocaine Cowboys” and other shows and documentaries on the illicit drug trade.
“The Business of Drugs” aims to be a bit more eye opening than the rest.The Business of Drugs | Official Trailer | Netflix
Created by U.S. Navy SEAL and Executive Producer Kaj Larsen, and hosted by former CIA Officer Amaryllis Fox, the series will examine the illicit drug trade from around the world to here at home.
The series looks deep into the drug trade from where they originate and the pathways that are used to get them to their final destination. The Business of Drugs will trace the path of cocaine, heroin, methamphetamines, marijuana, and various other drugs and will reveal the business, violence and fallout along the way.
The series will also look at both the economics of drug trafficking and the economic impact of the trade.
Who makes the money and who loses big in a multi-billion dollar global enterprise?
Larsen hopes that by understanding narcotrafficking through the lens of business, the series will show that modern drug cartels operate as highly organized multinational corporations.
Fox embeds with traffickers in Colombia, DEA agents in Chicago, mules in Kenya and consumers right here in the States – in Los Angeles – and tells us the human story of a multi-billion dollar criminal industry. The former spy uses her formidable intelligence-gathering skills to finally expose the economics of exploitation and power that fuel the global war on drugs and who it affects.
Did you know:
Since 1971, the war on drugs has cost the United States an estimated id=”listicle-2646417222″ trillion.
Every 25 seconds someone in America is arrested for drug possession.
Almost 80% of people serving time for a federal drug offense are Black or Latino.
In the federal system, the average Black defendant convicted of a drug offense will serve nearly the same amount of time (58.7 months) as a white defendant would for a violent crime (61.7 months)
Despite studies showing that Black and white Americans use drugs at the same rate, convictions rates and sentencing lengths for Blacks is substantially higher. Republican Senator from Kentucky, Rand Paul, even referenced this when he spoke out against mandatory minimum sentences for drug offenses.
This documentary is especially poignant now while Americans take a hard look at how the law is enforced among us. We learn that the War on Drugs is the single largest factor in the incarceration of
Black and brown people in the United States. Prosecuted as a strategic tool by governments and security services for over 30 years, the War on Drugs has put more people of color in prison than any other single policy.
“The Business of Drugs” brings these policies to our attention and makes us question if the “War” we are fighting is actually working or if we are wasting taxpayers’ money, costing lives and making things worse. Watch the series and decide for yourself.
It’s no secret that Hollywood has a knack for getting the military wrong in war movies. Whether it’s diverging from reality in movies that are “based on a true story” or it’s pretending grenades create massive fireballs when they explode, the movie industry will always favor drama and spectacular visuals over realism… and to be totally honest, I’m cool with that.
Over the years, I’ve devoted a great deal of my professional life to analyzing the way narratives take shape in the public consciousness. I’ve dug into how different nations leverage media to affect public perceptions (I even wrote a book about it). I’ve explored the ways cultural touchstones like exchanging engagement rings manifested inorganically in corporate board rooms. I’ve even pointed out the ways World War II propaganda still shapes our dietary choices. That’s a long-winded way of saying that my professional interests have long been tied to exploring the undercurrent in mass communications, and further analyzing the ways that undercurrent can shape our perspectives of the world.
With the understanding that I’ve devoted so much of my time to exploring the narrative behind messaging, you can probably imagine that I can be a real party pooper when it comes to watching war movies. Like most vets, I get frustrated when I see uniforms worn incorrectly or when dialogue between service members feels forced or clunky… but unlike many vets, I also can’t help but look past the surface level messaging to try to figure out what filmmakers are trying to say with their choices in presentation.
Film, like any art form, is really an exercise in evoking emotion. When we really love a movie, it’s almost always because we loved the way the movie made us feel as we watched it. Whether we were excited by incredible action sequences or we were enraptured by a budding romance, it’s the experience, our experience, that we actually cherish. Good filmmakers know that, so they often choose to place a larger emphasis on creating an experience than they do on recreating a realistic event. Good movies aren’t good because they’re real–in other words–they’re good because the feelings they create are.
When a movie sucks, however, it’s usually because the director fails to evoke real emotions in the viewer. Bad filmmaking can be just as realistic or unrealistic as good filmmaking. Warner Brother’s famously bad “Green Lantern” movie, as a good example, is often made fun of for its use of an entirely CGI costume on Ryan Reynolds. You might think that’s because CGI costumes are just too unrealistic to be taken seriously… until you realize that most of the costumes you see in the wildly successful Marvel movies are entirely CGI as well. The difference isn’t that one is realistic while the other isn’t–the difference is that the Marvel Cinematic Universe is better at making you care about its characters. Iron Man’s CGI suit simply becomes set-dressing for the character that you’re emotionally invested in.
Marvel isn’t the only studio to get the feeling right, even when it gets facts or realism wrong. In fact, there are a number of war movies that manage the same feat.
Full Metal Jacket (the first half)
Marines, in particular, tend to hold the first half of Stanley Kubrick’s “Full Metal Jacket” in high esteem, and we tend to disregard the second half of the movie as an auteur opining about Vietnam (in a way that doesn’t leave the audience nearly as invested in the characters). Depending on who you ask, they’ll tell you that Marine recruit training is exactly like the movie or not like it at all–and that likely has a lot to do with individual experiences and feelings from one’s own time at the depots.
But whether you ever had to choke yourself with a drill instructor’s hand or not, most Marines feel a distinct kinship with J.T. “Joker” Davis’ platoon. It’s safe to say that most of us didn’t see a fellow recruit shoot our drill instructor in the bathroom (or head, as we call it), but that scene does capture something about recruit training that’s not easy to articulate. For many of us, Marine Recruit Training is the first place we’d ever been where violence is a commodity. We’re learning to fight, to kill, and when you begin broaching the subject in your mind, the experience can be jarring. I recall distinctly the first time I ever truly thought about taking another person’s life and what it would entail, and it was inside a squad bay just like the one you see in “Full Metal Jacket.”
The Hunt for Red October
If we’re grading war movies on realism, it would be tough to gloss over the fact that Sean Connery’s Marko Ramius is a Russian submarine captain that talks with a thick Scottish accent. But in terms of capturing the reality of the Cold War as a feeling, “Red October” hits the nail right on the head.
In real life, would we pull a CIA analyst out of his cubicle and drop him into the ocean to climb aboard a nuclear submarine hot on the tail of a rogue Russian captain? Probably not–but by doing so in the film, “The Hunt for Red October” effectively captured the sense of urgency, confusion, and distrust that characterized so much of the Cold War for both American and Soviet officials. Many defense initiatives in the U.S. were driven by concerns that the Soviet’s had developed a technological or strategic advantage, and in a real way, intelligent men and women like Jack Ryan devoted their entire lives to both offsetting those perceived capability gaps, and of course, to preventing nuclear war amid an international, nuclear-fueled, staring contest.
“The Hunt for Red October” may not be the most realistic exploration of Cold War tensions, but it expertly crafts the feeling that permeated the defense community throughout the conflict.
I won’t lie to you, I still take great issue with certain elements of “Jarhead” — specifically its depiction of Marines as singularly driven by the desire to take lives. However, as an exploration into the emotional ride that is Marine training and service, the desire to get a confirmed kill in “Jarhead’s” second act that I find so abrasive actually perfectly captures the feelings so many service members and veterans have about not seeing combat.
The vast majority of people in the military never take that “kill shot” “Jarhead’s” Anthony Swofford (Jake Gyllenhaal) is so focused on, and to be honest, lots of service members wouldn’t want to–but therein lies the point. “Jarhead” is a war movie that tells the story of training extensively for a job that you never get to do, and then returning to a world full of other people’s expectations that you know, inside your head, you’ll never amount to.
Lots of veterans find that they don’t feel “veteran enough” after their time in uniform is up. Maybe they didn’t see combat, or they didn’t see as much combat as others. Maybe their job had them mopping floors in Japan instead of kicking in doors in Iraq, or maybe they never left the wire during their time in the sandbox. Whatever the reason, many veterans (and even active service members) carry a chip on their shoulder created by society’s expectation that we all return home like John Rambo. The truth is, every veteran is veteran enough–but “Jarhead” does an excellent job of sharing that insecurity on film.
Tears of the Sun
This nearly forgotten 2003 action drama starred Bruce Willis as Lieutenant Waters, a U.S. Navy SEAL charged with leading his team into Nigeria to evacuate a U.S. citizen and medical doctor amid a bloody coup d’etat. When Waters and his SEAL team arrive, however, the doctor refuses to leave without the rest of the members of her small community who will likely be wiped out by rebel soldiers in the area.
What follows is a fairly unrealistic depiction of how military operations are carried out, complete with bloody last stand on the nation’s border in which many of the SEALs ultimately give their lives to protect the fleeing civilians. The movie is, to be honest, some pretty heavy handed American military propaganda (honestly, some of the best war movies are), but it’s precisely because of that arguably jingoistic idealism that this movie so effectively captures the feeling that drives so many of us to sign our enlistment papers.
Most folks in the military chose to join because of a combination of personal interest and idealism. We could use a good job, some help with college, and benefits for our families–but we also want to make a difference in the world. We want to help protect not just our nation’s people, but the ideals our nation represents. “Tears of the Sun” is a story about American service members giving up their lives to do what’s right, and because of that, it strikes the patriotic chord in many of us in a way that resonates deeply, even if the movie itself isn’t a masterclass in filmmaking.
Christmas romance movies have become a 21st century holiday phenomenon, first on the Hallmark Channel, then on Lifetime and now Netflix. There are literally hundreds of these movies, with dozens premiering in 2020 alone.
Holiday filmmakers have started to add the military to their formula, and there have been a couple of high-profile releases this year. Those movies inspired us to try to figure out just what’s going on here.
These are assembly-line products made for an audience that expects every plot to follow basic rules: Two people meet and irritate each other, but they’re irritated because they recognize a fellow special soul who doesn’t quite run with the pack.
One of them thinks the holidays are a crock. After some sassy back-and-forth, the doubter learns the meaning of Christmas, and that allows their love to flower. There are cookies, eggnog, flannel shirts and pajamas, a spectacular tree, possibly some chopping of wood, family members who saw it coming all along and, usually, a dog.
Regular readers know that we typically write about movies that feature combat, patriotism, world-changing shifts in power or the chain of command, ass-kicking and explosions, so this was a totally foreign experience.
If you’re the kind of person who gets your kicks complaining about breaches of military protocol in movies, have we got a totally new genre for you! Christmas romance movies are produced on such shoestring budgets that they make those late-period filmed-in-Romania Steven Seagal cheapies look like a Marvel movie. There’s no money for a military adviser, so they’re mostly just winging it.
It’s like these movies exist in an alternate universe. Apparently, there are actors who’ve appeared in multiple Hallmark and Lifetime movies, and the channels promote their starring roles as if they’re Brad Pitt and Jennifer Lawrence.
Let’s agree that these movies have a huge and devoted following because they make some people happy. If you’re one of those people, please continue to watch and enjoy.
This article is for the rest of us who find the whole thing kind of weird. Here are five of the most startling military Christmas romance movies we found during our investigation.
1. USS Christmas (2020)
Filmed in Wilmington, North Carolina, this Hallmark movie had the full cooperation of the Navy, so it features a few scenes filmed aboard a carrier and a lot of stock footage of planes taking off and landing. Did someone in the Navy Office of Information want to reach out to an audience that would never seen “Top Gun: Maverick” or “Hunter Killer,” two other movies that got full Navy support? Or was someone just a big Christmas fan?
This time, a sassy reporter who’s the daughter of an aviator gets convinced to join her mom and aviator sister for a holiday Tiger Cruise. The commander served with her late dad, and his son is also an aviator who hates the holidays, mostly because his parents divorced and he’s still mad at dad.
How much does he hate Christmas? Well, his call sign is “Grinch.” Yep, that’s how obvious everything is here. Grinch learns to love the holidays, forgive dad and appreciate an independent woman. Our reporter learns that maybe it’s best not to be so independent and that a military spouse‘s life might not be so bad after all.
Where these two will be in five years after a few deployments is hard to predict, but there’s reason to suspect that neither of them truly realizes what they’re getting into here.
2. Operation Christmas Drop (2020)
This 2020 Netflix movie had a higher-than-usual budget and was filmed on Guam with the full cooperation of the Air Force, so it looks a bit shinier than the usual fare. Since it’s set in the South Pacific, there’s no snow or hot cocoa or fluffy scarves.
A congressional aide has to cancel Christmas with her family to investigate just why the Air Force is wasting money on this “Christmas drop” every year. The congressional rep (played by Virginia Madsen, an actual movie star) is looking to cut budgets so she can save a base in her district. She sets her sights on Guam.
OK, they never call it “Guam” in the movie, but this is where they lose anyone with an interest in world peace. Why would we shut down an important strategic base in the South Pacifc to keep a base in some random U.S. state open? That’s a movie foul far worse than a sloppy salute.
Anyway, our aide Erika Miller (Kat Graham, “The Vampire Diaries”) doesn’t want to be there and knows her mission is to collect the dirt that will allow her boss to shut down the base. What she doesn’t expect is her encounter with Capt. Andrew Jantz (Alexander Ludwig, “Recon”), the laid-back architect of the current mission to provide presents and supplies to remote Pacific islands during the holidays.
The two clash, she finds herself falling for the captain and his island spirit, and her boss mysteriously cancels her own Christmas to fly to the island to see why Erika’s reports aren’t negative enough. Everyone goes on the holiday flight and then sees the light: Operation Christmas Drop is exactly the kind military holiday maneuver the world needs!
Erika finds her Christmas spirit. Will she find long-term love with Andrew? We’ll have to wait for an “Operation Christmas Drop 2” to find out.
3. Home for Christmas Day (2017)
Everyone knows that many civilian parents don’t want their daughters falling in love with a soldier. Long-distance romance is hard, and there’s usually a neighbor boy named Jody who’s willing to step in and help with the loneliness.
The single mom in “Home for Christmas” has an even more powerful reason to discourage her daughter. The big reveal is that her late husband was killed in combat himself, and she doesn’t want her child to face the same heartache when her new love is deployed.
To explain just how manipulative this one is, we have to go deep into spoiler territory. Our young lover learns that her mom is right when she hears her boyfriend’s name on a list of troops killed in action read aloud at a Christmas concert.
The girl is devastated, but mom realizes she was wrong to discourage her daughter’s true love and they reconcile. Have we reached a breakthrough moment in Christmas romance movies, when the harsh realities of real life must be addressed in the happy holiday world?
No, we have not! Those boobs at the Pentagon mixed up the dead troop records, and our hero is actually alive. He shows up on the doorstep, unannounced and on crutches, and everyone enjoys the best Christmas ever!!
4. A Welcome Home Christmas (2020)
This Lifetime movie takes the ethics manual, sets it on fire and throws a party in the town square. Chloe Marquee (actual character name) is working as a counselor for troubled veterans, and she’s assigned a particularly tough case named Michael Fischer.
She learns that Fischer led a toy drive while stationed overseas and recruits him to start a new one for military families here in their tranquil, picture-postcard, Christmas-loving town. What should be a great project turns sinister when Chloe starts having romantic feelings for her patient.
Well, that’s not how the movie sees it. Chloe heals Michael’s wounded soul through the power of love, and all the kids get some excellent toys after they overcome a few scheduling obstacles. Could a little eggnog and some smooching under the mistletoe be the miracle cure for PTSD that we’ve all been searching for? Lifetime says maybe!
5. Christmas Homecoming (2017)
This Hallmark movie answers the question, “What are the best cures for a grieving military widow and a wounded warrior recovering back home?” The answer may surprise you if you haven’t been paying attention. Why, it’s a little Christmas romance, of course!
Julie Benz (“Dexter,” and kind of a big star for one of these things) plays a military widow whose loss has destroyed her faith in Christmas. She rents a room in her house to an Army captain (Michael Shanks), a wounded warrior whose injuries have not shaken his love for the holidays.
The two team up to raise money to save the town’s failing military museum with a Christmas fundraising event, and these two self-described “wounded birds” find that the holiday spirit kindles a new romance.
Will both get the counseling and support they need going forward? Let’s hope so because both are coming into this relationship with a cartload of baggage. For now, though, tune in and enjoy the spell of mistletoe and twinkling lights.
Of course, there are more of these Christmas movies that try to work in military themes. If you haven’t picked up on it so far, look for titles with “home” or “homecoming” in the title, and you’ll go a long way toward finding what you’re looking for.
Of course, true fans of the genre will also be tuning in for the book editors, real estate brokers, high-powered attorneys and other assorted type-A personalities who need a little holiday spirit to help them get over themselves and fall in love.
If you want to watch them all, one movie a day, make a note on your calendar for Memorial Day 2021 and maybe you’ll have caught up by Christmas next year.
In 1986, Paramount released Top Gun, story about a hotshot Naval aviator named “Maverick” who had some extreme daddy issues. The film was action-packed with awesome dogfights and a classic rivalry.
Did you ever wonder how different Top Gun would have been if Iceman — Maverick’s only competition — was the star of the film?
We did and here are seven reasons why we think the movie should have been about Iceman.
1. We would have seen way more pen flipping.
There nothing more badass than a classic stare-down to start off an epic rivalry. But add in a slick gold pen being flipped through the fingers of a top-notch Naval aviator, and you have the coolest introduction to a character (pun intended).
2. There would have been way more classic insults.
Let’s face it, Maverick wasn’t known for his sh*t talking other than “flipping off” an enemy pilot while being inverted — but Iceman was pretty damn good at it.
“The plaque for the for the alternates is down in the ladies room.” — Iceman
3. Top Gun would have had way more sex scenes in it — and they wouldn’t have been in complete darkness.
Iceman wasn’t looking to hook up with an instructor — he was much more interested in every single girl that was near the base.
Iceman wears sunglasses at night — and he totally pulls it off. (Source: Paramount/ Screenshot)
4. They would have finished the iconic volleyball game since Iceman is no quitter.
Need we say more?
5. No one would have traumatized over Goose’s death.
It would have just been another accident from a “military exercise” resulting in a fatality. That is all.
6. Iceman and Maverick would have totally got into a fistfight.
Do you really think Maverick could have beaten Iceman in a brawl? Well, if Iceman was the star of the movie, we probably would have found out for sure.
7. The Top Gun graduation would have been shown since Iceman did beat out Maverick.
We think it would have been cool to know how he got the gold pen he was flipping around his fingers earlier — he might have told the story during his plaque presentation.
Joanna Mendez, former Central Intelligence Agency Chief of Disguise, watched spy scenes from a variety of films and television shows in order to break down how accurate they really are. From Jason Bourne finding his cache of passports and foreign currency to Carrie Mathison’s (Homeland) half-assed “disguise” through airport security, Mendez doesn’t hold back in her opinions and expertise.
During her 27-year career, her position in the CIA’s Office of Technical Service involved providing operational disguises and alias training in hostile theaters of the Cold War from Moscow to Havana. Her duties included clandestine photography and preparing CIA assets with the use of intelligence-collecting equipment like spy cameras, as well as processing the information brought in.
Think “Q” — James Bond Q, not Star Trek…
Now retired, Mendez continues to consult with the U.S. Intelligence community as well as lecture with her husband Antonio Mendez, also a retired intelligence officer, with whom she has published several books about their covert experience including Spy Dust, which reveals “the tools and operations that helped win the Cold War,” and Argo, which would become an Academy Award-winning film of the same name that told the story of “the most audacious rescue in history.”
In the video below, Mendez lets her critiques fly. Check it out:
Former CIA Chief of Disguise Breaks Down 30 Spy Scenes From Film & TV | WIRED
“Carrie’s disguise, which basically consisted of dying her hair…was absolutely ineffective. She’s still Carrie…but with dark hair. She could have cut her hair and restyled it. She could have changed her makeup. She could have put on sunglasses to hide that crazy-eyed look she has…” claps Mendez.
She then jumped to a scene from Alias where Jennifer Garner nails her disguise. “She didn’t just dye her hair — she dyed it outrageously red and then adopted the whole persona to go with it. We could have used that as a training film!” she laughed.
Mendez moves on to Matthew Rhys’ character in The Americans. “He was never trying to look good. He came really close to projecting ‘the little gray man’ that we would talk about at the CIA. You wanted to be forgettable,” she commended.
Mendez then moves on to a “quick change,” the name for a move where an agent clandestinely changes his appearance in 37 seconds. She commented on Mission Impossible III, and in particular discusses why Tom Cruise’s “priest” would have been ethically off-limits.
From Megan Fox in Teenage Mutant Ninja Turtles, to Ansel Elgort in Baby Driver, Mendez breaks down the “quick change” further — and also warns against stealing.
The video covers blending in with the crowd in James Bond — and CIA inventions that helps its agents remain discrete; being assigned a new identity in Spy; cultural customs in Inglorious Bastards; and life-like masks that cover the entire face in order to give the appearance of a completely different face.
The video is highly entertaining, not just because it grabs clips from iconic pop culture favorites (Austin Powers and Sherlock Holmes make appearances) but also because Joanna Mendez has a great, wry humor (“we never tried to disguise ourselves as furniture at the CIA…”).
Watch the full video above and find out what the CIA really thinks about black cat suits and seducing the enemy!
Military stories are popular for many reasons; they celebrate heroes, mourn the fallen, and remind us all that war is heart-wrenching.
The military is one of the most detail-oriented, standardized, and training-intensive operations ever to exist, which should mean that films and shows depicting the military should have that same level of precision. The only way to accomplish that is to hire veterans for your set.
By seeking out real vets whenever possible, you’ll not only elevate your project, but you could be making major strides to “support the troops.”
SEAL Team Celebrates Veterans Day by Honoring Real Life Veterans on the Show
Whether they’re in front of or behind the camera, veterans will make your military film more realistic. There’s nothing worse than watching a film where the star snaps a terrible salute or wears a jacked up uniform. Mistakes like those are not only cringe-worthy for the military audience, but they can also reflect upon actual service members and their experiences.
Technical advisors and producers (like Army Ranger Tyler Grey, featured in the SEAL Team video above) keep shows and films accurate with hard work behind the scenes. Meanwhile, opening auditions to real veterans who transitioned to professional entertainment careers after their service means bringing in actors who already know how to wear the uniform, execute salutes and facing movements, and handle a weapon.
Behind-the-scenes photo from SWAT Season 2 Episode 14 featuring Guest Star (and U.S. Marine) Michael Broderick on-set with a cadre of veterans.
2. They’re a bridge to your military audience
The military is a vocal and well-connected community. When a film or TV show gets something wrong, vets don’t hold back about it. Hiring a veteran to help write your script could not only elevate the story but also help give insight into the military experience — and the military community will thank you for it when they watch the final cut.
Likewise, when Hollywood gets it right, vets are keen to broadcast it and show up in droves to watch. Groups like Veterans in Media and Entertainment provide professional mentorship for veterans in the entertainment industry — and then they amplify the success stories of their members.
The Vets Seen on TV team for the 2019 Run Ranger Run.
3. It’s a great way to actually thank them for their service
Veterans working in the entertainment industry put their creative careers on hold to serve, which means they lost some competitive years to their colleagues who spent that time building networks and fleshing out their resumes in Hollywood.
Vets aren’t asking for special treatment — they’re just eager for the chance to prove they have what it takes to bring a character or story to life. Don’t just give a vet the job; let them audition or interview for it like anyone else. After that, their work will speak for itself, whether they’re hired or not.
From portraying a vet or law enforcement on-screen, working stunts with weapons and hand-to-hand combat, or keeping your set in regs, veterans are instinctively prepared for the military movie life because they’ve already lived that reality.
Plus you know they’re going to show up early and squared away.
Featured Image: Navy veteran Jennifer Marshall playing Lt. Col. Bailey in Hawaii Five-O.
In 1995, Mel Gibson starred in and directed the war epic Braveheart, which follows the story of one of Scotland’s greatest national heroes, Sir William Wallace. Wallace almost single-handedly inspired his fellow Scotsmen to stand against their English oppressors, which earned him a permanent spot in the history books.
Among critics, the film cleaned house. It went on to win best picture, best director, best cinematography, and a few others at the 1996 Academy Awards. Although the film has received its fair share of acclaim, historians don’t always share the same enthusiasm. The movie steers away from what really occurred several times.
Battle of Stirling… Fields?
After a few quick, murderous scenes, Wallace joins a small group of his countrymen, ready to ward off a massive force of English troops that are spread across a vast field. In real life, this clash of warriors didn’t happen on some open plains — it occurred on a narrow bridge.
The battle took place in September of 1297, nearly 17 years after the film. Wallace and Andrew de Moray (who isn’t mentioned in the movie) showed up to the bridge and positioned themselves on the side north of the river, where the bridge was constructed.
The Brits were caught off guard, as Wallace and his men waited until about a third of the English’s total force crossed before attacking. The Scotsmen used clever tactics, packing men on the bridge shoulder-to-shoulder, mitigating their numerical disadvantage.
Wallace being knighted
After the Battle of Stirling Bridge, both Wallace and Andrew de Moray were both granted Knighthood and labeled as Joint Guardians of Scotland.
Andrew de Moray died about a month later from wounds sustained during the battle. Despite his heroics, Andrew de Moray gets zero credit in the film.
Wallace’s affair with Princess Isabelle of France
In the film, Wallace sleeps with Princess Isabella of France (as played by Sophie Marceau), the wife of Edward II of England. According to several sources, the couple was married in January of 1308, which is two years and five months after Wallace was put to death in August 1305, according to the film.
The movie showed Edward II and the princess getting married during Wallace’s lifetime. Now, if Scottish warrior had truly knocked up the French princess before his death in 1305, that would have made her around 10 years old, as she was born in 1295.
Something doesn’t add up.
Edward I dies before Wallace?
Who could forget the film’s dramatic ending? Wallace is stretched, pulled by horses, and screams, “freedom!” as his entrails are removed — powerful stuff. In the film, Edward I (as played by Patrick McGoohan) takes his last breath before the editor takes us back to Wallace’s final moment.
According to history, Edward I died around the year 1307. As moving as it was to watch the two deaths happen, it couldn’t have happened.
BILOXI, Miss. — The airmen of Keesler Air Force Base were treated to a special screening of the upcoming film ‘Deepwater Horizon,’ as well as a visit from stars Kate Hudson, Kurt Russell and director Pete Berg (‘Lone Survivor’).
“Deepwater Horizon” tells the story of an explosion and oil spill on an offshore oil rig of the same name. The 2010 incident in the Gulf of Mexico was one of the world’s largest man-made disasters. Berg’s film honors the brave men and women whose heroism would save many on board. Along with Russell and Hudson, the film stars Mark Wahlberg, John Malkovich, Gina Rodriguez, and Dylan O’Brien.
In addition introducing the screening, Hudson, Russell, and Berg spent time touring the base, meeting troops and their families along top ranking military officials and got an up close view WC-130J aircraft.
‘Deepwater Horizon’ opens nationwide September 30. Watch the trailer below.
After a century, World War I is finally getting the treatment in American cinema it so richly deserves. While some of the best war movies were World War I movies, Paths of Glory, All Quiet on the Western Front, and Lawrence of Arabia, there were also many misses. What’s surprising is that there are relatively few WWI movies, when compared to those depicting other wars.
No longer. 1917 is a new movie based on the Great War, coming in December. And it looks like it could be the definitive WWI movie.
The film takes place during the Third Battle of Ypres, where a British contingent of 1,600 men is due to walk into a German trap. Two Tommies are given the assignment to proceed on foot to warn the unit about their orders – the ones that take them directly into an ambush. Their mission takes them across the Ypres battlefields and through the deadly trench warfare that is now synonymous with the Great War.
What’s more remarkable about 1917 is that it’s based on a true story, one told to director Sam Mendes by his own grandfather, Alfred. Alfred Mendes received the Military Medal for “acts of gallantry and devotion to duty under fire” during the war. The Military Medal was replaced by the Military Cross in the UK armed forces in 1993, and would be the fifth-highest medal awarded by the United Kingdom today.
Relentless rain, mud, and death marked the Battle of Ypres.
The elder Mendes ran through snipers, trenches, moving artillery barrages, and machine-gun fire to deliver messages for two full days during the Battle of Poelcappelle. Mendes’ grandfather was raised on the Caribbean island of Trinidad but left to join the fight against Germany, joining the British Army in 1916, at the age of 19. He saw action at the WWI Battles of Passchendaele (Ypres) and Poelcappelle. He was sent to go find survivors of a failed attack during Poelcappelle. It was a dangerous assignment, one his commander said he might not return from.
Despite encountering all of World War I’s signature death traps, he still managed to find survivors while surviving himself. He made it back to his company’s shell hole intact.
“In spite of the snipers, the machine-gunners and the shells, I arrived back at C Company’s shell hole without a scratch but with a series of hair-raising experiences that would keep my grand and great-grandchildren enthralled for nights on end,” he would later write in his autobiography.
1917 is based on Medes’ experiences on this mission. The film is set to release on Dec. 25, 2019.
If you’ve seen the flick, then you know that his character, the evil Sith Lord Kylo Ren, has a bit of a temper. Some hilariously associate his character to being emo, which is fitting given the way he spoofed himself on Saturday Night Live. As the sketch goes, Kylo Ren infiltrates Starkiller BaseUndercover Boss style as a radar technician to find out what his employees think of him. It turns out that the truth hurts, and Kylo reacts in typical Kylo fashion.
Chapter 3: The Sin has a few choices in it that were easy to predict and a few that I didn’t see coming. By the end of it, I’d been on a satisfying emotional journey and I’m genuinely curious about where the series will go next.
Before we get started, though, let’s talk about Ludwig Göransson‘s music for a minute. That drumbeat is so bitchin’ I’m ready to add it to my workout mix. It’s suspenseful with a bit of levity, which is the tone that series creator Jon Favreau (Iron Man, Chef) captures really well in his work. It’s no surprise that Göransson also scored films like Black Panther and Creed.
Alright. Let’s get to it. Spoilers for the third episode of The Mandalorian ahead:
I’m gonna say what is on everyone’s mind: that Yoda Baby is so goddamn cute. Like, I don’t know if I want kids, but I will take that little guy. Every scene where our Mandalorian isn’t cuddling that baby makes me anxious. HOLD THE BABY AND TELL HIM EVERYTHING IS GOING TO BE OKAY, YOU MONSTER.
Instead, “Mando” (I still…hate that nickname, okay? I hate it) surprises me and actually takes the Yoda Baby to The Client. He’s got a guilty conscience about it, though. AS WELL HE SHOULD.
But then again, he’s being paid a lot of beskar steel (like, a lot), so I get it. Still, zero part of me believes that our Mandalorian isn’t going back for the baby…after he suits up with a nice new cuirass that is.
I totally get why he wanted that new armor. My DND rogue just got a Mithril breastplate and, well, it’s thrilling.
The Mandalorian, Disney+
Our Mandalorian heads to The Armorer so we can get a female with a speaking role some more information about Mandalorian lore. The importance of keeping his helmet on is repeated here (I have so many questions: can he take it off when he’s alone? How does he brush his teeth?), as is the protection of foundlings, who “are the future.”
As other Mandalorians follow our Mandalorian and his ice cream maker of beskar steel, we learn how much they revile the fallen Empire and, presumably, its attacks against their people. “When one chooses to walk the way of the Mandalore, one becomes the hunter and the prey,” intones The Armorer.
In addition to his new armor, she gives our Mandalorian “whistling birds” which have just become the new Star Wars version of Chekhov’s Gun.
Is that beskar steel in your pocket or…
The Mandalorian, Disney+
Our Mandalorian heads back to Greef Karga (Carl Weathers) to accept another assignment (a Mon Calamari — fun easter egg or foreshadowing?) and we get a heavy-handed reveal that every bounty hunter in the room has a tracking fob for the Yoda Baby. Neither talk of the bounty hunter guild’s code about what happens to assets when they’re delivered (it’s basically a don’t ask, don’t tell policy) nor our Mandalorian’s boarding of his ship make me think for a second he’s leaving that baby.
Where does he store the fuel?
The Mandalorian, Disney+
Sure enough, he heads back and makes quick work of the shoddy Stormtroopers with his marksmanship, flame throwers, and whistling birds (remember the Jericho Missile in Iron Man? They’re that, but pocket-sized). The creepy clone guy begs for his life and claims that he saved the life of the Yoda Baby, who is asleep and hooked up to machines.
Personally, I think we could have gotten some intelligence from this cowering dude, but I guess our Mandalorian wanted to get the hell out of dodge. Luckily I got what I’ve been waiting for: Pedro Pascal cradling the Yoda Baby in his arms.
Don’t judge my biological responses and I won’t judge yours.
Speaking of Disney+, how great is The Rocketeer?
The Mandalorian, Disney+
Just when you think the showdown is over, our Mandalorian exits The Client’s stronghold and is confronted by dozens of bounty hunters and their tracking fobs, lead by Karga. They want the baby, our Mandalorian wants the baby, I want the baby, we all want the baby.
A firefight commences.
Our Mandalorian does a pretty stellar job, considering he’s outnumbered. We also get to see the impressive capabilities of his rifle, which disintegrates enemies much like the Tesseract weapons from Marvel. Still, he’s in a bind…and then, a fun surprising-yet-inevitable deus-ex-machina arrives in the form of a tribe of Mandalorian, who fly in with their rocket packs and take on the bounty hunters so our Mandalorian can escape with the cutest little bounty in the universe.
After outing themselves, the Mandalorian will be forced to relocate. With a salute, our Mandalorian is waved off by one of his wingmen. He makes a mental note to get himself a rocket pack, hands the Yoda Baby a toggle from his ship (which is definitely a choking hazard, but whatever, they’re bonding), and he shoots off into the stars.
Loving the vibe of the #Mandalorian! I can’t wait until episode 3.pic.twitter.com/rcOaAhmufP