Nothing, I'm referring to the style and aesthetic of the movie. It could also have two independent protagonists, Kelly Johnson in a fast-paced What Just Happened/Wag The Dog/The Aviator style first half, followed by the set sail with intrepid pilot Terry Pappas and his heroic Top Gun deep penetrations into Mother Russia and hard drinkin pool hall fights with the navy and then outmaneuvering missiles like a Falcon and enemy radar guys going berzerk and edge of space holy shits and asides of what the intel allows like multi-country spycraft sabotage and the CIA being a bunch of cowboy rogues, the final hangar scene when it retires like the end of Ocean's 11. BLACKBIRD. A black feathered curtain closes. Modern day, desert scene. Then the phone rings, super top secret underground facility, guy in aviator glasses says shes ready, the SR-72, unveiled! A runway lights up in the distance, distant engine sound, lights getting closer, "Clear to land, 162" then they rapid fire up and go toward the audience, "I'm not landing, I'm going higher," and the movie theater lights turn on as if theyre the runway lights, the shot twists 180 and it goes up into the sky, the jet sound roars overhead. Roll credits. Its gotta be epic. No balds, or women screeching, or love story, or anything blue except the sky. All cameras must have Turquoise and a Falcon feather superglued to them. A Falcon must be on set at all times. Led Zeppelin must be playing at low volume on set at all times. The director must wear a White Stetson hat and have a necklace vial of LSD with a custom leather holster for the book Fear and Loathing in Las Vegas strapped to his back.