Die Hard Advent Calendar Hans Gruber Falling off Off,Christmas Countdown Calend Falling off Nakatomi Plaza, Tabletop Wooden Home Oudoor Decorations Funny Gift (Blue)

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You can add a little fun to your Christmas season with one of these advent calendars. / Daniel Brandt of Brandt Builds (formerly Leatherhead Laser Works)

Context is important when we choose to make a piece of art. Knowing and understanding how our piece of art will be read or viewed within the historical context of other pieces of art is vital to both understanding how others will read it and formulating the defense of our choice despite that context. As someone who wrote a very violent series of novels featuring a cast of characters who use Arabic words on occasion, I’m pretty familiar with the importance of this process. As fantasists, as fiction writers, we sell fantasy. I get that. But fantasy is not bodies. It’s stories. What we sell does not have to be in service to narrative of objectification.It turns out that the other Playboy playmate featured in the film is the one who shows up topless in the film, interrupted as she and a colleague are getting it on in a spare office. Extended/alternate dialogue in McClane/Powell conversation after McClane uses the plastic explosives. Make it feel like Christmas is getting near by watching Hans Gruber fall off of Nakatomi Plaza for 25 straight days! These calendars were completely designed by me and are made by me in my garage shop in MD.

I watch Die Hard at least a couple of times a year; it’s one of the best written films out there. But there were always two moments in the film that confounded me from the very start, even when I watched it as a kid. There’s a moment when John McClane is upstairs in the floors under construction, and he’s trying to figure out how to get the attention of the police even though the phone lines are cut. During this high tension scene, the camera’s attention swoops with John’s to the building across the way, where a naked woman is talking on the phone, and the camera holds there for a few seconds while he watches her, open mouthed. Right after this moment, he hits the fire alarm to call the authorities, so I figured that somehow this scene was meant to show us his thought processes – hey, other people in the buildings next door have phones. What other way do we have to communicate? – in addition to being a general male-gazey moment for the audience. But I avoided the discussion around it at the time, because wasn’t it obvious? Was it really worth my spoons? And that’s just the one who doesn’t give a toss for being naked. There are a million other characters who would spit in your face before posing as objects, to be drawn out and commoditized; it would mean rejecting everything they were, everything they believed in, to pose as some perfect, pawed-over item in a stranger’s inventory. I tried to imagine Lilia, the primary protagonist in my new series, with her scarred face and clawed hand and bum leg, whose entire existence has been within in a consent culture where people retain absolute autonomy over themselves and their bodies and their desires, getting pitched this idea, and I could just imagine her screwing up her face like, “You want what?” And in this society of enslavement and subservience, in a culture of people as things, courtesans and hetaera and the like also understood the importance of marketing. It’s why they faked their looks with cosmetics and sewn-up hair, and plush butts. Because they knew they were only as valuable as their perceived worth as sexual objects, or, at least, desirable objects that the 1% could fight over. This is really what the pin-up is about. It’s about ownership. Inciting desire. Making people think they can own a thing by going out and seeing the actress at work, or hiring her for a show. It’s selling the desire for ownership.For one thing the action is explosive and consistently exciting, and the cinematography is astounding being very inventive and colourful. John McTiernon(The Hunt for Red October, Last Action Hero) directs briskly and efficiently, and the pacing a vast majority of the time is exhilarating.

Even if the non-action parts are a tad slow in comparison, that is more than compensated by so many things that makes Die Hard so brilliant. It was in staring at that picture that I became angry again at the idea that pin-up calendars were being used to support literary foundations. Because it was in that moment that the whole complicated hand-wringing I’d seen so many do in support of the calendar just fell apart for me. I than added 2mm high lettering for the numbers (1 counting up to 25, and later 25 counting down to 1). And just so it was more obvious "Nakatomi Plaza" and a logo in SVG imported into TinkerCAD (adjusting the extruded height). The lettering is raised higher than the rest of the surface to facilitate two color printing, on a single color extruder. At the end, McClane says "You got a warranty for this (Holly's watch, a gift from Nakatomi Corporation)?" to which Holly laughs.Thank you again for supporting the original designer and creator of the Die Hard Advent Calendar - everyone else is just a copy 😉 Because women, in many cultures – and in the history of many cultures – are seen as commodities. As objects. Their worth is measured in beauty. Whether you’re selling me your idealized form yourself or someone else is doing it, the sad fact is that pushing these types of fake bullshit on us is part of a larger history of commoditizing people. And yes, blah-blah people can be sexy in many! Different! Ways! – yes, that’s wonderful. People are sexy. But *this* type of representation of “sexy” doesn’t look like actual bed-time sexiness any more than your typical porn movie actually looks like you and your partner(s) getting it on.