Midweek Mention... Die Hard

Die Hard is the kind of “comfort violence” film that never gets old, and your recap hits basically every reason it works.

A few extra bits worth calling out (because they’re the secret sauce):

• It’s a Christmas film for structural reasons, not vibes.
  Christmas isn’t just background dressing. The party only happens because it’s Christmas, the building is half-staffed because it’s Christmas, McClane is only in LA because it’s Christmas, and Hans’ whole timing depends on a holiday lull. Remove Christmas and the plot collapses.
• McClane isn’t an action hero at the start — he becomes one.
  He’s scared, he bleeds, he’s improvising, and he’s basically running on stubbornness and spite. That’s why it’s satisfying: it’s competence earned under pressure, not superhero nonsense.
• Hans Gruber is the real blueprint villain.
  He’s calm, intelligent, funny, and actually seems like he has a plan. Rickman makes him feel like he’s doing theatre while everyone else is doing an action film. It’s why the film still plays now.
• Ellis is the most realistic character in the whole thing.
  Not “realistic” as in good, but realistic as in: give a coke-sniffing corporate gobshite a crisis and he’ll try to negotiate his way into being important. Then immediately get shot.
• The Powell/McClane friendship is pure genius.
  They barely share a scene, but it lands emotionally because it’s built on voice, trust, and the fact Powell is the only person treating McClane like a human being instead of a “situation.”

And yes: a 24/7 Die Hard channel is basically the final form of Christmas television. Even if you don’t watch it, it’s reassuring that it exists, like a lighthouse for divorced dads and men in dressing gowns.

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