Hollywood has been abuzz since it was announced that Joe Jonas will be making his big-screen debut in the upcoming Korean War movie, Devotion. Jonas follows his younger brother’s appearance in 2019’s Midway. Other cast members include Glen Powell (also appearing in Top Gun: Maverick), Jonathan Majors and Christina Jackson, who will be playing lead roles in the movie. Devotion tells the story of two naval aviators from very different worlds who were brought together by friendship and tragedy.
Ens. Jesse Brown, expected to be portrayed by Majors, was born into an African-American sharecropping family in Depression-era Mississippi. Working in the fields, he developed a love of flight after seeing local pilots fly overhead. Working toward his goal of flying, Brown graduated salutatorian of his high school and enrolled at Ohio State University. Despite working two jobs to pay for school, he maintained top grades in his classes. During his second year, he enlisted in the Navy Reserves and became a midshipman in the school’s NROTC program to participate in the V-5 Aviation Cadet Training Program.
In March 1947, Brown began his Naval Flight Officer training. He also married his girlfriend, Daisy Nix, in secret. Naval cadets were prohibited from marrying during training under threat of immediate dismissal. Despite this and racism from at least one instructor and several classmates, Brown completed his flight training in August 1947. He then trained to fly carrier-based aircraft and became the first African-American naval aviator to earn the coveted wings of gold in October 1948. After breaking this color barrier, he was assigned to Fighter Squadron 32 (VF-32) flying the Vought F4U Corsair. By the time the Korean War broke out, Brown established a reputation in the squadron as a capable pilot and section leader.
In contrast to Brown’s upbringing, Thomas Hudner Jr., expected to be portrayed by Powell, had a privileged youth. The son of a grocery chain store owner, Hudner attended the prestigious Phillips Academy in Andover, Massachusetts. Inspired to join the military after the attack on Pearl Harbor, he entered the Naval Academy in 1943 and graduated in 1946. He attended Annapolis with future Admirals Marvin Becker, James Stockdale and Stansfield Turner, along with future President Jimmy Carter.
Although he initially served as a surface officer, Hudner was drawn by the challenge of aviation. After completing basic and advanced flight training, he earned his own wings of gold in August 1949. After a brief posting in Lebanon, he was also assigned to VF-32. It was there that he met and befriended Brown.
By the Korean War, the WWII-era Corsair was quickly becoming antiquated as a fighter. The new breed of jet fighters were faster and more lethal. However, piston planes the Corsair could deliver heavy ordnance in close air support roles better than their jet counterparts. Brown and Hudner flew these missions with the other members of VF-32 in Korea. Following the Chinese intervention in November 1950, VF-32 flew daily missions to support the encircled Marines at the Chosin Reservoir.
At 1338hrs on December 4, 1950, six planes from VF-32 took off the the USS Leyte. Known as Iroquois Flight, the group consisted of squadron XO Lt. Cdr. Dick Cevoli, Lt. George Hudson, Lt. JG Bill Koenig, Ens. Ralph McQueen, Lt. JG Thomas Hudner Jr., and Ens. Jesse Brown. On this flight, Hudner and Brown flew as wingmen. Hunting for Chinese troops, Iroquois Flight flew just 700 feet off the ground. At 1440hrs, Koenig radioed that Brown appeared to be trailing fuel.
The fuel line of Brown’s Corsair was ruptured by unseen ground fire. Fuel pressure dropping, Brown started to lose control of his aircraft. He dropped his external fuel tanks and rockets in preparation for a crash landing. Despite landing in the snow, the Corsair broke up so violently upon impact that the rest of the flight thought Brown to be dead. His leg pinned under the fuselage, Brown waved to his fellow aviators for help.
15 miles behind enemy lines in 15°F weather on the side of a mountain, Brown’s chances of survival were slim. Iroquois Flight put out a mayday call as the patrolled the area for any threats to their downed comrade. However, the crashed Corsair started to smoke from a fire near its internal fuel tanks. Seeing his wingman in trouble, Hudner intentionally crash-landed his own Corsair near Brown’s crashsite to rescue his trapped friend. He attempted to douse the flames with snow and tried in vain to pull Brown from the wreck. At around 1500hrs, rescue helicopter pilot Lt. Charles Ward arrived and joined Hudner’s efforts to free Brown. Despite the use of a fire extinguisher and an axe, the Corsair continued to burn as Brown remained trapped inside.
Fading in an out of consciousness, Brown, suggested that the two men amputate his pinned leg. Before the suggestion could be acted on, Brown fell completely unconscious. His last known words were to Hudner. “Tell Daisy I love her,” Brown said. Unable to fly in the dark, Ward was forced to fly his helicopter back to base before nightfall with Hudner, leaving Brown behind. He is believed to have died of exposure and his injuries shortly thereafter.
Despite Hudner’s pleas, the Navy prohibited further efforts to recover Brown’s body for fear of enemy ambushes. To prevent Brown’s body from falling into enemy hands, the crash site was bombed with napalm. The pilots forced to carry out the mission reportedly recited the Lord’s prayer as they watched their fellow aviator be consumed by the flames. Ens. Jesse Brown was the first African-American naval aviator killed in action.
Brown was posthumously awarded the Distinguished Flying Cross, the Air Medal and the Purple Heart. For his efforts to save his wingman, Hudner was awarded the Medal of Honor. Both men have had naval vessels named for them. A book and painting, both titled Devotion, capture the bravery and loyalty displayed that 4th of December. The upcoming movie retains this title and will finally bring the incredible story to the big screen. Devotion is currently in pre-production with no release date.
screenshot from the original Hunt for Red October trailer: https://www.youtube.com/watch?v=Goskt8SKMZU.
Another decade, another round of kick-tail movies that made it mainstream. The 90s, of course, made their mark on the population by introducing grunge, different genres of music — namely heavy metal and hip hop — and alternative media. No longer did people have to rely on mainstream sources to get their news or entertainment. Small indie brands began breaking out by the thousands, offering alternatives to big media outlets.
For movies, it was also a huge breakthrough for the war genre. Companies started putting BIG budgets on war films. Likely due to growing success in years past and focus on the Gulf War, studio execs began to take a chance on making big picture operations. This made way for some of the more memorable war movies to-date, including:
The Hunt for Red October, 1990
One of the decade’s first war epics came with The Hunt for Red October, based on Tom Clancey’s debut novel of the same name. The flick starred Sean Connery, Alec Baldwin, and James Earl Jones. Set during the Cold War, the submarine spy thriller movie covers a Soviet Navy soldier who’s looking to defect to the U.S. Meanwhile, the CIA guesses this plan and has to prove it.
2. Schindler’s List, 1993
Schindler’s List has earned a title as one of the greatest films of all time. Based on the non-fiction novel, Schindler’s Ark, the movie follows a rescue mission of more than 1,000 people from Holocaust factories during World War II. Liam Neeson, Ralph Fiennes, and Ben Kingsley star and the film was directed by Steven Spielberg. It earned $322 million against a $22 million budget and was nominated for 12 Academy Awards, winning Best Picture, Best Director, and five additional categories. In 2004, the movie was named “culturally, historically or aesthetically significant” by the Library of Congress and was named as a preservation by the National Film Registry.
3. Forrest Gump, 1994
Another major box office success comes in Forrest Gump, which brought in more than $677 million — the second-most earning film for the year. Starring Tom Hanks, Gary Sinise, and Sally Field, a portion of the movie follows the title character through basic training and during the Vietnam War. Gump fights his best friend, who is lost in the war, and his injured lieutenant. He saves the latter and the two become successful business owners, honoring their late friend. Forest Gump was also listed for preservation by the Library of Congress and the United States National Film Registry.
4. Braveheart, 1995
There’s no doubt that Braveheart was a box office hit, earning more than $200 million. The film is a fictionalized version of a Scottish warrior in the late 13th century fighting the First War of Scottish Independence against King Edward I. Mel Gibson stars, directed, and co-produced the film. Braveheart was written after an epic poem by Blind Harry, which portrayed the life of the main character, William Wallace.
5. Operation Dumbo Drop, 1995
Taking place during Vietnam, comedy Operation Dumbo Drop stars Danny Glover and Ray Liotta on their mission to move an elephant to a South Vietnamese town. The film is based on a true story and depicts the U.S.’s ability to travel Viet Cong movement in the area. The film recouped its budget in movie theaters, but made little profit and earned negative reviews. However, that doesn’t stop it from being a household favorite.
6. The Thin Red Line, 1998
Based on a 1962 book of the same name, The Thin Red Line we all know and love is actually the second film adaptation of the title. The story follows the Battle of Mount Austen during World War II. Sean Penn, Nick Nolte, Adrien Brody, George Clooney, John Cusack, Woody Harrelson, Jared Leto, John C. Reilly, and John Travola appear in this star-studded cast. The movie earned seven Academy Award nominations and was named “the greatest contemporary war film I’ve ever seen” by famous film critic Gene Siskel.
7. Mulan, 1998
Sure it’s a cartoon, but Mulan is still a favorite war flick — and it’s one the entire family can enjoy. In this Disney film, Mulan pretends to take her father’s place in the Imperial Chinese Army in order to fight the Huns. Released as part of the Disney Renaissance, Mulan is based off the Chinese folklore of Hua Mulan, who is said to have been a brave warrior and recognized by the Emperor. The film earned more than $300 million and remains a beloved classic from its time.
8. Saving Private Ryan, 1998
Another Steven Spielberg war film comes in Saving Private Ryan. The film takes place where a mission goes to save the last of four brothers, after the other three were killed in WWII. (It’s based on a true story of the Niland brothers.) Tom Hanks, Giovanni Ribisi, Vin Diesel, and Matt Damon star in the second-most earning film of the year, drawing in $482 million.
9. Three Kings, 1999
This movie takes place during the uprisings in Iraq after the end of the Gulf War. The satirical black comedy was written by famous screenwriter, John Ridley. Following four characters on a gold heist in 1991, the cast includes George Clooney, Mark Wahlberg, Ice Cube and Spike Jonze. The movie was successful at the box office and remains a comedy war flick classic to this day.
Is anyone else feeling some anxiety with regards to our Mandalorian’s decision-making? This week, he brings the Yoda Baby on a reckless adventure with very shady sidekicks. It’s just very irresponsible parenting, to be honest.
But hey, more fun guest stars.
Here’s your spoiler warning.
The Mandalorian, Disney+
Chapter six of The Mandalorian is called “The Prisoner” because Mando (I’m stillstruggling with this nickname…is every Mandalorian called “Mando”?) our Mandalorian accepts a job from Space Santa, officially known as Ranzar Malk (played by Patriot’s Mark Boone Junior), to release a prisoner from a New Republic prison ship.
We’re not really given a backstory into why he chose to go meet up with this dude from his past but it’s immediately clear that he walked into a hostile environment.
Usually in an ensemble heist situation, we’re introduced to a ragtag crew of lovable characters with specific skills, but here it’s just a list of annoying enemies.
There’s Mayfeld (played by Bill Burr), who will be running point on the operation because Space Santa is retired. Then there’s a Twi’lek named Xi’an (played by Game of Thrones’ Natalia Tena), who likes to do a full-body hiss and play with her knives, which I can appreciate. There’s the droid Zero (played by Apple Onion’s Richard Ayoade), who is a droid so our Mandalorian already dislikes him for reasons that haven’t been explained yet. And then there’s Burg (Clone Wars’ Clancy Brown), who Mayfeld immediately insults for his looks.
(Also, why do guys do this to their friends? I’m genuinely asking. Why do you guys insult each other all the time? I can’t imagine introducing my girlfriends and being like, “This is Sally, she’s our DD tonight, and that ugly slut is Jane, who has promised to buy the first round…”)
It’s like Guardians of the Galaxy meets Suicide Squad.
The Mandalorian, Disney+
So…when our Mandalorian accepted Space Santa’s job, he was under the impression that his Razor Crest wouldn’t be part of the deal. In other words, his plan was to — again — just leave the Yoda Baby alone on the ship and then fly off to some illegal and dangerous mission?
Instead, he’s surprised when all these greedy criminals, one of whom already bears a grudge (Xi’an, who also maybe used to have a sexual history) board his ship and fly it and the Yoda Baby into harm’s way.
And, like, literally the only thing keeping the baby hidden was a button? Which Burg immediately pushes during a skirmish where he tried to take off Mando’s helmet.
The only good thing about all this was Bill Burr’s reaction:
“What is that? Did you guys make that thing? Is it like a pet?”
The Mandalorian, Disney+
Just like in previous episodes, the Yoda Baby’s race is rare — none of these scoundrels recognize him or register his significance other than sensing he’s important to Mando. The Yoda Baby is then dropped again when the Razor Crest is yanked out of hyperspace and docked on the prison ship.
This kid is going to need a therapist, I swear.
The Mandalorian, Disney+
The distraction is enough to move the crew into the bulk of the episode. They board the prison ship, which is supposed to be manned by droids only. Our Mandalorian proves himself by taking out the first wave of them. Within the control room, however, they discover a young New Republic prison ward.
Unfortunately for this kid, he becomes collateral damage (RIP Matt Lanter), but not before activating a New Republic distress call. Now we’ve got a ticking clock, spurring the group into action.
They find their prisoner, another Twi’Lek named Qin (played by Berlin Station’s Ismael Cruz Cordova), who is Xi’an’s brother — stranded there by Mando. The crew rescue Qin and shove Mando into his cell, which actually made things interesting.
Would the crew take off with the Yoda Baby in the Razor Crest, leaving Mando locked in a New Republic prison? Potentially forcing him to team up with them as he builds toward the season finale?
Oh. No. He busts out in two seconds. He busts out so quickly that he’s able to also track down and imprison each of the other crew members before they were able to reach the ship?
Holy crap, he’s so cute.
The Mandalorian, Disney+
Speaking of which, back on the Razor Crest, Zero has learned that the Yoda Baby is an expensive asset and sets off to hunt him. Right before he’s able to shoot the child, the Yoda Baby readies his adorable little Force powers and BOOM the droid drops.
Cute moment when the Yoda Baby thinks he did it, only to reveal that Mando is standing behind the droid, having just shot him.
This leaves Qin, who tells Mando he’ll go clean and urges the bounty hunter to just do his job and deliver the bounty.
I was kind of hoping to see the Twi’Lek in carbonite but apparently it wasn’t necessary.
Mando delivers Qin to Space Santa, who abides by the “no questions asked” policy with regards to the missing crew, and takes off.
As he leaves, Space Santa orders an attack ship to kill him…
…but in a fun twist, Qin discovers the New Republic distress beacon on his person right before an echelon of X-Wings drop out of hyperspace and destroy the ship.
baby yoda was shook #TheMandalorianpic.twitter.com/qZ0CWBXdYS
The U.S. Army has always loved its fictional, star-spangled avenger and brother-in-arms, Captain America. Since he served in the Army, he received the benefits of being a soldier. Logically, this would entitle him to back pay for the 66 years he spent frozen in ice.
Steve Rogers was a scrawny kid who served his country in World War II. Because his heart was pure, he was given the super-soldier serum, thus becoming Captain America. To keep Captain America’s backstory of service as a World War II hero relevant regardless of era, Rogers was frozen in ice and thawed out years later.
66 years is a long time to spend frozen. Fan theories have surfaced regarding how much, exactly, he would be owed when he finally came to. This caught the attention of an Army spokesman who clarified that, if he were real, Rogers would have received back pay.
In the comics, this was answered briefly and never mentioned again in Captain America #312. He’s given a check for “almost a million dollars,” which he tries to refuse. He then decides to use the money to set up a hotline through which citizens can reach him for help — because Captain America is that kind guy.
Marvel’s sliding timeline is confusing, so it’s hard to fact-check that amount. After all, based on comic continuity, it’s only been about 18 years since Spider-Man was bitten (and Sam Raimi’s Spider-Man premiered 19 years ago — feel old yet?), so let’s take the writer’s word and move on. Things get more interesting, however, if we focus on the current, Marvel Cinematic Universe version of Cap and calculate his back pay.
A Redditor, Anon33249038, the user who grabbed the attention of the previously mentioned Army spokesman, did the math to include the Army’s 1945 O-3 pay grade (including biannual raises) all the way up to the start of 2011’s The Avengers. His total amount owed would be a staggering $3,154,619.52, adjusted for inflation.
The spokesman pointed out many missing variables in the equation, including the fact that Rogers’ $313.50 was paid quarterly instead of monthly, misinterpreted pay scales and any unaccounted for promotions while Capt. Rogers was listed as missing until he was dropped from roll. Which is confusing because he was presumed dead until Nick Fury found him just before The Avengers.
The more accurate amount, given all the variables, comes from the folks at Nerdist. Since he was never officially promoted to Major, the time-in-service pay increases stop at 18 years, and calculating pay monthly for 66 years at the same rate, adjusting for inflation, gives you a grand total of $4,692,152.56 owed to Captain America. They reached this by adjusting his $375,474.00 for inflation until 2011.
However, DFAS has never had to deal with a 66-year gap for a frozen-in-time, super-serum-infused hero having to adjust each paycheck for inflation. But, when the military gives back-pay, they don’t usually factor inflation or yearly increases.
The solution is much simpler than everyone made it out to be. If he were to be paid at more current rates, his total amount is a similar $4,782,888.00 in just base pay alone. Granted, Captain America would probably turn that check down, just like in the comics… if the VA didn’t try to renegotiate it down to an “almost a million” first.
A new Disney+ series is a throwback to an aspirational time in U.S. history that proved ordinary humans can achieve extraordinary feats.
“The Right Stuff” takes viewers back to America’s space race against the Soviet Union, with the U.S. placing its hopes on the capabilities of seven astronauts — all military test pilots. Two men at the center of the Mercury Seven are Maj. John Glenn (played by Patrick J. Adams), a revered Marine test pilot and committed family man, and Lt. Cmdr. Alan Shepard (played by Jake McDorman), one of the best test pilots in Navy history, according to a press release.
McDorman is no stranger to high-profile military characters. He previously played Navy SEAL Ryan Job in “American Sniper.” Though McDorman wasn’t looking for crossover in the two roles, he says there are parallels.
“What I got out of reading “The Right Stuff” and also reading “American Sniper” … was this relationship to fear. I mean these are people who have a very unique relationship to fear as far as any average person, like myself, could understand. To be able to act efficiently and make smart, calculated decisions under circumstances that would have any of the rest of us acting impulsively or recklessly or too reactionary is certainly a parallel,” he said.
“The Right Stuff” explores how the astronauts’ lives were put on full display, in a manner described as America’s first reality TV show — including with “government-backed PR and publicity” to elevate the Mercury Seven, McDorman says. He adds that a joy and a fear exist when portraying a real person from history.
“When you feel that real presence of people that knew this person, loved this person, along with the public perception of a person — you know it both can breathe down your neck but it can also really inspire you, because it’s just this great responsibility to have. And honestly, it really doesn’t change my approach to the work too much, and I think if you let it, it can just spin you out and kind of sabotage you. So, I kind of use it as just another layer of excitement to view into the research process,” he said.
McDorman and his fellow cast members had a wealth of research to lean on for the pre-production process, he says, but Alan Shepard was also a private man — he was among the astronauts that didn’t write his own book. The other component of McDorman’s preparation for the role entailed in-person experiences.
“As far as the physical training part of it [the role], none of us did as much as we wished we could have — there was probably an astronaut bucket list that we all have,” he said. “We didn’t get to do the most exciting parts of astronaut training physically but educationally, by far, we did. We shot in Coco Beach, we shot in Florida where all of this stuff happened. We got to meet real astronauts at Kennedy Space Center and tour the entire facility; we got invited to the 50th anniversary of the moon landing … and just kind of soak in this environment firsthand before we started.”
“The Right Stuff” takes viewers back to a unified time in history when Americans rallied behind a common goal of developing a space program. McDorman recommends adding it to the must-watch list for the intersection to strides made this year.
“I’d say directly, the historical aspect is fascinating and if you really want a bookend with this year, the first manned SpaceX launch that happened in 2020, and now this show coming out months later, which is the inception of the American space program. You really get to see the start and finish and scope of that entire timeline with this show. It’s a story that even though it’s a famous book and was adapted to an Academy Award-winning movie, I still think for a lot of people — myself being one of those people at first — it’s relatively untold. I think most people my age, and especially people younger, are familiar with Apollo 11 — Buzz Aldrin, Michael Collins, those guys — so learning about two space programs before Apollo, starting with Mercury and learning how the whole space program came to be and how far behind the Russians we were, you know we were reacting to them successfully putting satellites in orbit,” he said.
The Disney+ series also examines the astronauts’ families, who became instant celebrities. Among those under the microscope was Louise Shepard (played by Shannon Lucio), a wife and mother who refuses to let her husband’s [Alan Shepard] transgressions affect her home.
Lucio said she was attracted to the project because the story takes a deeper, clear-eyed look at this cast of characters who came together to try to do something that was dangerous and unheard of at that time. But the private nature of the Shepard family made getting inside of Louise’s head more difficult, Lucio added.
There is an effort by show creators to put the roles of the wives at the forefront, especially because Lucio points out these families were forced to present a “perfect Americana life to the public” while grappling with the realities of their lives privately.
“The show really focuses primarily on three astronauts: John Glenn, Alan Shepard, and Gordo Cooper, and then it also puts a good focus on their wives — and really what each wife was struggling with during this chaotic time when the spotlight was really on them. It does focus, not just on how they were there for their men to support them through this, but what was personally going on for them,” Lucio said.
Shannon Lucio as “Louise” and Jake McDorman as “Alan”
The couple’s relationship, as an example, was complex because it was born out of love, but “Alan was a known philanderer, almost from the moment they were married and throughout most of his life,” Lucio says. Still, Louise remained by his side so that the family could remain whole and he could continue being Alan Shepard.
Lucio says “The Right Stuff” offers an opportune message for current matters facing the nation.
“The story is an inspiring one because it takes these people who are deeply-flawed, but very ambitious and also noble and honorable, in some respects, and it throws them together and they’re all jockeying for this position to be the first. But at the end of the day they realize this is so much bigger than them. This is for America. This is for humanity. This is for trying to push what we are capable of further, and I think that right now, especially with what’s going on and how divisive our country in particular is in this moment, coming together and accomplishing something that is unthinkable is a story I feel needs to be shared and watched right now, for the sake of our souls,” Lucio said.
Other members of the cast include Patrick J. Adams as “Major John Glenn,” Colin O’Donoghue as “Captain Gordon Cooper,” Eloise Mumford as “Trudy Cooper,” James Lafferty as “Captain Scott Carpenter,” Nora Zehetner as “Annie Glenn,” Eric Laden as “Chris Kraft, Jr.,” Patrick Fischler as “Bob Gilruth,” Aaron Staton as “Wally Schirra,” Michael Trotter as “Virgil “Gus” Grissom,” Micah Stock as “Deke Slayton,” and Josh Cooke as “Loudon Wainwright, Jr.”
The eight-episode series premiered on Oct. 9 and is available for streaming on Disney+.
“Choose Your Own Adventure” books were an easy way to feel accomplished as a child. In a few short, simple pages, you could make the decisions which would ultimately kill your character and you could count it as an entire book read — all the way through. Book that, Pizza Hut.
If you had more time to kill or wanted to go on another adventure, you could just crack the book open again and find a new way to die. Either way, you know how these books end.
It should be simple to go back and revisit these books now that we have a lifetime of experience from which to help guide us and make decisions. Suddenly it’s a lot easier to break your friends out of Nazi Germany or get that secret message to George Washington. And now it all makes sense why your character died so often — some of these books give you absolutely terrible choices.
No matter what, it prepares you for a life of making bad life decisions.
No, they did not make a book from a Beastie Boys song (though that would have been awesome and could have explained so much). Sabotage places you in 1942 Casablanca, where you are an agent for Secret Forces. No country, just Secret Forces. You’re working with the French Resistance to break some friends out of a castle prison in Nazi Germany, but the notorious SS Agent Kruptsch is out to foil you.
Your handler gives you an envelope you’re supposed to open when you’re about to enter the castle and sends you off with Resistance operatives Simone and Raoul. Getting to the castle is really difficult because the Germans keep surprising you. When you get to the castle, the envelope lets you know why: Raoul is a double agent. There’s no explanation for why Secret Forces let him continue being a double agent or why they didn’t tell you that in the first place. But that doesn’t matter because if you take too long getting to the castle, your friends escape on their own anyway. Thanks for your help, chummmmmmmmmp!
2. Spy for George Washington
The American Colonies are in open rebellion against Great Britain. You are too young to enlist as a Continental Soldier, so a man you know enlists you (a child) to deliver a message to General George Washington about the British attack on Philadelphia. That’s not nearly as dangerous, right?
You are given every opportunity to tell everyone from Royal Navy Captains to strangers on the street about your super secret mission. The book lets you make that choice. And every time you avoid direct confrontation, you are waylaid and/or eventually killed off. The lesson here is Americans don’t avoid fights, even as spies.
3. Gunfire at Gettysburg
You are a bossy jerk of a kid in 1863 Pennsylvania who is more than a little confused about the ongoing Civil War. On one hand, slavery is wrong, but on the other, the Rebels are fighting in their homeland. I’m not kidding, this is your rationale, your great conundrum.
You just happen to be on the battlefield when the Battle of Gettysburg starts and your sociopath best friend implores you to stick around and watch for a while. You’re held at gunpoint by a Confederate officer who gives you the option of helping the Rebels with your knowledge of the local terrain or making a break for it. You consider helping the Confederates because — and I sh*t you not — you want to meet General Lee.
The author clearly has some kind of man crush on Robert E. Lee. With blazing speed you are given so many options to betray your country. If you try to help slaves escape, you lose. Eventually, you are staring, dumbfounded, as the battle rages around you. The endings where you actually survive always finish with a Southern loss, but your character always looks back wistfully at what might have been.
4. UN Adventure: Mission to Molowa
Only a book for kids would be naive enough to think the UN is anything more than a bureaucratic nightmare. But “to start on tomorrow’s paperwork, turn to page 91” doesn’t make for good reading.
Anyway, you are representing the U.S. in a model UN in New York. You meet a friend there named Achmed from the United Arab Emirates and a girl named Benati from Myanmar at a Middle Eastern restaurant down the street. For some reason the UN Secretary General calls on you three CHILDREN to solve a civil war in Africa and settle a nuclear arms deal with a dictator from a fictional breakaway Russian Republic.
Achmed disappears entirely and you drive into Molowa in an armed convoy to negotiate with five warlords. In true UN fashion, unless you stop to talk, negotiate, or barter with people, you are either left to starve in the wilderness or are eaten by hippos.
You are on a field trip to Washington, DC when the Alarin Cartel, a crime syndicate, threatens the White House. Your bus is then taken captive by the worst terrorists ever. They immediately leave all hostages alone on the bus.
If you act unilaterally and immediately, you can escape in no time, leaving your classmates to whatever fate. The terrorists are after a deadly virus the government is making anyway — they don’t really care if anyone lives. In some endings, the virus is cured by antibiotics (which is medically impossible) and in others it spreads around the world.
You will either work with the President of the United States to force a surrender (while completely glossing over this blatant American violation of the 1972 Biological Weapons Convention) or join the terrorists in South America. All in all, the only decisions you make are really awful, just like the ones you make in real life. At least the cartels have free booze.
(Photo Credit: Hollywood Reporter via Lou Pitt. Used with permission.)
Manager/producer and former Agent at ICM Lou Pitt shares about his life and experiences in the entertainment industry. His current clients include Oscar winning actor Christopher Plummer, New York Times best-selling authors Brad Meltzer, Lorenzo Carcaterra. Tilar Mazzeo, A.J. Hartley, Visual Effect Oscar winner John Bruno and Director Jason Ensler.
Former clients include Arnold Schwarzenegger, Gale Anne Hurd, Dudley Moore, Bruce Lee, Rod Serling, Nick Nolte, Blake Edwards, Howie Mandel, Paul W.S. Anderson and Jessica Lange.
WATM: Tell me about your family and your life growing up?
Pitt: I was born in Brooklyn, NY, where I spent the first six years, but my growing up years were in Miami Beach and Sarasota, Florida, until I moved to Los Angeles the summer of 1957. At 14, my single working mother wanted me to go to Kentucky Military Academy (KMI) which had its winter quarters in Venice, Florida, some 18 miles south of Sarasota. The Fall/Spring terms were in Lyndon, Kentucky, adjacent to Louisville. I spent all four years there. One of my roommates went on to West Point and retired as a Lt. Colonel after serving two tours in Vietnam. All the regimentation was on preparing teens for the military with a full ROTC program recognized by the Army with dedicated instruction by active military officers. Upon my initial arrival at KMI as a freshman, I found that my best friend from Sarasota, Jay Lundstrom had also committed to going there. We had become great friends and played Little League and Pony League together. In fact, it was really because of him that got me on my first team after badgering one of the coaches that I should be selected. Nobody should be left out, he reasoned. A classy gesture from a 9-year-old that became a life lesson about friendship in its purest form. We roomed together for most of the 4 years we were there and have remained good friends to this day. When I was chosen to be Captain of the KMI baseball team in my senior year, I said, “not without Jay.” We served as co-captains of the team.
Lou (left) with his buddy Jay (right) on the KMI baseball team where they were both co-captains.
WATM: Were you involved in any sports?
Pitt: I loved baseball and played shortstop. I continued playing throughout my years at KMI and beyond. My mother and I moved to California at the end of my junior year and returned to KY for my senior year in ’58. My dream was to play professional baseball where I was invited for a tryout with the Dodgers during the Christmas period 1957. It apparently went well with follow ups meant to happen following graduation. However, the rubber met road once in college following a pre-season workout with the start of season, a week away. The truth was, I came to the realization that I didn’t want to live out of a suitcase in pursuit of a dream. Went cold turkey and never picked up a baseball again until I played in a few Hollywood Stars games at Dodger Stadium thanks to my friend Jack Gilardi. I wanted to stay rooted in one place which had been absent most of my life. It was a decision I never looked back on or regretted. I went to Cal State Northridge and graduated in 1962 with a degree in theatre and a minor in English.
Fun fact: Famous actors Jim Bacchus (Gilligan’s Island, Mr. Magoo, Rebel Without a Cause), Fred Willard (Best in Show, Modern Family, Spinal Tap), and Vic Mature (Kiss of Death, The Robe, My Darling Clementine) attended and/or graduated from KMI as well.
Lou as a senior cadet at KMI in 1958.
WATM: Did you serve in the military?
Pitt: Yes, I was actually drafted into the Army but was fortunate to find a Reserve unit in Van Nuys in the nick of time. I was against the war and fortunate this option materialized given the dramatic escalation of the war. I did my Army Basic at Fort Ord and MOS school at Fort Gordon, GA. My MOS was a Military Policeman (MP).
While at Fort Gordon, a high security post at the time, I auditioned for a play that was being done on the base. I figured this would keep me out of trouble and away from the “lifers” (career EM’s and Officers). The play was “Look Homeward, Angel” and starred Army personnel and people from off-base. It was a great escape and I made a lot of friends from the local town along the way. One of them turned out to be Lt. Col. David Warfield who, as it turned out, was not one of the city folk, but the Adjutant General of Fort Gordon, the second man in charge of the base.
At the time, I didn’t know who he was as we were in “civvies” during rehearsals. He said if I ever needed anything, to let him know and gave me his card. Covered! The night of the first tech rehearsal, our barracks was subjected to a surprise inspection for drugs and each soldier was required to be sequestered by their bunks for however long it took. I knew I’d never make it to the theatre. Unexpectedly, he showed up at my barracks looking for me. His big black car rolled up outside of our building and heard determined footsteps that got louder and louder with each step. I was called out to the front of the barracks and he opened the car door himself. I had never seen a car that big in my whole life. The Col. said, ‘We can’t be doing this all the time, but hop in. I assume you’re not hiding drugs.’. I thought I was living in a Neil Simon play and it wasn’t going to end well after the final curtain.
Lou on stage in his role as Ben Gant in the stage production of “Look Homeward, Angel”
A newspaper clipping from the play “Look Homeward, Angel”. Lou is at the top.
WATM: How did you get involved in the entertainment industry?
Pitt: With an introduction by a friend’s dad, I secured my first job at Creative Management Agency (CMA) mailroom in 1964 predecessor of ICM Partners. At the time, it was the “Tiffany” of agencies with no more than 60 clients at the time and all of them big stars. The size of the mailroom was the average size of a closet. I was in the mailroom for about six months and then went to train on the desk of Alan Ladd Jr (Producer/Studio Executive; Star Wars, Blade Runner and Braveheart). Alan was my mentor along with Marty Elfand (Agent/Producer; Dog Day Afternoon, An Officer and a Gentleman).
While the agency was primarily motion picture focused, they sold variety shows and packaged Gilligan’s Island which made more for the agency than any star they represented. In the mid to late 60’s, I went to the Arthur Kennard Agency who represented TV stars (Raymond Burr-Perry Mason) and many stars of horror films like Boris Karloff, Bela Lugosi, Vincent Price, Lon Chaney, Christopher Lee, and Richard Kiley who was starring on Broadway in “Man of La Mancha.” It was there, I signed Bruce Lee who was in the series, Green Hornet. At nights, he taught classes in martial arts. Bruce introduced me to Kung Fu. Among his clients were Steve McQueen, James Coburn, Mike Ovitz (CAA), Marvin Josephson (CEO International Famous Agency) and Tom Tannenbaum (Universal TV Studio Executive;) and many other Hollywood luminaries.
Bruce charged a minimum of 0 an hour, which was a lot of money in those days. The Silent Flute (later produced in 1978 as the Circle of Iron) was a script that Bruce wanted desperately to put together but couldn’t get anybody in Hollywood to take an interest. Coburn did his best to bring it to life in LA. We were together for about two or three years when Bruce said, “I will never be a star here, and the only way I will get this made is in Hong Kong.” Off he went. The rest is history as they say. Bruce died before making the film where the produced 1978 version starred David Carradine. In 1971, I went to work at IFA who, in 1975 merged with CMA to become ICM and remained there until 1998.
A picture of a friend, James Coburn, Chuck Norris, and Bruce Lee.
WATM: What values have you carried over from the Army and military school into Hollywood?
Pitt: KMI’s motto was, “Character makes the man.” That to me, defined the traits which mattered most to me in life. Responsibility, honesty, discipline and keeping one’s word. Promises made and promises kept. The centerpiece at KMI was always about the team effort and found it so applicable in a business so dependent on others for success.
Graduation Day 1958 from KMI.
WATM: What are some of your favorite memories with your clients both past or present?
Pitt: Meeting Princess Diana a few years after she married Prince Charles, that came about when I represented Dudley Moore. He did a film in 1985, “Santa Clause, the Movie,” that had a Royal Premiere during the Christmas holidays in London. Dudley’s girlfriend, my wife Berta and I met the Royal Family before the screen presentation. The filmmakers were positioned in a circle for the prince and princess’ arrival. When introduced, they walked inside the circle and greeted everyone individually moving from one to the other. Princess Diana spent a lot of time with each person and was interested in chatting about the movie. She asked a lot of questions and was truly engaged. In truth, Princess Diana weakened my knees. She was extraordinary, as anyone who ever met her could attest. I remember she was still in conversation with the first person while Prince Charles was pretty much done with the group…while encouraging her to “move it along.”
The other that comes to mind was the July 4 holiday opening weekend of “Terminator 2.” At the time, it earned a box office record million over the five day holiday. Having put all the pieces of the film together that included the rights, which were overly complicated as they were jointly held by Gale and Hemdale (who needed to be bought out if it was to ever work), the financing (Carolco) with three high-profile stars; Arnold, Gale Anne Hurd and James Cameron, each with their own schedules that needed to marry organically. It took four and a half years to put that film together and its success was a career game changer for everyone involved.
Lou with Arnold in Budapest, Hungary.
WATM: What was/is it like to represent Rod Serling, Gale Anne Hurd, Bruce Lee, Christopher Plummer, Gena Rowlands and Arnold Schwarzenegger?
Pitt: Rod was my first writer client and I was working with him during the latter part of his career. It was after the Twilight Zone and the Night Gallery series. Rod was a straight-forward, clear headed thinker and smoked a lot. He was a great storyteller with a distinctive voice and an incredible mind. Someone you could listen to for hours. Rod was a WWII veteran as well. He walked the walk.
Bruce was intense and serious but couldn’t have been more grounded at the same time. But mostly, self- assured about his career and looking to break new ground. I can still see Bruce’s smile. His frustration was that he couldn’t get the buyers in Hollywood to take the martial arts action genre seriously enough. By the late 70s it was obvious Bruce was ahead of his time and the martial art films exploded. I never doubted Bruce’s eventual success because he was so centered and full of confidence, talented and focused. It was not a question of if, it was a question of when and how. I really liked him and can tell you he was not that character portrayed in Quentin Tarantino’s movie.
Christopher is simply a very classy man grounded in empathy…especially among other actors regardless of their profile and standing in the business. A man of mischief when it’s playtime but utter discipline when it’s time to prepare and go to work…in fact, obsessively so in a good way. He literally and figuratively never walks in front of you, always behind whether on the red carpet or to a restaurant. “What can I get you” precedes “Hello.” Maybe the greatest storyteller I’ve ever met. He is dedicated to his work and truly loves his profession. Chris inhales the work and the most prepared person I’ve ever met. He has old fashioned manners in a good way. Prefers writing letters then sending emails. Behavior matters and thoughtfulness matters. He’s the first to the set and the first to be “off the book”. We’ve worked together for 45 years and he is a truly special friend.
Love Gale! Her first agent. Smart and I always felt like a partner in “how do we make this work”. She has such a strength, determination and intelligence about her that’s inspiring. She was like a teammate and that we were on an adventure together. There was great trust between us and an unusual giver of herself for others. She’s a “get it done” person that was always open to ideas. A wonderful inner sensitivity that was never far below the surface. We created a “no frills” concept for film budgets that were below a certain level in addition to films she made with or without Jim as a way to introduce new talent or stories that needed special handling.
Arnold is simply one of a kind. 24/7 was not just a descriptive phrase, it was a lifestyle. He defined the word, “commitment” and made a believer that anything is possible. The challenges were exciting because he broke ground that was transformative that defined a movie culture for the 80’s and 90’s. He defied gravity.
Gena Rowlands –What an extraordinary, graceful person she is. Never one to “work the room”, read the trades or lay judgement on anyone’s work in idle chatting. In the 45 years together, she never asked me what she was up for or when she was going to work. She figured if I had something to say, I’d let her know. As warm on screen as she was in her living room. Legendary and an elegant person that’s simply comfortable to just be around whether on a set or in the kitchen. Her career with John was a family centric of gifted actors that spilled into a comfort zone for others that followed. She and John rolled the dice on how to make movies that didn’t have any rules. She just makes you feel you want to kick off your shoes and just chat about stuff.
Lou, Berta, Dudley Moore, Brogan Lane, Peter Sarah Bellwood in Bora, Bora
WATM: What was it like working your way up in the industry in the 60s and 70s?
Pitt: The 60s broke the ground for what the system is today. No longer exclusive contract players, writers, directors, make-up, casting, etc. that could be controlled, and contracted out to other studios or disciplined for whatever infraction the studio bosses captiously inflicted on their talent. The emergence of stars making films away from the studio system and putting together the films they wanted to make as Producers. The emergence of Kirk Douglas, Burt Lancaster, Gregory Peck and others opened the door to an independent way of thinking, putting movies together and taking them to studios became the new norm…a new freedom with new rules to play by.
Mr. Plummer as Kaiser Wilhelm – “The Exception” which Lou produced.
WATM: What are words that you live by?
Pitt: “There are no bad meetings”
Character Makes The Man
Respect for all no matter the rank or position
Mark Twain’s quote about, “If you tell the truth, you never have to remember what you said.”
I remember when I was learning to type, there was a sentence designed for a speed test that stuck with me. “Do all that you can do as quickly and as quietly as when you were told to do it.” For me it was about “get it done” and don’t waste a lot of time getting there. Keep your eye on the ball.
WATM: What are you most proud of in life and your career?
Pitt: I have a remarkable family who’ve been loving, emotionally supportive and inclusive. I’m immensely proud to work in a business that I really love. To have worked with so many extraordinary gifted clients and colleagues who challenged the world every day with their ideas, their talent and trust, has been inspiring and exhilarating. Everyone has been a gift to me.
“If you think this has a happy ending, you haven’t been paying attention.”
This chilling line, spoken with gleeful malice by Ramsay Bolton in season 3 of Game of Thrones, always felt like the closest thing the HBO show had to a thesis statement. From the very beginning, Game of Thrones has made it abundantly clear that it was not in the business of pleasing its fans. Heroes like Ned and Robb Stark suffered brutal, shocking deaths that highlighted the cruel and chaotic nature of the world of Westeros. Oberyn, a man seeking vengeance for the death and rape of his sister, was instead killed by the very man who murdered his sister. A young girl was burnt alive by her own father seeking to further his claim to the throne.
Even George R.R. Martin made no efforts to hide the story’s unabashed acknowledgment of darkness, as he famously alluded to Game of Thrones ending as “bittersweet.” So naturally, heading into the final season, we all braced for the worst. Would the White Walkers end up on the throne? Would Arya’s bloodlust overcome her, sending her on a John Wick-esque killing spree of all the leaders of Westeros, including her siblings? The possibilities seemed endless, which is why it was such a surprise to see that season 8, episode 6, ‘The Iron Throne’ ended on such an uplifting and optimistic note.
If you think this has a happy ending, you haven’t been paying attention…
Of course, this is Game of Thrones, so obviously, its version of a happy ending is quite different than what you might expect from a rom-com or buddy comedy. Over the course of the final season, several beloved characters died, including Jaime, Cersei, Jorah, Lyanna, and, of course, Dany, who was stabbed by her lover-turned-nephew Jon Snow just as she finally reached the Iron Throne. And beyond characters that we knew, countless soldiers and innocent civilians were slaughtered during Dany’s takeover of King’s Landing. Death was always an essential part of the show’s DNA, so it should come as no surprise that it remained a core component in the final season.
However, once Drogon symbolically roasted the throne and headed off with Dany’s corpse, the show suddenly took a tonal shift that could almost be described as cheerful? Bran is chosen as the King of Six Kingdoms and absolves Tyrion’s treason charges by casually making him his Hand. As a result, Bronn, Brienne, Sam, and Davos are all appointed to the high council, despite some of their questionable qualifications. Whether or not these moments were earned is up for debate but what’s not up for debate is the fact that this is about the happiest ending Westeros could have hoped for.
Moving forward, the Six Kingdoms won’t be ruled by a drunken marauder like Robert Baratheon or a cruel psychopath like Joffrey Lannister; instead, they will get Bran, an emotionless, altruistic being who barely identifies as human but makes up for it by having the ability to see the present and the future. He’s basically a superhero who has no personal desires, making him the ideal ruler to an almost absurd degree. And on his high council sit a ragtag crew of the most beloved characters in the show, who joyfully trade barbs and witticisms as their King heads off to figure out if he can warg into a dragon.
And beyond the kingdom as a whole, the show protected the Starks with a sense of mercy that even Ned would have found excessive. In the early seasons, no family suffered more than the Starks, as each member of the family gets about as close to a happy ending as you could expect for them. Obviously, Bran is King but Sansa gets to remain Queen in the North, as Bran agrees to grant Winterfell independence. Jon might not be sitting on the throne but that’s never what he wanted. And thanks to Greyworm’s laughably bad negotiating skills, Jon’s “punishment” is abdicating his responsibility to join the free folk up north. Meanwhile, Arya ditches Westeros to explore the great unknown, for some reason.
For longtime Game of Thrones fans, the last half of “The Iron Throne” may have felt like a jarring shift of pace because we suddenly went from gritty realism to a conclusion that felt very much in line with Tolkien’s Return of the King, right down to the heartfelt goodbye at the docks. None of this is to say that a happy ending was impossible for Game of Thrones; it’s just the show needed to earn the pivot of hopefulness that feels out of step with so much of what we came to fundamentally understand about the Westeros. Was the answer really just let the Three-Eyed-Raven be king? If so, why hadn’t anyone thought of that before? Seems almost too obvious.
Perhaps in Martin’s books, the story will be told in a way that makes the bitter aspect of this bittersweet ending more clear but for now, it’s a finale that almost feels like it was pulled from a less nuanced fantasy series, where kings are impossibly noble and good men and women get to live the long and happy lives they deserve. We can’t help but wonder with such a happy ending, were creators David Benioff and Daniel Weiss the ones not paying attention?
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Hollywood has a tendency to mess up uniforms, customs, and tactical thinking when it comes to military movies.
But they sure know how to give us quote-worthy characters. From the masterful intro speech of “Patton” to the character of Hoot in “Black Hawk Down,” these are the films that we remember for having characters with great dialogue.
We picked out some of our favorite quotes from classic military films. Here they are.
Did we miss your favorite? Let us know in the comments!
Chapter 5: The Gunslinger takes our Mandalorian to a familiar planet and introduces some fun guest star characters and a little mystery. Equally exciting is that it opens with an actual star war! Pew pew!
Let’s get right to the recap. Here’s your spoiler warning for episode five of The Mandalorian.
“I’ll hit the brakes. He’ll fly right by.”
The Mandalorian, Disney+
The Gunslinger opens with a bounty hunter dogfight that ends with our Mandalorian pulling a Maverick and killing his would-be captor. Not terribly original, but hey, the sound design of Star Wars space battles is always a nostalgically good time. Our Mandalorian decides to take his damaged Razor Crest down to…wait for it…Tatooine for repairs.
Two glorious things happen right off the bat: first of all, the Yoda Baby giggled — swoon — and second of all, we get Amy Sedaris in Star Wars canon.
The Mandalorian, Disney+
Our Mandalorian shuts the Yoda Baby up in a little closet (presumably for safe-keeping…but…no) and pays mechanic Peli Motto (played by the delightful Amy Sedaris) to work on that leaky fuel pump. But for heaven’s sake! No droids!
Why? Why no droids? I thought it was because he didn’t want anyone finding out about the Yoda Baby but about two seconds later the baby toddles out of the ship. I guess he can open mechanical doors.
You are a wanted man, Yoda Baby. Hide your damn self???
“Last one there is a womp rat because we use ‘womp rat’ every chance we get I guess.”
The Mandalorian, Disney+
Our Mandalorian searches for work in the Mos Eisley Cantina where he runs into Toro Calican (played by Nurse Jackie’s Jake Cannavale), a kid who just wants to be a bounty hunter. “I don’t care about the money!” he insists. Many times.
At first I was like, “Ooooo is he sexy?” and then I was like, “Oh dear. No. No he’s a bit obnoxious,” and then I was like, “Ugh he needs to die.” Calican makes an offer to our Mandalorian: help him capture a Hutt-protected bounty and Mando can keep the money while Calican can get in the Bounty Hunter Guild.
That bounty is revealed to be Fennec Shand, played by Ming-Na Wen (Agents of S.H.I.E.L.D), who never disappoints.
Shand is hiding out across the sands of Tatooine, lands in the territory of Tusken Raiders. Luckily, our Mandalorian knows Tusken Raider Sign Language and is able to barter Calican’s “binocs” (aka binoculars) for passage across.
The Mandalorian, Disney+
The pair wait for the cover of nightfall to attack Shand, who holds the higher ground. In a fun though short-lived attack, they manage to capture her but lose a speeder, forcing our Mandalorian to go round up a blurrg to ride back on. While gone, Shand takes a “the enemy of my enemy is my friend” approach and tries to convince Calican to free her so they can both take down Mando and return him — and the Yoda Baby — to the Guild.
Calican thinks this is a pretty good idea except for the whole teaming up part. He shoots Shand and leaves her in his dust as he heads back to the hangar. (Once more I have to ask: why did Mando even let another bounty hunter see the baby??
When our Mandalorian returns to find Shand’s dead body, he rushes back to the hangar, shoots Calican while he’s holding the baby, pays Amy Sedaris, and heads off on his merry way.
Meanwhile, a pair of mysterious boots walk up to Shand’s (maybe not dead??) body. Entertainment Weekly has a fan theory that the boots belong to Boba Fett. Leave a comment and weigh in on that one, will ya?
The Mandalorian, Disney+
All in all, I’m enjoying The Mandalorian but I am not riveted by it. Our hero keeps making goofy mistakes that land him in preventable pickles that he easily overcomes and we’re not unraveling any major Star Wars mysteries. The show, while beautifully produced, doesn’t carry much weight to it.
While I find myself very invested in the fate of the Yoda Baby, it’s just too simple for someone else to take the baby — I want to know who he is, where he came from, and why he’s so important. I actually want to know those things about our Mandalorian as well. There haven’t been many major emotional revelations since the twist at the end of the first episode, but I’m still holding out that we’ll get some.
Working hard on my “The Mandalorian” spec script…pic.twitter.com/IggrqjhkxK
Carl Reiner, the comedic presence that was know for various roles across many generations passed away yesterday at the age of 98 according to a statement from his son, Rob Reiner via Twitter.
Reiner’s career spanned decades from TV to the movies and gave us all millions of laughs along the way. But before his legendary Hollywood career, Reiner, like many from his great generation served our country during one of its darkest hours and put a smile on soldiers’ faces while doing it.
Reiner was born in the Bronx, New York, in 1922 to an immigrant Jewish family. In 1943, Reiner joined the Army Air Forces. He was originally slated to be a radio operator but contracted pneumonia and was sent to the hospital to recover for several months.
After recuperating, Reiner was sent to train as a French translator. While there at Georgetown, he got his first taste of directing. After learning French, the Army decided to send Carl to the next best logical place…Hawaii. There, he worked as a teletype operator. One day before he was to be shipped off on assignment, he saw a Special Services production of Hamlet. He managed to do a quick audition and was immediately transferred into Special Services himself. He spent the rest of the war touring the South Pacific while performing for GIs in places like Guam, Saipan and Iwo Jima. He was honorably discharged as a corporal in 1946.
Reiner later wrote about his time in the military, including his famous audition and how his buddies almost got court martialed for passing on a message that Japan surrendered three days early.
After his time in military service, Reiner started two enduring partnerships. He was cast to work with Sid Caesar in “Your Show of Shows.” While working with Caesar, he also met another World War II veteran who was a writer on the show. Mel Brooks and Reiner hit it off and began a partnership that culminated in the legendary routine, “The 2000 Year Old Man.” The routine made its way into five comedy albums, numerous TV show appearances and an animated series.
2000 Year Old Man Mel Brooks Carl Reiner Hollywood Palace 1966
Reiner also started working on a show based on his life. It was later turned into the massively popular Dick Van Dyke Show. He worked as a writer but also started cutting his teeth as a director. He worked on two incredible comedies, “Oh God” and “The Jerk” starring Steve Martin. Reiner directed and/or co-wrote three other Steve Martin films, helping him when his career took up in the late 70s.
The Jerk (7/10) Movie CLIP – He Hates These Cans! (1979) HD
Oreo will release “Game of Thrones”-inspired cookies just in time for the series’ final season.
The limited-edition “Game of Thrones” Oreos, which taste like the original cookie, come emblazoned with one of four different decals inspired by the show. Three of the cookies feature the family sigils of the major houses vying for the Iron Throne, while the fourth cookie comes carved with a profile of the Night King.
The House Stark direwolf sigil is embossed on one version of the cookie.
House Stark Oreo.
The Mother of Dragons is represented with a House Targaryen-inspired cookie featuring the iconic three-headed dragon sigil.
House Targaryen Oreo.
Meanwhile, the famous “golden lion” of House Lannister makes an appearance on another version of the “Game of Thrones” Oreo cookies.
House Lannister Oreo.
Finally, the Night King represents the White Walker army with a cookie of his own.
The Night King Oreo.
Oreo is celebrating the collaboration by recreating the show’s title sequence with an animated landscape built entirely out of 2,750 Oreo cookies. Check out the video below:
Fans of the show can visit Oreo’s website or post on Facebook and Twitter using #GameofCookies or #FortheThrone to pledge their loyalty to any of the houses or the White Walker opposition. Oreo will then surprise some lucky participants with a special treat; the company has not yet disclosed what the treat will be.
The new “Game of Thrones” Oreos will hit shelves nationwide starting April 8, 2019, giving fans of the series plenty of time to stock up on the limited-edition snack prior to the hit show’s season eight debut on HBO April 14, 2019.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
The US government and Hollywood have always been close. Washington DC has long been a source of intriguing plots for filmmakers and LA has been a generous provider of glamour and glitz to the political class.
But just how dependant are these two centres of American influence? Scrutiny of previously hidden documents reveals that the answer is: very.
We can now show that the relationship between US national security and Hollywood is much deeper and more political than anyone has ever acknowledged.
It is a matter of public record that the Pentagon has had an Entertainment Liaison Office since 1948. The Central Intelligence Agency (CIA) established a similar position in 1996. Although it was known that they sometimes request script changes in exchange for advice, permission to use locations, and equipment like aircraft carriers, each appeared to have passive, and largely apolitical roles.
When we include individual episodes for long running shows like 24, Homeland, and NCIS, as well as the influence of other major organizations like the FBI and White House, we can establish unequivocally for the first time that the national security state has supported thousands of hours of entertainment.
For its part, the CIA has assisted in 60 film and television shows since its formation in 1947. This is a much lower figure than the DoD’s but its role has nonetheless been significant.
The CIA put considerable effort into dissuading representations of its very existence throughout the 1940s and 1950s. This meant it was entirely absent from cinematic and televisual culture until a fleeting image of a partially obscured plaque in Alfred Hitchcock’s North By Northwest in 1959, as historian Simon Willmetts revealed in 2016.
When the CIA established an entertainment liaison office in 1996, it made up for lost time, most emphatically on the Al Pacino film The Recruit and the Osama bin Laden assassination movie Zero Dark Thirty. Leaked private memos published by our colleague Tricia Jenkins in 2016, and other memos published in 2013 by the mainstream media, indicate that each of these productions were heavily influenced by government officials. Both heightened or inflated real-world threats and dampened down government malfeasance.
One of the most surprising alterations, though, we found in an unpublished interview regarding the comedy Meet the Parents. The CIA admitted that it had asked Robert De Niro’s character not possess an intimidating array of agency torture manuals.
Nor should we see the clandestine services as simply passive, naive or ineffectual during the counterculture years or its aftermath. They were still able to derail a Marlon Brando picture about the Iran-Contra scandal (in which the US illegally sold arms to Iran) by establishing a front company run by Colonel Oliver North to outbid Brando for the rights, journalist Nicholas Shou recently claimed.
The (CIA) director’s cut
The national security state has a profound, sometimes petty, impact on what Hollywood conveys politically. On Hulk, the DoD requested “pretty radical” script alterations, according to its script notes we obtained through Freedom of Information. These included disassociating the military from the gruesome laboratories that created “a monster” and changing the codename of the operation to capture the Hulk from “Ranch Hand” to “Angry Man”. Ranch Hand had been the name of a real chemical warfare programme during the Vietnam war.
In making the alien movie Contact, the Pentagon “negotiated civilianization of almost all military parts”, according to the database we acquired. It removed a scene in the original script where the military worries that an alien civilization will destroy Earth with a “doomsday machine”, a view dismissed by Jodie Foster’s character as “paranoia right out of the Cold War”.
(Flickr photo by Meredith P.)
The role of the national security state in shaping screen entertainment has been underestimated and its examination long concentrated in remarkably few hands. The trickle of recent books have pushed back but only fractionally and tentatively. An earlier breakthrough occurred at the turn of the century when historians identified successful attempts in the 1950s by a senior individual at the Paramount film studio to promote narratives favorable to a CIA contact known only as “Owen”.
The new FOI documents give a much better sense of the sheer scale of state activities in the entertainment industry, which we present alongside dozens of fresh cases studies. But we still do not know the specific impact of the government on a substantial portion of films and shows. The American Navy’s Marine Corps alone admitted to us that there are 90 boxes of relevant material in its archive. The government has seemed especially careful to avoid writing down details of actual changes made to scripts in the 21st century.
State officials have described Washington DC and Hollywood as being “sprung from the same DNA” and the capital as being “Hollywood for ugly people”. That ugly DNA has embedded far and wide. It seems the two cities on opposite sides of the United States are closer than we ever thought.