To rescue the pilot lost in Iran, the US has told a story worthy of Spielberg. Some explosive images tell a very different story

In military manuals, rescue missions in enemy territory are as rare as they are dangerous: In decades of modern conflicts, only a few have been successfully completed without becoming a complete disaster. Some have marked history for their failuresothers for their execution to the limit, but most share something in common: the margin of error It is practically non-existent. Two stories for the same mission. When explaining the rescue mission of an American pilot on Iranian territory, Washington has told a story that Spielberg himself would sign: a wounded airman, alone and hiding in a mountain crevice, resisting for almost two days while the enemy searches for him and an elite force that bursts in between explosions to get him out alive. Of course, there is another version that is not narrated by American communiqués, but by some explosive images launched from the Iranian side: destroyed aircraft, improvisation on the ground and an operation that, although successful in its end, seems much more chaotic than what was intended to be conveyed. Between the two, a story full of chiaroscuros is built where epic and uncertainty coexist. The demolition and the race against time. lThe story started several days ago with the downing of an F-15E in Iranian territory, an already exceptional fact as it was the first American fighter lost in combat in years. The two crew members eject, but only the pilot is quickly rescued, while the weapons systems officer is isolated in a hostile mountainous area. From there a race against time: The wounded airman climbs a ridge, hides in a crevice and emits intermittent signals so as not to give away their position, while Iranian forces, militias and even civilians motivated by rewards search the area. For hours, not even Washington is clear if he is still alive. The perfect official version. The American narrative presents the mission as an impeccable display of power and coordination, with special forces, bombers, drones and massive air cover executing one of the most complex rescue operations in its history. There is talk of surgical precision, absolute control of airspace and clean extraction no American casualtiesculminated with a triumphalist message that elevates the operation to a symbol of military superiority. The CIA involvement adds an almost cinematic component, with an apparent deception campaign that confuses the Iranian forces as they locate the pilot “like a needle in a haystack.” A US Army AH-6 Little Bird helicopter The “other” details. However, upon delving into all the data that has been appearing, important cracks appear in the story. The first rescue attempt fails under enemy fireseveral helicopters are damaged and at least one A-10 falls during the operation, which already calls into question the idea of ​​total control. It happens that the final extraction is not goes as planned. How much? Apparently, two special operations planes were trapped on the ground after their wheels sank on a makeshift runway, forcing emergency reinforcements to be sent and, attention, to destroy them later to prevent them from falling into Iranian hands. The images of the place They show charred remains of aircraft and helicopters, evidencing a much more eventful and risky operation than the official story suggests. The ambiguity of combat. Because another key point is the nature of the confrontation. While some versions speak of a “mass shooting”other more detailed sources indicate that there was no direct combat sustained on the ground, but rather air strikes against approaching Iranian forces. This difference is neither trivial nor minor, because it actually transforms a narrative of heroic confrontation in a very different where technological and aerial superiority was the truly decisive factor, reducing the drama of hand-to-hand combat, but increasing the feeling of distance between what was told and what happened. Propaganda, perception and war of stories. If you like, everything indicates that the rescue was not only a simple military operation, but a narrative battle in the middle of war. From the sidewalk in Washington, the story became a kind of “Easter miracle” useful for bolstering domestic support and projecting strength. However, from the sidewalk of Tehran, the simple fact of having shot down the plane It already served as proof that he could challenge the United States. In that context, every detail counts the same that every omissionbecause control of the story is almost as important as the tactical result. Success with many shadows. The pilot seems to have been finally rescued and that, in military terms, marks the success of the operation. However, the path to achieve it reveals something more complex: a mission on the edge, with failures, improvisation, extreme risks and decisions made on the fly that contradict the image of perfect execution. Perhaps for this reason, between the story that seems written for the cinema and the one revealed by the smoking remains on the ground, it remains a conclusion most uncomfortable: even the most successful operations can hide a reality much more fragile than one wants to admit. Image | US MARINE In Xataka | The US is going to end its war in the Middle East with a very uncomfortable reality: Iran had years of advantage underground In Xataka | If the question is “how close are we to an escalation in Iran,” the answer is US A-10s flying there

Marlon Brando rejected an Oscar in 1973. His authentic story is worthy of the best thriller film

On March 27, 1973, Marlon Brando rejected the Oscar for Best Actor for ‘The Godfather’ as a protest against the treatment of Native Americans. What no one knew then is that the statuette would not disappear, but would tour through some very famous hands in Hollywood, among others Roger Moore and Charlie Chaplin. This is the story of a prize that never existed and, even so, was doubled The rejection. On March 27, 1973, before an audience of 85 million viewers, Sacheen Littlefeather took the stage at the 45th Oscars ceremony and rejected the Best Actor award for ‘The Godfather’ on behalf of Marlon Brando. The gesture was historic: it was the first live political speech at the gala, although not the first time that someone rejected the statuette (Brando was preceded by screenwriter Dudley Nichols in 1936 – out of solidarity with the Writers Guild – and actor George C. Scott in 1971 – who called the ceremony “a two-hour meat parade” -). But what happened to the statuette after that night was a mystery that lasted decades. What no one saw. Sacheen Littlefeather never touched the statuette. Roger Moore (a few months away from debuting as James Bond, but already famous for his television role as The Saint) supported her throughout the speech. When Littlefeather left the stage, Moore followed her with the trophy in her hand and verified that no one had devised any protocol for collecting a rejected Oscar. So he took it with him. The 1616. As reconstructed by Bruce Davis, former executive director of the Academy, the statuette (serial number 1616, not 1601 as was believed for years, a failure whose explanation we will now see and which still contaminates multiple chronicles of the journey of this award) accompanied Moore to several parties after the gala. In this way, he presided over tables full of food and drink and received “almost Bondian attention from a good number of women” before stopping for two weeks at the mansion of producer Albert Broccoli. Eventually, Moore’s publicist, Jerry Pam, returned her to the Academy. Jump to 1995. The story seemed closed until, in 1995, the actor turned agent Marty Ingels called a press conference with an explosive statement: a client of his owned the Oscar rejected by Brando and was willing to auction it to benefit a charitable cause. The Academy responded bluntly: that Oscar did not exist. And technically, the Academy was right. Or not at all. Two 1601s. Ingels revealed the trophy’s serial number: 1601. Academy records indicated that number corresponded to a statuette on loan at an exhibition in New York, and a phone call confirmed that it was still there. But then Ingels sent a photograph of the trophy in his possession and indeed, it could be seen that the engraved number was 1601: there were two statuettes with the same number. Something that had never happened since the Academy began recording serials on the trophies in 1950. The explanation for the mess appeared in a record book prior to the computerization of the archives. Above the entry indicating the loan of the 1601 statuette was another line erased with white concealer. Viewed against the light, the page revealed the original text: “1601 — missing during the 45th Oscar ceremony.” The most likely hypothesis, according to Davis, is that the person responsible for the inventory of figurines that night had a duplicate made of the number 1601 and quietly returned it to the archives. But… why? What else happened in that ceremony that led to a duplicate being made? First robbery. The 1601 that Ingels had was not Brando’s Oscar. It was the duplicate of another trophy stolen that same night: video images of the ceremony show that one of the statuettes for the best documentary award, ‘Marjoe’, was left forgotten on the podium when the lights went out for an advertising break. It is, according to Academy records, the only theft of an Oscar directly from the stage in its entire history. Now, Chaplin. While the riddle of the 1601 was being solved, the fate of Brando’s authentic Oscar (the 1616 returned by Moore) took another turn. Charlie Chaplin had won his first Oscar that same year for the soundtrack of ‘Footlights’, a 1952 film that, due to a regulatory loophole already resolved the following year, was eligible twenty years after it was filmed. The Chaplin figurine was mailed to Europe and arrived damaged. Chaplin’s family returned it to the Academy asking for a replacement, and the Academy engraved Chaplin’s name on Brando’s Oscar and sent it to London. Fifty years later. In August 2022, Academy President David Rubin issued a formal apology to Littlefeather in which he called the treatment received for his statements on Brando’s behalf (boos and stamping from the Academy’s leading men) “disproportionate and unjustified” and acknowledged that the damage to his career was “irreparable.” Littlefeather replied wryly.: “It’s only been 50 years. We have to keep our sense of humor; it’s our survival method.” He died on October 2 of that same year, a few weeks after the tribute ceremony that the Academy held in his honor. The trophy marked 1601(A), the duplicate manufactured to cover the theft, never appeared in public again. In Xataka | The 30 best gangster movies: gangsters, triads, camorra and yakuza show the guts of organized crime

Log In

Forgot password?

Forgot password?

Enter your account data and we will send you a link to reset your password.

Your password reset link appears to be invalid or expired.

Log in

Privacy Policy

Add to Collection

No Collections

Here you'll find all collections you've created before.