WHAT HAPPENS AT: The Air Force Entertainment Liaison Office: From Behind the Scenes to the Big Screen

Published Aug. 28, 2025
By Paul Hewitt, SSC Public Affairs

EL SEGUNDO, Calif. -- Nestled within the bustling Los Angeles Air Force Base, a small but influential office serves as the crucial bridge between Hollywood and the Department of the Air Force. The Air Force Entertainment Liaison Office (ELO), led by Lt. Col. Gina McKeen, operates with a clear and focused mission: to project and protect the image of the United States Air Force and United States Space Force in the entertainment media landscape.

“Our job is to help professional storytellers accurately and realistically portray Airmen and Guardian stories,” explains McKeen, who has been directing the office for just about a year. “Our job is to connect with filmmakers, artists, and content creators to help them get the story right.”

One of the most common misconceptions about the ELO is that they actively pitch military stories to Hollywood studios. The reality is quite different. The office operates strictly on a request basis, waiting for production companies to reach out when they need Air Force or Space Force support.

“A common misunderstanding about our role is that people will often think that we can pitch to media companies like, ‘Hey, we would really love for you to make an Air Force version of Top Gun.’ That is not how it works,” McKeen clarifies. “The way it works is when an entertainment project realizes that they need or want Air Force support or Space Force support, they reach out to our office.”

This approach ensures that the military’s involvement serves the story rather than driving it, maintaining the authenticity and integrity that both Hollywood and the Air Force value.

The ELO’s contributions span the full scope of the development and production process for films and television series. McKeen describes the spectrum: “That level of support can be anything from basic script consultation -- did we get the words right? -- all the way up to full-blown on-site support where we bring a major production onto a base to film actual Air Force or Space Force assets.”

The office handles both scripted and unscripted content, including television, film, and even video games. Their involvement can come at any stage of production, though McKeen notes that earlier engagement typically yields better results.

“Ideally, production will reach out to us as soon in the process as possible, as soon as they think that they want military depiction, even if they aren’t quite sure what that is,” she explains. However, the reality often differs: “What often happens is we get brought in a little bit later once they’ve gotten down to the ‘okay, now we’re greenlit, we’re ready to get started.’”

What sets the ELO apart from civilian military advisors is their ability to connect productions with the exact subject matter experts needed for any given project. McKeen points to this year’s summer blockbuster “Mission: Impossible -The Final Reckoning,” starring Tom Cruise, as a prime example of this deep collaboration.

“Not only were they able to depict the actual aircraft, the Ospreys, in the film, but we brought the actual crew from those Ospreys to the set to consult on every aspect, even small details such as the inside of the aircraft where they had placed the buttons,” she recalls.

The collaboration extended far beyond technical accuracy. The real aircrew worked directly with actors to ensure proper gear usage, correct hand motions, and authentic radio communications. “We even went over how they would say things on comms: how to move, how to speak, how to pronounce things, the tone that they would say it in.”

This level of authenticity matters because, as McKeen notes, “nothing brings the audience out of a story faster than a detail gotten wrong.”

The ELO’s role isn’t to judge creative merit but to ensure military accuracy. “Our job is not to say, ‘We really like or don’t like this story’.” McKeen emphasizes. “Our job is to help ensure they get the military components correct.”

This approach allows for creative storytelling while maintaining authenticity. The recent Pixar film “Elio” provides an interesting case study. Production on the animated film began in 2019 when space operations were still part of the Air Force. Due to long production timelines for animated films, the production opted to keep the character an Airman throughout the film’s development rather than retroactively changing it to reflect the newer Space Force service branch. McKeen’s team worked with production to provide as much accuracy as possible to the animated film, despite not being able to shift the character from the Air Force to the Space Force. Her team worked with animators and production staff to help them understand the details of the Air Force uniforms, the role of an orbital analyst, and aspects of military family life and culture.

By infusing the fantasy and science fiction elements of the story with the practical guidance provided by the ELO, the producers were able to establish a creative path for the story to follow to ensure the integrity and accuracy of the character’s development.

A crucial aspect of the ELO’s operations is their cost-neutral approach to taxpayers. Contrary to common belief, the Department of Defense doesn’t pay for its participation in entertainment projects. Instead, productions cover all costs associated with military support.

“Everything we do is at no additional cost to the taxpayer,” McKeen stresses.

The office maintains published cost schedules and works creatively to minimize expenses for productions. They often align filming with scheduled military operations, allowing productions to capture authentic footage while covering only the project officers’ travel costs rather than the full operational expenses.

Not every production that requests support receives it. The ELO operates under Department of Defense regulations that establish three key requirements.

First, productions must demonstrate sufficient funding to complete their project. This isn’t a specific dollar amount but rather proof that they can deliver on their promises, including proper insurance coverage.

Second, the Air Force or Space Force depiction must be meaningful to the story. “We’re not just a location service. Our Airmen are not props. Our bases are not props,” McKeen explains. The military elements must serve the narrative, not just provide impressive visuals.

Third, scripted projects must have distribution already secured. This requirement ensures that taxpayer resources support projects with genuine prospects for public viewing, though unscripted projects have more flexibility in this area.

Beyond individual project support, the ELO actively engages in community outreach to build relationships across the entertainment industry. McKeen regularly organizes events that bring entertainment professionals to Air Force and Space Force installations.

Recent initiatives have included taking Television Academy members to March Air Reserve Base to observe aerial refueling operations and bringing industry executives to Vandenberg Space Force Base to meet with Guardians and learn about launch operations.

“We try to do industry outreach events where industry members see Airmen and Guardians in action,” McKeen explains. These events serve a dual purpose: educating entertainment professionals about military capabilities while building relationships that can lead to more authentic portrayals in future projects.

The ELO’s office walls are lined with posters from projects they’ve supported, from mega-blockbusters like “Captain Marvel” and “Mission: Impossible” to more intimate character studies. Each represents a collaboration between military authenticity and creative storytelling.

Recent successes include the Netflix documentary “Air Force Elite: Thunderbirds,” which followed the 2023 Thunderbirds team, and “Fly Me to the Moon,” where they advised on the Air Force pilot backstory of Channing Tatum’s character.

As the entertainment landscape continues to evolve, the ELO adapts its approach while maintaining its core mission. They work with traditional studios and networks, independent filmmakers with sufficient resources, and even large-scale social media content creators when their productions rise to the level of formal entertainment companies.

The office’s success is measured not in the number of projects supported, but in the accuracy and authenticity of military portrayals that reach audiences. Each collaboration represents an opportunity to share the stories of Airmen and Guardians while ensuring that these stories reflect the reality of military service.

For McKeen and her team, the work represents more than just technical consultation. “We want folks to know about the Air Force, the Space Force, and the opportunities that are available,” she says. In an industry built on storytelling, the ELO ensures that when those stories include the military, they honor the reality of service while serving the needs of compelling entertainment.

The Air Force Entertainment Liaison Office may be small, but its impact extends far beyond its Los Angeles headquarters, reaching millions of viewers who encounter authentic military portrayals in their favorite films and shows. In a world where entertainment shapes perceptions, their quiet work behind the scenes ensures that those perceptions reflect the true spirit and professionalism of America’s Airmen and Guardians.