Upstream - KJB Holiday Special: Die Hard

Starting point is 00:00:00 Right, I am now recording locally. Gamer's cut. Right, now, when I count to John McLean saying obvious wrong buzzer noise, please snap or clap. Three, two, one. Alright, beautiful. Alright, I was just, I was dozed right into it. No, I'm just, I was just dying straight into it. No, I'm ashamed. It's the podcast that hates you back, not well there's your problem, but the other one. Hello and welcome to a special holiday episode of Kill James Bond.

Starting point is 00:00:59 And we're in a bad mood, let's say. The bad mood podcast is the podcast that's upset with you. I'm actually afraid. We're upset with you Personally, I haven't a lovely times as far um why are we upset don't text us And also do it takes just takes us more You haven't been texting us enough you haven't been texting us the correct amount You're only trusting us the correct amount. We're all annoyed by various things, apart from Devon who is fine.

Starting point is 00:01:31 I'm doing fine. We got together to record die hard because most tedious people in the world will go, do you know die hard is a Christmas movie? You have to think about how die hard is a Christmas movie. My favorite Christmas movie is die hard. And so- And then everyone under the age of about 40 goes, what the fuck is die hard?

Starting point is 00:01:52 That came out in 1980 something. First of all, there you go. That's a- Yeah, the thing about this is that die hard, whether or not it's a Christmas movie, I have absolutely no fucking interest in litigating whether or not diehard is a Christmas movie. It's a movie that takes place at Christmas and I mention Christmas a number of times, I don't

Starting point is 00:02:15 know if that makes it a Christmas movie. Greater thinkers and I have considered this, but what I do know to be a fact is if you ask someone what their favorite Christmas movie is and they go, oh, it's actually diehard, you can kill them with a gun and it's legal. That's true, that's legal, that's legal. My first note here, and my big note book for this, is, is die hard a Christmas movie? Fuck you. I don't care. Not to get to fucking Cache du Cinema here, but you and the movie, I know, sort of like collaborative process of constructing meaning, right? Ready to be a Christmas movie? No, fuck you!

Starting point is 00:02:51 It can be a Christmas movie if you like, approach it as that. I don't think that's a particularly interesting lens through which to view it, so to speak. But like, yeah, you can make it a Christmas movie. My Christmas movie has fuck all to do with Christmas. Like whenever it was Christmas, my family, and I would watch the Great Escape, which is kind of a downer. Like Steve McQueen diving headfirst into barbed wire

Starting point is 00:03:14 is not very sort of seasonal. And yet, it persists as tradition. So. The one thing that Diyad is though is a good movie. And if you're looking for an excuse to watch it, fine. Fine, I can think of what? Yes, it is, though, is a good movie. And if you're looking for excuse to watch it, fine. And I can think of what? Yes, before I did it as well, mate, yeah. I enjoyed a lot.

Starting point is 00:03:30 The other problem about Die Hard, for me, is that it's also a movie about which people have written quite seriously and in depth. And so me as Alice and Alice is, right, I'm quite happy in sort of like the small tide pools of the Man from Uncle or James Bond where people don't Like yeah, and they're interrogating them. It's like movie by movie like that Whereas here, I'm like, oh shit fuck. I'm gonna have to say things about this movie that other people have said things about and then people can go and look and compare

Starting point is 00:03:59 And they're gonna realize I don't know what I'm fucking talking about. Yeah, but as I explain to Alice in the pre-share matter, this show is slopped for Hawks. Like, people who have serious opinions about film don't list this podcast. You listen to this podcast, but to hear us talk about Com, and like, do do bitch and jokes about the fault and stuff. Like, yeah.

Starting point is 00:04:20 People have been thinking about Die Hard. People have been writing about Die hard for quite some time. And like, they're better thinkers now there, but thinkers, I think all the fucking time, and I'm dumb as shit. Yeah, this is meaningless. I tell you what, the hands grubber, hands grubber is a man who wants to get in the vault.

Starting point is 00:04:39 He really wants to get in the vault. There's a good vault in this film. Yeah, fucking the fucking vault zone, actually. It's Christmas Eve. It's Los Angeles. John McLean, New York Police Department detective, is on a plane. And the first shot we get of him is him

Starting point is 00:04:57 sort of like clenching the armrests because he's nervous. Check one. And the guy next to him gives him this like sort of like self-help tip. If you're nervous about flying, you should, once you get where you're going, you take off your shoes and your socks and you make fists with your toes, and this will help you not be anxious. But I get a jet lag or whatever it is. They feel refreshed. He has a gun on the plane and he smokes in the airport in the 1980s. Yeah, he goes, don't worry about it. Very much the night.

Starting point is 00:05:27 I was like, cool. There's a shot like 10 minutes later where a heavily pregnant woman is like, I can have a glass of champagne right and her boss goes, yeah, it's fine. So it's a different time. 1988, this was. And I have a theory that this will come back to. First we go to Nakatomi towers,, right, which is which is a big Like skyscraper across town. It's like a Japanese corporation. They're doing rising sun shit John's wife separated

Starting point is 00:05:58 Holy is there. She gets hit on by this by this Chad called Ellis And she's I was Ellis isn't a Chad though, that's the thing. Ellis thinks he's a Chad. He looks like Chad me. But like, he's like big and Jack has beard. Like, he's ridiculous all the time because this movie is sort of like, every bad guy in this movie,

Starting point is 00:06:17 apart from the main one, is a different vision of like, dipshit masculinity that you don't want to emulate. That's right. And so Ellis is like, Ellis is a yuppie more than he's a Chad. He's like one of those guys who watches American Psycho religiously now. I imagine himself being. Yeah, Ellis is like a deals genius. That's his thing.

Starting point is 00:06:37 He's also one of those kind of guys that looks like fundamentally wrong with a beard. I don't know what it is about him. It just doesn't sit right on his face. He's like the opposite wrong with a beard. I don't know what it is about, I just don't sit right on his face. He's like the opposite of Jonathan Frex. Hmm. Yeah, some guys you grow a beard and it's like, it's born perfect. But this guy is like, you're a bit, man.

Starting point is 00:06:54 So I'm still a little baby. Meanwhile, after Jon's finished his nice cigarette and playing with his gun in an airport, he's on his way out. A blonde woman runs past him and he turns to ogle her, man after my own heart, I don't say. He meets a guy called Argyle, who's his limo driver.

Starting point is 00:07:09 Nakatomi Plaza has sent him a limo to bring him to the Christmas party. Yes, Argyle. And the guy. We established some proletarian credentials, right? Yeah, we do. He says, Argyle says, I've never driven a limo before and John McClain says, that's all right, I've never ridden him one before. And the next shot is them riding him riding up front in the limo.

Starting point is 00:07:32 It's so funny that he is up front. It's suck. Yeah, it's great. And this tells you two things about John McClain, right? Because another key fact here is that Argyl is black. There are a lot of black characters in this movie. It's something that's like, positive about it. This tells you, John McLean is of a like working class background and he's not racist. And these are advertising movies.

Starting point is 00:07:54 Like in New York City of Oakland. He's the one. He is a good cop. He is a blue collar. He's a blue collar cop, which is a sort of like increasingly economically implausible archetype. And he's not racist, which is again, so like, this is a combination that it's setting out. So, so I'll go out pretty quickly like Suss is out, John's dealing. He's like, oh, you're here to see your wife, you're separated like she moved out here for your career and John didn't support her. And there's this like, this is line my, I was here to see your wife, you're separated. Like she moved out here for your career. And John didn't support her.

Starting point is 00:08:25 And there's this like, there's this line where our girls try to figure out why John let her go and our girl makes a joke out of the fact that she might have been abusive, which I felt quite wrong. Yeah, I wrote that down. Yeah. Age poorly, certainly. But anyway, they get to the Nakatumi building

Starting point is 00:08:39 and our girls like, well, look, man, obviously, what you want to do is run in there and like, you know, kiss your wife and make up and everything, because you've not seen her in six months. But I'll say, well, I'll hang out in the parking garage. If it goes wrong, give me a call, then I'll find your hotel. It's the nice of them, like. True, yeah, it's nice.

Starting point is 00:08:54 And you, you, you, you like established a, like, a, a, a, a rapport on the, on the drive over there, which is, um, so he goes in and, uh, the, the, the, the office of Nacotowning Fla, the foie is like very sort of like brushed marble sort of thing. They're doing rising sunships, they've got a computer in the lobby which is scary and gay and ethnic. And the computer is also reminded that like hey you're about to get divorced, brother. Oh, yeah. Because he searches for his wife on the computer, and she only comes up under her maiden name, generic, holly generic instead of holly McLean,

Starting point is 00:09:32 because feminism and corporate bureaucracy have interceded between this blue collar cop and his wife. To the kids. They took everything from me. They took my family. I don't know. It's a very neat sort of little like emasculation of John in that one. Yeah, yeah, yeah.

Starting point is 00:09:53 Well, he's not with him anymore because he keeps posting Transphobia on the internet. And it's at this point that I noticed and wrote down something quite interesting about Bruce Willis, which you wouldn't really see in a protagonist in a male lead actor these days, which is that he's ball-thing. And I'm like, oh, that's, it used to be acceptable in the 1980s for men to just kind of naturally go bald as men do, which by the way listeners is fine. However, these days you will very rarely see it in a leading man. But also at the time this film came out, Bruce Willis wasn't the kind of action star that we know him to be now. This was at the time.

Starting point is 00:10:27 It was a comedy guy. Yeah, this was deliberately quite unusual casting. People were like, what Bruce Willis, the guy from death becomes her, is going to be that kind of iconic trans film, which we'll have to watch at some point. And he's going to be in this action film, I don't believe it. So, yeah, I guess maybe that's part of it. There was an 80s view of what an action hero looked like. And that was, you know, it was Arnold Schwarzenegger,

Starting point is 00:10:51 or it was Sylvester Stallone, two guys which this movie independently makes fun of. And Bruce Lewis is buff in this, but he's not like unattainably buff. Like he's about as buff as dev is normally. I think mentally, first of all, I read the dance. This guy's not that much larger than me, to be an action hero.

Starting point is 00:11:09 But there's something else about him that I really appreciate. And he's just got this sort of general sense of good-natured confusion about him. Like every time something happens to him, he just smokes to himself and he's like, all right then, California. And it's just question whether it's good natured because what we

Starting point is 00:11:27 do is we immediately, yes, yes, we do. But I really want to focus on this. We he gets up to the party because they're having an office Christmas party. This is where like Ellis is like sort of hissing on on John's wife. And he runs into a guy who like says happy, like Merry Christmas or whatever, kisses him on the cheek. And he sort of like smiles and shakes his head and goes like,

Starting point is 00:11:52 Jesus fucking California. And it is homophobic. It's unarguably homophobic. However, the idea is like, I think, the movie is trying to get you to like him somewhat successfully by making him like smile and shake his head and sort of like go, wow, okay, whatever. Like, you can argue about how much malice there is in that. But for 1988, that's like remarkably tall.

Starting point is 00:12:20 I find it to be almost completely maliceless because this is the exact same response he has to the last like running past him in the airport hug her boyfriend Like he's just sort of got this general sense that this is like what California's like the people yeah, do people show affection? No, they were It's like pick up the home I just thought it was like it's like affectionate over here, I guess. It's homophobic in the sense of like, in the sense that the movie put it in there to convey California as a place where this happens. Like I think if you made this, not like New York, which is famously not gay at all.

Starting point is 00:12:58 Wait, exactly. But I think if you, certainly wasn't any gay shit going on. I think if you remade this now, I think if you remade this now, there would be, that would be a pronouns joke, right? And like, but I don't think you would have a sort of like a protagonist respond in the same way. I don't think you would have John McClellan be like smiling, but using the, you know, Zezair pronouns, right?

Starting point is 00:13:24 Whereas that's that's kind of the way this is played. And it's like, yeah, he just goes along. He's an average guy, he's an every man. And he just sort of like smiles and like, makes it work. We meet the boss. We meet the boss, Mr. Takagi. And he takes John to go and meet Holly in

Starting point is 00:13:47 her office. She's temporarily on out. So John catches Ellis doing a little bit of cocaine. I love this guy's cocaine acting. Oh, yeah, he's a great cocaine act. Yeah, he's very effective at looking like he's on cocaine. And and Ellis sort of like, taunts John. Well, first of all, Takagi gets a very interesting line, which I did pull as a drop. This is also telling me how good the levels on the drops are. So I do note that. But Takagi says,

Starting point is 00:14:16 Well, Habadun, workout. So we got you with tape decks. And this pulls into a theme, right? Well, Habadun, workouts, we got you with tape decks. This is rising sun again, but now is a joke. Yeah, it's kind of fun that he is the one who makes that joke. What it is is like a perfect demonstration of the way in which Hollywood sort of like moves past its own errors. Like, okay, Japanese Zai Batzu rule didn't happen. So now, we just sort of like joke

Starting point is 00:14:47 about it and go on to next thing. It's like in that way, a bit of a microcosm of how all of this shit works. Like, once we eventually stop doing like Middle Eastern terrorism or whatever, you're going to get some line in some big movie that's like, oh, you just do a terrorism, huh? Gets the same reaction and then we just move past it to whatever next. Yeah, there'll be some in like 10, 15 years time there'll be something about, oh, we didn't manage to translate all the kids, but we got most of them, like something like that, you know. The Hollywood comes in and she's wearing a Rolex that Alice gave her. And Alice can I make you feel it? Yeah, Alice, Alice, Alice like flags this up ahead of time because Takaaki says about her.

Starting point is 00:15:28 She, she was made for this business, Huffer's nails and Alice sort of taunts John by saying, yeah, for like for her, you know, distinguished service, but you know, we got her a watch. It's a Rolex. Because he's the kind of person who says, it's a Rolex. Oh, me. Yeah. That's a Rolex because he's the kind of person who says it's a Rolex. Oh me

Starting point is 00:15:48 That's a Rolex low-paw The thing is by the second time you see Alice on screen you go this guy's gonna die at some point Mm-hmm, and like yeah, you know if it's refact you'll call you like fucking Christ I'll kill him I wish I had that as well, but I recorded over I'm doing all the jobs on this. I know I'm recorded over with like, I'm a cool drop so I can't use yet events. Just fucking radio silence. All I've got is, I think I've got. Let me bust. Yeah, that's Alice, all the joy. I don't know how to have this, this like, spark of reconciliation, maybe the holly's like, you don't wanna come and stay with me in the spare room.

Starting point is 00:16:26 She's like, she says I missed you. And it's this moment of like, oh, okay, members gonna be, oh, yeah, maybe it's gonna work out. It's like Bruce, it's a decent, like, Willis is gonna fucks up. And he likes to like, to himself. Because he's a dick.

Starting point is 00:16:42 Yes, they have this like sort of decently acted. They're separated, but they kind of still want to make it work. It's Bruce Willis isn't as good an actress, Bonnie Badele, so she's doing most of the heavy lifting there. But the bit that really does make it work and really does make you like and sympathize with John McLean is after they

Starting point is 00:17:01 argue and she leaves. He likes to lightly bangs his head on the doorframe and he talks to himself. He talks to himself in the mirror, he's like, oh, great job, fantastic, fucking idiot. And it's like, who hasn't done this? It's very relic of it. It's quite clever too that they establishes

Starting point is 00:17:18 Habit of talking to himself, given that he's gonna spend much of a film on his own later on. It's quite clever. And anyway, then, then, the, then, then, you see, fellows roll up. Ultimate level guy, you love to see Alan Rickman. I am wearing my, my number one Alan Rickman fan, Tisha.

Starting point is 00:17:40 I've got my number one Alan Rickman fan mug. I've got the little Homer Simpson Alan Rickman pennant and I'm sitting down to watch this movie. He made the great career decision to die before anyone asked somebody for the JK Rowling. Well someone did and then he just died. The correct answer. He would have been lovely about it. I've got all the same. Interview terminated. Yeah, I've got all the same stuff, but it says number two. I'll enrich when a fan because I'm aware of the present something Um, it's not often that I say this about any man listeners, but that is a sick ass goatee Right, that's true. It's a lie. I almost never say that. It is good

Starting point is 00:18:23 Yeah, and so he he enters the movie, go T first, leading his boys in, you know what else I love? Another one of my favorite genders, a precisely like Swiss watch timed heist entrance. Love that. It's a real life. It's so good because like he's not even the first guy to like walk out of the back of the van. Like a couple of people come out before him, but then they just hearted enough and the camera like catches up with him and walks with him as he comes out.

Starting point is 00:18:49 And it's just nice. It's a lovely bit of direction. Also, one of the goons for the eagle eyed viewers is Vigo, the bad guy from Ghostbusters 2. I think one of the most difficult actors in the world to work with. There you go. We get this. Oh, yeah.

Starting point is 00:19:03 Really fun. Yeah. in the world to work with. There you go. We get this really funny infiltration scene where they kill the security guards downstairs. They send a guy like in a perfect security guard disguise to sit at the desk and imitate one of them. We see them like wiring up explosives. My favorite little detail in this is the guy who is following directions in his head to get to where to plant the explosives. And because these are Euro-trash, he is giving the directions to himself in German. So he's walking out of the door, like, links and records.

Starting point is 00:19:34 And it's really fucking good. It's really solid. This fellow who's playing Fio, Clarence Goliar, Jr. having the most fun of anyone in this entire movie. Just absolutely. Loves to be here. I have to be doing things. He's the hacker. And he'd like, disabled all of the lifts. So everyone at the party is stuck at the party. They don't know anything's gone wrong yet. And in fact,

Starting point is 00:20:02 John and Harley get like briefly walked in on earlier by like, a couple who are looking for an office to have sex in. The 1980s. And exactly. And as the terrorists storm the party and like, you know, fire shots in the air and take hostages, John McLean is doing the self-help tip. He is busy sort of like making fists

Starting point is 00:20:24 with his toes in the carpet. Again, talking out loud to himself, he's like son of a bitch. Yeah, fist with his toes. Yeah, because of what? This line from Alan Rickman, which goes under the disgust, but when they're all in the elevator, they've all got the guns they're going up. It's hard to pick up, but he goes. Remember, no Russian.

Starting point is 00:20:44 Which is... It's hard to pick up, but he goes, remember, no Russian, which is. I was on, I was on. It's very good. The duck AI. So they like seize control of the party, including like dragging the topless woman who's is he having sex on on the desk out. Just so you get a little bit of like hits. Yeah, again, also wrote the 80s.

Starting point is 00:21:08 I didn't even notice that. And sort of shoelace, in just his under shirt, his vest and his trousers, John McLean sees that he is outnumbered. He sees that there are like seven of them. They all have submachine guns. And he likes it. Yeah, he goes to hide in upstairs like a section of a building which is still under construction, I think. It's fucking great, it's not very action here because Schwarzenegger at this point, he exits the

Starting point is 00:21:36 office, and he like he kills seven guys, you know? Yeah, handling. Whereas, exactly. seven guys, you know? Yeah, yeah. And where exactly? Where as McLean, he leaves and then we get like one brief shot of him going up the staircase, just like checking on what's in each room and he's saying it out loud himself. It's like, I 32 computers, 33 under construction. They're trying to build like a mental map of the area. And then Hans exits the elevator with his gay little filer facts. That's right. He's got a little like 1980s day planner in a little like leatherette cover, which I really like. That's where he keeps his master plan. Like, Kim Kitsuragi, that's where he does his thinking. And he exits, and Alan Rickman is having the

Starting point is 00:22:22 time of his life doing this. He like, any role, but especially this, he talks like the words taste bad. Like, that's true. They're all so good. They're like, one thing I really like about the way Alan Rickman delivers his lines in everything actually, is that he really takes his time to say it. Due to the Nakatomi corporation's legacy of greed around the globe, they are about to be taught a lesson in the real use of power. You will be witnesses. And the way he delivers this is much more if-feet than that as well.

Starting point is 00:23:02 He's got his little planner, he's standing quite nerdily. And he's, of course, delivering this to a room full of terrified hostages. And it's an interesting idea of masculinity is going on with pan scruva, which I will get to. And he continues in this same vein because he asks to see Mr. Takagi. He knows Mr. Takagi's whole bio and like menaces the people in the crowd who might be him until the real Mr. Takagi comes forward. It's interesting.

Starting point is 00:23:31 Mr. Takagi's bio includes him being in turn. Yes, I noted that. I think that's not a problem as a child. This is again, a little bit of like, oh, we feel a little bit bad about the rising sound stuff, maybe. And he takes Mr.— Also, the Mr. Takagi's first name is Joseph. Like he's an American citizen. So it's like, maybe we fucked up with rising sun, maybe.

Starting point is 00:23:53 No apologies, but we are going to make a little joke about, we're going to include this. He takes Mr. Takagi upstairs into kind of a private room to talk to him. And we see that he kind of, he says, he makes a reference to Alexander the Great and then says, you know, it's a kind of a discussion.

Starting point is 00:24:08 I have this in fact. When Alexander saw the breadth of his domain, he wept for there were no more worlds to conquer. It's actually his misquoting pet track there. And that is throwing it out. Alexander has like taught the existence of infinite worlds, and he weeps because he's like, well, why haven't I been able to conquer one of them?

Starting point is 00:24:31 But he also, he does a very sort of a me move, right? Which is, he takes him upstairs, they have a bunch of scale models of like, the Nakatomi corporate and various projects. Yeah. And he's got like, he's got some like playing models. And he had like,

Starting point is 00:24:50 is magnetically attracted to one of them. And he looks over at this bridge model and he goes, I always enjoyed making models when I was a boy, the exact, the attention to every conceivable detail. And it has someone who also loved to make models when I was a boy because of the exactness and the precision, yeah, no, I get your hunts.

Starting point is 00:25:09 Did this relieve you? You hate hunts, Grubera, because he's autism coded. Yes, yes, he's autism coded, and he's something else coded as well. Also, this will tie on later to my theory about this film's relationship between masculinity and time. And but anyway, at this point, also on in the lift on the way up to this floor, in order to prove that he was like cultured, he notices who made Takagi suit. And he says, you know, I have two of those myself. And he sort of he transitions

Starting point is 00:25:43 from this, interesting choice of what, he transitions from this to sort of like back to crime by saying, I could talk about men's fashions and like an international politics all day, but juicy calls, please give me your computer password. And Takagi is like, he's a resolute. He's like, no, I don't, I don't want to do that. John, meanwhile, sort of infiltrates this floor.

Starting point is 00:26:08 He's like hiding under the model. Um, and then, and then Alan Raman has my favorite line in the whole for risk. Like, Mr Takagi, I'm going to counter three. There will not be a fall. Yes. Yeah. So cool. He's so cool. Evie.

Starting point is 00:26:24 While John is like hiding, you hear Hans make his sort of like his sales pitch to Takaagi and one of the things I like is that he knows how little in Takaagi Stoems he's robbing him of he says, you know, I you know, I want the the 400 billion dollars or whatever. 600 million airplanes. 640 million dollars. Yeah. Okay. That's not. 640 million dollars here. Okay.

Starting point is 00:26:45 That's not a lot of money in corporate terms. Don't tell. In your vaults. And Ticacchi is like scandalized. He's like, you want money? But what kind of terrorist are you? And he gives him this big smile and says, who said we were terrorists?

Starting point is 00:26:59 And you have to know that at this time, right? Euro-terrorism was sort of like, we're not quite at the 90s thing of true lies where all terrorists must be in Hollywood's vision Arabs. And so as we're scousing the globe acceptable terrorism, it was now distant enough that we could use Euro Terrorism. And so this is the same sort of mental framework in which some of the Jack Ryan movies take place. The Harrison Ford, where it's like, yeah, like terrorism is like a European phenomenon.

Starting point is 00:27:32 Like a left-wing phenomenon, right? It's like a barter minecraft phenomenon. It's like a sort of Northern Ireland phenomenon. And therefore, that's what a terrorist looks like. And so the movie's kind of like happily tricks you into doing that. And it's like, no, they're just thieves. They're trying to rob the place. You want to fucking money? Yeah. Exactly. And what can be more relatable than that? Mr. Takagi says, I'm not going to help you. I can't do it. I don't know the possibly.

Starting point is 00:27:58 You're just going to have to kill me. And now I'm going to just go, okay, kills it. and now I know she goes, okay, kills him. All right. Yeah, there you go. Another detail I like, Theo and Carl, one of his henchmen with long blonde hair, are like in the room and they like, they're taking bets on whether to Karky gives him the password and after Rickrin kills him, you just see Theo just get a hand in like a 20 dollar bet. That's really good. They'd like the background of the stuff the guys are doing in the background of this is fantastic. You just see Theo just get a hand at like a 20 dollar. That's really good.

Starting point is 00:28:25 The stuff the guys are doing in the background of this is fantastic. Yes. I think a lot of that is just improv. And I think this is John McTernan giving the actors scope to do shit, which I really like. Because actors sometimes have good ideas. It turns out you don't have to subscribe to this view that like actors aren't real and the director makes the movie happen by using them as puppets.

Starting point is 00:28:50 John knocks over something on the table and like gets hunted upstairs, but they've heard something, but they don't know he's there in their caution alert. Just the wind. Exactly. He runs upstairs into a floor that's under construction and he sees the fire alarm and he pulls that and he goes, ah, pulls it. Yeah, we see how completely ineffective this is

Starting point is 00:29:13 because it just like the dude at the front desk just like, there's been a fire alarm pulled and they're like, all right, phone the police station, give him the guard's name, the building code and tell him to turn it off. It's been a false alarm. Also, what floor was that set off on? It's like, yeah, and he takes a second before he like, he does. Yeah, he does. It's a beautiful piece of acting by Rickman because he like, he says, yeah, call him, turn the like, cancel the alarm, takes another step down the staircase and then goes, oh shit. And then gets back on the radio, it's like, what floor was that on? Which is really good. And so, John is at the window watching the fire engines, like drive towards an Akatoni Plaza,

Starting point is 00:29:49 and he sees them turn their lights off and turn around. And at this point, Hans has sent his sexiest Euro trash. Yeah, or a piece of this perfect dude. Yeah, he deployed Jeffrey Dahmer. Absolutely. Dahmer look like I'm afraid. Sorry for the fact. Yeah. Deploy him.

Starting point is 00:30:07 It has like sort of like not quite shoulder length, very blonde hair, incredible fit. You might say to yourself, this is just like a gray sweatshirt and gray jargon bottoms, meanwhile, me and Riley, host of Trash Future, are watching this going, fuck fuck is that rico and shit dudes Super Tite trousers and insanely long sweater fuck just and then like a Shoulder mounted fucking like gone. I'm a gun gun of some description of first generation

Starting point is 00:30:39 5k mp5 and He's like walking around going for, are you? And then, as if he's like trying to hurt you. Yeah, I promise I will not hurt you. And this was followed to easily by the minutes. And it was more or not fast. That the meatiest HK slap I've ever heard. But you're supposed to do, he takes the charging handle

Starting point is 00:31:03 of the HK and he just like slaps it down. So the bolt locks open. So it's ready to fight. You're supposed to do this. He takes the charging handle of the H-Going. He just like slaps it down so the bolt locks open So it's ready to buy you supposed to spam the gun. It's it's the please please more mommy gun lap the fruit Yeah, yeah, well The off-races manual says to operate this in and I quote a soldierly fashion Which means it wants you I think my manual also says that. Yeah, they want to operate either of us in a socially fashion. So he moves around the thing that he thinks John is hiding and just sprays the whole fucking area with that with my millenies.

Starting point is 00:31:38 It's great. It's like, no, you're not giving yourself up to these people. And John gets my gun for it and he says you were just a stupid policeman. And I have a fight. What he says specifically is there are rules for policemen. And we get our first hint that John McLean is like a rogue cop because he goes, that's what my captain keeps telling me. No, there are only cops that do play by the book that are kind of very secured cannons. Very secure. I need at least one secure cannon man. We have one on the first.

Starting point is 00:32:10 I would love to see a series about a cop who just very strictly plays by the rules. Doesn't have any first of the problems. Doesn't drag just normal car. Just a standard guy. Yeah. Cool. Let's go for it. So he has this fight with not only forget what this dude's name is. just normal cops. Yes, just a standard guy. Yeah. Cool. Let's go for it.

Starting point is 00:32:26 So he has this fight with not Oli. Forget what this dude's name is. Doesn't matter. Oh, no. Shit. Hony. Tony. Tony.

Starting point is 00:32:34 Oh. And he kills him. But there's two things I want to draw out here. First of all, every time he's in a fight scene, McLean sort of like is screaming incomprehensible threat to the guy. He's like, I'm gonna kill you, I'm gonna eat you. It's perfect.

Starting point is 00:32:51 I really like it because it makes sense for a guy who like runs his mouth and is scared and talks before he thinks. The nice thing. The other thing is this kill is accidental. It fall down the fucking stairs and he just happens to break his neck. Hmm?

Starting point is 00:33:07 And he looks at him, looks at like his dead body and like briefly he's like, oh fuck, he doesn't feel bad about it. It's not a remorse thing. It's just shock, but it's well done. It's like, this is not a guy who is ready to kill at all times. This is someone who has been forced into it by circumstance. Yes. Everybody takes his walkie talkie,

Starting point is 00:33:30 his cigarette lighter, his machine gun, and not his shoes, because the shoes are too small. Yes. Yes. Sorry. And he sets him up on a chair, and he sees some Christmas stuff, because it's a Christmas movie and he puts

Starting point is 00:33:46 him in the elevator and he sends him down to the floor that he knows, hands his on while he is riding on the top of the elevator, which fuck that absolutely never do. Every single thing that takes place in the elevator staff, which is an immense amount of this movie, fills me with so much dread and fear. It cannot fucking open up. Sorry, it's not any more dangerous than being in the lift. No, I think it's much more dangerous than being in the lift, because I can fall off the edge.

Starting point is 00:34:12 Yeah, good point. Yeah. Yeah. We'll get Crush, which nearly happens to him. But so he like sees them come into the lift and like see ponies dead body. And he's writing down on his arm and sharpie, like their names and how many of them there are, which is smart. And that's when Gruber sees that he has written

Starting point is 00:34:35 on Tony Swester in, I think it's meant to be blood. Now I have a machine gun, whole, whole, whole, which I really, I just think it's the first time I've ever in a line, Rich. Yeah, which I really, I just, I think delivery originally, yeah, just yeah, it's phenomenal. Holly sees the corpus and the left as well, just like, oh, John's a lot. Mm hmm. And also this guy who's been killed is, is the brother of one of our other henchmen, Carl.

Starting point is 00:34:58 Carl, how the big long head. Yeah. He's very upset that his brother's been killed. And John uses the walkie-talkie that he got from the guy he killed to go to the roof and broadcasts on the police emergency if you can see him. But I made it, I've taken him an hour and the lady, they are both ladies, on the other women. Don't listen to him. Women just want to be doing our nails. Uh-huh. That's true. The woke police refused to listen to him because they went in my rubber cop gay. Yeah, very much. He's like trying to tell them what's happening and they're like, this is an emergency frequency.

Starting point is 00:35:42 And his sort of his response to that is, fine, fuck it, come down here and arrest me, which I like, but they don't listen to him, they just cut him off. There's also one of my favorite lines of the film and they say, so this is the emergency frequency, it's from Merge, it's so neat, and he says, yeah, no shit,

Starting point is 00:35:57 do I sound like a watering a pizza? Just every minute. He just screams at shit down above. And like, all right. This is, check if there's a fucking dude in the zone, send him along. Uh, send a guy, send our most bored guy. What do we get? Meanwhile, sorry gone. Yeah, the second this radio call goes out, Hans and all the others hear it on their

Starting point is 00:36:23 radios. And so Hans grabs his, he rustles up some guys, including Carl. There's a fantastic stare at AUG, might be or whatever. And it's like, go up to the roof and kill him. But like, do it quietly. Like just like, lock him up there if you have to. Just so long as when the police get here, they see that nothing's wrong and they leave again. And Carlos, of course, out for blood. He wants to kill John at this point. So they get into a little bit of a firefight.

Starting point is 00:36:55 John escapes into the lift shaft. Hans is like just lock him in. Hans, just lock him in there, lock it, like just leave it and Carl turns off the radio. Carl wants fucking blood. And John manages to lower himself down the lift shaft by the sling of the machine gun and get into the air conditioning ducts.

Starting point is 00:37:14 Yeah, and this is where we get the other one. Now I know what a TV dinner feels like, which is like, this is the like perfect kind of like die hard masculinity right? Is he's trapped, He is scared and he's wisecracking in order to cope. This is his coping skill. Yeah. Is he talks to himself and he says things that are kind of fun. It's nice that he's doing that and the movie tells us he's doing this because he's scared.

Starting point is 00:37:38 Not because he's like, I'm sort of cool. I'm making quips underfoot. They fly now, they fly now. Like they're doing it because he's like scared. I think a lot of make a quip, so I wonder if I like, they fly now, they fly now. Like they're doing it because he's like scared. I think I think a lot of films like Quip, but we kind of forget that the quip's meant to be there to like defuse the tension and not work, but this film does remember that. Yeah, this is one of the things I think, like, that they fly now stuff.

Starting point is 00:37:59 That's a copy of a copy of a copy of this. And it sort of like now becomes so attenuated that it's just this sort of like Marvel smugness. And no, it was here originally for this. But so. The cover. The introduction of our fellow, our boy, the real man, the best man, the fucking guy.

Starting point is 00:38:21 Yes, except this movie doesn't think that he's like, he's not a man, he's conditionally a man until the end of the movie. This is Sargent. Oh we're fucking talking about that. You're not a man until you shabullets out of your dick. That's right. And Sargent Powell is busy picking up twinkies. He's kind of he's he's also black which is like important because we don't talk about how many different characters in this movie are black, and this is progressive in a sense. He's overweight, and he's also very balding. And he's kind of a joke, as he has the guy ring up these twinkies, he's defensively like, they're for my wife, who is pregnant, by the way. So, the lowest angle.

Starting point is 00:39:04 Yeah, and this other guy is also just like a perfect perfect American looking fellow Yeah, sure, John man Whatever fine He gets the call to go and swing by Nakatami Pazo and check it out He goes inside and the fake security cards like everything's fine here Yeah, that's like who. Who's like, yeah, that's a word. It's like, all right, who's the most American-ish guy possible security guy we need to say? Yeah, I love the Dallas Power Boys.

Starting point is 00:39:32 He is properly just like, good, I'm not off the... I'm watching the UT game, GoFos. Devices, this Uber-fucked. And we see that, like, Powell is a little bit suspicious and he pokes around a little bit further because he's smart, right? I'm like a killer Around the next corner is the guy with another MP5 was ready to kill him. Should it come to that? But he like he stops just shooting. He's like nah fuck this red neck dude It's clearly fine. They hired one German man. That's not a crime.

Starting point is 00:40:06 He's, I don't know why he's pretending to be an American, but it's fine. I'm just going to leave. And meanwhile upstairs, John is getting into a gun fight that, that power cannot hear. He's under a table, a guy, he, he kills one guy in self-defense. And then another guy, standing on top of the table and he goes next time when you have a chance to kill someone, don't hesitate. And John shoots him through the table, fully breaking with the rules and the cop and all of this. And it's just like, okay, thanks, I won't.

Starting point is 00:40:41 Goes to the window, sees Powell about to leave. And has, well, he has a brain- Sure, he's a brain-fucking-wave hits him here. And it's like the entire time through this scene, Powell is being watched by like 10 guys in the next floor up all of whom have guns trained on him. And he's just like, this is calm, this is normal as hell. And then as he coasts, drive away, a body lands on the trunk of his car. Yeah, and all how it breaks.

Starting point is 00:41:14 Immediately, everyone in the building starts shooting at his car. He, you know, just like flaws it in reverse drives often in bank, but is calling for like all the backup in the world at this point. And at this point, we have to introduce another a third kind of dipshit, which is the media guy who is introduced making a Wolfgang puck joke. He's like, yeah, I know Wolfgang, I can get you a reservation on the phone,

Starting point is 00:41:41 who like has the police scanner on and has to like sort of Brate his way into getting a like a remote video truck to go out there to this shooting at Nacotomy place This is Walter Pank from Ghostbusters 1 Very good at this exact kind of vibe of guy. So John again like the book Just like an early player in Fallout just harvest everything from the corpses of the people he kills. And he steals detonators and C4. As we later discovered, this is all the detonators the bad guys have, and that like fuck, he's got all the detonators we need those. But he calls Hans on the radio, and is like, eh, what's up motherfucker? Hans, so he's seen too many movies, you're from a bankrupt culture.

Starting point is 00:42:26 This is a really important scene, right? First of all, he calls him and he is so annoying. And I say that as a compliment, right? And so is it kind of predicts trolling, right? The way Hans, he looks at the radio in his hand, once he realizes he is dealing with the American every man and how annoying this is. And we have this great conversation,

Starting point is 00:42:51 which sets up my main point about this movie, which is that this movie is the blueprint for a heavily contingent white siss hat but sort of culturally default due to those ceremonies. This is 90s masculinity, right? And so what it's being confronted with is some smug Euro-trash going, just another American who saw too many movies as a child, another orphan of a bankrupt culture, this is John Wayne.

Starting point is 00:43:21 And in order to like incorporate and respond to those anxieties that American culture might be bankrupt and might only have movies and John Wayne who is ridiculous and shorts and air guns to loan, right? The response is irony. He says, I always preferred Roy Rogers. And if you don't know who Roy Rogers is, he's the singing cowboy. It's sort of like sequin-shirted, white-suited, true-bredourish joke.

Starting point is 00:43:49 Like, he's sort of like very PG. Roy Rogers got in gun fights, but like barely. And it's very interesting, right? Because I think you can make... And I use this word very precisely, straight line from guy who is surprised when a guy kisses him, but is willing to sort of like bait someone else by talking about wearing sequin shirts to the kind of sort of homophobic but ironic defensive posture of like the 2000s and abacronbi and fetch and all of that shit. And I think part of the reason why there is so much irony around is because this recast

Starting point is 00:44:30 the whole of what American masculinity was supposed to be in the 90s to be ironic and sarcastic and referential to different movies. I honestly think this is like the sort of prehistoric creature that predicts the evolution of Marvel. God, you might be right. Alice analysis. That's my theory. That's my Alice analysis. We do get a famous line of Bruce Willis, says UPKAI Motherfucker. That's as fucking synthesis is what that is, right? Because Yippee-ki-A folks is Roy Rogers playing a banjo,

Starting point is 00:45:10 riding off into the sunset. Whereas if you like, and then you add motherfucker to it, which is like the sort of the one heavy swear you were allowed in like an 80s action movie, like Schwarzenegger might get to say that to a guy who is also as big as him and shirtless before he impaled him with a pipe, be like Motherfucker.

Starting point is 00:45:30 Once you weld those two together, that's a fucking dialectical synthesis is what that is. And that's like, other new thing is, it contains the seeds of both of these, but is like an opposition to both of them internally. That's what that is. The LAPD arrive. Yeah.

Starting point is 00:45:50 The LAPD arrive. The LAPD arrive in their dipshit is the other thing about. Yeah, correct. Yeah. Throughout this movie, Paul stays on the radio to John and Paul is like sensible and reasonable and he and John understand each other. Everyone else in the LAPD is a fucking moron. Yeah, true, correct.

Starting point is 00:46:08 Yeah, I refer to these sort of like it heads arrive at the scene because like two guys in rapid succession roll up and like, I am a cunt, hello, and I'm like, all right. Okay. The deputy chief of the LAPD, Dwayne Robinson, Dwayne T. Robinson,

Starting point is 00:46:24 who is I think consciously designed like the sort of more tyrannical American football or basketball like coach, he's wearing kind of same kind of suit, a little bit of Bobby Knight vibes. You're in big trouble, mister sort of thing though, too. A high school principal. We got sort of like immaculate 90s swat vibes, whether or wearing of like immaculate 90s swap vibes where they're all wearing the like one piece vests and the like a baseball caps. There's an interesting little thing where they run through some rose bushes and one of the like swap cups gets his hand fricked by a thorn and he stops and goes, ah, yeah, yeah, yeah, and that's all so. These guys,

Starting point is 00:47:04 these guys are soy and gay, but they're also stupid. Yeah. Right. Because they ran through it at like a bunch of rose bushes instead of an open lawn. Yeah. And they, they, John even caused them macho assholes as they try and breach the building. Yes. Despite his warnings. And they just get absolutely fucking owned for the bad guys. This, this, this, here come with the first, um, over a couple of things I'd like to know. And these generally go under the heading, but I've calling her, you are talking on an open line can't shut up, uh, which is where Bruce Willis sees that they're about to try to enter the building and says on the line, they know sounds group has access to, no, you're going to try to come in.

Starting point is 00:47:44 So Sans Group has access to, no, you're going to try to come in. And I write, don't do that. They try to diffuse it by immediately thereafter having Theo on the TV monitors be like, look, they're going to come in. But like, he didn't tell. It's his fault. It's his first. And yeah, they bring in an armored vehicle, which the guy is destroyed with it like. Visiting a second.

Starting point is 00:48:10 Let's take a second. The line is just like sending the car and then we get the car intro cutscene. It's like a mini boss. Yeah, it just like comes out and like there's just like they got an RV and then immediately it gets shot of a misunderstanding. Yeah, VGo blows the shit out of it. The Royce. Yeah, just dropped.

Starting point is 00:48:28 And then Hans on the radio is like hit it again. And this is John's like radicalizing hero moment is he yells at him, let them pull back. You asshole. And he doesn't. He hits him again, destroys the thing, kills a bunch of cops. We also, I'm gonna bring this up every time this happens in equilibrium or robot cop. We see wounded cops like writhing in pain. We do. Because you're like, these guys are dipshit. It's their

Starting point is 00:48:58 own fault, but you're still meant to sympathize with. And you're on the drops a bunch of C4 down the left shaft. He does. What does he say when he drops the C4 down the left shaft? Take this under advisement A hole, I believe. So when I that, yeah, but when he when he drops it down the thing, he says Geronimo, motherfucker. And that is part of like it's not at the beginning and it's certainly not at the end of a long, long history of invoking the name of Jeronimo when you're about to do some like action movie shit. Like it was a thing in World War II as well. And it's like, oh, people yelling at us, they jump to the planes. Yeah, it was the code word when they killed us all, we've been loved. There is a long, long history.

Starting point is 00:49:41 I would hope from much better code word when they killed me. It's like, it's racially insulting too because this was an enemy of the United States. It was a nice American leader who like was killed ultimately by the United States. And it's like, it's interesting because this is the other lens, right? And it's telling you this all the time, but you never really see this written about because it's so obvious. right and it's telling you this all the time but you never really see this written about because it's so obvious I hard isn't a fucking Christmas movie diehard is a western diehard is a western about the only lawman who goes into a strange and unfamiliar territory Yeah, and it's forced to jewel a gay European man who in a different time would have been played by Lea van Cleef

Starting point is 00:50:22 It's a western This one Ellis decides he's the main character of the film. He does, yes. By doing co-cars, Ellis does some co-cars. Which is the effect co-cars I'm told. That's not some co-cars. I'm going to go, I saw this all out. Give me a minute. Yeah.

Starting point is 00:50:38 I'm a fixed wolf. Oh man, great fucking idea. This is a perfect scene. This is a spot on C. Ellis. A perfect character. I love him with all my heart. I love him to bits. Yeah, he says a bunch of racial slits.

Starting point is 00:50:48 Yeah, he does. Because again, the 90s man, he's ironic, he's sarcastic. One thing he isn't is racist. And so racism is for assholes like Ellis. Ellis who like deploys a bunch of racial slurs in this room, which also disgusts Gruber. Yeah, that is a lie. He's like insulted by Ellis's stupidity and his racism,

Starting point is 00:51:11 and he let some sort of like negotiate, because Ellis' thing is I can bring you John McLeod. His name is John McLeod. This scene is so good. Ellis clearly thinks like he's fucking smash of this, but you could tell just why Alan Rickman's face that he hates this guy and is humoring him. It's so good.

Starting point is 00:51:32 Alan's like, really good. I just was like, wow, you're really clever. You're really figuring all that out. Well done. Wow. What's fantastic? Because like, he, Hans gets on the fucking radio to John

Starting point is 00:51:42 and is like, John, I've got someone here, a very special friend I'd like you to hear from. And you can see on John's face, he's clearly prepared for it to be Holly. And he's like, oh God, and then he hears, Hey, John boy. And he's just going to Alice. What did you tell them?

Starting point is 00:52:00 Because Alice says, hey, I'm John's oldest friend. We've known each other for years. Does my brother-father just met that night? Yeah, he's here. Listen to me. Yeah, he's I'm John's oldest friend. We've known each other for years. Does my brother just met that night? Like, he'll listen to me. Yeah, he's like, he was my partner. And then John's like, you idiot, you put yourself in danger. Like, what have you done? And then Ellis has this memory.

Starting point is 00:52:13 He's like, he's bluffing or thinks he's bluffing. He's like, John, you know, you got to come down. You got to stuff a different way. And they're going to kill me, John. Like, you got to turn yourself in. And then Hans is like, actually loading his car. And this is happening. And Ellis is still on his car. This is happening. And Alice is still on the line.

Starting point is 00:52:27 It's just like, Hans, hey, what are you doing? I'm not a method actor. This is radio and not television. Yeah. And it's just like, I put it together, man. Put it together. I'm trying to do it. I'm trying to do it.

Starting point is 00:52:38 And I was like, Alice, you don't, these guys are fucking for real. They will not fuck around. And then like, John doesn't come down. And Hans just fucking shoots out as a cousin. Yeah, he talks himself into an early grave. And because the the LAPD are listening this whole time, Dwayne, the the chief takes this as like evidence that that John is like, uh, personally, he doesn't believe he's really a cop, but second of all, he's like, he's responsible

Starting point is 00:53:03 for Alice's death rather than Alice. Also, I should talk about this the whole time, like that John is sort of running around, howlers on the radio with him in a profoundly homosocial way. That was the word that I wrote down for the ending of the film. He tells him he loves him at one point. At another point when he says that he's gonna get out of that and their kids are gonna play together, he says, well, that's a date. And it's interesting.

Starting point is 00:53:34 So at this point, Groober now calls the police and he's like, I have a list of demands, right? And he starts demanding the release of, you know, the bad guys from every 80s action movie. Yeah. You got to release the United Provo front, which Sean Bean was in in Patreon. Got to release Sean Bean from Patreon games. You got to release all the guys that Frank Drebren beats up. You got to release Mumrah. It's really good, because it's just like,

Starting point is 00:54:07 you gotta release these boys in Sri Lanka, and like one of those guys is like, say I want over the counter, a home and replacement therapy. It's just like I read about a mid-time magazine on top. Yeah, you gotta release, uh, yeah. You gotta uncancell, fuck, angel. I want to pay, I want to pay,

Starting point is 00:54:25 Blair White for these. I want to make him ridiculous. And once you do all of that, all of us in the hostages will go up to the roof. You will put us on helicopters, we will go to the airport and then we'll source it from there. And at this point, the FBI show up. Yeah, the FBI, baby, first of all, A star, love to see one character here in particular. Robert Darvie. Love to see him one.

Starting point is 00:54:50 He's just so good. You do. Not so much now, because he's crazy, but like, at the time, fantastic. And these are the two FBI agents, Johnson and Johnson. They're credited as big Johnson, little Johnson, which is quite funny. That's right.

Starting point is 00:55:09 Agent Johnson, a special agent Johnson, no relation. If you think that the LAPD and macho assholes, the FBI's job in this movie is to be even bigger and macho. That's right. They tell the chief, the LAPD chief, when we, when we your men, we'll try to let you know, like, fuck you. I really like it. But for the next part of his plan, Carl needs the detonators. He's like bought some time with this, like, you got to release skeletal shit. But he needs Carl to go and...

Starting point is 00:55:43 You got to get those... The Dark and Dernators. C4, it us a deck in Dernighters. C4, it's useless when our Dernighters. And Hans goes up because they've raped the roof with explosives. Hans goes up to check it and he puts his gun on one side and climbs up the roof. And of course, he comes face to face, John.

Starting point is 00:55:59 And he does this cool bit where he pretends to be a scared hostage by doing an accident. He does a force. He does a force. He does a force. I would say I got the drop for this. You're going to be on fucking TV with that action. John has immediately seen through it.

Starting point is 00:56:13 Yeah, John makes like the second one. I wonder if this is Alan Rickman trying to do an American accident of failing or whether this is Alan Rickman trying to do a German, doing a good American accent or failing, or whether this is Alan Rickman trying and succeeding to play a German who is trying and failing to do an American accent. I choose to believe that it's the latter just to give Alan some credit. A large record, because I love the fucking guy.

Starting point is 00:56:37 Yeah. It's such a good fake accent. It's so funny. We get this very tense sort of scenes. then like McLean gives him a gun which Gruber uses to like hold him up only to find that it's empty. I would have shot him first, but he didn't trust it. Also like, yeah. Thing is, and I get mad about this in films and in real life whenever people are like,

Starting point is 00:56:59 I didn't know the gun was loaded. When you hold a gun, you can tell whether or not it's loaded. Because if it's loaded, it's fucking heavier. You can tell when a weapon is empty because it doesn't, it's like light. When a gun is loaded, you can tell. I saw this thing the other day, there was a real cop who was like shot his partner and was like,

Starting point is 00:57:14 I didn't know the gun was loaded. It's like then you're an idiot. Cop being an idiot. Anyway, we have light, we get this. There's this running gun fight that ends up in a computer room and having seen that McLean is like barefoot and also super fucked up, by the way, he's like covered in blood and dirt and stuff. Like Hans turns to Carl and he looks and he sees that like McLean is hiding behind a big

Starting point is 00:57:43 sort of glass partition. And he goes, she's defenster. Carl forgets that was big German for your benefit. So you can say, shoot the wind, shoot the glass. Because the one bit of intel that he has received over the course of his couple of seconds is my boy, barefoot. It's legal. It's legal. It's not legal because he like gets the floor covered and broken glass.

Starting point is 00:58:06 And in order to escape, John has to run over broken glass, which they very kindly don't show us. No, but very unkindly, they do show us in the next scene him dragging himself into the bathroom. I hate glass stuff. I hate glass stuff. I hated it in Jack Ryan. I hated it in fucking the other thing. I hate it when they did it thing. I hated when they did the fucking really, no conceivable reason in the second man from Uncle Movie. That was really bad. I really, I really don't like it.

Starting point is 00:58:32 So he's pulling these shards of glass out of his feet and he's like, to cope, he is talking to Powell on the radio and we get Powell's backstory. And Powell's just like, yeah, I'm just a desk jockey. You know, you don't think that's an honorable thing for a cop. McLean says, no, because you know, 90s masculine, he has his limits. And he says, how come you're just a desk jockey? And Paul's answer is, man, you remember fucking Robo cop to remember where I'm seeing RoboCop to the guy goes, I shoulda kid, can you fuck her? Well, power fucking disproved that because he shot a kid.

Starting point is 00:59:09 Yeah, he gets on the way and I was like, yeah, I killed a kid and like, and then the movie is just like, this is sympathetic. We also explicitly hear that this child had a toy gun when Paul killed a 13 year old child, which I'm sure in the fucking 80s might have been something that's like, oh, that's an interesting abstract concept

Starting point is 00:59:31 to give to a fucking cop. But in this day and age, that's not a... Yeah, in present year. What we see is this cop who has murdered a child and is walking around free. Man slaughtered a child, I suppose. He's like, because he's like, it was dark. He had a ray gun.

Starting point is 00:59:52 And the way the movie presents this to you is, you know, when you are rookie, they can teach you everything about being a cop, except how to live with a mistake. Oh, boohoo, it must be so. It's a swallowable like a gun. That's how it's talking to the- It's so cool for you. I'm building all new levels of electron microscopes Boohoo, it must be so. So, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, so, since the 80s is that now how many cops would admit to this being a mistake, right?

Starting point is 01:00:28 Like so much of the like the self-preservation discourse now when the cops shoot a child is, well, we had no way of knowing therefore we shouldn't even feel bad. Like how feeling bad is a moral standard to like beneath which things have now slipped. It's worse than that now. But so this has led Powell to have a life-changing disability. He has gunitis. He can't fucking shoot someone now. Oh no.

Starting point is 01:01:01 Because he's been made unable to crumble it out of his gun dick, which makes him fucking loser. Literally, his inability to do personal violence, emasculates him. It's the same reason he's fat. Genuinely it is. He's not a really a man anymore. He's not really a cop anymore. This film does really lean hard on the idea that like men are the gender that hurts people And if you can't hurt people, you're not a man So the FBI bully the Yeah, so the FBI bully the city into cutting the power which as we see is The last step of Hans's beautiful brilliant land and so we get owed to joy playing and you root for these guys

Starting point is 01:01:44 You root for harm from the gang. Yeah, I really love this scene. I want to because like the FBI cut the power to the building and then it goes off. But then it cycles back on because the building's on its own circuit. And so the vault is still because the vault when the power goes off the vault opens, the magnets are released. And so it looks like they fucked it up and then we're gonna do it. And then Hans thinks for a moment, and then he goes, make them angry. And then the hacker guy turns the lights to the building back on, so that all of the lights I can see them.

Starting point is 01:02:18 And then the FBI, like, right, fuck this guy! Turn off the power to the whole block! And that's what does it, and that's what opens it and I'm like, oh bad clever So good so fucking good and the best thing is like the vault opens and we get like obviously we get old joy and everyone's just like They're all in the vault looking at all the fucking millions of quid that's laid out in front of them And then we cut the FBI guys and they're like, no, we shouldn't have pants in there. Yeah Yeah, that's the best thing. No, that's the best thing. That's the best thing. No, that's the best thing. That's the best thing.

Starting point is 01:02:45 That's the best thing. No, that's the best thing. That's the best thing. No, that's the best thing. No, that's the best thing. That's the best thing. No, that's the best thing. No, that's the best thing.

Starting point is 01:02:53 No, that's the best thing. No, that's the best thing. No, that's the best thing. No, that's the best thing. No, that's the best thing. No, that's the best thing. No, that's the best thing. No, that's the best thing.

Starting point is 01:03:01 No, that's the best thing. No, that's the best thing. No, that's the best thing. No, that's the best thing. No, that's the best thing. No, that's the best thing. No, that's the best thing.. Now that's the point of fucking Hans Gruber is, like, American trad masculinity is threatened and humiliated by an effete, by an effeminate, by a European kind of masculinity that is primarily intellectual,

Starting point is 01:03:18 but that knows about like time magazine and Forbes, and knows about menswear, and like, has carefully groomed itself, has like sort of like the very neat goatee. And the only response imaginable to that is irony and like, and sarcasm and being smarter, but in sort of a more role with the punches, Indiana Jones sort of. I'm reminded of a quote by Carl Jung, who was asked about this kind of like crisis of American masculinity. And he said something like, you ask yourselves, why American women prefer European men? I say, after all, that is because American women are not that different from European women, they like the way that European men make love. They like the way that European men make love. Yeah, two other men.

Starting point is 01:04:05 That's right, baby. To be fair, the other thing is, they find it necessary to undercut Hans Gruber in this moment because we're shown his team is just like, this is a work of singular genius that he would know they would cut this off and that would be a step in his plan and then we cut this off. And that would be like a step in his plan. And then we cut out power who just goes, yeah, they cut the cut the power to the entire block. They've got the the terrorist playbook and they're just going step by step. So with how the sort of like every smart person who has ever been outranked in a dumb room. That's right. That's his like entire role for the entire movies. Is there just be that like? Yes.

Starting point is 01:04:45 You are making a mistake and for the guy like, fuck off. No, I'm not. Moving on. Yeah, but like you can only sort of like what's interesting is this this European masculinity is like feminine, right? And therefore it's gay. Whereas the not gay has to resexual American kind of masculinity is to hang out on the phone with your boy Talking about how much you love each other. That is the kill the child Yes, yeah exactly This point we learn what the final step of Hans's plan is gonna be which is gonna hurt all the hostages up to the roof They've requested helicopters and when the helicopters come in

Starting point is 01:05:21 They're gonna blow the seafuller under the roof blow it all up It looks like all the hostages and hostage takers are dead and hands is just like it'll take them a month to sift through the rubble But the time they figure out what's happened will all be on a beach drinking my ties in fucking wherever right oh One other one other sub plot I want to draw out is at one point I want to cleanse identity gets Yes, okay, and they they'd like identify him and piece of shit media guy goes to his house and bullies the Latina maid who speaks sort of broken English is not a character and the way in which he gets in the house

Starting point is 01:05:55 to interview them. And this is how like McLean is identified by Gruber in the first instance is he threatens her with the INS, the immigration and naturalization service, what becomes ice, right? And so, a few things going on here. First of all, media guy is a racist piece of shit, right? Which we don't like. The movie doesn't like. But Holly's employing a fucking undocumented migrant to just, you know, nanny her kids, and she's not helping with any of that shit. And also,

Starting point is 01:06:22 Annie, her kids, and she's not helping with any of that shit. And also, within the universe of this movie, not just all migrants are undocumented, but all, like, unless you count Robert Duffy, 100% of Hispanic people in this movie are undocumented migrants, which I love, I love that, to be honest. On the flip side though, this has never really presented as a bad thing.

Starting point is 01:06:43 It's just a kind of fact. It's presented's presented about things. Yeah, use that information. Yeah. To your own ends, actually, if anything. Yes. Um, speaking of family, the John, John calls out this police sergeant, it's like, please tell my wife that, you know, I'm really sorry. And I should have supported her. Her brother is a person. Yeah. Yeah. I like, I should have supported her. Her room is a person. Yeah, yeah. I should have supported her job, and she's never heard me say, I'm sorry, so I'm sorry. Which I like. You have to support your high power business girlfriend.

Starting point is 01:07:12 That's right. That's fucking right. That's true. They start hurting all the hostages up to the roof. John disarms the explosives. And this leads to him and Carl having a big fight in the Blue Barrel room. That's right.

Starting point is 01:07:28 A big room that they keep by the roof full of blue barrels. I love him yelling during the fight, which he does more. This is where he tells Carl he's gonna kill him and eat him. And he kills Carl by like hanging him from a chain. Fuck it, bro. Just broo. That's what I read down. And he kills Carl by like hanging him from a chain. Yeah. Fuck it, bro.

Starting point is 01:07:47 Just bro. That's what I wrote down. Having seen the news, Hans figures out the holly is John's wife and takes a hostage. Yeah, that's right. The FBI are riding in like helicopters with like, as with helicopter gunships. It's a really solid. And Johnson says to Johnson's just like fucking sci-gon to which Johnson says I was in junior high dickhead.

Starting point is 01:08:10 And thus we once again, right, like we, collective, collective trauma anxiety is we, we eased them from the American psyche with jokes, right? So we've already done that for Rising Sun. Now we do that for Vietnam. This is the movie which really buries Vietnam again, is I was in junior high, dickhead. Like it's it's not just like we felt bad about it. Now we don't anymore. No one cares. It's yes, I think it's not anymore. And it's funny. Um, gone. So yeah, the FBI sort of like see John on the roof, try to kill him.

Starting point is 01:08:43 John Hood, the host is off the roof, as the roof blows up, he wraps a fire hose round his waist and jumps off. Oh, fuck that. Yeah, yeah, it's cool. It's cool, it's cool. The FBI chopper gets blown up too. John manages to shoot his way back into the tower where Hans is making his escape with the bonds

Starting point is 01:09:01 and with Holly. My notes here say release my voice. He like, he taped some pistol with his last two bullets to his back with Christmas tape. And then sort of like surrender himself. And he, we get our sort of a high noon deal here. And he like he tells Hans, he made a pretty good cowboy yourself.

Starting point is 01:09:21 And, but we see that like masculinity and American sort American nationality are wrapped up together in their referential because Gruber says, John Wayne and Grace Kelly, or Grace Kelly, whatever, aren't gonna write off into the sunset together, referencing high noon, I believe. And McLean says, that's Gary Cooper at all,

Starting point is 01:09:45 which is like, that's fucking, you know, pure Tarantino there, right? Like American sort of masculinity and violence and nationalism all tied in with knowing these movies, right? And because Grover is an outsider, he doesn't fucking know high noon, he doesn't even remember it was Gary Cooper. And he has punished for this with his boy getting shot and then getting shot.

Starting point is 01:10:06 And at the last moment, he clings on to the Rolex that is fucking symbolizing Holly's, like, sort of like, one of the fighters. Indepenning for John. Yes, I like to have Ellis for feminism and Ellis and Takagi. Another thing that's worth learning is that Alan Rickman also delivers the line of Yippee-Kaiyama, the fucker, but it's like intentionally ridiculous coming out of his mouth, which all goes towards the same sort of like, you're not masculine,

Starting point is 01:10:38 you're a European, you fool. And he, like McLean like releases the watchtrap and the watch and Alan Rickman go into the wild blue yonder and drop off the tower. And of course very famously Alan Rickman was told they would count to three before they released him and they only counted to two and he was very upset. This is one of my favorite things you can do to it. I had to mention that. I do not do this to actors. I had to mention this on the screen. I do do this because if you do not do this things you can do to it. I had to mention that. I do not do this to actors.

Starting point is 01:11:05 I had to mention this on the podcast. But if you're not one, you've done it. Because if I hadn't mentioned it, then we would have got a million people telling us about it. In the show, I'm sure a lot of people telling us about things we missed about Die Hard. And I'd just like to head that off by saying, I don't care, thanks.

Starting point is 01:11:19 In the TV show, Traumae, which is certainly New Orleans, they have a scene where the food critic and piece of shit, I think Adam Richmond, has like a sasarak, a cocktail thrown in his face, and the way they got that take was to tell him, yeah, this take would just like blocking out, no one's going to throw a drink at you for this one, we'll do it in the next one, and then they throw the drink at him. I love doing that to actors, I think it's funny. It's funny. You can keep doing that.

Starting point is 01:11:43 To that type, this is very responsible. You could hurt someone by doing this, and they'll be very upset. So, but there's sort of... John? It's by the direct to it anyway, so it doesn't really... You won't. Exactly. I'll just say, right. John and Holly kiss.

Starting point is 01:11:56 John meets Owl, and it's... Yeah, they have a big hug. Yeah, this is the moment where they meet... We really close, huh? Kind of, climax is, like, this is the big emotional... It's not the right moment. Yeah, it they have a big hug. Yeah, this is the moment where the music and I'm actually like this is the big emotional release moment. Yeah, I'm sure like the wife, my notes here say homo sociality. This is where you meet like your long distance friend for the first time and it's like, yeah, it's not me. God, it's it's that girl I've

Starting point is 01:12:19 been chatting to on Discord. This is the real romance in the movie. My Ken, whereas his marriage is more sort of like more positive and the marriage is a challenge. We see that she takes his name back, but this is the sole concession to progressiveism, right? Is he admits that he should support her and he introduces her by her maiden name. He says Holly Jennero and she corrects him and says, Holly McLean. So the lesson here is, I guess, fry to meet women half way, but if you do, they will give

Starting point is 01:12:53 you everything you wanted in the first place. If you just agree to compromise, you won't have to actually do it. And I think this sort of sets the stage for a lot of the more toxic kinds of masculine in the coming decade. Oh yeah. But there's one thing to note here is that one character has not yet had their apotheosis. Someone is looking at this screen there yelling, let me bust. And only one man can be allowed to finally bust bullets out of his gun penis and become a real man again. And that is how Sergeant Owl. Because Carl is alive.

Starting point is 01:13:28 Carl emerges with a gun. It's going to shoot everyone. And Owl reflects the name of George. In Mancule's day. Yeah. Owl George is going to shoot some dead. And this is presented as heroic because he's learned from John. He was.

Starting point is 01:13:39 The real way you be a man is you kill someone on Christmas. If you kill a child, you can actually redeem yourself by killing an adult afterwards. They don't tell you about this. Yeah, if you kill an Austrian man, it balances that. Also, how much to stay a kick in for this movie that you can drop one of their guns off a blown up building that doesn't have a scratch on it? Our guy all gets a heroic moment, which is worth no-sing. He like blocks off their escape route

Starting point is 01:14:06 and punches out Theo. Yeah, I did write stealth limo about that soon. Holly punches the reporter. That's right. This is another thing I want to talk to everyone just gets like punched basically. Bonser. This is like the last, it's punch-missive.

Starting point is 01:14:20 The last sort of like, shot more or less, is the piece of shit reporter sticks a camera in their faces and is like, how do you feel? And Holly punches him. And this is interesting because after he gets punched, he gets laughed at, and then he goes, uh, did you get that? And this is interesting. Women get the ability to do violence, but only the kind that humiliates and emasculates. Only the kind that shows you up to be a matcho asshole. Not the kind that actually hurts anyone. We're missing women, women, commising violators only ever a joke, whether that's Argo being like, did your wife beat you up or whether that's her punching the media digit, whereas

Starting point is 01:14:58 male violators like essential to your ability to like feel self-respect. Which is why I'm very excited to announce the modern 2023 remake of Die Hard with me as Hans Gruber. Yeah, trans Gruber. Yes, exactly, thank you very much. We got there in the air! We did it with me! Love trying to close our skin for the music in. Oh, happy holidays from our podcast to yours. From podcast to podcast. No, for real. I think this film has interesting things to say about masculinity and its relationship to time.

Starting point is 01:15:36 Do you fucking temporal metaphysics here? We see throughout this that like planning, having a plan, figuring things out, knowing where you're going, that's gay shit. Don't do that. John McClain doesn't have a plan, real men don't have plans, they're just fucking react to the moment. Don't think about things, just instinctively do shit. Either that was interesting to know.

Starting point is 01:15:54 It's also spatially contained every shot that John's in until the end of the movie. It's like the last shot of him and Holly in like an open shot. He's constrained by some element of that framing. He's like in a door frame, or he's like shoved off to one side of the screen or he's in a vent. It's constrained in that sense. It's wounded. You can get into some real bodies and spaces, shit about like John McLean's body, and it's sort of like various like impositions and violations and all that. You can read a lot of essays about that if you wanted to. But most of all, we have a science-based system on this podcast called the SCUM system.

Starting point is 01:16:35 Sure. And we're applying it to diehard because I guess this isn't technically a bonus episode as a Christmas episode. Yeah, so I think this probably won't be the last time we visit the diehard franchise. So I think it will be useful to have at least four more Christmas's to get through. Oh, yeah, I like diehard 4.0 and I think that also has interesting things to do. What do we think about mom for this film? What do we think about mom? What do we think about mom? I was always more partial to Roy Rogers with the sequin shirt, Seven. I don't think it's a Seven,

Starting point is 01:17:07 because remember when it comes to Smaum, films get points taken off for sincerity. And I do think that some of the Smaum in this is a way of showing us that John is afraid, which I like. Yes. I, I gotta be honest, I wouldn't feel comfortable putting above like a fucking five, because like, there is a great deal of this movie

Starting point is 01:17:27 where like, as you said, he's using this to sort of like ease himself, more than anything else. How about a four? Four? Okay, five? Yeah, four. Four. Right, five minutes.

Starting point is 01:17:41 Four. Cultural insensitivity. The, okay, so the man, the ideal of manhood that this presents is not racist, but capital less is not racist. Only really applies to the relationship between black men and white men, right? It is like you, the viewer of this are presumed to be a white man and the lesson you must take from this is you should be nice and respectful to like the various different kinds of black men that exist in the world. This is a

Starting point is 01:18:16 lesson that Diana free will also repeat. Yes yes. Let's see if people like like exist only as undocumented migrants. Women of color, I'm this as far as I've been said, don't exist. Yeah, you know, you shouldn't use racial slurs, but other than that, it's again. Yeah, I mean, that's, I guess that's it's something of a fair lesson. It is, it is anti-racist in the sense that it tells you don't be racist. This is the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the of we have figured that out until the late 80s, but you know, I'm glad we got that Yeah, we can we can make jokes about it sort of like necessary, but insufficient anti-racism So I mean Yes, yeah, genuinely yes, it's making an effort

Starting point is 01:19:19 I try actually do we take points up for that like do you want to go zero? I think it's like that it's right actually do we take points that for that like do you want to go zero? I think we do I think we do never to try You don't want to give it as even a one give it a one yeah, okay now Unprovoked violence Well, he's okay, well, so our first character our our primary character here is John McLean his first kill is accidental His second is himself defense and his third is is where he starts to just like go ape shit. And it's because that's the one that specifically tells him,

Starting point is 01:19:53 hey man, you're going to want to go ape shit in the future. Yeah. On the other hand, this is also a movie dedicated to re-busting the proposition. There are rules for policeman. Yes, and also the child. Also, they do kill a child. And that's sort of shown to be like... Fine.

Starting point is 01:20:12 Oh, fine, obviously. But not like something that someone should be punished for other than in their own head. No, you shouldn't. No, you shouldn't even be punished for it in your own head. You can just keep me in a con. You can still carry a gun. Oh, yeah, you're right.

Starting point is 01:20:23 No, he's supposed to just get over it. All right, yeah, fuck this film actually yeah last that remember when we did that Jack Ryan film with a killed a bunch of children I remember all that yes yeah how about a three four I would say four okay okay um misogyny now this is interesting because I because like I said earlier I think the thesis of this is if you say that you are willing to compromise you will never have to which is an interesting sort of defensive fallback line for mentor to go to and one that proved very successful for them still does to this

Starting point is 01:21:01 day is like I'm being reasonable. I'm giving you the appearance of everything you want. Why are you mad at me? Call their bluff on our shit, girls. Just be like, yeah, okay, call our tape. What are you, what you said you do for me now? And they're like, what? Yeah, it's, it's, it's, it's a movie about like men responding to feminism by having to like sort of killing each other with the shoulders. They're doing it for us. Yeah. And by like shrugging their shoulders and being like Jesus, this California shit crazy,

Starting point is 01:21:29 whatever I guess. Which is not the worst way you can respond to a world changing around you. It's not the best either. I don't like that she's like, oh, actually, I'm hauling the client at the end of my, I believe it in the sense of romance, but it's just, it's interesting to make a film about masculinity and pretend you don't have anything to say about femininity.

Starting point is 01:21:49 And then it re-asserts itself through violence very clearly at the end. Perhaps the most clearly of any film we've done. Oh, and then. And finally, I would... What does this movie say? We haven't given it a thought. It's a pro-stimus. Yeah, I would say four. Four? That gives it a total. Forced miss. Yeah, I would say four. Four.

Starting point is 01:22:05 That gives it a total score of 14, which is pretty darn good. Yeah, I mean, especially, it's like on a par with the later Daniel Craig's. So yeah, pretty decent, I'd say a good start. For my heart. Yeah, and like on a par with some of the Jack Rines Where James Bond was doing license to kill right

Starting point is 01:22:30 But yeah, yeah, yeah, yeah, yeah, yeah, so yeah pretty pretty strong Big bid from don't have progressive than product decks more progressive than a comparable James Bond What does this movie say about Christmas? I don't care Have a wonderful holiday season What does this movie say about Christmas? Nothing, fuck off. Fuck you. Fuck you. Fuck you. Fuck you. Fuck you. Fuck you. Fuck you.

Starting point is 01:22:50 Fuck you. Fuck you. Fuck you. Fuck you. Fuck you. Fuck you. Fuck you. Fuck you.

Starting point is 01:22:58 Fuck you. Fuck you. Fuck you. Fuck you. Fuck you. Fuck you. Fuck you. Fuck you. Fuck you. Fuck you. Fuck you. Oh yeah, oh yeah. The fact that we told hundreds of people, you have no economic reason to give us money.

Starting point is 01:23:09 And people still did, which I like, because it means I can pay my rent. That's genuinely touching. That's genuinely been like a huge sort of like emotional thing for me. It's like, wait a second, people fucking like me and my smarter friends talking about movies enough to like pay actual money when money is getting quite scarce when we

Starting point is 01:23:34 explicitly told them that they don't have to and they still do it that's really that's really meaningful so thank you truly. I think for me one of my favorite moments of the year, came recently when Nate said that he went to Australia and he met a bunch of trans people who listened to Kill James Bond in New Zealand. Yeah, I was in New Zealand. I know.

Starting point is 01:23:55 Wow, that's so cool that like, people all over the world listened to this like very silly podcast where we talk about. I come like, I literally text my like grandmother about that, right? Yeah. Yeah. People are listening to me and fucking New Zealand and they're like, well, this guy knows

Starting point is 01:24:11 what he's talking about. You're like, he's obviously really does like me in the world. Yeah. Thank you. So, thank you. And I guess all we can say now is that kill James Bond will return in 2023 with some more man from Uncle Shit. So I hope you're ready for that. Yeah, some more silly bullshit.

Starting point is 01:24:31 We're hoping to get my brother on at some point. My real actual brother. So yeah. Stay tuned for Abigail Thorne and the brother. And the meantime, we will see you next year. Thank you for listening to yet another episode of Kill James Bond. I don't know which one though, because we are banking these episodes as we're going way on holiday, uh, variously through us throughout the month of December, which means that, uh, you will not get fresh and new jazz out to every time. You will get this one

Starting point is 01:25:14 for all three episodes, um, that I yet to be released in December. So, let's crack on, so we're just going to annoy to listen to three times. Our 15 pounds at above patrons are Christine Fox, Amanda Comet, Rhea Aloysius, Gustavo Lyra, Jack Holmes, Thomas Oberhardt, Nick Boris, Kentucky Fried, Komme, Yarrick, Neta Mori, Harriet Decock, Corioss, and O Rice, the comis of, all-molinone as Jen, Eiffcrime, Library Hitman, Helen Verney, Max Gamerhardt, Jonathan Girdeyes, Jack, Rummond, Hell, Hit Divine, Lysamesh, J. Martin, Del, Jonathan Seagull, Big Tilly Gothgill, Top O, George Roach, Mothman, Harrison Fuller, Trip, Violet Cybra, Alex, L. Plus, Liz Nash, doing well in Florida. Sorry you brits are freezing

Starting point is 01:26:05 the russes off, we don't have heating bills, so have some dosh. Paint Macala, the Trans-Rowod, Vernon, Elizabeth Cox, Zoe Sheppard, Vin Ross, two spy three many, Curves each shittin' diolone, Windvilliri, Alfredo and Boofy. Thank you. Gilton's Bond is, of course, Alice, Abigail and Devon are producers the wonderful next day. Our podcast art is by Matilda Chansky and our website is by Tom Allen. See ya. you

Upstream - KJB Holiday Special: Die Hard

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