There’s every sign that Marvel isn’t resting on its laurels after the global domination of “Avengers: Endgame,” but that doesn’t mean that the fifth Avengers movie is coming any time soon.
In Hall H at San Diego Comic-Con, Kevin Feige laid out the films and TV series that will make up phase 4 of the Marvel Cinematic Universe. The first, “Black Widow,” will hit theaters on May 1, 2020 while the last, “Thor 4: Love and Thunder” has a release date of Nov. 5, 2021. An Avengers movie was not among the titles announced.
And that honestly makes a lot of sense. The MCU is all about using films to build stories and flesh out characters. With the destruction of Thanos and the end of the Infinity Saga, Marvel is starting with the closest thing to a blank slate its had in a while, and it looks like the studio is taking its time to build up to an “Endgame” level of sprawling spectacle.
So what do Marvel fans have to look forward to? Plenty, starting with the big names. There’s Natalie Portman taking the hammer as Lady Thor, Angelie Jolie joining the MCU in “The Eternals,” and a surprise Blade reboot starring Mahershala Ali.
There’s also “Doctor Strange in the Multiverse of Madness,” which director Scott Derrickson called Marvel’s “first horror movie” and “Shang-Chi and the Legend of the Ten Rings,” which will star Chinese-Canadian actor Simu Liu and Awkwafina.
As for the next Avengers omnibus? Assuming that this is the final phase 4 lineup, it should be part of phase 5, which barring a bizarre hiatus will begin in 2022. It’s more likely, however, that it’s released in 2023.
Marvel has never released an Avengers movie in the first year of a phase, preferring to, again, let those earlier films build into the big one. If that pattern, which has been quite successful holds, we have a while to wait before another Avengers movie but a ton of movies to watch so that we understand the stakes when it does finally hit theaters.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
There are few stories as truly amazing and inspiring as that of World War II hero and Medal of Honor recipient Desmond Doss.
The soldier saved 75 of his fellow troops during the hellish battle for Okinawa — under cover of darkness, avoiding roving Japanese patrols at every turn and lowering his brothers to safety down a cliff by hand … one at a time.
And he did it all without ever firing a shot.
The story of Pvt. Doss — a 7th Day Adventist and conscientious objector during World War II who despite his religious convictions enlisted to serve in the war as a medic — is portrayed in vivid and emotional detail in the upcoming film “Hacksaw Ridge.”
Directed by Mel Gibson and starring Andrew Garfield as Doss, Vince Vaughn as Sgt. Howell, Teresa Palmer as Doss’s eventual wife Dorothy and Sam Worthington as Capt. Glover, “Hacksaw Ridge” is as much a love story as it is a tale of gritty resolve and strength of character.
WATM sat down with some of the stars behind the film to find out what their motivations were for tackling a character as complex as Doss and to get a sense why those who’ve “been there and done that” should get to theaters and see the epic film themselves.
Director Mel Gibson and actor Andrew Garfield explain the difficulty of portraying a soldier as complex as Pvt. Desmond Doss:
Actors Vince Vaughn and Luke Bracey talk about how vets inspired them for their roles:
Actor Teresa Palmer gives an intimate look at the experience of her family during World War II:
Ray Allen, a 10-time NBA All-Star, recently participated in a USO holiday tour with Chairman of the Joint Chiefs of Staff Gen. Joseph Dunford. On this tour, the athlete, along with other celebrities, visited service members in Turkey, Qatar, Afghanistan, and Germany.
Now back in the states, Allen has spoken about much the trip meant to him, both as the son of an Air Force metals technologist and as a retired athlete.
NBA Legend Ray Allen meets with service members during a troop engagement at Incirlik Air Base, Dec. 5, 2016. (Photo: Navy Petty Officer 2nd Class Dominique A. Pineiro)
One of the topics Allen touched on during an interview with Sports Illustrated was the way military terms pop up in sports discussions, even though they don’t really fit:
In the NBA, often times we’ll be in the locker room and we’ll talk about “going to war” and “going into battle” and “being in the foxhole,” all these terminologies that we equate with being at war. I have such a greater appreciation for the conflicts going on around the world, now I try to not use those terms out of respect.
NBA legend Ray Allen, left, fires an M240 machine gun at the 7th Army Training Command’s Grafenwoehr Training Area during this year’s USO Holiday Tour, Grafenwoehr, Germany, Dec. 8, 2016. (Photo: U.S. Army Visual Information Specialist Gertrud Zach)
Allen also told SI about how a comment from Dunford helped him appreciate the military’s expeditionary mindset, and how service members are constantly working to make sure that conflicts rarely come to American shores:
One of the things that General Dunford said that resonated with me was, “We’re over here at war, my job is to make sure that we have all away games.” So when I got back on U.S. soil, I thought about how privileged we are.
While speaking to USA Today, the NBA player took a moment to discuss how different life is in a combat zone, but that being there with professional warfighters made him feel safe:
“I (felt) more protected than I’ve ever felt in my life, being on that tour. I had some bad guys with me. Guys who knew how to handle weapons, that had been in combat. I’m looking to my left and right, and I’m like ‘I’m safe, I feel good about where I am, because these guys know what they’re doing.’ And that’s what I want to tell everybody, any athlete, from the NBA to baseball to football…join up with the USO and take a tour. It’ll give you a greater perspective on war, it’ll give you a greater perspective on the people that are fighting the war.”
Actor and former Army Ranger Tim Abell brings a unique approach to his profession where he has worked with some of Hollywood’s finest producers and directors. Abell joined the Army on the Delayed Entry Program while still attending high school. After graduating Abell served 4 years active duty from December 1976 through December 1980 with the elite units of the 2/75th Ranger Bn (now the 75th Ranger Reg) and the 3rd US Infantry (The Old Guard) Caissons. He additionally served 3 years in the reserves while attending the University of Maryland College Park.He became skilled as a horseman through his duty with, “The Old Guard” where he portrayed General Robert E. Lee and President and former Major General Andrew Jackson in dramatic reenactments such as “History of the United States Torch Light Tattoo” and a longer version titlted “The Spirit of America.” He has since acted in films such as “We Were Soldiers”, “Substitute 2: Failure is Not an Option”, and on TV shows including Jerry Bruckheimer’s “Soldier of Fortune”, “JAG”, “Criminal Minds”, “CSI:Miami”, “CSI:NY”, and “Sons of Anarchy.” He continues his work in the industry as an actor, producer and providing voice over work as well.
Can you share about your family and your life growing up?
At the age of 8 his parents divorced. Tim, his sister Debbie and brother Jay chose to stay with their father. Tim’s sister soon married and moved away, and Tim and his brother Jay grew up as “Latch Key kids.” Their Dad worked long hours at the Cadillac dealership while Jay and Tim were given the responsibility of making their own meals, vacuuming, and dusting the house, washing their clothes, and all of the years’ work too. They spent most weekends with their grandparents Pappy & Granny Abell where they learned to cook. Pap Abell , a WWI veteran, also taught them how to catch herring with a bamboo rod and a treble hook, how to pitch good motor parts at the junk yard, how to find and pick wild Blackberries quickly and efficiently so Granny could make us Blackberry pie and how to truly laugh and have a good time!
Abell says he wouldn’t change a thing growing up but, believes kids should have both a Mom and Dad in the growing up if possible… he often wonders what his childhood would’ve been like had his parents stayed together.
Abell became self-sufficient at an early age. While growing up he reluctantly helped his Dad and brother work on cars over the weekend which his Dad called “Shade Tree” work to make extra money. His brother Jay loved helping his Dad work on cars, but Abell’s real passions lie elsewhere. His mind was on building large battlefields with his plastic army men or cleaning his old shotgun and hunting with his buddies in the nearby woods.
Abell does come from a family rich in military service where his grandfather served in World War I and his great, great grandfather was a blacksmith for the 49th Virginia Infantry on the Confederate side in the Civil War. He found even more history on his grandfather’s mother’s side where his great, great grandfather named Jerome Laurence fought for the 65th Volunteers from Pennsylvania, which was a part of the 5th Regiment on the Union side in the Civil War. He has relatives that served even in the Spanish-American War and the Revolutionary War, which Abell describes as “cool.” Surprisingly, his brother tried to talk Abell out of going into the military even with such a rich military history in the family.
Abell’s brother Jay, whom he always idolized, became an outstanding carpenter and gifted woodworker. Abell recalls his father being an awesome father and role model, who taught him responsibility, integrity and respect for his elders.
Abell played trombone and trumpet in elementary school but never really put the time and effort required to learn because he was so much more interested in hunting, shooting, and fishing with his pals and with his hunting mentor his “Uncle Bruce” a former Marine during the Korean War.
In junior high school Abell faced a new reality…. he faced adversity stemming from the racial tensions on the time exacerbated by school bussing. Abell’s hatred of bullies came from that troubled time…. seeing 12-year-old kids beaten, robbed and humiliated and enduring some of the same himself just because of the color of one’s skin made Abell grow up in a different way. It made him learn to fight back and not be a victim, especially when his father told him to deal with it himself. So many life lessons learned from that era… “…you just go screw it I am taking this shit anymore. I am not letting myself get beat up without taking a couple of guys down with me. You know, pay the price….it’s wasn’t just about black and white it’s also about bullies in general. People that are unsavory people that can pick on the weak. I learned that across the board. I took that same experience into the Army.”
He remembers a fellow private in the Army at boot camp that would get picked on because he was, “easy prey.” While at boot camp the private would get bullied and beat up all the time. Abell did not like this kind of behavior. He came across the private being beaten up while in the bathroom at the rifle range complex. He confronted the attackers and told them to stop. He sent the private out of the bathroom and broke up the fight. Later that night the assailants from the bathroom confronted Abell outside of the barracks while he was walking with his fellow soldiers back from the Post Exchange. A fight ensued that was eventually broken up by the drill sergeants. It came to light what was happening among the platoon where the drill sergeants put a stop to it. Abell recalls the volatility of the situations he was in and how racial tensions flared going through entry-level indoctrination in the Army. As new soldiers all the men were still learning their new Army identity and to work as a team regardless of skin color or ethnicity.
Abell during his time in the Army. Photo courtesy of Tim Abell.
What made you want to become a Ranger and what was your experience like?
Abell attributes his desire to become a Ranger from his avid reading habit and loving military biographies where he read a book in his junior year of high school named “The Green Berets” by Robin Moore. The movie starring John Wayne titled “The Green Berets” is based on Moore’s book where Abell loves the film as well. He initially wanted to be a Green Beret where told the Army recruiter the same thing. He wanted to the join the Army to do something he could only do in the Army, “…like be a Special Forces guy.” The recruiter could get him a slot as a Ranger, but not as a Green Beret, so he went with going in the Army to be a Ranger. Abell wanted to be tested as a man and see if could he handle that stress. He says, “…I loved being in the Ranger Battalion.” He describes it as a “wonderful experience” in his life with “camaraderie” and enjoyed the “people he met” where he was “pushed to be his best.”
Robin Moore’s book “The Green Berets.” Photo courtesy of Wikipedia.com.
He still remains close with his pals from that time period and he felt invincible as a young Ranger. Abell believes life is about testing yourself and finding out about what you are made of. He remains grateful of his success and his place in life the older he gets. Words of wisdom he lives by are, “How you perceive a situation influences how you respond to it.” He remains grateful in situations, even those that may seem arduous, which allows him to keep a level head. He goes by a phrase, “…embracing the suck,” when it comes to facing tough times on set or in life.
Abell center of picture (to the left of the African American Ranger in the center) with his Ranger class RC 5-78. Photo courtesy of Tim Abell.
And Abell still embraces the Ranger Creed which he had to learn by heart as a Ranger.
The Ranger Creed
Recognizing that I volunteered as a Ranger, fully knowing the hazards of my chosen profession, I will always endeavor to uphold the prestige, honor, and high esprit de corps of the Rangers.
Acknowledging the fact that a Ranger is a more elite soldier who arrives at the cutting edge of battle by land, sea, or air, I accept the fact that as a Ranger my country expects me to move further, faster and fight harder than any other soldier.
Never shall I fail my comrades. I will always keep myself mentally alert, physically strong and morally straight and I will shoulder more than my share of the task whatever it may be, one hundred percent and then some.
Gallantly will I show the world that I am a specially selected and well-trained soldier. My courtesy to superior officers, neatness of dress and care of equipment shall set the example for others to follow.
Energetically will I meet the enemies of my country. I shall defeat them on the field of battle for I am better trained and will fight with all my might. Surrender is not a Ranger word. I will never leave a fallen comrade to fall into the hands of the enemy and under no circumstances will I ever embarrass my country.
Readily will I display the intestinal fortitude required to fight on to the Ranger objective and complete the mission though I be the lone survivor.
Rangers Lead The Way!!!
What are you most proud of from your service in the Army?
What I’m most proud of stems from Gen Abrams and the Abrams Charter. The Abrams Charter stated that the obligation for Rangers is to “Lead the Way” for the entire Army. In the Ranger Bn., the more senior Rangers set the example for the younger Rangers who had just graduated from RIP (Ranger Indoctrination Program) to follow. Always leading by example. The new Rangers learned very quickly what was expected of the in order to be a part of this elite group of Soldiers. To live up to the high standards and esprit de corps was not always an easy task. But more importantly the Abrams Charter spoke to those 75th Rangers who would set the example for the soldiers in the big Army after they left the Rangers.
So, when Abell was assigned to the 3rd US Infantry (The Old Guard) Caissons, he knew that he could be an asset as well as a role model to his fellow Old Guard soldiers. He was able to share his Ranger training and experience while being the NCOIC of the Expert Infantry Badge (EIB) Movement Under Direct Fire course at Ft. AP Hill. Abell’s station was a highlight of the EIB training due to the rigorous and realistic training Abell put the Old Guard soldiers through.
Abell (center) in “Sniper: Special Ops.” Photo courtesy of IMDB.com.
What values have you carried over from the Army into Hollywood?
Abell is grateful for his life experiences…especially in the Army. He brought discipline over to his Hollywood career. W/O discipline he has seen people fall off into the abyss of drinking, drugs, partying and sex…. some with fatal consequences.
He believes good judgement is vital. Character integrity and leadership are important as well. Abell says as a civilian he always refers to the Ranger Creed in tough times, which helps carry him forward and stay on track.
Abell hosted the “Grateful Nation” tv series on the Outdoor Channel for 10 seasons where he helped tell the story of our returning war veterans…. many of whom needed to find a new Mission & Purpose in life after the military in order to find happiness… if not then it was a slippery slope for many veterans who find it too easy to just take their meds, drink a fifth of booze, play video games and start thinking stupid thoughts…. but Abell found that many veterans who found that new mission and purpose saved their own lives as well as inspiring other veterans to do the same.
Abell (right) while serving with “The Old Guard.” Photo courtesy of Tim Abell.
What project did you most enjoy doing while working in Hollywood?
Abell most enjoyed playing USMC Scout/Sniper SSG Benny Ray Riddle in Jerry Bruckheimer’s syndicated tv series “Soldier of Fortune inc.” It was a role where Abell could utilize all of his military and even use some of his old Ranger gear to bring and authenticity to Benny Ray whom was an amalgamation of more than a a few of the hardcore leaders he was led by as a young Ranger.
Abell also loved playing SFC Vic Mosby in the action film “Sniper Special Ops” starring Steven Seagal and Dale Dye, directed and written by his pal and Navy Veteran Fred Olen Ray. This was a role the director had written specifically for Abell who was quite honored by his friends’ trust to carry his film in a starring role.
“ Circus Kane ” was Abells first foray into a feature length horror film directed by Navy Veteran Christopher Ray. Abell underwent 5 plus hours of prosthetics makeup to create Balthazar Kane. Abell felt like he was channeling Rob Zombie in a Circus of Horrors as the Ringmaster! The director allowed Abell to use all of his creative abilities to bring Kane to life on the screen.
And Soldier of God is still one of Abell’s favorite projects that he starred in and helped produce. He plays Rene’ a Knights Templar who is separated from his men after the Battle at The Horne\s of Hattin… Rene becomes a warrior
in search of a war… a warrior questioning his faith. It’s a film with so much beauty yet so much darkness.
Abell in “Soldier of God.” Photo courtesy of IMDB.com.
Abell as “Balthazar Kane” in “Circus Kane.” Photo courtesy of IMDB.com.
Abell (far left) for MOH Dinner and Gala, with Special Agent Tim Clemente, MOH Col. Bruce Crandall, USA and with Matthew Mardsen. Photo courtesy of IMDB.com.
What was it like working on such projects as We Were Soldiers, Soldiers of Fortune, JAG, NCIS, CSI:NY, CSI: Miami, Criminal Minds and the like?
As Benny Ray Riddle in “Soldier of Fortune, Inc.” Abell played a USMC Scout/Sniper. Abell did extensive research for his character who was the quintessential sniper and Marine. A stoic man who loved his job and was the best at what he did . Navy SEAL Harry Humphries who was the Technical Advisor for SOF series linked Abell up with SEAL Steve Bailey at NSW Coronado for some training. Abell’s SF buddy, Matt Anderson, created Benny Ray’s Sniper Range book that Abell used on the show. It all came down to attention to detail in creating Benny Ray so that if military types watched the series Benny Ray would be believable and authentic to them. Abell recently did a short film called “Father and Sons” with pal Michael Broderick, Vernon Mortenson and Ryan Curtis. All veterans. The film was based on characters from author and Navy SEAL Jack Carr’s books. Abell says, “what is cool is Jack sent me a few of his books and sent a note saying he was a fan of the “Soldier of Fortune, Inc” series especially Benny Ray Riddle who was also a sniper like him! Jack said he and his pals would watch the show to get fired up!” That was a great compliment to hear from a SEAL sniper and operator like Jack Carr…. Abell’s preparation was not in vain.
Tim has played a member of every armed forces branch in film and tv …. he even played a Coast Guard pilot in a commercial. He finds a lot of similarities among military roles and in the research he has done. It is in the little differences between each branch he finds diversity. He supports veterans as a member of VME to help those new to the acting biz.
Abell loved working on “We Were Soldiers.” It was his first big studio film and working with Mel Gibson and Sam Elliott was a dream come true.
Working on JAG was an outstanding experience! Abell loved working with Jon Jackson and Catherine Bell!
Abell said, “Mark Harmon was a real pleasure to watch work and work with…. I’ve learned so much from working with and observing great actors like Joe Mantegna on “Criminal Minds” and Gary Sinise.”
Abell as “Benny Ray Riddle” in Jerry Bruckheimer’s “Soldier of Fortune, Inc” TV show.
Abell in “Angels and Fire.” Photo courtesy of IMDB.com.
What leadership lessons in life and from the Army have helped you most in your career?
Abell has also brought a perspective of maturity over from the Rangers. If he auditions for a part and doesn’t get it, he moves on. He focuses on the positive, processes what he needs to, and refuses to let a rejection be a devastating blow to his career. When in acting classes, he takes notes from the acting teacher, integrates them as needed and moves forward. He won’t argue with the acting teacher over opinions or comments, he takes the note and stays professional. Same as would be done in training where constructive criticism is taken in stride and you improve your performance the next time around. He appreciates honesty and directness in his professional work. While studying acting at the Studio Theater in DC, he most appreciated the feedback from Joy Zinoman, who was one of the professors at the theater. He shies away from talking about his abilities on or off set, where he prefers to assess the situation and quietly lead by example where it counts. He sets a standard like how he did as an NCO in the Rangers in his work in Hollywood.
He overlooks negative reviews where some of the critics have bad things to say about the projects he works on. He keeps complaints to himself and tries to find ways to fix challenges that are ahead. Abell wants to accomplish the mission on set. He still uses his military discipline in preparing for roles and in his work as an actor. He likes to ask the question to young actors on set, “What have you done today to be a better actor?” Where many times the young actors don’t have a coherent or logical reply to the question. Preparation is key to Abell’s success and stems from his upbringing and time in the service. Abell said, “…I take all those things I learned being in the military and being a Ranger. It’s like being prepared, not being a whiner, taking responsibility for myself, having a mission and purpose everyday when I wake up in the morning.”
Abell (center, left) with his fellow castmates on “Soldier of Fortune, Inc.” Photo courtesy of Tim Abell.
As a service, how do we get more veteran stories told in the Hollywood arena?
Abell believes having more writers with military experience are needed to get veteran stories told more in the industry. He relies on his belief that a person may be a veteran, but that does not preclude them to only writing stories on the military. They are an individual with military experience that can write anything they want to write. Writers with military experience have a vast life experience from which to draw upon, some of which may come from having served. Abell references fellow veteran and Army Ranger Brian Hanson’s film “The Black String” which is a horror film without any ties to the military. The film was produced by Grindstone and has been released on VOD and DVD starring Frankie Muniz from “Malcolm in the Middle” fame. Just because a writer is a veteran does not mean they are not capable of writing a story completely independent of the military.
Abell (second from the left) and his squad mates training while serving with the 2nd Ranger Battalion on an artic field operation near the Canadian border. Photo courtesy of Tim Abell.
What would you like to do next in your career?
Abell says, “I would love to be on a network or HBO or Showtime series and get to play a character again for three, four or five years where you just get to develop that character over the long haul.” He wants to delve in and build a character with depth. He also looks forward to working on a series again with great people where they make a show that moves people.
He recalls fan mail from across the world for his role on “Soldier of Fortune” where the show affected people’s lives. Abell has received fan mail that would be up to five pages long about how people were inspired by his character to become a sniper in the military in their country. People created a life based on a character Abell portrayed, which surprised him. Playing evil or hard characters are what most actors are remembered for where it is difficult to develop such characters and find redeeming traits to portray on screen in them.
Abell with MOH recipient SFC Leroy Petry, USA.
What are you most proud of in life and your career?
Abell is proud of service to the United States to serve as a Ranger and serve with “The Old Guard.” He is proud of his children and their successes in life as well. He is grateful for having made men out of his boys and for the example they set today. He is proud of being an American as well. Abell says, “…I have been all over the world and this is the greatest country in the world…that we have so many young men and women that are willing to join the military and sign that blank check for their life… I applaud them all.”
As Hollywood’s awards season wraps up with the Oscars, it’s easy to believe that Hollywood glamour and military might are like oil and water: Two very separate worlds that only intersect on the screen.
While Hollywood might love taking military stories and putting them up on the screen, the military involvement is usually all but forgotten when the red carpets are rolled out and the glitterati are all dressed up in their tuxedos and gowns with the flash bulbs popping.
Like the military, for every high-profile celebrity, there’s a couple hundred crew members supporting them, from the always present agents and assistants, to the camera and lighting crews, and even the guys who drive the trucks and cook the food every day on set. Just as any admiral or general could never win a battle without the hard work of the brave men and women in their command, every big-name actor and director also owes their celebrity on the work of the often under-appreciated crew behind the scenes.
One of those valuable yet often under-appreciated components is that provided by the US military, which could fill an article on its own, but we’ll leave that for another day.
Among the many awards offered by Hollywood this year, one award deserves special recognition.
The California On Location Awards recognizes the contributions of the logistical backbone of Hollywood: the location professionals and public employees responsible for making filming possible. Without the contributions of location managers and public employees, Hollywood could never venture off the studio lot, and it’s the location managers who negotiate with the city, state, and federal employees in order to facilitate access to public roads, gritty alleys, exquisite mansions, alien landscapes, and the tanks, aircraft carriers, and military transports required to give any military-based project the level of realism viewers expect.
One man has been responsible for providing much of the military hardware seen on screen.
Phil receives his award from the California On Location Awards.
(Courtesy of Kent Matsuoka)
That man is Phil Strub, the recently retired Department of Defense’s Entertainment Liaison. A former Navy cameraman and Vietnam vet, he used his GI Bill to earn a film degree from USC, and was appointed to the Entertainment Liaison Desk at the Pentagon in 1989 following the phenomenal success of Top Gun; not only for Hollywood, but for DoD as well.
As the Department of Defense’s point person for any project wishing to use US military assets on screen, Phil has provided a constant bridge to Hollywood for almost 30 years. From his first project, Hunt For Red October to the new Top Gun, Phil has been a true asset to Hollywood and America.
This year, the COLAs recognized Phil’s contributions to Hollywood with its Distinguished Service Award. Presented by David Grant, Marvel’s VP of Physical Production, he praised Phil’s efforts on their films, from the first Iron Man to the eagerly awaited Captain Marvel.
While Hollywood loves to honor themselves for their own contributions, this award is a testament to Hollywood’s appreciation of all that DoD and the brave men and women who serve can provide, and for that reason, was one of the most important, under-reported award given out this year due to the morale value such awards have in sustaining Hollywood’s continued relationship with its government partners.
If there’s one thing the military does well, it’s recognizing the immense value of each and every member of its chain of command. Whether it be the individual qualification certificates, promotion ceremonies, retirement shadow boxes, or the fruit salad of ribbons on a soldier’s chest, they make a point of recognizing every individual from the lowest enlisted recruit to the five star brass, and understand that such recognition is important to unit cohesiveness and morale.
It’s a lesson Hollywood would do well to remember. It’s not just the big names that deserve recognition, but the hundreds of lesser known craftsmen behind the scenes who also deserve their 15 minutes of fame. Without them, the big names wouldn’t have anything to celebrate.
The 1981 film “Stripes” featured what is probably the worst group of movie soldiers ever to join the Army (that was kinda the point of the film). Bill Murray’s John Winger is a New York cab driver who loses his job, apartment, and girlfriend and decides to join the Army as a way to avoid being a total failure in life. He convinces his best friend Russell Ziskey (played by the late Harold Ramis) to join with him. Their drill sergeant, Sgt. Hulka (played by the late Warren Oates), is injured during mortar practice and the group has to finish basic training without instruction (suspend your disbelief for this comedy, troops).
In an effort to stay in the Army and graduate from Basic Training, Winger and his platoon stay up for an entire night (the whole night!) in order to put on the unconventional yet highly produced and coordinated routine. Uniform violations are everywhere, so if that’s the kind of thing that gives you seizures, try not to look too closely:
Scenes from the movie, including those on post and those in Czechoslovakia, were filmed on Fort Knox, so the film is close to hearts of the Fort Knox, Kentucky community. The movie celebrated its 35th anniversary in 2016. To help that celebration, an honor guard from the U.S. Army’s Human Resources Command performed the entire Stripes “Razzle Dazzle” graduation routine at Fort Knox (complete with uniform violations).
But really, spoilers for The Mandalorian Chapter 12 ahead.
Let’s start with a bit of non-linear history. In the first season of The Mandalorian, we were introduced to the Yoda Baby — an “asset” sought out by the remnants of the Galactic Empire under the orders of Moff Gideon (Giancarlo Esposito). We knew Gideon and his scientist Dr. Pershing (Omid Abtahi) were using the child for experiments and we knew of course that the Yoda Baby has a powerful affinity for the Force, but we didn’t know what the connection was.
Let’s jump to the beginning of The Siege, shall we? Din Djarin and his little charge are working to repair the Razor Crest. Djarin’s got the Yoda Baby in a small compartment trying to re-work some electrical lines. This had me wondering, from a cognitive perspective, how old the Yoda Baby is meant to be here. I know he’s fifty years old (and we know that Yoda lived to be nearly 900 years old) but what’s the age that you would try having your kid accomplish a dangerous task where he can sort of understand your directions but not completely and he can’t speak yet? I’m not a parent, but, like, is this like dealing with a two year-old?
Anyway, after electrocuting the infant they realize they need some help so they head back to Nevarro. We meet some ballsack aliens Aqualish thugs gearing up to murder a cute alien muskrat. Luckily Cara Dune — Nevarro’s new Marshal — returns in time to save the little feller.
Dune and Greef Karga (Carl Weathers, also the director of this episode) have a little side-mission for Djarin while he waits for his ship repairs: they want his help in destroying a nearby Imperial base. (My Dungeon Master pointed out that each episode of The Mandalorian is like a DND session and it made perfect sense. I think that’s also the series’ greatest struggle — the connecting lore isn’t quite strong enough to throw us all around the galaxy with random characters and missions.)
They leave the yoda baby with the other school children (which basically just endangers the other children, right? When has the yoda baby literally EVER not been attacked?) and we are given some new Yoda Baby meme-fuel when he steals a kid’s macaron. Plus now we can eat macarons at Star Wars parties.
Djarin, Dune, Karga, and Mythrol (Horatio Sanz), who was once a target for Djarin and is now an indentured servant of Karga — and the butt of too many bad jokes — head off to the base. Thanks to The Rise of Skywalker, every time I see Stormtroopers die, I wonder if they’re child soldiers. I still hate that JJ Abrams did that to me. Gina Carano’s gleeful little cheers whenever she kills one don’t help.
So here we are back to the controversial little midi-chlorians, introduced to aghast Star Wars fans during The Phantom Menace. The higher a creature’s “m-count,” the more Force-sensitive they are. Here at the base, which turns out to be a laboratory, we learn that Pershing desired the Yoda Baby for his high m-count in order to conduct his experiments.
It looks like Moff Gideon is trying to create a unit of Force-sensitive combatants, which is why he’s so eager to recover the Yoda Baby. After a very Star Wars-y canyon chase and TIE Fighter aerial battle (seriously, how amazing is Star Wars sound design? TIE Fighters sound so cool and distinct), the remaining Imperials are defeated and all is well.
The final scenes reunite us with New Republic pilot Captain Carson Teva (Paul Sun-Hyung Lee), who attempts to recruit Dune to the cause, and introduce us to a new adversary, an Imperial Comms officer (Katy M. O’Brian) who ordered a tracking beacon attached to Djarin’s Razor Crest.
It’s been 45 years since the last U.S. combat troops left Vietnam, but the conflict continues to play an outsized role in American politics and popular culture. From John Wayne’s stern-jawed performance in the 1968 propaganda film The Green Berets to Robert Downey, Jr.’s antics in the 2008 meta-comedy Tropic Thunder (a movie about a movie about Vietnam), the war’s complexity and social impact have made it an irresistible subject for generations of filmmakers and moviegoers. These nine films set the standard for the Vietnam War movie.
Fresh off an astonishing run of success that included The Godfather, The Godfather Part II, and The Conversation, Francis Ford Coppola set out to make a Vietnam War epic based on Joseph Conrad’s anti-colonialist novella The Heart of Darkness. It would turn out to be one of the most arduous productions in the history of cinema, taking over three years to complete and nearly destroying Coppola’s health and career in the process. But the result was nothing short of a masterpiece. With a star-studded cast including Marlon Brando, Martin Sheen, Robert Duvall, Harrison Ford, Laurence Fishburne, and Dennis Hopper, Apocalypse Now added the indelible phrases “I love the smell of napalm in the morning” and “Charlie don’t surf!” to the American vernacular and was ranked 14th on Sight and Sound‘s 2012 poll of the Top 50 Greatest Films of All Time.
Stanley Kubrick’s darkly comic and deeply disturbing portrait of war’s dehumanizing effects follows a group of U.S. Marine Corps recruits from basic training on Parris Island to the Battle of Hue during the Tet Offensive. Adapted from Gustav Hasford’s novel The Short-Timers, the screenplay was co-written by Kubrick, Hasford, and journalist Michael Herr, author of the acclaimed Vietnam War memoir Dispatches. Starring real-life drill instructor R. Lee Emery as the virtuosically profane Gunnery Sergeant Hartmann, Full Metal Jacket met with criticism from some early reviewers who found the film’s second half unequal to the brilliance of the boot camp scenes. It’s now recognized as a classic of the war movie genre and ranked 95th on the American Film Institute’s 100 Years…100 Thrills list.
Winner of five Academy awards, including Best Picture, Best Director, and Best Supporting Actor, The Deer Hunter is the saga of three Russian American steelworkers who leave their working-class Pennsylvania hometown to fight in Vietnam. Written and directed by Michael Cimino and starring Robert De Niro, Christopher Walken, Meryl Streep, and John Cazale (in his final role before succumbing to lung cancer), the film sparked controversy for its famous sequence in which sadistic Việt Cộng soldiers force POWs to play Russian roulette. There were no documented cases of Russian roulette during the war, but critics such as Roger Ebert defended Cimino’s use of artistic license, arguing that the deadly game is a “brilliant symbol” for how the conflict touched the lives of U.S. soldiers and their families.
The first Hollywood film to be written and directed by a Vietnam veteran, Platoon was based on Oliver Stone’s real experiences as an infantryman during the war. Charlie Sheen, son of Apocalypse Now star Martin Sheen, plays a naive college student who volunteers for combat duty in 1967. Assigned to an infantry platoon near the Cambodian border, he is caught up in a bitter rivalry between two veteran NCOs: hard-edged and cynical Staff Sergeant Barnes (Tom Berenger) and the more compassionate and idealistic Sergeant Elias (Willem Dafoe). Winner of four Academy Awards, including Best Picture and Best Director, the film achieved its consummate authenticity by hiring retired USMC Colonel Dale Dye to put the principal actors through an intensive 30-day boot camp before filming started.
A brilliant blend of comedy and drama, this Barry Levinson film is loosely based on the experiences of real-life Armed Forces Radio Service DJ Adrian Cronaeur. Robin Williams, who improvised most of his broadcast scenes, stars as Cronauer, a wild card whose irreverent sense of humor and love of rock and roll infuriated his immediate superiors but made him hugely popular with the enlisted men. Set in Saigon during the early days of the war, the screenplay offered a more nuanced portrait of the Vietnamese people than previous Hollywood films and earned Williams his first Academy Award nomination.
Based on David Morrell’s novel of the same name and starring Sylvester Stallone as a former Green Beret who fought in Vietnam and received the Medal of Honor, First Blood is the opening chapter in the hugely popular Rambo series. Set in the fictional town of Hope, Washington, the plot revolves around John Rambo’s escalating confrontation with a tyrannical local sheriff played by Brian Dennehy. Forced into the wilderness outside of town, Rambo relies on his survival and combat skills to escape capture by hundreds of state troopers and national guardsmen. By turning its veteran hero into a guerrilla fighter like the Việt Cộng, this blockbuster action film played an influential role in America’s reckoning with its first military defeat and helped raise awareness about PTSD.
Oliver Stone’s second film about the war is based on the bestselling autobiography by Ron Kovic, a patriotic Long Islander who enlisted in the U.S. Marine Corps and served two tours of duty in Vietnam before a firefight left him paralyzed from the mid-chest down. Struggling to adjust to life in a wheelchair and haunted by his role in the death of a fellow soldier, Kovic battles alcoholism, depression, and PTSD before eventually finding redemption as a leading activist in the anti-war movement. Tom Cruise received his first Academy Award nomination for his portrayal of Kovic, who thanked the actor by giving him the original Bronze Star Medal he received after the war.
Directed by Brian De Palma, written by Tony Award-winning playwright David Rabe, starring Michael J. Fox and Sean Penn, and based on Daniel Lang’s New Yorker article and follow-up book, Casualties of War is the story of the Incident on Hill 192, a notorious war crime committed by U.S troops in 1966. Penn plays Sergeant Tony Meserve, an experienced squad leader who seeks revenge for his friend’s death by ordering his men to kidnap and rape a Vietnamese girl. Fox is Private First Class Max Eriksson, the only member of the patrol brave enough to stand up to Meserve. Told in flashback, the film has a hopeful ending that resonated with viewers seeking to put the horrors of the war behind them. Quentin Tarantino has called it “the greatest film about the Vietnam War.”
According to Michael Moore, it’s “the best documentary I have ever seen” and the movie that inspired him to pick up a camera. But Hearts and Minds polarized audiences even before it was released. Columbia Pictures refused to distribute it, and an interviewee unhappy with his portrayal obtained a temporary restraining order against the producers. Despite the controversy, Peter Davis’s searing indictment of America’s involvement in Vietnam won the Academy Award for Best Documentary Feature in March 1975–one month before the fall of Saigon brought an end to the war. Featuring interviews with subjects on all sides of the conflict, from General William Westmoreland to Daniel Ellsberg to a Vietnamese coffin maker, and a wealth of archival news footage from the font lines and the home front, this landmark film is a must-see for anyone seeking to understand the meaning and significance of the Vietnam War.
Belarus’s Nobel laureate Svetlana Alexievich rolled her eyes when the creators of Chernobyl approached her for permission to use material from her book “Voices From Chernobyl” for the hit HBO miniseries.
“I told my agent, ‘Galya, they’re going to make another film…’ I was far from convinced. The only thing that convinced me, maybe, was the fee,” Alexievich explained in a recent interview with RFE/RL’s Belarusian Service.
However, the five-part miniseries about the tragic accident at the Ukrainian nuclear power plant has raked in rave reviews from critics and viewers alike, and Alexievich is no exception.
“It really impressed me. It is a very strong film. There is something there in the aesthetics that touches the modern consciousness. There is a dose of fear. There is reasoning. There is beauty. That is something that has always worried me about evil, when it’s not out in the open, when so much is confusing.”
And she said that her fellow Belarusians, hard hit by the nuclear fallout scattered into the air when Reactor No. 4 exploded on April 26, 1986, have now had their eyes pried open to the real scale of the tragedy, Alexievich said.
“We are now witnessing a new phenomenon that Belarusians, who suffered greatly and thought they knew a lot about the tragedy, have completely changed their perception about Chernobyl and are interpreting this tragedy in a whole new way. The authors accomplished this, even though they are from a completely different world — not from Belarus, not from our region,” she explained.
Alexievich said the film has especially struck a chord with young Belarusians.
“It’s no accident that a lot of young people have watched this film. They say that they watch it together in clubs and discuss it. They are different. For them, questions about the environment, especially in the West, it is through that lens that they understand life.”
Alexievich also praised the selection of Johan Renck as director.
“The director is a Swede by nationality. And in the Swedish consciousness there is a deep awareness of the environment,” she said.
Meanwhile, Alexievich’s book has, in turn, received high praise from Craig Mazin, the writer and producer of Chernobyl, who tweeted on June 13, 2019: “I drew historical fact and scientific information from many sources, but Ms. Alexievich’s “Voices From Chernoby”l was where I always turned to find beauty and sorrow.”
From the vintage Soviet furniture and trash bins to the period clothing, Chernobyl has been praised for staying incredibly accurate to detail, even using real dialogue, much of it recorded in Alexievich’s oral history of the disaster, “Voices From Chernobyl.”
“There is a lot of my text in the reactions of the people. For example, when people stand on the bridge and admire the fire. Those are the first impressions following the accident. The world’s, as well. The director even admitted that all of this was created from the book. I have a contract with them and author’s rights of ownership,” Alexievich explained.
Some have suggested that the character of Ulana Khomyuk, a Belarusian nuclear physicist bent on uncovering the truth behind the disaster, is based on Alexievich, although Chernobyl’s creators have said the figure is inspired by a composite of scientists involved in the disaster. Alexievich isn’t convinced the character is based on her either.
“I don’t think they wrote Khomyuk with me in mind. [Eimuntas] Nekrosis (the late Lithuanian theater director) before his death put on a play based on [my] The Boys In Zinc. I was supposedly the main figure, but she was absolutely not like me.”
Alexievich says having a female protagonist like Khomyuk simply made sense, juxtaposing her against Valery Legasov, who was instrumental in the cleanup after the disaster.
“In the film, there is a need for a leading figure, a woman — maybe because they took from my view of life, this sense of femininity, the world of the woman. For me, this is very important. In all my books there are many women heroes, not only in the work The Unwomanly Face Of War. This relationship with the living. A woman is extremely capable of detecting the connection of things. Therefore, it was probably necessary to have a woman, not only Legasov. If there had been two men, there would be no story. They introduced a woman and with a man and a woman you get two perspectives. It is very interesting.”
Asked about some of the inaccuracies in the series that critics have seized on, Alexievich is dismissive.
“First of all, it is a feature film, and the author is entitled to his interpretation and understanding of things. But they say, ‘This minister was fat, old, and now he’s young.’ Or the opposite. Or the windows weren’t like that. If you want to think like that, then if we look at the famous film Battleship Potemkin by Eisenstein, where the baby carriage flies down the steps, then some sailor named Zhalyaznyak would say that that type of revolution never happened. God forbid if the truth about Chernobyl or the gulag system had been in the hands of such people.”
Alexievich noted even Russian media were full of praise for the series, at least at first.
“In the beginning, Russian media was very positive about the series and then probably there was some yelling in the Kremlin and they suddenly became very patriotic. Then there was news they are launching their own series about Chernobyl, about how ‘our’ agents pursue some American spy at the power plant. My God, when I read all this I thought that 30 years have passed and has really nothing changed in the consciousness?”
Despite those initial doubts, Alexievich is convinced that HBO has created a classic with a strong message that she feels needs to be heard.
“Most importantly, I would like that people watch it and think about the type of world we’ve entered with such dangers. And there are more and more. Artificial intelligence, robots. It’s a whole new world.”
Today, with its prevalence in pop culture and its sequel waiting in the wings, it’s difficult to imagine that Top Gun was anything but a surefire hit. But, in the time leading up its 1986 release, Top Gun‘s production had its share of problems and setbacks. In fact, plenty of people doubted that the idea of fighter jets would even work as a movie.
1. People didn’t want to be part of Top Gun
After producer Jerry Bruckheimer saw a picture of an F-14 in a magazine, he came up with the idea of a fighter jet movie that would be like “Star Wars on earth.” After their successes with Flashdance and Beverly Hills Cop, Bruckheimer and his production partner, Don Simpson, went around pitching the idea to Hollywood studios. Though they were rejected by studio after studio, Paramount Pictures eventually picked up the movie and cautiously agreed to fund it.
The next challenge was getting actors onboard. At that time, a young Tom Cruise was known only for his role in Risky Business. Bruckheimer and Simpson were adamant that he be cast as their lead actor and sent him script after script to get him to sign on.
Cruise rejected every offer made to him, so Bruckheimer pulled out all the stops.
He called up Navy Admiral Peter Garrow and asked him to send Cruise up in a fighter jet to convince him to join the film. The Admiral arranged for Cruise to ride along in a Blue Angels A-4 Skyhawk and be put through his paces. After a wild ride (during which he reportedly threw up on everything), Cruise stumbled from the jet to the nearest payphone and called Bruckheimer to take the part. The only non-negotiable part in his contract was that he had to fly in an F-14 Tomcat.
Pete and Charlotte sing with the Bradshaws, Nick, Carole, and their son. Weird hearing their real names, isn’t it? (Credit Paramount Pictures)
With no real script and unable to send every potential actor up in a fighter jet, it was difficult for the producers to cast the rest of the movie. The part of Charlie was originally pitched to Ally Sheedy of Brat Pack fame, but she turned it down reportedly saying, “No one would want to see Tom Cruise flying around in an airplane.” Fresh off of filming Witness, Kelly McGillis only signed on because she didn’t expect the film to be the blockbuster hit that it would become. Val Kilmer was actually forced into the role of Iceman due to a contractual obligation with the studio. The rest of the cast like Tim Robbins, Meg Ryan and Anthony Edwards were still years away from becoming household names for their roles in The Shawshank Redemption, When Harry Met Sally and ER, respectively.
2. Danger Zone was attempted by Toto and REO Speedwagon
Bruckheimer and Simpson implemented the same formula that worked for them with Flashdance and Beverly Hills Cop and put together a top-notch soundtrack for Top Gun. Soundtrack producer Giorgio Moroder originally had Toto record the song, “Danger Zone,” but Bruckheimer disliked it and the recording was scrapped. The song was then offered to REO Speedwagon who wanted to be part of the film, but insisted that the song be their own. They recorded an original song and submitted it to the producers, but it was never used.
Kenny Loggins and his collaborators were hot off of their successes with Caddyshack and Footloose and decided to write the song “Playing with the Boys” for the volleyball scene. Assuming that other bands would be vying for the opening song, they figured that this scene would have less competition. While recording “Playing with the Boys,” Loggins was asked by Moroder to give “Danger Zone” a shot. “I walked in and I sang ‘Danger Zone’ and messed with it a little bit, you know, and had a good time with it,” Loggins recalled. The rest is history. “I wasn’t supposed to be the guy to sing it. I just lucked into it.”
Moroder had more luck pitching “Take My Breath Away” to Berlin lead-singer Terry Nunn. After hearing the song and watching the love-making scene that it would be set to, Nunn was on board. Less enthused was her bandmate, John Crawford, who didn’t want to perform a song written by someone else. Their band manager, Perry Watts-Russell, also had his doubts and said that he would shave his head if the song became a number one hit. Of course, Berlin recorded the song and it did reach number one. While Watts-Russell kept his word and shaved his head, Crawford was less pleased with the song’s performance as it meant that Berlin had to play it at every live performance following Top Gun‘s release.
3. There was a constant struggle between the producers, the director, Paramount and the Navy
Director Tony Scott was unpopular in Hollywood after his box office flop The Hunger, and clashed constantly with Paramount Pictures over the creative direction of the film. In fact, Scott was fired and rehired by studio execs three times over the course of Top Gun.
While filming aboard the USSEnterprise on a foggy Sunday morning, Scott lost the ideal lighting for his shot when the carrier altered its course. He implored that the captain return to his previous course so that they could film the scene. When the captain refused, Scott asked, “What does it cost for this aircraft carrier to run per minute?” The captain gave him a figure and Scott retrieved his checkbook from his bunk and wrote the captain a check for ,000. The captain returned the ship to its previous course and Scott was able to get his shot. He later bounced the check.
The opening scene gives me goosebumps every time (Credit Paramount Pictures)
Rear Admiral (ret.) Pete “Viper” Pettigrew, whose callsign was loaned to Tom Skerrit’s character, was hired as the film’s technical advisor for a sum of ,000 and served as a liaison with the Navy. Per his contract, he had a brief cameo in the film as Charlie’s boss, the “older guy” in the bar that she sits down with after Maverick’s rendition of “You’ve Lost That Loving Feeling.” Pettigrew’s job was to keep the film grounded in reality, though his protests to the film’s eccentricities were always overridden by Bruckheimer and Simpson.
He argued against the locker room argument between Maverick and Iceman and the shower scene, saying that pilots just get changed after a hop and go to the bar. However, paying id=”listicle-2646420686″ million to have Cruise in the film, the producers insisted that Cruise show as much skin as possible to appeal to a female audience. As the script took shape, the Navy raised concerns regarding the increased focus on the relationships between the characters over the fighter jets and aerial combat. “Right now, I’m just trying to keep it from turning into a musical,” Pettigrew responded.
Though it played a major role in production, the Navy authorized only two missile shots to be filmed for the movie due to the cost of the weapon system. The shots were filmed from several angles to make the most of them. Additional missile shots were filmed using models of the planes and missiles. However, the company that produced and fired the model missiles did such a good job that the Navy launched an investigation to determine if additional missiles were fired beyond the two that were previously authorized.
One of the two authorized missile shots (Credit Paramount Pictures)
4. More trouble off-screen
Bruckheimer and Simpson worked well together because they complemented each other. While Simpson was bold and brash, Bruckheimer was calm and collected. However, Simpson’s alleged love of fast cars, women, hookers and drugs were reportedly negatively impacting his job as a producer. Having already been to rehab at least twice before, he checked himself in again midway through production. Little had changed by the time he checked out though. After renting a car, he sped down to the production office, crashed the car in the parking lot, barged into a meeting and declared, “We’re not shooting that f***ing scene!” He then proceeded to fire people and start rewrites to the script. Simpson’s self-destructive lifestyle came to a head when he overdosed in 1996.
Though Cruise and McGillis had to maintain a sexual tension and chemistry on set, McGillis had fallen for another actor during the filming of Top Gun. “We were walking across the street and she actually fell down, and I thought it was the funniest thing I’d ever seen,” Barry Tubb remembered of McGillis. “She fell down on her face in the middle of the street and she had my heart.” Tubb played a supporting role in the film as Wolfman.
Tubb and McGillis’ relationship off-screen threatened to weaken Charlie and Maverick’s relationship on-screen. To create more tension and add more lead-up to their eventual chase and kiss on W. Laurel Street, McGillis and Cruise were brought back to film one more scene months after production had wrapped.
In the elevator scene that follows the dinner at Charlie’s Oceanside house, Maverick’s hair is wet and slicked back while Charlie’s is hidden under a hat. Both actors had different hairstyles by that time which needed to be masked in order to preserve the continuity of the film. The scene succeeded though in adding more tension and lead-up to the relationship.
5. A tragedy occurred
Top Gun‘s production also saw a real-life death. While capturing footage for Maverick and Goose’s flat spin, stunt actor Art Scholl lost control of his Pitts S-2 camera plane. Filming about five miles off the coast of Carlsbad, California, Scholl radioed to his ground spotter, “I have a problem – I have a serious problem.” He was unable to recover from the spin and crashed into the ocean. The aircraft and his body were never recovered. As a tribute, Top Gun was dedicated to Scholl.
Scholl and his dog, Aileron (Credit Smithsonian Institution)
6. Bruckheimer and Scott thought the movie was a flop
Having wrapped production, an advance screening of Top Gun was scheduled for January 29, 1986, in Houston, Texas. With the rather lukewarm release of Iron Eagle two weeks before, receiving mixed reviews and grossing just million more at the box office than its budget, Top Gun‘s future as the second fighter jet movie of the year seemed unsure.
The advance screening was also clouded by the Space Shuttle Challenger disaster just the day before. “We’re in that theater, and I tell you, it was like a funeral,” Bruckheimer recalled. “I watched the movie with this audience and nobody reacted. I mean, they didn’t laugh, they didn’t applaud, it was nothing.” As a result of this screening, Bruckheimer thought that the movie would be a disaster upon its full release.
Director Tony Scott felt similarly following the Houston screening. “It was the worst experience of my life,” Scott said. “I can’t remember even hearing the audience.” Thinking he had failed directing another movie, Scott left the screening and went to a bar to get drunk.
However, contradicting the lack-luster advance screening, Top Gun was well-received by the rest of the cast and crew when it was screened for them. During that screening, Kenny Loggins was thoroughly impressed with what they had created. “I just held my wife’s hand and went ‘Holy s**t’,” he recalled.
Of course, Bruckheimer and Scott’s fears were misplaced and the film’s release in the summer of 1986 was perfect; Ronald Reagan was in the White House, the military was cool again and the country was going through a patriotic renaissance. Since its blockbuster release, Top Gun has gone on to become one of the most successful and iconic films of all time.
U.S. Navy Surface Warfare officer, Jesse Iwuji, is a rising star in the NASCAR K&N Pro Series West. A veteran of two Arabian Gulf deployments, Jesse spends his time on land meticulously building each element of his pro racing career.
And of course, the bedrock of pro racing is the ability to move a ton of steel around a track at bone-rattling velocity.
“Jesse, let me know when it’s safe to unpucker.” (Go90 Oscar Mike screenshot)
As he related to Oscar Mike host Ryan Curtis when they met up at the Meridian Speedway in Boise, Idaho, success in life is all about finding the thing you’re passionate about and then making a firm decision to go and get it.
In Iwuji’s experience, hot pursuit starts with putting one foot in front of the other. He finished the 2016 season ranked Top 10 overall in points and entered the 2017 season newly partnered with three time NFL Pro Bowler Shawne Merriman as his car owner for Patriot Motorsports Group.
Curtis, of course, couldn’t wait for his chance to get behind the wheel.
“How about now?” “Just drive the car, man.” (Go90 Oscar Mike screenshot)
Watch as Iwuji pushes the K&N Pro Series stock car to it’s outer limits while Curtis makes the lamest joke in military history in the video embedded at the top.
After decades of appearances in video games, cartoons, plush figurines, and all other manner of merchandising, Sonic the Hedgehog is getting his own live-action film.
That film — titled “Sonic the Hedgehog” — was scheduled to arrive November 2019. But the first trailer for it landed earlier this year, and the reaction was strong to say the least. Strongly negative, that is.
The issue mostly centered on the look of Sonic:
Old Sonic (left) and new Sonic (right).
After years of cartoon depictions of the speedy blue hedgehog, the pseudo-real version of Sonic had some people freaking out. So much so, in fact, that the film’s director vowed to change the look of Sonic ahead of the movie’s release.
Moreover, the movie was delayed to re-work Sonic’s look — it’s now scheduled to arrive on Feb. 14, 2020.
Now, six months later, we’ve got a new trailer with a much, much less weird-looking Sonic.
No teeth! More cartoony! And he’s got gloves!
Take a look at the latest trailer for “Sonic the Hedgehog” right here:
Sonic The Hedgehog (2020) – New Official Trailer – Paramount Pictures
Remember how awesome The Empire Strikes Back was? You can stream that particularly great Star Wars movie on Disney+ right now. And, as of Nov. 15, 2019, Disney+ just added some context to one classic Boba Fett and Darth Vader beef. In the latest episode of The Mandalorian, we finally understand why Darth Vader said “no disintegrations.”
Spoilers ahead for The Mandalorian Chapter 2: The Child.
In the second episode ofThe Mandalorian, our titular bounty hunter continues his make-it-up-as-you-go-along journey to protect a little baby Yoda-looking creature. Throughout his misadventures in this episode (which culminate in getting a giant space rhino egg) the Mando tangoes with a bunch of Jawas who have stripped his spaceship of much-needed parts. In an effort to get his stuff back, the Mando busts out his nifty rifle, which, as it turns out, turns anyone he points it at into a puff of smoke. He vaporizes a few of the on the lizard-like Trandoshans who ambush him at the top of the episode, and later on, a few pesky Jawas.
The Mandalorian gets ready to disintegrate some punks.
Later, when he has to make peace with the Jawas to barter for some of his parts back, he mentions “I disintegrated a few of them.” In terms of what we’ve seen in the Star Wars movies so far, this specific tech hasn’t been witnessed, but it has been mentioned. When Vader hires a bunch of bounty hunters to capture the Millennium Falcon in The Empire Strikes Back, the Dark Lord very pointedly shakes his finger at Boba Fett (a dude who rocks Mandalorian armor) and says “no disintegrations.”
Boba Fett and IG-88 in ‘The Empire Strikes Back’
So, there you have it. Vader was well-aware that this weapon was probably in Boba Fett’s arsenal, and now, just a about six years after the events of Empire Strikes Back, in The Mandalorian, we get to see what that weapon looks like. The most surprising thing? In The Mandalorian, the disintegrations are shockingly mess-free. Less like a blaster, and more like a civilized vacuum for a more elegant bounty hunter.
After every episode of The Mandalorian you watch on Disney+, it invariably suggests you watch The Empire Strikes Back. Kind of makes sense now, right?
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.