Kill James Bond! - S4E47: Reservoir Dogs

Episode Date: September 18, 2026

You might imagine we'd get to this sooner than episode 47 of Heist Szn, but without further ado, it's Quentin Tarantino's feature-length debut, One of the finest heist films to never show the heist, a movie so low budget that Christ Penn is wearing his own jacket and Steve Buschemi his own trousers- It's Reservoir Dogs! ---- 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

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, listener. Cowabunga. What's up? What's up? How are we doing?

A beautiful cowabunga to you too. And I think it's really beautiful that, you know, it's taken us, you know, a long way into heist season before we got to this. But finally, in the podcast where we ask, what does this film say about masculinity, we get to one of the most saying something about masculinity films, I think we've yet talked about. Is this the first film on the podcast that we've covered that is Quentin and Tarantinoed by written directino? I believe so.

I believe so, yes. Yeah. It's also the first one that he Quentin and Tarantinoed. Wow. So it's a nice kind of, you know, merger there. Okay, we're starting in the beginning. Yeah, starting as we mean to go on. Yeah.

starting with Reservoir Dogs, which was his first film. It was, you know, I think it's a much better film than people remember it being. I think that people look at Tarantino now and they see the kind of nihism and misogyny and stuff and the Israel. Israel will come up. Yeah, Israel might come up. Feet, Israel, yeah. Yeah. The feet in the Israel.

They look at Mr. Feet Israel and they go, I assume that because, he's a dick, and he's always been a dick, that's true. His movies have always been bad. And I want to take the position here that, for me at least, I think Reservoir Dogs is a good film. It's Chinatown. It's one of those situations. Unfortunately, sometimes a bad person makes a good movie.

I have curiosities about it. And honestly, it reminded me a little bit of like David Mamet, but we'll get into this. What? It's Reservoir Dogs. If you're curious about the title, by the way. Yeah, I was. I was. Because Tarantino, he's never officially, like, confirmed or denied anything.

He likes to preserve some mystique about this, which I think is bullshit. The story I believe is, because it, you know, casts Tarantino as what he is, which is a kind of cinephile nerd who has gotten out of control, is that it's how his old boss mangled the pronunciation of the film, Orivoile's Enfant, which, I guess, future episodes. Oh, that's kind of fun, actually. I hope that is true. To be like this Jean-Cocto movie, you know, that French movie, Reservoir Dogs.

Yeah. That's really funny. It doesn't mean anything other than it to joke at that guy's expense. But yeah. And so we'll just jump straight into it because the movie does as well. Yeah. We begin in situ. You get your opening titles and we begin with a Comtown bit,

a bit from, you know, your boyfriend's favorite podcast. Yeah. Just some banter that is going on her. These guys in suits and ties sitting around in a diner. talking about Madonna's song like a virgin and about Madonna's career and it's a very misogynistic conversation that this film like depicts a lot of very bad things

and one of my overarching questions is like, okay, why are we depicting this? Not necessarily that's bad, I just like, I want to know. But they're having this very misogynistic conversation about Madonna. We've got many, many guys who'd like to see, we've got Harvey Kytel, we've got Steve Feshemi, we've got Michael Manson, we've got Tim Roth, we've got Edward Bunker,

and we've got Tarantino himself, who's also in... the film very briefly. Yes. Yeah. And he sort of gives himself pride of place in this opening to sort of unveil this theory, this sort of misogynistic theory that the Madonna song, Like a Virgin, is not about, you know, it's not romantic.

And he gets some comedy from like, because these are all tough guys, right? They're all sitting around in the diner from heat together, basically. And, you know, some of them have quite sort of like sensitive emotion. All of them, it's taken from. as read are like, you know, have heard the song like Madonna, have opinions about different periods of Madonna's career. Yes, absolutely. And some of them have quite sort of sensitive emotional reads of it.

And Tarantino's character is like, no, it's about like getting fucked like a virgin and very explicit terms, right? In very explicit terms. There's going to be a sort of difficulty here. There's a lot of that in this movie. Yeah, in terms of what we can recount. And so this is something that I think the movie's very sort of gleeful about, for sure. And to an extent, this is just kind of like taking a dick out and putting it on the movie and being like, you know, here's my stupid ass take.

And you're going to have to listen to me personally deliver this, you know. But I think it's also trying to do a kind of like theater of the stupid guy, you know? Yes. And I think that's something where I think Tarantino ends up sort of falling into his. own hype in his laser career is he sort of forgets that these guys, you know, meant to be dumb, right? Yeah. And so you have this sort of roundtable discussion of the song Like a Virgin interspersed

by like the older one there trying to like, he's being, being racist in like five different ways. Yeah. There's something interesting going on as well as that the camera stays outside the circle and generally looks gently revolving around looking over the actor. shoulders. We get a lot of like backs of people's shoulders in these shots. It's nice. It like puts us at a literal distance from these characters, which I suppose if you were inclined to be generous, might say it is encouraging us to distance ourselves emotionally from these people and be like,

don't necessarily be on their side about all of this. It's a fronting. They're not exactly like discussing philosophy out here. This is this is what they're chatting about. They're at the diner before a big, before the big heist, which they're getting ready for. Their boss is there. They're They're all going by Mr. Color. Yeah. And we'll talk. Mr.

White. Mr. Pink. Mr. Brown, yeah. Mr. White, Mr. Blom. I wonder. I wonder where that's from. I wonder where he got that idea.

That could be a reference to something potentially. And they've got their main guy there, their boss, a guy called Joe Cabot. He's played by Lawrence Tierney. An incredibly fascinating man. Yeah. Has driven myself and my wife mad over the course of the last hour. Really? Look at his Wikipedia.

He's been an actor for a long time. There's one story really quickly, one story for this. During the filming of this movie, this is Chris Penn tells this one. They were driving home from a scene one time they'd filmed together, and Lawrence Turney had stolen a fucking lamp from the restaurant that they were filming at and just takes it out of his pocket and shows Chris Penn this on the way home and goes, stole the lamp. Why?

I'm leaving it with something. What do you do it? I'm leaving her with something. Why, man? Why did you do that? He seems like the kind of guy who just slides shit into his pockets. Okay. Just sort of as a habit.

It's big pockets, I guess. But there's, this is, this is banter, right? The reason I compare it to a podcast bracket's derogatory is because it sort of has that energy, right? It does. A bad podcast. Yeah, yeah, a podcast comprised entirely of men saying stupid things to each other, which is clearly in demand, right? People like this.

People want to feel this, you know? It's a very compelling thing, this kind of homosociality, you know? And guys who are kind of dumb, but in a funny way, is, yeah, very, very rewarding. People want to feel connected to these things. That's the first of two topics that comes up. The second one is the one people remember more strongly from this movie, which is, of course, the question of tipping. Yes. Steve Bisholmi, Mr. Pink goes, I don't tip.

I refuse to tip because it's woke and soy. And furthermore, gay. Yeah. Yeah. And gay. And he's unmoved by Harvey Kitell's argument that actually these waitresses, they need tips to survive. And Steve Bisholm is like, boo-hoo, you know? We do get a nice moment where he says, I worked minimum wage once.

And I did not work at a job where people deemed it worthy to tip me. So I'm not going to tip that. It's like, okay. It's funny as well because like you have these unexpected things. Like Harvey Kytel says, you know, in defense of tipping and waitresses says, you know, it's the one job basically any woman. can get and make a living on, which remember the economy. Any cis woman can get and make a living on.

Yeah. There's this kind of split down the middle of the table. And again, you see the seeds of the guy that Tarantino is and will become, right? Where it's like, I'm going to present this kind of, you know, edge lord take to you, and you're going to be kind of compelled, and you're going to be kind of convinced by it, you know? And, you know, as Mr. Pink, Steve Bishemi makes this kind of argument, you see that across the table, Mr. Orange, Tim Roth, is like, all right, you convinced me, give me my tip back. It's a good point. Give me my dollar. They're all having to kick in one dollar for the collective tip here. This is what he's kicking off over. I really love the surprisingly, like, woke takes from some of these guys. You're like, what do you mean? Like, what would be going above and beyond for you, pow? But they'll really take him on about it.

It's quite fun. Yeah. But anyway, then we get the title sequence. We get a cool slow-mo war because they all go off and do the heist. We don't see the heist itself. Yeah, this is interesting. This slow-mo walk is a couple of things here. One thing is this movie is really sort of like built around the soundtrack, right?

All of these guys are obsessed with the same radio show, K-Billy's Super Sounds of the 70s. K-Barreys Super Sounds of the 70s, absolutely. Which is rolling through the weekend. And so, again, you have something that we saw. and true romance, right, where it's like, you know, the compulsion of like shared nerdy interests. We all remember the music. They're walking out across the parking lot. It's really funny because people remember the first shot of this, which is the slow motion walking.

They're all in identical suits apart from, apart from Chris Pan and Lawrence Tierney. Really like skinny black tie white shirt black suit. Very like Hong Kong crime movie. You know it. Yeah. And yeah, it's very cool, right? They've all got sunglasses, and then you get the reverse shot of this, and they're just walking across the bleakest, emptiest parking lot in the world.

And it's like, no, that's there on purpose, and I like that. So it's just a little bit of self-awareness, I think. Yeah, it's... They only think they're cool. And it cuts to black, we get some of the credits, and then slowly coming up over the end of the credits, Tim Roth screaming, screaming, going, oh, God, oh, Christ, oh my God. And we cut ahead to after the robbery. Tim Roth is in the back of a car being driven by Harvey Cartel.

He's been shot in the gut. And he is bleeding and like crying and pissing and shitting and like really, really upset. And Harvey Catel's like trying to reassure him in, but they're kind of angry like macho way. Harvey Keitel's the emotionally available gangster is so here. Yeah, he's locking in on being this kid's dad. It's great. It's so nice.

He's sort of talking this, this guy, it in a way that it's very evocative of like wages of fear, right? This is part of the reason why I had to watch a bunch of like older French movies before we got into the Tarantino stuff. There's a plan at work here. But it's like fascinating, right? Because it's so sincere, right, and vulnerable. But at the same time, it makes it very, very clear that this is like, these guys' idea

of masculinity is constructed for this, right, as a kind of protective thing. Like he's having him say, like, who's a tough guy? Who's a tough guy? You're a fucking tough guy. He's like cradling him, you know? It's incredibly intimate. Yeah, it's really sweet, actually. And then we reached a nice cheap filming location where we're going to be spending most of the movie,

which is a warehouse, one big room in a warehouse. This movie is quite like a stage play in that sense. And I think it would make quite a good stage play. And I have no doubt that at some stage you'll be. I want to see the all-female off-Broadway reservoir dogs. Just manifesting that into the universe. Yeah, it's interesting how you would sort of change the gender in this movie because it's so much about tough guys and being a tough guy

and sort of like fitting into that mold or not. I don't think you would. I think you'd do it the same way they just did the all-female Glenn Gary, Glenn Ross, you just have women play the roles and you don't change anything about it. Yeah, yeah, I mean, that's interesting. Just the same, perfectly the same. And it's kind of like, isn't this weird? That is fun.

Yeah. Yeah, I mean, it's interesting as well, because Mr. Orange, right, Tim Roth, he's like scared, right? He's an agony. He's like begging Larry, because Mr. White, Harvey Kaisel, has told him off-screen his real name, right? He says Larry a lot, yeah. Yeah, he's like begging him to take him to a hospital, and you see that, you know, Larry is trying to sort of reassure him in a way that is so, like, fatherly. specifically. It's so intimate.

Bits of the composition are fully just like Renaissance painting. Yeah. One of Mr. White's go-toes to try to comfort this guy is he takes a like a comb out of his pocket and starts combing his hair. He's like, freighting him in this warehouse. It's very nice. He's coming as hair, huh? Really good. Yeah. Yeah. And he goes like, Tim Roth's like, okay, sorry, I was I was panicking before. Sorry about that. But I really appreciate what you're trying to do for me, Harvey Kytel. what if you took me to the hospital? What if you just sort of dropped me off that?

You don't have to walk in with me or anything like that. Just take me there and kind of drop me off, right? And you see, like, Mr. White think about this and go, I really can't risk that. And he just starts saying again, like, you're not going to die. It's all going to be okay again. And it's got a slightly fake veneer to the second half.

Yeah. It's really nice. It's very well-acted. It's great because you sort of like start with this, like, sincerity and this vulnerability. And then you sort of introduce the sort of prospect that maybe not everybody here has the motives up front, right? It's great.

This is the thing. I don't know if Quentin Tarantino would or could make this scene again now, you know? Because I think it's not nihilistic enough for him. And this is a movie that is profoundly nihilistic in some ways, right? But it's interested in these guys' emotions and their sentiments in a way that I don't know that I've seen him be. the last decade, at least. But these are not the things that he has since been praised for in his career, aren't it? I'd extend it a little bit.

I don't think he's capable of making a movie anymore because he is so in his head about the 10th film thing. Like, that's the one thing. The thing of Aquin Tarantino is he has put himself in brain prison because he previously said, I'm only going to make 10 movies. And if you count Kill Bill as 2, he's made 10 movies. And if you don't, he's made 9. and he can't...

He's not got the confidence to make a tenth one. He like wrote a sequel to Once Upon a Time in Hollywood and just handed it off. He was like, I'm not fucking making this one. Like, I think he's too in his head to make the tenth. I haven't seen any of his most recent ones, to be honest. Maybe he'll get the inspiration for it

in the most spiritually vacant place in the world, Israel. Now, that would be an incredible tenth movie. That would be such a perfect capstone for his career, actually. I want to see him do like, you know, like Happy Feet 3 or something. Just something totally like a kid's movie. Just like a really straight down the middle, like Moana 3. Make him do one for the studio. It's really, really funny, right?

Because Tarantino, you know, we'll talk about like references and influences and stuff. He's a real influences guy, right? And like all of this stuff is like a synthesis of a bunch of other stuff. It's a bunch of French stuff, a bunch of other like earlier American stuff, right? in a way that I think really makes it something new and something special, and I really like, but he's so kind of wrapped up in that that I think sometimes he forgets that to a lot of those guys, it was work, you know? Like, we, you know, that's sort of a different thing.

Anyway, my point is, Mr. Wye sort of like lays Mr. Orange down. He's like bleeding. He's like, lays him down on this ramp. He says, you go ahead and be scared. You've been brave enough for one day. Right? This is shockingly intimate. Okay, right. Here's the thing, right, as well, is yes, the conventional reading of this, and I think the correct one, to the extent that you can say that there is a correct reading of something, is this is like Father's Son.

Mm-hmm. Mm-hmm. Old man sex. Old man sex. Well, we have been thinking about it recently, so it would be a responsible not to bring it up. About old man sex. I've been thinking about it for a couple of years now. Yeah, the way this movie treats homoeman.

sociality and the way it treats homosexuality, it's very, very interesting. And I just want to sort of plant that seed of like, you know, maybe this is, because this could also be, you know, I think it's defensible to say that it could also be a, you know, a romantic thing, you know, maybe. I think definitely the intent is just, and we see there's a lot throughout the move between these two characters, the intent is very much like Harvey Kytel is going, oh, this guy's me when I was younger. and there's like a sort of reciprocity

that he's coming to. He's an auto-crimeophile. It could be gay. Could be gay. So I invite you to consider that. But then, striking the movie, Steve Boshemi enters the scene and goes, holy shit, what a setup that was.

Yeah. What the fuck happened? Yeah. I think this is the best performance of Steve Bishemi's career. He's so good. It's definitely up there. He's so good in this. He's incredible.

He's the only one of them we don't know the name of, by the way, apart from brown and blue, but they don't even come. Yeah. Mr. Ping. Mr. Pink, who is very, let's say, energetic, very paranoid, is still on the, like, adrenaline and quite possibly coke high as he comes in. What the fuck was that, right?

We were set up. We got set up. He also quite correctly points out that the cops could be on their way to the warehouse where they are right now. Like, the cops could enter this cheap filming location that we are in. So, like, we're definitely not going to be here throughout all three acts of the movie. and Javier Katel's like, we can stay here, this is like nice and cheap. We can do all the scenes here in like, or probably under a week, actually.

We can, right now you and I are going to go into a separate room and get some different coverage to add variety to it. But like we can, it's the same makeup setups. Like the trucks don't need to move. Like it's real easy to shoot the movie here. We should stay here, man. I mean, half of them are wearing their own clothes. And structurally, you being here sort of adds rising tension in a way that sort of really carries people through it. Because like anyone who's like, we can just add new characters to the scene as a way to refresh it.

and raise the attention. Yeah, yeah. Okay. It's a good idea. Like, Bashmi comes in and goes, oh shit, is he okay?

At Orange, well, no, no, he's not, he's not great. He's not going to die right now, but he's not doing great. He's dying in a way

that will be tense for the movie, but not like immediate. Let's go have a chat. They recap what happened on the heist. So the heist went like tits up, basically. Apparently Mr. Blonde just started shooting people.

Yeah, he went Wayne Grove. They both identify the Wayne Grove. Then the cops arrived really suspiciously fast. But also, interestingly, White and Pig disagree about the order of things. So it suggests that, okay, there might be more to this. Like, did the alarm go off first or did the cops arrive first? No, no. The cops are definitely there before the alarm. And like, they argue about this. It's really,

really nice. And we also get a nice moment of suspicion. Where Harvey Cotel says, well, hang on, if this was a setup, how did you get out? And we get the first of a series of flashbacks to the heist and to previous to the heist. We just see Mr. Pink booking it down the street with the diamonds. He's got them. That's one other thing he reveals. He's like, I've got the diamonds, by the way. I stashed them somewhere to make sure that there weren't 10,000 police officers in this location when I got here, and I'll go get him in a bit. Yeah, and he shot his way out, as we see. He, like, sort of hijacks the car. He, like,

shoots at the police. The dialogue between the two of them, this is, again, real, like, tough guy shit is, you know, Mr. White asks him, did you, did you kill anyone? He says, a few cops. No real people. Yeah. You know? Yeah. It's good. They have this interesting discussion where they established that neither one of them has a moral

opposition to killing per se, but they're also not psychos, they say. They are professionals. We also see that Steve Bischemi still has his gun. So it's like, okay, all right, these characters are armed and don't have an objection to killing people if they get in their way. It's good, it's good tension. Mr. White is like trying to like sort of re-senter himself by combing his head. hair in the mirror, right? And he's sort of forminating about Mr. Blonde, you know, just killing

people for no reason, right? And so they're playing, essentially they're playing like among us at this point, right? They're sort of trying to work out. Well, they are. Yes, they are. No, they are for half of the movie playing among us, yes. I want to say, I really do, I really like Mr. White combing his hair as his, like, recentering thing, because it makes it very sweet. that he combed Mr. Orange's hair to try to re-centre him. Yeah, he makes this sort of like, this is my go-to. It's like, I'm a man, I'm doing the man stuff. I've like sorted myself out in the mirror.

I'm back. I'm ready. Yeah, Harvey Kitell is so good in this. And Harvey Cartel says, I must be jinxed, because on the last job that I did, or I did another job like years and years ago, there was an undercover cop on that crew, and now maybe we've been set up. And they have this argument where each one is pointing out of their going,

you're low-key sussie for real for real and the other one's like no you're low-key-sus it is in fact you who is low-key sussie for real for real amogus and they're like they argue about who the rat is right put the sound in here

amogus but the thing is like Mr Pink is like yes you are correct to be sussie for real for real because it could be me now you're fucking using your head let's think about this it could be the guy out there dying on the floor what about that And Harvey Kytel, Mr. White goes, listen to me, you motherfucker.

He, like, turns side on. He takes up all of the frame and goes, he is out there bleeding a death from a bullet. He took for me. So don't you call him a rat. He is definitely not an undercover voice. He is 100% guaranteed not going to be the one. Harvey Kitell is so good in this, right? Just because he's so expressive.

I feel like the direction here is very much like watch a bunch of Tosharo Mufune movies. right? Yes. Oh my gosh. They'll sort of... We're talking about the nature of memory as well. They'll drop some other references to like who he's playing later on. But like there's a lot of Mifunae in this, right?

But so then we go back, right? Because Tarantino is inventing for himself the like I just tell it out of order thing. And it works really well here, I think, because it's about confused memory. It's Rashomon again, Toshra Mufi. It all links together. Her web connects them all. And so we... Shut up.

Well, it does. It might. It might well. In this house, we respect Madame Webb. Do we? Do we? You know what? I haven't seen it.

Gotta be honest with you. No. No, neither. I know some people who worked on that, and I still don't respect it. I was too busy watching Morbius five or six times. Well, because you're such a huge Jared Ledo fan, of course. Absolutely. Well, Matt Smith, actually.

We see Mr. White get recruited, right? And we get a little nod to true romance here, incidentally. We do. This is very sweet. Yeah, because Harvey Cottell mentions knowing someone called Alabama, Obama, who's now a thief. We don't know it's the same Alabama for true romance, but it might be part of the QTEU. Yeah, absolutely.

It's a little nod. It's a little like, hey, if you watch true romance, thanks, type thing, you know? Yeah. Yeah. We see him get recruited by the boss, Joe, and he's very, very professional. He's an old hand that he knows all the kind of thief lingo. He's like, yeah, cool, what's the job?

Like, what's the exposure? All the rest of it. They're going to be hitting a diamond exchange, stealing polished stones from Israel. Really likes the, like, tough guy dialogue as well. So, like, what he says, what's the exposure? Joe says two minutes, but it's a tough two minutes, you know? You see the... Broad daylight.

All the stuff that payday stole from this, by the way, incidentally. Yeah. It's such an innovation to not show the heist. It's so perfect. I don't need to see it. It's great. I don't need to see it. And it would cost money to film it.

Yeah. Yeah. That's also true. Smart. Yeah. Cool. Meanwhile, back in the present in the nice cheap filming location of the warehouse, Steve Boshemian and Harvey Gatel are still arguing about whether or not to abandon Tim Roth or like

take him to the hospital. I was like, no, he'll expose us. No, he's definitely not the rat. They end up fighting and pulling guns on each other. Yeah. And then we get this long pullback to reveal Mr. Blonde standing there, wearing sunglasses. just sipping a big gulp bin like you guys play nice cool as a cucumber yeah

I literally wrote it's Mr. Cucumber Yeah yeah this is a great Michael Madsen was so fucking hot I'm having so fucking hot I mean Michael Madsen is here to play the role that every man in your amateur drama school

acting class is going to do monologues for the next 40 fucking years And I'm going to have sex with all of them. And here's the worst part. They're going to get it so much worse. Until the Dark Night comes out and then they switch to doing the Joker. This guy doesn't do monologues. He's not a monologous guy.

Like, it's a, it's very different. He's so, he's so deliberate with it. I love his like two modes. We've seen, we only see him in like cool mode at the moment, but we hear from pink and white that like, in a pinch. he will just start shooting hostages. Yeah, yeah, yeah.

He just, like, lined them up against a wall and just started shooting all of them. Yeah, the alarms went off and he just executed them. Bam, bam, bam, bam, bam, back. Like, down the line. They have a conversation in the back room where one of it goes, like,

how old was that black girl? She couldn't have been more than 20. Yeah. Just to be like... I know, she had a baby as something that somebody else says at one point. We aren't psychos. Yeah, whereas blonde is like,

you know, they press the silent alarm. I don't like alarms. So if I can kill them, be alive if they did what a challenge to do. He's not at all intimidated by Harvey Cateau yelling at him. He's not. What's interesting, this is where we get the, like, references moment is he pulls, like, because Harvey Catell does try to intimidate him, and he goes, you must have watched a lot of

Lee Marvin movies, right? Or actually, the line is, I bet you're a big Lee Marvin fan, aren't you? Right. And this is the thing. We'll watch some Lee Marvin movies. There's a couple of great ones for this. But yeah, you see where all this stuff is constructed from. There's a Roger Ebert line in his review of Heat, where he points out that Robert De Niro and Al Pacino have been playing cops and robbers.

Longer than most cops or robbers have been that, right? And if you become a cop or you become a thief, there's a decent chance that you model yourself off of those roles, right? And it's this kind of, you know, vicious cycle. And so all of these guys being sort of doing older action heroes is like a great sort of knowing bit. It's also one that connects in completely with something like breathless, for instance, where you have Jean-Paul Belmondo kind of doing Humphrey Bogart, right? It's just this endless reproduction of masculinity. It's great.

Mimesis. Yeah, it's all Mimesis. It's all Mimesis. It's all Mimis. Like a wedding brunch, so on my mesas. God, that one. Mr. Blonde is there as well. Sucking from like a takeaway

fucking cup. He's like clearly gone out for like in and out on the way before he came to the Ronday room. He's been through the drive-through. That's really, really cute, yeah. Like they have a little argument, but when they finally like come back together, he goes, hey, you want to come out to the car with me?

I got a little something I want to show you guys. First though, Steve Fischemi gets between them and drops the first of several end words in the movie. It's like you guys are acting like a bunch of black people. which is not the word he says. Yeah, and again, I think this is basically kind of contemptuous of Mr. Pink here, right? It's one of the things where Tarantino sort of like hadn't started drinking his own Kool-Aid yet, but you see he's excited, you know, to start doing it.

Oh, that Kool-A-lux-lid looks good. That Kool-Loh-lick looks real delicious, actually. Whilst you're all having some, I might start getting high on my own supply. It's the most convenient supply to get high. from because it's right there. Yeah. I don't even have to leave the house to get high on my own supply. We tell me I can smell my own thoughts?

That's way better. That's what I maintain the supply for. I can depict racists as being funny. Okay, well that's kind of cool, unless I start laughing with them. But I'm not going to do that. I'm definitely laughing at this guy. Yeah, yeah, yeah. I mean, I think it can be a bit more ambiguous than that, but...

Well, it doesn't work later on when he makes fucking Harvey kind of. Taitel do it, because Harvey Kytel is kind of the protagonist of the movie. It's sort of kind of weirdness for most of this. Also, Mr. Pink, Mr. Pink, who is playing sort of like, the single sort of like locked in Amogus player is like, well, you can't be a cop because you're the waingrove, right? And the wain grow can't be the cop. You can't be a cop because you're fucking crazy. Yeah, I've seen you shoot like five people, right?

I know I'm not the cop. And cops never execute civilians. Yeah, yeah, yeah. Exactly. And I'm pretty sure that Harvey Kitell is on the level. We don't know where the others are. Not everybody in the room. That there's not anyone else in this room, so it can't be anyone else.

So anyway, Mr. Blonde is like, well, speaking of cops, I've got two pieces of information for you. First of all, we have to stay here because it's a nice, cheap, film, in location. And also, I've already called Eddie Joe's son, and he's on his way. So just sit tight for now. Secondly, if you would like to speak to a police officer, officer. I have one here in the boot of my car. I'm talking with a hostage. Hello. Yeah.

Hey. Really good. And like again, we've seen them arguing about like massacring people. We've seen them argue and have scruples, but we know that they don't think cops are people. So like the shot of all of them looking down into a car, they're all like, oh, we could torture this cop. Okay. Yeah, they all have a big grin. They're like, ah, a cop. Yeah, this is, this is going to be cathartic. This is going to be fun. It's something we all like to do. And so they, this is fantastic, man.

Thank you. This will really help me, calm down. Bring him in. Yeah. They all start kicking in. They kick the shit out of them together. Yeah, absolutely. But then we get a flashback to Mr. Blonde being recruited.

His real name is Vic Vega. And he meets Joe in the same filming location that Harvey Kyle did. Again, nice, nice cheap filming location. Yeah. And he's just got out of prison. He's on parole. His parole officer is a bit of a hard ass. Joe is dropping slurs that I had to look up for black people.

He's like, oh, when a black person, not the word he uses, commits a crime, they get like Mother Teresa is their parole officer, and you get this fucking hard ass, right? Seymour Skagnetti, yes. Yeah, what we later learn is that Mr. Blonde went to prison, like, for Joe and was, like, offered a lot of deals and never took them. He, like, kept silent the entire time. And so we get this sense, like, Joe and Eddie,

feel like they owe Mr. Blonde of favor. Yeah. They're like setting him up completely. Yeah. Eddie comes in and meets him again, and they just sort of wrestle. It's very brotherly this. It is.

We do an extended homophobic banter bit. Yeah. There's a lot of locker room chat depicted in this movie. Somebody accuses somebody being a bottle cowboy, which I'm like, wow, that's great. Lots of jokes about prison rape. Lots of jokes. jokes about doing prison rape and who wants to fuck.

But are jokes both pro and anti-prison rape? Yeah, yeah. It's more about the bits than it is any of this stuff meant sincerely. And so all of these guys are sort of capable of doing all of this, like, very intimate homosocial stuff, you know, whether that's sort of wrestling with each other or sort of like cradling each other when they're covered in blood, so long as they have this kind of protective homophobia of sex, to each other, see, he wants to fuck me, he's trying to fuck me, and the other guy being like, I wouldn't fuck you because you're ugly, you know?

It's like, they live in this kind of soup of it. Eddie also has this like shockingly graphic bit where he says, you're talking like a black person, not the word he uses, and it's because of all the black semen that was pumped into your asshole in prison, and it's so much that it's now in your brain are coming out of your mouth. And it's like, that's a, wow, that's a shocking. the graphic thing to imagine about somebody that you alleged to have no sexual attraction to. That's crazy. Wow.

You've been picturing me doing that, have you? Interesting, okay. Tarantina really likes, and this is, you know, one of the things that will sort of ultimately lead him to being, you know, a sort of a much less enjoyable director to watch amongst other things. Really enjoys shocking his audiences by being like,

yeah, this is just like, I'm going to sort of turn up the dial on, you know, this kind of like these actual this banter, this kind of like, you know, toxicity in a way that is so shocking that you laugh, right? And he really likes kind of mining that for comedy, right? And so it kind of, within this context, I think it makes sense because it's a movie that is saying something about these guys, right? And that sort of milieu. I think it does date the movie in a way.

Oh, yeah. I think it's a very 90s, that kind of like shocking humor. And it's like, well, something I wondered, I have having watched the film. is that I wonder if now the fact that we have all seen like live captured footage of like black people being executed in the street by police officers in a way that 90s audiences might not have had such ready access to. I wonder if it's just like that's not the shock of it isn't isn't like it's not really funny anymore. It's not funny, but you know what I mean? Like it just feels like it's aged in a big way. You have to hope this type of shit isn't acceptable anymore.

Yeah, well, I think it's also, you know, Tarantino's sort of like making this movie in the context of like California in the 90s, right? Where it's like, it's still very racist, obviously, but you have not sort of woke one by any means, woke 0.1 of like political correctness where, you know, sort of people maybe have internalized that it's bad to say the words, right? And whatever other social attitudes you want, that's fine, but they didn't say the fucking word. And so in that context. I will say some words are coming back in over here in a way that I don't love. Yeah. Yeah. No, it's so crazy. It's getting real bad.

Yeah. The number of people you will just hear dropping the arsler in like restaurants and bars around here right now is like, I don't love that. No. I love being a stick in the mud on that shit. I love being like, what the hell? What did you say? Oh my God. Come on, man.

Yeah. In that context to be like, no, these guys would be saying the word, you know, whether that's accurate or not, what you're trying to get from an audience there is, I think, you know, you're trying to destabilize them that way, you know? Yeah, I guess you're trying to get them off balance. Is he going to like it too much? Yes, obviously, right? We'll see.

We'll see. The whole rest of his career. Anyway, the long short of it is Joe and Eddie set Mr. Blond up with his job, The Diamond East. Yeah, yeah, yeah. But they also sort of, because he wants to do real work, by which we mean, like, sort of violent crime, right? We see that Eddie as the, you know, son and heir,

he's been, you know, sort of jokingly says this, he's been fucking up, right? And he wants his dad's approval, he fears his dad's disapproval. And we find out that the robbery is Eddie's idea. It's his plan, right? It's like indulging your kind of fail son, you know? Yeah.

And we immediately then cut back to Eddie, speeding to the rendezvous point on the phone to some unknown enforcer that we don't ever really get to see, just to be like, yeah, no, I don't know shit. I don't know who's alive. I don't know who's dead. I don't know what the fuck is going on.

But I hear that Vic has a cop in his boot right now. He's driving around with a cop in his trunk. Am I getting this right? Am I pronouncing that? Yeah. He's like most worried about his dad being mad at him as well. Yeah, yeah, yeah. Sweet.

I think gets to the warehouse. Sorry, very incidentally, the radio at this point is still playing K. Billy's Super Sounds at the 70s. And it signs off with the station where the 70s survived. And I go, oh, boy, I hope he doesn't grind that vicarular axe into once upon a time in Hollywood because, um,

that's a fucking moot. Oh, we have to do it at some point. I have so many thoughts. We will. We will do. We will do. But Eddie gets the warehouse and they're like, we're going to torture the cop and like figure out who the rat is. And he's like, it's fucking, what, no. There's not a rat. There's no rat. I set this up.

There's no rat. There isn't. And B, if you torture the cop, he's going to tell you whatever you want to hear, like, because torture doesn't fucking work. So here's the plan, right? Me, Mr. White and Mr. Pink will ditch the cars that are outside and pick up the diamonds. Mr. Blonde, you stay here with Tim Roth, who's unconscious and the cop, okay? And I'm like, no, we can't leave him here.

He's a psycho. And they're like, shut the fuck up, right? Yes, we're going. All of these, this works because how, how terrified all these guys are of Joe, by the way, who's hardly saying? Yeah, yeah. Can I be real normal for a second? So this scene had a big effect on me, this one, this next scene.

And I saw it probably way too young. And now I'm like this because Michael Madsen has Mr. Blonde has this cop duct taped to a chair. When they leave the scene, when everyone else leaves, Michael Madsen is sat in the far corner of the room on top of of like a car that's covered in a tarp or some shit. And the shot of him watching them all leave, like relighting his cigarette and looking over at the cop and like hopping down and just immediately he takes his jacket off and goes, alone at last.

He has been waiting to do this. It's his time to fucking shine. This is a hint we get of how crazy he went inside of the heist. He goes, listen, I know that you'll tell me whatever. I am going to torture you. He opens this with, Look, kid, I'm not going to bullshit you, okay? While he is playing with a role of duct tape.

Mm-hmm. Yep. I mean, the things that Michael Mansa does in this movie with cigarette smoke and duct tape, I mean, I had to go back and re-watch a couple of these shots sometimes. It is unbelievable. Wow, you two are faster. I got nothing.

Nothing from this. That's so crazy. My needle didn't even fucking quote. I don't like men, sir. I'm prepared to lean into this. If Michael Madsen was a beautiful woman, you know, then great. Maybe I just need more imagination. Absolutely.

No, I mean, it's just, this kind of constructed some ideas of like, you know, the kind of masculinity that I might find attractive sometimes, which is to say, sadistic. Yeah, so, so, yeah, he tortures this cop for fun. this carp for fun by he does sort of the thing that we know about him is he's been referred to by a nice guy Eddie as toothpick so he's sort of he's an aging

tunnel snake essentially and he has a razor blade and he has the radio and he puts the radio on and gets to work with the razor blade really good it's just it's a fantastic fucking yeah it's so fucking good it's like teases the teases the cop

with it and then does in fact carve up his face and slices his ear off. And even like talks into the air, he holds it as like, hey, can you hear me? Hey, hey, testing, one, two, three. Yeah. I mean, the soundtrack is fantastic. I'll remember what the song is in a second.

He's stuck in the middle of you. Stalk in the middle of you, yeah. Course it is. And he says afterwards, just to make this very explicit that this is sexual for him, was that as good for you as it was for me? Because the thing is that Mr. Blonde is, rock hard throughout this whole scene and so I'm like, um,

so, and then he, and then after having cut the ear off, he goes, and the song hasn't even finished yet. He is in on, like he's fast with this type of shit. He goes,

oh, you know what, I've got an idea. And he leaves, and this is so good, we go with him the whole way to the car. He gets something out of his car. I don't see what it is yet, but we hear like the soundtrack,

the song completely leaves because he's outside of the warehouse now and you can hear like kids playing in the distance and like the birds and shit. And he goes back, in and you hit the song comes back in, he's got fucking gasoline, just starts chucking it on the guy. And he's dancing around the whole time as well. It's a very hip to be square type of very like, yeah. Yeah, it is very cool, very stylish. The cop begs him not to kill him.

Exceedingly. When the cops finish begging, he's just like, you done? You done? Cool. And he's about to, he's about to do it when he gets fucking blown away by Tim Roth, who sits up and just empties the clip in, to him, bam, blah, bang, I'm still in the movie motherfucker.

That's why you're hired Tim Roth. I'm going to be Abomination in the Marvel Cinematic Universe in about 30 years. And then he talks to the cop

he's like bleeding in it dying. He talks to the cop. The cop's name is Marvin. And he goes, Marvin, I'm a cop. And the cop goes,

yeah, I know. You're afraid of the cop. So good. Yeah. This is something I really like both in terms of

getting sure to establish it. We don't need anyone double checking it. We have someone that goes, yes, I know you are the cop, so we all know it completely.

But it also gives the cop a phenomenal amount of credit for not saying this earlier on. Yeah, yeah, yeah. Which is really kind to do to him. He goes, yeah, man, I know you. We met in a fucking briefing like five weeks ago. And Mr. Orange goes, shit, I don't remember that at all. I'm sorry, brother. Yeah, we learn a little bit about what kind of cop, you know, Mr. Orange is here.

You know, he has this kind of like anchor of a line where he's like, don't pussy out on me now, Marvin, right? Like, he's sort of like just hanging on here. And like, as he says, there's cops a block away. They're waiting. For Joe, for Joe Cabot to show up. And when they do, they're going to come in, everybody gets arrested, we get rescued.

So we're just going to lie here and bleed. And so because, like, Marvin finds out that the cops nearby and he goes, Why the fuck aren't they bursting in? You know, this guy, he slashed my face. He cut my fucking ear off. And Mr. Orange is like, fuck you, buddy. I'm dying.

I've been shot at the chest. I'm bleeding out and I'm dying. Fuck you. We are going to wait for Joe to get her. Yeah. And then we get our flashback to Mr. Orange getting involved in this. And his starts a little bit earlier on.

I love all of the Mr. Orange sequence. It's all amazing. Yeah. In the same diner we started in. at the start because then you don't have to get a second diner location. So not to just fucking talk about this shit every episode of every podcast I do. I did a lot a few weeks back and I did a character who was heavily inspired by Mr. Orange. There was a lot of Mr. Orange in that girl.

And I love watching Tim Roth play, you know, play him sort of calculating. By the way, Mr. Orange's real name is Freddie Newencamp, right? And we see that he goes in, he meets his handler in this diner, and he's like, I'm in with Joe Cabot, right? And you get this beautiful thing that establishes how the cops themselves view informants and undercovers, because he's like, you know, the connection that he has Long Beach Mike, who's the same guy, he set up a job for Mr. Blonde. It's like, yeah, he got me in.

He's a good guy. And his handle has to be like, no, no, no. Long Beach Mike is a fucking scumbag. He's not your friend. He's selling out his friends, right? Yeah. It's great. Don't trust him.

Yeah, that's what a nice guy he is. Yeah. It's so good. It's like, fucking forget this guy. We will take him in any minute. Just you get on with the thing. And he goes, did you use the caboose story? And we cut back even further.

The commode story. The Caboose story. The Caboose story. Come back even further. There's the back of a train. And they're like, they're doing a... All movies are fundamentally about making movies. And even movies about cops are about making movies, because being a cop is kind of like being an actor.

Especially if you're an undercover cop. Especially if you have lines to memorize, such as Tim Moore. They make this a lot more explicit than I think they really need to. Yeah, I think so do. The Ebert point from Heat about like, you know, cops are also people who like, model themselves off of cop movies and off of like tough guys, it was enough to get you there. But no, what he has is he has a prepared scene, right, that he's got to learn. Because they say very explicitly, like, looking directly into the lens, an undercover cop is about being one of those is about being a naturalistic actor, right?

Like Marlon Brando. And so in his handlers, he sort of teaches him. He does a bit of a workshop with me. He's like, the story, the story's about you and like how you perceive the details that went down. And to do that, you keep saying it and saying it and saying it. And we get this montage across three scenes of Mr. Orange working his way through this monologue at like different levels of convincing. It's so good. It's really, really fun.

It's really, really nice. It's Rashomon. There's also a bit recess. Hang on a minute. This is four pages. Am I supposed to memorize all of this? He's like, yeah, man. Also, they need it by Friday.

It's a self-tape. You've got to film it yourself on your phone. You can record the lines and play them back, but really you should have someone else reading for you, you know. It sucks if you've got child care to do, I guess. It's a monologue. And the monologue is about dealing some weed and, like, taking the hold of full of weed into a bathroom

where there are four sheriffs and a dog, and the dog smells the weed. And you just glide through it because you just maintain, you know, and it establishes your kind of credibility. as someone who knows how to keep cool under pressure, right? Back before COVID, you used to be able to be an undercover cop in person, and now you've got to do all your shit on your own. And all my undercover cop shit on Zoom.

You don't do that, yeah, it's fucking, yeah, I hate being an undercover cop on fucking Zoom. It sucks. You can't spy cops anyone on Zoom. Yeah. We see him first, you know, on this sort of like stage outdoors with his handler trying it. Then we see him in his own apartment, which is like...

What a location, by the way. How that fuck the... Oh my God. Yeah. Sorry. Then we see him in his nerd-ass apartment where he's got like comic book posters, something which he pays off later after he meets Joe Cabot, he tells us how he looks like the thing, which is funny, and then finally telling it to Harvey Keitel and Lawrence Tierney. And they buy it completely.

That's so good. By the way, the misogyny is a consistent undercurrent and all of this, because when he mentions the thing from the Fantastic Four, he says, did you ever like see the old Fantastic Four comments? And the handler says, oh, like with that woman, the invisible bitch. And it's like, okay. Yeah. Great. Women don't have any lines in this movie.

I don't think a single woman speaks at any point in this movie. Well, not until the old female remake. He gets the call in his apartment. I love this. I love this because he like has to check himself a couple of times before he goes out on stage. This is so good. Yeah.

He's about to leave through the door and he stops and pushes it close with like a finger gun and looks into the fucking mirror like taxi driver. Yeah. They don't fucking know. They don't know you're a cop. Because you're super cool. Yeah. Don't pussy out on me now, right?

It's his own kind of self-reassurance thing, right? They believe every word you say because you're super cool. Again, I just stole that like wholesale. It's good. He also has an ankle hoster with a woff of PPK in it, a gay gun for women. He does, yeah. It's not a PPK, but it's just like a little 32. It's cute, yeah.

So he goes out and he gets in the car with these guys. We see the cops. frailing them, and the two cops in the car are talking about how dumb you've got to be to be an undercover, right? Again, it's like, it's not heroic. It's kind of compelling in the way that being an actor is compelling, but in this case, it's like volunteering for something that is like really kind of stupid if you take these guys at their word. I don't know why the fuck you'd do any of that. Yeah.

Speaking of stupid guys, we get this conversation between them. This is so fucking good. This is perfect, perfect, perfect, because it's the same level of inane bullshit conversation from the start of the movie, but now it has so much tension in it because we know that this guy is essentially sitting there with 10 guns at his head trying to think of what the next funny thing

to say about Madonna is. It's like riffing on a challenge mode riffing, you know? It's like if I did a bad joke on here and you two shot me and killed me, which I am consistently worried will happen. worried will happen. In almost five years, you've never made a bad job. You've just been perfect all the time.

I've been trying to. It's been goaded. It's been locked in. Neither of us know that you're an undercover cop, Devon, because you're super cool. But they're driving to the diner from the opening, and they're having this extremely racist conversation. The details of which I suppose aren't desperately important. Just talking about black exploitation actors and arguing about who's in what movie. And also, like, flurring Mexican people. Guess what?

another genre that Tarantino likes. Which I'll make us watch because unfortunately Jackie Brown is a great movie. And it's a hype. But then all the time Tim Roth is just sitting there like, hi. We still remember that these guys are kind of dumb,

right? Like they're talking about it. They have this sort of very common experience of like trying to remember what actress was in, what show and like they keep getting the wrong name and like Mr. Orange says Anne Francis and then fucking Mr. Pink says, no, Anne Francis was white,

and it just spirals like this. It's like listening to, like, a bad podcast, like, worse than this. It's bad. It's like great. It's so bad. No transsexuals at all. We see the pre-heist briefing as well, where they're all arguing about, like, who's going to be what codename.

Clint Tijuana doesn't want to be Mr. Brown. Steve Fischemi doesn't want to be Mr. Pink. And Joe's like, you have to be Mr. Pink because you're a faggot. Like, no riffs, right? Because you will go to fucking. And I love that these guys are, they are just kind of juvenile with it, you know? It suggests a sort of whole world of crime that isn't like this, but these are the fucking dumb guys, you know? And I love, I love that one of his objections to, like, one of Joe's objections to letting them choose their names is clearly having done this before.

I love this is so funny. Even says I've done it before. Try it once didn't work. You get five guys all want to be Mr. Black. It's like. It's so funny. He is like, no, I pick the names because I have been in a room with four grown adults arguing over who gets to be Mr. Black, and I'm not doing it again.

It's all up, brackets, derogatory, yeah, no, absolutely. And I love that these guys, right, think about coolness. And it's a real, like, kind of motive force to them to think, well, how cool am I going to look or sound doing this, you know? I don't want to be Mr. Pink. Because Mr. Pink sounds gay. I think Mr. Pink is the coolest name you can have. So we smashed.

He goes, what about Mr. Pubble? I agree with Mr. Pupple. Yeah, we smash Focus to the Boys re-arive. We get a nice setup and then defiance of our expectations because we see Tim Roth and Harvey Kirtel sitting outside the diamond store, going over the details of the heist, casual misogyny against passerby women. And we see that Harvey Kytel is a professional

and he understands how to do this job with the minimum of violence. He's telling Tim Roth like, yeah, You get in there. He's like coaching him, like your dad. He's like, you know, if you, if you, somebody gives you some attitude, you can smash them in the face with the butt of your gun. Don't kill them. But like that'll get you to do what they want.

And those people, they'll drop to the ground. A shitload of blood is going to come out. And everyone will know that you're serious. But it's not like a life threatening injury. You're okay. Yeah. Yeah. Yeah.

They're doing something that is really great practice before any kind of, um, direct action, which is just going through the what ifs. You know, you're going to do this. Yeah. What if a manager starts. out into a microphone. Say out loud what you're planning to do. They're also one of the most heistible fucking locations I've ever seen in my entire life

is called Carina's wholesale diamonds and it's just this brick, like fucking, fucking, just danced fucking building. It's like a Romanian parliament has planted as fuck. It's like tiny little windows. Let me just Google Romanian Parliament building here. It doesn't. The Romanian parliament building just looks very planted. I think it's the heaviest.

building ever or some shit like that. Oh yeah, we did this on W2. Okay, yeah, yeah, I got you, I got you. Yeah, something like that. No, I got you. The one that Chalcchi built. Yeah, so. Exactly.

Yeah, also a crucial aspect. Yeah, right. A regressibly, a regressible but mandatory aspect of direct action in the United Kingdom, of course, which is to go through the what ifs with an undercover cop. Yeah. Yeah. It's not. It's not.

It's not. It's not. It's not. It's not. It's not. It's not. He is. Hey, no, this guy's cool.

He has a driver's license, unlike all of us. Oh, savage. He's never late. He, like, volunteers for, like, everything. And he's got a lot of ideas about how we can get a bit more, like, energy, a bit more impact, you know? It's always the one in the room being like, what, let's go a little harder than that. Let's push it a little bit forwards. Owns a van, maybe, because he's, like, working class in a way that we're kind of scared of.

Yeah, you know, that's cool. So. Then we cut forward. We get that set up that Harvey Kattel likes a minimum of violence. Then we cut forward to just after the heist. Mr. Brown's been shot in the head and he's dying. Yeah. Yeah.

The cops catch up to Harvey Kytel and Tim Roth. And Harvey Kitell subverts their expectations by pulling two guns and just blowing these fucking cops away. Bang, blah, blah, blah, bah, bah, bah. Yeah. And we see this register on Tim Roth's face like, oh. Oh, okay, this man will fucking... Oh, shit.

We'll let it back. He's ready to rock and roll. Yeah, he doesn't want to kill people for no reason, but when he's in a corner, he will absolutely kill. Yeah, exactly. Yeah, that is the one main point that has come back. Unfortunately, to an undercover cop, cops are real people. They actually really think that they're like human beings and deserve to live and everything.

So they'll get really mad if you shoot cops in front of them. They know them from work, right? This is why, you know, because to them, right, those are their cop. because they work at the same place, which is the police. Oh, you'd hate... Oh, your work wife. Oh, no. My fucking undercover cop, like, kind of father figure criminal guy

who just killed my work wife at the force. God damn it. They're on some severance shit. It's like, I know you at work, but my Audi doesn't know you. Anyway, and they walk away and they jack a car and woman does something in the movie because this woman perceives that she's a Quinn

and Tarantino movie without saying anything because they try to jack her car and she immediately just pulls a fucking gun and shoots Tim Roth in the gut and it's like, yay, that's the one thing a woman does

and then Tim Roth habitually, reflexively. In sort of panic and self-defense. Yeah. Just blows her away, kills her. And we see this restaurant and this face like,

oh, I'm a police officer who just killed her an innocent civilian. Oh, I'm going to get so much paid leave. Oh, no. gonna be suspended with pain. He's also like sold his cover perfectly to Mr. White, right? Like he's like, if you wanted to do one thing that you would think disqualifies you from being an undercover cop, you know?

It's like shoot a civilian. Yeah, he tries to win the Cronstein rosette by attacking the driver of a vehicle that he's getting into, which I suppose it's like a really technical Cronstein Rosette, it's by jacking the vehicle. Yeah, yeah, yeah, yeah. He's like, no, no. And she's like, no, good night, cross for me. Bang, bang, bang, bang.

Yes. Yeah, absolutely. Give her the good night. Yeah, yeah. Yeah, sorry, Tim Roth. That's the most technical of Cronsteins is by committing a carjacking. It's technically not a Cronstein because you weren't in the car enough. Yeah, yeah, yeah.

Just like looking at the fucking like VAR replayed like, mm-mm. No, sorry. Should have been in the car, pal. He's done. You got to get in the back first and then jack the car from behind. Exactly. You got a jacket from behind. Yeah.

But so now, now we cut back forward again. And because Mr. Blonde is lying there dead, Mr. Orange is in a pickle. However, I will say with regards, Tim Roth, we know that he does immediately after shooting that woman get Mr. White's name out of him. So he's still on at that point. He's still on. He's scheming.

You, like, this is the, yeah, you make the moves you can. make, right? Like, it's, yeah. And it's really good. And we know that at some point, he, like, Mr. White had mentioned being a fan of the Milwaukee fucking whatever's, God knows. Yeah. So they're like, okay, he's from the war.

It's all intelligence received, you know, it's all useful. If you say it, they'll remember it. But they all get back and Orange has a story to explain why the cop is still alive. Yeah, you got to come up with something in a hurry, right? And that's again this kind of disparity of knowledge. Yeah, it is disparity of knowledge. Absolutely. He lies about something that someone else can know is wrong.

Yeah, but he has to, right? And so he's making a move with the kind of knowledge that he has, which is that Mr. Blonde is crazy, right? And is prepared to sort of flip out and kill people at the drop of a hat. And so when Eddie and the others come in... He says, Mr. Blonde was going to kill me and the cop and you and take the diamonds for himself. And Eddie goes, oh, really, this cop? Bang, bang, bang, bang, kills the cop, blows him away.

And he's like, here's what's interesting about that. I actually know Mr. Blonde. I know Vic from outside of work. He's my outside of work wife. He did time for Joe. There is no way that he would ever fucking betray us because, like, I put this fucking job together and he's a good friend of mine. I don't believe that he's the rat. So fuck you. Yeah, this is why it's good upset.

The names thing, you know? It's good for exactly this reason. And of course, Mr. White is like, no, this is my son and also me and also my boyfriend. He can't be a cop. Joe is here, by the way. There's no way. Joe comes in, which means the cops are on their way. The cops, yeah.

Yeah, yeah. Also, Joe correctly says, this motherfucker Tim Roth is with the LAPD. First thing he does, he walks right in and goes, whatever he tells you's going to be bullshit, this guy's the cop. he's the only one I wasn't 100% on. Yeah. And he went along with it because he wanted his son to feel good about the diamond hoist that his son put together.

It's like, ah, fuck. You try to give your kid like a kind of something to do, you know? They end up in a standoff that probably has a kind of racist name that you'll have to look up. It's between Harvey Kitell, Joe, Tim Roth, and Eddie all pointed guns at each other, all yelling at each other. And the way that it kicks off is that Joe shoots Tim Roth, then Harvey Cartel shoots Joe and Eddie,

and Eddie shoots Harvey Cartel all in the same shot. They all fall down down, right? That's great. Everybody falls down. Joe Eddie dead, right? Yeah. Harvey Keitel wounded, like, you know, gut shot in the same way as, as, you know, Tim Roth is and sort of like crawling.

And we see Mr. Pink emerges. from his Heidi hole. Mr. Pink, Mr. Pink, the smartest one here. And we see him, just leaves, just books it. Can I? Please take your button and I'll expand on my head cannon. No, no, no, it's fine. You go ahead.

I have a head cannon here. I don't understand how nice guy Eddie could have died if it wasn't Pink shooting him. I had to watch it back so many times and replay it in slow-mo to realize that Harvey Kattel does in fact shoot Booth Joe and Eddie. Does he manage to get him both? He's just, he's quickest on the draw. He goes, bang, bang. Okay, okay, okay.

But I also had to really be like, hang on a minute, because there's four gunshots. I was like, how did you fucking do that? But he is just that fast. Okay. You can see how big goes half the house hand moves. Beautiful. Okay, then pink does not kill anyone and just gets out of there with the diamonds.

Hiss the bricks. Yeah, he's, and like, when White's doing this, he's like begging Joe to change his mind, you know? He's like, you're making a mistake, right? It's not, he's never, like, disrespect, to them. Again, this is like samurai movie shit, right? Very consciously. Yeah. But so, yeah, pink escapes. We know he has the diamonds stashed somewhere, right? So he's presumably he's going to get away clean, we think. Well, we don't see what happened because we hear

some like sirens and gunshots. Yes. Yeah. Presumably for him. It could. Yeah, it's so, I love that. I've such a good fucking choice. I don't, don't tell me what happens to him. Just imply some shit and let me like come to my conclusion. Perfect. You can believe he gets out if he wants to, but I feel like it would suggest that he doesn't. Yeah. And so this is a thing, right? If you take Tim Roth, Mr. Orange is the kind of protagonist here. It's like you're almost there, right?

It's in touching distance. All you have to do at this point is to not pussy out, right? All you have to do is not fall victim to the same thing that, you know, Mr. White has of going, Don't care. Oh, because this guy's suffering, because I, like, I'm feeling real emotions because I love this man, right? Like, that's what it is. You know, whatever kind of particular gloss you want to put on that, I can't betray him this way, right? And so he, you know, just chokes out in the last possible moment, I'm a cop.

And I love that he does this. He doesn't do it like, Mr. White isn't a cross-dust. the room, he's not even nearby. Mr. White has assumed cradling posture. He's crawled over to him and has him like in his lap when he goes, I'm a cop. I'm sorry, man. I'm sorry, I'm a cop.

Such an elaborate ritual to touch other men. Through like gritted teeth. It's so difficult. Yeah, yeah. And this kind of like animal noise of betrayal from Harvey Kaisalzai's who realizes he has betrayed everything and doomed himself, you know, for the sake of, you know, did love him.

for a goddamn cop. This kid who has been a cop the whole time. Something that he's not even human, you know? He's shopped you out already. You've seen that we've seen in a previous scene, Mr. Orange, tell his handler everything he knows about Mr. White. Yeah. He's identified you already.

He doesn't want, now that he's sort of like gotten shot for him, he doesn't want him to get caught or get killed. And it's, you know, he feels like he owes him the truth. and you just see the gun come into frame just as the cops burst in. Yeah, yeah, yeah. It's great. We just put in, we haven't had a cold.

We hear gunshots and we don't know what happened. Everyone's dead. Well, everyone dies. Everyone fucking dies. Nihilism, it turns out. We learned, yeah, I mean, the burn after reading pool is a great one, actually, because, yeah, it's a similar sort of chaos, right? And it's a similar sort of chaos born of like ego and jealousy and resentments and love.

And it is a love story between these two guys as far as I'm concerned. Yes. It's just fantastic. And I mean, what does that have to say about masculinity? A ton, right? Like this is the kind of masculinity. Yeah, no one gets out alive. Yeah.

These are stories men are telling each other. The dance between wanting to be intimate with people and then like also wanting to be cool as well. It really says like coolness gets in the way of the of the humanity, I think is what it's saying. Yeah. Yeah, yeah. But it also like, you know, you have these kind of things where it's like sometimes it facilitates those things, right? And it's like, yeah, elaborate rituals is the right. Being a cool guy will fucking kill you.

Yes. Yeah. And it has this simultaneous kind of like admiration and repulatory. going on. It's like, again, it's very, very much like, um, like the film Breathless here, where it's like really interested in a bad man, right, in a thug. And that kind of self-destructive tell me a story about a complicated man. Yeah, or even, even like, there's a lot of Bob Le Flombert in Harvey Keitel here of the kind of like older sort of protective feeling, you know, um, yeah. Saying to Tim Roth, hey, do you want to come on like,

fucking alarmingly younger woman in my apartment? Do you want to do that? Tim Roth covered in blood in this is also quite compelling to me. No, I agree. I have some strong feelings about the reservoir dog suit in both directions, really. My only issue with Tim Roth in this is that when he's getting cool, he's talking in the way that Quentin Tarantino thinks a cool guy talks, which is like Quentin Tarantino.

Yeah, it is a limitation. But when he's covered in blood and writhing on the ground, that's good shit. That's good shit. It's doing a lot of time. Yeah. I mean, functionally, this is all about, you are telling each other stories about your own masculinity to big yourself up in the eyes of other men. And you will, if you let that touch reality, you can get yourself in a situation where that lens gives you nothing to help you get out of the situation. You will put yourself somewhere where you cannot even see the way out because of the lens you're using.

It's over for you. Everyone gets shot. Yeah. Everyone gets shot. Well. Well. I mean, good. But God, what a good fucking.

movie. It's really good. It's just straightforwardly really good. Quentin Tarantino. Yeah, you bastard. And the thing is, right, there's two parts of this movie, right, that work together in a really sort of cohesive whole, right? One is the kind of horrible, violent, blood-covered sincerity, and the other is guys doing

Comtown bits together, right? And the one informs the other. And it would be a real shame if our boy Quentin decided he was having too much fun doing one of those to remember to do the... do the other one, maybe. Yeah. That was suck. Does he understand why this movie is good?

I think he did at the time, but I just don't think he'd be able to answer that question now. Yeah, yeah. I mean, to an extent, I guess this is an answer to the question of how far can you get by just sort of like copying other stuff. So, yeah, I don't say that necessarily in a bad way. But anyway, we don't have to judge this subjectively because. We don't have a scientific system here. We have a science-based system. It's called the scum system.

It stands for smarm, cultural insensitivity, unnecessary violence, and misogyny. And that's the moment where it clicks and I stopped pausing before unnecessary. Very nice. So I'm feeling good. Feeling good about this. On a scale of zero to seven, how smami is reservoir tops? All right, well, let's start the bidding at seven. Yeah, I think it's seven. It's seven.

Yeah. But it's like, but it's, it's, It's purposeful, though, right? Because it's about how these people see themselves, and it's about how stupid they are. So it's purposeful to put it in the movie. It's not like an indulgence. I think it rests exactly on a seven

because I don't think it's in the punitive zone. I think it's there for a good reason. No, it's certainly not punitive. Yeah. But so, yeah, it has to be a seven exactly. We take points off for sincerity, though. So there is. There is sure.

It's very sincere as well. Which is difficult to answer. Yeah. Yeah. I mean, I think profoundly, but at the same time, I don't know. Do we want to take it down to like a six then or a five? Because I feel like just exactly splitting the difference.

I could see taking down to a five. Okay, okay. Yeah, because I also casting yourself as the guy who gets to do the Madonna likes Big Dix Monologue. I'm like, all right, you jacked. I think on the jacking yourself off to sincere thing, I think we're leaning more on the jacking yourself off. I think I'd say, I'd say, I'd say, I'd say, I'll say it.

Yeah. It's a baseline of five. He does an incredible job acting the very specific niche. Guy who's been shot in the head confused about why his car is crashed. Like he does a brain damaged guy being like, I don't know what the fuck's going on here. Yeah, yeah, yeah. How culturally insensitive is reservoir dogs? Hmm.

Well, again, we run into... This is a big question I have is that we've depicted a lot of racism and I think we need to try and tackle the question we, three white people will now have to tackle the question. Why is the racism depicted in the movie? To an extent you can say that these people would be racist. Yeah, because it's one of these things that binds these guys together. Yes. I think it's interested in it for the same reason as it's interested in the misogyny,

and it is using it for shock value, right? I think it's trying to deliberately emphasize that in order to make a point about these guys, which is cynical, sure, and the way that anything in a movie is cynical, but... Completely agree because they get the inanity

of the racism, right? They're not like, there's no purpose towards what they're saying. They're just saying rude words to make each other feel good.

Like, there's no, like, reason for them to be saying it even, which perversely enough makes me more accepting of it because it's like, these are the kind of guys that would be doing that. Yeah.

Yeah, it does feel like it is trying to make a comment on it rather than just repeating it just because it's, entertaining when I feel like there's a little bit of that in there as well. Oh, hugely, yeah. He certainly crosses that line later.

I feel like whatever rating we give to this on cultural and sensitivity is going to be quite controversial. Yeah, let's give it a really low. It's just clearly enjoying depicting this stuff. I think Terrancyon at this point has it in mind to do that because he enjoys shocking white liberals. Is that a good enough reason? I kind of don't think so. So, you know, on that basis, I want to go kind of high. I would say a minimum, absolute minimum of four, but I could easily go higher than that. I think I agree. I was going to, I was going to say four, because I

think it is smarter. I don't think it's doing it for like hateful reasons or just for entertainment. I don't want to give it a complete pass on that either. Are we happy with four? Okay. Yeah, okay, sure. Unnecessary violence. All of this violence is necessary. The violence is essential to my mind. Yeah, it doesn't seem to revel in it. Well, I mean, it depicts a guy who revels in it, and it shows us, hey, that's terrifying, right?

Like, that's one of the most memorable bits of the movie. Yeah, I think it, to an extent... We're in a tough spot here because there are people who are, like, watch this and not understand what it is trying to say. They're like, oh, this is cool, actually. I want to be like Mr. Blond and do his monologues in my drama school auditions. And it's like, you know, but can we fault the movie if the audience didn't get it. Yeah.

Yeah, I think it knows the movies do that. It knows that, you know, Lee Marvin movies do that. So. Yeah, he's just not that cool. Like, he thinks he's cool. He's, but he's, like, listening to old music and he's using a fucking razor blade. And he's like, like, an aging, fucking, like, he is uncool. cool but believes himself to be very cool.

Yeah, which it perversely kind of makes him a bit cool again. But yeah, I think that's all very knowing, right? And so I kind of, yeah. Yeah, that comment about Lee Marvin, I think, is probably the film putting its fingers on the scale and be like, I bet you are copying what you see in movies like an idiot. I guess I guess the best you can say maybe is that when Mr. White has his thing about like, you know, you know, breaking somebody's nose, the movie is kind of like, wants you to be a little bit enthused with that in the way that Mr. Orange is too.

You know, it wants you to believe that. But I think that's also kind of talking about how compelling the sort of Lee Marvin idea is. So, yeah, I don't think that any of this violence is unnecessary. I think it's a necessary movie about violence. So I think it's got to be like a zero or a one. Yeah, do it. Do it. Okay.

I'm convinced. I'm not voted. Okay. No, I'm convinced. Put it down as a one. One, one it is. Okay. Finally, misogyny.

Well, I think we're at least two because omission. Well, I know women in the movie, you know, at least, at least two. Again, we are depicting a lot of misogyny and a lot of, like, misogynoir as well. Mm-hmm. Yeah. Which goes hand in hand with the racism, but I, what's the movie's attitude to do with it? It's a kind of, like, I understand keeping it tight on this group of guys, right, and making you feel that kind of inclusion and that kind of affinity.

But on the other hand, I think that it's kind of squeamish about sort of telling rather than showing, you know, the misogyny. If you compare this to something like Heat, right, which is my kind of next best pull for this, right? If you think about how Val Kilmer's character in Heat and his relationship with his wife is depicted, right? She is a character. She gets lines.

You get to see her and you get to see their interactions, right? I don't think that that weakens Keat as a movie about male violence or about masculinity to do that. So I think you can do this stuff in a way that shows that even though these guys don't think so, women are people. So I think it is misogynist in that sense. Yes, no, I agree. I wonder what would have been like if Tim Roth's handler was a woman. Yeah, it would have been very simple to do that. very interesting.

I also think that if you are making a movie that is critiquing masculinity, which this movie is, it's very interesting to do that, but not reference any of the critiques that we make it to be like, well, we're criticizing masculinity, but like,

we're criticizing it in the way that's, like, cool and good to do and not in the way that, like, women have done for thousands of years whose perspectives on masculinity, we don't particularly fucking value, actually. It's like, yes, that's very true.

I'm glad that you're critiquing the masculinity, Have you considered that maybe we might also have beaten you to the punch on this? Yeah, absolutely, absolutely. And it's, I mean, this is one of the other things of like, you know, for a dollar name a film directed by a woman, right? Of the, like, a ton of sinophilia, right? Particularly of sort of Tarantino's direction is like, good point.

You're aware that women make films, you know, it's been, it's been known to occur. And, yeah, not very interested. So, you know, this is absolutely, it's, it's, It's a male lens on an entirely sort of homo-social world. I don't begrudge at that in some ways, but I think you're entirely right. Yeah, so I want to give it a couple, right? And that's not to be like... Minimum.

We're giving it points for misogyny because all of these guys say bitch all the time, or they talk about Madonna getting fucked, right? Because that's kind of the point, right? It's not about that. It's a structural critique. Yeah, like there is definitely a way to make a movie. Yeah. Absolutely.

Yeah, so... You can do the GTA thing of like telling a story about men. That is fine to do. But I'm like, if you are trying to make a critique of masculinity, and you are not including the perspectives of women in that, I'm like, why would you do that? Why would you do that, man? Absolutely.

Why would you... We're the all-time critiquers of masculinity here. I think it's also interesting if you compare this to true romance, which has a kind of very self-destructive femininity involved, you know? Like, you did Taranty? I think a guy very capable of writing a woman who is kind of juvenile and self-sabotaging and inappropriate and enthused with this kind of crime archetype, right?

And it's just like, no, not going to do that this time. So on that basis, I'll say like a two or a three, maybe. I want to go three. Yeah. Do you want to go higher? Do you want to go higher? I want to go four. I'm like, if you're doing the critique in masculinity and you're not even like interested

that women might have done that, the people who are mainly hurt by it? I'm like, oh, the masculinity, it's really bad for men. I'm sure it is, but I don't particularly care. Fire at well. Four. Yeah, four. All right. That gives it a total score of 14, which I think is somewhat generous, but it is a science-based system.

That means it's worse than the Blues Brothers, which I had much more fun watching this. It's not as bad as Hobbs and Shore. We don't mention a Blues Brothers incident. I did not read the comments on the Patreon and will not be reading them a sort of huge experiment leading us to the conclusion that's never been drawn before that Reservoir Dogs is a little bit better than Hobbs and Shore empirically Yep Yep

Now that's science motherfucker, you cannot deny it, baby We're all wearing lab coats to record this It's worse than the first Fast and Furious movie. Yeah, it's better than most of the Fast and Furious movies, actually. Yeah, we always are. Better than all the Fast and Furious movies except the first one. Yeah. Well, yeah, I believe it.

There you go. Okay. A very solid start from Quentin Taratino. Looking forward to seeing where his career goes in future. Better than any of his other movies apart from maybe Death Proof, which I think would score lower. We'll talk about a bunch of different Quentin Tarantino movies. I have an interesting sort of poll for this.

though. Because there's a movie that I've been wanted to watch for a hot minute for a heist season, which is the Lee Marvin film Point Blank. Ooh. Which is a 1967 noir heist that I think will contest. Yes, that I think will contextualize Harvey Keitel in this specifically. Very well for us. I had a great time watching it, and I hope that you'll, you know, enjoy hearing us talk about it.

That's my... Hell yeah. Let's do it. The next bonus episode... Fantastic. It's also your pick, and it's going to be motherfucking Fitzcaraldo. Fitzcaraldo.

Yes. Yes. Now that's a fucking movement. I'm excited to do that. So, thank you for listening. Well, we're going to leave the podcast now, and you're just going to hear sirens and gunshots and have to figure out what happened to us.

That's pretty good. I've got to move these diamonds, so bye-bye. I'm thinking I'm going to bleed out. So that's going to be. my, my activity, Dev. Great. It's unclear. I think I'm going to die off screen early on.

Okay. Cool. Cool. Fantastic. Well, thank you so much for joining us. We hope to see you on the Patreon, and we'll see you next time. Bye, everyone.

Bye. Thank you for listening to yet another episode of Kill James Bond. The next episode back here on the free feed in two weeks' time is going to be point blank, 1967. And if that is simply too long for you to wait, then you can head on over to our Patreon.

Patreon.com slash kill James Bond, all one word, and sign a safe for as little as five pounds a month, where you can find next week's bonus episode, as well as every bonus episode we've ever recorded. Nearly five years worth, pretty good for a biver. Which is, of course, going to be Fitzcaraldo, which I'm very, very excited about. And special thanks, as always, to our Patreon supporters,

and special special thanks, as always, always, to our 15 pounds and above Patreon supporters. and those are Oh, Beorn's daughter Fenris May Day, Candy Fox, no name, Elspeth Hunt, Jordan Gammie, Nick Boris, Frankenstein, Hannah Oberhard,

Barry Jack Bond Middlelights, George Roak, the Canadian Socialist Rival Association, drone lover, Yarrick Livrerearry or Cry, Labour to Lenderhurst, and your top mistress of the truck, Strong Goose,

Ian is on a mission from Pod, Olivia Alexander, Merz Lick Ear, Max Germanhart, Jack Drummond, Harrison Fuller, 623, banana log, Carl S, Willie Shinmeyer, Saiga, Vindication, Library, Hitman, Endar, therapist on vacation, smiley face. When my therapist is on vacation, I get worse.

Kill James Bond highlights, the Project, Project, Tripped, Joseph Soschay, Panoptogoth, Lydia, politely requesting the motorcycle, April, Toolbrun. Stop selling yourself on the goddamn Patreon, April. Paul Brunette, professional knife girl. Meat Popsicle, the podcast kept me sane this week, brackets, American. Evergreen. Evergreen. Good luck with all of that shit.

Reese, without an e, is making the host say puppy toys. I'm saying puppy toys. Cyan Belladonna, Defiant Jenna Disaster. Gwynnevere, taken off my t-shirt, windmilling it above my head while pointing at the movie. I think that was about the last movie, but this... Hey, I'm doing it about this one too. Must be zip-tied. Claire Hansa, Char Asgill's, Twink Death, Crash Out,

Asher Rin, dot beep, Rhododendron, K may be okay, Danielle Williams, Chris Roth, Molly Power Slider, silly Canadian creature, science daddy, Arizona frog strangler, stas, Ashley, the People's Pillow Princess, unbothered, moisturized, happy in my lane, focused. May Victoria Roth turned in her badge and laptop, non-actionable support, Saturday's Claire, Vita Braver, Annie, honk, honk, Ruby, Friend of the Pod, Parasocial Butterfly, Dr. Mrs. The Gay Rat, Gender swap, Liz, Liz, Rossi, Ray, Athena V for Vendetta. Oh shit, this isn't Japanese, I'm... I'm not looking out, I forgot.

I'm in a brush. Anhedonia, Joyce, Oulu, Vin Ross, chimp with a sword, chrystal swisher, Daniel, penile preserving vaginoplasty. Britain, Commander Freddy, Anya Thade, Adigood. Stropi, Claire Boyntz, Obsidian Polymer, No Bless Oberhae, Conner's Cool Big Sister, Lady Ariane, Liss and Ash. Liz and Ash at the University of Florida. Walscott. Sing Shen.

Isopod Gal, Delta, Loz Picock, Zoe Shepherd, Mixed blue pink, white pink blue. That's right. 12th European tram driver championship this weekend? Fuck yes. Harriet McAvoy never changed the name. Carriad. The trans head canons go boom, boom, boom, boom. I think that's the building site. Robert Greensmith. The Duck Whisp.

Robert Greensmith, the Duck Whisperer, Mistress Angela Ailist, Lauren Bastage. Cassandra. Philippa is still catching up with KJB. Torpative Tiger. Al Irwig Josh Simmons, Mega B, Emily Queen of Sloss, Elite Errant is Cool,

Sonio with a Y, Charlotte with a D, armored contempt, the Lyria of an official, rewilded, lesbian, Marsh Witch, and Emmy Ford.

Thank you all so much for your support. Kiljane's Bond is November, Abigail, Dermyn. I produce and wonderful Miss Naipa,

Thay, our podcast by John DeLuca. We are edited by the wonderful San Marterosian. And I'm pretty sure our website's by Tom Allen. And I'll see you

next time.