On Dec. 10, there were a lot of amazing announcements from Disney and friends, but one that stuck out the most to me was Wonder Woman director Patty Jenkins’ video for her upcoming feature film Rogue Squadron. I went into it blind, and if you haven’t watched it yet, then, well, you’re not precisely going in blind, but watch the video:
The video opens on Jenkins roller blading on what looks to be a flight line. She reaches her car and takes off her blades as she casually talks to the camera.
“I love to move fast. I think that’s because I grew up the daughter of a great fighter pilot and every day I would wake up and go outside and look up and see my father and his squadron taking off in their F-4s, roaring across the sky and it was the most thrilling thing still I’ve experienced in my entire life,” Jenkins shares.
In 2017, her breakthrough hit film Wonder Woman grossed over $821 million worldwide, making it the tenth highest-grossing film of the year as well as the highest-grossing film by a solo female director (Captain Marvel, co-directed by Anna Boden and Ryan Fleck earned $1.128 billion worldwide). The duo, and others, are proving with consistency that there’s a hunger for heroic content helmed by women.
“So when [my father] lost his life in service to this country, it ignited a desire in me to turn all of that tragedy and thrill in to making the greatest fighter pilot movie of all time.” Her father, William Jenkins, died during a NATO training exercise when she was seven years old, an event that naturally left a profound impression on her.
As her career has taken off (like, Emmy-nominated, Time Person of the Year nominated taken off), she searched for a story about flight — but couldn’t find the right one. Until now.
“Now I found a movie about two things I love, so I’m going to see you very soon,” she hinted.
And with that, she donned an iconic orange rebel flight suit and helmet and walked to an X-Wing fighter.
Rogue Squadron will mark the first time a woman has directed a Star Wars film and, according to Luscasfilm president Kathleen Kennedy, the movie will usher in a new era after the Skywalker saga and “introduce a new generation of starfighter pilots as they earn their wings and risk their lives in a boundary-pushing high-speed thrill ride. The legend of Rogue Squadron has been long beloved by fans and will move us into a future era of the galaxy.”
Rogue Squadron, named for the Rogue One squad that sacrificed themselves to procure the plans to the Death Star, is the starfighter squadron formed after the Battle of Yavin in Star Wars: A New Hope. It’s featured perhaps most prominently in the Rogue Squadron video game series.
“When the perfect story arrived in combination with another true love of mine, the incomparable world of Star Wars, I knew I’d finally found my next film. I’m extremely honored and excited to take it on, and grateful to Lucasfilm, Disney, and the fans for extending that thrill to me.”
The film A Private War follows the real life of Marie Colvin, a journalist who covered stories of war and conflict from ahead of the front lines in places from Iraq and Afghanistan to Sri Lanka and Syria, but its greater contribution may be the light it shines on the human cost of conflict.
Marie Colvin explains a point to her friend Paul Conroy in the 2018 film, A Private War.
Spoiler alert: This article focuses on Marie Colvin and how the new movie illuminates her life and contributions, but it does contain some minor spoilers of the movie, including the nature of Colvin’s death and the accompanying scene in the film.
Colvin was famous for donning an eyepatch and wearing designer lingerie under her body armor, but among journalists, she was known for coverage that saved thousands of lives, telling the stories of those besieged by government forces under tyrants. In coverage from East Timor in 1999, she stayed behind when many other journalists fled, keeping the pressure on Indonesian Forces who were besieging 1,500 refugees in a U.N. compound.
Thanks to the efforts of Colvin and other journalists, U.N. personnel remained at the compound until the refugees were able to peacefully leave.
Now, Matthew Heinneman, himself a documentary filmmaker who has covered conflict in Syria, Mexico’s drug wars, and other places, has made a narrative film that aims to not only tell Colvin’s life to whoever might be interested, but also sheds light on the human stories Colvin worked so hard to tell.
Marie Colvin attempts to surrender to government forces in the 2018 movie, A Private War.
“I really didn’t want to make this film as a traditional biopic,” Heinneman told WATM. “I wanted to make it more of a psychological thriller examining what pushes someone to go to these places, and then show the effect that it had on her. I wanted to examine what she suffered from. I wanted to examine PTSD. I wanted to examine all the sort of ramifications of what she saw and what she experienced.”
“At the same time,” he continued, “I also wanted to obviously highlight the work that she did and her effort in shedding light on these stories. I guess in another way, the film is a continuation of her work. Sadly and tragically, what she died covering, the conflict in Syria, has persisted until this day. And I think she would be devastated to know over half a million civilians have been killed since the conflict began. She probably would be in Idlib, or somewhere else right now covering the story if she were still alive.”
Colvin was tragically killed in Homs, Syria, in 2012.
Paul Conroy takes a photo of refugees during the 2018 movie A Private War.
The movie really hits its stride when showing the plight of the vulnerable populations that Colvin covered. While Rosamund Pike and Jamie Dorman do a great job playing Colvin and Paul Conroy — Colvin’s longtime journalism partner — they both fade into the background as victims of government forces or insurgent strikes tell their stories to the journalists.
Heinemann credits this to the people he cast into these “roles.” He didn’t cast actors, he recruited actual refugees to tell the real stories of what they suffered at the hands of Bashir Al-Assad, ISIS, or others. These scenes were filmed in Jordan, a country allied with the U.S., which has accepted large numbers of refugees.
“In the film, [Colvin] is walking into a room filled with Syrian refugees. In real life, the two women that [Rosamund Pike] speaks to are real women from Homs, telling their own real stories and shedding their own real tears.”
Refugees huddle together in the 2018 movie A Private War. The filmmakers recruited actual refugees to play the parts of hunted populations in the movie.
“It’s a really deeply emotional atmosphere on set,” he continued. “In another scene taking place in the hospital in Homs, a man brings his injured son after a mortar attack into the room. He also was from Homs. He was at a protest with his nephew who was shot off his shoulders and bled out in front of him.”
“The grief and the trauma that he brought into that room was almost unbearable. And it really created an atmosphere that felt both incredibly intimate and incredibly real that I think helped give the film the feeling that it has.”
One of the recurring events in the film is that Colvin goes into a combat zone to cover violent events, then heads back home to cities where people want to toast her for her accomplishments. This rapid, hacksaw motion between violent areas and parties is something many veterans can understand, and Heinemann used quick cuts between the two extremes to play up the difference.
Marie Colvin accepts an award for her coverage in the 2018 movie A Private War.
“…those transitions in life are never that graceful, and so, editorially, artistically, stylistically sort of smashing in and out of those two worlds was something that was in the script, but definitely something we played with and discovered a lot in the editor room with our editor, Nick Fenton,” Heinemann said. Quick cuts allowed them to “sort of drop you in and out of these war zones in a way that makes you uncomfortable and disoriented and as it was her experience. As much as possible in this film, I tried to put you in her shoes.”
This focus on Colvin’s experience shifts in the final moments of the film when Colvin is killed by a government airstrike. In the movie, as in real life, Colvin is killed while trying to escape the city with Conroy and a French photographer, Remi Ochlick. Ochlick was also killed and Conroy was severely wounded, barely surviving a massive wound in his leg.
“Dealing with the final moments of her life was something that was quite obviously delicate and something that I ruminated over for many, many, many months.”
Marie Colvin, Remi Ochlick, and Paul Conroy try to escape a Syrian government airstrike in A Private War.
“Through Conroy’s face, we feel her loss so immensely.”
But Conroy’s grief slowly morphs into the grief for a lost city as the camera moves upwards.
“But also as we move away from her and as the camera lifts,” he said. “I wanted to show that she was just one person amidst a sea of devastation, and that yes her death was tragic, but so is all that she was covering.”
“I think journalism and journalists are under attack, obviously, as we’ve seen with the murder of Jamal Khashoggi. When Marie Colvin started her career, the traditional dangers of being a journalist were that of being embedded with soldiers. It was being shot or being blown up by an IED or being hit by a mortar. It wasn’t that journalists were being targeted. And this, obviously, has changed over time.”
A Private War had a limited release on November 2. It has a much wider release, meaning it will likely be available near you, on November 16.
As the dust settles on Game of Thrones, and the wheel is broken with the new king unable to sire any children, the four remaining Stark siblings went their separate ways. Arya, Sansa, Jon, and Bran moved decisively toward the future, with Arya traveling to the edge of the universe, Sansa becoming the queen of an independent north, and Jon traveling beyond the wall, likely to never return to Westeros. The Stark siblings arguably had the most satisfying narrative arcs in the entire show, and so be it, considering the first season they lost most of their living family and were separated and scattered across Westeros itself. So, now that they are going their separate ways, it’s easy to want to stay with them forever. Here are the spin-off shows we want to see the most.
1. The Arya Stark Road Show
Arya Stark’s final scene of the series is her facing the great unknown as she looks towards new adventures and a new life. Wouldn’t it be great to follow her into worlds unknown, and to see what wacky adventures she gets into? Would she ever do some more face-swapping? Would she become a freedom-loving pirate? Would she find love, or would Gendry come after her, renouncing Westerosi culture and choosing to be her adventurous life partner? We’d love to watch it and find out.
2. Sansa Stark the Queen
It’s arguable that Sansa Stark won the Game of Thrones. After all, her major motivation for the past two seasons, ever since being free of the shackles of Ramsay Bolton, was to secure a free and independent Winterfell and north kingdom for her people. Now that she’s done it and is officially a Queen — maybe even the Queen that Cersei was warned about in Maggy’s prophecy. What wacky hijinks will she get up to in the North? Will she find a stable romance? Will she secure grain for Winter?
3. Jon Snow Goes Solo
Jon Snow’s punishment for murdering his girlfriend and Queen Daenerys was to be returned to Castle Black to serve out his life on the Night’s Watch. Although there may not be a reason for Castle Black anymore given that the wildlings can more or less move freely throughout the North and beyond the wall, and the threat of the wights and White Walkers is exterminated, Jon’s return to where he began the show is a sort of divine justice, and may have actually been what he wanted. After all, his final scene in the series shows him smiling just a little bit as he rides his horse out beyond the wall with Ghost, his beloved direwolf, his best friend Tormund, and a group of wildlings that he helped save from the Long Night. Seeing him beyond the wall for the next decade or so would be really thrilling stuff. Will he find someone to talk to about all of his girlfriends dying in his arms? Will he find love again, or will Ghost find someone to make babies with? Will he and Tormund star in their own buddy comedy?
4. Drogon 24/7
Poor Drogon. All he’s known is a life of pain and war. When he was born to his mother, he had two siblings, Rhaegal and Viserion, and both of them die within a few months of one another. He also has to deal with the fact that he’s a weapon of war and, given the fact that he is deeply intelligent, might have known the destruction he was razing on a city of half a million Westerosi citizens. That must have hurt. To top it off, all that sacrifice and his mom dies like five minutes after the battle? Let’s see a spin-off of wherever the hell Drogon goes with his mom’s body after her death. Is it to Valyria? Does he return to his birthplace? Does he take her body to dragonstone? Even King Bran wants to know! And that’s why we deserve a spin-off!
5. Grey Worm Relaxes
Grey Worm reveals in his last scene of the series that he is going to liberate Naath with the Unsullied. Naath is the place that he and Missandei discussed going to after their less-than-friendly reception upon their arrival to Winterfell. The beaches, Missandei said, were what she missed the most. That he and the Unsullied are going there is a fitting end to his character arc, but most importantly, it’s a new land to explore and it would be great to see Grey Worm find happiness after being trained from birth to be a soldier and then finding love and a purpose and losing them both in about one week. He deserves better! Will he finally put his toes in the sand? Will he get to relax and take off the armor? We’ll never know, but it would be nice too!
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Jamie Farr hails from Toledo, Ohio, and remains grounded in his hometown roots. His work in Hollywood spans over half a century, which includes him as Klinger in M*A*S*H*, where his career started back in 1955 in The Blackboard Jungle which starred Glenn Ford and Sidney Poitier. He was drafted into the Army soon thereafter and served abroad in Japan and Korea where he was requested to work for famous comedian Red Skelton on his tour to entertain US troops in Korea. He is most grateful for his career, military service and the stars he got to work with who include Bob Hope, Burt Reynolds, Dean Martin, Sammy Davis Jr., Lucile Ball, Andy Griffith, Dick Van Dyke, Danny Kaye, Milton Berle, Charlton Heston, William Holden, Don Ameche and many more.
Can you tell us about your family and your life growing up?
My father came from Lebanon in the early 1900s with his brother. They initially settled in Cedar Rapids, IA. My mother was born in Cedar Rapids where her family was from Lebanon as well. My grandfather and grandmother, her father and mother, had come from Lebanon to Iowa. My mother was a very smart woman even though she didn’t finish high school because she had to work to make her family sufficient monetarily. My mother could speak Arabic, sing and was a seamstress. My parent’s marriage was designated by my grandfather (maternal), which was normal, back then. She was married at seventeen and my father was a butcher for the Swift Meats Company in Cedar Rapids, Iowa. They moved to Sioux City where my sister was born and then moved to Toledo because of the great Lebanese colony there. I was born in Toledo as Jameel Joseph Farah.
Our original family name was “Abboud” where his father’s name was “Farah Abboud.” At Ellis Island when they came over, they were going to say “Farah Abboud”, but the personnel at Ellis Island stopped them at “Farah” so they didn’t take the full name, just Farah.
My older sister was the one who got me into show business as she would take me to the movies growing up and read me fairy tale books. She was like a second mother where she was very artistic, could dance and sing although she never got into show business. She would take me out for my birthday and I could get whatever I wanted no questions asked about the price. I do miss her as she passed away a few years ago.
Our whole neighborhood was Jewish, Greek, Lebanese, Italian and so on. You never locked your doors and you never dated them because we all knew each other, so it would be like dating a sister. It was very family oriented and Sunday’s after church there would be big get-togethers for food. We put out card tables, folding chairs and table clothes with good food. If we were lucky enough, we would go to the movies and then come back for leftovers to listen to the radio. I loved listening to Lux Radio Theatre on Mondays and on Tuesdays we had Bob Hope at 9pm and Red Skelton at 930pm. I had a Crystal Set radio and would listen to Hope and Skelton when I was supposed to be asleep in my room.
Growing up I slept on Murphy Bed at the time since I didn’t have my own room. I had to put the bed down every night in our dining room and thankfully I never got caught up in the bed like you would see in comedy movies and cartoons. We had an old-fashioned bathtub back then as well where Saturday night was your bath day.
The Abijay family had 13 kids and the father left where the mother raised them herself. They had a three-story house where each child of the house was of a different age group it seemed. My older sister had friends in their family and so did I. It was a poor neighborhood where we shopped at the bargain basement floor of the department store. I never knew what it was like to buy new clothes on the fancy floors.
We had a lot of famous people from my high school that made it big in show business including Danny Thomas (comedian), Andrew J Fenady (writer, producer), Georg Fenady (director/producer), Clifford David (Broadway actor), and Phillip Baker Hall (actor). We were all from the same neighborhood where it must have been in the water or the Buckeye beer! Although Lake Eerie was so polluted back then you could walk on it to Windsor, Ontario.
My cousin was James Jabara, first American and USAF jet pilot ace, and then my uncle Bob served as a medic in WWII in the North Africa campaign. My Uncle served in the Coast Guard and I served in the US ARMY in 1957 to 1959 in NYC, FT. Knox, Ky, Fort Huachuca, Az, Japan and Korea. I was in Special Services and wound up with Armed Forces Radio at the FAR EAST Network in Japan and Korea. I remember WWII very well with several of the Gold Star’s in the windows of neighbors and friends. It was disheartening and distressing to the entire neighborhood because we all knew them. We were all growing up together and our families were all very close. We had Victory Gardens where we could have a little plot to plant vegetables. Everything was rationed back then. My mother and sister made a lot of homemade pies, pastries and cakes from the Middle East as well.
What is the most distinct memory of your mother and your father?
I have so many of them with my parents there is not a distinct one exactly. They were very family oriented and taught us values to live by, which have lasted.
What values were stressed at home?
You respected your family and never disgraced them. You didn’t have to be Rockefeller or Vanderbilt, but you never wanted your last name disgraced. Whenever people say your name there is honor and honesty that comes with it. You want a good reputation. You never lied, cheated or stole. You always made it yourself and did things yourself. You didn’t go around asking people for things. Nobody locked their doors. If people were ill, we would cook for them and take them food. It was very communal where they would help one another.
The people from Toledo that made it in Hollywood stayed very much the same. They were all from that same neighborhood. We all talked about what was going on back home in Toledo and talking about things we did there or were going back to do. It is ironic having watched stars like Bob Hope and Red Skelton on the big screen and then coming to Hollywood to work with these people. I even got to work with Lucille Ball.
What influenced you to join the US Army, what was your experience and what lessons did you take away from your service?
I was drafted into the Army and it was an inopportune time for me as my career was taking off. The last movie I could take part in before heading off to the Army was No Time for Sergeants where I played Lt. Gardelli. My hope was that the movie took awhile to come out because I was a private in the Army, but a lieutenant in the movie so people would think I was demoted. I reported the next day after filming wrapped to the Army recruiting station.
Working on No Time for Sergeants was a lot of fun, especially with Andy Griffith and Mervyn LeRoy. Andy’s first movie wasn’t out yet which was a Face in the Crowd. Elia Kazan directed Face in the Crowd where he came on set of No Time for Sergeants to ask Mervyn if he could shoot a close up of Andy that he needed for his film. LeRoy granted the request where we all got to watch Kazan direct Griffith in a short close up scene, which was amazing. Kazan said a few things and words to Andy and then “action.” Kazan stepped back and let Andy do his work, one look here and one look there. It was amazing what Kazan could do with a few words to direct Andy. You could see Andy’s talent and that he was going to blossom.
Red Skelton was like a second father to me and was very instrumental in helping my life. I did his show and carried half the show with him live on CBS. They kept calling me back before I got into the Army. I took Basic Training at Fort Ord and my MOS was as a Broadcast Specialist. I was sent to NYC to the Army Pictorial Center, which used to be the old Paramount Studios and did training films for the US Signal Corps. Some of my fellow soldiers at the center had famous Hollywood parents to include the son of Charles Vidor (director) stationed there. I went on TDY to Fort Knox to do tank training films where I was a script supervisor and went to Fort Huachuca in Arizona for similar duty.
I got shipped over on the pipeline and thought I would go to France. I worked on my French and practiced my introduction, “je m’appelle Jamie Farr” and then when ordered to Tokyo, Japan I practiced, “Watashi Wa Jamie Farr.” I was trained at the Pasadena Playhouse to break into the business and met Bob Furiga who was a fellow actor. We were both drafted at the same time and did our indoc training together and were even in the same squad at Fort Ord together. We were at the Army Pictorial Center as well and then went to the Orient together. My buddies mostly ended up in Korea. I served with the Far East network in Japan.
I served with Red Skelton as he had requested me to be his assistant through the Department of the Army. After Red’s son passed away, he wanted to do a tour to entertain troops and he wanted to do his shows with me. We flew on a United Nations airplane just me and him. I had VIP status which surprised me. We went to every encampment all the way up to the DMZ in Korea.
We opened up Armed Forces TV in Korea in a DC-3 airplane where we had all service branches and civilians on the plane. There was an extreme cold front that came in where everything was frozen, so we had to sleep in a luggage area with a pot-bellied stove there in Korea after we arrived. We slept with our clothes, boots and coats on because it was so cold. We were told in the morning that it was safe enough for us to fly back to Japan where we flew out over the Sea of Japan. It got to be below zero inside the plane during the flight and the two engines froze so they started handing out parachutes. We wouldn’t survive in the water because of hypothermia so it seemed kind of pointless. We started dropping and while we did, they pumped alcohol into the wings to get the ice to melt. As we dropped the ice began to break off the wings and propeller blades where we heard the pilots trying to start the engines.
I remember looking out of the window thinking, “I watched all those John Wayne movies of him in the military where how in the heck did I end up here?.” I was praying and finally we heard the ping of the engines starting. I don’t know how far above the water we were, but that was a scary moment for us in that plane.
I did two years of active duty, two years of reserve, and two years of inactive reserve. I came back to Hollywood and my father passed away. I went by CBS Studios to say goodbye to Red Skelton and he wouldn’t let me go and put me under personal contract and said, “I was one of us. A doctor of comedy..” He pulled out several hundred-dollar bills and told me to send those home to my mom. He said, “From here on in you are working for me and I will see you up at the house in the morning.” I went with Red for a whole year and helped him in his nightclub act at the Sands (Las Vegas), Fontainebleau (Miami Beach), Moulin Rouge (Los Angeles), and the Chez Paree (Chicago). I then branched out to get my career started again where Carl Reiner working on the “Dick Van Dyke Show” took a chance on me and put me as the Snappy Service delivery man. The part helped to resurrect my career again.
Red Skelton gave me a St. Christopher medal to protect me when I went into the Army. I cherish it and wear it every day. Red was a very kind, conscientious and loving person. I also have a painting of Red’s as well and was one of his pallbearers at his funeral. Red’s third wife, Lothian Toland, asked me to be a pallbearer for his funeral. The four pallbearers were me, Bob Hope, Milton Berle and a stage manager that Red liked a lot. A few notes on Red are when his son Richard passed away from leukemia, he used to keep his room just the way it was when he passed away. It had a little train set and a few other things in it where Red would just stand there, look at the room and soak it in. On another note, Lothian’s father was Gregg Toland known for being the cinematographer of Citizen Kane.
Red came from a different era where they could work on stage to be bad and then become good over time. Now you have to be really great right away and don’t have time to develop. George Buns used to say, “there isn’t a place you can be bad anymore.”
What values have you carried over from the Army into acting and comedy?
My values instilled in me by my family have stayed with me throughout my life. I try to be straightforward and honest in all my dealings. Zenith used to have an ad that said, “It has to be good because it has our name on it.” That is how I feel about my name and how it needs to be respected. I was an adequate soldier and whatever I did, whether producing shows for the Army or whatever, it was the best I could do.
As an aside, a lot of my friends from the service have now passed on such as Paul Rausch, Bob Furiga, who later became an exec at ABC, and Bernie Papin. My friend Mort Goldstein became an exec at CBS and is still living. The older you get the phone doesn’t ring as much for your friends or the business.
What is the most fulfilling project you have done and why?
For TV it would be “M*A*S*H*” for TV and The Blackboard Jungle for film. The film had Glenn Ford and Sidney Poitier with music featuring Bill Haley and His Comets which was filmed at MGM. I was watching MGM movies at the Lowe’s Valentine Theater in my hometown theater and 18 months later am working on an MGM film. In high school I used to see shows at the Paramount Theater in Toledo, which has since been torn down and turned into a parking lot. It was one of the most beautiful theaters you could have ever seen. The touring version of “Guys and Dolls” came into town with Allan Jones playing the part Sky Masterson and saw the show as an usher. I couldn’t believe the music or characters in it where I wanted to play Nathan Detroit one day, which I did on Broadway.
While on “M*A*S*H*” there was a guest actor, Jerry Zaks, on the show that had done the tour for “Grease.” He was having a rough time and I gave him a pep talk. Later on, he goes back to NY and becomes a successful director. A call comes out for “Guys and Dolls” and I ask my agent to get me an audition since Jerry was directing the show. I went downtown in Los Angeles, couldn’t sing a note, but still went to audition. The show was already cast with Nathan Lane as Nathan Detroit. My agent called me and asked if I would like to do “Guys and Dolls” as Nathan Lane is now leaving the show. Everyone remembered me from the audition and I went to NY to play Broadway. I only had two weeks and one rehearsal with the cast. I was never so frightened in my life. My chest came out of my body and across the room it was such an exhilarating and exciting thing to do. I did that show for almost a year and it was even exciting putting that on my resume.
Working with the Skeltons, the Berles, the Hopes and the Kayes was memorable and significant as well.
I played in “King Lear” at the Pasadena Playhouse as the title character, which was challenging. I learned all that Shakespeare for one performance. I did more theater at the Pasadena Playhouse as well and my first big play was “Mister Roberts” at the Los Palmas Theater. Craig Stevens was the lead actor and Harry Bernsen (father of actor Corbin Bernsen) produced the show. I earned my first Actors Equity card in that show thanks to Mr. Bernsen. I played the Navy guard that brings all the guys back when they are drunk in the play. I made the soap suds for Ensign Pulver as well. Did that for a whole year. I also did “Stalag 17” with John Banner, Tom Drake, Harvey Lembeck and Dennis Weaver. This was before Dennis Weaver did Gunsmoke and I was the understudy to Lembeck for the role of “Shapiro.” Theater trains you very well and teaches you a lot.
A quick side note is, initially I was only on “M*A*S*H*” for one episode where my character was written by Larry Gelbart, creator of the show, for the episode. Larry’s father Harry Gelbart was the barber to the big comedians back then like Danny Thomas, Jack Benny, George Burns and a lot more. Harry would always tell his customers about his son and his comedy writing. Once when Harry was cutting Danny Thomas’s hair, Danny agreed to reading his son’s joke. Danny read them and found jokes funny and paid Larry for his material where Larry was just a high school student at the time. Larry ended writing for Sid Caesar and movies, most notably writing Tootsie which starred Dustin Hoffman. Larry’s pay back to Danny wrote my character as Lebanese and from Toledo where my character’s name came from his (Larry’s) childhood friend “Klinger” from Chicago, which is where Larry was from.
I am not some handsome guy like Rock Hudson or a star carrying movies, so I am proud to have just been a working actor.
What was your experience like in working with such talents as Red Skelton, Harvey Korman, Alan Alda, Mike Farrell, Loretta Swift, Gary Burghoff, Burt Reynolds, Bill Murray, David Alan Grier on such shows as MASH, After MASH, the Cannonball Run films, Scrooged, and The Cool Kids?
Harvey was great and we got to work with Danny Kaye, who also was great. I used to watch all of Danny Kaye’s movies where he could sing, dance, act and do mimicry. I was a big fan of Sid Caesar growing up and he was one of our writers on “The Danny Kaye Show.” Carl Reiner was very helpful to me in my career as well. Harvey was brilliant and trained in Yiddish comedy by Menasha Skulnick in NYC.
Alan Alda, Gary Burgoff, Mike Farrell, Loretta Swift, Harry Morgan, William Christopher, and David Ogden Stiers were all great to work with. You could not have asked for a better cast than the one on “M*A*S*H*” and we had such excellent material as well. We are still in touch even this long after the show. We lost Gene Reynolds (producer of the show), Harry Morgan, McLean Stephenson, Larry Linville, and Bill Christopher were all wonderful people and highly talented. We dearly loved Harry as the patriarch of the show. The egos didn’t get into the way on the show where the story was not about me it was about the particular scene we were doing.
We had some great guest stars on the show as well to include Laurence Fishburne, Ron Howard, Brian Dennehy (Marine) and Burt Young (Marine) during our run. Harry Morgan was a dear friend of famous actor and veteran Jimmy Stewart as well. Harry would tell stories to me about working on films with Jimmy. Harry introduced me to Ralph Bellamy where we became friends. I got to meet Jimmy one time as well, which was great.
The cameos I do now have people coming up to me all the time telling me they watched “M*A*S*H*” with their family and how much it meant to them. I am overwhelmed by young people that have taken to the show. It is amazing I happened to be on a series that was the best show you could do. The writing was so good and so were the production values. Audiences came to know us on the show as family. It was like watching “I Love Lucy” where we got to the audiences.
Burt Reynolds was a lot of fun to work with. He was very loyal to his acting friends. Charles Durning (Army) did projects with Burt and had his friend Ossie Davis (Army). Burt was like the John Wayne players where he had the same people in his movies like Ward Bond or Paul Fix. Doing his movies was like being at a party. It was a party every single day and didn’t know what was going to come next. Hal Needham (Army) was the director of the Cannonball movies which even made it more fun.
We had Roger Moore (Royal Army) in The Cannonball Run where he would come out of his trailer in the early morning in Florida where we were filming with a white suit on, a beautiful Havana cigar, and a flute of champagne with no hair missing and not a bead of perspiration where he looked like he was out of GQ. We used to hate him for how perfect he looked and was disgustingly handsome.
Dom DeLuise was a lot of fun to work with. The best was working with Dean Martin (Army) and Sammy Davis, Jr. (Army). I loved Dean where he had a great sense of humor and cared about the project. We had Charles Nelson Reilly, Telly Savalas(Army) and Frank Sinatra in the Cannonball movies as well. We all got along on the films and there were no egos that got in the way of the production.
I got to work with Don Ameche, Bob Hope, Yvonne De Carlo, Stella Stevens, Jayne Meadows and Frank Gorshin in A Masterpiece of Murder. Don was a great actor to work with.
Over my career I have had the opportunity to work Danny Kaye, Bob Hope, Milton Berle, Red Skelton, Lucille Ball, Ed Wynn, Charlton Heston, William Holden, Van Heflin, Glenn Ford, Walter Brennan, Jim Hutton, Dorothy Provine, Rod Steiger, Victor Buono and so many more. My gracious, what a wonderful career I have had.
I worked with Bill Holden on “The Blue Knight”, which was the first TV miniseries. Robert Butler directed it and he used to work with John Frankenheimer. I was having trouble with the studio at the time trying to get a raise.. I asked Bill about what I should do in my situation. If I fought back I could be written out of a show, like a script where my character Klinger steps on a land mine and is done. My agent was at a smaller agency not like a William Morris where he could be blacklisted as well from selling his clients. You used to call the man who set the budget the “hatchet man.” Bill said he had this problem with Harry Cohn at Columbia Pictures when he was under contract there. Bill said, “You have to take it out of the agent’s hands and put it into your hands. If you want that raise you need to go ask yourself, but just don’t point a gun at their head.”
Well that gave me the idea of getting a fake pistol from the prop department from “M*A*S*H*”, which I did. It was like a cartoon after I got the prop pistol and finished filming for the day on stage nine on the lot. I hid behind a bush and then went behind a tree and could see the “Hatchet Man’s” office. He faced away from the window in his office toward the door. I went around into the executive building and kicked the door open. I said to him, “This is how it’s going to be my raise and that!”, where he said, “You’re crazy! You’re crazy!”, and I said, “That’s right I am and I am going to get my section 8.” Well at any rate he laughed and he saw what I was doing. I did get a raise from that instance.
Bill Holden was a terrific actor and a really nice guy. I miss him a lot. He was working on the film The Towering Inferno which was just across the way from us on set with “M*A*S*H*” where he would come over just to say “hi” to me. If I was at Oblatt’s Deli across from Paramount eating at the counter, I would get a big bear hug from someone behind me which turned out to be Bill. He would be there shooting a movie and would come across to the deli to find me there.
Fred MacMurray was a great actor to work with where we did “My Three Sons” together. We got to know each other very well. Many people make him out to be all fluff and not much there, but his work in Double Indemnity and The Caine Mutiny showcases his talent. He did a lot of comedies on the big and small screen where he was so versatile. There was much more to him than what people may think.
A lot of my actor friends used to make fun of John Wayne where Wayne is one of the best movie actors around. When he says, “Follow me” in a movie whether it is the cavalry or the Marines you are going to follow him. He has that command about him. He may not be able to do Macbeth, but what he does he is 100% believable. He is one of our greatest film actors ever.
I was in acting class with Clint Eastwood back in the 50s with where our teacher was named Jack Kosslyn (who later appeared in Eastwood films during the 1970s). He was cleaning pools during the daytime and I was cleaning chinchilla pens at a farm in Burbank for my side work. He did pretty good for himself.
Being in “The Cool Kids” meant a lot to me and getting to perform for a new generation is great.
What leadership lessons in life and from the Army have helped you most in your career?
Remain humble and it is a team effort. It is about the ensemble.
As a veteran, how do we get more veteran stories told in Hollywood?
We need to and have the veteran stories around, but some people in charge may not want to produce our stories. They don’t seem to be interested in the heroics of our people. When I see Audi Murphy in a film, I can’t believe what he has done for our country. Gary Cooper as Sgt. York is an excellent film with heroics. Some of the executives today don’t want to popularize the heroism because of cynicism and negativism towards our service people. There are stories to tell, but the executives and producers put too much “seasoning” into them to make the stories something they are not. If you can keep the story simple and show these military characters doing what they did then you can have a good project.
When my country called on me, I went even though it was detrimental for my career at the time. I knew if your country needed you at the time, then you went and did whatever they asked you to do. As President Kennedy said, “Ask not what your country can do for you, ask what you can do for your country.” A similar saying was written years before by the Lebanese American writer Khalil Gibran which I am familiar with. This is what the immigrants in our neighborhood did, we had community and cared for each other and our country.
What are you most proud of in life and your career?
This is not an easy business where people should be grateful for whatever they have done. It is not just given to you and you have to earn it. Some people that are absolutely brilliant talents never get anywhere. Some people are average and make it to the top of the industry. All I can say is what a lucky guy I am.
Farr wanted to personally thank all the servicemen and women serving to keep this country safe and are living up to the values of why this country was born.
We regularly read about wars both past and present. Yet there are few of us who truly know what it’s like to be there. The accounts below are told by the brave men and women who fought on the front lines, as well as those intrepid reporters who documented war in person. From World War II to the battlefields of Vietnam, these seven works provide insight into the triumphs and terrors of armed conflict.
7. We Were Soldiers Once… and Young
We Were Soldiers Once… and Young examines Ia Drang, one of the most significant and brutal battles of the Vietnam War. Written by Lt. Col. Harold Moore, with the help of journalist Joseph L. Galloway—the only journalist on the ground at la Drang—the book tells the harrowing tale of the American soldiers who never gave up, despite the devastation that surrounded them.
6. This Kind of War
The book that Defense Secretary James Mattis recently recommended in response to rising tensions in North Korea, This Kind of War analyzes the Korean War—as told by a man who was there. Often referred to as “the forgotten war,” Fehrenbach, who served as a U.S. Army officer during the war, provides a powerful reflection on its destruction and how unpreparedness led to the loss of so many lives.
5. Valor in Vietnam
Looking at the Vietnam War through the lens of those who were there, Valor in Vietnam offers 19 different stories of triumph and tragedy. Presented in chronological order, the accounts are emotional, intense, and personal.
4. Goodbye Vietnam
William Broyles’ memoir covers his life from the time he was a college student—hoping not to be drafted—to his service in Vietnam and his return to the country years later, in an attempt to come to terms with the bloody war. Though he was enrolled at Oxford when the Vietnam War began, Broyles realized he could not let his class or education stand in the way of his civic duty. He subsequently enrolled in the marines. And while he survived, he wasn’t able to move on until he confronted his past and returned to the former battlefields of Vietnam.
3. Eyewitness to World War II
This military bundle includes three books from Richard Tregaskis, a World War II reporter who bridged the gap between the soldiers on the front lines and those waiting at home. Including Guadalcanal Diary, Invasion Diary, and, John F. Kennedy and PT-109, Tregaskis, who travelled with the Allies during WWII, recounts the bravery and sacrifice he witnessed.
2. Special Ops
Orr Kelly, a journalist who served as a war correspondent in Vietnam, tells the stories of the military’s elite forces. The bundle includes Brave Men, Dark Waters; Never Fight Fair!; Hornet; and, From a Dark Sky. From the Navy SEALs to the US Air Force Special Operations, Kelly details the courage and resilience of these unique fighters. In Never Fight Fair!, the Navy SEALs tell us, in their own words, about the history of their special force and what it takes to be one of the elite.
1. In Pharaoh’s Army
A National Book Award finalist, In Pharaoh’s Army chronicles Tobias Wolff’s experiences as an army officer in the Vietnam War. Present during the Tet Offensive, one of the largest military campaigns that took place during the war, Wolff tells his story and how it has affected him both in and out of Vietnam.
Composer Ramin Djawadi had a formidable task ahead of him for the final season of “Game of Thrones.” Back when he was working on the seventh season in 2017, Djawadi didn’t know his music written for Jon and Dany would also need to play right as Jon Snow plunged a dagger into Daenerys’ heart.
Showrunners David Benioff and D.B. Weiss had “talked a little bit in riddles” about Dany’s fate and the music Djawadi needed to write, the composer said in an interview with INSIDER on June 11, 2019.
“They said, ‘OK, this needs to be a really romantic theme, but make sure that it’s a love theme that can imply complications,'” Djawadi said. “That’s how they started me out. They said things turn differently and things go wrong.”
Their love “theme” (the term Djawadi uses to refer to the melody unique to a character’s scenes that you can hear on the soundtrack) was worked into a track on the season eight score called “The Iron Throne.”
Daenerys and Jon embracing just before her death.
The song played just as Jon and Dany kissed, mimicking the way she believed they were going to have a happy ending. But it was cut short, right as Jon stabbed his queen. Djawadi says “The Iron Throne” is one of the songs he’s most looking forward to playing live later this year when the “Game of Thrones Live Concert Experience” goes on tour.
Keep scrolling to read INSIDER’s full interview with Djawadi, in which he reveals the “positive” message of the final scene with Jon Snow.
Kim Renfro: The final song heard on the show, called “A Song of Ice and Fire,” is obviously such an important endcap to the series. What were the emotions that you wanted baked into that particular track?
Ramin Djawadi: The thought was to really create a bookend to the whole show. We have our main title song that really represents everybody and the entire series, and we thought there’s no better way to end the show than with our main title theme. But this time it was with a full choir. We have men and women and children actually singing it.
Jon leading the remaining wildlings beyond the Wall.
We’ve heard that main title so many times at every beginning of the episode, so we wanted to leave the show with that — including the very last note on our small dulcimer [instrument]. The main title ends when the title card goes to black and they have that little “dum dum ba ba bum bum” on the dulcimer, and those are the same last notes people will hear on the show.
Renfro: Did you have any conversations with showrunners David Benioff and D. B. Weiss about what is going on with Jon specifically? I feel like the shows ends on this optimistic note, where he’s half-smiling and there are children around him. The children’s presence felt really important in that scene, because it’s this mark of the future and possibility. At the same time it’s a little sad, because he’s going into exile, basically, and leaving behind his past life. Were there conversations about that?
Djawadi: Yeah, absolutely. The idea is really that he stops and he looks back, and then the main title starts, and it’s the idea of a new beginning. It’s supposed to be positive and yeah, like you said, the fact that there are children around and [other] people — he’s not just by himself.
Jon taking one last look at Castle Black before heading into the North.
Djawadi [continued]: Originally [he was] with the Night’s Watch, and you’re not allowed to have a wife and children and all that, but this is him going out there with the wildlings, and you can interpret it like he’s starting a new life. He’s a changed man, and he’s leaving the past behind, and so it’s definitely supposed to be something positive. There are many possibilities now — that’s how we can look at it.
Renfro: I’d to talk about Brienne and Jamie, and the music you wrote for their important scenes. How did you approach that aspect of season eight, and especially the romantic element with both of them?
Djawadi: What’s interesting is their theme together came out of what I call the “Honor Theme” […] over the seasons, when they met and the way they treated each other, it was always an honorable theme. So that became their music. And the other big scene which I loved so much there, when she gets knighted, it was used there, and then, yeah, then we basically every time, I’m pretty certain with the development of their relationship, their theme was playing.
Djawadi: Yeah, I was going to get to that [laughing]. I just threw that in there because I thought it would be a subtle nod to their relationship. When she sits there and she thinks about him and writes down all the things he had done, the second half is the ‘Honor’ theme, but yeah a big chunk of that [song] is the wedding theme.
It’s just a hint of what their relationship — if they had stayed together, if he was still alive — what it could have been. What they could have become. That’s why I put that in there. I was amazed some people picked up on it. I was hoping people would go, ‘Wait a minute, that’s from season two.’ And that was exactly my intent. I thought it would be very appropriate.
Renfro: People absolutely loved that. A lot of fans were so attached to their relationship, and I think that it was really special to get a hint at that dream. Like Jaime and Brienne could have been married in some alternate timeline.
Brienne writing down Jaime’s deeds in the White Book.
Djawadi: Exactly. That was exactly my intention. It just shows the power of music, right? There were no words [in that scene] but by putting that in there your imagination goes [into] where this could have gone. I wanted people to have that emotion, and have those thoughts. I’m glad it was picked up.
Renfro: What was the most challenging scene to write music for this season?
Djawadi: I find almost everything challenging [laughing]. I guess maybe “The Night King.” I definitely knew that I wanted to really try to wrap up [on the show] things nicely with all the themes that we know and have come to love, so there were opportunities for that, but there were opportunities for new things.
Obviously “The Night King” theme was our big new theme this season, and writing that piece was challenging in many ways. One is because we decided to for the second time in “Game of Thrones” history to really focus on the piano again. We felt this was an opportunity to have a big piano piece, and we wanted to call back to “Light of the Seven.”
Game of Thrones S8 – The Night King – Ramin Djawadi (Official Video)
Djawadi [continued]: But then of course I had to reinvent myself, and here I was, thinking, “OK, how can I beat myself? I need to have something that has the same impact at this particular moment on the show and call back to ‘Light of the Seven,’ but it can’t be the same piece.”
If I had done an arrangement of “Light of the Seven” again it wouldn’t have made any sense. Cersei was nowhere to be seen, and that piece belongs to Cersei. But it was a very long scene, just like “Light of the Seven.” There were a lot of similarities, so I definitely made a connection [between them]. For example, I end up in the same key and tempo as the “Light of the Seven” by the end of “The Night King.”
But I also [wrote it knowing] when the piano drops people would sit up and go, “Oh, piano’s coming. This means something’s happening now. What’s going on here?” And the idea was that it would have the reverse effect. That you’d see the Night King on his final march towards Bran, and you’d think back to the Cersei theme and that this is all going his way and he’s going to win and it’s over.
We just had 50 minutes of action music and battle and they tried and tried, and they just can’t do it. It was supposed to feel like a finale and that they were all going to die. And then of course the big surprise happens at the end.
Arya surprised everyone when she killed the Night King.
Renfro: I know for past seasons there were times when Benioff and Weiss would give you some advance notice of an arc that was coming, because you needed to start planting those musical themes a little bit sooner. Did you have any advance notice that Dany was going to die, or that she was going to have this kind of turn at the end? The theme you used for her and Jon, called “Truth” on the season seven score, comes back into play right as she’s dying. Did you know when you wrote it that it was going to be a part of her death?
Djawadi: They showed me this season very early, earlier than any other season. But they weren’t that specific about Dany dying back in season seven. We’ve had such a good working relationship; they always give me exactly the information I need to know at the time.
When I wrote [Jon and Dany’s] theme, they said, “OK, this needs to be a really romantic theme, but make sure that it’s a love theme that can imply complications.” That’s how they started me out. They said things turn differently and things go wrong […] they talked a little bit in riddles.
To be honest, I never even thought about who was going to die, but I just took it as, “I need to write a love theme that has some drama to it, that can show complications.” That’s really the word they used, that things will go wrong and [it’s] “complicated.” That word gave me enough information.
The Jon and Daenerys love theme played during their season seven finale sex scene.
Renfro: So the “Game of Thrones Live Concert Experience” is coming back. I’m super excited. I live in LA now, so I get to go to the Hollywood Bowl version. What made you decided to go with an outdoor/amphitheater vibe versus in the indoor arena setup from the past two iterations?
Djawadi: We just want to try different things. The Hollywood Bowl is a historic venue, and performing there has been on my bucket list. With venues like the Hollywood Bowl and others in all the different cities, these outdoor concerts can be very special. It’s just another way of performing it, and obviously the stage brings different challenges by being outside, but it’s exciting.
I’m actually really majorly reworking [the show] right now, because there’s so much material from season eight — we could have done a concert just with season eight alone. I’m trying to keep a cohesive story from seasons one through eight, which is tricky because I only have that limited amount of time. It’s exciting that I have choices, which is great. So I’m in the process of doing that right now. I can’t wait. Hollywood Bowl will be amazing.
Renfro: Is there a particular part of season eight you’re most excited to perform live for people?
Djawadi: Well, of course “The Night King” because it’s just a great set piece, and it’ll be fun and exciting to perform. And another one, I have to say, is actually [“The Iron Throne”]. It’ll be in there in one way or another. That’s the theme from when Dany dies, and it was such an emotional scene for me to write. I’m just really attached to it. I think it’s such a powerful scene, with Drogon, and so that piece is just special to me. I’m very excited to play that live with an orchestra.
Renfro: Well, I can’t wait to see it. Thank you for bringing all this music to life, and congratulations on finishing out this series. It’s really incredible that it’s come all this way, and that you’ve been there from the start.
Djawadi: Thank you. I think it still hasn’t caught up with me fully that [it’s over]. The live concert tour is helping me with it, because I just don’t want to let go, just how many fans probably don’t want to let go of the show. It helps me to still be working on the music and just stay in that world longer.
And yes, looking back it’s crazy when I think of how this all started out in 2011. And now with the concert tour, all this music that I’ve written and just going through it, I feel very lucky that I’ve been part of this. It’s been unbelievable.
It took 20 movies with male protagonists for Marvel to give a female superhero her own film. That’s objectively pretty bad, but the studio does seem to be trying to make up for it. Remember that scene in Avengers: Endgame when the female heroes assembled behind Captain Marvel to fight Thanos? That was awesome.
Now imagine an entire movie that awesome. There’s a rumor — an enticing, exciting, but ultimately unconfirmed rumor — that such a movie, an all-female Avengers flick, is in the works.
We’re talking about a movie based on A-Force, a comic book series published in 2015 and 2016. The 15 issues chronicled Marvel’s first all-female team of Avengers: Captain Marvel, Medusa, She-Hulk, Singularity, Dazzler, Nico Minoru, and Dazzler Thor. It was canceled despite positive reviews due to weak sales, including a 79 percent drop from the first issue to the second-to-last.
But despite that stumble, which did happen in a much different medium, there’s no shortage of rich female characters (and storytelling possibilities) in the MCU.
The women who played some of those characters — Tessa Thompson, Brie Larson, and Karen Gillan specifically — pitched Marvel boss Kevin Feige on the idea of an all-female Avengers movie on the set of Endgame in 2017. It’s easy to imagine (but again, unconfirmed) that their suggestion combined with the strong box office performance of Captain Marvel prompted Feige to think about how to add more women to the MCU.
But whatever the impetus, it’s already happening. There are two female-led superhero movies in the Marvel pipeline with Black Widow and Thor: Love and Thunder as well as Ms. Marvel, She-Hulk, and WandaVision coming to Disney+.
Sources told We Got This Covered that the first step toward an A-Force movie is She-Hulk, which won’t premiere until 2022. That means we’ve got a while to wait, but if Marvel pulls it off the way then the wait will have been worth it.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Finding the best nonfiction audiobooks available is no small task. Listeners run the risk of discovering, hours into their audiobook, that they haven’t absorbed any of the information — so, choosing an audiobook with an engaging story and narrator is key. These are some of the best history and nonfiction audiobooks we’ve found while listening.
1. The Greatest Generation, byTom Brokaw
This book tells the stories of the individual men and women who made up one of the most tumultuous generations of America. These people made it through the Great Depression and World War II, then went on to help build modern America.
Written and narrated by journalist Tom Brokaw, The Greatest Generation pays a small tribute to the people who fought and paid the price to create a stronger and more lasting country that we all have the pleasure of living in today. If, like so many others, Brokaw’s voice was a soothing nightly presence in your household during his 20+ years on air, The Greatest Generation will bring you back to a different time in many ways.
2. SPQR, by Mary Beard
SPQR is the history of Rome unlike you’ve ever seen it before. Mary Beard’s sweeping examination of the birth and growth of an empire which remains at the forefront of history will leave readers speechless. She unearths centuries of unexplored narratives and sheds light on some of the most peculiar aspects of this history. Beard pays nuanced attention to individual stories, cultural struggles, and exposes groups of people who have been excluded from history for decades.
The title is an abbreviation for the Latin phrase which translates to “The Roman Senate and People” still used today as an emblem for Roman government. Beard focuses on an under-noticed aspect of the Roman empire — its growth, rather than its decline — to show just why Rome will never lose its grasp over history lovers.
3. Unbroken: A World War II Story of Survival, Resilience, and Redemption, Laura Hillenbrand
With his eyes set on the Olympics, Louis Zamperini never thought he’d be gearing up to join the war, and he certainly never imagined ending up drifting in the middle of the Pacific Ocean.
Louis, often a problem child, learned to channel his less productive energy into running. Laura Hillenbrand tells of Louis’s legendary story of heroics, defiance, and bravery. He withstood all odds, and his is a story you won’t want to miss. Read by Edward Herrmann (Gilmore Girls), the audiobook is urgent and enthralling.
In 2012, the BBC released an eight-part miniseries condensing the history of the world into a thrilling eight hours. Marr, a beloved historian in the UK, had previously written two best-selling histories of Great Britain. With A History of the World, and its accompanying book, Marr dives into the rest of the world, eschewing the typical Eurocentric approach.
Overflowing with vibrant language and a plethora of stories you’ve probably never heard, Marr manages to string together connections between seemingly completely unrelated stories in distant parts of the world. Renowned for his ability to make history accessible to the everyday reader, Marr will enchant listeners with this take on history.
5. Flags of Our Fathers, James Bradley
Flags of our Fathers tells the story of perhaps the most famous event in U.S. military history: the attack on Iwo Jima. He sheds light on the men who lived to tell their stories and those who didn’t. Bradley’s father was one of the six men who raised the flag now represented by a monument in the nation’s capital and one of the three of those men who survived the following battles.
The audiobook of Flags of Our Fathers is narrated by Stephen Hoye, a seasoned audiobook reader who has won a number of awards for his narrations. If you’re looking to encounter a classic WWII tale read by an expert narrator, this is the audiobook for you.
6. Sapiens: A Brief History of Humankind, by Yuval Noah Harari
Why did Homo sapiens emerge on top? How did our foraging ancestors grow to create the booming metropolis seen today? Dr. Yuval Noah Harari traces where humankind has been in an attempt to discover where we might go. He looks into everything from devastating catastrophes to monumental discoveries that changed the course of history. He dives deeper than the concrete facts, examining happiness, personalities, and ways of living. And perhaps most importantly, he tries to answer the overarching question: Is there anything we can do to change the future? Narrator Derek Perkins delivers Sapiens confidently and engagingly.
7. Island of the Lost: Shipwrecked at the Edge of the World, Joan Druett
Just 285 miles south of New Zealand sits Auckland Island. Because of its location, it suffers a year-round onslaught of violent storms. On a strange day in 1864, two separate ships crashed on opposite sides of the island, making for a confrontation never before seen in the history of the island. For most, being stranded on the island spells certain death, but these two crews had another idea.
Joan Druett examines the journals of the survivors and maritime historical records previously unseen to tell a story about leadership, trust, and betrayal. The engrossing audiobook will keep you listening for hours.
8. Horse Soldiers: The Extraordinary Story of a Band of US Soldiers Who Rode to Victory in Afghanistan, by Doug Stanton
After 9/11 left the country in a scramble for justice, peace, and safety, a small group of Special Forces secretly entered Afghanistan. With nothing but the clothes on their backs and a small amount of weaponry, they set out to defeat the Taliban on horse. After an epic journey spanning across rigorous terrain, a series of deadly battles, and the capture of Mazar-i-Sharif, a major Afghani city, the plan for an enemy surrender is underway.
While at first the Special Forces soldiers were welcomed as heroes, things quickly took an unexpected turn. Six hundred Taliban troops ambushed the Horse Soldiers and the POWs they’d rescued. Overpowered and outnumber in every way possible, they fought for their lives, and to avoid capture. About to hit theaters as 12 Strong, the audiobook of this tale is well worth the listen.
9. Killers of the Flower Moon: The Osage Murders and the Birth of the FBI, by David Grann
In the 1920s, the Osage became the richest people per capita in the world. This tiny Indian Nation in Oklahoma discovered oil beneath their land and turned it into massive profits. They rode in chauffeured vehicles, built mansions, and sent their children to study in Europe. Sadly, and seemingly unavoidably, people arose to take advantage of the tribe, once one of the largest American Indian nations in the area. Mollie Burkhart watched her entire family murdered, and her case was just the beginning of the reign of terror.
David Grann’s investigation into the case was one of our favorite nonfiction reads of 2017, and the audiobook, which features a narrator for each section of the story, is perfectly produced.
A US Army spokesman told INSIDER that the fan had a point but that calculating the exact dollar amount isn’t so simple.
Here’s the backstory.
After defeating Hydra in World War II, Captain America was lost in the Arctic north from 1945 to 2011. During those six decades on ice, he was never technically discharged. As a result (the theory goes), the government owes him payment for those 66 years of service.
Redditor Anon33249038 crunched the numbers and concluded that the First Avenger is entitled to $3,154,619.52, adjusting for inflation.
The analysis factors in the Army’s 1945 pay grade, biannual raises, and how long Cap spent on ice before he returned to active duty in 2011 at the start of “The Avengers.”
Wayne Hall, an Army spokesman, says there’s more to it than that.
“If Capt. Steve Rogers (aka Captain America) were not a fictional character and the circumstances surrounding his disappearance and recovery actually real, he may actually be entitled to receive back pay,” Hall told INSIDER in an email. “However, a wide variety of variables would have to be taken into consideration to actually calculate the true amount of back pay to which he would be entitled to receive; given that he is a fictional character we cannot truly capture all of those variables accurately.”
Hall went on to say that the Redditor had some of his facts wrong.
“Yes, it is correct that the O-3 (Army captain) pay grade in 1945 was $313.50; however it was a monthly pay rate vs. quarterly as the original poster indicated.”
The fan theory also “misinterpreted military pay scales” when arriving at the figure for the biannual increase of pay, Hall said, and failed to take in “any potential promotions that may have been bestowed upon Rogers while he was listed in a ‘Missing’ status.”
Whatever the final amount of back pay the government would owe Captain America for his decades of service, it’s almost certain that he would still have way less money than Tony Stark.
Movies about sick cars doing impossible things was arguably perfected by the James Bond film franchise way before Paul Walker and Vin Diesel decided car chase movies were also about “family.” And the latest news from the set of the next 007 flick (and last Daniel Craig Bond) confirms a certain old-school iconic sports car is back. But, it’s not exactly the one you might guess.
On June 30, 2019, EON productions and the James Bond Twitter and YouTube pages released images and footage of Daniel Craig filming the as-yet-untitled “Bond 25” movie. And the car is driving is a throwback to 1987, specifically the movie The Living Daylights. (That’s the one where Bond dates a cello player and a-Ha does the theme song.)
The car is an ’87 V8 Aston Martin, which, in The Living Daylights sported lasers, a turbo-boost, and special retractable skis for, you know, snow driving. Though not as famous as Bond’s Aston Martin DB5 from the sixties movies like Goldfinger and Thunderball, the Aston Martin is, in some ways, probably closer to what a Bond car should be like in the cultural imagination; assuming, of course, the lasers and rocket-boost still comes standard on this particular car.
The Aston Martin V8 was driven by James Bond when Timothy Dalton played the role in his debut film. For Bond fans of a certain age, it’s very possible Timothy Dalton was the incumbent Bond when you were a little kid. (I know that was true for me!) Dalton only did two Bond movies; The Living Daylights and License To Kill, before a long Bond hiatus that resumed with Pierce Brosnan picking up the part in Goldeneye.
In Skyfall, Bond drives an Aston Martin DB5 that is exactly like the one Sean Connery drove in the sixties and jokes with M (Judi Dench) about an ejector’s seat. So, could the V8 Astin Martin Bond has in the new film also have all the old Timothy Dalton gadgets? Here’s hoping!
‘A War’ is an Oscar-nominated Danish film that deals with what happens in the field and on the homefront when warfighters are made to fight with restrictive rules of engagement. As much as the film is a story about one officer’s experience (and how his choices under fire potentially affect his family) it is also a commentary on the nature of the limited wars that members of NATO and ISAF have found themselves involved in since 2001.
The war in Afghanistan has been specifically challenging with respect to ROE. The enemy isn’t another nation-state. Some areas are more secure than others, but overall there are no front lines. Add to that the overall mission of convincing the local populace that modernity and following a western model of rule of law is the better choice over the savage and unmerciful nature of Sharia law and the draconian elements that come with it. The ability to win “hearts and minds” is heavily leveraged against avoiding collateral damage while attacking the enemy.
All of that distills down into an ROE matrix that requires the warfighter in the field to accept risk. This primary mission is keep the locals safe; it’s not keep your troops safe. And it’s not kill the enemy at all costs.
In all-out warfare unflinching ROE can be established, stuff like “if it flies it dies” and “everything east of this longitude is hostile.” In limited war the steps are complex and nuanced, almost like trying to build a case in a courtroom. Only a battlefield is no courtroom.
In limited war the fact your unit is under attack doesn’t give you carte blanche to defend yourself. “Positive ID” must be established. You have to be able to prove you know where the bullets are coming from before returning fire rather than destroying whole city blocks. You have to be able to tell “the pepper from the fly shit,” as they say.
Complying with this PID methodology gets harder when troops start dying around you. At that point you’re apt to do whatever it takes to make it stop.
And once the shooting does stop and you’re back in the antiseptic light of day, you will be judged on your conduct. You’ll be judged by those who weren’t there, and who probably never have been or ever will be there.
Such is the essence of the Post-9/11 conflicts. The harm into which we’ve sent our most recent generation of warriors is distinct from those who fought before them, and the respect they’re due is unique and equal.
We Are The Mighty recently had the opportunity to sit down with the principals behind “13 Hours” and chat with them about the film, including their sense of how accurate it is. And while the past three years have been full of rumor and innuendo around what happened that fateful night in 2012 in Benghazi, the CIA security contractors who rescued the the Americans and defended the annex want the world to know what’s in the movie “13 Hours” is what really happened on the ground.
Director Michael Bay has always been more than a vocal supporter of the military. No matter what his detractors might say, on his film sets, he always makes a concerted effort to get the reality of modern-day U.S. military personnel right. He believes this might be his most realistic movie ever.
The film stars John Krasinski as Jack Silva, a CIA contractor and former Navy SEAL who joins a security team already based in Benghazi.
Other members of the team include James Badge Dale (“Rone”), Pablo Schreiber (“Tanto”), David Denman (“Boon”), Max Martini (“Oz”), and Dominic Fumusa (“Tig”). To a man, each one told We Are The Mighty how important the realism of the movie was to their performance.
Dale, who has portrayed military personnel before in HBO’s World War II epic miniseries The Pacific, found his preparation for this film different than anything he’s done before. (This time he’s also portraying a former Navy SEAL.)
Pablo Schreiber and David Denman play a Marine veteran and Army Ranger veteran who assist with the rescue. Their experiences getting to know the real operators they play onscreen gave them a deep appreciation of the men and what happened there.
Max Martini and Dominic Fumusa trained with former Navy SEALs and contractors throughout the filming of the movie. The real defenders of Benghazi watched them as they brought the events of that day back to life.
“Ace Ventura: Pet Detective,” “The Mask,” and “The Santa Clause” were just a few of the hilarious movies that rocked theaters back in 1994.
But for veterans, one comedy stands out from the rest: “In The Army Now” starring former MTV Veejay Pauly Shore. It’s not known for being the most authentic military film ever, but it’s pretty freaking funny.
Shore, who plays “Bones,” is a complete slacker/electronics salesman who gets fired from his job and joins the Army reserves with his buddy specializing in water purification.
After doing sh*t ton of push ups in boot camp for being a goofball, the Glendale reservist gets called to action as a conflict breaks out in the African nation of Chad.
Peel back the layers and check out a few life lessons from the film that may reshape how you see this cult classic.
1. How to keep your retail job when the boss wants to fire you
Step 1: Humorously tell your boss why you can’t get fired.
He’s a crazy boy. (Images via Giphy)Step 2: Have one of your closest friends page you by name over the intercom system strictly for customer service reasons.
“Bones to the service floor. Bones to the service floor.” (Images via Giphy)Step 3: Sell an expensive product right in front of your boss.
Sell that sh*t. (Images via Giphy)Just don’t get busted like our friend Bones here.
Busted. (Images via Giphy)
2. Everything sounds great in the beginning
Joining the military is a life changing event. You should take more than just a few minutes to decide on the huge commitment. Have a buddy go with you to the recruiter’s office to play devil’s advocate on your behalf.
Wait! Think this through now. (Images via Giphy)
3. Embrace the new military you
Those who are blind heading into boot camp will be issued a pair BCGs. Let’s face it, you’re not going to get a date for Saturday night wearing them, but having a strong personality behind those thick frame glasses couldn’t hurt — you’ll stand out more.
Fashionable. (Images via Giphy)
4. Finish the fights you start
Don’t even think about dropping your guard or risk getting the sh*t kicked out of you.
He dropped his guard. (Images via Giphy)
5. Don’t piss off your fellow troops
They just may kidnap you, tie you up and put you on display.
You know that had to hurt. (Images via Giphy)
6. Mind over matter
Things always seem to appear worse than they are at times. Especially when someone thinks there’s a scorpion on their back. That’s just crazy talk.
Calm down. (Images via Giphy)There really was a scorpion on his back. Oops!
Oh, sh*t! (Images via Giphy)