The Boeing E-4B, known as the “Doomsday Plane,” is the airborne command center for the United States government during national emergencies meant to ensure continuity of government command after nuclear attack, major natural disasters, or terrorism. And it’s a fleet of old Boeing 747-200s that’s difficult to find parts for. //

The E-4 was developed in the early 1970s as the National Emergency Airborne Command Post. The first was delivered in 1973 (“E-4A”) and three of the planes were upgraded to higher specs (“E-4B”) in 1985. Four E-4Bs are currently in operation, maintained by the 1st Airborne Command out of Offutt Air Force Base outside of Omaha. //

Since the planes are now 50 years old, they’ve become incredibly costly to maintain. The Government Accountability Office estimates a cost of $372,496 per flight hour, and spare parts procurement is difficult as there’s no longer an active world fleet of similar aircraft.

Last April, the Air Force awarded a $13 billion contract to Sierra Nevada Corporation for developing the next-gen Doomsday Plane” called the Survivable Airborne Operations Center. These will be ex-Korean Air Boeing 747-8s. The first of these aircraft arrived at Sierra Nevada facilities late last year to start conversion. The fleet will grow to 10 “E-4C” aircraft by 2036. //

David says:
March 30, 2025 at 2:49 pm
The little-known HBO’s “By dawn’s early lights”, with Powers Boothe and James Earl Jones, almost takes place entirely in a Doomsday plane during WW3. Highly recommended.

Napoleon is master of Europe. Only the British fleet stands before him. Oceans are now battlefields. And a moderate box office success from 2003 has become an unlikely streaming favorite, a poster child for the kind of movies Hollywood doesn’t make anymore, and a beacon of positive masculinity.

That would be Master and Commander: The Far Side of the World, director Peter Weir’s adaptation of the historical seafaring novels by writer Patrick O’Brian. Set inside the hermetically sealed world of the HMS Surprise, an early 19th-century British Royal Navy frigate, the movie stars Russell Crowe—fresh off Gladiator and A Beautiful Mind—as Jack Aubrey, the bold, daring, and conspicuously ponytailed captain. Paul Bettany plays Dr. Stephen Maturin, the ship’s surgeon, an erudite naturalist, and Captain Aubrey’s BFF.

If you kidnapped a hundred of Hollywood’s top minds and forced them to work around the clock, they could not engineer a more exquisite Dad Movie. Though Master and Commander is ostensibly about the Surprise sailing to intercept a French enemy warship, the battle scenes, exhilarating as they may be, are few and far in between. The bulk of the film—and the heart of its charm—is instead a meticulous rendering of daily life at sea: the monotony of hard labor, the palpable threat of scurvy, the dirty-faced sailors who sleep in close quarters and grin through yellowed teeth. (You know it smells crazy in there.) Even better? All the screen time devoted to close conversations between Aubrey and Maturin, and their two-dude violin and cello jam sessions. You come away with a sense of satisfaction at their accomplishments and camaraderie, and just a bit of longing over a bygone way of life.

But that low-key intimacy was confounding to audiences expecting the next Gladiator, and the film’s enduring popularity was not obvious when it was first released. Gladiator and A Beautiful Mind each won Best Picture, and Crowe nabbed a Best Actor Oscar for the former. Though Master and Commander was nominated for 10 Academy Awards, Lord of the Rings: Return of the King swept the show. Master and Commander ended up as the 33rd highest-grossing movie of 2003, three spots behind Legally Blonde 2: Red White & Blonde.

Twenty years after it was released in theaters, Master and Commander has found a new life on the internet, simultaneously the subject of memes and sincerely beloved by a certain type of guy (gender neutral). So why does the movie, which is streaming on HBO Max, suddenly have such a grip on the public imagination? One might initially think that it’s a matter of ironic distance—after all, this is a movie about the stodgy British navy, where every single character is a man. “The hot new bachelor party activity is napoleonic era naval gunnery exercises. The boys hooting and hollering as they drink grog firing three broadsides in two minutes,” reads one tweet. Another imagines a scenario in which several more Master and Commander films are announced to the world, Marvel and DC style.

It’s also just fun to argue about online. Even Russell Crowe got into the mix, responding to someone who called the film boring. But while posting about Master and Commander is popular with an irony-adjacent crowd, the love for it is all sincere. Many of the film’s most vocal fans are in their thirties. If they originally saw it in their tween or teen years, their relationship with the movie only deepened as they grew older. //

Any nostalgia stirred up by Master and Commander is also nostalgia for a different era of Hollywood. This sort of richly detailed, big-budget historical epic rarely gets a chance in today’s movie landscape. And even if the action isn’t the point, the battles absolutely kick ass, using practical effects that would probably be weightless CGI these days. (They bought a ship in Rhode Island and sailed it through the Panama Canal and a hurricane to a six-acre filming tank in Mexico!)

Nando Vila, the head of studio at Exile Content Studio, told me, “I think why a lot of guys are liking it now is because Aubrey is so charming and swashbuckling and swaggery. You believe that all those sailors are into Lucky Jack and they'll follow him to the far side of the world. You don't see that kind of brawny, ‘We're just going to go to the far side of the world. Who's with me?’—that’s not a movie that gets made anymore.”

Tom Rothman, the current chairman of Sony’s Motion Picture Group, was the chairman and CEO at Fox when Master and Commander was released. The film was his personal project: a longtime fan of the books, he had been attempting the project for 15 years. “I had to become the chairman of a major motion picture studio before I could get it made,” he told me.

“Why the books, I believe, endure is because they combine the epic and the intimate. They have epic action and daring in them,” Rothman said. “And I'm like any guy. I love that shit. ‘Oh man, they're going to take that ship’ and all that stuff. That's great. Right? But they're also very intimate and personal. They combine the epic and the intimate, and that's what great historical movies do.”

And though Master and Commander may be a film set in 1805 and made in 2003, its themes are eternal.

“It's about how men (and boys) behaved in that time and circumstance,” director Peter Weir told me in an email. “How they understood concepts like 'duty' and 'courage'. Perhaps that has some relevance today. Times change, and with them fashions, but some things remain imperishable. This film touches on those imperishables.”

DVDs, if taken care of properly, should last for 30 to up to 100 years. It turned out that the problems that Bumbray had weren't due to a DVD player or poor DVD maintenance. In a statement to JoBlo shared on Tuesday, WBD confirmed widespread complaints about DVDs manufactured between 2006 and 2008. The statement said:

Warner Bros. Home Entertainment is aware of potential issues affecting select DVD titles manufactured between 2006 – 2008, and the company has been actively working with consumers to replace defective discs.

Where possible, the defective discs have been replaced with the same title. However, as some of the affected titles are no longer in print or the rights have expired, consumers have been offered an exchange for a title of like-value. //

Damn Fool Idealistic Crusader noted that owners of WB DVDs can check to see if their discs were manufactured by the maligned plant by looking at the inner ring codes on the DVDs' undersides. //

evanTO Ars Scholae Palatinae
7y
839
DRM makes it difficult, and in some cases impossible, for people to make legitimate backups of their own media. Not being able to legally do this, particularly as examples like this article abound, is just one more example of how US Copyright Law is broken.

The steps below outline how to access Netflix's additional categories on your Mac, PC, or tablet from the Netflix website.

1. On your device, go to the Netflix website and log in.

2. In another browser window, open What's On Netflix.

3. In the prompt of your first tab, enter: https://www.netflix.com/browse/genre/.

4. Over on the tab with What's On Netflix, select your desired code, and place it at the end of the URL. For example, the "Fantasy Anime" subgenre code is 11146, so I altered the URL to read: https://www.netflix.com/browse/genre/11146.

5. Choose your title from the selection there and click play.

6. Then, once you've identified a movie or show you want to watch, add it to your queue and find it on the app.

Abortion discourse focuses too often on the existence or limits of a so-called right to “bodily autonomy.” It is seldom framed as it should be: in terms of duty. For any parent, mother or father, in whatever circumstances, the proper response to a pregnancy is the willingness to take any risk, make any sacrifice to protect that little poppy seed-sized life. Those who feel otherwise should seek not to eliminate the unwanted child but to correct the deficiency in their own souls.

MACKIE: For me, Captain America represents a lot of different things & I don’t think the term, you know, "America" should be one of those representations. It’s about a man who keeps his word, who has honor, dignity, and integrity. Someone who is trustworthy and dependable.

I've never been much of a comic fan so far be it from me to offer a correction here, but I'm pretty sure that "Captain America" does represent America. I mean, that seems to be the entire point, from the character's backstory to, you know, his name. //

Now ask yourself if any of this is going to help dig Disney out of its massive hole. Mackie's commentary wasn't even ambiguous. He's clearly suggesting that America as a nation does not exhibit honor, dignity, and integrity. Whatever one may think about that in a modern context, "Captain America" as a character is literally a World War II super-soldier whose entire existence centers on representing America.

Disney desperately needs "Captain America: Brave New World" to be a success. Instead, this may ensure it's a box office failure.

Geena Davis and Samuel L. Jackson are sheer perfection as an amnesiac former assassin and PI who foil a terrorist plot. //

Okay, so The Long Kiss Goodnight didn't exactly light up the box office when it was released, earning $95.4 million globally against its $65 million budget, despite mostly positive reviews. But it remains one of Davis's favorite roles, right up there with Thelma in Thelma and Louise (1991). (It's still Harlin's favorite of all his films.) Even Jackson told GQ in 2018 that of all the films he's been in, The Long Kiss Goodnight remains his favorite re-watch. Are you really gonna argue with Samuel L. Jackson? Just go add it to your holiday queue already!

The Long Kiss Goodnight is currently streaming on Prime Video. //

Emotion_ology Ars Centurion
4y
234
Davis: “Were you always this dumb or did you take lessons?”

Jackson: “I took lessons!”

Just needed to add my favorite line too. It’s an excellent movie.

‘Home Alone’ isn’t just a funny Christmas movie. It displays a mother’s transformation from selfish, absentee parent to devoted loving mother.

In the unlikely persona of Donald Trump, the American ‘rabble’ have found an unlikely hero who stands up on their behalf to remind the ‘warped, frustrated’ old men inside the Beltway who it is that does most of the living and dying in this country.

It’s hard to choose my favorite Christmas movie. Each time I try to pick one, I’m afraid I’ll shoot my eye out.

There are, of course, obligatory holiday movies which bring to mind one’s parents and grandparents. A period in post-war national history which featured Buicks Roadmasters, Hula Hoops, and pineapple upside down cakes made almost completely of mayonnaise. This era features movies such as “Miracle on 34th Street” (1947); “A Christmas Carol” (1951); and “White Christmas” (1954).

Somewhere at the top of my movie list sits “A Christmas Story” (1983). Perhaps because, not unlike the movie’s protagonist, Ralphie, I too grew up among folks who believed no Christmas gift better embodied the True Meaning of Christ’s Birth than an American-made firearm. //

I’m also a big fan of the multiple retellings of Dickens’ Ebenezer Scrooge. For my money, George C. Scott delivers a prize-winning performance in 1984’s “A Christmas Carol.”

Still, it is the Dickensian musical “Scrooge” (1970), starring Albert Finney, that takes the cake. The movie’s flagship song, “Thank You Very Much” is a musical ear worm which will burrow into your frontal lobe and live there until your death. //

I’m skipping over a lot of great Christmas movies here, such as “Holiday Inn” (1942), “It’s a Wonderful Life” (1946), “Die Hard” (1988).

But if you forced me to choose the greatest Christmas movie of all time, I would have no choice but to choose “A Charlie Brown Christmas” (1965).

Much has been made here at RedState about the growing progressive rot permeating various film franchises, most noticeably comic book-based ones such as the MCU and Justice League. While the incessant preaching and corresponding drops in box office revenue are well worth covering, another omnipresent yet overlooked element warrants further examination. Filling this gap, Ladd Ehlinger Jr.’s (FilmLadd on Twitter) latest installment of his excellent video series dissecting both pop culture and political grifters compares Sam Peckinpah’s 1969 Western “The Wild Bunch,” one of the first films made taking full advantage of the Hays Code’s discontinuation, with Joss Wheldon’s 2012 “The Avengers.” The latter comes out decidedly second best on multiple fronts. //

Ehlinger Jr.’s video focuses on how violence is depicted in each film, comparing “The Avengers” outlandish cartoon stylization to “The Wild Bunch” and its utilization of slow motion and quick cuts not solely for cinematic effect but also to depict as accurately as possible violence’s horrific consequences, the suffering and death that come with the real thing. As he comments:

There’s no violence in movies, video games, and the rest; only depictions of violence. It then becomes a matter of depicting violence in a moral or immoral way.

Ehlinger Jr. explains that while “The Wild Bunch” has vast quantities of spilled blood, it does so not to shock or titillate but to emphasize violence’s graphic, messy nature. There are no bloodless bullet holes or immunity to gunfire based on gender or age. Women and children bleed and die just as agonizingly as men. Ehlinger Jr. compares this to the cartoonish ways the humans in “The Avengers” pull off stunts that would, in real life, mean certain death without getting so much as a glorified paper cut. //

Peckinpah’s life was hardly a quiet one centered on Bible study and prayer. Yet ironically, his films are laced with a strong moral code straight from Scripture. What a person plants, they will always harvest. The Old Testament prophet Hosea said it best: They have planted the wind and will harvest the whirlwind. As Ladd Ehlinger Jr. shows us, noting that which was done better in bygone days is not the sole prerogative of previous dusty generations railing against the wind. It is the raw truth. Ignore it at your peril. //

INTJ
2 years ago edited
So, Sergeant York or The Longest Day, both Hays-era films, never inspired violence? What's the difference? What about Psycho? The issue is much more complex and nuanced than is suggested. I would argue that the lack of societal consequences for acts of violence - think Soros D.A.'s - has a far greater impact. //

Cafeblue32 Real GOP 690
2 years ago edited
The avengers isn’t a moral tale? Of course it is.

Shakespeare I believe pointed out long ago there are basically only six stories that are told to describe the human condition. I can’t remember what they all are now, but one is starcrossed lovers who find each other, or they almost find each other. There is the rescuing of the maiden, the slaying of the dragons, the fulfilling of the hero’s quest. All of it is based in morality or to otherwise reenforce values and ideas we used to commonly hold.

There is no neutral input to humans. Whatever we see and hear is internalized and filed away by the subconscious mind. We present tales of murder and violence to others and punishment for it so that we don’t do it in real life. Hollywood is doing its best to strip entertainment of moral considerations, and that is one big reason it sucks. If there is no overall stakes of losing right, wrong, justice and freedom, then there is no conflict, only bitchy people whining about not getting what they want. And the violence becomes a glorified street fight we aren’t invested in because it isn’t about us.

Hollywood removes the consequences of violence and produces movies where people are bloodfilled meat bags to be killed in various ways while we cheer the heroes carnage. They are seldom ever about a larger societal benefit. It is usually personal revenge, or restoration, or some other McGuffin that is their reason.

Violence in superhero movies is sanitized. What happened to all those people in those city buildings they so casually demolish? Or all the cars they smash, or bridges they destroy, etc? People play such a minimal role in the superhero genre anymore that the new Flash movie had him racing around city streets without a single car or person on them. We are just CGI representations of NPCs, bodies incidental to the action.

But they're missing something very important about the original Snow White. In fact, they're missing what I would consider to be such an important part of femininity overall.

The 1937 Snow White didn't lift a finger to fight. She didn’t have to. Her purity and goodness were worth fighting for and protecting, which is why a group of normally peaceful dwarves picked up their weapons and went to chase after the evil queen at the end.

I don’t know if you recall this moment from the original movie, but it’s still a heart-wrenching, intense, and oddly beautiful moment. When this movie was first released in theaters, people were really overcome here. There were people crying in the theaters when the apple fell from Snow White’s hand, because they truly thought she’d died.

At that moment, the audience was the dwarves. They wanted to bring the evil queen to justice. We wanted to pick up weapons and ride out in the name of punishing evil and preserving that beauty and kindness that had touched our lives. Ultimately, that evil was struck down by God Himself. To this day, the entirety of the pursuit sequence holds up as an incredibly dynamic moment.

But the dwarves served a much deeper purpose here. We were the dwarves. All of us. We were messy, grumpy, dopey, and unrefined, but when true goodness and beauty come into our lives, it changes us for the better.

We relate to the dwarves on a personal level, and defending the beauty in our lives, even if violently, is worth doing.

Even after this sequence, a very interesting phrase pops up on the screen before it cuts to her in her golden coffin, with all creation, including the dwarves, paying homage to this beautiful, kind woman.

"So beautiful, even in death, that the dwarfs could not find it in their hearts to bury her."

She was inspiring them even after she died. That was the effect she had on them. You're going to tell me that this isn't a power of its own? To be so life-changing that the people who knew you didn't want to let you go? Taken spiritually, you really begin to see the importance of what Snow White actually represented.

Snow White enchanted everyone she came across. She caused people to change into better people, not because she forced it or demonstrated some sort of artificial toughness, but because she inspired them to be better.

This is what the writers of this modern rip-off and the actors and actresses that play in it don’t get. To them, Snow White is a character that needs to change because she has no power. They see her as weak and, as such, needs to be injected with strength, not understanding that Snow White’s tenderness and boundless kindness carry with them a strength and power that refines civilizations, crafts and grows humanity, and inspires goodness through kindness, generosity, and tender warmth.

This is the very essence of femininity, and it's a strength that modern feminism — with its hyper-focus on selfish inner power relating to outer power — can't wrap its head around.

This is why the 1937 film was such a masterpiece and appealed to so many people, and why the modern "live-action" film is likely going to bomb and eventually be forgotten. The modern version is a shallow shell of what the original told. It misses the point entirely.

It doesn't understand the power of kindness and warmth.

in the case of two films that highlight conservative subjects, the disconnect between the press and regular Americans is put on full display. The results show that either A) elitist “journalists” are totally out of touch with the greater public, or B) that they’re shaping the narrative to fit their progressive viewpoints, or C) both.

To wit, over at the movie review site Rotten Tomatoes, the film “REAGAN” received a terrible 17 percent “fresh” rating from professional reviewers—yet it garnered a huge 98 percent favorable rating from the public. That is an astounding divide. To me, it can only be explained by one thing: the left hates Ronald Reagan, and most journalists are left-leaning, so they can’t possibly judge a movie based on its merits. They can only judge it based on their ideology. //

Here’s some of the educated criticism from our nation’s journalists: “Like Reagan the actor and Reagan the president, Reagan the new movie has a strained relationship with reality.” Paul Renfro, Slate. No bias detected there, right? “It comes so close to parody that it brings to mind the ‘Saturday Night Live’ ‘Mastermind’ skit.” Rogerebert.com. “For conservatives, Reagan has become Muhammad, the Prophet whose name no non-believer ever dare utter.” Movie Nation. Wait, I thought you were reviewing a movie?

The new biopic of the 40th president of the United States is a paean to American liberty, idealism, and genuine goodness. //

Despite the many hurdles this project faced — financing troubles, pandemic-driven set shutdowns, and negative left-wing reviewers — “Reagan” turned out to be a success, presenting the life of one of America’s greatest modern leaders in all its glory. At a time when Reagan’s legacy is denigrated by partisans on both right and left, America faces its greatest geopolitical challenges since the Cold War, and the nation’s mood is decidedly sour, this film is a breath of fresh air. It reminds us of what is most important in life: faith, family, fidelity, and freedom.

But when it comes to purchases made via streaming services, it’s more accurate to consider them rentals, despite them not being labeled as such and costing more than rentals with set time limits. As we’ve seen before, streaming companies can quickly yank away content that people feel that they paid to own, be it due to licensing disputes, mergers and acquisitions, or other business purposes. In this case, a company’s failure has resulted in people no longer being able to access content they already paid for and presumed they’d be able to access for the long haul.

For some, the reality of what it means to "own" a streaming purchase, combined with the unreliability and turbulent nature of today's streaming industry, has strengthened the appeal of physical media. Somewhat ironically, though, Redbox shuttering meant the end of one of the last mainstream places to access DVDs.

The weather theme of “Twisters” could have easily lent itself to a climate change angle, but there’s no hint of an agenda. That’s on purpose, according to Director Lee Isaac Chung.

“I just wanted to make sure that with the movie, we don’t ever feel like (it) is putting forward any message,” Chung explained in an interview with CNN. “I just don’t feel like films are meant to be message-oriented.”

There’s something I never thought I’d hear from Hollywood.

For all its apparent lack of message, my roommates and I agreed the tornado-chasing left us feeling strangely patriotic.

Perhaps that’s because the movie centers on the characters’ dedication to serving their community.

The first chapter of Kevin Costner’s new Western epic has a lot more to offer than its critical and financial woes suggest.

On the occasion of the 100th anniversary of cinema in 1995, the Vatican compiled this list of "great films." The 45 movies are divided into three categories: "Religion," "Values" and "Art." The USCC classification for each film follows its description

In 1995, on the "centenary of cinematography", 100 years after the Lumière brothers displayed their first film for an audience, the Vatican's Pontifical Council for Social Communications compiled a list called Some Important Films (Italian: Alcuni film importanti). The 45 movies are divided equally into three categories—religion, values, and art—with no order of importance placed on the films. The council was careful not to regard the films on the list as the "best", or most important, saying: "not all that deserve mention are included".

“Inside Out 2” is a very safe film, and that is frankly its greatest flaw. As with many of Disney’s mistakes, it comes down to rank cowardice in the face of creative, financial, and political risk. Making a late sequel to the most critically acclaimed Pixar film of the past decade is not a difficult decision, nor is it dangerous to make a movie about the importance of expressing emotions in our modern therapy-obsessed culture.

It may forgo some of the superficial trappings of “wokeness,” but it pulls too many punches and falls short of the first film. It’s already a faster-paced film, tuning heavily to the hyperkinetic sensibilities of the TikTok generation being faster than they were a decade ago. In a film landscape that has already made the creatively bankrupt live-action “Lion King” remake into one of the highest-grossing films of all time, it is a shame that “Inside Out 2’s” box office success rewards Disney for being safer and less risky.