Upstream - S4E24: Sexy Beast

Episode Date: October 18, 2025

Kill James Bond continues it's completely unashamed fellating of Jonathan Glazer by watching his (feature-film) directorial debut, Sexy Beast. We've often seen, in the course of 'getting the gang together', our protagonist coming across one potential member who insists he's retired. He's out, he's happy, he's got a beautiful wife and likes his life. What if he really, really meant it? ----- Friend of the show Bella, a refugee evacuated from Afghanistan in 2021, is raising money for her gender confirmation surgery! Anything you can give would be hugely appreciated! https://www.justgiving.com/crowdfunding/team-bella ----- Check out friend of the show Mattie's new book Simplicity here, or wherever fine graphic novels are sold! ----- FREE PALESTINE Hey, Devon here. In our home, we talk a lot about how insane everything feels, and agonise constantly over what can be done to best help the Palestinians trapped in Gaza facing the full brunt of genocidal violence. My partner Rebecca has put together a list of four fundraisers you can contribute to- all of them are at work on the ground doing what they can. -Palestinian Communist Youth Union, which is doing a food and water effort, and is part of the official communist party of Palestine https://www.gofundme.com/f/to-preserve-whats-left-of-humanity-global-solidarity -Water is Life, a water distribution project in North Gaza affiliated with an Indigenous American organization and the Freedom Flotilla https://www.waterislifegaza.org/ -Vegetable Distribution Fund, which secured and delivers fresh veg, affiliated with Freedom Flotilla also https://www.instagram.com/linking/fundraiser?fundraiser_id=1102739514947848 -Thamra, which distributes herb and veg seedlings, repairs and maintains water infrastructure, and distributes food made with replanted veg patches https://www.gofundme.com/f/support-thamra-cultivating-resilience-in-gaza ----- WEB DESIGN ALERT Tom Allen is a friend of the show (and the designer behind our website). If you need web design help, reach out to him here:  https://www.tomallen.media/ Kill James Bond is hosted by November Kelly, Abigail Thorn, and Devon. You can find us at https://killjamesbond.com , as well as on our Bluesky and X.com the every app account

Hello and welcome to another episode of Kill James Bond. I am November Kelly. I am joined, as always, by my friends Abigail Thorne and Devon. Hello and welcome to Kill James Bond. Oh my God. joined by a Victorian author. You mention in passing that you're doing a little bit of voice training and all of a sudden it becomes part of a long bit,

most of which we didn't record. Damn right, you're mentioning it in passing. God damn, you sound great. Thank you. We're also discussing this is how November's slightly voice-trained voice also shifted her accent, as it did to mine a little bit. It did. So I'm, hello to Posh November.

high. The higher it gets, the posher it gets as well. And so if I fully hit the like, hello and welcome to another episode of Kill James Bond, then, you know, it really, it goes somewhere. Yeah, damn right, it goes somewhere. Yeah, no, I, you need voice training coaches with regional accents. It's a shame that it's like a posh voice girl's job. That is true.

Otherwise, you'll end up with a fucked Mid-Atlantic accent like me. Well, I like your accent. Here's the thing. Like, if I go into it and the sort of like trade-off, is, oh, you have to do a lot of training, but you sound like Nigella Lawson, it's like, okay, when do I have to get you the money? You know, I'm like, this is not a, not a sort of a problem for me. But yeah, no, I'm experimenting these things.

We'll see how it goes. But in the meantime. Yeah, anyway, welcome to Kill James Bond. Fuck, right. Yeah, so we're in robbery season. Welcome to this sadly not award-winning podcast. Oh, yeah, this award-losing podcast. We fucking

didn't get it. World historically washed. Oh, we got fucking owned. I don't remember what we lost to. I wasn't even able to make it down for the ceremony. We lost to a guy who didn't even

fucking turn up. So fucked up. We need to talk, yeah. Well, I didn't turn up. Listeners, thank you to everyone who voted for us in the ITVB creator podcast to the Year Awards. Deb and I went down, we got

fucking owned. As soon as we got in there, I realized we weren't going to win because it's really corporate friendly and like... Yeah, the second we opened up the little like itinerary we've got. I've got it in front of us here. And we saw that there's a massive like judging panel that comprises 60% of the vote. We were like, oh, we're so fucked. You got Eurovision.

We thought it was audience vote. We thought we were going to walk it. But no, 60% judges votes. And we were like, oh, no. Yeah. You won the people's vote. Stop the steel is the official message. of Kill James Bond.

We are going to the ITV creator awards. We're doing the thing that Trump did with Erdogan where we're like, and this guy knows something about rigging elections, am I right? They're all from talent agencies, dude, I'm looking at them now.

It's so funny to imagine any single one of these people listening to any episode of Kill James Bond. Oh, we're not brand friendly. We once opened a podcast asking listeners to kill certain people within the UK. And also,

also, Dev and I, we did also RuPaul it as soon as our category was enough and we lost, we just got up and left. Well, I also finished off the bottle of wine that was on the table before we... Was it at least an open bar? It was, it was, yes.

We did get properly drunk on the ITVB creator dime. Good, good. Thank you to them for that. Thank you to the fans. But a sort of note of caution that please, next time we do one of these, you have to cheat that much harder. I mean, vote that much harder. Yeah, you need to be voting from everywhere you can.

Yes, yes, become more people and then vote as them. But we're in robbery season. Yes, yes. I'm really excited to talk about this film. This is a great heist film. It's one I've seen, you know, a dozen times or something like. And I really, I have this thesis that I've developed about Jonathan Glazer, which is I think he gets one film that is really seminal per decade in the sense that I think

the zone of interest is the film of the 2020s. I think if you had to pick one to say, here is what the decade is like. That's it, regrettably. I think under the skin is the film of the 2010s in the sense of what was that like? What was the kind of alienation and like austerity and war on terror? What was that like? And I really believe that Sexy Beast is the film of the 2000s. It's in the wake of Lockstock and Two Smoking Barrels, really, which we will do,

really revitalizing the heist film as a genre. and it was Jonathan Glazer's first film. He had previously done like music videos and ads and tried to make the same jump that Guy Ritchie did from doing those to doing a very stylish kind of like British criminal film and I think his is considerably more interesting. I am really interested in this hypothesis that it's the film of the decade because I don't remember the 2000s, the Nauties, all that well.

I did enjoy this film but I don't think I remember the Nauties well enough to understand how this might be. capturing the decade. So I'm interested to hear more. As an old, right, just to sort of get you, get you thinking, what I would suggest the 2000s in Britain were about were a kind of like more comfortable. You're into like Nathan Barley, the early years of Brit pop, things can only get better. You're into a kind of generational transfer of wealth away from the working class in like unseen since the 80s, but with a kind of slightly nicer veneer over it

and I think that's one of the things that I want to talk about in this movie is this movie's ideas about class and about new money right so we begin with what had

become at the time a kind of criminal type right which is gangsters who had made their fortune and then gone to the Costa Brava or the Costa del Sol in Spain where there was sort of like next to no extradition and nobody was looking for them

and they just bought a villa and they just kind of just simmered there. Tongue out. And we begin with a huge, extremely red, extremely sunburned Ray Winston, guy we love to see.

Hell yes. At this point. Just being baked, being melted by the side of his pool. You get the sun way before you get. at him as just like a shot straight up into the sky of the sun it feels hot and you just hear Ray Winston talking itself be like I'm roasting I'm boiling bacon he thinks to himself who

wouldn't lap this up right like he's in paradise and we see him kind of like searing on this sun lounger as this like teenage Spanish pool boy just kind of like sweeps the leaves and he kind of like chides him in a kind of evuncular way. He's wearing tiny yellow speedies. Yeah, yeah. We see him apply like an ice cold towel on his dick to like stop his dick from getting sunburned. Fair play. Yeah, we see him get up and they're like literally dick first over the title card, sexy beast.

because he is the sexy beast from sexy beast. And just sort of like lumbering around dick first because none of his limbs work because he's just kind of broiled himself. And he's just kind of, he's taking this all in because he is living in paradise, gets out of his son lounger, and we get a perfect kind of visual comedy bit

as this huge boulder begins to roll down the hill behind him just in shot. it's almost perfectly spherical too it's like an Indiana Jones ass boulder God knows where this came from which I think is part of the point but it misses his head by inches I would say

and goes boom and smashes into the pool I was just like oh fuck he like so nearly died you get a perfect comic reaction off of that where he gets like all of the pool water thrown over him and he's just completely blindsided by this

there's a bit his wife is driving back from down and he and the pool boy dive into the pool and as she as she looks down into the pool at the boulder there's a perfectly comic bit where he points at the boulder and says boulder under water and the bubbles just rush out yeah it's it's homer simpson this is a this is an idiot like we we we like this guy already yeah exactly his wife uh didi lives with him in this Spanish villa. And that night, his mates come over

for a barbecue, his mate's H and Jackie. And they're like, oh, you've got a fucking boulder in your pool. He's like, yeah,

this big disaster missed me by inches. Lucky old me, I guess. Not going to learn any lessons from this. Sure, this won't be the theme.

No, and we get at the sense that this is like, the events of the movie is just happens. If anything, I feel more safe now. You really,

do get the sense as well that this is like every night for him is spent with his wife and this other couple who they are friends with. Just to reinforce the theme of like shit is almost happening to this guy. The barbecue flames up and like nearly sets him on fire and he's like

fucking oh, just had another lucky escape. That's crazy. Yeah. Another lucky break for gal. Fantastic. You see that H H has this habit of like bullshitting him. And he tries to do this about the pool water. Because he's got the pool boy to like call his friend with a truck to like move the pool and get it retiled.

The boulder, by the way, has landed on a very kind of, it's quite a David Hockney pool. It is. And on the bottom of it, it's got in the tiling two love hearts, which the boulder has landed smack in the middle of an obliterated. But so H is like, you know, you can get pool water in different kinds of. colors, right? Like, you've, you've just got the plane in there, but you can get it in, like, aquamarine. And this is such a kind of, like, obvious old sore to all of them that, like, they're all laughing, but it's something that, like, he just does. It's like your friend's most treasured and most familiar bit. Yeah, he's just pulling his leg with it. It's cool. And we hear in

voiceover, Ray Winston saying to himself, like, look, you know, he's in paradise, don't miss England. It's a shithole full of cuns. You know, Spain is really hot. I have the line. I don't have the actual drop, but he says, grey, grimy, sooty, every cunt with a long face, shuffling about moaning, all worried. Mm-hmm.

Mm-hmm. Yeah, he's like, he's like playing out like a fake conversation in his head, and he's like, do you miss it? What, England? Fucking place. It's a dumb, it's a shit hole. Yeah, it's a toilet.

Like, I really, I really like this. It's like, England for him is, it's like the land of care, right? and Spain just the opposite. It's perfect here. And one of the reasons why it's perfect here is because his wife is here, Didi, who is, like, framed in these, like,

sort of, like, beautiful, loving shots. He's so kind to her. He does literally blow a heart-shaped smoke ring at her at one point. You're right about the shots to November, because it's not, Didi's an attractive lady, but it's not framed as objectifying. He really does. look at her with real love.

Oh, yeah. He really adores this one. Yeah. Yeah. Hell yeah. We see them having sex and like they are, I guess, imagine themselves or are shown to be in the sky above this Spanish town. Because it's just, that's how it feels being with her. Yeah.

It's this beautiful kind of dream sequence. Yeah. Yeah. Yeah. And so obviously everything's going to stay perfect trail, right? Because fiction's about stuff that goes right. Mm-hmm. There's a second boulder on its way, starting in the second boulder was the barbecue.

There's a third boulder. Before we get to the third boulder, they go hunting, sort of. Yeah. It's pretty clear that this, so it's him, H, and their Spanish pool boy. And H is dressed up like a cowboy. It's pretty clear that they're not seriously hunting anything so much as this is an excuse to piss about. Yes. They don't hit anything.

And then H has this moment where he sees like a very young rabbit that he's, you know, that's just by the side of the road scared. And he's like, okay, well, I'm going to kill that over the objections of Gal. Who's like, it's just a kid. And H goes to shoot it. And he's got this like lever action rifle. And he, uh, he pulls the lever action and the whole trigger just disassembles itself. Yeah, yeah.

It just comes apart. Yeah. And you cut to gal in a restaurant later telling Didi about this and being like cowboy gun, fucking right, it was a cowboy gun. It's like, this is hysterical. This man is retired as fuck, and he's loving it. Yeah, yeah.

It's just like old bastard activities. He's like, he's in this restaurant. He orders the calamari. He has so clearly ordered the calamari every week for like years at this point. And it's just, he's got a suit on that looks like Miami Vice. It's just, this is his happy place.

Yeah, he's having a great time. At this point, we get some great acting because H and Jackie walk into dinner and they've got a face like death. Yeah. Like, something has gone wrong. And they immediately pick up on it. They're like, what's going on?

Have you had a row? Like, what's happened? And they're like, I need a drink. I need a drink. Let's do it. And the penny sort of slowly drops because it's Jackie, H's wife, who ends up having to tell,

him that they got a phone call. And just when they say a phone call from London, Gow looks as if he has been sentenced to death. Yeah, instantly. There's this kind of resignation, because until then, he's trying to, like, paper over it and be kind of jovial. And then he realizes that the call is for him, and they want, as he says, they don't want no one else, they want me.

Yeah, it's a job. And he's like, no pride in that as well there's no ego in that whatsoever it's purely he is terrified yeah and he's like okay fine fine okay you got you got a phone call someone's putting a job together the answers no okay no problem we don't need to worry about this you've asked me i've said no fine yeah cool no thank you i'm retired right and they it's not it's not that simple the phone call came from don logan and it's just his face is just like and this shits him up even further it's your third boulder on the way.

Everyone's face just drops. And then we see him try and spin the excuses where he's like, tell him thanks, but no thanks. No, you can't tell him that. Tell him, oh, fuck. Tell him anything you like. No, the answer is, no, I'm not doing it. And they're like, tell him yourself, you'll be here tomorrow.

He's like, oh, fuck. He tries to, like, sort of armor himself against this with the calamari as well. Like the sort of psychologically load-bearing calamari of trying. to like fuck around with the menu so he's not thinking about it. There's a beautiful bit right before like he learns that it's Don where Jackie passes on the message

that they say it's no risk, right? Whatever this job is. And you see him just go back in the minds for a second. And he talks about how much he loves the restaurant, how much he loves his wife, how much he loves his friends. And then he just says just like in passing, nine years

of my fucking life, no risk. Right? So like he's this has gone wrong for him before yeah yeah and it's like there is now a prequel series of this which does not need to exist it like there is no reason for it genuinely because like is there actually yeah and it's like I don't I don't need to know how these two met I don't need to know what he went for went to prison for in fact it's better if I don't yeah it's sufficient just for that line to be there on its own just to be like, oh yeah, no, I've gone

through all of this before. Yeah, that's annoying. Yeah, and so, I feel bad for everyone involved in, like, who has to like act in that and write that and direct that to be like, you could have done anything else, but this is the IP, you know? Yeah. Yeah. We've got to find out why he's called Hans Solo.

It's like, what are we doing, huh? He has this kind of surreal dream sequence again where he's, he's like eating at the restaurant table which is now empty and in the middle of like the middle of a field and he's still eating the calamari

and the rabbit comes back in the form of like a guy in a fucked up Donnie Darko face suit. Yeah, it looks like Frank the rabbit of Donny Darko. Oh, I thought it was a Sasquatch. Yeah, I thought it was good.

It's got little like bunny ears on the top but yeah, it's like it looks real fucked up and and the rabbit like points a gun at him. It's like this is the specter of like real violence coming back into your life, you know? Like, not pretending to shoot at rabbits and, like, having a piss up afterwards, but, like, the shit that you did and the shit that you tried to get away from

is, is, like, on its way back. Yeah, dressed as a cowboy. It does look like something from the mighty booch this in a sort of scary way. Yeah, yeah, it does, doesn't it? In the middle of the night afterwards, he wakes up and he finds that his wife is, like, out staring at the pool. and she knows it's going to be bad, right? But he tries to kind of reassure her.

She even suggests that they run. And he says, no, you know that'll just make him even madder. I was like, fuck, what the fuck is this guy's deal? Who is this motherfucker? Who is this guy? And he's like, look, I'll just, all I can do is I'll tell him I'm not interested. And he'll be upset by it. But all I can do is tell him no, right?

And I will tell him no. I will tell him no. Yeah. And she goes, what if he hurts you? I love that he absolutely means it. Right? There is not a trace of him. being tempted by this, or even of him sort of like just going along out of kind of cowardice.

Like he knows what he's going to do is going to get him hurt and she tells him as much. The action is not the juice. My beautiful wife and my nice house in Spain is the juice for me, man. Your wife is for me, my wife is the juice. Yeah. God, me too, man. One of my favorite shots in this movie, it's just the back. of Don Logan, Ben Kingsley's head, his bald fucking head.

Every muscle in this man's body is tensed, right? Like, he's like a knuckle. He is like a knuckle. That's such a good description. He's walking through the airport. He's got his arms out, like he's holding two invisible watermelons. Like, he's got the tensed fucking body language. It does hit some of the walks that Sean Penn does in one battle after another as well.

Um, it's not quite as weird or as comic as that, but it's just like very tense, very pugnacious. I gotta watch that. And he's so, I was about to say erect. I don't mean it's peanut. I mean, look, he's like so straight up and down. Like, like he, this character moves like he's in the fucking Navy SEALs. It's interesting. You mentioned this.

Yeah. I also have a military comparison here later on. Yes. Yeah, he moves like a fucking military cycle, but, um, so he rolls up. He's driven to Ray Winston's house by a very uncomfortable Jackie and H. Yeah, he's sitting in the front as well. Yeah, H is in the back.

Yeah, I noticed that too, yeah. The whole sort of like soundtrack is building, building, building, building, building. And you see the car stop, he gets out. And the first thing he says is, Oh, I change my shirt, it's sticking to me, I'm sweating like a cunk. Baffling. What? So good. Yeah, the way this guy speaks,

and the way he moves are so opposed that it's such a fucking, I mean, we'll get into his performance a bit more later on, but like, yeah, incredible, like, what the fuck is this guy's deal? There's some overlap, but is, I have a theory about that, but like,

the, just immediately, the use of the word cunt, right? It's absolutely central in this movie, right? Because it is, like, less so in British English than an American English, but it is like one of the, like most inappropriate individual words you can deploy

and particularly one that is like laden with misogyny and with sexual menace, right? And all of Don Logan's speech is peppered with it, right? As we see from the first line and the first line is like

using it to invite a kind of negative expression of himself to be sweating like a cunt, to be made to look like a cunt. He is always thinking of himself kind of in those terms, right? One of the things that I think is interesting

and I really want to foreground about this movie is that like if Spain is this life of sort of like comfort and ease then Britain isn't just, you know, misery, it isn't just greyness. It's also every British person that you encounter is this male

neurotic psychosexual misogynist, right? Who has some serious shit to work out. and Don Logan is going to work out that shit all over the Hacienda. We smash cut forward. Yeah, they're all sitting around. They're terrified of him. He's like sat there, like a tensed muscle.

He's ready to go. One of them just asked him how his brother is and he goes, what, Malki? Yeah, he's all right. He's Malki, and he? I don't know. He'd have to ask him. And it's just like, oh, God, there's nothing we can say. It's over.

Yeah, he shuts down everything. He's got the relaxation vein. And if you don't know what I mean by the relaxation vein, I couldn't identify it. medically, but like in the sort of like side of the forehead, there's one particularly kind of like twisty vein that is like very, very tense if you have like high blood pressure. And I don't know how as an actor, you get your individual veins to do that. But Ben Kingsley's is popping the whole time. He can do it. Yeah. You can, yeah, you basically just do a lot of press ups before the take, I think. But he's also, he turns his head and looks at people straight on whenever he talks to them and then turns away again when he's done.

He moves like a fucking robot It's an incredible performance And then he sends the other way Yeah Yeah Age offers to like take the two women out to Out to eat And he toys with him at first

And it's like where the fuck do you think you're going Then in what could be For like a different actor Something charitable kind of like godfathery offers to pay for their meal But in this case means like like kind of thrusting this wad of bank notes at age

and then really insisting really like dominating him with that money of being like I'm paying for your meal. He says that to him like just to really reinforce the like dominance. It's a humiliation ritual.

It's brutal. Yeah, it is. This performance is is incredible because like on the page this character, the dialogue doesn't suggest this. This is just Ben Kingsley making a really strong choice and swinging for the fucking fences to just play this guy as like maybe you're a divergent or possibly like a sociopath? I don't even know. At first I thought I was like, is this guy meant to have like crime autism? But then it's just like, he's got like evil

autism? I don't know. Like he's just. Yeah. Yeah. He's so unsettling. It's it's a better direction and a better acting than it did it than it is a screenplay, I will say. But so he gets gal alone. And he already knows that, you know, Gal's been sort of made the offer, right? But the first thing he asks him, the first thing is, are you happy here with this kind of air of disgust to it? And Gal, of course, has to say yes, that he is. And you get this conversation between them where Gal knows that he has to say no, but he won't sort of, like, he doesn't get the conversational opportunity to even say it. And there's a particular piece of like, of like almost gas-lising, right? where so bear in mind

Don swears a lot the first line we have heard and used the word cunt right and they have this little exchange I'd be useless useless I would be why in every fucking mind are you swearing I'm not swearing

just leaning forward for that the like the drops the voice the intensity of that it's it's like don't laugh at me for this no go on I like I like a Don like this. Like, this is...

It just, there's the kind of unpredictability and the kind of... Yeah, yeah, there is another comparison about this, which is also going to get into English person getting a bit psychosexual with it to reveal where this comes from later on. But like, yeah, it is, it is in this context absolutely sort of abusive, right? There you go, listeners, you're going to update your November Kelly's sexual chart. Well, I don't think it's a surprise. for anyone that my sexuality is defined as being a kind of like, um, the object of, what's,

what's the fucking like tactical triangle, speed, surprise and violence of action, you know? Um, but I, so he tells, he tells, uh, gal this story, right? Which is the lock, stock, contu-spoken barrels kind of flashback montage. Mm-hmm. It's delivered with the same kind of panache of going through this guy, Stan, who's a fixer, we see Don get the call it's interesting that when we see don get the call about the job he is in his wife runs in his shitty london flat uh watching telly and just just it seems as if his entire life is empty and waiting for this specifically to happen yeah yeah so this guy Stan this gangster

he gets him into like an entirely red lit bar and pitches him on the job my favorite detail here is that he says it's very important that the guys that you get for this have positive attitude. And it's like, that's one of the things that the 2000s in this is lines from a recruiting manager coming out of the mouth of a gangster. Yeah.

You know, make sure that all of your, yeah, like, get a team together, but make sure that they've all got positive mental attitude. It's so good. So we're putting together this eight-man team of top lads on behalf of a crime lord called Teddy Bess. It's Ian McShane. It's Ian McShane. Yeah.

Lovely to see him. It's Mr. Weidel. Who is implied immediately from moment one to be terrifying, right? Yeah, yeah, yeah. Mr. Blackmagic himself. Yeah, yeah, yeah. Yeah, yeah, the opening line

from Don Logan's really good. He's like, I know a guy who knows a guy, who knows a guy. You know this guy. This is a bloke you know, yeah. But so Teddy, Teddy has been in Stan's telling, because this is all going through those sort of layers, at an orgy.

And the way Stan describes it is like, very very funny this is one of the funniest lines in the movie to be it's like they was doing everything wanking spanking cocaine cancorders it was like ancient rome which is a really really good kind of like also irrelevant to the heist set up he's just doing this for flavor i think um also we see the we see the orgy and it seems to mainly be about like two dozen people sitting down in a very fancy house watching a sex act that we can't see and are therefore forced to imagine what the fuck what the fuck they were watching.

We hear two or maybe more people doing something. We hear some plapping going on, but don't really know what the fuck. It's so, it's so pathetic, right? It's so tame, right? Yeah, it's no eyes wide shut. It's like pathetic. What we get from this is that Teddy is fucking lying, right? Like, Teddy has been to this orgy, is obliged to describe it.

It's like, oh, yeah, it's like ancient Rome. And instead, what it is is like two dozen posh people sitting around naked on, like, sort of Damasque sofas. And he's at this order, he's like, somewhat exhausted. And Edward Fox is there staring at him, just eye-fucking him in the sense of wanting to have sex with him. And when he tries to, he kind of like obliquely threatens him. He's like, what are you staring at? And Fox is not scared of him. which is you get the sense

sort of a novel experience for Teddy. Yeah. Also, Teddy says to him men or women and he goes, oh, definitely. To become this level

of posh pervert is, oh, yeah. You should know, this is actually not Edward Fox. This is his brother James Fox, who is also an actor

that looks exactly the fuck like him. Yeah, I had to look it up just now because I was like, I'm not 100%. No relation to Lawrence Fox,

I hope. I don't believe so. I think so. Robin Foxman. So, yeah. So Teddy is introduced to this guy, Harry. Yeah. Harry is the chairman of a private bank, so exclusive that they don't advertise sort of thing.

Keep a lot of safety deposit, vaults, things of this nature. And you see the wheels turning, but after this, oh, definitely, line, the next few shots are Teddy on his knees in a shower. in a shower sort of like visibly kind of traumatized and conflicted, right? Yeah, what was this? He got fucked by this bank guy. He got fucked in the ass. He got fucked in the ass by James Fox. Yeah, I mean, if you're establishing a kind of class relation here, your sort of like scary

gangster has been established, like first time we've seen him more or less, being fucked up the ass by the establishment and getting a real complex. about it. There's an ambiguity to the way Ian McShane plays this. I think there are two readings of it. I think one is the reading where he does this

purely for the sake of the job. And the other is he does this and enjoys it and the job is in part to cover for the fact that he can't admit that to himself. Yeah, yeah, that must make sense. And I think that second one is more interesting to me. Given where the

crime is launched from, I think we'll get to that. Yeah. Yes, absolutely. Nice. So he goes to visit Harry at his bank. He rents a safety deposit box. He puts like an empty, like, fag packet in there, a packet of cigarettes.

Yeah. And we get a sort of like an explanation of this from Stan, which is this. Now this chairman's not as big a freak as he looks. He knows who's said he best is. What he is. What he's up soon. so if we think about this as kind of matched pairs right teddy and harry and gal and don right what we have on sort of each side of that equation is comfort and ease and like a little bit of arrogance about those and this kind of yawning jealousy right and sort of like yearning and sublimation and being sort of unable to even think of about what you want to openly and I think that's like central to the movie and as so he he walks

out of the bank having sort of like set up for this this heist and the expression on Ian McShane's face as he does this is like it's like very very ambiguous but he's been casing the joint and the chairman knows it but he's flexing on him because he thinks that the bank is impregnable there's no way anyone could steal anything from it yeah it's again it's the sort of like old money establishment thing of not only am I that much more confident about sort of my money not going anywhere, I'm that much more confident about my sexuality, I'm that much more confident about sex even. Like this really kind of posits a working class neurosis, if you like. But so back in Spain, Don explains all of this to Gal. And he's like, you're going to go with

like eight other guys and you're going to go and break into this bank. It'll be easy. Here are the logistics. Like there's a kind of funny line in passing where he gives him his cover name and he says your name's round tree like smarties like shaft. That's so good. He like yells it at him because he's still trying to save it and he doesn't want to do the job.

But he's trying to do it with like a kind of like face saving way of like I'm not fit to do it. I'd be no use to you kind of way. Which Don is not going to accept because he's like, oh, you look all right to me. You know? And he starts getting angry, he starts getting angry, he starts swearing. And this is where, again, we get into like real kind of like really familiar, like, again, like in a sort of non-consensual setting, an abuse dynamic where he's like in the sort of flow of this swearing gal is like, you know, don't do this.

It's sort of like imploring him. And he switches tack immediately to like, what is this? What's this? What am I doing? Yeah. Yeah. Mm-hmm. There's an amazing moment where the pool boy comes back, and Ben Kingsley's like, there's a boy looking at us, and Ray Winston goes to say to him, like, go away, you don't want to be near here. Off you go. I don't need you today. And Ben Kingsley turns his face away from the kid so that he cannot later be described, which is a really nice touch. And when the kid is gone, he turns his face back again. It's such a nice moment. It's like, oh, shit. Like, this guy is accustomed to being up to something.

There's also a real kind of sexual dimension to this, frankly, right? And the kid is always like, he's like a teenage boy. He's always walking around like pool shorts and stuff. We've never seen Gal be anything other than like fatherly or like avuncular to him. But there's an expression on Don's face that suggests that he has assumed something of their relationship, which is unwholesome, right? And that's something that reflects on Donn, rather than on. Gown, that like, it just kind of like, we know from having seen it that their actual relationship is, is like, fine, it's nice, but it just, it poisons it with this kind of suspicion.

Yeah. And it's just like, that that's kind of what Don is there to do, I guess, is to, like, infect all of this, like, previously quite nice, relaxed comforts with insecurity, you know? So, go to a bath. Oh, by the way, before they do, he tells them what he's getting paid, which is like 2% or whatever, but that's not really what it's about, right? Because for you, gal, like me, the action is the juice. The action is the juice, right?

As he says it, the sheer fuck-offness of it all, which I think is a beautiful way of putting it. But clearly, for gal, no, not anymore, at least. The wife is the juice, brother. The wife is the fucking juice. There's a really good Ben Kingsley line where Don's. like, sorry, well, gal's like, I'm going to have to turn the opportunity down. And it's like, you're going to have to turn this opportunity, yes. It's so, like, she's dead-eyed stare.

Yeah, it's so good. There's a lot of, like, long swearing sections that I could have cut that would have been good drops, but I specifically didn't, both because I think it weakens the movie to have it reduced to a kind of like Best of Don Logan YouTube compilation. Yes, and those exist. You can watch those if you want to. Yeah, yeah. But also, watch the film.

I genuinely, there are bits. Yeah. There are uses of language in some of these that I do not want to spoil because they are so shockingly. They will hit harder if they come as a shock. Yeah, yeah, absolutely. But so he goes, he makes Gal take him to a bar and he is so visibly uncomfortable there.

He's so rigid again. Yeah, he's so good. In this kind of weird loneliness, just overshare. And he says, I fucked Jackie, H's wife. Three years ago. And it is clear that he is still thinking about this obsessively. Yeah, yeah. And he says, like, age doesn't know about this, you know, what's he doing with her dirty old cow?

And then Ray Winters is like, well, you know, they love each other. He loves her, like. Yeah, yeah, yeah, yeah. And you get the sense that Don has never loved anyone. Yeah, no, he keeps sharing more details and, like, like worsened more kind of tawdry details until this eventually culminates in being like, you know, she tried to put a finger up my ass, you know, what kind of woman would do that? I quite liked her.

And it's just like the need, the jealousy, the insecurity, the kind of like, uh, fucking Madonna whore complex of it all, right? The sort of compulsive need to devalue a woman who has turned you down. It just is, it's like, it's, it's, it's really, remarkable. It's remarkable. Yeah, he's like a this tense ball of masculine insecurity. We also see how much of that is bound up in fat phobia too, because he keeps badgering Ray Winston about this. This is some early 2000s shit right here.

And Ray was just like, I'm retired, I can't do the job. He's like, fuck off. You call him like a fat cunt and just like keeps berating him for his weight again and again and again. There's a specific bit, this next scene. So like he makes gal drive him to the sea out of the beach. It's middle of the night. And he, he again, does some. gas-lising because he opens with a like a talk to me gal I'm here for you I'm a good listener right which is which is really funny and then then shift instantly back into back into the mode and this is where I can talk about what I think the mode is right he stands like an NCO right like a sergeant or a corporal and particularly there is this one where he is legitimately standing

at parade rest for a second with his hands like folded behind his back and he moves pretty seamlessly from that to punching gal really hard in the solar plexus and then straight back. And it's like, I know that. I have seen that. Yeah, I've had that done to me. I've met that fucker. Yeah, absolutely. And that's the psychosexual bit of being like, hmm, why does November like a woman who does

things like that? It's like, well, maybe there are some sort of formative experiences there that I'm plumbing, I don't know. Whereas I do not like a woman who does that. Yeah, he just, and he just sort of berates him. Yeah, yeah, yes, yes, yes, I will. I think it's funny. I don't want that. I don't want that. I don't like, his weight, his perceived kind of laziness,

and he takes all of this as an insult to him, to his ego, right? Like, the sort of rhetorical question he keeps returning to is, do you think I'm going to have that, right? Like, do you think I'm going to tolerate you being, like, the person that you are? right, which again, very familiar, but like, uh, this is like, he, this man has come here to destroy your entire way of life, you know, because it is a personal insult he is taking it as. Yeah, yeah. There's also that, and again, this moment of like taking things personally, there's a moment

where they're driving back to the house because he's also like, by and staying the night, they drive back to the house and Ray Winston has to stop because there's a, there's a goat in the road. And then, don't look, he goes, what's that? Ray Wins is like, it's a goat, they're, they're annoying. And he goes, what's it looking at me for? What the fuck? What a question is that? It's genuinely, there's a shot, the shot that leads into that, the drive back, where it's

just in dead silence, but he is, I fucking him in the second sense of like thinking about committing horrible violence to him. It's so funny, I want that to be the episode art. It's such a good shot. Like, Gall is just driving, he's having to look forwards, right? as Don is sat in the passenger seat just like fully head 90 degrees straight at gal

just staring at him also Ray Wiz is like slumped down in the seat as he's just exhausted by this bastard so yeah and and speak of being exhausted by this person so it comes back right and the others are

obligated to continue socializing with him and we see that he just all he does is like this kind of like sexual, violent taunts. And it's interesting that Didi is the only one who isn't scared of him. Yes, that's true. She stands up to him. Not that it makes any impact on him whatsoever, seemingly.

But we see that they all filter into the kitchen one by one, as he's just more and more intolerable to be around. Jackie doesn't even let him say to him. He leans forward to say something to Jackie, and she just gets up. leaves so good what a beautiful piece of like a sort of showing and not telling of like how many things

he must have said to her in their time like that she just doesn't even need to like yeah it's great yeah but that that leaves him outside on his own just sort of fuming and and like again you get this sense of like bottomless

like loneliness right and like yearning for human connection that you can only try achieve through sort of like debasing others it is a it's such a good performance because he he's also pathetic i mean when we say that he's feeling he's not sitting there like fucking kratos like sort of physically dominant he's not sort of physically dominant over ray winston who's taller and broader than him but you just get this sense of this this guy is just a fucking black hole and he's he's gonna take everyone down with him yeah yeah so that night um

A little Kill James Bond tip here, when you're a guest in someone's home and you want to establish kind of dominance and psychological terror over them, what you're going to want to do is to piss as loudly as possible and then get a bunch of it on their floor on purpose, which is what he does. And then he does this little kind of self-examination.

We see him do a couple of these, just in the mirror talking to himself. Yeah. Just stares himself in the mirror. He berates himself in the mirror. Specifically, he tells himself off for oversharing about Jackie. Yeah, he immediately, he's like, I shouldn't have said that in the car, in the bar about Jackie, I shouldn't have said that.

It's like, yeah, probably not, but like. He's also kind of stimming where he's like, big mouth, dom, big, big mouth, big mouth, do, doop, dub, dub, bob, dub, big mouth. And it's like, what the fuck is this guy's deal? Yeah. He opens up the fucking, like, door to, like, look out into the, into the bedroom. at a gal and DD in bed and this shot of him like peeking

through Vador is so like upangled light on him fantastic so the next morning no no no no this is the one way like breaks in he's shaving in in the mirror and he's talking to himself

about about gal's disrespect and he's like I wouldn't take that he's so calm he's like yeah I can't have that I wouldn't take that drops the razor immediately storms into the bedroom and attacks him yeah get up you can't She's like, get up,

you can't and like beats his face in and Dedy is the one who's like is angrily tells him to get out and he goes and next morning Ray Winston's got a big

fucking bruise on his face because he's just been battered by this guy Yeah, yeah and he's of course up for more abuse from Don who again

gets weirder with it gets more sexual with it opening this line from Don in the morning it's just like I love you gal you know that right

Yes! He's so... Loveable oath, right? Like, and he tries to get to him through Didi by kind of like abusing her, not in her presence. We see that she's still in bed hearing all of this, but he's like, you used to have a great body, great physique, and you ended up with her, and we find out from Don that Didi used to act in porn, that... And he really tries to, like, hold this over, Gal, to be like, did you know that? And he's like, yeah, I did. It's just like, what a stain on your life.

The line here that sticks with me. Dirty Dede, he calls her. All the personal in the world couldn't shift it. Like, a personal is like a laundry powder. It's like, yeah. Yeah, it's brutal. Yeah, yeah. But, like, Gal is, like, defending her, though.

He's not doing it loudly. He's not, like, arguing with a raised voice. but he's like under his breath he's going like I love her yeah we see he's so beaten down by this too like he's exhausted by this and and and this culminates this moves to the kitchen right

and we have this perfect exchange for it like it all just sort of comes to the surface because he he tries saying you know maybe this isn't even about me maybe you're not like here for me in the first place maybe you're here for for Jackie right and it circles back to this I've had enough of this crime and punishment, bollocks.

I won't let you be happy. What should I? It's just that, again, it's like, I won't let you. There is, this is such wank, but there's a poem that I, that I want to read at the end of the thing that I think is, yeah. Oh, shit, I'll do it now if you like, yeah. The poem, the poem is, uh, it's by Charles Bukowski, and it's one of my favorites, actually. Oh, God. I know, but trust me on this one

emotional swings her It's called Relentless as the Tarantula And it goes like this They're not going to let you sit at a front table At some cafe in Europe In the mid-afternoon sun If you do, somebody's going to drive by And spray your guts with a submachine gun

They're not going to let you feel good For very long anywhere The forces aren't going to let you sit around Fucking off and relaxing you've got to do it their way. The unhappy, the bitter, and the vengeful need their fix, which is you or somebody, anybody, in agony, or better yet dead, dropped into some home.

As long as there are human beings about, there is never going to be any peace for any individual upon this earth or anywhere else they might escape to. All you can do is maybe grab 10 lucky minutes here or maybe an hour there. Something is working towards. you right now and I mean you and nobody but you and that's Don Logan. That's Don Logan.

He's being like he's deployed towards. Yeah, you've successfully redeemed Pekowski for me slightly. I had a prejudice against him because an old ex of mine was very into Pekowski for There are good reasons to be prejudiced against him. Yeah, yeah, yeah, because she, same person actually and I think because she imagined herself as the tarantir, I think. Wonderful. But anyway.

But yeah, no, he's this sort of like, he's, he's a nemesis. in the kind of Greek sense, right? Like, he's, um, but so, uh, there's another, there's another, there's another great, like, NCO kicking the shit out of you bit here where he, he says like, you know, I've had enough of this, these insinuendos, right? Like, he gets so angry, he mixes up like, um, uh, like insinuation and innuendo, right? And it's like, this is a very believable kind of like, I have got this wrong and it's funny, but in the moment you are not allowed to laugh at me because I will kill you kind of most.

yeah oh god yeah but he he just like announces that that he wants to leave he gets a cab he leaves he beats up the kitchen first he kicks the kitchen in kicks everything around yeah we see when he gets to the the airport he's still seething about this because he's standing he's so angry he's not sitting at the airport gate and then we get a dolly zoom where we are like zooming and dollying in opposite directions it's like the world kind of warps around don logan because he's so angry he's like bending reality around himself it's it's genuinely like it's horrible but it is exhilarating to watch as well like it really it gets the adrenaline going um so he gets on on the plane yeah it cuts to it like a air hostess walking down the aisle and there is just like a the back

of a bold head amongst all the seats and you can see the cigarette smoke it's just like you have you have to put out the cigarette and he he says the name of my podcast he's like Well, that's your problem, isn't it? Pretty good. She gets two stewards, at which point I note the homophobia, because he says, here come the gay brigade. Yes. As he's being sort of like led off the plane, he says, he turns around just offhandedly,

he says, I hope this crashes. And I think that's the kind of the truest Don Logan as a character, is just the kind of like impulsive spite, you know? and just sort of omnidirectional. But so we see he has been held at the airport for like five hours. He hasn't sat down the whole time. Still standing, still angry.

So good. And in a sort of like, uh-oh, the worst person, you know, learned therapy words situation. Oh, God. This is so good. He just keeps getting forward. The guy comes in here to be like,

you got kicked off the play and I'm going to have an interview with you. Top of this scene, I was thinking, right, finally this character is going to get some fucking come up and, no, no. Because this guy from the airport comes in and he's like, he is an abuser. He is. He is. This guy from the airport comes in. He's like, Mr. Logan, this is very, very serious. He's like, yes, it is very serious. I want to talk you about something.

They've ever been sexually assaulted. Me neither until today. And he tells us, he spends this fucking yawn about how the steward sexually assaulted him and how his steward mate was kind of in on this and eyeing him up. And he said, so I was so, I was so shocked. I was so emotional. I was so emotional. I was so emotional. I was calm my nerves. It's like, what that? Yeah, he's like, everything you're about to talk to me about happened after that. I'm sorry, I'm truly sorry, but I'd have a word of him about you. It's so funny and it's so cynical

and so homophobic. Yeah. And it's such a like, immediately able to kind of like identify yourself as the victim at a moment's notice and just lie your way through it. I believe that he believes this too. Yeah, he's been spending about five hours

making himself believe it. Yeah, I fully believe that if you asked him to describe a factual, like, truth to God of what happened on that plane. He would fully believe this completely made up bullshit. There's another really interesting aspect of it is that as he tells the airport manager this, he leans in very close to him,

but does not look him in the eye. He looks past him, which is a really interesting choice because when you're that close into the actor's face, eyelines are like, where you choose your eye line is really important. This is such a specific choice that he's like not looking at him.

He's like talking to his shoulder. It's so good. And so this threat works right because he's like I don't want to cause trouble I don't want to like press charges contact the British embassy I just you know just have a word with him let him know he's been rumbled

or whatever and so back at the hacienda H and Gala just like giving each other shit in like the most affable way H suggests you know like the way Don's saved faces by going back and being like well I saw him and he was like a fat piece of shit so I didn't want him

and like offhandedly just in the mirror gal just goes, fuck off, I'm beautiful with a big smile on his face. It's like genuinely really sweet. And as H says the line, you're in the clear. They hear the car outside.

I don't know. At this point, I thought the whole movie was going to be set around the villa in Spain. I was like, oh, yeah. There's not even going to be a heist. It's just them dealing with this fucking guy. I mean, it's a tight 90. A good 70 of that is in Spain, yeah.

It's really, I love this movie. He comes back and just as like a force of like sheer anger. Like this bit, I almost don't want to describe it too much just in the sense of you have to see it. But like, he sort of like barks everybody into compliance and gets Gal alone against the kind of like French doors, which everyone can see through. So like everyone else is behind Gal and he's in front of Gal and he's like, he paces like a son. as well. There's this particular thing. There is a particular spatial relationship to the bollicking, right? Where, like, you are stood there and the other person is moving in front of you from side to side, thinking about things to say to get angrier. And it's like, yep, yep,

this is yes, yes, absolutely. The pacing, it's very military or like quasi-military. Yeah. He also, again, tells H-off for looking him in the eye. He is like a fucking X-L bully. He's like an angry dog. But he's sort of losing it now because more and more of the Jackie stuff is starting to slip in. More of the misogyny is starting to slip in. He's getting distracted, you know? Like he's sort of like shifting targets for his sort of venom. Yeah, he's just putting through everyone. He's just like, Jackie, I don't go shit what Jackie thinks. I fucking H is going to die soon anyway, whatever.

Like, he's just hitting every target in a row. And then we see in the background, the pool boy has arrived with his like old ass gun from earlier. Mm. Yeah. Which as we saw in the hunting thing, does not work. And we see that for Don, the action really is the juice because he locks in. Like, he is like not afraid of this whatsoever. He glasses gal.

Yeah. Real quick. Yeah. Gives me a little bit. grabs a bottle and he goes, I'm going to kill you, picks up a bottle and just smashes Ray Winston in the head.

Ray Winston's down, he's bleeding. And then the pool boy comes up behind Ben Kingsley with the rifle and he's not intimidated at all. He's just like, oh, you're going to shoot me then?

Are you going to shoot me? And just walks up to him very slowly and then he's obviously not going to shoot and she goes, I'll take that, takes the gun off him and then just like, Ben Kingsley presses R3 and just mele's this child.

Yeah, yeah, yeah. Boss, you killed a child. So, yeah, but that kind of like unintimidation kind of, that kind of works both ways, right? Because that's when we see Didi, we see her like run out of the room when Gail gets glassed and we see her come back with the shotgun. It's interesting. Didi has a big scar, like a burn scar, like down her arm that we don't really see except in this shot. And again, it's like...

Yeah, it's really prominent in this shot. Well, you're going to have to watch the prequel series to find out. I was just thinking. You know what I don't need? It's like six hour-long episodes to figure out exactly how she got that, you know? Some younger actress having to do some real trauma acting. No, no, thank you. Smash cut to London.

At the Grossland Hotel, it's pissing it down. Ray Winston gets out of the cap. So he's taking the job. We don't know what happened. But there is. We see him get picked up from the hotel. he's sort of like agonising, he gets driven, and like there is a particularly shit, 2000s Londonness. There is, yeah.

That I remember just about, but that is also captured in another movie that I really want to do soon for robbery season. Spice World. Oh, okay. Well. We did Spice World. Yeah. Krupeer in many ways, the nighttime Spice World. But so he gets, he gets, I can just get.

a thoughtful um out of you two with fucking anything kind of like i'm trying to work on the lonely the lonely spice world seeks to no i'm just trying to work on that so i gave you the um in the meanwhile we'll watch croupier we'll go watch croupier but good night time spice world it's just my instinct to fill the to fill the dead air you could say anything i'm like yes and interesting so he goes to meet the gang who are all just kind of like lads there's there's stan the sort of like guy who who hired on Don and then we see Teddy in passing Teddy very scary

Ian McShane flickering fluorescent lights looks like a fucking vampire and Teddy's like hey have you spoken to Don where is he he didn't make it back

he called me from Heathrow he said I'm home safe kiss kiss and they're like did you take him to the airport he's like no no he left my house in a taxi

flew back to England and called me from from Heathrow to say he'd landed and they're like that's weird he's missing And he's like, that's crazy. I don't know. Weird that he called you.

And it's like, I thought it was weird myself. I mean, the thing about, about gal here is he slightly overplays his hand with the phone call. But he does not put a foot wrong otherwise. Like, it's genuinely impressive the amount he is a, he's passing all of these speech checks, right? And we'll sort of know that it doesn't matter in the sense that Teddy is is sort of like smiling at him the whole time. And it's like, he knows. Like, he fucking knows what you did. This guy knows.

Like, even at this point, you don't have to be, you don't have to crispin potato snack shit. He is smiling at you like that. He knows. But so they go to this Chinese restaurant and you get this, this beautiful, horrible shot of like, it's spinning the camera around a circular table. And all of these gangsters who gal hates and who is just, he's just done with, just braying, laughing. It's all teeth. and it's they are repulsive in that moment and it's like that is a triumph of the directorial art

right to like shoot those people and create that effect of like these yeah these people are having a nice time I'm not these people are horrible might not say you are a P.O.V you are a closeted autistic trans woman at the lad's dinner because men are laughing so loudly Gal does become quite feminized by retirement He gets sort of like softer

And he you know It's interesting that weight is one of the things That he gets sort of like So of abused about He's like wearing a silk robe a lot of the time It's like again He loves his wife These are just like

These are kind of feminine things And we get one of those again Because and this is just a beautiful moment This is up there with like I don't know like a phantom thread or something for me where, uh, or like the Duke of Burgundy, where he, he sort of, uh, he gets on the payphone, the shitty payphone in this, in this shitty restaurant, uh, he's like having to fraidle it against all of this kind of like noise. And he, he calls his wife, who won't talk, right? She's just

listening. And it, I, he has this line, which I have, where he becomes the kind of patron saint of anyone whose love has ever exceeded their eloquence, because he says, I love you like a rose loves rainwater Like a leopard loves his partner in the jungle Like I don't know what like I love you It's so funny And it's beautiful

It's like this is This is a kind of dumb guy Right Like he's not kind of Particularly rhetorically gifted But he loves her He absolutely loves it Yeah

And that's also why we the audience like him Because it's like oh Yeah Like he's a bit rough around the edge and a bit thick maybe, but like, you know, he's in love. It's important. Yeah, he has that. And so he says to her, I know you love me because I feel strong.

It's like, it's so romantic. So next day, he's eating full English in a restaurant. Teddy shows up. It's like he knows. It's like, he knows. So many moments in this where he looks like he knows he is about to be killed. and this is, this is one of them. And Teddy, Teddy has this particularly, again,

it's like when you know that he knows, it's a really sadistic kind of thing to do, but he's like, you know, what happened with the thing? And of course, Gail says, I told you. And he just kind of smiles and says, tell me again. Yeah, but just before, like, Teddy rolls up,

you get the sort of the rabbit again, right? Yeah, yeah, yeah, yeah. The sort of Donny Darko spirit of violence enters the scene. You don't see him properly. He just, like, walks into the restaurant. and you see him like pointing a gun at Gal as he sat down and it's like then it's like if swaps over to being Teddy and you're like this this guy is here he will kill you he is so willing to kill you yeah and again he doesn't put a foot wrong here

but he doesn't he nails it he nails all he's just like no I don't want to tell you maybe he didn't call me from Heathrow but he called me um and as he's sort of like having his story unpicked he just he stands by the most defensible elements of it he stays kind of affable um and He keeps eating as well. Yeah, Teddy, who knows is just kind of like grinning at him. But Teddy's like, all right, cool. Okay. Good luck on the jobs night leaves.

And we see him kind of like laughing along. And we see him just hold that and hold that and hold that. And we don't see him break. Like he's just like, just maintaining that cover. He's so good. That is a, that's a beautiful piece of acting. But also just to keep that shot and not include any of him like, no relief, nothing. tension just stays. It's fantastic.

Meanwhile, this is intercut with a brief shot of D.D. Absolutely blowing Don Logan away with a shotgun. Yeah. In the middle of it. In the abdomen, yeah. Just to make sure that you're aware of what's happened. Yeah. So now we go to crime.

It's crime time, baby. Yes, okay, hi. Here we go. Minute 80 of 90 minute movie. There is a bathhouse down the road from the bank. They're going to drill in through the pool of the bathhouse, flood the vault, and then go in with scuba gear. And I don't think it is a coincidence that this is a bathhouse and all the guys doing the crime are in tiny trunks. I also wrote down gay Speedo heist. I don't know why it's gay, but it is definitely gay on purpose. The reason why it's gay is because Teddy is

insecure about this stuff, whereas Harry, the banker is not. Right. And what it was, and I think movie suggests that the motive force of not just crime, but also the whole Nouveau-Riche, the whole kind of generational, like, sort of robber barren sort of transfer of wealth that happened in the 2000s that ultimately precipitated and was ended by austerity, the kind of like sequel to the 80s, was a kind of sexual jealousy of like assurance and of confidence. in that way it is a it's a conservative film right it suggests that there's a kind of like um like a class insecurity that is experienced directly as this is like getting fucked up the arson night and feeling ashamed of it right like and it's i i really i i want to contrast this

with uh the long good friday which is not a heist film it's not even a robbery film but it is a crime film about how the Darklands and the East End of London more broadly got that way, which is essentially that being Don Logan stopped being enough, right? Like being that kind of like ball of kind of repressed anger stopped being enough to control those things. And you had to sort of develop that kind of sleaze, that kind of assurance. But Teddy doesn't. Teddy doesn't have too. He just, it gets to, gets to kind of, you can view this as kind of like trying to fuck the establishment back. Mm-hmm. Well, that, that explanation has just reminds me of a really good book that I read.

It's by two Polish scholars called Agneska Graf and Ellsbeta Koraltschuk. Hmm. And it's called anti-gender politics in the populist moment. And it's about how people take critiques of capitalism. And then they kind of moralize them into sexual and anti-quist. and it seems to me that that is what Teddy is doing. Teddy has an insecurity about the fact that like there's a guy who's posher and richer than him, Harry, and he is processing that as like, ugh, gay.

Yeah, absolutely. And that seems to be like what the film is saying about like the relationship between the sexual and the kind of economic here. You just saying that has reminded me of that book never. Yeah, yeah, absolutely. So they do they do the gay speedo heist, which involves kind of, of like drilling in through the wall and as as gal is kind of maneuvering through this uh sort of like murky pool you get intercut with this don's death sequence which is horrible i like that it's

horrible it's it's like lawker right like um he doesn't stop he's just yelling the whole time he he kind of has this like excruciating drawn out death where he's like in horrible pain screaming and kind of like cursing the world and choking and like he he like sort of he says sort of leeringly to Jackie at one point that he loves her and she is like obviously despises him and like kicks him in the head uh he guys like it's pretty good both both uh both both both uh both beating this guy to death and he looks over to see see jacky and goes i love you and she starts joining in beating him to death he tried his last kind of card is to try and hold this over H to be like, I fucked her.

Yeah, and he just, he won't die because D-D also shoots him point blank with a shotgun and he's still not dead. Yeah. And ultimately, it's H who gets to kill him because he, and again, we're sort of, you know, talking about sexual revenge here. He tries to sort of hold this over H by being like, I fucked her. And H sort of takes this in Triton's as well, now I've fucked you and then kills him by like hitting him over the head with like a CRT TV.

Yeah. Yeah. Kills them with television. Bosch. So as they drill into the vault, obviously the like electricity is going to like short out in the water. And so there's a really like, they don't explain any of this, which I like,

but there's a real scramble to like pull gal who is the one who has broken through out of the water with a rope before he gets, before he gets electrocuted. And there's this huge kind of like spark shoots across the pool. And Teddy has this like audibly indifferent everyone all right, which I really like. So they break in the vault. You know how the bank job trying to do some class stuff too about like the establishment and whatever.

This manages to do everything that movie was trying to do in a bit more in, I think, three distinct shots, right? Because they're breaking open the stuff and there's little like, there's pearls floating everywhere in the water. There's like cash. But we get two little intercut shots of. photos. One is some bondage porn, which is like, presumably, you know, like blackmail material or something like that. And the other is a guy in, a white guy in a Pith helmet standing in

front of two, like, I think Polynesian sort of statue figures. And it's like, yeah, these are, these are specifically like establishment treasures. And these are, these are colonial treasures. These are, this is sort of like it's a, it's a, um, uh, like an edifice that's built on colonialism and misogyny, right? And on like sexual dominance. It's, it's specifically the choice to use. It's like, oh, it's like a woman in lingerie with a ball gag, right? And it's like to objectify and to demean and to control women is sort of like presented as being like an inseparable part of that. And so Teddy's sort of like feeling aggrieved by this is partly feeling treated like a woman, feeling feminized. Yeah, which also contrasts with gal's very loving relationship with his wife.

Yes, yes. It's like you've separated me from my kind of misogyny that makes me feel manly and, you know, transposed me into the position of a woman and your misogyny that sort of makes you feel manly. And the only solution is robbery, you know? So the heist goes off and we have to go back to the horrible restaurant for the horrible men. gal looks incredibly done with them. Do you remember when we started heist season, we formed a hypothesis that heisting is for the boys.

Heisting is a main activity with the boys. Yes, yes. It seems that this movie is saying that, like, heisting is an activity for the straight boys only, and heisting is also how we confirm our straightness. Heisting is an activity for the boys. Spending time with your wife is an activity for the men.

That's fucking right. Yes. Because, yeah, no, but genuinely, this movie is not about 9-11. No, it's not. No, it's not. Being transgender and gals and some ways. And also, we can find out what all those photos were about by watching the prequel series. Three deadliest words, the English language, prequel television series.

Like, you bastard. Well, hang on a minute. I think you're forgetting about Star Wars the Acolyte, which was, I think you're also forgetting about Hust of the Dragon, which is a very good Report television series. They're okay. I think they've got some good actors in them, but... Yeah.

Gal is obviously itching to leave. He's got his suitcase at the restaurant. He's like, and there's a great little interaction where he like, Teddy comes to see him and Gal sits down in the booth with his suitcase on the other seat, and Teddy just doesn't say anything. He just waits. He just stands

there and waits for Gal to move the suitcase so he can sit down and box him in the booth. and so he asks him you know you're choosing for you you're heading out you're getting out of hit pal he's like yeah you don't seem that happy about this heist oh by the way

in the sort of vault gal pocketed a pair of earrings we see him do this anyway but so it's like we know we know that he's not going to sell them for money he's going to give this as a present to his wife he's giving us a wife

yeah but so he says no I'm just I'm just leaving because I've got a plane to catch and in the most you are getting killed delivery Teddy's like, I'll give you a lift Yeah, I'll give you a lift Come get a car with me

I'll take you to the airport The car is a silver Porsche 9-11 So it is about 9-11 in that sense Yeah, yeah, yeah Which again, we're establishing new money Right, like this is sort of like The new rich who are sort of like Going to be the masters of our society in the 2000s

And yeah, we just need to make a little stop off on the way gal is undergoing like third death sentence of the movie at this point just like yep yeah unmarked grave sure gotcha the choice of the choice of the choice of the Porsche 9-11 is really interesting because I remember when I was a kid which was like a little bit after this movie came out I remember popular media presenting a Porsche as the car of choice for like a gay for gay men there's like gay men and like wealthy hairdresses it was like in the same way that the wall for PPK is a gay gun for women. I remember when I was a kid, a Porsche was a gay car for women. The sort of Porsche boxster, yes. Yeah, I wonder if that is like, if that is deliberate or if that's

just a coincidence. I think it's, I think it's sort of the immediate sort of microgeneration before that where the Porsche is like, you have made it, you have too much money, but not enough to haste kind of thing. It's like the kind of, I used to remember jokes about, you know, estate agents, say, getting their Porsches wrapped around trees, right? Because because you have a lot of money, so you can afford one, but you don't really know how to drive, and it's, yeah, like little, little classes, things like that. To me, it's sort of like,

it's a bit like the yellow Land Rover in Layer Cake, which we will also talk about. Yeah, yeah, sort of like Arab East masculinity. Anyway, we've got to make a stop off on the way. So they arrive at this as a very posh house in SW1, and Ian McShane's expression as he looks at this house. the fact that he knows where this house is, I think militates in favour of my reading of it that like... The gay sex that was happening is something that Ian McShane was like into and doesn't know how to process, right?

Because this is Harry's house, the banker. Now, he sort of tricks, bullies, Harry into letting them inside. And again, there's that familiarity there, which bespeaks a kind of relationship. Kills Harry in front of gal. There's two reasons to do that. He makes Harry make Gail a drink and then when Harry turns around he hands the drink to Eden McShane

he goes, I'm all right, thanks and then just shoots him in the head just as casual as you like. So you're cleaning up loose ends in the sense of links to the heist you're also sort of like you much like being hysterical in the shower earlier sort of like cleaning off the residue of gay sex

but it's also a sort of object, lesson and threat to Gow that he is, you know, capable of violence, but also it's like you brought another man to watch you kill the guy who fucked you to re-establish your kind of bona fides to yourself as straight. Yeah. Like, because if you just killed him on your own...

Yeah, no one would have known. Yeah. But it's like affirming your masculinity through queerphobic violence. Mm-hmm. Yes. Yeah, absolutely. Which is like... The 2000s. This is... And also the nows, the nows.

Because it's the, like, this is why people murder trans women often. Because it's like, you made me feel attracted to you, and therefore I have to, like, destroy you because if I were attracted to you, that would somehow, in quotes, make me gay. Like, that is, oh, there it is, there it is, on screen. Yeah, and also, if you think about it this way, right? Like, we heard from Stan that Harry knows that he's going to,

that Teddy's going to try and rob him, right? And is engaging in a kind of like, Ah, it's a duel with a kind of gentleman cat burglar kind of thing. Harry doesn't even know he's been robbed when he gets killed, and now he never will, right? It's almost as if the robbery is more of a pretext for the murder than the murder is sort of like cleaning up after the robbery. Yeah, because it would seem as if like the murder doesn't actually help with the robbery. In fact, if anything, it would seem to create more heat. But Gall is, of course, incredibly traumatized is effectively.

threatened by this. Yeah, he shoots this guy immediately turns around to Gal and goes, what happened to Don? It's like, oh, you know, I don't know, I don't know. He got on the plane and he got on the place like, no, he didn't, I checked. He's still in Spain.

And he finally breaks, not in the sense of admitting anything, but he just says to him very weakly, I'm not in this anymore, right? And that's the like, he stands up for himself in that moment, right? like and just sort of implicitly admits to it

and Ian McShane's like all right cool go back in the car so he asks him in the car driving to you know presumably Heathrow or whatever just sort of in by way of conversation how is Spain which is something that we heard Galen his inner monologue sort of ask himself and be like yes

it's hot but I love it but he turns this into a thread immediately and just says I must drop in some time pay my respects right Like, my... Stopps the car and it's like,

how much are you getting paid for this? And as Gals, like, a boy didn't really tell me, he's like, well, I'm going to give you a tenor. It's so good. But I've only got 20s.

Do you have, like, any change? He makes it give a change. It's so good. Sort of economic dominance with like fistfuls of like pound notes. But again, I get the sense, there's something like the sort of your criminal food chain, right? the kind of the rabbit that, you know,

a gal imagines this all as is like there's always a bigger psycho. But it's also like you've gone up a couple of ranks and it's like this is your kind of difference between like non-commissioned and commissioned officer if you follow me, right? Like this is different kinds of bollicking, right? This is someone who can threaten you so credibly that they don't have to be sort of like personally abusive towards you. They can just enforce consequences on you.

They can even give you money as a form of abuse. Yes. Yeah. Absolutely. And he just, he catches him with this, with this really icy kind of thing. It doesn't even need to say necessarily anything more than this. And I think this is a stronger line that the one tagged on after it where he just says, if I cared, gal, if I fucking cared, right, like, at home. He's like, if I gave a single solitary shit about Don. He doesn't even finish the sentence. He's just like, if I cared about Don. dot dot get out of the fucking car it's so good

there's a brief a brief bit where like some some light lights up Ian McChane's face just over the eyes wonderful and I just like

get out of the car get out of the fucking car yeah and he leaves him at a bus stop in the middle of the night it's like freezing cold yeah

and I'm just like is there an assassin is he going to be killed like is it what's going to happen and he's like it's very tense still but nothing does

he takes the earrings out he doesn't care about this fucking dog just being like, you know what, I don't like Don. I've had to deal with him for quite some time and he's a real pain in the ass or whatever.

Yeah, but like, yeah. And we see he has the earrings and then he goes back to Spain and he's living the good life because Don is of course buried under the pool, under the love hearts. Everyone's around the pool.

H's bullsh is bullshitting them again about fanaster eyes. Ray Winston's finally in the pool, which is nice. Do we expect this to last now that we know that at any time Teddy can just show up, you know? I think the movie answers that question for us because Ray Winston's in the pool, he's smiling, Dee-Die's wearing the earrings,

and then he hears Dom's voice say in his head, I told you you take the job. And then Ray Winston answers him in his head and he goes, well, you were technically right, but you're dead, so shut up. And the camera goes down through the tiles of the pool, through a little tunnel. We enter this sort of underwater cave where the rabbit Sasquatch

is kicking open a coffin and Ben Kingsley is in the coffin alive and smoking. And then that's the end of the movie. Don is in crime hell. Right? It's been sent to hell where the rabbit is

where real violence exists. But also it's like the Don is still kind of alive. The threat is still there. The rabbit is still there. I don't think this will last. It's buried under your house. Yeah.

Yeah. Like 2008 financial crash will be happening in seven years. Your house is not on a stable foundation. Yeah, there are boulders. Movie predicts, subprime mortgage crisis. Your peace, your security. There's like a boulder down the hill crashing into it. It's like Jonathan Glazer and like two economists predicted the 2008 financial crash.

Glazer predicted it based on the vibes rather than the debt. But like, yeah, it's so fucking good. It's like, yeah, the 2000s, you think. you're secure? No! No! Ian McShade will fuck you up! This is, there's a little bit, so, in terms of cultural critics, right? Like, I, I don't, I really don't like the novelist Martin Amos, right? But Jonathan Glazer does, or at least he liked him enough to adapt the zone of interest,

which is an Amos novel, right? Oh, I didn't know. This, this book, this movie, rather, reminds me of the kind of 80s London, 80s and 90s London Martin Amos novels like money, right? And I think it kind of attempts to grapple with the interiority of like what it means to be a capitalist, what it means to be a criminal, the sort of like Londonness of that, the shittness of that, and then the kind of like sort of one possible refuge from it. I do note in passing that Martin Amos when interviewed about his subsequent novel to this,

Lionel Asbo, which fucking sucks, he describes his protagonist as a sexy beast. So these are in, you know, dialogue. Like I say, I think it has, I think it surpasses Amos, but it is coming from a similar place in that it is a sort of like satirical, sardonic view of like British masculinity, British society that is deeply conservative. And it's better than Amos at that because it doesn't carry with it the kind of misogyny that he does. So that's my kind of piece about this movie. It's one of the reasons why I like Jonathan Glazer. Yeah, this movie ruled.

I loved it. Thank you so much for showing you to me, never. Of course, yeah. It's like, you know, for that question it does the rounds. It's like, what's your favorite piece of conservative art? This is genuinely maybe one of my answers. And there are more answers than people think. I think there are a lot of kind of deeper conservative themes,

not to get like Charlie Kirk with it, but there are kind of like more things are conservative than you want to admit, and that's not always a good thing, but like... I'm not sure I understand why you say it's a conservative film, because it doesn't seem to me that it's portraying, like, the homophobia as a good thing. No, no, not at all, but I think it kind of, to an extent accurately, diagnoses kind of new forms of capitalism

as being based in, in, like, sexual and, like, pathological jealousy, right? Which is, like, it's not valorizing, the old stuff, right? Like that sort of like colonial photo is in there for a reason, right? And I think it's one of the things that saves it. But I think it sort of like grapples with a British establishment and a British class system that is stable in what it does, right? And what it does is terrible, but like it's sort of like it constructs the banks, right?

And is now being kind of ravaged and ultimately killed by like a kind of a class destabilization by a class struggle in the sense of, like, a middle class trying to get up, and one that is fundamentally unstable and needy and jealous and sort of, like, lonely and contains all of these kind of weaknesses within it that drive it towards violence. Right. And I think articulating that in terms of crime specifically, that's why I think it's conservative. Do you think this movie predicts the vibe of, like, the Jetsky owner who, the Jetsky shop owner who, like, it's Donald Trump and the sort of like small business petrochemical person who like

loves reform. As you said, those people tend to express their kind of grievances in kind of like sexual form, right? Or in sort of like quasi-sexual form. So yeah, absolutely I do. I'm not saying it's sort of diagnosis is incorrect. I'm saying that it's sort of like engaging in a conservative mode of discourse to get there.

I don't think that necessarily means Jonathan Glazer is himself personally conservative. much as that it is, it's coming from a kind of like more, I guess, trad position there, if that makes sense. I don't, I don't know that takes a, takes a kind of viewpoint on it other than it's fucking weird that this is happening. Yeah, yeah, I guess it doesn't really offer like a woke alternative, does it? Yeah, fair enough, interesting. Well, we are the modern day Cisco and EBIT.

I think that's the first thing we can conclude from this. We had bringing you fucking poetry in your movie analysis podcast. Hell yeah, hell yeah. And they say film criticism is dead. It's not being dead. It's just being diverse, sexy beast podcasters. That's right. But I tell you what, we don't have to just rate this film based on, you know, fucking vibes in poetry.

We can also bring in some science. This has only happened, I think, twice before maybe, but we've spoken about this movie for longer than the runtime of the movie. We've done that. Awesome. It is absolutely worth it. Easy. Movies. And, yeah, I didn't, I can't be honest, I did not find a lot of good.

writing about this movie out there like I kind of blog where two guys compared it to Rick and Morty anyway we have a science-based system it's called the scum system it stands for smarm cultural insensitivity unprovoked violence and misogyny on scale of zero to seven

how smami is sexy beast I feel like I'm going to give a points and then take some back for sincerity it's very sincere about how much you should love your wife yes I think I think Gall is a sincere character God, he really is quite an amissly named character as well.

Gowl, dove, the kind of feminized, pacifized, yeah, no. Anyway, yeah. I think it's not hugely smartly just because it grounds itself in loving your wife sincerely is the thing that drives all of these people insane, right? You can see bits of that again, and not to keep mentioning one battle after another, but it is kind of like, why are fascists so kind of like weirdly needy, for affection so yeah

I could go something really low on here maybe I could see this really low yeah could do like

a one or a two yeah yeah I think one even like I don't know what would be smami about this movie

I think some of the it's definitely got some of like the first movie director really like showing off their juice which I think

is kind of fine which I guess coming from like being a music video director though I guess that makes some sense little little stylistic

flour What a fucking glow, I mean, consider some of the other, like, music video director people that we've seen. I mean, consider the remake of Point Break, which was our previous main episode, but that was just a series of music videos. I mean, let's also take the time to say Jonathan Glazer makes fucking good movies. Oh, yeah, yeah, yeah, yeah. I think we also have to say this was, this was the style at the time, right? If you put it next to Lockstock and two-smoking barrels, right? Or also even some of Glazer's previous working commercials, like, the thing that like every British person knows but doesn't know that he,

he's done is, you know, the Guinness, good things come to those who wait, surfer ad. You can hear bits of the kind of like baseline in, in this drop, like the... Now these chairmen's not as big a free as he looks. Kind of driving. Yeah, yeah.

That's in there, but also things like some of the camera tricks, like there's a bit where Teddy swings his car door from the camera is attached to the door and then swings back. All of that stuff is like, that was the kind of form that Guy Ritchie was experimenting with. And it's something that I think Glazer kind of does better in some cases. But it does, it is a bit of trusive sometimes. So yeah, I'd say one or two points for that, maybe.

One or two. What do we think? As I say, say one. Give it one. Okay. One it is. Cultural and sensitivity. Now, I think I'm right in saying every character and this is white. Yes, you are.

Yes, you are definitely right. Yeah. It's not interested in an Englishness that doesn't, that isn't about white people. Yeah. That's very true. To be fair, it does present Englishness as a kind of like psychic specter that haunts you for the rest of your life, which is true. Yeah. Yeah, we were talking before the episode about like how I said it has a positive view of Britishness and you went, it's got a positive view of British expats.

But of actual Britain, it hates Britain. It hates white, cishead, like British men particularly. Yeah, definitely. I think the only, I mean, as they should, but I think the only, we. We do explore the degree to which the establishment is based on sexual violence, but it's always sexual violence against white women. The only gesture we have towards the kind of sexual others who are being exploited, being racialized as well, is the colonial photo, which is like,

I would have been interested to see you go further that. You know, I question, like, what would this film have been if Didi had been a woman of color, you know? Yeah, I think that one photo is saving grace, right, in terms of my image. importance to reading that movie in a lot of ways. It's a shame that it's kind of a footnote, though. Yes, yeah, I agree. That's what I mean is it doesn't, like, it's the thing that stops it being actively bad rather than the thing that makes it good, if that, if you follow.

Yeah, I see. I like that it's there. I think it's, I think it's good that it is. It's, like, necessary but insufficient, right? So we do, we do, what, like two or three for a mission? Two is a mission. I think this is a, it's a pretty strong omission because I think that photo shows us that they know that there's more to be said here.

Yeah. And it was, you know, did all these characters, again, I'm like, I think it would have been actually quite a good and thematic casting choice if Didi was a woman of color. And, you know, not to bash the actress who played Didi, but. No, she's great. But, like, I think also if you think about the kind of composition of the gang and all of the other people there, it does, it does reflect to kind of implicit, like, racism within those circles, which is, you know, is, I think, again, kind of implicitly

portrayed negatively, like, all of these people seem disgusting to us. But, like, I, I don't know. I would go for, like, a three, maybe, or a four. I can see a three. A three, sure, absolutely. Yeah. Unprovoked violence. There is a lot of violence in the film.

Mm-hmm. It doesn't really ask us to endorse that. The only violence committed by the heroes is arguably self-defensive. It is absolutely self-defensive. I mean, it does posit a kind of person to whom you're, only recourse is killing them. Sometimes there's a guy who's just so annoying that you're like, you know, you've got to do it, right, haven't you?

I'm not sure I completely disagree with that stance. No, no, absolutely, right? That's absolutely real. Like, I absolutely vouch for that. But I don't say vouch for that in a sense of, like, personal experience. I just mean that, like, in the title of a podcast isn't debate, James Bond. No, no, absolutely not. I think it shows a

Prove James Bond wrong A righteous killing and self-defense Yeah But like Gall is like a sort of like Victim of Don's violence We see that he feels guilty about his own previous participation In crime he's like haunted by it He feels threatened by it

I think it's got to be really low right Like Yeah I'm struggling to think of any violence The film I mean the villain the villains definitely like engage in violence even the way the violence is shot doesn't really ask us to think of it as like cool or spectacular it's more often shocking and disturbing i could i could i could i could see my way to a one on this because the whole thing is it's provoked

violence yeah which i think is is unusual for a film that depicts so much violence but i don't think it asks us to endorse it no not so so finally misogyny now this is interesting Okay, right. Let's think here. So there's some amount of misogyny. There are misogyny from some characters. Obviously, our villain, right? Al-Dan is extremely misogynistic about DEDD's past as a sex worker, as a poor actress.

Like, our hero is not at all. Yeah, that's very true. It's like loving his wife sincerely. We see a lot of depiction of misogyny that is, I would say, unambiguously negative. Yeah. Right? Like, it's, I think it's even, like, Like, partly because he is a misogynist.

Exactly. It does character, it establishes character in Don, in the sense of like, he is someone who will turn on the misogyny actively in an attempt to sort of like persecute others, right? And to sort of like bolster his own self-esteem. I think as a, as a portrait of a misogynist, it's a very strong one, right? Whereas gal's relationship with his wife is like, they're equals. like he's not protect he's protective of her in the sense that he stands up for her

but like we don't see him undergo a lot of kind of like deep personal crisis about not being some sort of like masculine protector of her you know like she stands up for herself she isn't intimidated by by Don similarly like Jackie is she is intimidated by Don but she's not a sort of passive object we're also told that you know age loves Jackie they love each other

Yeah. It doesn't even hold the sort of like cuckolding, if that's what it was, of H sort of against him as even like a real thing. It's something that's ridiculous. It's something that like makes Jackie feel bad in retrospect, but it's mostly something that makes Don seem strange for obsessing over. Yeah. Whilst the film, most of the characters in the film are men, I think, I think that is acceptable if you're telling a story that is like about masculinity. and in a way about misogyny and the way men are when it's all men? Yeah, absolutely. You know, I think the film would almost have been weaker at half the crew been women, for instance.

I think it's definitely part of Teddy's fucking anxiety about being treated like a woman that he's also surrounding himself with a bunch of buff dudes in trunks. Yeah, absolutely. I could, once again, I could see one. Is this going to be the best film we've done? I think it is.

I could see myself to a one as well, maybe, yeah. Do it. Do it. Do it. Pull the trigger. That gives a total score of one, two, one, two, three, four, five, six. That gives it a total score of six, which means it is not the best film we've ever seen. Not quite.

The best film we've ever seen is still Top Carpe, which was five. As was the Quillard memorandum. The Quillet Memorandum and Top Carpe are still in joint first place. But this is now joint second place with the Bourne Identity. So it's on the podium. Silver Medal winner, unlike the podcast, Kill James Bond. This film is winning an award. Yeah, second best film we've ever seen.

Pretty good. That tracks, actually. I think it deserves it. I think this is one of the best films I've seen recently. God, Jonathan Glazer fucking killing it, making good movies. Shout out to him, Rising Star Award. Five movies, all of them bangers. Beauty influencer of the year, Jonathan Glazer.

does not miss in the heat of battle, he don't miss. In the heat of controversy, he don't miss. There's a distinct thing I remember about Jonathan Glazer, which is when he sort of won the Oscar for Zone of Interest, he said that he repudiated his Jewishness being used to justify a genocide, right? And in the most cynical, the most breathtakingly cynical kind of exercise of Hespera I've seen, a lot of people kind of quoted that selectively to say that like what he said

all of what he said was that he repudiated his Jewishness like because of Israel maybe and it's just like that's one of the most like egregious things I've seen I remember Jay Rainer you know like the restaurant critic otherwise sensible being like sort of like well I don't repudiate my Jewishness and it's like you you're a fucking rude you need to read the rest of the sentence my brother

yeah you have only have the starter you must have them in course yeah so we rate jonathan glazer is where i'm going we like the guy yeah we're glazing him absolutely absolutely yeah yeah so that's sexy beast what a movie thank you for showing us this november oh my pleasure my absolute pleasure um our next our next bonus episode do we know what that's going to be yes it's white noise it's your white noise it's your white noise it's white November, it's white noise. Yeah, bonus next is white noise. After that, the episode comes out on the 31st of October, so we've got to think of a spooky

heist. You've got to do a scary movie. Think of a spooky one. After that, I would like to suggest Crupeier, because it's very sort of bond adjacent, but like... Oh, I cool. We've got to do layer cake at some point, too. Absolutely.

Absolutely. So, like, this is cleaning up a lot of sort of, like, bond adjacent stuff that we should have done ages ago, like Croupier, like layer cake. Yeah, absolutely. but you just mop it up with the layer cake at the end of the meal. Get to it. Yes, yes, yes. In the meantime, subscribe to the Patreon, listen to the next bonus episode.

It's going to be great because it's a great movie and I love it. Thank you so much for listening and we will see you next time. Bye, everyone. Bye! Bye! Thank you for listening to yet another episode of Kill James Bond. I actually just remembered an animal. about the IATVB creator awards that I had intended to tell on the podcast, but I'll put it in here anyway, why not?

On the way, on the way in, after we got our sort of little red carpet pictures, the red carpets on these things are bullshit, by the way. There's just like a little bit of red carpet in the lobby, and you're up against a backdrop, and they just take the photos of you there. It's actually, it's bullshit, basically. But after we've gotten our photos on there, we went through into the main hall, and there were people, either side, giving out champagne, and as I reach to grab some champagne from the person closest to the daughter, she leans in and goes, I love your fit, Devon. And I don't even remember what I said. I got flashbang by that, if I'm completely honest with you, but I hope that she knows she made my fucking day. That was fantastic.

Kill James Bond. Management may not know who we are, but the staff know who we fucking are. And that, I think, think is the best summary of kill james bond i could have ever hoped for either way thank you for listening two weeks time on the free feed it's something um but if that is simply too long for you to wait then we have a patreon patreon.com slash kill james bond all one word and you can go over there and sign up today and the next bonus episode will be white noise special thanks of course to our 15 pounds and above Patreon supporters and those are low beyonds daughter candy fogs frere a la wicious no name gustavo leera helspeth haunt pretty good jordan gami nick boris frankenstein

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Thank you all so much for supporting the show. Kill James Bond is Abigail, November, and Devon. Our producer is the wonderful

Mr. Nip Thea podcast art is by John DeLuca and our website is by Tom Allen. And I'll see you next time.

I'm going to be able to be. I'm going to be. I'm going to be able to be. I'm going to be. I'm going to be able to be.