hawk

It feels like the World Cup started only yesterday, but we’re quickly approaching the final between Spain and Argentina on Sunday. Even if soccer isn’t a sport you typically watch, it was hard not to get sucked into the enthusiasm of the game and cheer for the teams, whether you had a connection to a particular country or not. If you’re among the viewers who are going to feel a little melancholy after it’s all over, you’re not alone. Culture critic Mary McNamara has been enthusiastically following the matches, and if you’re feeling more globally minded as a result, she came up with a list of international TV shows to watch when the the World Cup is over.

My colleagues at De Los, who, like many of us, have been watching the matches on Telemundo (I count myself among them), might be following up their World Cup viewing with some episodes of “El Señor de los Cielos,” the network’s long-running series starring veteran Mexican actor Rafael Amaya. The ads for the show have been a constant between timeouts and matches, and I’m intrigued. And I’ll admit the racy ads for “El Turco” also caught my eye — Telemundo knows exactly what it is doing.

And as the global event winds down, if you’re still hankering to watch something sports related, you’re in luck because Netflix released its latest comedy starring Will Ferrell, “The Hawk,” in which the comedic actor plays Lonnie “The Hawk” Hawkins,” the greatest golfer in the world. The series, which Ferrell created with longtime collaborators Harper Steele and Chris Henchy, reunites him with fellow “Saturday Night Live” alums Molly Shannon and Chris Parnell. However, the person you’ll see him most with onscreen is his co-star Fortune Feimster. The stand-up comedian and actor dropped by Guest Spot to chat about the new series, her experience with golf and what it was like to go toe-to-toe with Ferrell, one of her comedy heroes.

Also in this week’s Screen Gab, our writers recommend a romance horror film that set the internet ablaze earlier this year and a classic British spy series. — Maira Garcia

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Recommendations from the film and TV experts at The Times

Inde Navarrette stars as Nikki and Michael Johnston as Bear in “Obsession.”

(Focus Features)

“Obsession” (Peacock)

After earning $428 million worldwide at the box office (on a $750,000 budget) and sending shock waves through Hollywood, the cautionary love story in this romance horror film hits streaming. Directed by YouTuber-turned-horror-auteur Curry Barker, the film follows Bear (Michael Johnston), a shy, hapless guy who, after being unable to summon the courage to confess his feelings for friend and co-worker Nikki (Inde Navarrette), dubiously turns to a one-wish willow toy and hopes for her to “love him more than anyone else in the world.” And, well, the results are chilling — in large part due to Navarrette’s ability to go from completely charming to completely frightening with just her face. If you want to understand some of the online discourse the film has ignited — what it says about consent, its plot holes, whether it’s worthy of the hype or just what the heck was up with that walking backward moment — here’s your chance to see what all the fuss is about. — Yvonne Villarreal

Patrick McGoohan stars in the 1967 TV series “The Prisoner.”

(ITC Entertainent)

“The Prisoner” (Criterion Channel)

The 17 episodes of “The Prisoner,” Patrick McGoohan‘s 1967 existentialist, anti-authoritarian, anti-nationalist, mod-a-go-go avant-garde ode to individualism, have been given a deserved berth in the cinematic pantheon that is the Criterion Channel, looking clean and crisp and immediate. Created in an era rife with screen spies — including the one creator-star McGoohan had previously played in the show aired here as “Secret Agent” — its hero is a British operative who resigns his job in the opening credits, only to find himself imprisoned in a fanciful seaside village — a kind of Baroque hilltown impression of a holiday camp. His unidentified jailers believe there must be a darker reason for his resignation and spend the series attempting it to extract it with elaborate charades, gizmos and gadgets, while our hero spends it trying to bring them down and/or escape. (A giant floating white ball provides creepy security.) Unwilling to bend, impossible to break, McGoohan at once upends the James Bond mythos and provides a dashing hero, clever, witty and terribly attractive. — Robert Lloyd

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

In “The Hawk,” Fortune Feimster plays Sam, who becomes the caddie for Lonnie (Ferrell).

(Colleen E. Hayes / Netflix)

“The Hawk” gives us a tour of the golf world through the eyes of the titular Lonnie Hawkins (Ferrell), whose better days in the game appear to be behind him. With his trusty caddie Old Henry (Keith David) by his side, he’s feeling like things are looking up — until Old Henry dies suddenly. Lonnie is heartbroken, but he’s not deterred, choosing to continue his ambitious return to the PGA Tour, leading him to be extremely late to Old Henry’s funeral and making a disastrous entrance.

But who will be his new caddie? Enter Sam, played by Feimster, a drifter Lonnie meets in a Walmart parking lot when he pulls over his tour bus. Sam’s late-model Cadillac is broken down in the parking lot, but that doesn’t get her down. Lonnie and Sam strike up a fast friendship, and before you know it, she’s driving his bus and working as his caddie on the course, encouraging him as he goes up against foes like Golden Fisk (Luke Wilson), Anton (Parnell) and even his own son, Lance (Jimmy Tatro), with whom he has a difficult relationship. Her methods are unusual — Sam doesn’t know much about golf, but their mutual love of fast-casual dining and pickles (a running gag in the show) gets them through.

“I’m excited for people to see another big broad comedy,” she says about “The Hawk.” “You know, we need to laugh. That’s what’s been missing, I think, from our current times is we need some more laughter, some more levity.”

The actor spoke about hers and Ferrell’s onscreen friendship, which has become a real-life friendship thanks to their mutual love of sports, how a silly musical moment in the finale came together and why you might see her and interior designer Jeff Lewis together again soon. — M.G.

I feel like a lot of your comedy has some sensibility of who you are as a person and where you come from — the South. How did you relate to Sam in this series?

The heart of Sam was something I really responded to. I love that this was a really silly, wacky character where I got to show off the broad comedy that I often enjoy doing. But I appreciated the trajectory of the character, that they allowed me to have this range where I got to show emotion and be disappointed and angry and just go through a mix of emotions as an actor. That was a really cool road to get to go down. But I love the heart that she had. And I think that’s something that I try to incorporate in my own life, positivity and cheering people on and that belief in people that they can do it.

How much did you know about golf before taking role?

Not much, honestly, other than a few rounds at Top Golf. [Laughs] I’m a sports gal. I love sports. I played sports my whole life, but for whatever reason, golf was the one sport I did not partake in … I even played college sports. This was the one I didn’t have much knowledge of, but luckily my character did not need any knowledge of golf. It almost was beneficial that I did not know what I was talking about. So when Will’s character needed a club, and I had no clue which one it was, that was all very real.

Do you think the show helps make golf more relatable? Golf is presented as a highbrow sport, but Sam and Lonnie, they’re grounded. He found Sam in a Walmart parking lot.

I definitely think it makes it more palatable for people that aren’t familiar with that world. I think that’s why you start rooting for this character, because he’s the outsider that doesn’t necessarily fit in that world. You kind of like that chaos that he brings to this very posh, very put-together sport. That’s why I think you find a lot of comedy in the juxtaposition of that. Comedy’s all about tension and release, and you have a lot of tension with that stuffy golf world and that competition, and then the release is this fun comedy, ridiculous people, crazy outfits — it’s fun to watch the two worlds collide.

I’m so glad you mentioned crazy outfits because there’s this scene where Sam gets herself a leather suit as a reward. Was it hot to wear?

As a comedian, the suit was incredible because it was so ridiculous. And of course, my character would waste her money on something like that right away instead of being responsible with it and saving it. As an actor, that suit was so, so hot. We were filming in the hottest parts of the Valley of L.A. and they did everything they could to make it not just like … my body sweated every two seconds. It sure was rough at times. But for the look of it all and the comedy of it all, it was worth it.

There’s another great moment, in the finale, where you’re trying to motivate Lonnie and you start singing the Chili’s “Baby Back Ribs” song. Was that in the script?

That was in the script, mainly just because anything song related had to have clearance. But there was a lot of riffing between him and I about fast food restaurants and about restaurants in general, and a lot of that was off the cuff, he and I just talking as people about all the fast food restaurants we love. The Chili’s song is that iconic jingle that everybody knows. We took it very seriously getting to sing it with each other … and we were practicing like, “OK, you take this part,” and he’d be like, “OK, no, you keep going, and then I’ll come in.” It felt like a real musical situation that we were prepping for.

Oh, my God, I need to see that outtake. I would be dying.

Luke [Wilson, who plays Golden Fisk] said he had passed by us practicing, and he said it was such a surreal moment seeing how serious Will and I were taking this song.

Fortune Feimster as Sam and Will Ferrell as Lonnie in “The Hawk.”

(Colleen E. Hayes / Netflix)

Speaking of Will, I went through our archives and you told one of our writers in 2023 that you hoped to one day have a career like Will Ferrell’s. Now you’re starring in a show with him. What was it like working with him, and do you feel like you’re getting closer to that goal?

The experience of working with him was definitely a dream come true — he and Molly Shannon, the fact that I’m with both of them on the show is pretty crazy. I feel like everyone growing up has their “SNL” cast that they are like, “That’s my cast, that’s who I watched every Saturday,” and they were definitely my cast. My early knowledge of comedy comes from them, and I’m sure there’s a big influence of them in my comedy now, having watched them religiously. To now be on a show with the two of them does not feel real at times.

What’s nice is I’d done two movies with Will, like very small parts, and had hoped that that would lead to something more in the future and was so lucky that it did. But we really got to know each other a lot better on this show, obviously, because I was basically his right-hand person the entire show. I would say 85% of what I filmed was with him. We just hit it off right away. Our energies are very similar. We’re very similar in our outlook. Our sensibilities of comedy are very similar.

We became genuine friends. He’ll pick me up and take me to a Lakers game. We just went to the World Cup game together. We definitely have a bond of sports. It’s so cool to not only get to be working with someone I admire so much and a comedy hero, but to now be genuine friends, it’s pretty incredible. I’m so lucky that I’m in that position.

What World Cup game did you guys go to?

We went to USA vs. Turkey here in L.A. He wore his visor that says “Hawk” on it. We kept trying to get the camera guy’s attention because we weren’t sitting in a box. We wanted to be in the mix … with the fans, and so no one expected to see Will sitting there amongst the fans.

After halftime, they go around and show different [celebrities] like, “Leonardo DiCaprio is here.” I said, “Will, the camera guy’s looking at us.” Everyone in our section got really pumped about it. We show up on the Jumbotron, and our whole section starts going nuts. And I’m pointing at Will’s hat, he’s dancing, and we didn’t know that it was also on TV. My phone blew up for like the next 30 minutes because everyone and their mother was watching this soccer game. We ended up inadvertently promoting “The Hawk” on this really big world stage.

What’s a TV series or film that you’ve watched recently that you’re recommending to everyone?

I feel like it’s not something that I have to recommend, so many people know of it, but I really loved “Hacks” [HBO Max], and especially this last season of it, I felt like they wrapped it up so beautifully. Sometimes these shows have this good run, and then they sort of fumble it at the end, and I just thought the way they ended that show really serviced all of their characters in such a great way and highlighted this really beautiful friendship from people of different generations.

What’s your comfort watch, a TV show or film that you love to return to and watch over and over again?

A movie that I could watch no matter what … is “Bridesmaids” [Peacock, Hulu]. That movie never gets old. I just think it’s one of the best comedies. Of course, as a female comedian, I love a group of women doing funny things together. And those particular women are just so incredible. I’ve gotten lucky enough to work with Kristen [Wiig] and Annie [Mumolo] — I did “Barb and Star [Go to Vista Del Mar]” with Kristen and Annie. Even though I was a tiny part of that movie, I can watch that movie over and over again. I just love their sensibilities as writers as well.

I promised my colleague I would ask you one more question, about getting your house renovated by Jeff Lewis on “Flipping Out” and what that was like.

That always cracks me up how many people saw that show. I’m working with him right now. I have a new house that he is helping with at the moment.

I mean, listen, he’s a big personality. There’s a reason why they gave him “Flipping Out” for so many years that he has a radio show now [“Jeff Lewis Live” on SiriusXM], and they’re actually bringing his “Flipping Out” show back [“Still Flipping Out” on Bravo], which I did a little bit of that show as well. But as an interior designer, he definitely has this — he kind of walks into a space and you see him calculate things, like “A Beautiful Mind,” where he’s seeing everything in front of him, and he’s very decisive. I’m very indecisive with interior design. Even though he has this … over-the-top personality, as a designer, he’s so gifted. And when you see his work, you’re like, “Oh, my God, this is incredible.”

Obviously he and I have a funny rapport with each other, but now also doing this house, I feel like I’ve learned even more to the point where I know when to give it back to him a little bit. He likes that little ribbing of each other.

ICYMI

Must-read stories you might have missed

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

One of the big discoveries for me at this year’s Sundance Film Festival was the erotic thriller “Night Nurse,” which opens in theaters this week. A remarkably confident feature debut from writer-director Georgia Bernstein, the film is hypnotic and entrancing, with a powerfully sustained sense of mood and menace. Brought to life by two assured lead performances, the story is about a young woman (Cemre Paksoy) who takes a job as an attendant at a senior living community and is assigned to help a man (Bruce McKenzie) who quickly ensnares her into an ongoing phone scam in which he swindles other residents.

Taking cues from the likes of Catherine Breillat and David Cronenberg, there are moments where you start to feel turned on and then feel weird about feeling turned on. It’s delightful stuff, full of the unexpected and unnerving, with shifting power dynamics that destabilize everything. See it with someone you maybe aren’t so sure about.

‘Hudson Hawk’ will have its day

Andie MacDowell and Bruce Willis in the 1991 movie “Hudson Hawk.”

(Columbia TriStar / Getty Images)

Its name has become synonymous with box office bomb, with tales of an out-of-control production leading to terrible reviews and rejection by audiences. Yet 1991’s “Hudson Hawk” is one of those movies that over the years has seen its reputation slowly turn around and is now en route to becoming a cult classic in the vein of “Ishtar” or “Showgirls.”

On Monday at Brain Dead Studios there will be a 35th anniversary screening of the film in 35mm with director Michael Lehmann and co-writer Daniel Waters in-person. Presented by Hollywood Entertainment, the evening could be ground zero for the next stage of the misbegotten movie’s revival.

The movie is a playful buddy-comedy / caper-heist hybrid, starring Bruce Willis as the title character, a master thief newly released from prison who reteams with his old partner (Danny Aiello) as they are drawn into a convoluted conspiracy involving the CIA, a villainous ultra-rich couple (played with maniacal, scene-stealing glee by Richard E. Grant and Sandra Bernhard) and ancient designs by Leonardo da Vinci. Upending action movie conventions, “Hudson Hawk” is simply a fun hang.

On a recent video call together, there is a certain gallows humor shared by Lehmann and Waters over the film, which at the time threatened to derail both of their careers. Waters was already working on the script for Tim Burton’s “Batman Returns” by the time the movie came out, while Lehmann admits he spent some time in director jail — “I was in director federal penitentiary and death row for a while,” he says — before going on to direct films such as “Airheads” and “The Truth About Cats and Dogs.”

“You can’t escape a big failure in Hollywood,” he adds. “You have to be good-natured about the fact that you’ve made something that so many people hated when it came out, but that you feel still has some value — quite a bit of value, I think. And that eventually people would start noticing that.”

The project began as an idea between Willis and his friend Robert Kraft that snowballed into having action super-producer Joel Silver attached and a screenplay draft by “Die Hard” writer Steven E. De Souza. Eventually Lehmann became involved to direct and he helped bring on Waters, the two having worked together on the hit black comedy “Heathers.” (Waters had also worked with Silver on “The Adventures of Ford Fairlane.”) The reunited writer-director team set about subverting what began as a more conventional action movie.

“My intention was to turn that kind of movie on its head,” says Lehmann. “I thought people have seen these things so many times, they must be ready to see the truly odd version of it.”

“In the Olympics you can’t just go up and make any dive,” says Waters. “You tell the judges what dive you’re going to do and then they grade you. And ‘Hudson Hawk,’ we never told the judges what dive we were doing. I think people got angry: Wait a minute, you didn’t give us a Bruce Willis action movie.”

Leading up to the film’s release, there were reports of a shoot hijacked by a star whose ego was getting the better of him as he rode the wave of the success of the first two “Die Hard” movies. Lehmann admits the clash of personalities made for a complicated shoot.

“Of course, when you’re hired by Bruce Willis and Joel Silver to do what is essentially a vanity project of Bruce’s, you’re not going to have the kind of control that you have when you make a piece of personal filmmaking,” says Lehmann. “But it was really difficult to deal with somebody who, in theory, was one of my bosses as producer on the film and a big star, which is always a thousand-pound gorilla.”

Author David Hughes recently published “The Unmaking of Hudson Hawk,” a book on the film’s production, reception and afterlife. Calling from England, Hughes thinks the critical reappraisal and resuscitation of the movie has gained a bit of momentum — and is in danger of slipping.

“I feel like any day there’s going to be a headline that says, ‘Nope, despite what you’ve heard, “Hudson Hawk” is still s—.’ The pendulum is about to swing back the other way and people are going to start saying that it’s bad again. And when that happens, I think that will be the most perfect life cycle of the film.”

But for now two of the key people behind making the film in the first place want to enjoy a moment they have rarely been allowed.

“People are finally laughing with the movie, not at the movie,” says Waters.

Celebrating a fallen friend

Harry Dean Stanton, photographed in Los Angeles in 2013.

(Jordan Strauss / Invision / AP)

To celebrate the centennial of the birth of the beloved character actor Harry Dean Stanton, Vidiots will screen the 2013 documentary “Harry Dean Stanton: Partly Fiction” on Tuesday. Director Sophie Huber will be joined in conversation by actor Logan Sparks for an evening hosted by Cherry Jones.

The film is a tender portrait of Stanton, who found relative fame later in life with roles in films such as “Alien,” “Paris, Texas,” “Repo Man” and “Pretty in Pink.”

“He makes it look really easy,” said Stanton’s friend and frequent collaborator David Lynch around the time of Stanton’s death in 2017. “But it’s not that easy to be looking like it’s easy.”

A flaky love story

Gena Rowlands and Seymour Cassel in the 1971 movie “Minnie and Moskowitz.”

(Michael Ochs Archives / Getty Images)

One of my most memorable moviegoing experiences of the last few years was seeing John Cassavetes’ 1971 “Minnie and Moskowitz” for the first time. The movie has a joyful, unpredictable energy thanks to the openhearted, dynamic performances of its two leads, Gena Rowlands and Seymour Cassel, as two mismatched strangers who find temporary solace in each other. Romantic, funny and with lots of great L.A. locations and moments — I often think of a perilous U-turn across La Brea by Cassel — this is a singular gem.

It was just announced that a new restoration of the film will premiere later this year at the Venice Film Festival, but there is no reason to wait. The movie is showing tonight at the Philosophical Research Society as part of its “YesterdayLA” series celebrating the city. On Saturday there will also be a rare theatrical screening of 1972’s “Columbo: Étude In Black,” starring Cassavetes as an L.A. symphony conductor who may have committed the perfect crime until he catches the attention of Peter Falk’s rumpled detective.

On the road again

Maribel Verdú, left, Diego Luna and Gael García Bernal in the movie “Y Tu Mamá También.”

(Criterion Collection)

Playing as part of the American Cinematheque’s “Summer Breakdown” series, which, true to its name, features movies about car trouble, Alfonso Cuarón’s 2001 “Y Tu Mamá También” is showing tonight and tomorrow at the Los Feliz Theater in 35mm.

It stars Gael García Bernal and Diego Luna as two teenage best friends who set off on a road trip with an alluring older woman (Maribel Verdú) they don’t know particularly well. Emotions fly fast and furious among all three of them, as the film seems at times like a horndog teen comedy and at others like a subtle exploration of class and sexual dynamics. Of course, it is all of those things, made with a fresh sense of style.

As Kenneth Turan put it in his 2002 review, “Nominally a simple road movie about two Mexican teenagers taking off to look for a mythical beach in the company of a suddenly available woman of 28, ‘Y Tu Mamá’ manages to be comic, dramatic, erotic, sociological and even political, all without breaking a sweat.”

New this week

• Amy Nicholson calls the new movie “Gail Daughtry and the Celebrity Sex Pass” a “screwball joy … a sex comedy that’s as innocent as a Labrador puppy.”
• Less positively, Amy reviewed the live-action adaptation of “Moana,” noting “Every one of Disney’s remakes and spinoffs of its animated hits has been a naked cash grab.”
• The new “Evil Dead Burn” is brutal and not much else, per our reviewer Joshua Rothkopf: “The gore comes like a tide, shockingly for a mainstream studio wide release.”

Plans for a new tranche of upgrades for U.S. Army special operations MH-60M Black Hawk helicopters are heavily tied to continued progress, or lack thereof, on an improved engine. Work on the Army’s Improved Turbine Engine Program (ITEP) is ongoing now, but there have also been threats to cancel it entirely in recent years, and its future remains murky.

Officials from U.S. Special Operations Command (SOCOM) talked about the intersection of future plans for the MH-60M fleet and ITEP during a roundtable at the annual SOF Week conference yesterday. TWZ was in attendance, along with other outlets. The Army’s elite 160th Special Operations Aviation Regiment, also known as the Night Stalkers, operates the MH-60Ms.

The Army selected General Electric’s (GE) T901 as the winner of the ITEP competition in 2019. The engine remains in development, with flight testing involving a modified Black Hawk beginning in May 2025.

“We are following very closely what the Army is doing with ITEP. We are hoping that we will get it,” Lt. Col. Aron Hauquitz, head of the Technology Applications Program Office (TAPO), said at the roundtable yesterday. “We’ll be able to put it in our aircraft, and we’ll create the Block 2 variant of the MH-60M.”

In “FY30 [Fiscal Year 2030], we’re going to start either the Block 1.2 or the Block 2” upgrade program for the MH-60M fleet, Lt. Col. Cameron Keogh, the Program Manager for the MH-60 within SOCOM’s Program Executive Office for Rotary Wing (PEO-RW), also said at the roundtable. “It’s going to hinge on what’s going on with the Improved Turbine Engine, the T901 program that the Army’s running. We’re closely following that. If it continues to be successful, we will integrate that engine.”

To take a step back quickly, Night Stalker Black Hawks today already have an array of unique features compared to other H-60 variants in service elsewhere across the U.S. military and globally. This includes a terrain-following/terrain avoidance radar and other sensors, a variety of defensive systems, and an extensive communications suite, which you can read about in more detail here. A subset of the MH-60Ms are also configured as Direct Action Penetrators (DAP), which can be armed with a mix of guns, missiles, launched effects, and rockets to provide organic close air support during missions.

Cramming all of these capabilities on the MH-60Ms also requires significant changes to their core structure, and they are notably heavier than other typical H-60 variants. To account for this, the 160th’s Black Hawks already have YT706 turbine engines that are more powerful than the T701s found on standard Army models. GE makes both of these engines.

The YT706 has “higher fuel consumption, but it also has a higher output to help us keep that extra weight in the air,” Lt. Col. Keogh noted yesterday.

Integrating the T901 onto a typical Black Hawk will provide “50 percent more shaft‑power while delivering significantly higher fuel efficiency,” according to Lockheed Martin. Sikorsky, the prime contractor behind the H-60 family of helicopters, became a subsidiary of Lockheed Martin in 2015.

“The 50% power increase means a Black Hawk can transport additional fuel or payloads, such as launched effects, medical evacuation litters, forward area resupply loads or advanced sensor packages, without compromising aircraft performance,” Lockheed Martin highlighted in a press release earlier this month. “The engine’s performance at high altitude, high temperature conditions expands the Black Hawk’s envelope, giving commanders more options for insertion, extraction and reconnaissance missions in austere environments.”

Sikorsky Begins Black Hawk® Ground Runs with U.S. Army T901 Improved Turbine Engines

“Higher fuel efficiency and lower maintenance demands lessen the supply chain burden in contested environments, a core tenet of the Army’s continuous transformation strategy,” the press release noted. “Improved specific fuel consumption reduces the number of refuel stops, extending mission endurance and shrinking the fuel footprint in forward operating bases.”

The boost in capability that the T901 is set to bring is especially relevant for Night Stalker MH-60Ms, given their unique attributes and mission requirements. The maintenance and logistics benefits would also be particularly attractive for the 160th. The Regiment routinely flies extremely demanding missions, often conducted across long distances and under adverse conditions, and staged from far-flung locations with limited access to established support chains.

Plans otherwise for the Block 1.2/Block 2.0 MH-60M upgrades are still evolving.

Right now, the core “focus on that is payload restoration. We’re trying to take weight out of the airplane [sic], [and] we’re trying to move the CG, the center of gravity, forward,” Lt. Col. Keogh explained. “How we’re doing that without reducing capabilities is we’re just kind of moving the capabilities around.”

“Somebody asked me earlier if we’re going to take the anti-ice system off the airplane to lose some weight. We’re not. We need the anti-ice, especially up in Washington State,” he continued. “We’re taking some of our heavier boxes, a lot of our avionics, we’re putting them up forward into the crew department, we’re putting them behind the pilots. That’s going to shorten cable runs – copper weighs a lot, you’d be surprised – and then it also helped with our CG shift, as well.”

“That’ll give the operators more butts in seats as they head out to the objective, and also give the air crews better fuel flexibility for mission planning,” he added.

To go back to ITEP, the new engine has long been expected to offer a major leap in performance to regular Army Black Hawks, as well as the service’s AH-64 Apache attack helicopters. However, as noted, the program has faced major uncertainty in recent years. The effort has suffered significant delays tied to manufacturing and supply chain issues. The T901 was also a central component of the Army’s Future Attack Recon Aircraft (FARA) program, which the service axed in 2024.

Last year, there were indications the Army was moving to cancel ITEP, too, with the service requesting no additional funding for the program in its 2026 Fiscal Year budget proposal. Congress subsequently interceded, appropriating another $238 million for continued work on the engine in the current fiscal cycle.

In its 2027 Fiscal Year budget request, the Army is again not asking for any new money for ITEP, which has raised new questions about the program’s future.

T901 First Engine to Test Mission Accomplished

At the Army Aviation Association of America’s (AAAA) 2026 Warfighting Summit last month, Army Maj. Gen. Clair Gill said he was “very excited about where they’re going there” with ITEP and that the engine was “almost nearing completion of certification.” Gill is the service’s Program Acquisition Executive for Maneuver Air.

ITEP is “performing as intended,” and “the resourcing that Congress added in 2025 and the resourcing that Congress added in 2026 is being used to deliberately continue that testing,” Army Brig. Gen. David Phillips also told TWZ and other outlets at a roundtable at the AAAA conference, but did not elaborate on future plans for the engine. Phillips is the Deputy Portfolio Acquisition Executive for Maneuver Air.

“We will need a little bit more money to get through the EMD [engineering, manufacturing and development] program, but it’s certainly not anywhere close to the money that we’ve already received for the program,” Mike Sousa, GE’s Executive Program Manager for the T901, had also told members of the media ahead of the AAAA conference, according to Breaking Defense. “So there is a little bit of money that is still required.”

Another factor now in all of this for the Army, as well as the Night Stalkers, is the expected arrival of the new MV-75 Cheyenne II tiltrotor in the next few years. The MV-75 offers massive boosts in range and speed compared to any Black Hawk variant. At the same time, that is also expected to come at a cost. As it stands now, the MV-75 is not expected to replace all of the Army’s H-60s, which will continue to play important roles for years to come. SOCOM and the 160th have a similar vision when it comes to the fielding of a special operations-specific version of the MV-75 and the future of the MH-60M.

“There will not be a one-for-one swap for MH-60M and MV-75. Don’t ask me what that exact number will be,” Dr. Steven Smith, head of SOCOM’s PEO-RW, also said at the roundtable yesterday. “We’re still going to need analysis to determine what that will be, but it will not be a one-for-one swap. We recognize that the M-60s will be required for the crisis response mission.”

As an aside, the 160th’s MH-60Ms, including examples in the DAP configuration, were a key element of Operation Absolute Resolve to capture Nicolas Maduro, then Venezuela’s dictatorial president, in January. TWZ explored the contributions of the DAP helicopters in detail at the time.

Altogether, the MH-60M is still on track to be a central component of the Night Stalker’s fleets for years to come, whether the helicopters are re-engined in the end or not.

Contact the author: joe@twz.com