The Super 70 Podcast

Dave A and I have not zoomed in a while. I reminisce about watching Turner Classic movies during a hospital visit. We ramble on about Badlands, Dogma, and One Battle After Another. After we’ve had our coffee, we take on Netflix and Reifenstahl’s Berg films. If it seems all over the place, that’s because it is. Also, we discuss my new 4K laser projector for my Kino Room. There was a lot of editing done on this, so I urge the listener to up that play speed to point five. Thanks for staying while Dave and I discussed everything under the sun. You can find the Super 70 Podcast wherever you find podcasts. You can find me, my book, and my blog at www.thatdylandavis.com and @thatdylandavis on threads, Letterboxd, and blusky. You can find RozilandMacPhail on Soundcloud and Facebook.

Abel Ferrara shocked the exploitation world with his feminist statement Ms. .45 (1981). Starring the incomparable Zoe Lund as a mute, submissive fashion designer in New York City, Ms. .45 exposes the everyday experience of women as a slugfest of misogyny and non-stop harassment. Lund’s role as Thana is critical in understanding the female experience, and why when she’s had enough, she’s ready to give something back to the male world that dominated her. The Super 70 Podcast is available wherever you find podcasts. You can find me, my books, and my blog at www.thatdylandavis.com. I am @thatdylandavis on Threads, Letterbxed, and BluSky. All music on the Super 70 is written and performed by Rozalind MacPhail and you can find her on Soundcloud, iTunes, and YouTube. An early cut of Ms. .45 with bad sound is currently on YouTube here: https://www.youtube.com/watch?v=H1aSl8UhGTY&t=1177s The Arrow UK has a brilliant edition here that is worth it for us fans: https://www.arrowfilms.com/p/ms-45-limited-edition-4k-uhd/17194059/?variation=17194059

We try to keep the Tarantino and Scorsese mentions at a minimum in this episode. The Super 70 Podcast is wherever you find podcasts. You can find me, my books, and my blog at www.thatdylandavis.com. I am @thatdylandavis on Letterbxd, Threads, and Blusky. You can find Rozalind MacPhail’s music on Soundcloud and iTunes.

What else can you say but that the man was great. He was great with Jane Fonda. He was great with Faye Dunaway. He was great with Debra Winger and Demi Moore. He was even great with guys like Sidney Poitier and of course his long friendship with Paul Newman. Dave bowed out this time, but Luke showed up to do a back-to-back recordings and this is our tribute to a great actor whom we will miss on the silver screen. Thanks for hanging out with Luke and I while we yapped about Robert Redford. You can find the Super 70 Podcast wherever you find podcasts. You can find me, my book, and my blog at www.thatdylandavis.com and @thatdylandavis on threads, Letterboxd, and Blusky. You can find RozilandMacPhail on Soundcloud and Facebook.

Hey, folks, things got a bit serious in the States lately. We’ve had a spate of assassinations and assassination attempts the past few years. Trump’s been shot at twice. He's been hit once. Josh Shapiro’s governor’s mansion was burnt down. Melissa and Mark Hortman were murdered in their home. And of course Charlie Kirk was murdered just a few weeks ago. Political assassinations are not new in this country. Medgar Evers was killed in 1963, kicking off a spate of assassinations in the 1960’s that included among others: a President, a Senator, a governor, and two Civil Rights advocates. This violent atmosphere is trouble, absolute trouble for our country. But it sure does inspire outstanding art. Since the 60’s we’ve seen an astounding number of films addressing political murder in an effort to understand and convey the hopes and fears of our national polity. I asked Luke to come in the Hacienda and discuss assassination cinema and why we’re so fascinated by it. You can find the Super 70 Podcast wherever you find podcasts. You can find me, my book, and my blog at www.thatdylandavis.com and @thatdylandavis on threads, Letterboxd, and blusky. You can find RozilandMacPhail on Soundcloud and Facebook.

Luke fled, as Will Patton said in the Fishbourne movie. Wren stayed to list praises and grievances with the MCU, specifically the Guardians of the Galaxy trilogy. The conversation is a keen eye into the target demographic of the Disney / Marvel Studios franchise, as GenZ continues to dominate cinema pop culture as they age into maturity. Join Wren and I we sift through the Multiverse of TV Madness and Cinema Goodness. You can find the Super 70 Podcast wherever you find podcasts. You can find me, my book, and my blog at www.thatdylandavis.com and @thatdylandavis on threads, Letterboxd, and blusky. You can find RozilandMacPhail on Soundcloud and Facebook.

Well, we had to get to it sooner or later, and since the Fantastic Four: First Steps was released, I guess now was a good time as any. I asked my Gen Z kids Luke and Wren to come onto the pod to talk about what it was like to grow up with the MCU as the defining cultural shift from cinema in their lives. Their reactions are probably not that far off from what you expect only you’re not getting it from an app. You’re getting it from the horses’ mouth. Well, you kind of are getting it from an app, but you know what I mean. It’s not a social media app, right, like it’s kind of like, well it’s probably the Apple Podcasts player, or Pocket Casts or Spreaker or Himalaya or... Thanks for hanging out with Wren and Luke while we yapped about the MCU. You can find the Super 70 Podcast wherever you find podcasts. You can find me, my book, and my blog at www.thatdylandavis.com and @thatdylandavis on threads, Letterboxd, and blusky. You can find RozilandMacPhail on Soundcloud and Facebook.

Danny Gaylord from Film is Lit came on the pod a few weeks ago to talk about Mission Impossible: Final Reckoning. I had so much material on that I decided to cut some out and present it here. Literature and film go together, and Film is Lit is catered to that idea. Much like David Fincher’s perfect film Zodiac is factually based on Robert Greysmith’s exhaustively researched book on the infamous murderer. Film is Lit is the podcast that breaks down these narratives the best. Check them out wherever you find podcasts. You can find the Super 70 Podcast wherever you find podcasts. You can find me, my book, and my blog at www.thatdylandavis.com and @thatdylandavis on threads, Letterboxd, and blusky. You can find Roziland MacPhail on Soundcloud and Facebook.

What can we say that hasn’t already been said about the last Mission Impossible film? And why can’t we just go through it all again? Just because we love cinema, love Tom Cruise, and every tangent in between. Danny Gaylord joins us from the Film is Lit Podcast as we fawn over and shake our head at this very, very flawed film. You can find the Super 70 Podcast wherever you find podcasts. You can find me, my book, and my blog at www.thatdylandavis.com and @thatdylandavis on threads, Letterboxd, and Blusky. You can find Roziland MacPhail on Soundcloud and Facebook.

It started on our first Kino Day of 2025. I slipped in an 80’s movie while we camped out and did fuck all but watch films for as long as we could. That movie was Turk182!, and it led to us watching an 80’s movie every weekend. Luke sat down with me the weekend before he flew to Berlin to talk about the strange era that made cinema so good. You can find the Super 70 Podcast wherever you find podcasts. You can find me, my book, and my blog at www.thatdylandavis.com and @thatdylandavis on threads, Letterboxd, and blusky. You can find Roziland MacPhail on Soundcloud and Facebook. You can find Luke at Berlin Alexanderplatz on a Friday night.

I don’t know what you savages do in the rest of the world, but here in the fourth largest city in America, most theatres discount movie tickets on Tuesday night. The result, the Davis family has butts in seats, usually by five thirty, watching whatever it is we didn’t see the previous Friday. Tightwad Tuesday is a Davis family tradition to keep our cinemas alive. My son Luke and I made an astonishing amount of them since he got back from Deutschland, and we go over those 2024 releases here. You can find the Super 70 Podcast wherever you find podcasts. You can find me, my book, and my blog at www.thatdylandavis.com and @thatdylandavis on threads, Letterboxd, and blusky. You can find Roziland MacPhail on Soundcloud and Facebook. You can find Luke across the street from Tempelhof Airport, probably in a Canadian Bar.

My friend and frequent guest on the show, Dave Anderson, went to go see Sinners opening weekend. I saw it that following Tightwad Tuesday. Dave messaged me and it read ‘let’s try that zoom thing because Sinners is so good.’ And that’s what this is. On the backside we discuss the recent Academy rule change, A24 aesthetics, BBS, and the morality of playing podcasts back at faster speeds.

After recording the Adventures of Ford Fairlane Commentary, Paul Emig, Warren Hayes, and myself discussed misogyny, jingoism, comedy, cinema, and the comedian trends in Hollywood.

Mega-controversial comedian Andrew Clay Silverstein got his big break on Rodney Dangerfield’s 1988 HBO special and soon thereafter was playing arenas. His comedy album The Diceman Cometh went gold and following a live set on MTV, he was banned from that network. His next album, The Day the Laughter Died, went gold in seven weeks, and eventually went platinum. He then hosted the most controversial episode of SNL ever which led to cast boycotts and huge controversy. 1990 saw the release of this film, earning the infamous Golden Raspberry for the worst film of the year and Clay the worst actor of the year. Join Warren Hayes, Paul Emig and me for a scene by scene retching of what could possibly be the most misogynistic film Hollywood has ever made. All music is by Rozalind MacPhail. You can find her at www.rozilandmacphail.com. On Twitter @flutegirl Warren on Twitter @warren_hayes Find me at www.thatdylandavis.com On Threads & Letterbxd @thatdylandavis [email protected] You can find the Super 70 Podcast wherever you find podcasts, and most recently on YouTube! You can find me, my books, and my blog at www.thatdylandavis.com I’m @thatdylandavis on Threads, Letterbxd, and Blu Sky. You can find Rozalind MacPhail and her music on Soundcloud.

If any of you have been following along then you know that my son Luke spent his fall semester in Berlin. In between trips to European capitals, taste testing the continent’s best beer, and understanding the dangers of the AfD, he also took a German Film Class that spanned the 20th Century. He also saw a few flicks over there and we compared notes. This is our conversation. You can find the Super 70 Podcast wherever you find podcasts, and most recently on YouTube! You can find me, my books, and my blog at www.thatdylandavis.com I’m @thatdylandavis on Threads, Letterbxd, and Blu Sky. You can find Rozalind MacPhail and her music on Soundcloud. I’m Dylan Davis and we’ll meet next time probably in L.A. Find Rozalind www.rozalindmacphail.com On Twitter @flutegirl Find me at www.thatdylandavis.com On Threads & Letterbxd @thatdylandavis [email protected]

After Rear Window, Dave and I decided to find out how long into the night we could go drinking beer, talking about Hitchcock, and discussing his 2024 Letterbxd, David Lynch, Beavers, the nature of God, the duality of man. The meaning of life. Is wrestling fixed? What is Martinizing and why does it only take an hour? You can find the Super 70 Podcast wherever you find podcasts, and most recently on YouTube! You can find me, my books, and my blog at www.thatdylandavis.com I’m @thatdylandavis on Threads, Letterbxd, and Blu Sky. You can find Rozalind MacPhail and her music on Soundcloud. I’m Dylan Davis and we’ll meet next time probably in L.A. Find Rozalind www.rozalindmacphail.com On Twitter @flutegirl Find me at www.thatdylandavis.com On Threads & Letterbxd @thatdylandavis [email protected] https://youtu.be/POgWODZyUGQ?si=RIzigCeQhqCdokAR

In one of the most magnificent careers in cinema history, Alfred Hitchcock outdid himself with a run from 1951 to 1960 that encapsulated not only some of the best Hollywood films of the decade, but of all time. In the middle of this impressive flex is Hitch’s complex ode to gender roles, gender relationships, and expectations. Hitchcock, who already had gone everywhere and done everything for film, challenged himself by limiting everything except his imagination. Rear Window was shot on one set with minimal actors, and included his lead actor not just staying in one room, but staying in one chair for the entire film. Casting Jimmy Stewart, America’s all town boy, against type as a voyeur, Hitchcock uses a high form of the Kuleshov Effect to tell an insidious tale of murder in the big city. Join Dave Anderson and I as we muse scene by scene through the Master’s use of light, incredible technicolor camera panning, and do I need to mention Grace Kelly, to create a subtext describing the phases, levels, and intricacies of being in love and being human. Along the way we discuss Stewart’s role as the first Redditor, De Palma’s aping of the master, and how even Die Hard rips off Hitchcock. You can find the Super 70 Podcast wherever you find podcasts, and most recently on YouTube! You can find me, my books, and my blog at www.thatdylandavis.com I’m @thatdylandavis on Threads, Letterbxd, and Blu Sky. I’m Dylan Davis and we’ll meet next time probably in L.A. Works Cited Belton, John. Alfred Hitchcock’s Rear Window. Limelight. 2004 Fawell, John. Hitchcock's Rear Window: The Well-Made Film The Well-Made Film. Southern University Press. 2001. Sharff, Stefan. The Art of Looking in Hitchcock’s Rear Window. Cambridge University Press. 1999.

Luke and I start off by discussing Ali Abbassi’s controversial biopic “The Apprentice.” We try to talk about the President Elect’s record as a rapist, his friendship with Roy Cohn, and well... at least we tried. Meander we did through our cinema experiences while Luke is in Deutschland. We discuss what we’ve seen, what we haven’t, and then Luke takes plenty of time scrolling through my Letterbxd to roast my reviews. There must be better ways to spend time with your son than on Zoom talking horror, Steven Seagal, and Golan Globus Cinema, but I don’t know what they are. Thanks for hanging out with Luke and I while we talked about The Apprentice. Find Rozalind MacPhail’s music at www.rozalindmacphail.com . You can find the Super 70 Podcast wherever you find podcasts. You can find me, my books and my blog at www.thatdylandavis.com. You can email me at [email protected]. You’ll see us next time at the Cinelux. Get off at Alexanderplatz.

We’re running a few weeks late due to the release schedule in Deutchland, but here is Luke and I talking about experiencing Tim Burton’s latest big hit and how it played out down in the Potsdammer Platz. Find Rozalind MacPhail’s music at www.rozalindmacphail.com . You can find me, my books and my blog at www.thatdylandavis.com. You can email me at [email protected]. You can find the small, thermal exhaust port right below the main port.

Luke is going to school in Berlin this semester and there’s no good reason why he can’t keep up with the release schedule. In between Brewmaster classes, history classes, and yes, a true to form Deutch Kino Class, Luke has been streaming Prime and heading down to you guessed it, Berlin Alexanderplatz, or Zoo Station to see what it is the rest of the world says is great... or sucks. A little background if you hear us toss around a few terms. An OV in German cinemas is the Original Version. This screening will have no changes whatsoever. No dubbing, no subtitles (unless they’re part of the original film). OmU is Original Mit untertiteln, Meaning ‘original with subtitles’, OmU films have the original audio* along with subtitles. Unless otherwise specified, assume these subtitles are German. OmdU stands for Original mit deutschen Untertiteln. This is the film in OV with German subtitles. Then there is OmeU or Original mit englischen Untertiteln. Films with English subtitles since there are so many English speakers in Germany. Last is DF for Deutsche Fassung meaning German Version. This is the first one German audiences look for, meaning it has been dubbed into German. Most Hollywood film are dubbed into German, and most theatres in Germany carry both the DF and the Omdu. This episode we catch up and find out what the other is seeing. Find Rozalind MacPhail’s music at www.rozalindmacphail.com Find Warren Hayes on Twitter @Warren_Hayes. You can find me, my books and my blog at www.thatdylandavis.com. You can email me at [email protected]. You can find the small, thermal exhaust port right below the main port. Thanks for hanging out with Luke and I while we talked about the Joker. You can find the Super 70 Podcast wherever you find podcasts. You can find me, my books and my blog at www.thatdylandavis.com. You can email me at [email protected]. You’ll see us next time at the Delphi Lux. Get off at Zoo Station.

Once again we are faced with the fact that sometimes the best conversations are the meandering ones we have after the commentary is over. I asked Warren Hayes and Paul Emig to stay over a little loner, have a couple of beers, and talk about our favorite caped crusader, why comic book films are fading, and why they still enthrall us. But first, David Lynch. And later, the English Patient. Find Rozalind MacPhail’s music at www.rozalindmacphail.com Find Warren Hayes on Twitter @Warren_Hayes. You can find me, my books and my blog at www.thatdylandavis.com. You can email me at [email protected]. You can find the small, thermal exhaust port right below the main port.

In one of the bravest acts of Cinema History, Warner Brothers decided to give Tim Burton, a former Disney animator with a whopping two directing credits to his name, the keys to the Batcave. One of Burton’s most controversial decisions, casting comedic actor Michael Keaton as the brooding millionaire Bruce Wayne. The cinema event of the summer, Batman 1989 touched pop culture in a way that exceeded even Richard Donner’s Superman of the previous decade. Launching a franchise that lasted almost a decade, Batman 1989 also launched several other comic book properties hoping to grab hold of a new audience buying an increasing amount of comic books. Much loved by a generation, it is also much maligned by those like me who feel the World’s Greatest Detective needs to be more like Frank Miller and less like Batman ‘66.

After we recorded The Phantom Menace Commentary, Warren and Paul and I pontificated on the many reasons the film did not succeed even though it had tons of pluses to it. We discuss the action figure market, the genius of Carrie Fisher, and that thing we all hate with a passion: sand.

After sixteen years of a fanbase growing into adulthood, George Lucas dropped fifty millon dollars of Lucasfilm Limited’s money into the surest bet in Hollywood history: The first film in a new trilogy of Star Wars films. Though distributed by Fox and produced by Rick McCallum, Star Wars, Episode I: The Phantom Menace would be exactly like the first film from 1977. Lucas would have total control over screenplay, production, casting, editing, and marketing. What emerged was the most controversial franchise film in history, a movie that conflicted with Canon, had red herrings, left some audiences confused, some angry, and had the greatest lightsaber duel in history. Twenty-five years later, Warren Hayes, Paul Emig and myself go through The Phantom Menace scene by scene as we lament what could have been and appreciate what we do like. Join us as we watch the Phantom Menace and discuss all thing Lucas: including racism, bad acting, our total respect for Ahmed Best, and how much all of us miss Marcia Lucas.

As will be explained in the subsequent conversation, Luke and I came across two very different films called Hannibal and decided to do a double feature in a day. The result... was very dour.

We had a helluva weekend folks. Friday night, the boy and an caught The Phantom Menace for the 25th anniversary re-release. Saturday, we caught Jeanne du Barry with Johnny Depp. Starring Johnny Depp, I mean we didn’t go see the movie with him. And Sunday we woke up and caught the first screening of The Fall Guy. Join Luke and I as we try to navigate our feelings around such an emotionally complicated weekend.

Just after we finished the bracket for the best James Bond film, Luke and I kept on going, using the same bracket and the same faulty feeders to determine the best James Bond theme song. Just like the film bracket, the results here might surprise you. Jack White and Alicia Keyes made cinema history when they collaborated on what White called “the most divisive thing I’ve ever done,” the theme song to Quantum of Solace titled “Another Way to Die.” EON Productions originally tried to sign Amy Winehouse, but her death opened the door to White who saw a shrinking schedule as a way to capitalize on doing something completely original. Keeping to a musical style dating back to Tina Turner’s incredible title song to “Goldeneye,” White brought in Alicia Keyes to add an R and B flavor to his alternative bent. The result, “Another Way to Die” has become a James Bond Theme song you either love or hate. Like it or not, the song remains the only duet in the James Bond catalogue to describe what it must be like for a secret agent to deal with the immense pressures of life undercover. With White’s guitar and Keyes’ piano leading a cacophony of sound, Another Way to Die has become a powerhouse anthem of fear and anxiety – definitely an unusual way of thinking about cinema’s most famous spy.

A couple of months ago, Luke and I had a short discussion on March Madness. I showed him an NCAA bracket and he instantly said, ‘we should do one for James Bond.’ I duly put one together, grouping the bonds together and facing them off basically using Connery, Dalton, and Brosnan on one side and Moore and Craig on the other. Then we went to it, and the results may surprise you. www.thatdylandavis.com www.rozalindmacphail.com List of Bond Films: Dr. No From Russia With Love Goldfinger Thunderball You Only Live Twice On Her Majesty’s Secret Service Diamonda are Forever Live and Let Die The Man with The Golden Gun The Spy Who Loved Me Moonraker For Your Eyes Only Octopussy Never Say Never Again A View to a Kill The Living Daylights License to Kill Goldeneye Tomorrow Never Dies The World is not Enough Die Another Day Casino Royale Quantum of Solace Skyfall Spectre No Time to Die

My son took a course in Fascist Cinema in college. I was aware of his workload since that was an area of my study in grad school. Join us as we talked about the fucked-up values of National Socialist films and why their beauty makes them so dangerous. Be prepared for an opening statement with a lot of requests and qualifiers. Works Cited: Hoffman, Hilmar. The Triumph of Propaganda. Providence Press. Berghahn. 1996. Hull, David. Film in the Third Riech. University of California Press. Berkeley. 1969. Frieden Ed. Et al., Gender and German Cinema. Berg, 1993. Rentschler, Eric. The Ministry of Illusion: Nazi Cinema and Its Afterlife. 1996. Rentschler, Eric. German Film and Literature: Adaptation and Transformations. 1986. Chapoutot, Johann. The Law of Blood: Thinking and Acting as a Nazi. Belknap Press. 2018.

One year ago, I saw a trailer on YouTube, showed it to my son, and he said hell yes! Let’s see Pathaan! We were blown away by this action powerhouse with Hindustan’s most famous actor Shah Ruh Khan and Deepika Padukone. Since then we’ve seen a handful of Bollywood films, all from 2023, and we were greatly impressed with what we saw.

Dave and I go over the biggest releases in 2023 and hit our letterbxd to see what worked, what didn’t, and why we keep going back to the theatre. We also discuss the most important topics of the day, such as watching Fincher’s The Killer with no sound, the merits of Friedkin, and who’s Letterbxd is more impressive.

Takeshi Yamazaki shook the American movie market last month when Godzilla Minus One became the highest earning Japanese film in history. The lizard has always been popular but placed against the backdrop of the tragedy of the Second World War and entwined with the lives of survivors Noriko and Koichi, Godzilla Minus One captures the heart as well as the eyes. Luke and I sit down and discuss the edge of your seat drama, the eye-popping special effects, and the metaphor of it all.

My good friend Dave Anderson went to go see the Holdovers on my recommendation and he listened to my last podcast episode with great envy. Jealous that he could not participate, he texted me, begged me, pleaded with me, to come back into the Hacienda to discuss what must be the first Christmas Classic in 20 years, and what may be the last one in a very long time.

Alexander Payne had not made a single film that I like until I went to see The Holdovers for Tightwad Tuesday. Masked by the period piece setting, the story is more about how broken people find peace than it’s outward image as a Christmas film. Teaming up with Paul Giamatti and using David Hemingson’s first script for the big screen, Payne avoids the rom-com holiday fare by pitting the veteran Giamatti’s cantankerous private school professor against first time actor Dominc Sessa, an actor literally from the drama class at the school used as a set. Balancing the two is Da’Vine Joy Randolf, an inspired casting decision who turns in a revelatory performance. Join my son Luke and I as we discuss this surprising holiday hit that has a chance to become a drama to come back to every December.

My son Luke and I saw Napoleon the day after Thanksgiving and we came back immediately and turned the mikes on to talk about Ridley Scott’s latest epic. We run through the scenes, the history behind the great man (Napoleon, not Ridley) and we contrast this epic from the others it deserves to be ranked with. Join us as we talk about Scott’s unbelievable vision from the Golden Age of Hollywood, his previous historical epic, and why we’re still talking about Napoleon and Ridley today.

After wrapping up the Sorcerer commentary, Dave and I sat around, consumed mass quantities, and as much as we tried to focus on Hurricane Billy Friedkin and his work, we quickly descended into how we consume cinema, soundtracks, and Friedkin’s fellow auteurs. We go all over the place but you can follow along. You can find me on Threads, Letterbxd, and www.thatdylandavis.com.

Hot off the success of the ninth highest grossing movie of all time, William Friedkin abandoned a film about the Bermuda Triangle to focus on a re-interpretation of the George Arnaud novel “The Wages of Fear.” Every possible thing went wrong during every stage of production. Stars dropped out. The budget ballooned. Friedkin fired needed personnel. The shoot stretched past 90 days. Largely ignored in the wake of the release of Star Wars a month earlier, Sorcerer has in the decades since been re-appraised as one of Friedkin’s best films. Ostensibly about four criminals in hiding delivering unstable dynamite to an oil well on fire, Friedkin uses the parable to convey how the different nations of the world have to join together to get the job done... or die in the process. Join me and Dave Anderson as we break down the rhyme and reason of the film that derailed “Hurricane Billy’s” career. Works Cited Friedkin, WIlliam. The Freidkin Connection: A Memoir. Harper 2013 Segaloff, Nat Hurricane Billy. William Morrow 1990

I sent my friend Dave Kinnaman Hanna Arendt’s famous book Eichmann in Jerusalem: A Study in the Banality of Evil. Dave became so engrossed in Arendt’s history of the Holocaust and her philosophy of murder that I then sent him an Israeli documentary of the Eichmann’s trial called The Specialist by director Eyal Sivan. Using original footage of the trial, Sivan reconstructs Arendt’s arguments of why the trial was a failure though it still rendered justice, and through her work she constructed a theory of how the Shoah occurred. Join Dave and I as we sift through the darkest part of the 20th Century using Sivan’s sly masterpiece of truth and Arendt’s arresting idea that the worst mass murderers use droll paperwork instead of bullets. Works Cited Hanna Arendt Eichmann in Jerusalem: A Report on the Banality of Evil The Origins of Totalitarianism On Revolution The Human Condition On Violence Films The Specialist (1999) Eyal Sivan Eichmann (2009) Robert Young Operation Finale (2018) Christ Weitz The Eichmann Show (1961) Paul Andrew Williams Hanna Arendt (2012) Margarethe von Trotta The Man Who Captured Eichmann (1996) William A Graham The Trial of Adolf Eichmann (1997) Michael Prazan Operation Eichamann (1961) R. G. Springsteen The Devil Speaks (2022) Yariv Mozer Other Books The Desk Killers, by Dan Gretton On Killing, by Lt. Col. Dave Grossman The Good Old Days: The Holocaust as Seen by its Perpetrators and Bystanders, by Ernst Klee You can find me, my books, and my blog at www.thatdylandavis.com.

A few months ago I asked a friend of mine, Paul Emig to pick a movie, any movie, for the Super 70 Podcast. He chose Peter Jackson’s Braindead and needless to say this was not my cup of tea. But we don’t care about bad taste at the Super 70 Podcast. We don’t care if it has a budget of twenty thousand dollars or two hundred million, if it’s shot on Super 8, or 70 millimeter. All we care about, if I may be allowed to paraphrase Russel Crowe, is if you are entertained. Also for the previous year, Ben Waterhouse has been begging me to watch the same film. Now what are the chances that I would find two people on this planet that both love Braindead? While we dissect the work of Peter Jackson we digress through his work to the other towers of ANZAC cinema, reach around the edges of the Uruk-Hai and debate the merits of The Beatles, Greta Van Fleet, and Christine McVie.

Peter Jackson had already spent most of his own money developing his third film Braindead when his producer closed a deal to bring in a quarter million dollars to finish the project. Avalon Studios of Wellington, New Zealand had to spend thousands of dollars of unforeseen expenses to clean the floors of their office and lots when Jackson and his WETA crew blasted the sets with hundreds of gallons of fake blood. Seen as one film in a movement that included Sam Raimi and countless other copycats, Jackson deployed his technical skill as a cameraman, his eye for detail in production design, and a seeming ability to find humor in the things that make the rest of us vomit. The result, Braindead, a film that sent Jackson to Hollywood and on track to be one of the ten most successful directors in cinema history.

I keep in touch with my friend Dave Kinnaman over Zoom. We talk carpentry, history, and literature. Things got pretty wild when I dove in deep discussing two famous documentaries: Ken Burns’ Vietnam and The Last Days of Vietnam on PBS. Both of these documentaries were outstanding efforts to understand and convey the toxic American experience in Asia. Unfortunately, most of this conversation was lost which we recognize now days as a part of the Zoom experience. Also unfortunately, Dave and I digressed greatly in the making of this episode and our conversation we covered so many topics that were, well, off topic that I had to cut them out. In this episode we discuss the glory of HBOMax, Peter Jackson and how literature finds itself on film. Thanks for listening to the Super 70 Podcast. You can find me, my books, and my blog at www.thatdylandavis.com. You can email me at [email protected] I am also on Instagram. Appreciate Roz’s music at www.rozalindmacphail.com Discussed: The Vietnam War The Last Days of Vietnam F for Fake The Man Who Shot Liberty Valance Office Space The Rum Diary Fear and Loathing in Las Vegas

Shah Rukh Kahn was already one of the biggest stars in the world when he returned after a four-year hiatus to take the lead in Pathaan, the fourth film in Yash Raj Films’s Spy Universe. Ostensibly about a retired Indian Intelligence agent teaming up with a Pakistani spy to stop a rogue group from carrying out a mass casualty event, Pathaan quickly reveals itself to be a deeper discussion of subcontinent politics. Along the way are direct lifts from Captain America: Winter Soldier, three Mission Impossible movies, and includes elements from most James Bond films and the entire Fast and Furious franchise. The result is an action packed hundred-million-dollar blockbuster that transcends corn, camp, and pastiche to be quite possibly the greatest action film of all time. Join me and my son Luke as we try to contain our excitement scene by scene through “King” Kahn’s Bollywood action masterpiece which begs the question, is Tom Cruise the American Shah Rukh Kahn?

Dave Kinnaman and I used to teach across the hall from one another. He taught American History, which I thought was boring. I taught World History, which he really never gave a shit about. I was a conservative Republican. He was a liberal Democrat. We were fast friends. We believed in our Republic for which it stands, listened to American Hardcore Punk, and incessantly read history and literature. Dave and I reconnected recently, and I asked him a ton of questions about All Quiet on the Western Front by Erich Marie Remarque. The conversation digressed and drifted through the sands of time as we discussed the First World War, an unpublished documentary on Albert Speer, and why this German anti-war film from Netflix was a mixed message in today’s time. Check out Rozalind MacPhail at rozalindmachphail.com and me at www.thatdylandavis.com.

Michael Winterbottom might be the Rainer Werner Fassbinder of the UK with a shocking 48 directing credits, both in film and television, since 1988. Known for jumping from genre to genre, he landed in Science Fiction in 2003 when he directed Tim Robbins and Samantha Morton in Code 46. In a future in which the haves and the have-nots are starkly divided, Code 46 paints a world in which DNA is everything and the gene pool is smaller due to the enormous explosion of surrogate in-vitro technology. What happens when you share part of your DNA with someone you’re in love with? Let’s find out and go scene by scene as we explore themes on sexuality, morality, gender, and who is always left holding the bag. Find me at www.thatdylandavis.com or email me at [email protected]. Listen to Roz at www.rozilandmacphail.com Works Cited: Dix, Andrew. “Do You Want This World Left On?” : Global Imaginaries in the Films of Michael Winterbottom. Style, Vol. 43, No. 1, Film and Globalization (Spring 2009), pp3-25. Penn State University. Baker, Brian. “Here on the Outside” : Mobility and Bio-politics in Michael Winterobttom’s Code 46. Science Fiction Studies, Vol. 32 No. 1 (March 2015), pp115-131. SF-TH Inc. Porton, Richard. In Praise of Folly: An Interview with Michael Winterbottom. Cineaste, SPRING 2006, Vol 31, No 2 pp 28-31. Cineaste. Elsheshtawy, Yasser. The Prophecy of “Code 46” : Afuera in Dubai, or Our Urban Future. Traditional Dwellings and Settlements in Review, Spring 2011, Vol 22, No. 2. International Association for the Study of Traditional Environments. Smith, Damon. Michael Winterbottom: Interviews. University of Mississippi. Jackson, 2011. Bennett, Bruce. The Cinema of Michael Winterbottom. Wallflower Press. New York. 2014

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Dave Anderson sat down with me after FURY ROAD and we discussed the future, fascism, and femininity. Then we went through the Sight and Sound 100 list to sort out what was interesting, what was surprising, and what was a tall, stinking pile of Jeanne Dielman You can find me at www.thatdylandavis.com and [email protected]. All music on this podcast is by Rozalind MacPhail at www.rozilandmacphail.com

Australian Auteur George Miller, MD, had already cranked out ten films and earned the top golden man for animation when Warner Brothers finally approved his 3,500 storyboarded idea for a fourth Mad Max Franchise installment. At the age of 70, Miller took almost a thousand cast and crew members to the middle of the Namibian desert for over a year to create what has been called the greatest action film ever made. Behind the scenes was a twenty-year battle between two studios, several heads of production, and three huge movie stars to create what we see on the surface to be a film about our global fears regarding survival, psychosis, and the ever-disappearing access to the elements that keep us alive. After the dust settled, and Fury Road took home an astonishing six Oscars from ten nominations, the critics and fans pointed to the real story of Fury Road: the warning of dictatorship, megalomania, and the power of femininity that could save us all. Witness me and Dave Anderson as we go scene by scene through Fury Road and argue the finer points of Valhalla, Gas Town, and the Vuvalini. As always, all music is by Rozalind MacPhail. You can find her at www.rozilandmacphail.com. Works Cited: Buchanan, Kyle. Blood, Sweat, and Chrome: The Wild and True Story of Mad Max: Fury Road. William Morrow. New York. 2022. Smyth, J. E. “Prick Flick”: Taking the Measure of Manly Movies. Cineaste, Fall 2017. Vol. 42, No. 4 (Fall 2017), pp 20-24. Walter, Martin. Landscapes of Loss: The Semantics of Empty Spaces in Contemporary Post-Apocalyptic Fiction. “Empty Spaces: Perspectives on Emptiness in Modern History” Ed. Campbell, Courtney J., Giovine, Allegra and Keating, Jennifer. University of London Press. Payne, Darin. Shifting Gears and Paradigms at the Movies: Masculinity, Automobility, and the Rhetorical Dimensions of “Mad Max: Fury Road.” Studies in Popular Culture, Fall 2017. Vol 40, No. 1, pp 102-135.

The last forty years of Hollywood has been dominated by a handful of stars that stayed in the A List. Join us as we go through the impressive career of Bruce Willis, American Wunderkind who managed to turn his television career into an impressive melee into action, comedy, and dare I say…art? Aphasia is an inability to comprehend or formulate language because of damage to specific brain regions. You can donate to help patients with Aphasia at www.aphasia.org.

British Director Gurninder Chadha dominated the UK theaters for three weeks in 2002 with a story about an Indian girl who just wanted to play soccer. When the audience turned out, though, they saw a multi-layered critique of modern British society that included sexism, racism, and clashing culture. Join me as we go scene by scene to see how clandestinely Chadha discusses these topics using clever iconography and metaphor in what is one of the most important films about immigration, assimilation, and aloo gobi. Works Cited Bagguley, Paul and Hussaine, Yasmin. Bend It Like Beckham film review. Feminist Media Studies, Vol 2, No. 3, 2002. Routledge Taylor and Francis Group Press. Deprez, Camille. Comparative Reflections on Hong Kong and indian Cinema - Identity, Diaspora, and Cosmopolitanism. China Perspectives, 2009. No. 3 (79) (2009), pp 87-96. Gianrdina, Michael. Bend[ing] it Like Beckham: Stylish Hybridity in Popular British Culture. Counterpoints, 2005, Vol 282, Sporting pedagogies: Performing Culture & Identity in the Global Arena (2005), pp 27-48. Alie, Lorraine. GOOOOOOAL! Newsweek; 4-21-2003, Vol 141 Issue 16, p52, 2p, 2c. Ransom, Amy J. Bollywood Goes to the Stadium: Gender, national Identity, and Sport Film in Hindi. Journal of Film and Video, Vol 66. No. 4 (Winter 2021). Pp 34-49. Stuart, Jan. Alive and Kicking. The Advocate. 4-1-03. Issue 886. P57. 1p. 1c. Sawhney, Cary Rajinder. ‘Another Kind of British’: An Exploration of British Asian Films. Cineaste, Fall 2001. Vol. 26, No. 4. Pp58-61. The Sikh Encyclopedia https://www.thesikhencyclopedia.com/ A starter for Sikhism https://www.allaboutsikhs.com/ To see how two forwards level off before scoring, watch this textbook execution https://youtu.be/hadWFJS-An8 On Twitter @thatdylandavis www.thatdylandavis.com Find @rozalindmacphail www.rozalindmacphail.com

Okay fan boys and girls, you know the drill. Once upon a time I bet any year of film in the 1980’s would beat any film from any other year in any other decade. I flippantly told Dave 1984 would beat 1924, 1934 and do on. And he roundly proved me wrong. I wanted a rematch, and again chose 1987 out of a hat. That year may flip both of our points of view. By the time the podcast is over we’ll take a huge deep dive into our Letterboxd accounts, finally spend an adequate amount of time on the amazing October of 2021, and we breakdown our love of cinema and compare the size of our…screens. The Super 70 Podcast can be found on Soundcloud, Spotify, and any feed Apple RSS pushes to. You can find me, my books, and my blog at www.thatdylavis.com. You can find Rozalind MacPhail at www.rozilandmacphail.com. You can find Dave Anderson on a future episode of The Super 70 Podcast.