Video gamers got a taste of military operations when Marine veteran and former Green Beret Chase Millsap took them through an obstacle course in actual armor with dummy weapons.
As you might expect, the civilians struggle with the low crawls, fireman carries, and other tasks they’re asked to perform. Both teams drop their weapons and leave them behind at some point, and a few of the players have trouble even getting their armor on.
Composer Ramin Djawadi had a formidable task ahead of him for the final season of “Game of Thrones.” Back when he was working on the seventh season in 2017, Djawadi didn’t know his music written for Jon and Dany would also need to play right as Jon Snow plunged a dagger into Daenerys’ heart.
Showrunners David Benioff and D.B. Weiss had “talked a little bit in riddles” about Dany’s fate and the music Djawadi needed to write, the composer said in an interview with INSIDER on June 11, 2019.
“They said, ‘OK, this needs to be a really romantic theme, but make sure that it’s a love theme that can imply complications,'” Djawadi said. “That’s how they started me out. They said things turn differently and things go wrong.”
Their love “theme” (the term Djawadi uses to refer to the melody unique to a character’s scenes that you can hear on the soundtrack) was worked into a track on the season eight score called “The Iron Throne.”
Daenerys and Jon embracing just before her death.
The song played just as Jon and Dany kissed, mimicking the way she believed they were going to have a happy ending. But it was cut short, right as Jon stabbed his queen. Djawadi says “The Iron Throne” is one of the songs he’s most looking forward to playing live later this year when the “Game of Thrones Live Concert Experience” goes on tour.
Keep scrolling to read INSIDER’s full interview with Djawadi, in which he reveals the “positive” message of the final scene with Jon Snow.
Kim Renfro: The final song heard on the show, called “A Song of Ice and Fire,” is obviously such an important endcap to the series. What were the emotions that you wanted baked into that particular track?
Ramin Djawadi: The thought was to really create a bookend to the whole show. We have our main title song that really represents everybody and the entire series, and we thought there’s no better way to end the show than with our main title theme. But this time it was with a full choir. We have men and women and children actually singing it.
Jon leading the remaining wildlings beyond the Wall.
We’ve heard that main title so many times at every beginning of the episode, so we wanted to leave the show with that — including the very last note on our small dulcimer [instrument]. The main title ends when the title card goes to black and they have that little “dum dum ba ba bum bum” on the dulcimer, and those are the same last notes people will hear on the show.
Renfro: Did you have any conversations with showrunners David Benioff and D. B. Weiss about what is going on with Jon specifically? I feel like the shows ends on this optimistic note, where he’s half-smiling and there are children around him. The children’s presence felt really important in that scene, because it’s this mark of the future and possibility. At the same time it’s a little sad, because he’s going into exile, basically, and leaving behind his past life. Were there conversations about that?
Djawadi: Yeah, absolutely. The idea is really that he stops and he looks back, and then the main title starts, and it’s the idea of a new beginning. It’s supposed to be positive and yeah, like you said, the fact that there are children around and [other] people — he’s not just by himself.
Jon taking one last look at Castle Black before heading into the North.
Djawadi [continued]: Originally [he was] with the Night’s Watch, and you’re not allowed to have a wife and children and all that, but this is him going out there with the wildlings, and you can interpret it like he’s starting a new life. He’s a changed man, and he’s leaving the past behind, and so it’s definitely supposed to be something positive. There are many possibilities now — that’s how we can look at it.
Renfro: I’d to talk about Brienne and Jamie, and the music you wrote for their important scenes. How did you approach that aspect of season eight, and especially the romantic element with both of them?
Djawadi: What’s interesting is their theme together came out of what I call the “Honor Theme” […] over the seasons, when they met and the way they treated each other, it was always an honorable theme. So that became their music. And the other big scene which I loved so much there, when she gets knighted, it was used there, and then, yeah, then we basically every time, I’m pretty certain with the development of their relationship, their theme was playing.
Djawadi: Yeah, I was going to get to that [laughing]. I just threw that in there because I thought it would be a subtle nod to their relationship. When she sits there and she thinks about him and writes down all the things he had done, the second half is the ‘Honor’ theme, but yeah a big chunk of that [song] is the wedding theme.
It’s just a hint of what their relationship — if they had stayed together, if he was still alive — what it could have been. What they could have become. That’s why I put that in there. I was amazed some people picked up on it. I was hoping people would go, ‘Wait a minute, that’s from season two.’ And that was exactly my intent. I thought it would be very appropriate.
Renfro: People absolutely loved that. A lot of fans were so attached to their relationship, and I think that it was really special to get a hint at that dream. Like Jaime and Brienne could have been married in some alternate timeline.
Brienne writing down Jaime’s deeds in the White Book.
Djawadi: Exactly. That was exactly my intention. It just shows the power of music, right? There were no words [in that scene] but by putting that in there your imagination goes [into] where this could have gone. I wanted people to have that emotion, and have those thoughts. I’m glad it was picked up.
Renfro: What was the most challenging scene to write music for this season?
Djawadi: I find almost everything challenging [laughing]. I guess maybe “The Night King.” I definitely knew that I wanted to really try to wrap up [on the show] things nicely with all the themes that we know and have come to love, so there were opportunities for that, but there were opportunities for new things.
Obviously “The Night King” theme was our big new theme this season, and writing that piece was challenging in many ways. One is because we decided to for the second time in “Game of Thrones” history to really focus on the piano again. We felt this was an opportunity to have a big piano piece, and we wanted to call back to “Light of the Seven.”
Game of Thrones S8 – The Night King – Ramin Djawadi (Official Video)
Djawadi [continued]: But then of course I had to reinvent myself, and here I was, thinking, “OK, how can I beat myself? I need to have something that has the same impact at this particular moment on the show and call back to ‘Light of the Seven,’ but it can’t be the same piece.”
If I had done an arrangement of “Light of the Seven” again it wouldn’t have made any sense. Cersei was nowhere to be seen, and that piece belongs to Cersei. But it was a very long scene, just like “Light of the Seven.” There were a lot of similarities, so I definitely made a connection [between them]. For example, I end up in the same key and tempo as the “Light of the Seven” by the end of “The Night King.”
But I also [wrote it knowing] when the piano drops people would sit up and go, “Oh, piano’s coming. This means something’s happening now. What’s going on here?” And the idea was that it would have the reverse effect. That you’d see the Night King on his final march towards Bran, and you’d think back to the Cersei theme and that this is all going his way and he’s going to win and it’s over.
We just had 50 minutes of action music and battle and they tried and tried, and they just can’t do it. It was supposed to feel like a finale and that they were all going to die. And then of course the big surprise happens at the end.
Arya surprised everyone when she killed the Night King.
Renfro: I know for past seasons there were times when Benioff and Weiss would give you some advance notice of an arc that was coming, because you needed to start planting those musical themes a little bit sooner. Did you have any advance notice that Dany was going to die, or that she was going to have this kind of turn at the end? The theme you used for her and Jon, called “Truth” on the season seven score, comes back into play right as she’s dying. Did you know when you wrote it that it was going to be a part of her death?
Djawadi: They showed me this season very early, earlier than any other season. But they weren’t that specific about Dany dying back in season seven. We’ve had such a good working relationship; they always give me exactly the information I need to know at the time.
When I wrote [Jon and Dany’s] theme, they said, “OK, this needs to be a really romantic theme, but make sure that it’s a love theme that can imply complications.” That’s how they started me out. They said things turn differently and things go wrong […] they talked a little bit in riddles.
To be honest, I never even thought about who was going to die, but I just took it as, “I need to write a love theme that has some drama to it, that can show complications.” That’s really the word they used, that things will go wrong and [it’s] “complicated.” That word gave me enough information.
The Jon and Daenerys love theme played during their season seven finale sex scene.
Renfro: So the “Game of Thrones Live Concert Experience” is coming back. I’m super excited. I live in LA now, so I get to go to the Hollywood Bowl version. What made you decided to go with an outdoor/amphitheater vibe versus in the indoor arena setup from the past two iterations?
Djawadi: We just want to try different things. The Hollywood Bowl is a historic venue, and performing there has been on my bucket list. With venues like the Hollywood Bowl and others in all the different cities, these outdoor concerts can be very special. It’s just another way of performing it, and obviously the stage brings different challenges by being outside, but it’s exciting.
I’m actually really majorly reworking [the show] right now, because there’s so much material from season eight — we could have done a concert just with season eight alone. I’m trying to keep a cohesive story from seasons one through eight, which is tricky because I only have that limited amount of time. It’s exciting that I have choices, which is great. So I’m in the process of doing that right now. I can’t wait. Hollywood Bowl will be amazing.
Renfro: Is there a particular part of season eight you’re most excited to perform live for people?
Djawadi: Well, of course “The Night King” because it’s just a great set piece, and it’ll be fun and exciting to perform. And another one, I have to say, is actually [“The Iron Throne”]. It’ll be in there in one way or another. That’s the theme from when Dany dies, and it was such an emotional scene for me to write. I’m just really attached to it. I think it’s such a powerful scene, with Drogon, and so that piece is just special to me. I’m very excited to play that live with an orchestra.
Renfro: Well, I can’t wait to see it. Thank you for bringing all this music to life, and congratulations on finishing out this series. It’s really incredible that it’s come all this way, and that you’ve been there from the start.
Djawadi: Thank you. I think it still hasn’t caught up with me fully that [it’s over]. The live concert tour is helping me with it, because I just don’t want to let go, just how many fans probably don’t want to let go of the show. It helps me to still be working on the music and just stay in that world longer.
And yes, looking back it’s crazy when I think of how this all started out in 2011. And now with the concert tour, all this music that I’ve written and just going through it, I feel very lucky that I’ve been part of this. It’s been unbelievable.
Netflix subscribers on a trip outside the U.S. are sometimes surprised to find their accounts are blocked while overseas, primarily due to licensing issues. Some content is only licensed to the streaming service for viewers inside the United States (or is restricted in certain countries). And, by the way, Netflix is known to add users who circumvent the site’s security to blacklists.
In 2015, Netflix announced it would block Virtual Private Networks (VPN), which allow viewers from overseas to view the site and its contents as if they were in the United States. This week, the site announced it would start a heavy crackdown on those users. Here are a few of the military/war movies those subscribers won’t be able to watch:
This is Sebastian Junger and Tim Hetherington’s war documentary masterpiece featuring the U.S. Army’s Second Platoon, B Company, 2nd Battalion, 503rd Infantry Regiment, 173rd Airborne Brigade Combat Team in the Korengal Valley of Afghanistan. The film (and the outpost defended in the film) is named after Pvt. 1st. Class Juan Sebastián Restrepo, a medic killed earlier in the deployment. Four years later, Junger would make another film, Korengal, which would pick up where Restrepo left off. Korengal is also on Netflix.
Here’s a military movie that requires no introduction and no explanation outside of a volleyball scene. This is a flick that probably guaranteed the Navy wouldn’t have to put any money into recruiting pilots for the rest of eternity. If the United States ever falls as a civilization, archeologists in future millennia are going to wonder where they can sign up.
The Civil War
The documentary series and style that allowed Ken Burns to turn a blowup and motion effect into a career is on Netflix in its’ entirety. Also on the streaming service is Burns’ epic-scaled but fairly “meh” World War II documentary in the same vein, called The War.
Five wounded post-9/11 veterans have the opportunity to explore their experiences through humor. The film follows them and their work with professional comedians Zach Galifianakis, Lewis Black, Bob Saget, and B.J. Novak, who help them write and perform their own personal stand-up routines. One vet refers to the Iraq War as “a pretty aggressive study abroad program.”
This is a film about vigilante groups fighting drug cartels in the Mexican Drug Wars. The most shocking part of Cartel Land is that its a documentary, and you can see the characters and events unfold as they did in the real world. It garnered a 94% audience rating on Rotten Tomatoes and is currently nominated for an Academy Award. It will also probably inspire Bundy clan copycats to take to the Arizona desert to “help” the U.S. Border Patrol keep ‘Murica free of invaders.
No one really needs an introduction to Forrest Gump. People still quote this movie to death in lame jokes and it’s now more than a decade old. It makes this list because of Gump’s Army service in Vietnam and Gary Sinise’s epic portrayal of Lieutenant Dan Taylor.
The Unknown Known
How do you feel about former Defense Secretary Donald Rumsfeld? Master documentarian Errol Morris’s 2014 film will either infuriate you or soften your feelings toward the lifelong government official with the most punchable face.
Beasts of No Nation
Netflix made a foray into conflict films this year with its critical hit Beasts of No Nation, starring Idris Elba as a warlord recruiting child soldiers to fight in a civil war in Liberia. The government of a West African country falls as the warlords forces attack a village under international protection. A young boy named Agu flees after his father is shot and is captured by the NDF rebel guerillas. Do not watch this film with kids, teenagers, anyone with emotions, or anyone who expects to not be traumatized.
Team America: World Police
Few movies are as epic as Trey Parker and Matt Stone’s Team America. If you’re a post-9/11 military veteran and haven’t seen this film, you must have been in such a secret squirrel MOS that the military kept you under a rock.
Less of a military movie and more of a horror movie in a military setting, Ravenous feature Guy Pearce visiting a remote U.S. Army outpost in post-Civil War California, a base full of the worst Blue Falcons of all time. Also featuring the worst trailer ever made for a decent film. Seriously, it looks like a fan trailer.
Bonus: TV Shows
Perfect viewing for anyone who ever wanted to pretend Catherine Bell was like the typical military spouse. I think the Army missed an opportunity here. There was never a better recruiting tool.
This is what we who grew up watching this show always hoped a real deployment would be like. If U.S. troops were allowed to build liquor distilleries in their barracks, we’d all become amateur engineers. Sadly, deployments are nothing like this
Five seasons of everyone who matters’ favorite secret agent for hire lives on Netflix, with the sixth season coming (phrasing!).
Look, it is easy, and deeply enjoyable, to give Oscar Mike host Ryan Curtis boatloads of crap for the shenanigans and mannerisms (shenannerisms?) he regularly deploys in the line of duty. It’s easy because he’s a good sport. It’s enjoyable because, well:
But credit where credit is due, it is no easy thing to drop in on a recording studio unprepared, be played a brand new beat, compose a non-wack verse and then get into the booth and spit your best whiteboy flow in front of a hot producer and a rapper at the top of his game.
TMR served 10 years in the Middle East as a Marine Corps combat correspondent, ala Joker from Full Metal Jacket. Though he started rapping young, he found he had to put his passion on ice during active duty — no time to think, let alone rhyme.
When he finally left the service, the transition was rough.
“It was a reality shock. I didn’t know where to go. You’re like, ‘I have all this time on my hands,’ and you get to thinking… ‘I was such a super hero in the military, but now I’m just a regular civilian. Nobody cares about me. I’m nothing now. Why should I even live?'”
Finding himself in a dark headspace familiar to many vets exiting the military, TMR did a hard thing: he asked for help.
With the assistance of the VA, he was able to reorient, finding an outlet in his long-dormant passion for rap. He now lives in Hollywood, CA, cutting tracks and shooting music videos to support his budding career as a musician.
And, no joke, in a single day of working together, TMR, producer Louden and the Artist Formerly Known as Ryan Curtis may just have succeeded in dropping the U.S. military’s first ever chart-topping hip hop track:
It’s a lock for New Oscar Mike Theme Song at the very least.
Watch as Curtis looks for lyrics in a Magic 8 Ball and TMR proves there’s no room in his game for shame, in the video embedded at the top.
“Rambo” is one of the most recognizable military movie series of all time. The indestructible, bow-wielding Special Forces soldier was adapted for video games, comic books, animation, and much more. The series was a permanent fixture of the action movie genre during the 1980s and served as the inspiration for Chuck Norris’s “Delta Force,” Arnold Schwarzenegger’s “Commando” and countless others.
Rambo is a guy’s guy with skills in all things badass: survival, weaponry, hand-to-hand combat, and guerrilla warfare.
As you may recall, Rambo is pulled back into war on two occasions by Col. Trautman and saved the day in both films. Key and Peel made this hilarious comedy sketch depicting what the Trautman/Rambo meeting would be like if it happened today.
Hugh Hefner, the iconic founder, Editor-in-Chief, and Chief Creative Officer of Playboy — and one time U.S. Army veteran — is dead at 91.
His military service is a testament to the mentality of vets from the Greatest Generation. Despite an IQ 0f 152, he still opted to join the U.S. Army right out of high school in 1944, a time when victory in Europe wasn’t necessarily assured.
But Hef never made it to Europe. Instead, he was an infantry clerk stationed in Oregon and then Virginia. While he did learn the basics of using the M1 Garand and tossing grenades, he never had to do it on the battlefield. He spent the war drawing cartoons for Army-run newspapers.
He left the military in 1946, honorably discharged and destined for greater things — notably supplying reading material for U.S. troops (and everyone else) for every American war since 1953.
“I came out [of the Army] like a lot of other fellas believing that somehow we had, we had fought in a war, the last really moral war and that we would celebrate that in some form,” Hefner once said in an interview. “I expected something comparable [to the Jazz Age] after world war two and we didn’t get that, all we got was a lot of conformity and conservatism.”
Hefner left the Army to encounter the Cold War as a civilian and he didn’t like what it was doing to American society. He blamed things like Senator Joseph McCarthy and the House Un-American Activities Committee as a sign of repression in the U.S.
“When I was in college at the university of Illinois the skirt lengths dropped instead of going up as they had during the roaring twenties and I knew that was a very bad sign,” Hefner said. “It is symbolic and reflective of a very repressive time.”
In Hef’s mind, sexual repression and dictatorship went hand-in-hand, and he opted to do his part. His work helped fuel the sexual revolution of the 1960s — and fight an element of feminism he sees as a “puritan,” “prohibitionist,” and “anti-sexual.” Hefner funded challenges to state regulations that outlawed birth control and he sponsored the court case that would become Roe v. Wade.
“One of the great ironies in our society is that we celebrate freedom and then limit the parts of life where we should be most free,” he told Esquire in 2015.
In that same Esquire interview — at age 76 — he said of his death: “My house is pretty much in order. When it comes, it comes.” But he also said, “I wake up every day and go to bed every night knowing I’m the luckiest guy on the fucking planet.”
Many Hollywood war movies focus on the action-packed set pieces that go into the film’s trailer, leaving out a lot of room for the character elements that elevate good stories.
When David Ayer’s “Fury” debuted in theaters, the film’s realistic and diverse characters like Gordo, Bible, and the seasoned Don “War Daddy” Collier made audiences feel the dangers of being a tanker in WWII.
Brad Pitt plays the German speaking tank commander War Daddy must to deploy his leadership skills to manage the different personalities that make up his crew.
No one said you can’t have feelings while you’re deployed in a combat zone, but leaders have to control their emotions to help maintain order. That’s exactly what War Daddy did after losing a crew member as he walked off for a moment of self-reflection.
War Daddy reminds us every great warrior needs a moment. (Images via Giphy)
2. Make your expectations clear
The Army quickly replaces the fallen crew member with an untrained boy named, Norman.
War Daddy gives the newly assigned tanker some sage advice for the hell he’s about to witness.
It sounds cold-hearted, but it’s realistic advice. (Images via Giphy)
3. Rank doesn’t always have its privileges
It not uncommon that war films feature both the war-hardened and the inexperienced “shot caller” tropes. But having a high-rank insignia on your collar or sleeve is only as good as the man wearing the shirt. Write that down.
True leaders get true reactions from their comrades. (Images via Giphy)
4. Live in the moment
Having fought the Germans for a good amount of time and seeing plenty of death, War Daddy knows the importance of embracing a special moment.
To feel alive in a time of death is priceless. (Images via Giphy)
5. Take care of each other
Even though their world is currently under a pile of sh*t, they still have their brotherhood and it’s stronger than ever.
Words only veterans can relate too. (Images via Giphy)
I went to the LA Film Festival to watch a film about a female Marine, expecting to be bored and disappointed. I was neither.
“Blood Stripe” is a well-crafted piece of cinematic art that describes bluntly – and accurately – the difficulties faced by the main character “Sarge” (Kate Nowlin) when she comes back home after serving in the Marine Corps. She realizes she has changed, and those around her cannot fully relate to the person she has become. Her circle questions her emotions, reactions, and behavior, oblivious to the trauma she just left.
As I said, my initial expectations were low. What could civilians know about making war movies, especially war movies about women? I assumed the film would be some “GI-Jane” type of nonsense, a cliché like Jessica Simpson’s character in the atrocious “Private Valentine.” Simpson, clad in a full face of makeup, hair out of regs, clean, and completely un-military is the type of Hollywood characterization that could well make women avoid watching military movies at all. I anticipated a tepid film with a fairytale ending where everyone solves their problems and proclaims “the war is over, let’s all be happy!” In life, especially the military, there is rarely a fairytale ending.
In life, especially the military, there is rarely a fairytale ending. Sarge comes home to the husband she left behind, she gets a job, she drinks a lot of beer; her life may not be great, but it’s okay. Something deep inside keeps nagging at her, memories she would rather forget bubble to the surface. We see a very broken woman, unable to put the pieces of her life back together after an intense military experience. As she slides deeper into alcoholism, Sarge decides to run away from her life and work at Camp Vermillion, the summer camp snuggled deep in the woods of Minnesota, which she attended as a child.
But something deep inside keeps nagging at her, memories she would rather forget bubble to the surface. We see a very broken woman, unable to put the pieces of her life back together after an intense military experience. As she slides deeper into alcoholism, Sarge decides to run away from her life and work at Camp Vermillion, the summer camp snuggled deep in the woods of Minnesota, which she attended as a child.
Sarge is dealing with issues normally portrayed by male characters — dark emotions and feelings not typically associated with women veterans. She is not looking to be a hero nor trying to find a savior; she does not want a parade nor does she want accolades. The war has followed her home, and the tentacles of a vile monster called PTSD are beginning to creep into her life.
The metaphor of running is used throughout the film. Sarge vainly attempts to work out her issues in the typical military manner: She PTs. She does scores of push-ups and sit-ups and tries to literally run from her problems. She can run, but the deep-seated internal turmoil of combat is always there.
The film highlights not only the struggles of most service members to successfully readjust to post-military life but accurately shows the obstacles female veterans explicitly face. One of Sarge’s new friends at Camp Vermillion repeats a line not dissimilar to what many female veterans often hear: “You’re a girl Marine–do they even make those?”
Yes, yes they do. These words demonstrate what females face once they have left the military: disbelief about their military service and treated as if they are not true veterans.
Society has still not fully embraced the notion that women are capable of both giving and taking life; that women can struggle with a war long after arriving back home. Kate Nowlin does an excellent job portraying a woman coming to grips with herself. Her character is both credible and authentic, and alarmingly real. Military women come from all walks of life, they look like your sister or mother or cousin or neighbor; they are unassuming women accomplishing extraordinary feats – although most of them keep their remarkable achievements to themselves.
The war gave Sarge a lot of things: a sense of purpose, pride, strength, and courage. It also took a lot of things away from her: identity, her sense of security, camaraderie. War changes us, life changes us. In the end, this was a film not merely about war and women, but also the struggles we all face during this unique human experience and a longing to find our way back home, wherever that may be.
“Blood Stripe” had its world premiere in June 2016 at the Los Angeles Film Festival to a sold-out audience. It won the coveted U.S. Fiction Award.
Becoming a US Marine is one of the most difficult titles to earn. Getting hammered — both mentally and physically — by a well-trained drill instructor can be taxing on anyone.
Once the Eagle, Globe, and Anchor land on the Marine recruit’s palm, their sense of internal pride will find no limit.
Since the Marine Corps is rich with several defining moments in history, Hollywood loves to use their stories for the big screen. Sadly, in many cases, those films don’t reach audiences in the way the filmmakers would hope.
However, there are a select few moments that are so epic, they won over the hearts and minds of their Marine audience.
So check out our list of movie moments that make Marines pump their fist with pride.
1. The trigger happy door gunner (Full Metal Jacket)
This entry excludes the film’s first act, which had every Marine in the Corps pumping their fist with pride — after they graduated boot camp.
Fast forward to the movie’s second act when Joker and Raptor Man fly toward the Hue City where they meet a trigger-happy door gunner who uses his machine gun to attempt to kill every Vietnamese person he lays eyes on.
2. The flag raising at Iwo Jima (Sands of Iwo Jima)
The Marine Corps has many proud moments throughout its rich history. The flag raising on Mount Suribachi is considered one of the Corps’ most defining moments, as it represents both victory and the powerful American spirit.
So check out our list of kids who stood out in the crowd for their bravery.
1. Jamie Graham (Empire of the Sun)
Christian Bale plays a young British schoolboy living with family in Shangai, China, when he gets separated from his parents and now must fight to stay alive during the Japanese occupation in World War II.
2. Sacha Filipov (Enemy at the Gates)
Played by Gabriel Thomson, this young Russian character feeds bad information to a German sharpshooter to aid in the victory of his hero, legendary sniper Vassili Zaitsev.
3. O.D. / Chicken Boy (Schindler’s List)
Played by Adam Siemion, this intelligent and quick-thinking child managed to help Jews get into the “good lines,” lied to German soldiers about clearing a building and saved about a dozen others by blaming a newly murdered Jew for killing a Nazi-owned chicken.
Played by Oliwia Dabrowska, this young girl donned the famous red coat and courageously walked her way through the dangerous streets of a Polish ghetto as Nazi soldiers raided and tossed the area. She made it completely unnoticed to safety.
5. Leon (The Boy in the Striped Pajamas)
Played by Zac Mattoon O’Brien, this brave youngster lives in a concentration camp but sneaks out regularly for small periods of peace. Leon ends up befriending a young German boy who just happens to be the son of camp’s commandant but never uses that against his newly made friend.
‘The Marine’ is a classic American film and accurate portrayal of a marine transitioning to civilian life,” said no actual Marine, ever.
The film, produced in 2006 by WWE Films, stars WWE superstar John Cena as John Triton, a highly regarded Marine who is unwillingly discharged from the Corps after he disobeys an order while on a hostage rescue mission in Iraq. All of this takes place in the first 5 minutes of the film. The rest of the movie is John, now a civilian, tracking down his wife after she is . . . you know what, it doesn’t really matter.
No one expects accuracy or Academy award-winning performances in a film made for wrestling fans, but if this entire film had been a military movie, it could have possibly set the record for the most technical mistakes in a film.
So here they are, 21 major mistakes (with timestamps) in the first 5 minutes of ‘The Marine’:
1. (1:14) John’s ribbon stack on his Dress Blues is completely out of order.
2. (1:15) Not only is the Combat Action Ribbon out of order, it is worn backwards.
3. (1:18) John’s salute is a good example of how not to salute. His saluting arm is not parallel to the ground, his hand angled inward far too much, and it’s far above the brim of his cover.
4. (1:19) John’s dress blues uniform is unkempt. His white glove is noticeably wrinkled (while saluting), his coat sleeves are too long, and his pants are not tailored causing them to bunch up at his feet because they’re much too long.
5. (1:20) JOHN IS FREAKING STANDING ON THE FLAG OF THE UNITED STATES OF AMERICA!
6. (1:50) John is single handedly performing reconnaissance on an Al Qaeda compound with no back up.
7. (1:57) On combat mission, John is not wearing any head or eye protection.
8. (2:22) Who could miss the unrealistic and gigantic muzzle flash from John’s M16?
9. (2:27) The 40 MM grenade John shoots from his M203 creates a huge unrealistic fireball that engulfs three insurgents.
10. (2:31) Bullet holes in the wall from the 7.62 mm caliber rounds fired by the insurgents are enormous.
11. (2:35) John is not wearing any type of flak jacket.
12. (3:04) After eliminating the insurgents in the room John turns to the bloodied hostages on the floor. Instead of checking to see if they need any immediate medical care he asks in a nonchalant manner “Are you guys ready to go home?”
13. (3:32) There is no special operations command in Stuttgart, Germany.
14. (3:41) No Marine Colonel dressed in his Alphas would walk in to a gym to fetch a Non Commissioned Officer. He would send one of his many aides to get him.
15. (3:46) The Colonel’s ribbon stack is completely out of order.
16. (3:49) John has his back turned to the Colonel the entire time when he is speaking with him. As an enlisted Marine he should face the Colonel.
17. (4:06) The Colonel’s rifle badge is noticeably slanted out of place on his service alphas uniform.
18. (4:09) John is not wearing an authorized Marine Corps cover in uniform.
19. (4:17) The Colonel gives John the terrible news about the decision to discharge him out of the Marines. This would normally be done privately in an official capacity, not casually outside the base gym and in public.
20. (4:22) The Colonel gives John his discharge paperwork in a small letter envelope. There is so much paperwork when a service member discharges they often need folders or very large envelopes to carry them.
21. (4:49) When the Colonel is finished giving John the bad news he renders John a salute. Officers are not supposed to salute an enlisted rank first. To make matters worse, when John renders a salute back the Colonel walks away before John finishes his salute (see image below). This entire saluting sequence is entirely screwed up.
See the trailer of the movie below, and watch the whole think if you’d like to catch another two or so hours of errors.
For nearly half a decade, life seemed to contain three certainties: death, taxes, and Star Wars movies making ungodly amounts of money at the box office. But a year ago, that all changed when Solo, the origin story of the smuggler-turned-hero of the rebellion, came to theaters and failed to make an impression at the box office, struggling to cross $200 million at the domestic box office. It was an unprecedented financial failure for the franchise, causing Disney to halt several planned spin-offs, including the long-rumored Obi-Wan movie starring Ewan McGregor.
Yet despite flopping at the box office, Solo was a critical hit that clearly resonated with at least some of the massive Star Wars fanbase. And on the anniversary of the film’s release, fans decided to take to Twitter and advocate for a second dose of everyone’s favorite stuck-up, half-witted, scruffy-looking nerf herder with the hashtag #MakeSolo2Happen.
Before long, thousands of users were expressing their support for the hypothetical sequel.
Several fans speculated about a potential plot for Solo 2, such as Han and Lando teaming up to do a dangerous job for Jabba the Hutt.
Some suggested making it into a TV show on the upcoming Disney+ streaming service.
A few people even admitted that while they didn’t enjoy Solo at first, they’d come to appreciate it upon rewatch.
And, of course, many people just wanted a chance to see Darth Maul back in action after his surprise cameo in Solo.
Is it likely that this hashtag activism will actually help a Solo sequel get made? Probably not but it’s still nice to see this forgotten Star Wars film get some love from fans and, at the very least, it’s clearly not destined to become a cultural punchline like the highly divisive prequels.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.