Kill James Bond! - S4E41: Blue Collar

Episode Date: June 12, 2026

Paul Schrader's directorial debut, Blue Collar explores three american auto workers' attempt to solve their problems by robbing their union office. Starring Richard Pryor 'playing straight', the entire movie is worth it for one spectacularly haunting scene. ----- HANDS OFF LEBANON Here are some fundraisers to support collective rebuilding and survival efforts on the ground in Lebanon. -Beit El-Baraka started out as a food bank, but has grown to help people afford rent, cover their essentials, and live with dignity.  https://beitelbaraka.org/donate-directly/ or donate in general https://beitelbaraka.org/donate-now/ -LiveLove was a charity for a number of other matters, but since 2024 has been solely comitted to helping people displaced by Israeli attacks. https://livelove.org/donate -Lebanese Food Bank supports displaced and impoverished people https://lebanesefoodbank.org/take-action/donate/ Solar Powered Lebanon is an initiative to restore people's power using solar panels, since larger infrastructure is at constant risk of attack. https://fundahope.com/en/campaigns/solar-powered-lebanon ----- FREE PALESTINE My friend Ahmed still needs to feed his family and afford medicine. Anything you can kick in would be hugely appreciated. https://chuffed.org/project/150817-please-help-ahmed-and-his-family-get-food-drink-and-medicine And these are some more general links you can support collective efforts with! -The Palestinian Communist Youth Union 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 ----- 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 everything app account

Hello and welcome to another episode of Kill James Bond. I am November Kelly. I am joined, as always, by my friend, Abigail Thorne and Devon. Hello. Cowabunga. How are we doing, folks? We are surging out of the malaise years of Fast and Furious. We're leaving Dominic Torretto in the fucking review mirror, baby.

I don't know if I can do a mainline episode of Kill James Bond without Letty Torado in it. I don't know what I'll do about, my girl. I can't even remember what it's like. now. Yeah, without asking where Paul Walker is in the plot of this movie. Yeah, no, we are going back to heist season. And for our first return heist season movie, we're trying to unifying the bonus episodes

where we've been doing sort of loosely truck season, because one thing we established with Fast and Furious is that the natural enemy of the car is the truck. Absolutely. And so we're trying to unify these things with a kind of car heist, film by Paul Schrader, his first film, Blue Collar. Yeah, a movie about people who make cars in a car factory. Movie about Detroit and about the working class. It's like, when returning to the fuck, no one goes into space.

Nobody, as far as I know, is a paedophile. It's just, just a movie about the working class. I haven't checked everyone, but as far as I'm aware, this is just a straightforward working class thing. Now, obviously, I know everything there is to know about Paul Schrader, but maybe some people in the audience might, you know, not be super familiar with this guy. Some people on the podcast aren't super familiar. Some people on the podcast.

So Paul Schrader was the guy who wrote Taxi Driver. Okay. He also, like, he wrote or co-wrote Raging Bull, and he's done, like, a bunch of films himself. We've done one of them before. the card counter, right? Which I really loved. Okay, that's very interesting, a very different film than this.

At some point in, you know, if we ever go back to religion season, we'll have to do First Reformed, which is also a Paul Schrader movie. I would love to do First Reformed. This is his first one directing, and Blue Collar, it's interesting because it's Richard Pryor, sort of at the height of his career, trying to turn being a standard. up comedian into being a serious, dramatic actor. Yeah, he's trying to do a Robin Williams. It's a tough maneuver.

Some people have done it successfully, but we'll get into how successful we feel. We feel Richempriorism being serious. Yeah, but all of Paul Schrader's films, and I mean, Paul Schrader now is the type of guy who, you know, can write something that has the kind of despair of First Reformed or Master Gardner or things like that. But then also be credulous enough to be like, this AI stuff, it's gangbusters. It's the future. Oh, dear.

Yeah, he keeps getting himself. The thing about Paul Schrader is, watch the films don't read the posts, because he will post on Facebook about, oh, I just gave, you know, grok or whatever a bunch of prompts. And it wrote me a screenplay, you know. Oh, no, no, it didn't. No, it didn't do that. Yeah. He's just, he's a guy who can really sort of like talk you out of liking him, right? He's like, you want to watch a Paul Schrader movie, that's a good idea.

You want to read Paul Schrader's thoughts about cancel culture? No, you don't. Oh, dear. Well, that's interesting because this film was recommended to me by a very good friend of mine, Dan, who is very leftist and is like working in Hollywood in his, you know, I think he's like an anarchist or a communist or something. But he recommended this to me and was just like, you got to fucking watch this movie, you'll love it.

Because it is listening to quite, I would say, didactic, maybe not necessarily like Marxist, but definitely it's like a didactic leftist movie. It's like left populist for sure. Yes, yes, absolutely. But so we begin with the car assembly lines of Detroit, Michigan.

1970s Detroit, we're making cars where men, men, manly men, are hitting a big girder with a hammer. They're like lighting cigarettes with welding torches. We're making things in America. We're still making things. Worked great for the Soviet Union to just hit girders with big hammers. That worked great for them.

So fucking... Yeah. Give it a red hot go in America. Why not? We see them like putting in the big noz canisters and the bit of the car that goes to space. You know? I run my life one Mexican car production line at a time.

Yeah. And the thing is that Paul Schrader, now there is a director who has some thoughts about masculinity. Oh yeah. Oh, yeah. Almost all of the negative, but in a sort of very trapped kind of like, particularly in the 70s kind of way, fascinated with, you know, sort of men running out of control and sort of like these impossible, unsurvivable situations, whether that's, you know, climate

change now or whether it's it's um you know Detroit in the 70s and so we see this whole production line it's interesting as well that this as we're getting the credits over this the production line has women in it working and I go oh I saw I hope these are characters in in the film um no no no no it is a movie about men it's about dudes it's about dudes rocking and whether or not dudes really do rock I think can man it's okay to do the grand theft daughter five thing of like like we're telling the story about men. That's okay. Absolutely.

Is it possible for the dudes to rock? Yeah. I'm sorry what, the dude seems to be rocking because one of the first things we see is a guy lighted his cigarette with a blow torch, which does fuck.

Which rules, you know? We see the foreman, Miller. He's doing his rounds. He's hurrying the workers on. He's a kind of an asshole. And we meet our, we meet two of our men guys. We meet Smokey and Jerry.

Jerry is played by a very young Harvey Keitel so young. I almost didn't recognize him. And Jerry, no, sorry, Smokey, thank God. Welcome back, Yafit Koto. To the podcast, thank God you're back because I think the last time we saw Yafat Koto

was on Live and Let Die. It was. We've only done one movie with him in and it was Live and Let Die. An insult. He was the villain in Live and Let Die, which, listeners, you may remember, is the movie where James Bond fights every black person in America. Not an exaggeration.

He fights the black anti-white conspiracy led by Yaffet Koto who was like a black civil rights leader in disguise because he was secretly an evil drug trafficking pimp villain and it's like, oh my God, I'm just so glad you got to do another movie, Yafat Koto. Yeah, because the thing is, to be honest, despite his role being incredibly racist,

Yafokoza was carrying live and let dying the whole time he was on screen. He really didn't. Take this honky out in the alley and waste him. Yeah, and he's carrying this one too, if I'm honest. I can just put that up front. He's the best part of this movie. Easily the best part. In particular, we see that Smokey has a very antagonistic relationship with Miller, this foreman.

Who is an asshole? We establish that very clearly as he's sort of like hurrying the line along. And we get a beautiful little sort of scene from the class struggle where Smokey sort of unleashes this sort of tirade of invective at Miller's back as soon as he's out of ear shot. It's like, don't even talk to me. You're ugly. about you is ugly, your kids are ugly. And it just ends in this like stream of obscenity that gets drowned out by like power tools. It's fantastic.

Yeah. So what you got to do to keep your head on straight at work. There's also, this is a sort of bloke here, but I really like who is, he's putting in the, the windshield to the car. And he goes, this is my 263,000th piece of glass. If I never see another in my entire life, it'll be too soon. It's just like, these guys are worked to the. the fucking bone. It's monotonous.

It's degrading. Like, it's miserable. And all the time you have a guy like Miller just on you, you know? These are the jobs that they say, like, oh, we want to bring back the jobs. We're going to bring back all these beautiful jobs, these automotive jobs, these manufacturing jobs. It's like, no, when they were here, that also sucked. It sucked then. It sucks now in a different way, but it sucked then too.

Because the fantasy is that you bring back the jobs and you're fucking Miller, but you're not. You're not. fucking Smokey and Jerry and then this other guy we're about to meet. Yes. Zeke. Zeke Brown, because we go, we like finish the ship and then we go to a union meeting because all of these

guys are union workers in the thinly veiled not UAW, which is a real union. They fictionalize it as the AAW. And they have a very perfunctory union

meeting, right? It's like, everybody's kind of checked out. Yeah, the rep is not doing shit. No, no. The shop steward is like trying to give out like flyers for them to hand out about something none of them care about. And it's Zeke who finally sort of like loses his patience with it. And Zeke is played by Richard Pryor, right? Yes.

Who, as we say, like really at the sort of like heading towards the like peak of his career here, like really sort of like bankable like comedian trying to make the jump to serious drama. and so he sort of has this really like endearingly small time plea for his dignity here his locker has been broken for six months he's having to like sort of like open it by sticking his finger in the hole where the lock should be and it's like hurting him he's like cut his finger on it before he's like he's got his finger like wrapped up in a bandage and it's such a small complaint but it's so indicative because he's like it's been six months and no one has done anything about this.

What am I supposed to do? There's a quote from David Hume where he's like, it's something like, it is not unreasonable for me to prefer the destruction of the entire world to the scratching of my little finger. Because the little finger hurts me. It hurts.

That's the kind of energy he's on here. It's the Woody Allen thing. Conversely of like comedy is when, like, you fall down an open manhole. To an open sewer. Yeah. And tragedy is when I hurt my finger. Exactly.

But so the union fat cats, they don't care, right? Clarence says the shops to you, and he's like, look, man, this is a small time issue. We've got to save our political capital for when it's something really big. And Richard Pryke gets up and he's like, well, fuck you. I don't run for your job and do your cushy union rep job. Like, we're out here doing the real work. What are you doing for us? And everyone's like, all right, settle down.

I'm really glad that we saw the Irishman before this as another cinematic treatment of a corrupt. union because I think, as you may have learned if you've seen taxi driver, Paul Schrader is kind of a nihist or at the very least a cynic, right? And so, although he might be sort of like left-aligned, this is not a guy who puts a lot of faith in institutions, including unions, right? And there are good reasons to do that historically, this kind of like big American, like craft unions, like the UAW have done a lot of like corrupt and sort of like lazy things, absolutely. We'll see where this ends. But for the moment, what you need to know is the union don't care about the little guy.

And Richard Pryor is the little guy. He is, he is. It's funny. Like, every 10 minutes in this movie, they give Richard Pryor something funny to do, presumably to, like, so they can cut that into the trailer and remind the audience, like, hey, there's like a very famous stand-up comedian. But for the most part, this is, like, quite a serious drama film. And he's giving serious drama, too.

I think it was Marcus did pretty badly as well, because the poster makes it look like a Richard Pryor comedy. which it isn't really. Because you've got Richard Pryor in it. It's not a Richard Pryorne. I think he was storing the funny in the mustache because he's shaved... Legitimately. There's a degree to which that might be true, yeah?

Yeah, he loses like 10 points of aura just from shaving the moustache. It's crazy. I established in the group chat that the reason he did this is because Richard Pryor was actually a viltramite and he was disguising himself when he came to... Smart, smart.

So that he could blend in. There's like 10 people who were like, oh shit, I didn't get that. It's always for someone. It's my philosophy about jokes. So the union's not going to help them. So it's time to go to the third space. The most depressing bar in the world.

Being in tiny little bar that is like just off the job site. It's like the first thing they get to it. It's barely out of the parking lot of where they're all working. And it's just this huge dive. Where they spend the meager wages they get. And they're all talking and they're all bullshitting. And this is kind of another excuse for, Richard Pryor to do Richard Pryor.

A lot of these bits apparently were improvised by him and to the point that everybody else on the movie got really sick of it. We'll get into some of the production stuff later, but suffice to say that Richard Pryor kept trying to do, like, can I do some comedy here? And it's very much kind of like a Jules Holland, do you mind if I do a boogie-woogie cover of your top ten hit kind of situation where it's like through gritted teeth.

Go on then. Yes, Richard, that's fine. We'll just edit it out later, buddy. It's like the reverse of what they did in Strange Love. We just did a bunch of silly shit. We let him do a bunch of silly shit, and we cut that out of the movie. Yeah, yeah, yeah. But so he's telling a story about Smokie.

Sorry. Yeah, yeah. We established that Smokie of the three of our leads is probably the guy who's like, they're all going to be criminals by the end, but Smoky has been in prison before. because of this incident where he was fucking his friend's wife who Richard Pryor tells us was so ugly she had a pussy like a pork chop, which is fascinating.

Yeah, we start with the misogyn. Yeah, we do. It's crazy. The way these guys talk about women is, I guess, realistic for the time, right? But it's also like, at the same time, misogynists absolutely exist in Occupy, you know, and inhabit misogynist world.

You can tell those stories. The movie does not have much awareness that women exist outside of that, though. Yeah, yeah, yeah. But as he was fucking his friend's wife, there was a knock on the door, he thought it was the husband, he opened the door and, like,

socked the guy in the face. Turned out it was a cop who was there for completely unconnected reasons looking for someone in a different house, and he's just, like, punched a police officer in the face, so Smokey wound up in jail. And this white guy that they're explaining this to, I think it is Jerry, actually,

just goes, why didn't you just explain the situation? Richard Pryor, who listens if you need to remind him, was the black guy, It's just like, LaMau. It's not how it works. Yeah, they both just like laugh to each other. Yeah, what are you going to explain to a cop? Yeah, yeah, yeah, yeah.

It's this other random motherfucker. He, like, hangs out with Harvey at the start. Yeah, this guy, this kind of like this, this thin white guy who doesn't really look like them and is a bit more like groomed, sort of sidels up to them and asks if you can, like, join their conversation. Yeah. And here's the story. I think he's the one who's like, you know, well. Why didn't you explain to him?

But so this guy is, in his own telling, he's an academic. He's doing some research for the university. Yeah. How do you guys feel about your union, the AAW? Let me buy you guys a drink. Tell me about it. Got any complaints about the union? And they do start out complaining.

Jaffet, like Smokey, is leaning back in his chair and not saying anything, just looking at this guy thinking as he just keeps asking questions. And they're like, yeah, you know, sometimes the union, they're not so good. Like, they, you know, they don't listen to us or whatever. Yeah, they're not doing shit about my locker, all of these complaints. And then, and then we get a real sort of contextualization. And Paul Schrader sort of does put you on some knowledge here about where you park those complaints because Smokie goes, this motherfucker is not a university professor.

He works for the FBI. And you see that he knows. Like, just like, fuck, I got rumbled. It's over for me. Yeah. He immediately starts on. I'm just a trainer type of shit. It's like, okay.

Training the agents, so you know more than the average FBI agent. That's a fascinating admission, brother. And then Jerry, Harvey Cartel goes off and is like, hey, listen, you fucking fed. We're proud of the union. We also get some interesting backstory. He says last year, we struck for 73 days for a race. I had to borrow money to get through it, which suggests there wasn't an adequate strike fund. But he's like, but we got through it and we got our race.

I'm proud of it. You need to fuck off and leave us alone. Yeah. Gives you the context that all of these guys. Even if the wages are okay, everything is kind of, you know, financially it's on, you know, a bit of a precipice in the first place. So we follow Zeke home, right? Where there's, he's trying to like watch TV with his wife, his kids. And there's a knock at the door. And the FBI guy primed me for this to also.

be like a guy lying. But it's the IRS. Right. And the IRS are catching up with him cheating on his taxes. Yeah. Right. He is falsely claimed to have six kids when he has three. It's a really funny moment where his wife,

there's like three of the kids are in the room and his wife takes them next door to talk to her like neighboring family who are also black. And she's like, can I borrow your three kids for a moment? Can we like put some of my kids in your kids clothes? And then like he's he's white. He's not going to be able to tell the difference. Like it's just like can we just pretend that we have six kids? It's really fun to see them.

But yeah, it's good. It's good. It's like the wives come up with that. It's actually quite smart. And it's like, I was like, you know what? This guy might not notice. But the problem is Zique is wearing his heart way too on his sleeve. So by that point, he's already completely admitted to everything to this guy.

He's like fully inflated. Like, oh, man. Oh, fuck. And the guy is like, I need to see person. certificate's like this won't do anyway. And anyway, it turns out that he owes about $3,000 in back taxes and penalty, which in the 1970s money is like $14,000 now. It's over view.

It's like, it's like, it's like, it's a lot of money. It's like, if you had like a sort of reasonable amount of like working class savings. Yeah. There's another fun little detail of the 1970s here, listeners, which is that in, in Richard Pryor's house, the sofa is wrapped in plastic, which is like, that's something that my, my grandparents used to do it. It's like a weird generational thing that people used to wrap their furniture in plastic to preserve it and keep it nice, which is just a fascinating little thing that we don't do anymore for a second. I was like, oh my God, I've not seen that since I was like so small

that my grandparents has. But yeah, what's interesting is the IRS guy, he's kind of like nebashy, sure, but like he's not, you know, tyrannical about this. He realizes that Zeeke is tricking him, but he's not unsympathetic. He just, he owes the money. He's just like, man, I just, I can't sign off on this, man, I'm sorry. Yeah, and so when he leaves and Zika is like, okay, fine, we'll pay it, whatever. He yells at him as he's leaving. One of the lines of the movie to me, if I had the Navy and Marines behind me, I'd be a motherfucker too.

Yeah, yeah, yeah. Very didactic, like, left populist movie. Cool. My next door says, ignoring my wife in the extremely purple room. I think that's Jerry. Yeah, oh yeah, Jerry's bedroom is like he's got all fucking. lavender furnishings for some reason. My note is why is this FBI guy cruising young Harvey Keitel?

Because the guy like follows him like home from work or whatever. It's like, hey, you think about maybe talking about the union? To me, not an FBI guy. Your union rep just bought like a really big house. You know, your chapter's pretty current. I think he tells like, fuck up. He gets home to his wife in the extremely purple room. He says, I don't talk to no government agent.

which hell fucking yeah correct yeah there are shines of correctness in each of these guys there's a degree to which each these people is correct but they just fall down

at certain points and I think this movie as a whole to our audience will be a teachable moment yeah it's a what's a movie about failure it's a movie of not being able

to sort of like live by these kind of codes but so we've in order to get there we've got to kind of ratchet up the tension of it more and we've got to put all of these guys in more dire circumstances and so

Lisa needs braces. Lisa needs braces. Harvey can't tell his kid needs braces like now. And his wife's like she needs braces. Real working class concern. My kid needs fucking braces right now. She's so fucked up off the lack of braces that she has like injured herself, like trying to make them herself.

And you see it just kind of tears him apart to see it. It's like horrible. She's like bleeding. It's like, you know, personally I just live with the tooth gap. I simply live with the pain. but you know. It's the thing, it's like, it's the terror of a father where it's like, the child is at an age where she knows she has a need that I'm not meeting

and not at an age where she can understand that it's societally, like, problematic. They think that I'm just, like, fucking with them. Like, it sucks so bad to feel like you're the person who is doing this to your child, which is what capital does to you. Yeah, Harvey Kaisel kind of thinking that people are going to think that his daughter is British. No, there's no. No, fair worse than death. The worst thing you can do to a child, you know?

They grow up. Their teeth look like a, like a train wreck and a cemetery. A British Booker smiles. The next morning we get Zeke heading to the union office because we need to introduce the big boy. Can we pause for a second and talk about Richard Pryor's fit here? Yeah, we can. What the fuck is he wearing?

Zyabolical. A cover bund over the top of his fucking jacket, but is made out of silk, by the way. I think it's a really cropped, like, really cropped, satin, salmon-colored bomber jackets? It's like a bomber jacket, but if the felt at the bottom was a foot long instead of like a solid inch and a half, it comes up to past his belly button. Yeah, what was this?

People were on some shit, I don't know. The jeans do look good, though. Yeah. In the Union Hall, he notes that there's a big, like, walk-in safe, right? That is just completely open, because people are going in and out of it. there's like one security guard who's like half asleep and he kind of just files that mentally

because he goes in to see the union rep, he's going over his like shop steward's head and he talks to him again he makes this kind of plea like get them to care about my locker get them to care about stuff that happens to me and he is outwitted

with like a really low speech check where the guy calls the shop steward and when he's not there he talks into an empty phone be like, now you make sure you get the, I'm here with Zeke, make sure you get his locker sorted out, and then he like puts the phone down and looks at her as he and goes, done it, brother, no problem at all. That's what we're

here for, smiley face. There's a really interesting moment, and I've seen NHS managers do this where Zik, he complains that Clarence, the shop steward from the union, is racist. He's like, when the black workers want something, nothing happens. When the white workers want something,

he jumps to it. And the boss immediately pivots to defend. defending the institution and the local chapter's reputation. He's like, well, whoa, whoa, whoa, well, hold on. Our chapter was the first to advocate for equal wage between white and blacks. We have a great relationship with our black workers. Instead of like addressing the actual specific concern, he immediately reflexively, without even thinking about it,

defends the institution and brings up some possibly true, but irrelevant data to back up his position. Richard Pryor says, this individual is treating me lesser. and he says the organization as a whole does not do that. And it's like, it's so fucking nice, like closely observed. It's such a nice little managerial detail. I think it is true that it, I think the thing that he tells him has to be true

because it's important for a bit later where we get a bit more of this union boss. But yeah, so the union is cheating, Zee, and by extension, all of them. And we see them, like they all arrange to go out to a party, that Smokey is throwing. And I just like sneak out to do this. See, like, and here's the thing.

I don't know how long this, this excuse that Harvey, this excuse that Jerry gives to his partner is just like, oh, I left one of the pumps on, I got to go turn it off. I'll be right back. And then we'll go to church tomorrow morning. And he's gone all night. He's saying all of this in front of a velvet tapestry of JFK. This is a beautiful piece of like,

American Catholic working class vernacular here magical very odd also I'm tidy whitties which motherfucker's don't wear tidy whitties anymore like this, I don't know That's so true 70s trade must have hit different

I understand that it probably did Yeah Richard Pryor is having to get out of Get out of like At his house while his wife Carolyn is is like suspicious because she thinks that he's going to cheat on her She is 100% right about this

She's correct She's correct. But he does some, like, he does some Richard Pryor at her. Yeah, he does. And so it's interesting as well, because one of the few conversations we get about women in this is that isn't just abusive. It is an intriguing piece of kind of, you know, saving face because Harvey Keitel goes to meet Richard Pryor, who has snuck out, right? And has, like, put on a really, like, horrible work shirt on the grounds that, like, I can't be cheating on you because I'm going to work and I smell bad. He's immediately changing into his like party clothes.

But Harvey Coel asks him about this. And, and, and, and, and, and, and, and, and, and, and Zeke says, Carolyn knows who the boss is in my home. It's just an interesting little lie of being like, oh, this woman just sees straight through you, but you still have to your boys to be like, oh yeah, I would have like tied her to the bed if she gave me any shit about this. Throughout this, one of the big fall downs of this little like criminal enterprise that they end up with is, is just that they are all trying to save face to each other constantly.

Like, they're all bragging way too much about things that are important to not brag about later on. Yeah. But so we go to Smokey's party. Yeah, the Sim continues because in the party they take cocaine and they shoot on their wives. And then as they're kind of like lying in the sort of, you know, come down of this, Zieg flags up that he's supposed to be the provider in his house as a man. And he feels inadequate because he can't, he can't provide a kind of very good life for him. his wife.

It's like, oh shit, the masculinity and the capitalism. They're kind of the same thing. It's kind of threatened by this. Yeah, yeah, yeah. Jerry says, I've got all the shit in my house. It's all on credit.

I don't own any of it. Like, the expansion of consumer credit makes me feel emasculated because I don't own my fucking toaster and my blender or anything. It's all borrowed. Yeah. And like, at some point later on,

somebody asks him rhetorically, you know, why do you keep going into work? And it's because if you don't, the repo man is going to show up and take your oven, like in the Sims. Yeah. There is a really fascinating. bit here as well.

Because this party, right. We're going to delete the stairs and I'm going to be stuck in the pool. Fuck. This party, it's a sex party, right, is what it is. And I really enjoy how out of nowhere this comes. This is a lot like, there's a particular detail in kinds of kindness that has this where it just drops in like, oh, hey, these are kind of like normal, like adult friends who incidentally on the side are up to some like freak shit.

right? It's like, oh yeah, these guys are having an orgy. They're fucking in front of each other. They're like eating sex workers out in front of each other. And this gets, like, there's a really, this is the kind of thing that you would get your like letterboxed joke review off about. Is there's a bit here where Harvey Kytel and Richard Pryor fence with dildos. Yeah.

Yeah. I don't know. It's happened to my buddy Eric one time. It's kind of charming to me. Like, it's just like, oh, these guys are. fucking as well. There's a real kind of like, you know, showing and not telling and not being afraid of abruptness there that I really, really like before the kind of malaise of the time sets in,

you know? Can I take a second to just talk about Smokey's chair in his room? Because he's got this setup in his main room that's all like low furniture, it's all low sofas. These are like orange things. But he's also got one, same material. same like set orange chair that has a back that goes basically

to the ceiling. He's just got this fucking throne that he sits in while entertaining on the other ones, but just really good. It's only in the background of a couple of shots, but he sits in it the second they all get into the house together and it's like, fuck yes, brother. Amazing. So this

is the point at which we realize this could be a heist movie. Because Zeke mentions and it's with the intentional ready form. He brings them this idea of like was in the union hall they have a big safe they just leave it open

one security guard and it's an old white guy who's like a sleep half the time and kind of with the expectation knowing that Smoky has been like into some shit before it's kind of just presented to them as like

well we could do this you know yeah yeah it's very doable yeah we see that the degradation continues at work because there's a a white guy worker who like keeps getting his

money swallowed by the vending machine. So he goes apes shit and like smashes it up with a forklift and the boss throws him out. So we see the conditions that like Jerry's doing bumps of coke to get through the day. Like we see that the works are fucking grinding. And this idea is in the head of like, we just fucking rob the union, you know. There is one thing that makes this a bit of a time capsule

in the year of our Lord's 2026, which is he smashes, he snaps, right? He smashes the vending machine that keeps cheating him with a forklift, right? as a kind of like individual action. And the foreman, Miller, grabs him and goes, all right, that's it. I'm going to, I'm going to dock your pay

and I'm going to put you on leave for two weeks because he can't fire him. Yeah, because he's in a union. That's the biggest threat. Because the union's got his ass, baby. Because he can't fire him. And the scene before, these guys are going, we got to rob this union.

They're treating us worse than that. the company. We got to destroy the union. It's like the only, there's a scene later on where Zeeke is in, like a we are trying to fire you meeting and they can't. Yeah. Like, they just can't.

The guy, his, his shop steward Clarence, the guy he's been beefing with the whole time, who hates him is like, where the union takes a strong line against firing. It's so, like, they are, they have your back. They have your back.

Yeah. Yeah. They have your back, but they have your back pocket too. They have your back, but they are doing the, like, corrupt union money stuff. Whatever.

So back at Harvey Kaisels, Lisa really needs braces. Yeah. She's done the fucked up tea thing. We get some more ideology because he says to his wife, it would be better if I didn't work at all because at least then we could collect

government welfare or something. Right. Like this guy, he has some amount of clash consciousness, but he has the right wing thing in there as well. He has the instinct that just like collapse into reaction. And this is one of the few points where you see it bubble away. The fact that he says welfare or something suggests that like, he doesn't run the numbers on this. He doesn't know that that's true.

And it's probably not. He's just saying shit. And it's like, ah, dude. He knows he's being cheated and he feels like at no one else's. Like, you just need to understand that everyone is. Like, that's the, he fell down on the wrong side of that. But this is like the scene where, yeah, where the kid, like, tries, has tried to make a, a brace out of wire or something.

We don't see anything bad. Like, she's just kind of got like a little bit of blood on her teeth. And this is what causes Harvey. Like, fuck. Okay, fine. Buy the braces, I don't care what it costs. And then immediately is like, we got to rock this fucking save right now. Yeah, yeah.

So Smokey suggests that he knows a guy who can teach them how to crack the big sick. This guy will be important later on. We won't meet him yet. But they stake it out. And we get some more misogyny because Zeeke and Smokey argue about whether the receptionist is hot or not, they, in very, very degrading terms. So, hmm, interesting.

Who was nice to Zique, like, who just was nice to Zique. The only thing we saw her do was be nice to him, and then, like, we get this little misogynist conversation. I don't know if there's a woman in this who is ever referred to as anything other than a bitch first and usually exclusively. And, again, I think there's a way that you can sort of thread that needle of, like, yeah, that is how these guys talk, right? What sort of bearing does that have on the women that they interact with?

Oh. So, Smokey has picked up some, some, like, knockoff watches, right? This is a great. This is a good, this is a good picture. Yeah. He's, yeah. Because he's like, all right, synchronize your watches, we're going to go in. And then, like, everyone's like, my watch is stopped.

It's funny. Because he bought the fucking cheap off a guy on the street. It's funny. Yeah, it's a perfect. joke structure because there are three of them and so they synchronize the watches that he bought off the street and then when they get into the thing they go, what time do you got?

1215, 1232, mine stopped. Fantastic. We see him like buying the watches. The guy comes up to him when the watch thing goes, I got some Cartier watches for you and he goes, no, they fucking aren't. Like, he fully clogs this guy. He argues him down the amount of money. And then he takes the watches to the boys

and goes, got you some Cartier watches off the street, lands. And it's again it's the fronting in front of the people. but you need to be able to trust. Yeah. He's a smooth. Also, Richard Pryor says, I got the disguises. We don't see the disguises yet.

No, this is one of the other comic touches. It's like the one like joke-ass joke that's coming in this movie. He's like, oh, this shot's for the joke. It's kind of tragic comic as well. Yeah, yeah. Because the guard comes back in unexpectedly, this old man. And so while they're trapped in the vault, they're kind of working out what to do.

And Smoky's just like, I'll just take care of it. We put on the disguises. Also, the vault, by the way, not even locked. Not even locked. And also, not a fucking thing in that, bad boy. No, completely empty.

As they're panicking, the guy comes in. Apart from a smaller safe, like a, like a, not a hand safe, but you know what I mean? Like a hotel hotel thing. Yeah. Like a kind of hotel safe type thing. Yes, exactly.

But so Smokey goes out, and then we cut to the reveal of the disguises as Smokey, again, bludgeon's the guard unconscious, just like hits him over the head, right? And it's not really shy about the kind of violence of this either. And then we cut to the reverse shot of the three

of them wearing party city Halloween masks. Like, Smokey's wearing the like glasses with the googly eyes. Like, chipproes got a fucking, like, Dracula teeth. Like, an propeller hat. And Harvey Coch tells these just, like, sunglasses

and then a fake arrow like through the head. Yeah, yeah. Yeah. Doesn't disguise them. We get an uncle chop as well. Smoky, Smoky the team. He knocks him out. It knocks him out. Nice to have that back.

And they take the smaller safe with them and sort of later like blow tortured open. It's just got another smaller safe inside. There's just like infinitely like a Matrushka doll of tiny, tiny safes. It's got like $600 of which they've got a kickback. The guy who taught them how to open the safe 100. they didn't even need. Yeah. And so each of them is left with like $120 for doing this, which is like, it's like a week's wages for them, right?

It's barely worth it, yeah. It's money, but like, why even do this? It's money, and they're like working it down. They're like, well, okay, it's just past the threshold for grand larceny and slugging that guard makes it a salt and battery as well. Yeah, that's really good. Amazing work, everyone. Yeah, we're real criminals And then we see on TV

The Union announces the theft Of $10,000 Perfection Yeah Get that paper king They're gonna claim it on the insurance They're actually gonna make money off being robbed It's great

Mm-hmm Mm-hmm And they attribute this to The racistly named Oreo gang Mm-hmm, right? Yeah Because that two of them are black

and one of them is the white guy in the middle, yeah, yeah. The police like ask the god, like, could you give a description of them? And he's like, the white guy had an arrow through his head. Yeah, I mean, it's an effective disguise in the sense that you're not going to remember anything else about them. Yeah, yeah, yeah. So they go bowling together to try and like hope. Richard Pryor here is wearing an orange tankie on the top side as well, which... But it's an orange hanky on the top side.

but orange Hanky flags, I'm not looking for anything right now, which is an extremely funny thing to fly. That's so reasonable. That's awesome, man. Like, I'm a top, but I won't fuck you. Yeah. I mean, that's kind of, honestly, that's kind of a power move, is to show up at the function and be like, yeah,

I'm not actually going to do anything. Yeah, yeah, yeah, yeah, but I am a top, though. Like, yeah. I love it, yeah, I'm a top, but I'm not, I'm not like feeling anything right now. Yeah. Which is really, yeah. To be honest, to be honest, that's one of my favorite kind of aspect. of a top is when then, like...

I don't want to have sex right now. I would say it, like, by weight, like, about 70 to 80% of being a top from my outside experience is just kind of sitting there looking like you want to fuck something. Yes, it's true. I guess that's what Richard Pryor is setting himself up for here.

But the wives are getting along great. We don't like... Yeah. Any of it, but in the background of the shots of Zee, God, we can see that they're talking. And they're kind of freaking out, because besides... the money. There was also a ledger in the small save, which Zeke has saved, and he's been going through it, and it looks like a ledger of, like, loans, right? Illegal loans.

Ely illegal. Let's even say Italian-American loans. The kind of loans that you would maybe get for, like, casinos or things. Loans like a beautiful tomato sauce. The kind of loans which, if I can continue my hardline stance from last time, increase the amount of value in the retirement funds of the union. What's the problem? Yeah, for real. For the working man.

Fine. These are some Jimmy Hoffer-ass loans. And they're like, okay. What I really like here is that all three of them are kind of aware that the danger for them has just gone up exponentially. Yeah, right. But they also see the angle here, right? And Smokey is the one who kind of pushes this hardest, which is the union doesn't want this out.

We know the FBI is like looking into them. So we blackmail them with this because we know they've just got $10,000 for doing nothing. So we'll get them to give us the $10,000. Yeah, they're not any worse off. How mad at us could they be? Guy talking himself into something. something really bad.

So out of his fucking depth. It was this really good scene where they're trying to discuss what to do with the notebook. And Richard Pryor is like, we got to expose the union. We got to hit them with this. Like send it to the papers or something. Jerry's like, no, let's just get rid of it. And Smokie's got this great moment. He's like, no, listen, Richard Pryor, you're so focused on trying to hurt someone else, the union.

You're not thinking about how to help yourself. The way you help yourself is by getting them to give you money. Don't just kind of like waste this opportunity. And he has this little paragraph of speech where he's like, all this does us fighting each other and fight of a union is it benefits the company. He says they pitch everyone against each other,

the old against the young, the life is against the newbies, the blacks against the whites, to keep us in our place. And that's kind of a thesis statement of the movie. So it's like, no, listen, we got a blackmail. Very explicitly. Yeah.

Mm-hmm. Mm-hmm. So at this point, we also... Great logic. Terrible conclusion. Don't try to blackmail the only. Yeah. I mean, don't have done any of this, but like, especially don't do that.

We also establish why Smokey is so desperate here, which is he owes money to a pretty fucking scary guy who just gets into the back of his car, his beloved car, and is like, hey, does your beloved car, do you want this to become your grave? Yeah. What if this was your grave, pal? Because you do owe me a lot of money and you've got a week. Yeah, they do. He owes him $1,000.

Smokey does an amazing job because he's not like this at all. He's such as, he's a smooth operator of the entire rest of us, but in this scene he's in, like, hey man, don't worry about it, I'll get it for you, no problem at all kind of mode. You see an atmosphere of him, we don't get to see any of the rest of it. Really good.

But the union, meanwhile, have opted to 20 grand. They're asking for 20 grand now. They are. But Jerry is there in the car as well, and he accidentally let slip that they've got this ledger, and he says with the loans in it are illegal. And the guy doesn't say anything,

think he doesn't react in any way, but like, it's been let slip. Yeah. Back at work, Zeke is like at the end of his tether with Miller. Dog shit Miller, he has called, which is a fantastic character. Yeah, he's credited as that. Who, by the way, is now, like, explicitly racist. He says some, like, really shockingly racist things to some of the black workers on the line. Yeah, yeah, yeah.

Like, one of the few pieces of, like, sexism was supposed to go, like, frowny face, direct his intended emotion here. I thought he was just trying to level with the boys. I don't know. Yeah. As he goes past a woman who's like riveting, he calls a babe or something like that. And then immediately after that,

Rachel Lund. But so, Zeeke loses it with Miller, right? Calls him a redneck peckered motherfucker. You are going to have to have a meeting about this even if they can't fire you. And the meaning is right now also. Yeah, and as Miller storms off, one of the other assembly line workers, who is also black, is like, yeah, you tell him that's what I would have done.

And Zieg goes off on him as well, because he's still mad. He goes, what do you mean, would have done? Yeah. Yeah. Because you've been here for, like, because he's older, right? And he's like, you've been here for, like, 18 years, you're about to get your, like, union pension paid out. You would do anything to protect it. You wouldn't have done shit.

And, and this is a bit that I really, really love, he's, like, still yelling at in full force. He's like, it's not even you are mad at. Like, yeah, he expressed something. He goes, like, what's the problem? Your family isn't more important than my family. And then he goes in for the, like, I'm not even, you're not even the guy I want to be yelling at.

I don't know what I'm doing, man. I'm sorry. And then they, like, say sorry, like, have a little, like, hug or something. It's good. It's good. Immediately then is come and got by his superiors. Taken into the room where they all go, we'd love to fire you.

But there's a union. So let's go with you buy me a beer. Everybody shake hands. Yeah. Yeah. Yeah. And get back to work. Unions, baby. Even the corrupt ones, they have their place.

Obviously, you don't want it to be corrupt. But better a corrupt one than nothing. So the three of them meet up after work and they decide the heat is getting too much and they've got to split up. They can't be seen together. I love to see whether they're like, okay, the union have agreed to pay the blackmail. How do we, how do we get it? How do we like get the money without being caught?

Like, do we, do we ask them to leave it at a trade station? No, because they'll like watch and they'll see who comes to collect it. Like, shit, we have no plan. I can't do this at all. Yeah. Because Smokey had the idea who was like, we'll fucking, we'll take out an ad. We'll be like, you guys take out an ad in tomorrow's newspaper if you're willing to pay for it. and then they've seen that the ad's been taken out

and they're like, right, next step we've arrived at the question mark, question mark, question mark step. I really thought that would clarify by now. But that's only one away from get money. Drop a bag of diamonds in the sea off of fucking Malaysia like spectre.

As well, besides having no real plan, they know that the cops and the union know it's more importantly, that the guys who did the robbery, they're like two black guys, one white guy. And they go, oh shit, that's us. That's literally only us.

We need to stop hanging out together. That's the friend group that we have. Yeah. And so we get this, like, they go their separate ways, but they, there's a lot of touching here. There's a lot of, it's really, yeah. Really intimate. Like, oh, you, for tactical reasons, you can't hang out with the guy you used to do like dildo fencing with for a bit, you know?

You've got to, like, play a cool. You guys, you guys are eating pussy together. last week, you know? And it kind of, it does kind of suggest that these guys are the most important thing in each other's lives. And I really like that. And it's just like, oh, this is, this is moving, you know, all plots move deathward. Heisting is for the boys.

Heisting is a homo-social activity. Yeah. But it does blow up your male friend group a little bit. It does, it does. Incidentally, just incidentally to this, a cop has been shot, right? Oh, it's totally unrelated. Yeah, yeah. happens across town.

It's like getting struck by lightning. You could just be fucked at any time because they haul in the guy that Smokey owes money to and he's thinking, what do I have that I can trade? Right. Because all of these people will betray you, right? There is nobody who loves you except your bitch wife you hate and your dildo fencing boys. Exactly. And you can't even really rely on either of those.

So he immediately. Yeah, straight away, without even hesitating. Oh, yeah. I found out about something a little bit ago, actually. Oh, I know who did the union robbery, and I also know that the union is corrupt because of it, and these illegal loans, they have a ledger. And we also see that the cops then tell the union. Incidentally, this is how most crimes get solved, like, on a kind of, like, the serious,

organized kind is, like, somebody tells the cops something in order to make a deal for themselves. That's just how it works. You trade these things up, right? And so we see that their files go immediately to the union who are strategizing on how to fuck up these guys. They're doing like targeted psychological profiling of these guys. It's perfect. We don't see the guy who's doing it, but we hear his voice. It's the big union guy from earlier on who like fucked Zika over.

He pulls up Jerry's thing and he goes, all right, this guy's a union man. We just need to kind of sit on him a little bit and he will crumble. Zee is hungry. He wants power. Why don't we just give him a little pet roll? And then they look over at Smokey and they go, Smokey, Smokey's too good at this. Smokey's too oppositional.

Smokey's oppositional. Smokey has some amount of class consciousness. We can't buy him. We can't sit on him. We might have to do something else to him. Yeah, Smokey, because he has been to prison and because he hates us that much. I think the phrase that they use again

is typically like vulgar here. It's like he will fuck us just. for the fun of it, right? And so they think about this and... We also see that Smoky is like ready and wanted to take action too because he manages

to overhear that the Union is sending some thugs around to Harvey Kitell's house to intimidate him. Yeah. The Union are sending two werewolves. Yeah, I don't know. I'm not sure what the costuming is on these guys, but they do see they're like, weirdly like free transformation

werewolf coded. Like, Yeah. Yeah, right? Like, I don't know what the costume department was doing on this one. Somebody's fits. Kind of giving like John Travolta, Weirwolf. Yeah, just these kind of thugs.

These kind of like Twilight background extras are just like wandering through the town, you know? Interesting. Yeah. Smokes, he's at the, he's at the bar that's the only bar. He's at the bar. And he like, over his someone like calling up Harvey's house to be like, hey, we're the telephone repair guys. sorry we didn't mean to call you

by the way are you at home do you have your kids with you yeah what's up can you just establish your location for me right now is your husband out and like the guy I mean goes and sits back down

of his mate across the place and Smokey goes over calls Harvey's wife and goes hey sorry did you just get a call from the telephone guys sorry yeah it was me I was trying to let you know that like

Jerry needs you to come to the like the pumps which I guess is his second job right? Yeah, take the kids, get out of the house, in a sort of calm way. And then when these two werewolves-looking motherfuckers roll up, break into the house, they find Smoky waiting for them with a baseball bat. Silver baseball bat.

How fucking, yeah. And this is one of my favorite pairs of lines. This is a real, I really love, I love a tough guy, right? Like, I don't valorize these forms of masculinity uncritically. I, myself, have chosen to, like, renounce any possible part in them. But when this guy sees Smokey with the baseball bat, he says, my bad, we got the wrong house. Smokey says, no, you didn't.

You just got the wrong time. Oh, fucking, yeah. Yeah. We wasn't going to do nothing. He fucks them up. He breaks one of these werewolves' legs. And he just fucks them up. Yeah.

And that's doubly bad for a werewolf, you know? Because you got like two different forms of leg that are fucked up. Yeah. My leg's not supposed to bend that way at this point. I'm gonna act The full moon's not for another Baseball pass Yeah

Yeah That's what I just said I think it's hickery I don't know That's for vampires brother You're fucked You're fucked Yeah

I'm sorry to do your joke Like giral He's got two baseball pants One for monsters And one for people That's really really good I just Smokey just put down Urden

Smokey James Smokey James Warwol hunter? I'm going to sort of dine out in that for a bit, I think. Detroit 70s werewolf hunting? I'm, yeah, I'm done for that. We don't manage to dine out on it for particularly long. No, because don't get attached, because we go back to Smokey at work the next day.

Yeah. I love that as a little power trip, right, dog shit Miller, like, calls for him by job several times, like, utility man, utility man, until he's like up in his face, and he won't even look at him until he uses his name. That rocks. Yeah. Smokey, be the Smokey. All right.

Be smoky mindset. Smoky mindset. How, however. He's like, Smokey, we need you to go into the paint room. I'm trying to establish a smoky mindset.

We need you to go into the paint room and paint this car. Have you heard of a blue man group? You're being jumped into the blue man group. Have you had a perfect blue? Have you? We heard of blue collar, the movie that this is. Your blue Aberdee Abadai. Yeah.

So he goes in, starts painting this car. And then the like automated paint thing kicks on that's just spraying paint on the car. He's like, huh, that's weird. I guess I better hit the off button on that. And the off button doesn't work. He's in this paint room, which is like fully enclosed because the paint's like a vapor He's got like his little spray can. He's got like a respirator and goggles.

And he's just like pushing the stop button. It's like, huh, still gone. Okay. Still gone. Interesting. And someone connected or un parks the fucking forklift right outside the closed door and it can't be opened anymore. All ever needs you to do is open the door of the apartment, Harry.

All you need to do. I fucking love this, by the way. This is like five uninterrupted minutes we just spend with Smokey in this room. silent almost as well. Because he's not saying anything. He's like panicking in his head. He's not saying anything. It's so effective.

It's just getting smokier and smoky, like more full of fumes. We see him struggle to breathe. We see him just logically check everything that he needs to do. He like goes to turn it off. He checks the door. He checks the other door. And then about a minute and a half in,

he realizes he's being killed right now. Real industrial horror. It's like really good. As well, like you say it's like, He's like a fucking astronaut, not least because it's like, you know, going through the kind of checklist of things very calmly. And we see that like when he sort of like cracks psychologically for the first time, he like pulls down the respirator to like shout for help. A, no one hears him. B, immediately chokes because he gets like a lung full of like blue paint.

That's how they get you. Yeah. Meanwhile, the car is getting slippery because the paint is just building up and building up. He's sliding around. It's covering him completely because he's having a lot. like sneak past it. He's trying to like plug the nozzle but the like pressure is too high. You can't like break it or anything.

He proceeds so sensibly down the list of things that he could possibly do and the thing is nothing can be done. No, no. You're never going to look at blue the same way again after seeing this. It's like the, I think the whole movie is really kind of like the rocket for the payload of this scene. Like it's- Genuinely.

Because I have to be honest, right? I think that this movie, we've been described. it, you know, very positively, right? It's really uneven in the pacing. Paul Schrader had not found his feet as a director yet, and you see little glimpses, right, of like the guy who was going to go on to do, for instance, first reformed, right?

And this is one of them, right? This is the kind of gut punch of the movie. Because every time he's like banging on doors, we cut across to see some heavy machinery across the yard that's just making a similar, louder noise. It's like, he's, he's, completely trapped. Yeah.

Yeah. Like you said, I think the entire movie is building up to this one scene. Yeah. He finally, like, breaks the window and is just, like, hanging out of it. And next scene, he is dead, like, off screen. Just like... We cut across to a big billboard that says, Goodyear production of cars, and it takes over to, like, 46 million or something,

like a big zero's number. There you. Porsche Raider! Come out, baby! Paul Trader really doing... doing Marxism for babies, all of the stuff, all of the commodities have a value that tells the story of all the exploitation that happened in their making, including this guy getting like painted to death like Goldfinger.

Yeah, but like Bluefinger. Blue finger, yeah. Forgot to leave a spot as small as bad. Damn, he'd have been fine if not. Yeah, if only they hadn't got that one spot. Watching this number tick up and watching the like infinity. cars driving on the freeway from an overpass is Zeke

who has a meeting with the Union guy. He's so Evera, isn't it? It's hard to really think about it in any other terms. He plays this mercifully right because it's carrot and stick. It's like Zeke knows that Smoky has just been killed, right? And the Union guy

pictures it. Yeah. Everybody involved knows 100% apart from like the usual like workers. And while keeping up this facade of like it was an accident, we're investing. We're investigating so hard that we think that maybe Clarence needs to, for instance, not have his job anymore. And maybe we need you to make some changes around here. You know, maybe you could be that person.

You stood up in that meeting right at the start of a movie and yelled that you should have that guy's job. What if you were given it? Got what you wanted? What if we folded you into the grand con? We've investigated. We've determined it was, you know, industrial negligence. And also like we're going to replace that what if you did that?

And when Seek pushes back on this because he is terrified that he is going to be killed next he sort of in the most transparently bad faith sort of way it's like listen nothing's going to happen to you nothing happened to Smokey but also and this is where I think the thing about the AAW having integrated first right I think has to be used

is you see this guy deploy, again, in tremendously bad faith, this defensive incrementalism where he was like, when I was your age, there were no black auto workers? How do you think we got to the point where there were by changing the system from the inside? And you get a tiny little glimmer of like,

this guy is not like evil for the sake of it. He got this way by like having been the previous generation of this. Yeah, yeah. Yeah. You were the last. You were the last Zieg. You have been brought into this long corner. You are now perpetuating it.

Yeah, you didn't just fall off the fucking coconut tree. You exist in the context of everything that had come before. So he says the only reason you have a job in the first place is because guys like me knew when to fight and when to look the other way. That is what it takes to have this fucking job. It's like, okay. And it works.

Of course it works, because it can't not work. One of the most enduring things about Paul Schrader's work is this kind of sensibility that, like, you cannot fight City Hall, right? When these institutions are determined to get their way with you, they are going to have it. Like, and they're going to do it in the way that's sort of most germane to your character, but it's not going to, you can't sort of defy it by force of will. And that's what we get in the scene next, because he has to go and explain all of this or try to. We get the countervailing version of this.

We see how, we see how Jerry responds to Smokie's obvious murder. which is that he is at home and he goes, hey, Arlene, who is his wife, who is also, by the way, watching the show that we've seen Sikh's wife watching the whole time, which is, it's like these people are friends. Yeah. Just goes, hey,

why don't you go ahead and get the fuck out of town for a bit? Because I think they're going to kill me. He doesn't tell her everything that's going on. He doesn't confide in and ask for help. He doesn't let her in. Don't argue. Just take the kids and go and speak with your sister for a lot or something. But he has to talk to Z.

Zeeke. Then we get our fucking scene. Zeke, he goes over to Zeke's house and goes, what are we going to fucking do? They killed Smokey. And Zeeke, it's in the bloodstream. Motherfucker is already talking about things aren't that simple. Yeah. It's over. If anyone ever says that to you, just leave. Because Harvey Catel's like, we've got to go to the FBI. We've got to go to Mr.

FBI. And it's like, no, no, no. Like, don't do that either. Don't do that either. Listen, there's good people on both sides. And, you know, and also, like, He put not without justification. I think this is the kind of really like heartbreaking thing. And I'm one of the things I think it's most sort of like incisive about. Not without justification. Zieg goes, this is a white people thing to say, right?

Like, because I love you, you're my friend, but you're thinking white. Yeah, yeah. There's this great moment we says, right? You can go to the police, right? That's the sort of thing you can do. You get more chances than me. I only get one chance. The police won't help me.

And you see how seductive it is to be able to do like change from the inside, even when you know it's illusory, or even when you know that like it's not illusory, but it comes at the cost of this kind of like murder and this kind of cynicism, right, is that's your one chance to do anything, you know? You will never achieve change from the inside. You will never achieve. I'm talking to you in the audience.

Listen to me. you only ever achieve change from the outside by scaring the people who are inside, by making them feel like there is some sort of threat. And that doesn't need to be. You don't need to do any terrorism for the level of God. Read angles. Lekwing terrorism doesn't work.

It is a system. They just replace the cogs if you knock them out. You have to think better than this. You need to just protest people. You need to yell at them in public. You like just make their lives difficult in a way that isn't going to get you put in jail. don't be seduced, please.

I agree, but I don't know that Paul Schrader does. I think Paul Schrader in this movie. That's fine. It's my fucking podcast, not Paul Schrader. This is one of my criticisms of the movie is I think it genuinely does mean to like let you argue the case that... Genuinely, yeah. That it works, but at what cost, you know? I'm very much using the movie as a jumping off point.

Paul Schrader does not agree with my outcome. No, I don't think so. I don't think so. But so, we see, and, and, you know, he says, why is your family, again, why is your family more important than my family? You know? He says, well, Jerry's like, what do I get out of this? You get a new job.

Smokey's dead. What do I get? And he says, well, dog shit Miller is going to be fired for negligence. You know, that's what the union have pushed for. Do you want to be the... Do you want to have the same thing as me? Do you want to come into this? No, I don't want that.

Well, no, that's fucking blood money. And he's like, just think about it. Just think about it. Just think about it. So he plays his... one remaining card, which is to talk to the FBI guy. And we see that he's conflicted about this. Yeah. Yeah. Because he's like, you know, he has this kind of instinctive thing of like he wants to support his union. He doesn't want to snitch, right? And we see that the FBI is also one of these

systems that can just like break whatever convictions you profess to have because the guy sort of works him human intelligence style and is like, you know, why didn't you call me sooner? I could have prevented all of this. Because I think you can have a kind of reading of this movie that's like, oh, the FBI, you know, are actually going to save us from the corrupt union. I don't think that's right. Is meant by it at all. No, no. No, he, they're both, both, I think, I think the movie is, has a similar opinion in that, like, Smokey is the one that can't be bought out, so they have to kill him.

Both of these guys end up getting bought out by the system in a general sense. Yeah. It's like this great bit where Jerry's like, what do I get if I help the FBI? well, you'll lose your job and you'll get a suspended jail sentence. And he's like, that's it. That's all I get for doing the right thing. And he's like, take it or leave it, man. He's like nowhere else to go. It's either that.

You're an accomplice to a fucking crime and we will get you. The stick here isn't just prosecution. It's also like, because Jerry kind of mall's like, well, I could just go to fucking Canada and somewhat implausibly. But Jerry kind of believes it. The FBI goes, they will find you wherever you go on earth. Like the UAW have shooters You know, you are going to get Jimmy Hoffford

In Windsor, Ontario It's a lovely place to be Jimmy Hofford If you're going to get Jimmy Hoffman But the thing is, even in this scene Jerry doesn't end up going for it He gets too angry about the idea Of selling out the union He goes, what do I know?

I didn't know anything. I fucking heard some conversations I saw an industrial accident I can't prove fucking anything I didn't even, I don't have the document I don't have the booklet The ledger, Richard Pryor gave it back It's gone.

Like, I didn't even see it. He's still trying to, like, bargain his way out of it in his own mind because, like, this is a thing. If you've been in any of these situations where it's like, oh, there is an actual, like, structure that is coming for you specifically, you end up doing that. You go, well, I'm going to be fine because, and then some wishful thing bullshit, right? Like, and so he still thinks there's a place for, like, the individual against the structure, right? I'm just going to take my car and I'm going to drive in a. to Canada and just be out of this whole thing

and as he does we see the lights in the rear view mirror. Yeah. Well, he's being followed actually he starts to drive to the tunnel to Canada and he's being followed by two tuffs. Before this he pulls straight in to the same pub as always right and he calls his wife to be like

I don't know what the fuck to do. Like they got Zeeke and they got Smokey in a different sense. Friends won't say if he You're fucked. Your wife won't save you. The places that you're familiar with and at home in, like no protection to you whatsoever.

And she doesn't understand what's going on. She doesn't. She's just like, just call the police and tell them. And he's like, no, I... And he's like, listen, it's the same as earlier on with that guy. He's like, why didn't you just explain the situation? To Smokey and Smokey laughs at him. It's like, no, I'm not going to fucking explain it.

He's like, finally, like, he's learned. He's like, through the veil. seeing like the actual sort of naked exercise of power. I remember like a friend of mine described like having been in the military as seeing the state with its clothes off, right? And this is the similar kind of thing, right? You're you're in the kind of material realm now, whether you want to be or not. And so he leaves in his car and we see the car pull out after him.

Who's the state hot? I mean, yeah, legit. That's one of the things. That's how it can get you as well. Yeah, it's everything you could have ever wanted. Yes. But you have to say no. Damn, okay.

Really? It's everything. They will work you. What that state dick do? Whatever you want. Anything you want it to. Yeah. But you have to turn it down. Okay.

Okay. All right. Okay. That's all I said. The state. Call me, you know. He said, no. Legitimally, there was an interesting,

an interesting article I read today about like this cafe owner, right, who got pulled in by the police on a kind of pretextual terrorist stuff. so that they could have a friendly chat so that they could essentially go hey, if you want to find out some stuff for us about Palestine action, we're not saying you can go out and commit like a serious crime but, you know, we don't care about speeding tickets anymore.

You don't have, we could help you with your taxes, you know, the sort of things that we can do for you. Wait, what the fuck? Who did they say this to? Like some, like Manchester cafe owner. It was on BBC News this morning even. What the fuck? Like, this is how it's always works. They will approach you.

This is how it's, there is, like, yeah. I mean, like, almost every British Muslim of, like, my generation has had that kind of, like, cold approach from people being like, listen, if you wanted to, like, maybe help us out, you've got, you've got stuff that we can help you out. And sometimes that's more facilitative. Sometimes it's more coercive. It depends on your own position. But, like, very, very similar thing.

but so no Jerry very much on the coercive end of the scale here right they're gonna fucking kill you yeah yeah the union tufts are following him

and then he gets involved in his car chase and then the police get involved as well I fully assumed the cops were gonna kill him like he crashes his own car and the cops pull him out and he at this point begs to like talk to the FBI guy

oh my god call the FBI guy whatever it's over because you're outplayed Yeah, you just have to. Yeah, they got you. Like, there's nothing you could do now. The unhappy, the bitter, the vengeful, you know, they need their fix, which is you or someone, anyone,

dead or better yet dropped into some halt. And so we see him with the FBI going back for his locker, going back to the plant. And he just locks eyes with now in a shirt and tie at work. Yeah. Really interestingly, two of the workers, one of them says to the other, Zieg's coming in the same tone as earlier on when they were talking about the other guy. If he had the Navy behind him, he'd be a motherfucker too.

Yeah, he's immediately powers dolem. He doesn't matter that he used to be one of you. Probably Miller did as well. Like, where do you think they get these guys from? Like, they're not Urukai. They don't bring managers out of the fucking birthing pits. No, it's just, yeah. It's tragic.

We end up with an argument of two people who have been lost to the system in different ways. Yeah. It's interesting that this is the point where Jerry calls him the N-word. This is where he starts, like, racially abusing him in public. Jerry just starts yelling the N-word, which I don't know if that's entirely within, but, like, I guess he is a reactionary at the end of the day. I think there's two things happening here, right? One is that, like, all of this stuff is, like, kind of tissue paper thin,

over like the huge reactionary potential of whiteness, right? That's one thing. Definitely. And we've seen like more and more layers of like solidarity get stripped away from him, right? Until all he has left is this kind of like oppositional whiteness. The other thing is saving face, right? In front of the two FBI agents who are both white,

who are both like representatives of whiteness as well to like deploy the what. There's a brilliant Richard Pryor aside in like one of his live like stand up tapings, where it's like about how he decided to stop saying it on stage, right? Or it's like, it just kind of being called, it just kind of like resets you. And it's like, oh, okay, I thought I was just having an argument and now this is landed on top of me as well. And so it's kind of, it's like tactical, it's like desperate, it's cynical. and this leads to them

physically attacking each other over the production line and we end on this freeze frame of them doing this and then just in case you missed the message yeah they just do replay Smokey saying the thing which I don't know they pit us against each other

and just in case you miss that the credits like we fade to red and the credits roll on a red background just in case you miss it was a bad ending it's almost exactly a replication of like an old communist The death of Smoky has severed

the Weaver prophecy continue in the doomed worlds you have created Yeah It almost exactly replicates like an old sort of I think IWW cartoon where it's like first panel

frowny face Black worker and White Worker fighting each other Second panel smiley face Black worker and White Worker Fighting the boss together Right So I think it's

The one thing the establishment fears. Legit, though. And I think... No, I do mean that as well, yeah. I think it's kind of relying on that, but it's, it's taking a much more cynical tone where it's like, the establishment will get its way. And, like, your kind of solidarity is not going to last.

It's a deeply pessimistic film. And so that's why I said left populist is because there's not a program here. It's not suggesting, hey, if these guys had started another better union, you know, some kind of a workers' council. Yeah, exactly. It doesn't tell you what to do. No. Because, like, there's no opportunities for them to do the correct thing within this setup.

Yeah, and on the one hand, I empathize with that. On the other hand, it sort of feels a bit like, you know, all of the, not that I'm ever, like, out here fucking throwing Molotov cocktails as anyone either, but you know how Americans. It doesn't help. Don't do that. It's like, yeah, I'd love to protest, but you know the cops kill people here, right? That kind of thing. From people who, like, don't interact with cops. They kill people in the UK too.

It's like, yeah, they'll kill you for not protesting too. Yeah, eventually. And the point is that they'll get to you. They're working their way down a list. You're low on it, but the people above you deserve your help. Yeah. But that is blue polar. It's a goddamn solidarity, so love God Christ.

I tell you what, I tell you what, you two, after 11 fast and furious movies, sure me is nice to watch a movie that is about something. Water in the desert. Do you know what I mean? Here's the other thing is that I didn't love this movie. I've enjoyed it more talking about it with you, but that's true of every movie, ultimately. I do this because I love doing it. But like, I think I'll sort of fill you in on the production stuff now, right?

Which is, Paul Freyde had a nervous breakdown doing this movie. And one of the reasons why is because he couldn't stop Richard Pryor from doing comic improv. And the one time he tried Richard Pryor and his book. bodyguard kicked the shit out of him. What the fuck? What? That's not funny at all. Physically?

I cannot express to you how much everybody else who did this movie hated Richard Pryor. There's a story about Harvey Kytel, like, unable to stop him doing the improv, throwing the contents of a full ashtray into the camera so it had to end the take. Oh my God. Christ, Matt. All three of these guys despised each other. It's crazy. And that's one of the reasons why Richard Pryor doesn't, like, successfully make that turn into sort of, like, serious actor.

Mm-hmm. Is impossible to work with. He was doing a lot of cocaine. That doesn't help. I'm on the production on Wikipedia here. I'm reading, the tension became so great, but at one point, Richard Pryor, and this is in brackets, supposedly in a drug-fueled rage, pointed a gun at Schrader and told him there was no way he would ever do more than three takes, for a scene.

I guess there was just like, we just need more. It's the same as what I was saying earlier. They just did the silly ones and they were like, all right, can we get one serious one out of you? Yeah, yeah. It's really like, again, I'm not unsympathetic because it's kind of the story of like, Yaffut Koso, Harvey Kytel and, and Paul Schrader trying to get a serious movie past Richard Pryor,

who is out of his mind on Coke and armed. and is also their leading man and he's supposed to by the way is just like two pictures of Richard Pryor in a red background it just says

Richard Pryor is in this movie it's like fucking like Matt Damon when they just started writing things on his face for a couple of years it's like he is he's the he's not that useful

to the film like the emotional core of it is the Afakoto he's just like the most famous guy who was in it it's just It's a bit of a curate egg

It's didactic It's horribly paced Like it's two hours And it doesn't need to be Probably because Paul Schrader was getting guns pointed at them And like beaten up all the time Yeah I get crazy they got a movie But I relatively enjoyed out of that

Yeah Yeah But here's the thing We don't just have to talk about this subjectively Because we have a science-based system We do fucking do Can we change this now Or do we want to wait until the Blues Brothers

We can change this for sure It's unquestioned or... In advance, in advance of a line in the Blues Brothers that has been stuck in my head since I first thought when I was a kid, we are changing unprovoked violence to unnecessary violence, like, you know, use of unnecessary violence

and the apprehension of the Blues Brothers has been approved. Because I think that unprovoked was holding us back in a lot of ways. And I think it's more about, like, the violence that the movie sort of wants to legitimize. I think I still prefer unquestioned rather than, but I haven't seen the Blues Brother,

so I guess the word doesn't mean anything to me. Future episode. Very, very soon, future episode. Soon, future episode. Yeah, I guess two from now, because one from now will be a baby driver. Yeah. But it's called, it's still called the Scum system. It stands for Smum, Cultural Insensitivity, Unnecessary violence and misogyny.

On a scale of zero to seven, how smarmy is blue collar? It's a little bit smarmy in that it's quite didactic, but it's also quite sincere, and we take points off for sincerity. Yeah, it's a very, it's a very earnest film. Well, they're trying to make a very earnest film, and then they have to do some improv, which kind of... Yeah, I guess they couldn't cut all of it, so... Yeah.

I would go two here, I think. I think so. I don't know what makes it two over one. I would say having, having the speech at the end be repeated, is what kicks in the two. Yeah, you know, yeah, go on, give them that. It was not necessarily at all. Cultural insensitivity.

I actually think that this is going to be a remarkably low showing here, right? Oh, certainly. Admittedly, this is a white guy writing black people, but I think that in terms of like kind of how racism gets operationalized, I think it's remarkably astute. I am also a white person saying this. Yeah. Take this with a pinch of sorts.

We all are. But I think it's like at the very least well-intentioned in that sense, even if it's pessimistic. So I could see my way to like a one or a zero. I think I agree. It grapples with it effectively, I think. Yeah, I think it does. Put it at one. Yeah.

Yeah, okay, sure. Unnecessary violence. I mean, the violence here is just horrifying and structure and just lands on these guys. Yeah. No, low again. It's nice that it explores the difference between interpersonal violence in the sense of a murder. and structural violence as well. Yeah.

It's really nice. When Smokey, like, hits the guards, we see him, like, wake up in hospital, and it doesn't shy away from that. Like, it's... These are not necessarily, like, good people in that sense, and I like that. And the rest of the stuff isn't about punishing them for that.

It's about their kind of, like, you know, adventurism, if you like, which I think is kind of an interesting thing to do a heist movie. So on that, I might also go for a one. This is going to be really... Like a zero, even. Because there's a moment of Smokey breaks the werewolf's leg with a silver baseball bat,

but even that is kind of necessary for the story. And then it tells us that Smokey is somebody who, in the union's eyes, is never going to compromise. Yeah, I agree. And it's, yeah, it's defensive violence, absolutely. I go one or zero here easily. And then this is the, oh, I'm struggling to think of any. I think maybe. I'm struggling to think of any.

All right. I'm outvoted. And finally, misogyny. Okay, this is the thing that sort of clause and points back. I hear we fucking go. Yeah. Finally, some misogyny. Okay.

So, again, we're kind of, depict indoors, is the problem here, right? In that these guys are misogynists. Like, the movie is aware of the existence of misogyny is aware that it's bad, right? It just doesn't do enough to countervail it. Like, it just doesn't do enough to show us that their assumptions about their wives are wrong, that there are assumptions about the women at work there are wrong it just takes that these are misogynist characters and shows us as them being misogynist

but doesn't defang us very clearly how racism keeps the working class down and it is aware of misogyny but doesn't show us that these guys also need to work with their female colleagues to better than self. I think that was that fascinating scene with Zique and his wife Carolyn where it sort of grounds all of a lot of the stuff that Zique does is like

oh, he is kind of humiliated and like emasculated, but that's entirely still about him, right? And okay, yeah, that's where the focus of the story is, but it just kind of like stops there, right? So, and honestly, like, again, sort of bearing in mind that this is sure or authentic in the sense that like these, these guys that are picting are misogynist, it is remarkably difficult to watch in places. just how they're shown talking about women in a way that I don't think is necessarily intended to be like oh this is meant to be a taxi driver style hard watch

you know yeah no I don't detect the sort of eyebrow of judgment there which is not necessarily a thing but it makes me want to sort of race it higher so I would go like a five for this you know yeah I think I agree that's a good way to go yeah definitely that gives it a total school

or nine, which is pretty darn good. It's certainly not the best form we've ever seen. Bicycle Thieves are still winning when I believe three. But it is pretty darn good. Very strong showing. Single digits, any movie that gets into single digits is getting a spot in the Hall of Fame, really. I guess the cheat code for the Scum Manifesto,

as it should be, is make a kind of leftist movie. Yeah, make a good movie. Yeah. I'm forgetting it. I'm looking back at the list here, the online list. Is there any movies that aren't left wing that have managed to score very lowly? I mean, I guess one of the Bourne movies got in on like six or something, right?

View to a Kill was at seven. Yeah. And I guess that's because their plan was to blow up Silicon Valley, so we didn't have any problems with that. Yeah, yeah, that's fine. Is it possible to make good right-wing art? It's like, I don't know. We'll get back to you when we've seen some.

Killed James Bond just for the science experiment to determine whether it is split it to do that. You see if we can find some. Yeah. But we don't just have to confine ourselves to this movie because we have a whole, a whole sort of remaining, remaining, a whole remaining season of heists to get to. That's right. We've got a bunch of heists to get through. We've got some classic heist we haven't seen yet.

There's no way we would be able to leave this without doing the taking of Pelhamonte's three, entrapment, things of this nature. It's going to be, it's going to be good. We're done with family. Fuck family. It's over for family. It is. It is.

finally leave this blessed amulet of protection in the dirt where it belongs. Bye, John Sina, goodbye, Dominic Toretto, goodbye all the various vegetas in the crew. Basically, no one in this movie was like huge or anything. I do think that the way back into the heist is we just sort of drift back into them through the cars, which means I'm into it.

I can announce you the next two mainline episodes are going to be Baby Driver with the all-canceled cast and the Blues Brothers. So I'm so excited to see both of those. We have a Patreon where you can get a bonus episodes and the next bonus episode. What's that going to be? It's Abby's pick.

It's my pick and I can't remember what I picked. So you might need to remind me. Fury Road. It was Fury Road. Fury Road. Oh, shit. Okay, thank you so much. Okay, here's the thing.

That's like three consecutive bangers, so you have to subscribe to the Patreon. You have to subscribe. You have to check out our episode on convoy. It was so much fun. As a nice kind of dessert, we're going to talk about some good movies. Yeah. Doesn't it feel good to talk about good? We should have done this earlier. Wow, I like watching films. That's crazy. I never would have guessed. So thank you so much to my friends and my colleagues. Thank you so much to you for listening.

And we will hope to see you on the Patreon. And either way, we will see you next time. Bye, everyone. Bye. Thank you for listening to yet another episode of Kill James Bond. Our next mainline episode in two weeks time on the free feed will be Baby Driver. Now, let me tell you for fucking free. I watched Baby Driver last night before I recorded this jazz outro. I have so few positive things to say about Baby Driver that I'm honestly concerned I'm going to come across as a dour and miserable cunt for the entire episode. But oh my fucking God, some of the most annoying, infuriating things.

filmmaking I've ever seen in my entire life. But if you simply can't wait for that, then you can head on over to our Patreon. Patreon.com slash kill James Bond, where in one week's time, we have a very different movie. We're talking about Mad Max Fury Road, a movie where I have almost nothing negative to say.

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