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Bang-Bang Podcast

Van and Lyle are Bang-Bang
Bang-Bang Podcast
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  • Soundtrack to a Coup d’État (2025) w/ Sandipto Dasgupta | Ep. 39
    This is a free preview of a paid episode. To hear more, visit www.bangbangpod.comVan and Lyle are joined by Sandipto Dasgupta—legal scholar, political theorist, and possessor of an encyclopedic knowledge of Congolese politics, the Non-Aligned Movement, and postcolonial political economy—to discuss Johan Grimonprez’s Soundtrack to a Coup d’État. The film blends archival footage, radical history, and one of the most inspired uses of diegetic sound you’ll ever encounter, tracing the assassination of Patrice Lumumba against a global backdrop of jazz diplomacy, Cold War intrigue, and the contested promises of decolonization.Sandipto walks us through the tangled histories of the Congo’s natural resources, the role of Dag Hammarskjöld (depicted here as something of a willing instrument of U.S. imperial aims), and the African musicians whose performances frame the story. The conversation threads Lumumba’s fate through the rise of the Non-Aligned Movement, Third Worldism, and the New International Economic Order, in turn connecting the film to works like Adom Getachew’s Worldmaking After Empire and Vincent Bevins’s The Jakarta Method. Together, they explore how Soundtrack captures both the intoxicating possibilities of cultural exchange and the brutal realities of a world order determined to foreclose them.Further ReadingSandipto’s WebsiteThe Jazz Ambassadors – PBSWorldmaking After Empire by Adom GetachewThe Jakarta Method by Vincent BevinsMy Country, Africa: Autobiography of the Black Pasionaria by Andrée BlouinTeaser from the EpisodeSoundtrack to a Coup d’Etat Trailer
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  • Costa-Gavras' State of Siege (1972) w/ Alex Aviña and Stuart Schrader | Ep. 38
    This is a free preview of a paid episode. To hear more, visit www.bangbangpod.comIn this episode, we discuss Costa-Gavras’s State of Siege, a tightly constructed political thriller based on the real-life kidnapping and execution of U.S. police advisor Dan Mitrione by Uruguay’s Tupamaros guerrillas. Set in early 1970s Uruguay but filmed in Allende-era Chile just before the coup, the film dramatizes how U.S. “public safety” programs—nominally about technical assistance and crime prevention—became tools of Cold War counterinsurgency, helping repressive regimes police and suppress political dissent. With scholars Stuart Schrader (Badges Without Borders) and Alex Aviña (Specters of Revolution), we explore the intersections of U.S. empire, global policing, and revolutionary resistance in the Southern Cone, and reflect on what it means to live in a world still shaped by these Cold War legacies.Further ReadingSpecters of Revolution, by Alex“When NACLA Helped Shutter the U.S. Office of Public Safety,” by Stuart“From Police Reform to Police Repression,” by StuartTwitter thread on Dan Mitrione by StuartBadges Without Borders, by Stuart Of Light and Struggle, by Debbie Sharnak“The Long Arm of the Law,” by LyleLatin America’s Radical Left, by Aldo Marchesi“Revolution Beyond the Sierra Maestra,” by Aldo MarchesiBecoming the Tupamaros, by Lindsey ChurchillNational Security Archive: The Dan Mitrione FileTeaser from The EpisodeState of Siege Trailer
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  • 28 Days Later Trilogy (2002, 2007, 2025) w/ Rebecca Onion | Ep. 37
    This is a free preview of a paid episode. To hear more, visit www.bangbangpod.comVan and Lyle are joined by historian and Slate Senior Editor Rebecca Onion to talk through the entire 28 Days Later trilogy, from its early aughts origins to its apocalyptic present. Together they explore the first film’s anti-militarist edge, arriving just as the War on Terror began to unfold, and how its disaffected rage gave way to the bombastic sensibilities of the 2007 sequel. If the original cast British soldiers as the truest threats to civilization, the second leans into Global War on Terror aesthetics, gathering around a Delta Force commando as protagonist. Then again, it still preserves a kernel of the earlier critique: That security operations have a way of turning from containment to extermination.The group breaks down this shift through a striking bit of dialogue from Rose Byrne’s Army medical officer, which lays out a three-stage process—identify the infection, contain the infection, and when the containment fails, exterminate all the brutes—that mirrors countless historical escalations, from Cold War brinkmanship to post-9/11 imperial overreach to the genocide now unfolding in Gaza. They debate whether 28 Weeks Later offers any coherent politics at all, or simply mirrors our own contradictions. They also reflect on the beauty of Cillian Murphy, the chemistry between Murphy and Naomie Harris, Brendan Gleeson’s wrenching turn, and the creative imprint of Danny Boyle and Alex Garland; clearly felt in the first and final films, and sorely missed in the second. Most of all, they dig into the wild third installment—28 Years Later—and how its mystical, cosmic pivot late in the film, when Ralph Fiennes assumes center stage, reorients the entire franchise around memory, mourning, and what it means to love in a world on fire.Further ReadingRebecca’s WebsiteRebecca’s Author Page at Slate“28 Years Later and the Social Life of Catastrophe,” by Eileen JonesAn Indigenous People’s History of the United States, by Roxanne Dunbar-Ortiz“Illusions of Containment,” by Tom StevensonTeaser from the Episode28 Days Later Trailer
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  • Guy Ritchie's The Covenant (2023) w/ Sam Carliner | Ep. 36
    This is a free preview of a paid episode. To hear more, visit www.bangbangpod.comVan and Lyle are joined by journalist Sam Carliner to unpack Guy Ritchie’s The Covenant, a 2023 entry into the Afghanistan war movie canon. Together they examine how the film reinforces the myth, heavily circulated in the wake of the 2021 U.S. pullout, that American troops and Afghan interpreters were bonded as brothers in arms, fighting a noble, shared war against evil. While the film’s central relationship between Master Sergeant John Kinley (Jake Gyllenhaal) and his Afghan interpreter Ahmed (Dar Salim) is marked by quick banter and trust, the reality on the ground was often far icier; mutually suspicious relationships shaped by Islamophobia, infiltration, coercion, and years of betrayal.The conversation digs into the emotional beats of the film and what they obscure. Kinley and Ahmed each risk their lives to save the other, and their intertwined fates become the “covenant” of the title. But rather than offering a serious reckoning with U.S. violence, the film functions as a feel-good fable of reciprocal loyalty, centering a “Good Muslim” who rescues his “Good American” friend, only to be rescued in return—with the arrival of private contractors cast as a climactic moment of salvation rather than as mercenary forces profiting off the neo-colonial periphery. The backdrop of a 20-year U.S. occupation and a 40-year civil war, both shaped and fueled by American policy, is left untouched.The film doesn’t argue the U.S. should have stayed in Afghanistan, but it’s steeped in post-withdrawal melancholia, more interested in soothing American audiences than engaging historical truth. And yet, in its final scene, Kinley and Ahmed staring blankly from the cargo bay of a C-130, the production evokes an eerily similar ending to Zero Dark Thirty: The protagonists afloat in transit, surrounded by machinery, without any real sense of where they’re going or why.Further ReadingSam’s SubstackNo Good Men Among the Living by Anand GopalThe Fort Bragg Cartel by Seth HarpGood Muslim, Bad Muslim by Mahmood MamdaniBang-Bang doing Zero Dark ThirtyTeaser from the EpisodeGuy Ritchie’s The Covenant Trailer
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  • The Art of Memoir and Stories of Conversion w/ George Dardess | Ep. 35
    Politics behind the scenes: A rare glimpse behind the curtain as Van, Lyle, and guest George Dardess talk about about memoir and stories of conversion. They discuss their own experiences relating to Monterey, California and the Defense Language Institute before getting into personal radicalization, the art of close reading, and the question of conscience that looms louder until it consumes you—which side are you on? This conversation took place prior to recording a forthcoming episode about the film Downfall (although we’re releasing a few episodes ahead of Downfall). Good thing the mics were on, because this conversation has haunted Van (in a good way) ever since.Further ReadingLyle’s memoirColette’s memoirA selection of George’s writing Traudl Junge’s memoirThe next episode to drop: Guy Ritchie’s The Covenant! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.bangbangpod.com/subscribe
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About Bang-Bang Podcast

A show about war movies, with an anti-imperialist twist. Hosted by Van Jackson and Lyle Jeremy Rubin--military veterans, war critics, and wannabe film critics. www.bangbangpod.com
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