If you want to wear a Jedi robe or a Stormtrooper helmet to Star Wars: Galaxy’s Edge, you’ll likely get tossed into the Sarlaac Pit. Disney has released dress code guidelines for guests attending Galaxy’s Edge, and you’re going to have to leave your blasters and Darth Vader helmets at home or in the hotel.
On June 10, 2019, the official Disney Parks blog released specific guidelines around what is okay to wear at Galaxy’s Edge and what will get you on an Order 66-style blacklist. Essentially, anything that presents a safety issue will not be allowed, which means no helmets, masks, or big flowing clothes of any kind. Blasters and blaster holsters are also outlawed as are “full body suits” so if you’re planning on coming dress as Jar Jar Binks, that little Gugan vest is cool, but the masks and bug-eyes are a NO.
Here’s some good news: Lightsabers are allowed, which, let’s face it, is pretty civilized.
(Disney Parks Blog)
In a small paradox, obviously some of the stuff you can’t wear inside Galaxy’s Edge can be purchased at Galaxy’s Edge. Plenty of the shops at Galaxy’s Edge sell helmets, masks, and blasters. But, the rule is you gotta keep that stuff in the package until you get back to your hotel room.
For any sane person, these rules totally make sense. Galaxy’s Edge might be a delightful hive of geek and nerdiness, but, in the end, Disneyland is for kids. And kids need to feel safe, even when they are traversing that lawless galaxy, far, far away.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Nothing makes a war movie pop like its soundtrack. Films that are scored by famous composers stay with us forever. Hans Zimmer did “Black Hawk Down,” “Saving Private Ryan,” was scored by John Williams, and of course, the most famous war film score ever, Maurice Jarre’s work for the WWI epic “Lawrence of Arabia.”
But not every war movie needs to be scored. There are a few movies where a well-placed pop song is an epic use of screen time. When a director uses a “needle drop,” it can push the scene into something unforgettable.
1. “What A Wonderful World” from “Good Morning Vietnam”
In a movie full of great music and memorable scenes, how do you even choose the most poignant? Barry Levinson’s 1987 film juxtaposes Louis Armstrong’s classic song with imagery of the men fighting the war, the civilians caught in the middle, and the corruption of the South Vietnamese regime.
2. “Danger Zone” from “Top Gun”
No opening sequence starts a movie better than the song that keeps Kenny Loggins in the money to this day. The Navy even used this movie as recruiting tool, with a full 90 percent of applicants reporting that they’d seen “Top Gun” the year it came out.
3. “The End” from “Apocalypse Now”
Did I say “Top Gun” has the best opening scene song? It has to compete with the first shots of “Apocalypse Now,” featuring the Doors’ “The End”.
4. “Tracks of My Tears” from “Platoon”
Charlie Sheen gives us a stark vision of his future, jamming with his friends to Smokey Robinson and the Miracles’ 1965 hit, smoking all manner of things while knocking back a few beers. This scene is just as iconic as the Sgt. Elias death scene or the end of the movie, where Sheen’s character looks back on his tour.
The Trashmen’s 1963 song “Surfin’ Bird” dominates as the Americans push the NVA back from Hué City.
6. “Do Wah Diddy” from “Stripes”
I think the YouTube commenter Brian Buchanan said it best about this scene from the Bill Murray and Harold Ramis comedy “Stripes” — “Funny scene, but these two morons would be doing push up ’til they died.”
7. “Dream Lover” from “Hot Shots”
Yeah, “Hot Shots” isn’t a real war movie in the sense that anything really happened but you can say that about “The Hurt Locker” too. Even so, I’ll never forget when Topper Harley sees Ramada Rodham Hayman for the first time.
“I was really impressed with the way you handled that stallion. You know, when I saw you dig your heels into his sides, tighten up the reigns, and break his spirit, I never wanted to be a horse so much in my life.”
8. “You’ve Lost That Lovin’ Feelin” from “Top Gun”
If this movie and Kenny Loggins prompted a bunch of people to join the Navy, I wonder how many late-80s women had to put up with guys singing to them in bars until the fall of Communism.
9. “Sgt. Mackenzie” from “We Were Soldiers”
While not technically a pop song, this song was written about the singer’s grandfather’s service in WWI and is undeniably awesome. Awesome. Awesome.
Maybe it’s because I recently went head-to-head in a heated eighteen holes of mini golf with a Navy SEAL, or maybe it’s because Rob Riggle’s humor is so goofy and delightful, but I am really enjoying ABC’s new show Holey Moley.
“Last week billions watched as mini-golf swept the nation. Diseases were cured, families reunited, ABC executives promoted. The world came together in arms and wept in joy for the only sport that matters on earth: mini golf,” Riggle announced, and he would never lie.
Riggle joins Joe Tessitore as on-camera commentators while Jeannie Mai reports from the course, which includes holes like the “Slip ‘n’ Putt” (where one contestant literally fell on his face — like, right on his face, guys; he started bleeding) and “The Distractor” where golfers must try to get a hole-in-one while something, or someone, distracts the hell out of them.
Enter Sergeant Putton.
Putton may be wearing the Operation Enduring Freedom Camouflage Pattern, but his branch is 100% “Drill Sgt.”
In an episode titled “The Thunderdome of Mini Golf,” the “Distractor” as Sgt. Putton, whose only objective was to distract the golfer enough to miss the shot.
“He’s pushing buttons. The drill instructor is pushing buttons…because that’s what they do,” observed Riggle, who would know.
Riggle’s been golfing for over twenty years and, in addition to hosting his new show, he produces an annual InVETational golf classic, raising money for Semper Fi Fund, a veteran non-profit that helps critically wounded service members and their families.
Holey Moley is on ABC Thursday nights at 8PM, sorry, 2000 hours — or you can find it on Hulu right now. Check it out and discover for yourself how satisfying it can be to watch people struggle succeed.
In the world of “Tom Clancy’s Ghost Recon: Wildlands,” the U.S. government has had enough of the shenanigans of the South American drug cartels and has dispatched their deadliest operators to kill the snake by cutting off its head.
The newly released trailer focuses on the tactics and capabilities of the “Ghosts,” Clancy’s fictional spec-ops creation and the subject of his games and novels dating back to 2001. So far, we know that “Wildlands” will allow small teams of players to fight in battlefields modelled after the Bolivian jungle.
Game developer Ubisoft Paris clearly wants to paint ‘Wildlands’ as a smarter alternative to more aggressive offerings from the Call of Duty and Battlefield franchises, and to that end the trailer showcases the Ghosts using an assortment of tactics and technology — stealth takedowns, scout drones, etc. — to overpower the cartels’ lethal enforcers.
Hollywood has the ability to spark every veteran’s imagination and when the big screen explores what future militaries may become, it’s enough to make even the most content retiree dream of taking the oath all over again.
Let’s explore the fantastic armies any veteran would love to be a part of.
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.
Over the years, it has become a running joke of sorts that Batman’s glorified fanny pack contains whatever items he needs to fulfill his current mission, regardless of how unlikely a scenario the caped crusader may find himself in. This leads us to the query of the hour- what has Batman’s utility belt been shown to contain?
Up until the release of Detective Comics #29, which formally introduced the idea of Batman having a utility belt, Batman’s costume had, for all intents and purposes, an ordinary belt that stored a single gadget- the bat rope with a grappling hook.
Whats in Batmans Utility Belt & Other Bat Gadgets? – Know Your Universe | Comicstorian
In Detective Comics #29, writer Gardner Fox decided to expand his tool-set, establishing that the Dark Knight wore a belt with numerous pouches containing various gadgets he may need while fighting crime- the first revealed being small glass pellets that when thrown released a large cloud of obscuring, choking gas.
From there things became a bit more elaborate. For example, among other things the utility belt was shown to include a giant balloon figure of batman that can be inflated remotely (Batman #115), a mini Geiger counter (Batman #117), and even a small disk made of asbestos inexplicably revealing his secret identity (Detective Comics #185).
In the 1958 comic Batman #117, it even shows him carrying shark repellent, for all those times one needs to fend off sharks while fighting crime on the streets of Gotham… If you’re curious, in this case Batman was underwater on an alien planet. Lucky for him, he remembered to pack his shark repellent and used it against an angry alien, reasoning that “if it works on the killers of the deep on Earth” it might just scare away a similar creature on an alien planet. We mention this because it gives the infamous scene in the 1966 Batman film where Adam West fends off a shark in mid-air with some handy Shark Repellent Bat Spray some context. Glorious, 1950s era context with pure West.
Later comics also establish that Batman has gadgets specifically designed to counter single members of his rogues gallery such as an antidote to the Joker’s Joker toxin, a Bat-heater to combat Mr Freeze, and special gloves that augment his punching power to fight on a more even playing field with the superhumanly strong villain Bane. Not just for enemies, Batman also apparently keeps what’s needed on hand to take out his allies as well, including a little bit of kryptonite, just in case.
It should also be noted here that in his very earliest comic outings, Batman’s utility belt had space for a handgun. Yes, as sacrilege as this would be in modern times, early versions of Batman had no qualms about shooting bad guys dead.
As for more day to day things, Batman’s utility belt further carries: A first aid kit containing basic surgical tools and various anti-toxins, an acetylene torch that can “cut through the hull of a battleship”, a forensic kit for analysing crime scenes, batarangs, a communication device, keys for the Batmobile, a rebreather in case Batman is ever submerged underwater, Batcuffs (special handcuffs designed to restrain even superpowered individuals), a lockpick, a high resolution camera and in some cases and the aforementioned grappling hook. In addition, the belt also contains numerous darts and pellets designed to subdue, incapacitate or otherwise stun criminals non-lethally when thrown. It also is variously shown to have a flamethrower, and EMP, a sonic devastator, remote claw, napalm, explosive gel, a cryptographic sequencer, and grenades of various type.
In the Batman and Robin film, the belt is even shown to contain a bat-credit card, which, if Batman is to be believed when he flashes it, is something he never leaves home without. And, to be honest, while this scene is often made fun of by the masses, it does at least accurately demonstrate a way for Batman to use his greatest super power- being rich.
In any event, as you might be gathering at this point, writers for Batman really do use his utility belt as a deus ex machina of sorts, usually introducing an amazingly specific gadget seemingly perfectly suited to solve whatever problem Batman has at a given time, with that gadget often never being mentioned again in later depictions.
In an effort to explain away their lazy writing in a semi-plausible way, the comic authors established in Batman canon that the hero obsessively plans every encounter to the most minute detail and has safeguards in place for any eventuality. Thus implying that the exact contents of his utility belt at any given time vary considerably from day to day, though even just going with the staple items that are supposedly always there, the storage capacity of this belt would give Hermione Granger’s handbag a run for its money.
Speaking of planning for any eventuality, the belt has numerous inbuilt security systems to prevent unauthorized use including a tracking beacon and an explosive charge so Batman can destroy it as a last resort if he ever loses it. The belt can also only be accessed by Batman and the various compartments and pouches will only open in response to a specific finger pattern.
The belt is also supposed to be constructed from a titanium alloy that makes it near indestructible, except, we guess from whatever explosive he used for its self destruct mode.
Of course, it’s at this point we feel compelled to point out that in the 1960s Batman TV show, early editions of his utility belt can very clearly be shown to be made up of common household kitchen sponges clipped to a yellow belt…
But to sum up, Batman’s superhero fanny pack contains a bafflingly array of equipment to fight crime, from shark repellent to kryptonite, that somehow all fits neatly into his tiny belt thanks to the magic of lazy comic writing.
Speaking of Batman’s obsessive planning, the comic JLA: Tower of Babel notes that Batman has plans in place to take out his own teammates, keeping detailed dossiers describing how to best deal with heroes such as Superman, Wonder Woman and the Flash. Batman’s obsession with being prepared for every scenario is such that he even keeps a file detailing how to kill himself should the need arise. For anyone curious, Batman notes that the easiest way to kill him would be to distract him by taking an innocent person hostage then take him out like any other mortal man. Although, given countless villains have used this exact strategy against him with little effect, we’re thinking maybe Batman’s planning abilities may be a little overestimated.
This article originally appeared on Today I Found Out. Follow @TodayIFoundOut on Twitter.
A sharp-eyed aviation photographer caught a photo of a U.S. Navy F/A-18F Super Hornet two-seat variant transiting through the Star Wars canyon, one of the most popular western U.S. low-flying areas, earlier this month during what appears to be filming of in-cockpit sequences for the upcoming “Top Gun: Maverick” movie.
The photo, posted to Instagram by Christopher Lohff (@lohffingfoto), shows the pilot/front-seater wearing the same HGU-68/P lightweight flight helmet with custom graphics as seen in previously leaked photos from the production of “Top Gun: Maverick”. The upcoming film, slated for release on June 26, 2020 in the U.S., is likely entering the final stages of its production phase before going to post-production and editing.
[instagram https://www.instagram.com/p/BvdEMuyAKOK/ expand=1]Christopher Lohff on Instagram: “Someone’s excited for the Top Gun sequel! This VFA-122 Flying Eagles F/A-18F pilot was sporting what I can only recognize as Maverick’s…”
Another interesting detail in the photo is the appearance of an array of what appears to be four of the new Sony VENICE CineAlta video cameras on the coaming of the rear cockpit. The new Sony VENICE CineAlta is a full-frame, 36x24mm digital video camera that shoots at a maximum resolution of 6048×4032 and can be modified to shoot at even higher quality resolution. The cameras cost about ,000 USD each without lenses or upgrades for higher resolution.
The Sony VENICE CineAlta array seen in the F/A-18 appears includes four rearward-facing cameras in the aft cockpit of the F/A-18 with various focal length lenses including at least two very wide-angle lenses. The camera array is fitted to the top of the rear cockpit coaming at the top of the instrument panel with a custom machined mount.
These photos give a clue about what some of the in-cockpit sequences may look like when the film debuts next year.
Just before the photos from the western low-flying areas appeared on Instagram, the Internet was filled with “spy” photos of an F-14 Tomcat being used in filming for the upcoming movie. The appearance of the Tomcat suggests a retrospective sequence, some kind of “flashback” to the original “Top Gun” in this upcoming release.
[instagram https://www.instagram.com/p/BvkSnlkl6uJ/ expand=1]Skid Voodoo on Instagram: “Our Hero Tomcat should be returning to the San Diego Air & Space Museum Annex soon. Its service to the new film is coming to a close after…”
The F-14 Tomcat that was sighted around Coronado Island and North Island NAS also showed up on the deck of the nuclear-powered aircraft carrier USS Theodore Roosevelt (CVN-71) for some filming sequences. One sequence included the aircraft being stopped in the large net/arresting barrier used for emergency recoveries onboard ship. The F-14 used in the filming is likely Grumman F-14A Tomcat #159638, an aircraft previously on display at the San Diego Air Space Museum’s Gillespie Annex in El Cajon, California.
This article originally appeared on The Aviationist. Follow @theaviationist on Twitter.
The truest human vulnerability is that we fall in love.
There are many cliches that explore this strange tendency, but here’s one: “All’s fair in love and war.”
I’ve never really felt comfortable with this sentiment; after all, we have protocols like the Geneva Conventions to very specifically dictate what is NOT fair in war. As for matters of the heart, we have only our own moral constructs — and trust in others.
But what happens when that trust is shattered?
From Oscar winner Robert Zemeckis, “Allied” begins with the perspective of actor Brad Pitt’s Max Vatan, a man trained by the British Special Operations Executive to infiltrate occupied Casablanca during World War II to assassinate the German ambassador.
To accomplish this mission, he is partnered with Marianne Beauséjour, a captivating and brilliant French resistance fighter played by the exquisite Marion Cotillard. True to history, their cover story was for the pair to pose as a married couple, bringing them together in intimate proximity, which ultimately leads to a very real romance — or so it seems.
” ‘Allied’ is absolutely a story of betrayal and that’s the universal theme of this film: how we react when we start to think someone we love isn’t who they say they are,” Zemeckis said.
The charisma of Cotillard’s performance is matched by the growing suspicion that she is keeping secrets, which, when set against the backdrop of World War II, literally could mean life or death for our heroes — and their countries.
The tension in this film is beautifully balanced by the sensual chemistry of its two leads, the eloquent cinematography, and the expert sound design (most notably demonstrated in a sandstorm during one of the best love scenes I have ever watched). Everything about this film was lovely, from the costume design to the sweeping set pieces to the dreamy color palette. Even the intense portrayal of the London Blitz was spectacular.
“Allied” is compelling and evocative, and though it has the high stakes of war, it is truly a story about love and trust. The tension builds slowly then erupts in an emotionally charged but satisfying ending.
One of the biggest reveals in “Star Wars: The Rise of Skywalker,” other than Rey’s identity, came at its very end when the character revealed she had her own new lightsaber with a distinctive yellow-orange hue.
What color exactly is the lightsaber and how did the visual effects team land on it?
“A fair number of colors have been used in lightsabers. So there was a design challenge there in terms of what color it should be,” “TROS” visual effects supervisor Roger Guyett told Insider Monday of the direction given for the lightsaber seen at the movie’s very end.
“There was an optimistic kind of quality to that, but we also wanted [Rey] to have a very unique color,” he added of coming up with the color we see on screen. “We ran some tests and decided in the end what color it would be.”
Rey prepares to slice through Kylo Ren’s ship with Luke Skywalker’s lightsaber.
Is there a specific name to Rey’s lightsaber color? We’re going with ‘yellow optimism.’
“That specific color yellow, if you go too pale — this is getting really in the weeds here — if you go too pale and you make it too light, it’s going to look white a lot of times,” Industrial Light Magic (ILM) visual effects supervisor Patrick Tubach said of one factor that helped them land on that precise color. “Colors on film, sometimes they bleed away depending on the exposure and the quality of the light in the scene.”
“Making it that more golden yellow gives you that optimistic feeling, and it also allows you to make it supersaturated and still feel like it’s in the ‘Star Wars’ universe,” he added.
Yellow sabers aren’t anything new to “Star Wars” lore, but they are uncommon. In the past, yellow lightsabers have mostly been limited to Jedi temple guards, who wielded double-bladed sabers.
Here’s Kanan Jarrus going up against a Jedi Temple guard on the animated series “Star Wars Rebels.”
When asked if they had a specific name for the color, optimism was a word that came up frequently to describe the tone they were going for with the look of Rey’s lightsaber.
“We definitely went for things like golden and sun and optimism,” said Tubach.
“I think the optimism carried that choice,” added Guyett.
“I’m going to paint my house ‘yellow optimism,'” joked creature and makeup effects creative supervisor Neal Scanlan.
Did the hilt of Rey’s lightsaber look familiar? It should have.
Rey’s lightsaber does include a yellow kyber crystal
“Yeah, it’s supposed to be a yellow crystal,” said Tubach.
It was not a clear crystal that changed color after chosen by Rey. Neither was it a purified version of a red kyber crystal as Ahsoka Tano did in the past to create her white lightsabers.
Insider thought Rey’s saber color may have contained a healed version of Kylo Ren/Ben Solo’s cracked red kyber crystal, but it seems that’s not the case.
Did the hilt of Rey’s lightsaber look familiar? It should have.
The small detail within Rey’s new lightsaber you may have missed: The hilt of her lightsaber comes from her original staff.
“That was the concept,” said Guyett of the inspiration behind the hilt of Rey’s lightsaber. “The art production design and the art department, we all contribute to the designs of various things… [director] J.J. [Abrams] just thought it was logical that she had the staff, and, therefore, the saber should somehow be linked to that.”
In hindsight, when you go back to “The Force Awakens,” Rey’s staff always looked like it could eventually be transformed into the perfect lightsaber hilt.
“She’s Kim Baker, I’m Kim Barker,” Kim Barker tells me. She’s the New York Times metro reporter and author of The Taliban Shuffle: Strange Days in Afghanistan and Pakistan, on which the Paramount Pictures film Whiskey Tango Foxtrot is based. Barker is referring to Tina Fey and her performance as Barker’s embedded journalist in Afghanistan.
“I think she did a really good job,” Barker says. “I’ve seen a lot of her performances. Obviously I saw 30 Rock, and this is, I think, the most nuanced performance that she’s ever given. And I’m not just saying it because it’s supposed to be me.”
In Whiskey Tango Foxtrot, Fey is a television news copywriter living an ordinary life when her network opts to send a correspondent to Afghanistan. An executive gathers potential reporters fitting a certain profile – those with little to lose – to offer them the position. Fey’s Kim Baker accepts and is quickly in country learning the ropes. She’s green, doesn’t speak any foreign languages, and has no knowledge of Afghan customs.
There she meets photographer Iain MacKelpie (Martin Freeman), fellow reporter Tanya Vanderpoel (Margot Robbie), and her restrained, cautious guide Fahim (Christopher Abbott). Baker quickly learns the ropes about reporting on an “embed” (embedding with a military unit) and life in the “kabbuble” (a play on words describing how life for foreign civilians in Kabul is life in a bubble). She also meets Afghan power broker Ali Massoud Sadiq (Alfred Molina) who takes an immediate liking to Fey’s Kim Baker.
Though there are some combat sequences when Baker embeds with U.S. Marines (led by a Marine officer played by Billy Bob Thornton), Whiskey Tango Foxtrot (WTF for short) is not a war movie. The movie is a dramatization of the book, but still remains true to Kim Barker’s wartime experiences. Fans of Barker’s book will find plenty to love in the film.
“They make Tina Fey way braver than I ever was,” Barker says. She adds that adequately recreating the book would be unnecessarily difficult. The narrative arcs are the same. Her interaction with supporting characters are the same. Robert Carlock, a regular 30 Rock writer, and WTF screenwriter, did a lot of independent research on top of Barker’s book.
“All the events depicted in the film happened to me or to someone I know,” Barker says. “I think the movie is a great representation and that’s what I care about most. I want people to see the movie, enjoy the movie, and then think about what the real story behind it was.”
The choice to depict Fey’s Baker as a broadcast journalist — as opposed to Kim Barker‘s print reporting for the Chicago Tribune — is an apt choice. The movie tells the broad story of a reporter’s time in Afghanistan, hitting all the significant events, influential characters, and memorable moments in a quick retelling of the real Barker’s experience. The book is written by a print journalist, full of detail, nuance, and explanation, a great primer for truly understanding the tribes and conflicts in the Afghanistan-Pakistan region.
Whiskey Tango Foxtrot is a funny, sharp, yet glossy look at the life of a war reporter covering a very real conflict. It depicts the troubles women have as war reporters and the inequalities women face in the region. The movie shows a journalist’s first ever encounter with U.S. Marines and touches on moments that are at times funny and at times trying, just like many war zone experiences. Viewers may walk away wanting something more, and they will be able to get that something from the Barker’s book, which the reporter wanted all along.
“Breaking Bad” is getting a film sequel six years after the popular AMC show ended.
The award-winning drama series premiered in January 2008 and lasted for five seasons. The series centered on Walter White (played by Bryan Cranston), a high school chemistry teacher who turned to crystal meth-making to financially support his family after being diagnosed with stage 3 lung cancer. With a drug dealer/maker and former student named Jesse Pinkman (played by Aaron Paul), Walter became a key drug lord known as Heisenberg.
“Breaking Bad” ended in September 2013 and it was recently revealed that the hit series will have a film sequel titled “El Camino: A Breaking Bad Movie,” written and directed by show creator Vince Gilligan.
Though more information will be revealed, here’s everything we know about the upcoming “Breaking Bad” movie so far.
Aaron Paul as Jesse Pinkman on the “Breaking Bad” series finale.
Aaron Paul will reprise his Emmy-winning role
Last time fans saw Jesse, he was held hostage by white supremacists who were forcing him to cook in a compound. With help from Walter, Jesse was able to escape and drive off in his black Chevrolet El Camino, which may be the inspiration for the sequel’s title.
Based on the movie’s synopsis, it’ll pick up right after the events of the series finale, with Jesse’s whereabouts still unclear.
“In the wake of his dramatic escape from captivity, Jesse must come to terms with his past in order to forge some kind of future,” the description reads.
Charles Baker as Skinny Pete in “El Camino: A Breaking Bad Movie.”
At least one other character from the original series is confirmed to return
Charles Baker will reprise his role as Skinny Pete, one of Jesse’s friends. In the teaser trailer, Skinny Pete is seen being questioned by authorities in regards to Jesse.
“I don’t know what to tell you, I only said like, 500 times already … I have no idea where he is,” he says in the trailer. “Don’t know where he’s headed either. North, south, east, west, Mexico, the moon — I don’t have a clue. But yo, even if I did, I wouldn’t tell you.”
When the New York Times asked Paul about the possibility of familiar faces showing up, the actor played coy.
“All I can say, I think people will be really happy with what they see,” he said.
Aaron Paul won three Emmys for “Breaking Bad.”
The movie will probably be an emotional roller coaster
After the trailer was released, Paul took to Twitter and reshared a powerful scene from the seventh episode of season three, writing: “Here’s a moment from ‘Breaking Bad’ to slowly prepare you all for what’s to come.”
The scene shows Jesse lying in a hospital bed after getting beat up by Hank. As Walter visits Jesse and offers him an opportunity to be his assistant for id=”listicle-2640184508″.5 million, Jesse swiftly turns it down because he’s frustrated by how the teacher-turned-drug-dealer has ruined his life.
“I want nothing to do with you,” Jesse says. “Ever since I met you, everything I ever cared about is gone, ruined, turned to s—, dead. Ever since I hooked up with the great Heisenberg. I have never been more alone. I have nothing! No one. Alright? And it’s all gone! Get it? No, why would you even care? As long as you get what you want, right?”
Paul also told NYT that he “couldn’t speak for a good 30, 60 seconds after reading the script for “El Camino.”
Aaron Paul and Bryan Cranston on “Breaking Bad.”
It will be available to stream on Netflix on Friday, Oct. 11, 2019
People in need of a refresher on the series can watch all five seasons on Netflix. According to the NYT, the film will also air on AMC at a later date.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.