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On the same street as the theater is this 1893 structure, built by mining millionaire Lewis Bradbury, where characters George Valentin (fading star) and Peppy Miller (rising talent) pass each other on the ornate staircase, with Peppy stopping to blow him a kiss.
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Conceptually, a force structure designed to conduct two relatively large and intense theater campaigns could serve as a counterweight to a hostile, militarizing Russia and simultaneously as the base for an expanded military capability to deter a peer adversary.
CENTERFORSECURITYPOLICY: Center for Security Policy | The Measure of a Superpower: A Two Major Regional Contingency Military for the 21st Century
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Even then, it was unclear whether the U.S. force structure was sufficient to achieve a decisive win in the second theater.
CENTERFORSECURITYPOLICY: Center for Security Policy | The Measure of a Superpower: A Two Major Regional Contingency Military for the 21st Century | Page: 2
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Given the number, variety, and war-waging potential of current and emerging threats to U.S. national security, maintaining a U.S. force structure sized against any standard less than fighting and winning two nearly simultaneous major theater conflicts invites the very instability that U.S. defense strategy is intended to deter.
CENTERFORSECURITYPOLICY: Center for Security Policy | The Measure of a Superpower: A Two Major Regional Contingency Military for the 21st Century
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Comprised of a surface pattern of triangles-like those in the main theater, but made in this case out of 1, 067 thin aluminum panels, mounted on the support structure with open joints-the light-blue facade looks razor-sharp but creates the impression of a super-light floating skin dematerialized against the sky: another visual reference in the architecture to the infinite thinness of the moving image.
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