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The CRM 114 on the B-52 in Dr. Strangelove. The CRM 114 Discriminator is a fictional piece of radio equipment in Stanley Kubrick's film Dr. Strangelove (1964), the destruction of which prevents the crew of a B-52 from receiving the recall code that would stop them from dropping their hydrogen bomb payloads onto Soviet territory. The device is ...
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (known simply and more commonly as Dr. Strangelove) is a 1964 political satire black comedy film co-written, produced, and directed by Stanley Kubrick and starring Peter Sellers in three roles, including the title character.
Many hypothetical doomsday devices are based on salted hydrogen bombs creating large amounts of nuclear fallout.. A doomsday device is a hypothetical construction — usually a weapon or weapons system — which could destroy all life on a planet, particularly Earth, or destroy the planet itself, bringing "doomsday", a term used for the end of planet Earth.
Released 60 years ago this week, Stanley Kubrick’s 1964 film, “Dr. Strangelove, Or How I Learned To Stop Worrying and Love the Bomb,” still resonates today, writes Noah Berlatsky. Although ...
In the dark comedy Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (1964), a type of cobalt-salted bomb is employed, specifically utilizing a composite called 'Cobalt-Thorium G' with a Dead Hand mechanism, by the Soviet Union as a 'doomsday device' nuclear deterrent: if the system detects any nuclear attack, the doomsday ...
In the film, Dr. Strangelove refers to a report on the Doomsday Machine by the "BLAND Corporation". Kahn gave Kubrick the idea for the " Doomsday Machine ", a device which would immediately cause the destruction of the entire planet in the event of a nuclear attack.
Stanley Kubrick's masterpiece of nuclear black comedy, 'Dr. Strangelove,' premiered 60 years ago Monday. It feels as fresh and horrifying today as it did then.
3/5 Armando Iannucci and Coogan team up to bring Stanley Kubrick’s Cold War satire to the West End, but the production is constrained by aiming too hard for cinematic perfection