Lifestyle
Should the Army bring back the Pentomic Division?
In the late 1950s, when everyone expected World War III to go nuclear, the U.S. Army had to contemplate operating on a battlefield sprouting atomic fireballs.
This put Army planners in a dilemma. Military theory said that forces had to be concentrated to overwhelm the enemy and achieve decisive results. Common sense said that massing troops would only present a juicy target for nuclear weapons. The Army ultimately settled on the Pentomic Division, which consisted of self-contained battalions that would assemble for operations and then disperse. Yet the idea proved so unwieldy that the Army soon discarded it.
But 70 years later, the Army faces a similar dilemma. Instead of atomic bombs, the threat now comes from drones, as vividly demonstrated in the Ukraine war. To survive, Ukrainian and Russian forces have learned to operate in dispersed groups — sometimes as small as four to six soldiers — for fear of attracting the attention of a drone swarm. But lack of mass foregoes the possibility of decisive maneuver — and victory — and the conflict has degenerated into a grinding war of attrition.
A British expert has a solution: Resurrect the Pentomic concept.
“Something similar to the Pentomic structure may have something to teach in terms an answering the battlefield problems of today,” wrote John Moore, a former British Ministry of Defense official, in a recent essay for the U.S. Army’s Armor Magazine.
The original Pentomic divisions were a response to the “quantitative leap in firepower” from nuclear weapons, Moore told Defense News. With modern armies facing drones, long-range missiles and sensors, the new Pentomic “is posited on a similar response to firepower that in this case is in-depth, ubiquitous, pinpoint in accuracy and available day or night.”
“Massing a larger number of men and materiel takes time,” he said. “You will be spotted and attacked before you even reach the departure or jump-off point.”
The Pentomic concept, which governed U.S. Army infantry and airborne divisions from 1957 to 1963, replaced the triangular divisional structure of three regiments, with a five-sized organization. Pentomic divisions consisted of five battlegroups — equivalent to oversized battalions — with five rifle companies, a headquarters and support company and a mortar battery. But to create self-contained all-arms battlegroups, a plethora of support units were usually attached, including armor, artillery, engineers and air defense.
Given 1950s technology, command and logistics proved overwhelming.
“On the Pentomic battlefield, a CO could easily find himself with at least nine maneuver elements, well beyond the effective span of control for most colonels of the day,” recalled the late U.S. Army Col. David Hackworth in his memoir “About Face.”
Moore envisions the New Pentomic — which he also calls “Pentomic v5″ — as a company-level approach.
“That formation size has enough combat power to achieve local success while having enough resilience to sustain combat for a useful length of time,” he wrote. Battlegroups would be composed of companies that would assemble as needed.
Dispersed, flexible companies would be less likely to be detected and attacked by drones, and could concentrate for attacks.
On the defense, “such a Pentomic structure has sufficient reserve potential to meet a range of attacks and will require increased effort by an attacker to neutralize a defense in depth and use that most precious of assets — time,” Moore wrote. “A dispersed Pentomic defense based on areas of concealment such as villages, towns, wooded and rough terrain can allow for gaps as these can be covered by precision fire at every level and improve unit survivability.”
Moore believes that technology has improved enough since the 1950s that command and control of dispersed maneuver units is feasible.
“Even the smallest unit has, through FPV [first-person-view] drone technology, the means of battlefield reconnaissance and precision strike,” he wrote. “While distributed command systems have great resilience and an ability to jump echelons in terms of targeting.”
Moore also sees the New Pentomic as a relatively inexpensive way that the U.S. — and NATO — can adapt to a changing battlefield.
“It can be done cheaply as it is about structure, training and an attitude of mind,” he told Defense News.
Yet history suggests that a Pentomic 2.0 would face many of the same challenges that doomed its predecessor. In the early years of World War II, the German blitzkrieg achieved remarkable victories, largely due to a doctrine that emphasized flexibility and expected commanders and soldiers to use their initiative. By 1944, heavy losses in experienced officers and NCOs led to increasingly rigid tactics. Similarly, in the early days of the 2022 Russian invasion, outnumbered but agile Ukrainian forces defeated clumsy Russian offensives. But heavy casualties have resulted in Ukrainian commanders reverting to the rigid Soviet-style tactics they were trained in before the war.
“Ultimately, any success will depend on a high level of initiative and a willingness to gamble on success,” Moore wrote. “This will have implications for training and leadership at every level.”
Kevin Kline plays actor Richard Bean, and Laura Linney is his sister-in-law Kristen, in American Classic.
David Giesbrecht/MGM+
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David Giesbrecht/MGM+
American Classic is a hidden gem, in more ways than one. It’s hidden because it’s on MGM+, a stand-alone streaming service that, let’s face it, most people don’t have. But MGM+ is available without subscription for a seven-day free trial, on its website or through Prime Video and Roku. And you should find and watch American Classic, because it’s an absolutely charming and wonderful TV jewel.
Charming, in the way it brings small towns and ordinary people to life, as in Northern Exposure. Wonderful, in the way it reflects the joys of local theater productions, as in Slings & Arrows, and the American Playhouse production of Kurt Vonnegut’s Who Am I This Time?
The creators of American Classic are Michael Hoffman and Bob Martin. Martin co-wrote and co-created Slings & Arrows, so that comparison comes easily. And back in the early 1980s, Who Am I This Time? was about people who transformed onstage from ordinary citizens into extraordinary performers. It’s a conceit that works only if you have brilliant actors to bring it to life convincingly. That American Playhouse production had two young actors — Christopher Walken and Susan Sarandon — so yes, it worked. And American Classic, with its mix of veteran and young actors, does, too.
American Classic begins with Kevin Kline, as Shakespearean actor Richard Bean, confronting a New York Times drama critic about his negative opening-night review of Richard’s King Lear. The next day, Richard’s agent, played by Tony Shalhoub, calls Richard in to tell him his tantrum was captured by cellphone and went viral, and that he has to lay low for a while.
Richard returns home to the small town of Millersburg, Pa., where his parents ran a local theater. Almost everyone we meet is a treasure. His father, who has bouts of dementia, is played by Len Cariou, who starred on Broadway in Sweeney Todd. Richard’s brother, Jon, is played by Jon Tenney of The Closer, and his wife, Kristen, is played by the great Laura Linney, from Ozark and John Adams.
Things get even more complicated because the old theater is now a dinner theater, filling its schedule with performances by touring regional companies. Its survival is at risk, so Richard decides to save the theater by mounting a new production of Thornton Wilder’s Our Town, casting the local small-town residents to play … local small-town residents.
Miranda, Richard’s college-bound niece, continues the family theatrical tradition — and Nell Verlaque, the young actress who plays her, has a breakout role here. She’s terrific — funny, touching, totally natural. And when she takes the stage as Emily in Our Town, she’s heart-wrenching. Playwright Wilder is served magnificently here — and so is William Shakespeare, whose works and words Kline tackles in more than one inspirational scene in this series.
I don’t want to reveal too much about the conflicts, and surprises, in American Classic, but please trust me: The more episodes you watch, the better it gets. The characters evolve, and go in unexpected directions and pairings. Kline’s Richard starts out thinking about only himself, but ends up just the opposite. And if, as Shakespeare wrote, the play’s the thing, the thing here is, the plays we see, and the soliloquies we hear, are spellbinding.
And there’s plenty of fun to be had outside the classics in American Classic. The table reads are the most delightful since the ones in Only Murders in the Building. The dinner-table arguments are the most explosive since the ones in The Bear. Some scenes are take-your-breath-away dramatic. Others are infectiously silly, as when Richard works with a cast member forced upon him by the angel of this new Our Town production.
Take the effort to find, and watch, American Classic. It’ll remind you why, when it’s this good, it’s easy to love the theater. And television.
The ritual of meeting up and hanging out at a coffee shop in L.A. is a showcase of style filled with a subtle site-specific tension. Don’t you see it? Comfort battles formality fighting to break free. Hiding out chafes against being perceived. In the end, we make ourselves at home at all costs — and pull a look while doing it.
It’s the morning after a night out. Two friends meet up at Chainsaw in Melrose Hill, the cafe with the flan lattes, crispy arepas and sorbet-colored wall everybody and their mom has been talking about.
Miraculously, the line of people that usually snakes down Melrose yearning for a slice of chef Karla Subero Pittol’s passion lime fruit icebox pie is nonexistent today. Thank God, because the party was sick last night — the DJ mixed Nelly Furtado’s “Promiscuous” into Peaches’ “F— the Pain Away” and the walls were sweating — so making it to the cafe’s front door alone is like wading through viscous, knee-high water. Senses dull and blunt in that special way where it feels like your brain is wearing a weighted vest. The sun, an oppressor. Caffeine needed via IV drip.
The mood: “Don’t look at me,” as they look around furtively, still waking up. “But wait, do. I’m wearing the new Dries Van Noten from head to toe.”
Daniel, left, wears Dries Van Noten mac, henley, pants, oxford shoes, necklace and socks. Sirena wears Dries Van Noten blouse, micro shorts, sneakers, shell charm necklace, cuff and bag and Los Angeles Apparel socks.
If a fit is fire and no one is around to see it, does it make a sound? A certain kind of L.A. coffee shop is (blessedly) one of the few everyday runways we have, followed up by the Los Feliz post office and the Alvarado Car Wash in Echo Park. We come to a coffee shop like Chainsaw for strawberry matchas the color of emeralds and rubies and crackling papas fritas that come with a tamarind barbecue sauce so good it may as well be categorized as a Schedule 1. But we stay for something else.
There is a game we play at the L.A. coffee shop. We’re all in on it — the deniers especially. It can best be summed up by that mood: “Don’t look at me. But wait, do.” Do. Do. Do. Do. We go to a coffee shop to see each other, to be seen. And we pretend we’re not doing it. How cute. Yes, I’m peering at you from behind my hoodie and my sunglasses but the hoodie is a niche L.A. brand and the glasses are vintage designer. I wore them just for you. One time I was sitting at what is to me amazing and to some an insufferable coffee shop in the Arts District where a regular was wearing a headpiece made entirely of plastic sunglasses that covered every inch of his face — at least a foot long in all directions — jangling with every movement he made. Respect, I thought.
Dries Van Noten’s spring/summer 2026 collection feels so right in a place like this. The women’s show, titled “Wavelength,” is about “balancing hard and soft, stiff and fluid, casual and refined, simple and complex,” writes designer Julian Klausner in the show notes. While for the men’s show, titled “A Perfect Day,” Klausner contextualizes: “A man in love, on a stroll at the beach at dawn, after a party. Shirt unbuttoned, sleeves rolled up, the silhouette takes on a new life. I asked myself: What is formal? What is casual? How do these feel?” What is formal or casual? How do you balance hard and soft? The L.A. coffee shop is a container for this spectrum. A dynamic that works because of the tension. A master class in this beautiful dance. There is no more fitting place to wear the SS26 Dries beige tuxedo jacket with heather gray capri sweats and pink satin boxing boots, no better audience for the floor-length striped sheer gown worn with satin sneakers — because even though no one will bat an eye, you trust that your contribution has been clocked and appreciated.
Daniel wears Dries Van Noten coat, shorts, sneakers and socks. Sirena wears Dries Van Noten jacket, micro shorts and sneakers.
Back at Chainsaw the friends drink their iced lattes, they eat their beautiful chocolate milk tres leches in a coupe. They’re revived — buzzing, even; at the glorious point in the caffeinated beverage where everything is beautiful, nothing hurts and at least one of them feels like a creative genius. The longer they stay, the more their style reveals itself. Before they were flexing in a secret way. Now they’re just flexing. Looking back at you looking at them, the contract understood. Doing it for the show. Wait, when did they change? How long have they been here? It doesn’t matter. They have all day. Time ceases to exist in a place like this.
Daniel wears Dries Van Noten tuxedo coat, pants, scarf, sneakers and necklace and Hanes tank top. Sirena wears Dries Van Noten jacket, micro shorts, sneakers and socks.
Creative direction Julissa James
Photography and video direction Alejandra Washington
Styling Keyla Marquez
Hair and makeup Jaime Diaz
Cinematographer Joshua D. Pankiw
1st AC Ruben Plascencia
Gaffer Luis Angel Herrera
Production Mere Studios
Styling assistant Ronben
Production assistant Benjamin Turner
Models Sirena Warren, Daniel Aguilera
Location Chainsaw
Special thanks Kevin Silva and Miguel Maldonado from Next Management
Lifestyle
Nature needs a little help in the inventive Pixar movie ‘Hoppers’ : Pop Culture Happy Hour
Piper Curda as Mabel in Hoppers.
Disney
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Disney
In Disney and Pixar’s delightful new film Hoppers, a young woman (Piper Curda) learns a beloved glade is under threat from the town’s slimy mayor (Jon Hamm). But luckily, she discovers that her college professor has developed technology that can let her live as one of the critters she loves – by allowing her mind to “hop” into an animatronic beaver. And it just might just allow her to help save the glade from serious risk of destruction.
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