Why James Bond's biggest 'failure' was actually a trailblazing moment for the 007 franchise
Though it earned a mixed reception, 1989's 007 outing starring Timothy Dalton now feels like a trailblazer.
It's not often that you'll see 1989's Licence to Kill celebrated as the best of Bond – too frequently, Timothy Dalton's second outing as 007 languishes near the bottom of lists, written off as a misjudged attempt to compete with violent '80s action cinema. The film strayed too far from the classic Bond formula, its critics would argue, and failed to connect with audiences as a result. Not helping its muddied reputation is the fact that following its release the Bond franchise went on a then-unprecedented six-year hiatus, with Dalton replaced as leading man when the series did eventually resume with 1995's GoldenEye. It's true that the film is a significant departure from what came before. Drawing more heavily on the source material of Ian Fleming's novels than any movie in the series since the early Sean Connery entries, Licence to Kill sees Bond on a mission of vengeance, our hero ousted – at least temporarily – from MI6 as he seeks bloody retribution against Franz Sanchez (played by Robert Davi), a drug lord responsible for maiming Bond's CIA ally Felix Leiter (David Hedison) as well as the murder (and, it's implied, the rape) of Felix's new bride Della (Priscilla Barnes). The Man with the Golden Gun, this ain't. It's also undeniable that the movie earned a mixed reception from contemporary critics – though there were some positive notices for Dalton's performance and attempts made to modernise 007. The Guardian argued that Licence to Kill lacked "flair", the Daily Express called it "dull" and "tiresome", while The Sunday Times lamented that "any vestiges of the gentleman spy [...] by Ian Fleming" had disappeared, with Bond they claimed now a vengeful vigilante akin to the protagonist of the same year's Batman movie. Read more: How to choose the next James Bond, with casting boss Debbie McWilliams The numbers also speak for themselves – though it grossed more than four times its budget, Licence to Kill earned the lowest box office return of any Bond film to date (adjusted for inflation). The notion though that the film's producers regarded it as a failure, pulling the brakes on Bond until they were able to return with a revived franchise and new star in the form of Pierce Brosnan, is provably false. Pre-production on the 17th film in the franchise, intended to again feature Dalton as Bond, began in May 1990 – a poster for the planned sequel was even displayed during the 1990 Cannes Film Festival. It was a lengthy legal tussle between MGM, parent company of the Bond series' distributor United Artists, and Danjaq, owners of the Bond film rights, that led to production stalling for a number of years, with Dalton's original contract expiring by 1993. In April the following year, he released a statement announcing his "difficult decision" to step away from Bond, explaining that while he'd been asked to resume his role, it was "now time to leave that wonderful image behind and accept the challenge of new ones". With the benefit of hindsight, Licence to Kill also feels less like an anomaly in the 007 franchise and more like a trailblazer. Bond going rogue, not carrying out a government-assigned mission but instead pursuing a more personal mission with extreme prejudice? You might be describing either Licence to Kill or any of the Daniel Craig-starring films that followed his debut in 2006's Casino Royale. The similarities don't end there, though. As in Craig's entries, the mood is dark, the puns are sparse, and Bond's womanising is kept to a minimum, with both female leads – Carey Lowell as ex-Army pilot and DEA informant Pam Bouvier and Talisa Soto as Sanchez's girlfriend Lupe Lamora – having a part to play in the narrative other than acting as "disposable pleasures". Bond's relationship with Sanchez is also pleasingly complex, an undercover 007 psychologically toying with his unwitting opponent in a foreshadowing of the games of cat-and-mouse he would play with Casino Royale's Le Chiffre (Mads Mikkelsen) or Raoul Silva (Javier Bardem) from 2012's Skyfall. There is absolutely a strong flavour of '80s action cinema to Licence to Kill – Frank McRae, known for a memorable turn as an irascible police captain in 1982's 48 Hrs, plays Bond's accomplice Sharkey, while both primary antagonist Davi and supporting player Grand L Bush (Leiter's DEA colleague Hawkins) are lifted from the cast of the previous year's Die Hard. But, remove its 1980s skin and the film sits neatly alongside Craig's less outrageous, more personal Bond outings which were so warmly received by critics and audiences over the past two decades. Dalton's Bond, it appears, simply landed at the wrong time – the series faced the almost impossible task in the late 1980s of segueing from the frothier films starring Roger Moore that fans had become used to into the types of movies that could compete with the action movies du jour, violent thrillers like 1987's very un-Bond-like Lethal Weapon. Reverting to formula might have left 007 looking outdated, but changing too much risked inviting criticism that the franchise had lost its flavour. Craig – for all the unwarranted flack he earned over his casting – actually faced less of a challenge, with the popular Jason Bourne series of films having set a precedent for escapist spy thrillers that nonetheless featured a flawed, vulnerable protagonist. It's no surprise, then, that Dalton was such a fan of his successor. "There’s a case to be made that Daniel Craig is the best Bond ever, or at least in a very long time," he told the Los Angeles Times in 2012. "With Roger Moore it was a pastiche that almost became a parody at the end. And with Pierce [Brosnan], I think he wanted to go darker and deeper but that wasn’t what those movies were. "Daniel Craig’s Bond movies are absolutely modern, up-to-date versions, but they’re also the legitimate heir of [the first two Bond movies] Dr No and From Russia with Love." Buy the James Bond novels from Waterstones Looking past the reviews and the disappointing box office – both perhaps symptoms of a contemporary audience simply not being ready for the stripped-back Bond that Dalton was offering – and an unrelated hiatus, what's left when examining Licence to Kill is in fact a formula for future success, albeit one that wouldn't profit 007 for another 17 years. Ironically, where the Bond franchise goes next feels now more uncertain than at any point since that post-Licence to Kill hiatus, with long-time custodians Barbara Broccoli and Michael G Wilson stepping back from creative control. As Amazon takes a greater role in shaping 007’s future, the series is once again at a crossroads, not unlike the one it faced in the late 1980s. View Green Video on the source website There are, however, early signs that the lessons of Licence to Kill – and the tonal reset later embraced during the Daniel Craig era – haven’t been forgotten. The appointment of Denis Villeneuve as director of the next Bond film points towards a continuation of that more serious, textured approach. Known for the brooding grandeur of Dune and the meditative intensity of Blade Runner 2049, Villeneuve has described Bond as "sacred territory", signalling an intent to honour the franchise’s traditions while opening up "a new path". If his past work is anything to go by, that path may well lean into a more deliberate, atmospheric style of storytelling – one that prioritises character, mood and visual weight over quips and spectacle. That instinct appears to be shared by Bond 26 screenwriter Steven Knight, who has described Bond as a "modern myth", suggesting a renewed focus on the character’s symbolic power rather than simply his surface-level thrills. Reflecting on what comes next, Timothy Dalton himself has suggested that while evolution is inevitable, the core of Bond should remain intact. "It's a wonderful franchise," he told Radio Times last year. "The movies have taken different courses over the years, but there is something very good about the original and I hope Amazon latch onto that and give us the kind of film that's brought so much excitement and fun to so many people." If Dalton’s Licence to Kill was once dismissed as an outlier, history has been kind to its instincts. As Bond prepares for yet another reinvention, it’s striking that the qualities once criticised – seriousness, emotional stakes, a willingness to break from formula – now look less like missteps and more like a blueprint. Every James Bond movie ranked, from worst to best Licence to Kill is available to rent or buy now on Prime Video. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Casino Royale holds the secret to the next James Bond movie
As producers get ready to roll the dice on a new 007, we take a look at why Ian Fleming's first novel remains so key to the franchise's future.
On 13th April 1953, a former Lieutenant-Commander with the Royal Navy Reserves published his first novel with little expectation of success. Written to distract himself from his upcoming marriage, he had previously confided in a friend that he was "thoroughly ashamed" of the book's quality, and it was only the recommendation of his celebrated brother – a successful travel writer ­– that convinced the publishing house to take a chance on the manuscript. With a title promising exotic escapism and a lead character with a strikingly unremarkable name, Casino Royale was a hit, shifting nearly 5,000 copies in its first month, and the writer going on to win praise from figures as wide-ranging as the poet John Betjeman and former US President John F Kennedy. The author was, of course, Ian Fleming, and his creation the Secret Service agent James Bond – and so the spy thriller genre of both literature and film was forever changed. Fast-forward to the present day, and 007 is on the verge of a new dawn, with Amazon MGM Studios at the helm for the very first time after gaining creative control of the franchise from long-time producers Barbara Broccoli and Michael G Wilson. The key question among fans is how the big-screen series will look when James Bond returns – not just the identity of who will be slipping on that iconic tux but, even more intriguingly, what tone the new Amazon films will look to strike and what's going to set this version of the super-spy apart from those who have shaken and stirred before. While the hirings of Oscar-nominated Dune director Denis Villeneuve and Peaky Blinders writer Steven Knight have calmed some fans' fears, there remains a degree of trepidation given how successfully the Broccoli family shepherded the series through its decades-spanning 25 films. So it would serve new producers Amy Pascal and David Heyman well to follow their lead and return to where it all started. Barbara Broccoli, whose father Albert R 'Cubby' Broccoli produced every Bond picture from 1962's Dr No through to 1989's Licence to Kill, made no secret of the books' importance in shaping the film portrayals. "My father would say, 'Whenever you're stuck, go back to Ian Fleming,'" Barbara told FilmInk in 2013. "We always go back to the books. You think, 'Christ, this doesn't make any sense…what would Fleming do?' And you go back and you think about it. It's where the answers lie." And while much of the conversation around the next Bond movie is pure speculation and guesswork at the moment, Fleming's novels provide us with something tangible to theorise on how the film's creative team should go about rebooting 007. As readers' first introduction to Bond, Casino Royale is particularly well-placed to inform the character and world of 007 – in fact, it has often been called on when introducing a brand new actor to the role. Timothy Dalton's debut Bond film The Living Daylights, which was originally envisioned as an origin story for the secret agent before those plans were dropped, has clear call-backs to Casino Royale's depiction of SMERSH, the Soviet counterintelligence agency whose 'Smiert Spionam' ('Death to spies') operation sets the events of both stories in motion. Want to own the entire James Bond movie boxset? Now's your chance It's also no coincidence that one of the earliest scenes of Pierce Brosnan's 007 in his first entry GoldenEye sees him take on the villainous Xenia Onatopp at the baccarat table – just as he does Le Chiffre in Fleming's novel. Naturally, Daniel Craig's Bond opener went one step further and served as a fully realised adaptation of Casino Royale, so it's fair to say that Pascal, Heyman, Villeneuve and Knight could have more than half an eye on the novel as they look to relaunch a new era of Bond once again. With that in mind, what hints does the novel offer about the potential avenues we could be heading down with Bond 26? For starters, despite the themes and scenarios already mined for the big screen, there remain moments in Casino Royale that have yet to make it to film. A tense set-piece in which Bond is covertly held at gunpoint at the cards table feels ripe for adaptation, while an altogether more unpleasant episode in which Bond's hand is carved with a knife to mark him out as a spy – leading to him later getting a skin graft – would be a hell of a way to welcome the new James. Buy the James Bond novels from Waterstones Meanwhile, the story of his first two kills to achieve 00 status is completely different to the version presented in the 2006 film's pre-credits sequence. With Craig's Bond meeting his maker in No Time to Die, there would be no better time than now to completely reset if they ever wanted to expand those two kills out into the narrative of a Bond origin story. And then there are the passages giving us an insight into the seemingly impenetrable character of 007. The Bond of Casino Royale is a well-drilled, coolly rational figure who takes cold showers and sleeps with a gun under his pillow, but he's also far more human in his fears and actions than most of his on-screen counterparts. View Green Video on the source website This is a Bond whose inner monologue expresses self-doubt about his ability to win – both the high-stakes card game at the centre of the novel and the heart of Vesper Lynd – and one who acknowledges "the acceptance of fallibility" when he's inevitably brought to his knees by love or by luck. It is a Bond whose physical pain is also felt keenly. The infamous torture scene is even more unbearable on the page than on the screen, and a surprising amount of the book is dedicated to Bond's recovery process as he slowly gets back to something like full strength at a nursing home. Craig's portrayal was hugely well-received for bringing out these layers to the iconic character, and it's hard to see a way forward without retaining at least some of these human frailties, so if the next film does return to Royale for inspiration, don't expect a sudden lurch into Roger Moore-style frivolity. Perhaps the most tantalising thread yet to be pulled from Fleming's novel is in its most acclaimed chapter, The Nature of Evil. Coming after his bruising and traumatic experience at Le Chiffre's villa, the chapter serves as an exchange of viewpoints between Bond and his ally René Mathis on heroes and villains, God and the Devil, and the question of whether doing one's duty always equates to good. "The heroes and villains get all mixed up," one says to the other. "Of course, patriotism comes along and makes it seem fairly all right but this country-right-or-wrong business is getting a little out-of-date… History is moving pretty quickly these days and the heroes and villains keep on changing parts." Surprisingly, it's not Mathis making the argument – but Bond. Explaining that he would kill Le Chiffre were he there with him, Bond admits it would only be for personal gain, not "for some high moral reason or for the sake of my country" and resolves to resign from service. The film franchise has flirted with the idea of a disillusioned Bond – he's quit MI6 on more than one occasion and has even been stripped of his 00 licence – but rarely has he actively rejected the notion of duty, no matter how much he might challenge his superiors' orders. Could the new James go one step further and actively end up working against His Majesty's Government? It would have been unthinkable at one time, but the groundwork has already been laid in No Time to Die, where Ralph Fiennes's M strays perilously close to villain territory for his part in Project Heracles. Read more: How to choose the next James Bond, with casting boss Debbie McWilliams 22 actors who were almost James Bond – and why they missed out How James Bond’s relationship with the LGBTQ+ community has changed If we're reinventing Bond, why not do the same for M and make them the ultimate big bad? It wouldn't take too much of a narrative leap and sets up a fascinating dilemma for our loyal hero that wouldn't be out of step with Fleming's conflicted protagonist. Wherever the world's most famous spy goes next, Amazon should carve out a bold and brave new direction with more than a hint of Royale. It's always a gamble bringing a new 007 to the table, but with Fleming still at the heart of the franchise, the odds would be in its favour. Casino Royale by Ian Fleming is available now Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The greatest James Bond theme song of all time revealed – by the fans themselves
The Wings classic Live and Let Die defeated Carly Simon's Nobody Does It Better from The Spy Who Loved Me in the grand final.
It's fair to say that James Bond has boasted some stellar theme tunes in the years since 007 was first seen on the big screen in 1962 – with Shirley Bassey, Duran Duran and Adele just some of the iconic artists who have put their musical stamp on the series. But which song is the greatest of them all? That was a question RadioTimes.com put to Bond fans back in 2023, when we ran a Twitter poll tournament to determine the best ever Bond theme, split into several rounds before a grand final. In the end it was Live and Let Die which was voted as the best of the bunch. The song was written by Paul and Linda McCartney and recorded by their band Wings as the theme for the 1973 film of the same name, which was the first to star Roger Moore as the iconic spy. It beat another song from Moore's tenure in the final round of voting, with Carly Simon's Nobody Does It Better from the 1977 flick The Spy Who Loved Me coming in second place with 32.8 per cent of the vote, compared to 67.2 per cent for Live and Let Die. Several other classic Bond anthems exited the tournament at the Semi-Final stage, with Shirley Bassey's Diamonds Are Forever, Nancy Sinatra's You Only Live Twice, Adele's Skyfall, and Duran Duran's A View to a Kill all missing out on a place in the final. Perhaps surprisingly, Bassey's Goldfinger theme had fallen in the previous round – although it did have the misfortunate of coming up against eventual winner Live and Let Die at that stage. Still, Goldfinger's absence from the final did not go down well with some voters, with one Twitter user writing: "This is nonsense. Goldfinger is by far the best. Anyone not voting this way is just wrong." In total, 24 theme songs were included in the poll, with Louis Armstrong's We Have All the Time in the World from On Her Majesty's Secret Service, Tom Jones's Thunderball and Billie Eilish's No Time to Die among those not to make it to the semi-final stage. No Time to Die is available to stream on Prime Video. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Younger actors who auditioned for Bond "didn't have the gravitas"
Debbie McWilliams – former casting director on the Bond series – explains why younger actors have historically failed to land the part of 007.
This article was originally published on 11th April, 2023. Though the search for Daniel Craig's successor as 007 is still ongoing, the latest reports suggest Bond 26 director Denis Villeneuve and his collaborators are looking for a "fresh face" for the role. The rumour mill has also seen younger stars including 29-year-olds Tom Holland and Harris Dickinson linked to the part. Speaking exclusively to RadioTimes.com in 2023, Debbie McWilliams – who served as casting director on the 007 film series from 1981 until her retirement earlier this year – explained that while younger actors have previously tried out for Bond, including for 2006's Casino Royale, none of them quite fit the bill. "When we started, it was a slightly different feel," McWilliams said of casting Casino Royale, which was set early in Bond's career at MI6. "We did look at a lot of younger actors and I just don't think they had the gravitas, they didn't have the experience, they didn't have the mental capacity to take it on, because it's not just the part they're taking on, it's a massive responsibility. "So we kind of scrubbed that idea and went back to the drawing board and started again." That said, an older Bond doesn't necessarily mean an established movie star – McWilliams insisted that the next actor to take up the mantle of Ian Fleming's super spy should simply be "who's best for the part", pointing to the different levels of fame and success enjoyed by previous 007 actors prior to taking on the role. "Timothy Dalton was known, but he was known as a Shakespearean actor, really. Pierce was known, but that was basically from television. Roger Moore was known from television. Sean Connery wasn't [known] – nobody had ever heard of him. Read more: How to choose the next James Bond, with casting boss Debbie McWilliams "A certain audience had heard of Daniel Craig, but much more the kind of independent cinema audience. He hadn't done any huge commercial film at all, really – [2004 film] Layer Cake I suppose was the most popular of the things he had done prior to Bond, but he wasn't a hugely well known actor." Casino Royale director Martin Campbell previously revealed that among the actors auditioned to play Bond in that film was Henry Cavill, who was then aged just 22 and was indeed ruled out for being too young. Following Daniel Craig's departure from the franchise in 2021's No Time to Die, other actors linked to Bond in the press have included Cavill (now aged 42), Bridgerton's Regé-Jean Page (37), Aaron Taylor-Johnson (35), Idris Elba (53), Slow Horses star Jack Lowden (35), Tom Hardy (48), and James Norton (40). With the prospect of recasting Ian Fleming's spy looming once again, it'll no longer be long-time franchise guardians Barbara Broccoli and Michael G Wilson who will make the call – the pair have stepped back from day-to-day creative decisions, with Amazon MGM Studios assuming full creative control over the James Bond franchise. Visit our Film hub for the latest news and features. If you're looking for something to watch, check out our TV Guide or Streaming Guide. For more TV recommendations and reviews, listen to The Radio Times Podcast.
10 times James Bond predicted the future with his gadgets
When it comes to technology, 007 is often ahead of the times. So we’ve Q-eued up the best occasions where the James Bond movies predicted the future with gadgets.
Like many a spy before and after him, James Bond would be nothing without his gadgets. When we reach the inevitable point in the James Bond movies where the female sidekick is captured, the sharks are circling, and the villain cackles over a screen, it’s the faithful (and foreshadowed) gadget that steps in. But despite how fantastical and unbelievable these devices can sometimes seem, many of them have the knack of becoming real. Ever since Goldfinger in 1964, the James Bond movies have had the incredible habit of predicting the future. Whether it’s with watches, weapons, or cars, this franchise has produced a lot of gadgetry that ended up being made years later. To prove it to you, we’ve put together this list of the times James Bond predicted the future with his gadgets. Plus, if you want to get your hands on some of these modern spy toys, we’ve included some handy links to help. Every time James Bond predicted the future with gadgets Smartwatches – The Spy Who Loved Me By 1970, the world was introduced to the digital watch, but in 1977 this was topped in true James Bond fashion by a watch that can receive messages – sound familiar? In Roger Moore’s The Spy Who Loved Me, Bond gets a message sent over from MI6 that comes out written on ticker tape. And while technology has advanced, this certainly marks the beginnings of the modern smartwatch. Apple Watches, Fitbits and other smartwatches can all send and receive messages as well as track movements, map your route and monitor your fitness. If Bond had one of those he might have got into less trouble. Shop Smartwatches at Currys Smart glasses – The World is Not Enough Glasses and eyewear have always been key to Bond's sharp wardrobe, but in the '90s they became a life-saver (literally). In Pierce Brosnan's third film The World is Not Enough, Bond wears thin tortoise shell glasses as a disguise that happen to also serve as a detonator to a small bomb – I'm sure you can guess what ends up happening there. Nowadays, the reality is far less explosive but still very impactful. Last year, Apple released Apple Vision Pro, a headset that brings AR and VR into your every day life, plus Meta have their own brand of AI Meta Ray-Ban glasses, which can react to what you see, take pictures and videos, listen on the go as well as make calls and send messages without touching your phone. Shop Meta Ray-Ban glasses at Ray-Ban Miniature cameras – Moonraker There’s a lot to be said about the technology in Moonraker. With laser guns, safe-cracking devices, gondola hovercrafts, and, well, the giant space station, this was a film that really pushed the boat out. Unfortunately, many fans responded poorly to this sci-fi-esque take on Bond and especially disliked the overuse of gadgets in the movie. But for all the supposed problems of this film, it did a good job of predicting the future. One gadget in particular was Bond’s miniature camera, which was the same size as a pen lid. Not only are small cameras common today for medical practices, but you can also buy miniature security cameras that are meant to blend in around the home. Some nanny cameras available to buy are no more than 3cm in size. Shop security cameras and CCTV at Currys Smartphones with fingerprint scanners – Tomorrow Never Dies This one is spooky. In 1997, Tomorrow Never Dies debuted the smartphone, complete with biometric fingerprint identification. Granted, it’s not a touch screen but an Ericsson JB988 brick phone, but that doesn’t make it any less exciting when Bond unlocks it with the fingerprint scanner on the side. In 2013, fingerprint scanning devices first hit the mainstream with the iPhone 5S and the Samsung Galaxy 5S soon after. This then became a regular part of Apple up until the iPhone 8 series, after which it was replaced with face scanning tech. Shop iPhones at Amazon Sat Navs – Goldfinger Nowadays we’ve become so used to Sat Navs and their monotone instructions that it’s easy to forget they weren’t around in 1964. In 1960, Satellite Navigation had been invented but they were well off putting this technology into cars – enter Bond. In Goldfinger, Bond’s Aston Martin has a screen with a map that’s identical to a modern GPS device. 007 uses it to track the film’s eponymous villain and then presumably becomes the first man to search for “spy bars near me”. Shop Sat Nav deals at Currys Jet packs – Thunderball Jet packs had been around in spy and sci-fi movies for years before 1965’s Thunderball. Which meant that the prop team were able to provide Sean Connery with a real functioning jet pack to film with. They used a Bell Textron Rocket Belt, which was originally made for the American army and could propel the wearer over 30ft into the air. In real life, you can’t buy a jet pack at the shops, but you can enjoy a jet pack experience in places across the UK. Also known as flyboarding, these jet packs are powered by water instead of hydrogen, and can send you up to 25ft. Buy flyboarding and jetpack experiences at Experience Days Underwater Cars – The Spy Who Loved Me Aside from the Aston Martin, this is probably Bond’s most iconic car. In The Spy Who Loved Me, Roger Moore drives a Lotus Esprit and, at one point, calmly drives it off a dock and into water. While Barbara Bach’s Anya understandably freaks out, Bond turns the car into submarine mode and later resurfaces it on a beach. Inspired by this, in 2008 a Swiss car designer, Frank M Rinderknecht, made his own. He invented the sQuba, a Lotus Elise car that could ‘fly’ underwater. Also, in a slightly more pedestrian version, you have car boats that are commonly used for tour experiences, such as London Duck Tours. Shop boat tour gift experiences at Experience Days Smart Pens – GoldenEye In Skyfall, Ben Whishaw’s Q jokes about exploding pens and says MI6 "don’t really go in for that anymore". But surely even he would admit what an impact Smartpen technology has had in recent years. Pen gadgets first appeared in the 1983 unofficial Bond film Never Say Never Again, which featured a pen gun. Then, in 1995’s Golden Eye the lab is famously destroyed by a pen grenade. Thankfully, real pen technology is a bit less damaging but equally useful. These days, smart pens are intuitive little devices that allow you take notes on phones and tablets. Some of them even have audio recording and cameras in them, which is handy if you’re in a lecture or perhaps trying to pick up some incriminating evidence. Shop iPad and tablet accessories at Argos Remote Controlled Cars – Tomorrow Never Dies In Pierce Brosnan’s second film, Tomorrow Never Dies, we see the most unusual chase in all of Bond history because, well, he’s not actually driving for most of it. From the back seat of the BMW, 007 escapes the henchman by driving with the same remote control phone we talked about earlier. With the way cars and phone technology have evolved in the last 10 years, it’s not all that surprising that this exists. In 2015 it was reported that the Jaguar Land Rover team was developing a smartphone app that could control the movements and systems in your car. Plus, the Department of Transport is currently pouring millions into getting self-driving cars, so be careful your car doesn’t wander off on you! Shop BMW cars at Autotrader Invisible Cars – Die Another Day The Brosnan era really had a penchant for playing around with cars – clearly the Aston Martin DB5 wasn’t enough in the noughties. In 2002’s Die Another Day, the writers took things to a whole new level with the invisible car. In a crucial moment of the film, the invisible car (an Aston Martin Vanquish if you want the specifics) helps Bond to save Jinx (Halle Berry) at the ice palace. As an explanation, Q tells Bond that the car is covered in tiny cameras which project the surroundings they film onto the outside of the car. Sounds farfetched, but in 2012 this actually happened. The engineers at Mercedes Benz enhanced their zero emissions F-Cell car with $263,000 worth of LEDs and a digital SLR camera. The camera was placed on one side of the car and captured footage that was displayed in real time on the opposite side. This created an optical illusion that made the car seem like it wasn’t there. Shop Mercedes cars at Autotrader
All the weirdest and wildest bits from the James Bond novels that Hollywood missed out
Even after 25 films, some of Ian Fleming's ideas have never been used – could Denis Villeneuve change that?
It's safe to say that the vast majority of Bond fans are extremely excited about the direction Denis Villeneuve might take the franchise, as the Canadian filmmaker prepares to helm the upcoming 26th movie in the franchise. The Dune filmmaker – who was confirmed as the director for 007's next adventure back in June – has described himself as "a die-hard Bond fan", explaining how he grew up watching the films with his father and that he intends to "honour the tradition" with his take on the legendary spy. Of course, that tradition goes all the way back to Ian Fleming's novels, and there's every chance that Villeneuve and screenwriter Steven Knight could look to those books for inspiration when crafting their film. With 25 official films already in the franchise, you'd be forgiven for thinking that just about everything that featured in Fleming's novels had already made it to the big screen in one form or another – but although he wrote only 14 Bond books, many of their most outlandish elements have still not been included in any of the movies. While in some cases this is undoubtedly for the best – for example, the shocking instances of racism in a number of the novels – there are some other story details from Fleming's work that would make for interesting additions to the Bond film canon. Read on for some of our picks of the biggest – and weirdest – bits from the Bond novels that haven't made it to screen. Perhaps Knight and Villeneuve will find a way to fit them in... Bond fights a giant squid in Dr No Bond has faced all sorts of adversaries across the 25 films – and has even come face to face with a number of aquatic animals, notably including sharks and crocodiles. But up to this point he hasn't yet done battle with a giant squid, as is the case in the book of Dr No. The incident occurs toward the end of Fleming's novel – which was the sixth in the series to be published – and comes after the titular villain forces 007 to complete an obstacle course that also sees him suffer electric shock burns, and face an encounter with some large, venomous spiders. It all culminates in a battle with the giant squid – which Bond is able to overcome through the use of some improvised weapons. Dr No dies by being buried alive in bat poo Speaking of Dr No, the villain himself suffers rather an unfortunate death in the novel – one which hasn't awaited any of the antagonists that have come face to face with Bond on the silver screen so far. After 007 escapes the aforementioned obstacle course, he commandeers a guano-loading machine and diverts it so that the baddie is buried alive in the fertiliser – which is made from bat excrement! Goldfinger's getaway from Fort Knox In the classic 1964 film, Auric Goldfinger realises that actually stealing all the gold reserves from Fort Knox would be an impossible feat, and so instead decides to irradiate it by using a dirty bomb – which will then ensure the value of his own gold soars. His scheme in the corresponding novel is far simpler – he just steals all the gold and makes a speedy getaway. Of course, he still meets a sticky end and is later strangled by Bond after his trusty accomplice Oddjob is thrown out of a plane (the fate that awaits Goldfinger himself in the film). Bond has a son in You Only Live Twice The most recent film No Time to Die famously gave Bond a daughter for the first time in the history of the movie series – but it's technically not the only time 007 has been a father if we take the books into account. In You Only Live Twice, Bond fathers a son named James Suzuki after he suffers from a bout of amnesia, but before the child is even born he abandons his mother Kissy so he can travel to Russia in a bid to rediscover his identity. Bond gets brainwashed by the Soviet Union and tries to kill M Bond and M have certainly had their disagreements in the films – but in the novel of The Man with the Golden Gun, 007 goes one step further and even tries to kill his superior, albeit after he has been brainwashed by the Soviet Union. This incident follows directly from the episode of amnesia described above, with Bond arriving in the Soviet Union and quickly falling under the influence of his enemies. Thankfully Bond is unsuccessful in his assassination attempt – and is soon deprogrammed. Bond is held at gunpoint while playing at a casino Few Bond fans would argue against the fact that Casino Royale is one of the most tense films in the Bond canon, but there's one sequence in the novel which is arguably even more dramatic than anything that happens in the film. In the novel, one key scene sees Bond covertly held at gunpoint while playing at a casino – with 007 having to somehow find a way out of it. Talk about high stakes! The entire plots of some novels While all of the novels have been loosely adapted for the big screen in one way or another, many of the films actually have very little to do with the books they're supposed to be based on – with Moonraker and The Spy Who Loved Me being two of the most egregious examples. And so there's still plenty of source material for the writers to lean on when crafting Bond 26 and other future films... Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. 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What happened to Halle Berry's James Bond spin-off that never was?
Jinx Johnson could have made the perfect lead for a 007 spin-off.
It’s always been rare for an A-list female star to face off against James Bond. No Time to Die has the scene-stealing Ana de Armas, Britt Ekland was already a name by the time she appeared in The Man with the Golden Gun and Michelle Yeoh was a household actress in China, but 007’s leading ladies tend to be younger, lesser-known actresses on the up. The one big exception is of course Halle Berry, who played CIA agent Jinx in the much-maligned Die Another Day. When she was cast opposite Pierce Brosnan for his final adventure as 007, Berry had already won an Oscar (and been nominated for another), starred as Storm in X-Men and made an infamous appearance in Swordfish alongside John Travolta and Hugh Jackman. Despite the film’s many, many faults – shoddy CGI, Madonna, Toby Stephens’s villain – Jinx is a charismatic standout and endures as one of the most popular Bond girls despite being in one of the least popular movies. In fact, she would have been perfect to lead her own action movie. Want to own the entire James Bond movie box set? Now's your chance Despite the Bond films running for 60 years and counting, there has never been a big-screen spin-off – no Blofeld origin story, no adventures of Q and Moneypenny, no action franchise based around Felix Leiter. But there was very nearly a Jinx stand-alone film featuring Berry reprising her role. After Jinx proved a hit with the fans, producer Barbara Broccoli had the idea of letting the American agent branch out on her own and front her own big budget action movie. There had earlier been talk that Michelle Yeoh would lead a Tomorrow Never Dies spin-off, but the Jinx movie was very real. The general idea was for an alternative series to run in conjunction with the main Bond films so that there was less of a gap for the studio between releases, with the Jinx spin-off intended to hit the big screen sometime in 2004. A script by regular Bond scribes Neal Purvis and Robert Wade was commissioned with the idea being that the film would be a Euro thriller more in the vein of The Bourne Identity than the glamorous globe-trotting jaunts people were accustomed to from 007. The film would also have seen the late Michael Madsen reprise his Die Another Day role as Damian Falco, who was basically her M. Javier Bardem, before his breakout performance in No Country for Old Men and later appearance in Skyfall, was also eyed as the male lead. Jinx even found itself a director in Stephen Frears – an odd choice given he was best known for his realistic dramas about British society such as My Beautiful Laundrette, Dirty Pretty Things and Prick Up Your Ears. All looked good but then MGM got very cold feet over the proposed budget of $80 million – even though that was nearly half of what it paid to finance Die Another Day. The early 2000s was marked with the emergence of female action heroes such as Angelina Jolie in the Tomb Raider films, Milla Jovovich in Resident Evil, Kate Beckinsale in Underworld and the trio of Cameron Diaz, Drew Barrymore and Lucy Liu in Charlie’s Angels, which only seems to emphasise the lost opportunity of a Halle Berry-led spin-off. Read more: Why GoldenEye 007 is still the greatest James Bond game On Her Majesty's Secret Service could have changed the Bond franchise forever Younger actors who auditioned for Bond didn't have the "gravitas", casting boss reveals According to Variety, Barbara Broccoli was not too happy MGM pulled the plug on the film. The publication wrote: "The play was foiled when MGM got cold feet about the film’s $80 million budget. "That decision left Broccoli incensed. One of her main goals as steward of 007 has been to shake off some of the chauvinism that characterised Bond’s appearances in the novels and early films." Berry herself has also acknowledged why her Jinx movie never saw the light of day: "It was very disappointing. It was ahead of its time. Nobody was ready to sink that kind of money into a Black female action star. They just weren’t sure of its value. That’s where we were then." Talk of Berry as Jinx recurred as recently as 2019 among Bond fans after her kick-ass appearance in John Wick: Chapter 3 – Parabellum where she plays a deadly assassin with a couple of dogs that are a little more than just good companionship. Berry’s role in John Wick also served as a reminder of what she and Bond fans lost out on when MGM shelved the spin-off in favour of pressing ahead with the 21st 007 film, which at that time still had Brosnan attached. Buy the James Bond novels from Waterstones With it now being 25 years since Berry played Jinx, the spin-off is going to remain the one that got away. With Amazon now owning MGM, it feels inevitable that Bond will be expanded to include spin-offs and other adventures away from the main series (especially with the ever-increasing gap between instalments). So why not have a female spy lead a spin-off? Ana de Armas's Paloma is right there. Visit our Film hub for the latest news and features. If you're looking for something to watch, check out our TV Guide or Streaming Guide. For more TV recommendations and reviews, listen to The Radio Times Podcast.
“Do you expect me to talk?” “No Mr Bond, I expect you to buy.”
He certainly likes to see the ‘double 0’ in price tags – British superspy, James Bond, lives a life of grandeur and luxury. Between the suits, the cars, and the price of a martini in Central London, it takes a lot to live like Bond. And, although we never see his pay cheque from MI6, it’s likely he gets well compensated for almost being killed every other week. So, to give you a better idea of just how pricey it is to be an international man of mystery, we’ve put together this guide of how much it costs to be James Bond. We’ve looked into all the elements that make up 007’s iconic persona, including his clothes, cars, technology, and all the little extras that come with it. Plus, we’ve added links to a number of shops so you too can say “Bond, James Bond” when you look in the mirror. But don’t worry, we’ve been a bit more flexible with prices. How much does it cost to be James Bond? Tom Ford Atticus Tuxedo suit – £4,390 For the last five Daniel Craig movies, 007 can be seen wearing suits by designer Tom Ford, including No Time to Die, in which he wore the Tom Ford Atticus Tuxedo jacket and trousers. The average Tom Ford suit costs over £3,000 and is made through expert Italian craftmanship. No wonder he looks so sharp! Shop Tom Ford suits at Selfridges Shop black suits from £50 at Suit Direct Tom Ford white shirt – £330 In the early days of Sean Connery and Roger Moore, Bond would often wear shirts with a two button ‘cocktail cuff’, which quickly became a small but important detail in his wardrobe. So, if we apply this design to a slim fit Tom Ford shirt, this would put the price at around £330. Shame he gets so many of his shirts bloody. Shop Tom Ford shirts at Selfridges Shop white shirts from £34.95 at Moss Turnbull & Asser bow tie – £125 Although James Bond has worn a variety of suits over the years, he will always be known for the classic bow tie look. In 2006’s Casino Royale, Daniel Craig was back in this iconic get-up and was sporting a tie made by Turnbull & Asser, a shirt-making company dating back to 1885 that helps make clothes for the royal family. They sell their bow ties for £125. Buy the Casino Royal bow tie for £125 at Turnbull & Asser Shop men’s bow ties from £24 at Moss Crockett & Jones black formal shoes – £520 In 2022, renowned shoemakers Crockett & Jones announced an official partnership with EON Productions, who make the James Bond movies. The company has provided the shoes for Skyfall, Spectre, and most recently, No Time to Die. In the latest movie, Bond can be seen wearing Crockett & Jones Highburys, which cost £520. Shop men’s formal shoes from £16.99 at Schuh OMEGA Seamaster diver watch – £9,500 007 first wore an OMEGA watch in 1995’s GoldenEye. It was the OMEGA Seamaster Diver and at the time costume designer Lindy Hemming, said: “I was convinced that Commander Bond, a naval man, a diver and a discreet gentleman of the world would wear the Seamaster with the blue dial.” This partnership has remained ever since. In No Time to Die, we see Bond sporting an OMEGA Seamaster Diver 300M in brown and orange worth £9,500. Meanwhile, Lashana Lynch's 007 wears a lighter OMEGA Seamaster Aqua Terra worth £6,200. Shop OMEGA Seamaster Diver watches from £2,320 at Goldsmiths Tom Ford O'Connor Grey Prince of Wales Suit – £4,090 Seeing as he can't wear black dinner jackets all the time, James Bond needs a few casual suits, too. Daniel Craig wore this stylish grey Tom Ford O'Connor Grey Prince of Wales Suit in No Time to Die, which costs £4,900. And let's be honest, he probably has one in every colour. N Peal Merino wool-cashmere army sweater – £379 One of Bond's memorable action looks in No Time to Die included this N Peal Merino wool-cashmere jumper, worth £379. Made up of 90% superfine Merino Wool and 10% cashmere, it's light, stylish and perfect for both date night and spy missions. Shop N Peal Merino wool-cashmere army sweater at Harrods Barton Perreira Joe sunglasses – £350 Even an international man of mystery needs to sun protection, but only with this £350 Barton Perreira Joe sunglasses of course. Shop Barton Perreira Joe sunglasses at AMeVista Aston Martin DB5 – £300,000 - £1 million We all know the classic Bond car. The Aston Martin DB5 first popped up in Goldfinger before making a warmly welcomed appearance in Skyfall. According to Car&Bike, the average 1964 Aston Martin would now cost about $744,000 (about £600,000), however we also know a modern Aston Martin can range between £300,000 and £1 million. Shop Aston Martins at AutoTrader Flat in Chelsea – £1,153,248 In the Ian Fleming books, Bond lives in a flat off the King’s Road in Chelsea. When authors John Pearson and William Boyd later wrote continuation novels, they identified him as living in Wellington Square, specifically. At the moment, the average price of a flat in Chelsea is £1.3 million, although the prices can range roughly between £295,000 and £4,000,000. Look at flats in Chelsea from £100,000 at Rightmove Martini (shaken not stirred) – £12 The average price of a cocktail in London is now *shudders* £12. So, for Bond to get his flirt on with a vodka martini he’s got to spend quite a bit. Especially if he’s going somewhere a bit more upscale. Shop cocktail experiences in London from £30 at Virgin Experience Days Speed boat – £9,500 Now, 007 doesn’t so much own a speedboat as he does steal one in most movies. But they’re an essential part of the Bond iconography, especially when it’s down the Thames. As such, we’ve included a link to a London speed boat experience so you can have your very own James Bond moment. For more Thames experiences, check out our guide to the best London boat tours. Buy Thames Jet Boat Rush for £72 at Virgin Experience Days Staying at a casino – $144 – $30,000 The casino in Casino Royale is actually fictional, so we’ve gone off the basis of the hotel branch Caesars for an idea of just how much this costs. At Caesars Palace in Las Vegas, room prices start at around $124, but they can go all the way up to $30,000 (£24,000). Caesar’s Palace has 25 private villas that have multiple bedrooms, bathrooms and pools, and they’re known for hosting high-profile celebrities such as Cher, Lizzo, and the Obamas. Shop casino stays from $144 at Caesars Nokia smartphone – £216 In No Time to Die, James Bond can be seen using a Nokia phone. The particular prop he used was just a prototype made for the movie, but Nokia phones are known for coming with a lower price tag, the most expensive we could find was the Nokia XR20 on EE for £216. Shop Nokia phones from £24.99 at Currys Sony Xperia smartphone – £1,399 Another phone Bond has been seen to use is the Sony Xperia, which appeared in Skyfall. Again, the exact model isn’t known, but if we go off the latest make this would put the price at around £1,399. Shop Sony Xperia phones from £24 a month at Mobile Phones Direct Security and spy camera – £179.99 Whether it’s the miniature spy camera in Moonraker, or the full-blown security setup you’ll likely find at MI6, Bond always needs security cameras. You just know his home is covered in them, so this would mean paying at least £159 for a good setup. Shop security cameras from £179.99 at Currys Sony VAIO TT laptop – £1,599 In Quantum of Solace, Bond uses the Sony VAIO TT laptop. These came out in 2008 and cost between £1,199 and £1,999, depending on the model. When the film was released, Sony produced a special edition engraved with the 007 gun logo. Now though, 007 would probably go for something a bit sleeker and lighter, considering how laptop technology has moved on. Shop Sony laptops at VAIO Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.
How to choose the next James Bond, with casting boss Debbie McWilliams
"There isn't an absolute ideal mould – there never would be and never should be, because otherwise, it just becomes boring."
For over 40 years, Debbie McWilliams has been a key figure in one of cinema's biggest blockbuster franchises. Having served as casting director on the James Bond films since 1981, she's cast dozens of colourful villains and leading ladies. She has also been tasked with picking the next 007 three times, playing an instrumental role in the hiring of Timothy Dalton, Pierce Brosnan and most recently Daniel Craig. She is, one might suggest, the unsung hero of the Bond franchise. "You touch a nerve there," she tells RadioTimes.com. "I am a member of the Academy, so I can vote in the Oscars, but I can't be nominated, and I have battled and battled and battled for years over this." BAFTA, she points out, only introduced an award for Best Casting in 2020, becoming the first major film awards ceremony to do so. "I find it really surprising – I think the trouble is that we don't assert ourselves enough, but we need to, because nobody else is going to if we don't. "I've written to the Academy again this year to say, 'There is a glaring omission, chaps, how about it?' – whether it will ever happen or not, I do not know. "It's really quite shocking, because it means that we remain a kind of second class citizen – although most casting directors now will get a single screen upfront credit, we're the only people who get that who are not eligible for an Oscar... and it's a disgrace, frankly." Though awards recognition appears long overdue (following our conversation, it was announced that the Oscars would indeed be introducing a new award to recognise achievements in casting from 2026), McWilliams insists she's happy with just "getting the job done" – she points to the evolving role and changing face of 'the Bond girl' as one of her proudest achievements. "It was quite a relief that it did start to demand a much more capable actress rather than just a pretty face," she says. "Without naming any names, there are one or two slightly dodgy bits of casting in previous films." Casting Monica Bellucci, then aged 50, as Lucia Sciarra in the 2015 film Spectre was a particular highlight. "I've had some incredibly nice emails from people who are just, you know, ordinary folks who've written all sorts of nice things – there was quite a whoosh of middle-aged ladies when it was announced that Monica Bellucci was going to be in it. They all went, 'Fantastic, a 50-year-old actress is going to be in James Bond!' – and, you know, obviously, she's not your average 50-year-old, but it just proved that the age really didn't matter." Want to own the entire James Bond movie box set? Now's your chance The easiest bit of casting was getting Dame Judi Dench to play Bond's superior M – McWilliams was convinced that Dench, a respected Shakespearean actress, would "never say yes" to a role in a blockbuster, but a personal connection between Dench and the late Bernard Lee, who'd played the original M from 1962 to 1979, meant she leapt at the opportunity to pay tribute to her friend. The most challenging part was Vesper Lynd, Bond's first true love whose betrayal and subsequent demise proves formative for the rookie 00 agent in 2006's Casino Royale. "Prior to that film, there had been a sort of stigma around the 'Bond girl' role and it was very hard to persuade serious actresses to even look at it. "Eva [Green] had always been on the list, but there had been a certain resistance to her – I don't really know why, but I think they felt that maybe she didn't have enough experience. She'd only done a few films and they'd all been very underground, low-budget type of things, but working with someone like Barbara [Broccoli, producer on the Bond series], who has just such a fantastic instinct, we both really, really liked her." Green's first screen test, however, didn't go according to plan. "I'm sure she would be the first to admit she was terrible," says McWilliams. "Nobody had put her in hair and make-up and all the rest of it, so it didn't do her any justice whatsoever, and rather terrifyingly we started shooting Casino Royale without having cast that part. In fact, we hadn't cast Le Chiffre [eventually played by Mads Mikkelsen] either... "But both Barbara and I insisted that Eva came back and had another go – this time, she was in hair and make-up, and she was in wardrobe, and she felt much calmer about the whole thing, and so that's what sealed it." There's one piece of casting in the Bond franchise, though, that generates more discussion and speculation than any other – that of the lead character. With Daniel Craig having bowed out with 2021's No Time to Die, actors linked to the role of 007 in the press have included Bridgerton's Regé-Jean Page, Henry Cavill, Aaron Taylor-Johnson, Idris Elba, Slow Horses star Jack Lowden, Tom Hardy, and James Norton. Most of the rumours make her "die laughing", McWilliams says. "I have a theory, which I've trotted out many times, is that when there's a gap in a newspaper, they fill it with a James Bond story, because they haven't got anything else to write about. Why people can't just wait and see, I don't know." There is "no set process" for casting Bond, McWilliams reveals – the number of actors she's met with for the part has varied with each new search. "When Daniel was cast, I met hundreds of people and travelled here, there and everywhere. Barbara Broccoli was the main advocate – she knew she wanted him pretty much from the beginning, but it was proving to everybody else which was the difficulty." Read more about Bond at 70: 70 years of James Bond – the past, present and future of the 007 novels How James Bond’s relationship with the LGBTQ+ community has changed Once an actor's casting is "pretty much decided", they'll then face a final hurdle of a filmed screen test. "It's really just to see how that person looks on screen, and how they respond, and how they feel sitting in that chair." As for the qualities that McWilliams is looking for when casting Bond, she says there's "lots to be taken into consideration" – chiefly though, the person in question must simply be "a brilliant actor" with physical ability and prowess. "There isn't an absolute ideal mould," she explains. "There never would be and never should be, because otherwise, it just becomes boring. "It's the best person for the job and one year it might be one person, one year somebody else – you can't really predict. There isn't an algebraic thing where we say, 'Right, we have this and we have that, and it equals that'. It just doesn't work like that." The approach to each new film and the desired tone will impact casting – the desire to have Casino Royale feel "more contemporary" led to Craig's casting, with the desire "to give Bond a bit more of a kind of menace". "You know, let's face it, as good as Pierce was, he's not a menace, whereas Daniel is – you feel a very strong presence in the room with him, and I think that that is incredibly important." Bond must always be athletic, but also able to blend into a crowd. "He has to look like a regular guy – you can't be Dwayne Johnson. He has to have a great physique – it demands a high level of fitness – but he shouldn't stand out in any situation." As for age, McWilliams explains that while younger actors did try out for Casino Royale, none of them quite fit the bill. "We did look at a lot of younger actors and I just don't think they had the gravitas, they didn't have the experience, they didn't have the mental capacity to take it on, because it's not just the part they're taking on, it's a massive responsibility. "So we kind of scrubbed that idea and went back to the drawing board and started again." That said, an older Bond doesn't necessarily mean an established movie star, with McWilliams pointing to the different levels of fame and success enjoyed by previous 007 actors prior to taking on the role. "The gift of casting a James Bond film..." she says, "... is you don't need to cast a well-known name." When the prospect of recasting Ian Fleming's spy looming once again, it'll no longer be long-time franchise guardians Barbara Broccoli and Michael G Wilson who will make the call – the pair have stepped back from day-to-day creative decisions, with Amazon MGM Studios assuming full creative control over the James Bond franchise. Previously, Broccoli and Wilson would've worked with McWilliams to pick the next Bond – though the studio would also have a view on the casting. Buy the James Bond novels from Waterstones "There's always a bit of back and forth and discussion," McWilliams says of her own role in the series. "I can't impose my will too strongly – although I try to! So no, there's always a level of discussion, but [it was always] Barbara and Michael who [would] have the final say." Without Broccoli, Wilson and McWilliams – who announced her retirement earlier this year – the Bond machine is entering a new era. For the first time in decades, the franchise’s most influential voices are no longer at the controls, leaving the search for the next 007 in uncharted territory – and raising the tantalising question of just what kind of Bond we might meet next. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
How James Bond's relationship with the LGBTQ+ community has changed
James Bond and LGBTQ+ representation may still have far to go but that does not mean fans from the community haven't always been there.
As one of the longest-running franchises in history, James Bond is both a literary hero and a cinematic one, providing thrills and spills to readers and viewers around the globe for decades. Through numerous guises from Cold War ice-cold killer to cheesy '80s action hero to the more grounded super-spy, Bond has had boasted various faces, foes and femme fatales to grapple with. As such, across the globe, Bond has made all types of fans and as a character engaged through numerous communities. One area that has only come into focus in recent years is the presence of the LGBTQ+ community in his stories and among his fans. So, where was there representation within the Bond novels by his creator Sir Ian Fleming? The James Bond books Of course, the novels by Ian Fleming were not the kindest when it came to LGBTQ+ representation, representing many of the negative tropes and values that were so prevalent in the era. Mostly, the LGBTQ+ representation was visible in the Bond villains. The novel Diamonds Are Forever introduced the first notable portrayal of LGBTQ+ individuals in the form of the mob assassins Wint and Kidd. The characters are total sadists and take particular pleasure in pouring boiling mud over a jockey’s face in one particularly memorable scene. The pair are quite indelible characters, Wint with his fear of international travel and Kidd with his "pretty-boy" appearance. Their respective phobia and feminine appearance go against the heteronormative ideals of masculinity and this association with "deviancy" is only further clarified when Bond’s close ally Felix Leiter voices his conclusion that the pair are gay. Leiter even notes that "some of these homos make the worst killers" in a rather derogatory comment. The pair threaten to kill Bond’s love interest Tiffany Case at the conclusion of the novel but Bond manages to murder them both, making them appear to have died in a murder-suicide, leaving them entwined in death too. After this, in the following novel From Russia with Love in 1957, Fleming created one of his most memorable antagonists in the form of Colonel Rosa Klebb, the head of Operations and Executions for the Soviet counterintelligence agency SMERSH. In the book, Klebb is described as "the oldest and ugliest whore in the world" and is an incredibly negative representation of a Soviet woman and of a lesbian. Klebb sexually harasses her subordinate Corporal Tatiana Romanova after an interview, approaching her in a nightgown. Klebb’s sexuality is overt and clear and she is also one of the chief architects of a plan to humiliate MI6 and Bond personally, attaching her sexuality to danger and a threat to Western ideals. The character also almost claims the life of Bond, leaving him at death’s door in the cliffhanger after stabbing him with a poisoned tipped blade attached to her shoe. Klebb was to be the person to kill Bond here too, as Fleming planned to end the series with this, but Bond was brought back. The character was dealt a throwaway fate in the following novel Dr No, where she is revealed to have died off-page. Meanwhile, the most siginificant and only vaguely positive representation on offer in the novels is in the 1959 novel Goldfinger, which features the prominent but problematic representations of lesbians. The most notable lesbian character is Pussy Galore - the innuendo-branded leading lady who first serves the villainous Auric Goldfinger with her gang of cat burglars. Ostensibly a villain to start with, the roguish Pussy and her team are referred to by Goldfinger as "a lesbian organisation" and the book goes on to address her backstory. Want to own the entire James Bond movie box set? Now's your chance Pussy reveals that she was sexually abused at the age of 12 by her own uncle and this is described as prompting her lesbianism and as avoiding sexual contact with men. Rather offensively, over the course of the story, Pussy’s morals shifting towards Bond and the side of "good" also comes with his managing to seduce her, giving him the ability to "fix" and to "turn" her with his sexual magnetism, leading to Galore aiding Bond in defeating Goldfinger. The character is therefore someone to be "fixed" due to her past as an abuse victim - not the first time Bond has done this either (see Honeychile Ryder in Dr No) - but also to mend her "deviancy" in criminality and in her sexuality. In addition to Pussy and her cat burglars, Bond is also joined by Tilly Masterton in avenging her sister Jill who was murdered by Goldfinger. Tilly shows no interest in Bond but her Queerness is evident when her attraction to Pussy is made clear, leading Bond to assume she is a lesbian. In the climax of the book, Tilly turns to Pussy for protection instead of Bond amid a violent battle between the CIA and Goldfinger’s forces - a symbolic rejection of heterosexuality for homosexuality. However, this decision to run to Pussy only results in her death at the hands of Goldfinger’s bodyguard Oddjob when he throws his razor-edged hat at her. As such, any lesbian women in the book are either 'redeemed' of their deviancy or are met with punishment. Finally, in Fleming’s final Bond novel The Man with the Golden Gun, which was released in 1965, the villain is also implied to be gay. The eponymous Francisco Scaramanga, the notorious assassin, is revealed to be unable to whistle. Almost laughably, Bond’s superior M notes a "popular theory that a man who cannot whistle has homosexual tendencies" – a surefire test of sexuality if ever you heard one. The suggestion is therefore that another of Bond’s enemies is a member of the LGBTQ+ community, even though realistically there is no substantial evidence to suggest he is. Evidently, the original Bond novels are not the place to find strong and positive representation of the LGBTQ+ community. Read more about Bond At 70: How to choose the next James Bond, with casting boss Debbie McWilliams 70 years of James Bond – the past, present and future of the 007 novels Casino Royale holds the secret to the next James Bond movie James Bond films The Bond films have naturally had a lot longer to develop and improve their LGBTQ+ representation over 60 years but the most positive steps have only occurred in the last few films. Like the novel, the 1963 film From Russia with Love featured Colonel Rosa Klebb (played by Lotte Lenya) and her lesbianism remained intact, displayed in her recoiling at the touch of SPECTRE trainer Morzeny (Walter Gotell) but most visibly in her interview with Tatiana Romanova (Daniela Bianchi), during which she caresses Tatiana while referring to the "labour of love" that Romanova is being enlisted for. Similarly to the novels, Klebb ultimately attempts to kill Bond but is shot dead instead by Romanova - the victim of her lustful harassment killing her instead here and later joining Bond for some passion on the canals of Venice. However, the lesbianism present in the Goldfinger novel is mostly absent in the 1964 film adaptation. Honor Blackman’s Pussy Galore remains a henchman of Goldfinger’s who turns to Bond’s side after he seduces her. The closest hint to her perhaps not being heterosexual is her claim that she is "immune" to Bond’s charms, but this remains threadbare. Meanwhile, no reference is made to Tilly’s lesbianism either, apart from an absence of interest in Bond. The character is also killed off by Oddjob earlier in the narrative and she never crosses paths with Pussy Galore as she does in the novel. The next film to hint at a gay character comes in the 1969 film adaptation of On Her Majesty’s Secret Service, where Sir Hilary Bray (played by George Baker) is subtly hinted to be gay. When Bond impersonates Bray, the ladies in an alpine health spa are shocked when "Bray" shows an interest in the ladies present, while Blofeld also notes that Bray would have never seduced the women in the spa when having a stand-off with Bond. Beyond these comments, however, Bray is not explicitly identified as being gay and his book counterpart is not even hinted to be. The following film, 1971’s Diamonds Are Forever, has to be the most overtly Queer offering in the film series but is once again associated with villainy. The characters of Wint and Kidd are adapted here, with the two characters being overtly displayed as a gay couple. In one scene, the two assassins are seen holding hands, referring to each other affectionately by their surnames, and Mr Kidd notes the attractiveness of Tiffany Case with the caveat "for a lady", to the chagrin of Mr Wint. The pair remain as sadistic as their book counterparts and Mr Wint’s love for women’s perfume is also present in both. Screenwriter Tom Mankiewicz commented in the audio commentary of the film: "It was a very risky kind of deal - the relationship between Mr Wint and Mr Kidd - we wouldn’t get away with it today." He added: "They were clearly two gentlemen who kept company with each other. Even though they’re vicious, they’re funny-vicious." The couple is portrayed as villainous but also comical - the butt of a joke. This is evident when they are dispatched by Bond in the final scenes of the film, as Bond throws Mr Wint overboard a cruise ship with a bomb between his legs before he explodes, with Bond drolly commenting that "he certainly left with his tails between his legs". The same film also features an all-female assassin duo named Bambi and Thumper, but there is less suggestion of a Queer relationship here other than displaying them as two scantily clad women who take sadistic pleasure in beating Bond together. In the same film, Bond’s arch-nemesis Ernst Stavro Blofeld (here played by Charles Gray) appears in a disguise at one point and surprises Tiffany Case by appearing in drag - an intertextual reference to Gray’s work in The Rocky Horror Picture Show, but another attaching of queerness to villainy. Further LGBTQ+ representation is absent until the Daniel Craig era of Bond, where representation finally gets more positive or at least a bit more fun. In Craig's debut film Casino Royale in 2006, fans were treated to a darkly comic and incredibly homoerotic torture sequence where a naked Bond is tied to a chair with its bottom removed as the villainous Le Chiffre (Mads Mikkelsen) swings a knotted rope against Bond's genitals. Bond responds with jokes, asking Le Chiffre to scratch an "itch" down there and to swing the rope in different places. It brims with sado-masochism despite the sinister implications of the scene. The scene is taken directly from the novel Casino Royale but here it carries some rather different undertones. It should be noted that this is one of the first instances of the films so overtly taking on an objectifying gaze of Bond as well as the women - with Craig having his own Ursula Andress moment, emerging from the waters of the Caribbean in incredibly tight trunks, with the camera lingering on his figure. Following on from this, the villainous Raoul Silva (played by Javier Bardem) captures Bond in a sequence of 2012's Skyfall and questions the captive 007. During the homoerotic scene, Silva caresses Bond’s bare chest, neck and face and then places his hands on Bond’s thighs, noting amid his questioning that "there’s a first time for everything". Bond then teasingly responds: "What makes you think this is my first time?" The moment is surely meant to be provocative to the audience but also is the slightest hint that Bond himself could be bisexual or has experienced same-sex sexual activity. The moment is not further expanded upon beyond this scene which is played more for laughs than as any serious character revelation. Regardless, the moment is a sign that the idea of a Bond who engages in queer behaviour is not unthinkable and the films are now happy to make such a suggestion. In the same film, Skyfall introduces the openly gay actor Ben Whishaw as the staple Bond character Q, but the character is not depicted as gay until the most recent 2021 Bond film No Time to Die, where the character is shown preparing for a date with another man. The detail is depicted in a matter-of-fact fashion and is quite minor, but is a landmark moment in a franchise with little positive representation thus far. Outside of some positive feedback from Russell T Davies, Whishaw told The Guardian in 2022: "Otherwise, no one has given me any feedback. So I’m really interested in these questions. And I’m very happy to admit maybe some things were not great about that [creative] decision." He added of the depiction: "I suppose I don’t feel it was forced upon the studio. That was not my impression of how this came about. I think it came from a good place." He admitted: "I think I thought, ‘Are we doing this, and then doing nothing with it?’ I remember, perhaps, feeling that was unsatisfying." Whishaw is unlikely to return to the franchise given the fact the narrative will need rebooting after No Time to Die. We will have to wait and see if the next stage of the film franchise will expand upon this thin representation. Buy the James Bond novels from Waterstones The James Bond fans Of course, while the LGBTQ+ representation in the Bond novels and films has mostly been negative or threadbare, this does not mean that the franchise has not appealed to the LGBTQ+ community throughout its entire history, because, well, it has. As detailed extensively and expertly on David Lowbridge-Ellis’s web page Licence to Queer, many of the Bond films and novels can be read through a Queer lens or offer Queer delights throughout - and always have done for many. As Lowbridge-Ellis notes: "Explicitly queer content was thin on the ground in both - and often blatantly homophobic. But queer people take representation wherever we can find it." There are numerous examples of how the LGBTQ+ community could be drawn to Bond or elements of the franchise - almost too many to spell out here. Bond himself is portrayed, particularly in the novels, as a snobbish ageing bachelor who obsesses over his appearance, and tiny details when it comes to cosmetic care, culture, food, alcohol and cars. A prototype for a more comfortable feminised masculinity - an early metrosexual if you will? Or perhaps it is in the Bond villains, already some of which are listed above, but many of whom who are "othered" or outcast by society for their backgrounds or appearance, meaning some Queer readers or viewers may find affinity with them. Also notably, the women of Bond have often been figures with a great degree of agency, extroversion and exaggerated femininity which can be empowering to many who are not heterosexual cisgender males. Bond women can also lean into more dominating and ostentatious feminine roles such as the characters May Day (played by the iconic Grace Jones) or Xenia Onatopp (Famke Janssen). The women of Bond also get to express their identity more abundantly through fashion, something which can be universally identifiable and a place to reclaim one’s strength - something many Queer people may feel a kinship with. Or alternatively, you may just love Madonna popping up in Die Another Day. Finally, whether it be the dramatic orchestral scores, the glamorous costumes and locations, or the wild mise-en-scene of the sets (particularly with the early films), the Bond films are also cinematic examples of excess in many guises and lend themselves to be interpreted as that thorny notion of "camp" - particularly with their most visibly retro trappings. So, what next? So, where should the Bond franchise go next with LGBTQ+ representation? Well, the most obvious answer is to just have more of it. The thinly portrayed homosexuality of Whishaw’s Q is a positive step and the first to come without any sense of negative connotations, but of course, more would most certainly be welcome. There is something oddly quaint and almost comedic about the way that Fleming’s books and films are so clearly of their time despite being offensively outdated. Yet, as one of the longest-running franchises in the world, Bond now has the opportunity to pick up the baton and run with it and grow representation in all directions - whether it be positive or negative, just a wider tapestry of experiences can never go far enough. Whether they be heroes, villains, or somewhere in between, 007 should see them all! Few are especially arguing to make Bond himself a member of the LGBTQ+ community, but the world he inhabits should have a few more colours of the rainbow. No Time to Die is available to stream on Prime Video, with other Bond films also available to purchase – try Amazon Prime Video for free for 30 days. Visit our Film hub for the latest news and features. If you're looking for something to watch, check out our TV Guide or Streaming Guide. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
70 years of James Bond – the past, present and future of the 007 novels
Corinne Turner, Managing Director of Ian Fleming Publications, reflects on 70 years of James Bond – and what the future holds for the 007 novels.
James Bond has been the work of Corinne Turner for over 30 years. During the course of those three decades, she has overseen the republishing of classics such as Casino Royale (which turns 70 today, 13th April 2023), Moonraker (her personal favourite) and the 12 other Ian Fleming penned novels (plus two short story collections) as well as continuing 007’s adventures with other authors. In her tenure as Managing Director of Ian Fleming Publications, Turner has kept the Bond machine powering forward into the 21st century, maintaining the legacy of the character but also developing him for a contemporary audience. To put it simply for film fans, she’s the Barbara Broccoli of the books. Which makes her the perfect person to catch up with to discuss 70 years of Britain’s favourite spy, the future of the books and one very special story fit for a King’s coronation. As we speak, it’s an exciting time for Bond fans. All of the classic novels are getting a reprint with very jazzy new covers, Kim Sherwood became the first woman to write a Bond book with last year’s Double or Nothing, and a special 007 story has been created to coincide with King Charles III’s coronation, aptly titled On His Majesty’s Secret Service. Buy the James Bond novels from Waterstones Of the upcoming novella, which will be released two days before Charles is anointed King, Turner says: “It came together very late. I wish we’d thought of it last year but it wasn’t until February when there was an announcement [on the coronation] that we sat down and said, 'Yep, we’ve got to do this.'” The author of On His Majesty’s Secret Service – the plot of which sees Bond thwart a shady plot to disrupt the King’s coronation – is Charlie Higson, who has prior experience with the character through his Young Bond spin-off series. On enlisting Higson for their royal mission, Turner says: “We only had a couple of months to do it and Charlie has always made it clear he wanted to do an adult Bond after the tremendous Young Bond stories so he was the perfect fit. It was originally supposed to be only 40,000 words but Charlie got carried away.” One of Turner’s biggest challenges is keeping Bond fresh for a 21st century audience especially as the character doesn’t always lend himself to modern sensibilities, with the key being finding the right authors: “You need to find somebody who will enjoy doing it, someone who really loves the books, someone who can both work from Fleming and also create something fresh. The films can change actors and we can change authors.” Want to own the entire James Bond movie box set? Now's your chance She later adds: “You also need to find somebody who understands what’s going on in 2023. James Bond has changed over the years, in the films he changes and in the books he also changes to suit the current audience.” Anthony Horowitz, who has written three Bond novels over the last decade, was fortunate enough to be able to pull from leftover Fleming material that was initially written for a planned but ultimately scrapped TV show. That of course prompts the enquiry of there being more Fleming papers for future authors to pull from but it looks as if the author’s archives have been more or less emptied: “We actually used a couple of TV scripts and outlines of TV scripts that Ian had written and he’d already turned a lot of them into his own short stories. There were a couple he hadn’t but there’s not a lot left. Nothing particularly substantial, I’m afraid.” Read more about Bond at 70: How to choose the next James Bond, with casting boss Debbie McWilliams Casino Royale holds the secret to the next James Bond movie How James Bond’s relationship with the LGBTQ+ community has changed On Her Majesty's Secret Service could have changed the Bond franchise forever So what does the future of James Bond in book form look like beyond On His Majesty’s Secret Service? Well, there are plans and lots of them, it’s just that Turner runs a tighter ship than M and there will be no leaks or hints here. But she does say big things are coming. “We have things in the pipeline but like Bond’s world, it’s on a need to know basis. If I told you, I’d have to kill you. But we do have exciting things in the pipeline. What we don’t do is work to a tight schedule. We put something out because it’s quality and the right project. If it’s not right then we won’t do it. We’ve got to do Ian Fleming proud.” As the world’s most famous spy hits 70 with a gulp of a Vesper martini, he remains as popular as ever. The news of who will replace Daniel Craig as the movie’s Bond is a permanent fixture of gossip both online and off and the announcement of Higson’s novella generated more publicity than most full-length novels. James Bond is as much of an icon of British pop culture as Shakespeare or the Beatles, but why is that? Turner, who is better placed than virtually any other living person to answer, says: “It’s fantasy. It’s escapist. They’re not too serious. You can actually enjoy yourself. And honestly, the films do a fantastic job of keeping him fresh.” No Time to Die is available to stream on Prime Video, with other Bond films also available to purchase – try Amazon Prime Video for free for 30 days. Visit our Film hub for the latest news and features. If you're looking for something to watch, check out our TV Guide or Streaming Guide. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
On Her Majesty's Secret Service could have changed the Bond franchise forever
Oh what could have been. On Her Majesty's Secret Service is outlier of the Bond franchise, but if it had been given more credit then we would have a very different 007 now.
With James Bond’s long history of replacing, recasting, and evolving to suit the times, it’s easy to forget the franchise’s first-ever reboot – mainly, because it was shortly after un-rebooted. The more sophisticated Bond nerds among you, however, will remember that it was On Her Majesty’s Secret Service (OHMSS), the film that famously reduced Sean Connery to “the other fella” and found a new lead in Australian model George Lazenby. Very much the ugly duckling of the Bond franchise, OHMSS has gone from pariah to tolerated to under-appreciated classic, to the extent that the most recent film (No Time to Die) paid tribute to it in a big way – but I’ll come back to that. Released in 1969, OHMSS follows a new, younger Bond as he discovers Ernst Blofeld’s plans to hypnotise women in the Swiss alps and have them distribute dangerous bacteria across the world. Read more about Bond at 70: Younger actors who auditioned for Bond "didn't have the gravitas" What happened to Halle Berry's James Bond spin-off that never was? James Bond casting director reacts to next 007 rumours Out of all the early Bond movies, this one sticks closest to Ian Fleming’s original novel and even includes the tragic storyline of Bond and Contessa Teresa “Tracy” di Vicenzo (played by Dame Diana Rigg). Moving away from the traditional Bond-girl formula, 007 and Tracy fall in love throughout the movie and wind up getting married, but just as they head out on their honeymoon, the pair are caught in a drive-by shooting and Tracy is killed – quickly ending the superspy’s first and only real relationship with the heart-breaking line “we have all the time in the world”. This ending is definitely part of what makes this film so different, but more so is the fact that Bond falls in love in the first place. During the film, Lazenby brings forward a much softer and wide-eyed Bond, closer to his book counterpart. Where Connery was the stereotypical cocky spy who couldn’t be tied down, this version has emotion and moments of vulnerability throughout. Read more: How to choose the next James Bond, with casting boss Debbie McWilliams In one scene, Bond flees from the villains, and actually cowers until he’s brought back to himself and saved by Tracy. In another, he tells his soon-to-be-bride he’d rather quit being an agent than go back to “only caring about himself”. When reflecting on the film, Lazenby said: “Being in the '60s, it was love, not war. You know, hippy time. And I bought into that.” He also added in another interview: “It’s a good story – it’s got a lot of things in it that people can relate to in life, like marriage and love, which Bond doesn’t usually have, generally speaking.” Buy the James Bond novels from Waterstones Don’t get me wrong, he still sleeps with a dozen women in the film. Plus, even in the scene where Tracy dies, director Peter Hunt said: “Cut – James Bond doesn’t cry. Get rid of the tears.” But there’s something so much rawer about this version that we never got to see before. Unfortunately, that didn’t go down too well. Some reviews, like the LA Times were accepting, saying: “It is also the first of the films in which Bond is allowed any genuine claims to humanity, real feeling and sentiment [...] Humanity was the only course left for the Bond series, since the reliance on mechanical gadgetry had about run its course.” While others wrote: "I ... fervently trust (OHMSS) will be the last of the James Bond films. All the pleasing oddities and eccentricities and gadgets of the earlier films have somehow been lost, leaving a routine trail through which the new James Bond strides without noticeable signs of animation." And: "Devotees will note that Sean Connery, the virile, suave conqueror of all those dastards and dames in the five previous capers, has given up his 007 Bond credentials to George Lazenby [who is] merely a casual, pleasant, satisfactory replacement.” Plenty of critics also picked up on Lazenby’s acting, which he admitted himself could have been better. The New York Post wrote: “[His] acting is noncommittal to the point of being minus.” The movie made $82 million at the box office but was still considered a big failure as it seems that the 1960s weren’t ready for Bond, James Bond, to show his inner self. As such, when George Lazenby left the series and Connery returned for Diamonds Are Forever, everything was as it once was. In reality, I think they even made Bond worse after this. Roger Moore’s slightly more comedic version doubled down on the jokes but left out any hint of Bond being human. When he wasn’t cocking his eyebrow, he was, well... Timothy Dalton might also have saved things with his gritty attitude and revenge-rage in Licence to Kill, but once again, the world wasn’t ready for a three-dimensional Bond and he was axed by the '90s. But, finally in Daniel Craig’s era, OHMSS gets the justice it deserves. Not only is Craig a real, sensitive Bond who carries the death of his love Vesper with him throughout the five-movie series, but his last film makes several direct references to the 1969 film. Want to own the entire James Bond movie box set? Now's your chance In No Time to Die, the music of OHMSS (by Louis Armstrong) is played over the scene where Craig’s Bond and Madeleine drive over the clifftops of Italy. The title sequence then features a ton of imagery from the 1969 movie, including tridents, hourglasses, and clock faces. As the film goes on and Bond finally considers settling down, the tragedy of OHMSS is a constant presence, until Bond’s final scene, where he tells Madeleine “you have all the time in the world”. For me, that last line was the franchise asking OHMSS for forgiveness, and praising the late great Diana Rigg for her work in that film. It acknowledged that Bond should have been a rounded figure from the start and that emotion has a place in the life of an international man of mystery. It said, ‘why didn’t we do this sooner?’ To be clear, I know OHMSS isn’t perfect, just as I know that George Lazenby was not the man to lead Bond into a new era. But what I also know is that, had the film been given a bit more credit, it wouldn’t have taken another 37 years to give Bond the sort of emotional depth we see from the character. In fact, Bond could have spent years as a layered and relatable hero, rather than a pun-toting womaniser; storylines like Vesper’s in Casino Royale, would feel less like a shock to the franchise and perhaps we could have seen how each and every Bond girl had an impact on his life. But at least I can safely say that we’ve got there now. Plus, it doesn’t seem like Bond’s going anywhere, so, when it comes to developing a softer, more emotional 007 – my dear, we have all the time in the world. James Bond films including No Time to Die, Casino Royale and many more are available to rent or buy on Prime Video. Sign up for a 30-day free trial and pay £8.99 per month after that. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Why GoldenEye 007 is still the greatest James Bond game
As the James Bond books reach their 70th anniversary, the team at RadioTimes.com having been looking back at the famous spy's many iconic outings. But in the gaming world, there's one adaptation that stands above all others: of course, it's the legendary GoldenEye 007 game from the N64 era. It was made by the British studio Rare and published in 1997, but why is GoldenEye 007 still the best Bond game? We've answered that question in the handy little video above, which is chock-full of gameplay footage that will flood your mind with nice warm feelings of nostalgia. We'll also roll out our thoughts in written form below in a bit more detail, so have a read once you've watched the video. And don't forget to check out all the other Bond at 70 articles across our website. The legendary multiplayer Why is GoldenEye 007 the best Bond game? Well, for some people, there will be one main reason, so let's address the tuxedo-wearing elephant in the room before we go any further. It's worth stating right off the bat that the game's four-player multiplayer mode remains the stuff of game night legend. Duking it out with your pals has always been so much fun, and now you can do it online (with a Nintendo Switch Online subscription). Back in the day, you'd be huddled around a chunky TV at a friend's house, trying not to blow yourself up with a rocket launcher as you snuck around several memorable maps in search of a buddy to murder in cold blood. Read more: How to choose the next James Bond, with casting boss Debbie McWilliams Nothing sends the endorphins into overdrive quite like hiding in a toilet as you detonate a remote mine and kill one of your bitter rivals. And on the flipside of that, there's nothing quite as frustrating as being killed out of nowhere, seeing the blood drip down your quadrant of the screen as the sombre 'you died' music plays. You could easily lose a whole evening to GoldenEye multiplayer, and it would probably get heated at some point. There would always be someone that wanted to boycott the powerful Oddjob character, while others would prefer to get silly by choosing rules like ‘Slappers Only’. Certainly, if you didn't have an N64 at home, you were likely to get absolutely mullered by the people that knew all the tips, tricks and hiding places in each level. That was all part of the fun, though, as this game put friendships to the test in a major way. For England, James! Read more about Bond at 70: On Her Majesty's Secret Service could have changed the Bond franchise forever What happened to Halle Berry's Jinx Bond spin-off that never was? Younger actors who auditioned for Bond didn't have the "gravitas", casting boss reveals The underrated campaign As much as the multiplayer was fun, though, there's another element of the game that also deserves recognition. The GoldenEye 007 single-player campaign was great, too, literally putting you in Bond's head (with those memorable level-starting scenes). More than just a way to learn the controls before heading into multiplayer (as many shooter campaigns are these days), the story mode in GoldenEye 007 still holds up as an excellent game in its own right. Want to own the entire James Bond movie box set? Now's your chance If the multiplayer didn't exist, we wager that this solo spy simulator would be a lot less underrated. And one thing's for sure: away from the chaos of shouting at your friends, the game's brilliant musical score really shines through in the campaign. The ominous environments and instantly recognisable graphics now look better than ever, too, especially in Rare's remastered version on Xbox Game Pass. The gunplay was always enjoyable, whichever difficulty you chose to play on. The game would give you extra objectives on the harder difficulties, too, which remains a really cool feature. Some missions required stealth and smarts, while others involved brute force and blowing stuff up. And with the game giving you a score card at the end of each run, remembering the minutes and seconds it took you to beat the level, there was always a reason to try it all again and see if you could beat your time. Adding to authenticity GoldenEye 007 also had a great approach to authenticity, adapting the source material and adding to it, rather than slavishly copying the film script. Compared to some movie tie-in games, GoldenEye 007 goes the extra mile to give you something more. As much as it allowed you to replay the events of the GoldenEye film, and Pierce Brosnan's likeness was relatively accurate-looking for the time, the game also added a lot of elements that you won't have seen on the big screen. Sure, you'd bump into Sean Bean's character and be reminded of a specific moment of the film, and the use of those iconic melodies on the soundtrack also supported that official and worthwhile feeling from a movie-fan perspective. But on top of that, you'd hear new tunes and play out new missions that added to the tapestry without tarnishing it. The developers came up with lots of new ideas, adding in the Severnaya, Kirghizstan, Egpyt and Aztec missions to expand Bond's adventure beyond what could fit on the cinema screen. And with all the bonus characters to unlock in multiplayer (including the aforementioned Oddjob from Goldfinger), the game managed to hint at the wider Bond mythos as well. Rights issues stopped the developers from including other Bond actors, though, which would've been a cool touch in multiplayer. Buy the James Bond novels from Waterstones The fun factor And finally, let's not forget that GoldenEye 007 is an absurdly fun game. If there's a secret sauce to be found here, it's probably the child-like sense of glee that the developers brought to the project, clearly thrilled to be working on the Bond licence (to kill). One of first indications of this joyously silly undercurrent, were the little messages that M, Q and Moneypenny would send you before each mission. If you took the time to read these instead of skipping ahead, you will have found wry little jokes from all senders, including some light flirtation from Moneypenny (which absolutely nails Bond's tongue-in-cheek tone). And then, if you beat the early Runway mission in under five minutes on the easiest setting (not exactly a challenging task), you will have unlocked your first actual cheat in the game. DK Mode, it's called, and it gives all of the characters a massive bobble head. You may have only learned later, perhaps while watching the enjoyable GoldenEra documentary last year, that many of those massive heads had a hidden meaning. Most of the enemies you face in GoldenEye 007 are modelled on the game's actual development team, which is a nice little Easter egg with harrowing implications (the developers are literally trapped forever in their own creation). If you dug a little deeper, perhaps reading a guide in a magazine or hearing about it from a friend (remember that this was the 1990s), you could have discovered loads of other wacky cheats including Tiny Bond, Turbo Mode, Paintball Mode and Enemies With Rockets. Seeming to feed off the obvious enthusiasm of the developers, fans have built a community around the game that has lasted the test of time, uniting en masse to make fan films and mod GoldenEye onto modern systems (long before the recent remasters came out). Fans have also found ways to keep on challenging themselves. For example, why not try to do a 'Slappers Only' run of the entire campaign? View oEmbed on the source website All these elements combine to make GoldenEye 007 the greatest Bond game to date. Its multiplayer was the stuff of legend, its campaign was brilliantly varied, its approach to authenticity was awesome and open-minded, the fun factor was off the charts, and the fans kept the GoldenEye 007 train going even throughout the lengthy legal hoo-ha that prevented it from being re-released for so long. Other Bond games, including the ill-judged Daniel Craig take on GoldenEye, haven't even come close. Coming up, the makers of the recent Hitman games are being given a shot with the Bond licence, which is certainly one we'll be keeping an eye on. They'll have to do a hell of a job to make a game as good as GoldenEye 007. Bond has been going for 70 years, and none of the other games have matched up to this one. If you haven't already tried out the versions that were recently ported to Switch Online and Xbox Game Pass, don't hesitate to jump in! undefined Subscribe to our free Gaming Newsletter for weekly insights, and visit our Gaming hub for all the latest news. Looking for something to watch? Check out our TV Guide or Streaming Guide. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home — subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Why James Bond's next era should return to the Cold War
James Bond is an icon of the Cold War – we should see him back there...
How many more times can we have a Bond film where we have it hammered home to us just how much of a relic its protagonist is? In case you didn’t know, James Bond is a "relic from the Cold War", something we’ve had spelt out in pretty much every film since Dame Judi Dench's M labelled him such in the 1995 film GoldenEye. The character of James Bond, when he debuted on our bookshelves in Ian Fleming’s 1953 novel Casino Royale, was a hero of his moment - espionage was the battleground in the Cold War and fitted in with the paranoia and international playing field of world superpowers. Joining this with British colonialism, misogyny, explicit racism, and brute force - Bond was truly a figure of the establishment. Read more: How to choose the next James Bond, with casting boss Debbie McWilliams Since the end of the Cold War, the James Bond films have explicitly addressed the now archaic leanings of Bond’s character but still played along with some of the old-fashioned tropes - including innuendo names for female characters. Most recently, Daniel Craig’s films attempted a complete reboot of the character for the modern age, starting out with a grittier realism that leant on other contextual fears around the character and how Bond’s colder penchant for killing was one of his few unique selling points, and actually going rogue against the system he was employed by often served a greater good. The women became more emotionally rich and well-rounded and his relationships with them deeper, and if any were casual then it was mutually approached as such. However, after two films about a fresh 00-agent, Bond swiftly soon became the jaded veteran agent who was treated as an artefact from a lost time once again. The truth is that he is a spy from a bygone era now in the time of cyber espionage, drones, and recognition of systemic corruption - so the character is portrayed as an old-fashioned hero chafing on the restrictions and values of today while the films around him try to embrace the new in the present day. The villains of the films also tried to capture some modern establishment anxieties - financial terrorism, environmental terrorism, cyber-terrorism, and anarchy. Yet, that approach can only work for so long - as evidenced by the move towards antagonists with intensely personal connections to Bond or his loved ones. Instead, the films should now take Bond back to the era in which he truly belongs and portray the issues of when he lived through a modern lens. Getting to enjoy the retro styles and iconography of the 1950s and 1960s will also bring its own visceral pleasures - and likely trigger a renewed love of the era’s cultural touchstones. However, tackling these with modern filmmaking and sensibilities could also allow a great depth to both Bond and the world he inhabits. Of course, it could prove disheartening for some to see their hero thrust back into outdated political outlooks but perhaps this James would develop into a character with values which are not quite so archaic in his stances here, even if the world around him is portrayed as such. 'Purist' fans of the books and the lead character would likely baulk at a complete rewriting of Bond’s background - Eton-educated orphan, etc. - so why not embrace it and the privileges it has and perhaps show these issues and how they existed in reality? The characters around Bond and those he interacts with could instead show a diverse array of backgrounds and walks of life, but in a harsher and more restrictive cultural context they could also give added depth of experiences and vision to Bond without impacting on the thrills, spills and automobiles, too. They could call out these issues in a time in which they were more obviously prevalent and draw parallels to modern-day struggles. Read more about Bond at 70: Bond casting boss reveals surprising reason Judi Dench accepted M role What it takes to be James Bond – the audition test every 007 has to pass I finally watched old James Bond and it's not as bad as expected This would help to keep realism alive and well too, showing the pressures of Cold War espionage without travelling too far into the realms of science-fiction as some more modern Bond films have in a bid to make him still feel like the person to protect Britain and the world from threats. Evidently, many of the most highly praised Bond films in recent years have been the ones that embraced a slightly more grounded version of the character, with the likes of GoldenEye, Casino Royale, and Skyfall all existing a bit more in the realms of possibility but still offering blockbuster thrills. Alternatively, it should be noted that such a change of era does not need to be a permanent change. We are used to Bonds lasting for a handful of films and with Craig’s more serialised era ending so abruptly and requiring a narrative reboot, it might be an idea for such an approach with each new iteration. Perhaps a key possibility of venturing back in time for a period would be to also adapt and draw on the material of Ian Fleming that has also not been used to its full potential. For example, one of the most praised Bond novels, Moonraker, was never truly adapted for the screen but it does feel heavily reliant on his historical context to exist - Nazi-era villains, nuclear fears, etc. Want to own the entire James Bond movie box set? Now's your chance The recent Bond novels by author Anthony Horowitz have further examined Bond in his original settings in the timeline of Fleming’s novels, further filling in the character’s backstory and approaching female characters such as Pussy Galore and Loelia Ponsonby (Bond’s secretary) with greater sensitivity and depth of character and without the inherent bigotry of Fleming’s texts when it came to issues such as race, sexuality and gender. Perhaps these could also prove a starting point, even if not straight adaptations of these books then also to tackle issues in a similar vein to Horowitz's recently acclaimed work. Also, in a subtler way, the franchise could still show the relevance of Bond today. As the modern Western world sees a rise in far-right extremism and increased nuclear anxieties, some of these issues feel more timeless than ever and this could address those problems without making audiences feel like they are losing escapism or having their hand held through real-world issues with heavily sign-posted analogues to contemporary problems. Buy the James Bond novels from Waterstones Ultimately, in many ways, it would be time for Bond to go back to basics - embrace its rawest roots and tackle them head-on with a modern creative flair and renewed sensitivity and diversity of experience and thought - all while leaving us still shaken and stirred. No Time to Die is available to stream on Prime Video, with other Bond films also available to purchase – try Amazon Prime Video for free for 30 days. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. 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Test your James Bond knowledge – name the 007 film from 1 frame
Think you're a 007 expert? Take our quiz below...
With James Bond turning 70 this year, we've seen an awful lot of the iconic British spy and his many iterations, from his on-screen debut by Sean Connery in Dr. No to Daniel Craig's swan song No Time to Die – but can you tell the difference between GoldenEye and Live and Let Die? It's time to put your Bond knowledge to the ultimate test with RadioTimes.com's exclusive quiz, asking fans to identify which film these various frames are from. Read more: How to choose the next James Bond, with casting boss Debbie McWilliams While we start you off easy with a shot of Pierce Brosnan, the frames get progressively harder so let's hope your confidence isn't left shaken (not stirred). View Riddle on the source website The quiz is the latest in RadioTimes.com's Bond at 70 celebration, marking seven decades since the first of Ian Fleming's James Bond novels was published in 1953. Buy the James Bond novels from Waterstones Fleming's first novel in the series was Casino Royale, published on 13th April 1953, however it wasn't until nine years later when Sean Connery became the first on-screen 007 in 1962's Dr. No. Since then, we've seen five actors portray the iconic spy – the latest being Daniel Craig from 2006 until 2021, however we're yet to find out who'll be the next star to take on the mammoth role. Want to own the entire James Bond movie box set? Now's your chance Whoever the next Bond is will need to pass an incredibly rigorous audition and several names have been suggested over the past few years, although casting director Debbie McWilliams recently told RadioTimes.com that most of the rumours makes her "die laughing". Read more: How much does it cost to be James Bond? I finally watched old James Bond and it's not as bad as expected Licence to Kill didn't fail – it's one of the most influential Bond films James Bond films including No Time to Die, Casino Royale and many more are available to rent or buy on Prime Video. Sign up for a 30-day free trial and pay £8.99 per month after that. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what’s on. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
How Roger Moore saved the James Bond franchise
This year marks 50 years since Moore's first appearance as Bond in Live and Let Die.
This year marks 70 years since Ian Fleming’s first James Bond novel Casino Royale was published in 1953 – but that’s far from the only 007 landmark we’re celebrating in 2023. This summer will also mark half a century since Roger Moore first appeared as the iconic double-00 agent in Live and Let Die, which kicked off a seven-film run that has divided the franchise’s fanbase ever since. Indeed although Moore appeared in more films than any other 007 before or since, some Bond aficionados have often dismissed much of his tenure – writing him off as an actor who too often played up the corniest aspects of the character at a time when the franchise was putting out some of the worst of its 25 films to date. Read more: How to choose the next James Bond, with casting boss Debbie McWilliams And sure, even the most ardent admirer of Moore’s stint would be prepared to admit there are at least a couple of duds in that seven-film stretch. Despite boasting a memorable villain in Christopher Lee’s Francisco Scaramanga and a brilliant Hall of Mirrors final showdown, much of his second outing The Man With The Golden Gun is fairly disposable, for example, while several of the more outlandish efforts from later in his run do take the series’ more silly aspects to rather embarrassing heights – Moonraker serving as perhaps the most commonly cited example. But even if not all of his films stand as bonafide classics today, Moore’s importance to the franchise should not be underestimated. Quite apart from the fact that the high point of his tenure – specifically the terrific 1977 flick The Spy Who Loved Me – is among the very best films the series has to offer, perhaps his greatest significance is that he finally offered proof that there was life in Bond outside Sean Connery. It’s easy to forget that immediately prior to the release of Live and Let Die the franchise was in rather a poor state. The previous attempt to replace Connery with George Lazenby for 1969’s On Her Majesty’s Secret Service had been considered something of a disaster - even if Lazenby’s sole film is now regarded by many 007 devotees as the Bond film par excellence – and so it was absolutely vital that the perceived mistake could not be repeated. Want to own the entire James Bond movie box set? Now's your chance Continuing to lure Sean Connery back with ludicrous sums of money, as had been the case with 1971’s Diamonds Are Forever, was not going to be a sustainable practice for keeping interest in the franchise alive, and so it had to be proved once and for all that this was a character and a series capable of evolution and reinvention. And say what you like about Moore’s films, it can’t be denied that great efforts were made to move the franchise in new and interesting directions. Not only was Moore’s take on the character notably more light-hearted than Connery’s interpretation, but several of the films tapped into existing trends considered appealing to cinemagoers of their day – from the nods to the ‘Blaxploitation’ genre throughout Live and Let Die to the more sci-fi-orientated hijinks in Moonraker (released just two years after the monumental blockbuster success of Star Wars). In other words, these films proved that the Bond formula was more flexible than might previously have been imagined, showing that they could still deliver all the gadgets, scenery-chewing villains and exotic locales that existing fans of the franchise knew and loved, while also offering something a little different. And so even if the lighter tone that most of these flicks adopted might not have been everybody’s cup of tea, they were undeniably instrumental in establishing the franchise as more than just a one-trick pony. Read more about Bond at 70: 9 times James Bond predicted the future with his gadgets All the biggest bits from the Bond novels that haven't made it to the screen How much does it cost to be James Bond? Of course, regardless of your takes on the films themselves, there are many other things that can be said in praise of Moore. It’s worth noting, for example, that he had always been the first preference of Ian Fleming himself, who had originally not been particularly sold on the idea of Connery as Bond (although he did eventually come round to the Scot’s portrayal). But it’s in proving that Bond could be more than just one thing and managing to move the focus away from Connery that Moore’s greatest success lies. With the series having successfully – and sometimes not so successfully – reinvented itself on numerous occasions since, Moore’s pioneering stint should be remembered as the one that first really moved the dial. Buy the James Bond novels from Waterstones It’s arguably because of that reinvention that Bond remains relevant today – and with producers once again working tirelessly to find the next man to carry on the 007 mantle, that ability to evolve the character into something different should be kept in mind. In fact, after the largely very serious Craig era, perhaps it's time for the franchise to lean into its silliness a bit more once again – the world needs another Roger Moore. James Bond films including No Time to Die, Casino Royale and many more are available to rent or buy on Prime Video. Sign up for a 30-day free trial and pay £8.99 per month after that. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what’s on. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Bond casting boss reveals surprising reason Judi Dench accepted M role
Debbie McWilliams, casting director on the Bond series, was convinced Dench would turn down the part.
Dame Judi Dench's M is an iconic figure in the James Bond franchise, with a version of the character having appeared in eight movies. However, speaking exclusively to RadioTimes.com for our Bond at 70 season, Debbie McWilliams – casting director on the 007 film series since 1981 – revealed that she never expected Dench to accept the part. Read more: How to choose the next James Bond, with casting boss Debbie McWilliams "I tell you who I thought wouldn't be an easy part to cast and who actually was the easiest part was Judi Dench," McWilliams explained. Buy the James Bond novels from Waterstones "I thought, 'She's never going to say yes to this – a huge commercial film and she's the top Shakespearean actress in the world.'" It was a personal connection to actor Bernard Lee – the original on-screen M who had portrayed Bond's boss in 11 films opposite Sean Connery, George Lazenby and Roger Moore – that influenced Dench's decision to sign up. Want to own the entire James Bond movie box set? Now's your chance "When she was a drama student, she had been a lodger in Bernard Lee's house," McWilliams recalled. "She had a huge fondness for him. and so when this opportunity came up, she went, 'Well, of course, I have to do it,' and so that was an easy one." Dench became only the third actor to portray M in the official Bond series – following Lee and Robert Brown – when she took up the mantle for 1995's GoldenEye starring Pierce Brosnan as 007. Read more about Bond at 70: How Roger Moore saved the James Bond franchise I finally watched old James Bond and it's not as bad as expected What it takes to be James Bond – the audition test every 007 has to pass In the wake of the character's demise in 2012's Skyfall, Ralph Fiennes's character Mallory became Daniel Craig's superior, though Dench's iteration made one last posthumous appearance in 2015's Spectre via video message. View Green Video on the source website No Time to Die is available to stream on Prime Video, with other Bond films also available to purchase – try Amazon Prime Video for free for 30 days. Visit our Film hub for the latest news and features. If you're looking for something to watch, check out our TV Guide or Streaming Guide. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
I finally watched old James Bond and it's not as bad as expected
As a Bond beginner, Dr. No was a pleasant surprise.
I’ve seen the Daniel Craig movies – I’m not a complete philistine – but I’ve never seen any of the other James Bond films. Raised on the diet of ‘modern’ Bond, I’m accustomed to somewhat three-dimensional female characters, Craig’s 007, his emotional evolution and chivalry and, of course, a general sense of the franchise’s maturation as it moves on from the less savoury choices of its youth. Naturally, Bond being the behemoth it is, even if you haven’t seen it all, you know the deal; warnings of rampant sexism, cautions about clangers and pained mentions of ambiguity (at best) around consent ring in your ears at the mere mention of the Sean Connery days. As a perpetually Angry Feminist, it doesn’t bode well – unless you’re an editor looking to be tickled by the reactions of shellshocked writer delving into Dr. No for the first time. Want to own the entire James Bond movie box set? Now's your chance Ahead of my assignment, a colleague pings me a YouTube link to the Goldfinger (1964) clip in which Connery dismisses his masseuse, Dink (Margaret Nolan), upon the arrival of Felix Leiter (Cec Linden) with a sharp smack on the bottom and the command: "Dink, say goodbye to Felix – man talk." "Man talk"! My jaw drops and I laugh – stunned. It’s like a parody of its own legacy, even as its reputation precedes it. Nonetheless, I settle in to watch the very first Bond film for the very first time, braced but excited. Of course, it’s impossible to approach without any prejudice because James Bond, his swagger and modus operandi are as ubiquitous in British pop culture as it’s possible to be. I can but try. What strikes me almost instantly, as someone who has never been able to summon the slightest bit of attraction towards Connery, is the feeling of something clicking into place. Ah, I get it now. In context, the strong nose and brows, the slick demeanour and liquid-centre eyes finally make sense – still not fanciable but at least it tracks. Unfortunately, it’s only a matter of minutes before 007 has literally referred to Moneypenny (Lois Maxwell) as “property”. The women in this spectacularly stylish world are quickly and efficiently established as things of beauty, impeccably dressed and made up, but void of much actual character they begin to blend into one generic Woman. Read more: How to choose the next James Bond, with casting boss Debbie McWilliams And without exception they all throw themselves at our leading man – more than willingly. I shoot my boyfriend (also watching for the first time) a laboured eye roll. Double agent Miss Taro (Zena Marshall) falls victim to some of our supposed hero’s most unpalatable behaviours, which include (but are certainly not limited to) him forcing her into a kiss by grabbing a towel slung around her neck and pulling her towards him. And then there’s Honey Ryder (Ursula Andress), enjoying her untroubled routine of searching for shells on the beach (private, off-limits and guarded by the main villain’s henchmen, but whatever) only to have her day entirely derailed and her life risked by the intrusion of Bond. Even though she tries to go her own way, asserting her own autonomy, 007 brushes off her attempt, taking her by the arm and off towards yet more danger. Of course, she falls for him. But putting the women to one side (as if they aren’t already), I find myself surprised. It’s undeniable: Dr. No is enormously entertaining. Better than that – it’s really, really good. Brush off the sexism, breathe through it as Bond leers completely uninvited at Honey – the first film in the franchise is objectively great. Read more about Bond at 70: The locations in Jamaica are spectacular, the cinematography also doing them justice, the performances are engaging, and the set dressing! The furniture is to die for – sophisticated and glamorous, painting a rich world that proves a playground for our smooth protagonist. Much as Knives Out had us all tenderly whispering “Sweater”, I lose count of the number of times I lust out loud over a mid-century armchair, a table with angled, tapered legs or a low, floating platform bed. Buy the James Bond novels from Waterstones The furniture may be the star of the show here, but 007 himself, Honey and best of all our titular villain are thoroughly enjoyable accoutrements. Dr. No (Joseph Wiseman) makes for a delectable baddie, eclipsing the only Bond antagonists I’ve ever known – those from the post-2006 era. Probably naively, I couldn’t be more shocked than me to discover that Wiseman’s Dr. No thrills me more than even Mads Mikkelsen’s Le Chiffre. I’m introduced to the title character just as Bond is: via enigmatic references, oblique, deferential and overwhelmingly fearful. That’ll pique your interest in any bad guy. We hear Dr. No before we see him, a threatening presence over an intercom and a man of select few words. A scintillating villain with a impeccably stylish lair? Yes, please. Above all else, as someone who has only ever watched the serious action of Craig’s 007, as the end credits roll I’m struck by the revelation that Bond is, in fact, supposed to be a caper. Bond is meant to be fun! Who knew? Big budget, classy scriptwriting (exclusive of every single female character and all interactions with them), stunning sets and locations – is this is what Bond really is? It all falls into place; I get it now. James Bond films including No Time to Die, Casino Royale and many more are available to rent or buy on Prime Video. Sign up for a 30-day free trial and pay £8.99 per month after that. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
James Bond casting director reacts to next 007 rumours
Debbie McWilliams says that Bond casting rumours make her "die laughing, most of the time".
The rumour mill might have you believe that the search for Daniel Craig's successor as James Bond is well under way – or, indeed, that the next 007 has already been found – but Debbie McWilliams, casting director on the Bond series, has insisted that "no conversation [is] being had at the moment". Speaking to RadioTimes.com as part of our Bond at 70 season, McWilliams claimed that most of the casting rumours make her "die laughing". "I don't listen to any of it," she said. "It makes me die laughing, actually, most of the time. "When I hear about who the bookies' favourites are, and who's number 15 and all this kind of thing... I mean, it's just hilarious – and the fact that people are remotely interested is even funnier, I think. It's a curious phenomenon, is all I can say!" Buy the James Bond novels from Waterstones McWilliams has worked as casting director on the Bond films since 1981's For Your Eyes Only and was instrumental in the casting of Timothy Dalton, Pierce Brosnan and most recently Daniel Craig as 007. Reflecting on previous Bond castings, she suggested that the conversation and speculation around who'll play Ian Fleming's super spy next have amplified over the years. "It's become a bigger deal through modern press and social media and all that business, and the fact that there now seems to be these kind of fanbases that I didn't even know existed, really – but that seems to generate a lot more [discussion]. Want to own the entire James Bond movie box set? Now's your chance "And also, I have a theory, which I've trotted out many times, is that when there's a gap in a newspaper, they fill it with a James Bond story, because they haven't got anything else to write about. Why people can't just wait and see, I don't know." As for who'll replace Craig after the actor bowed out of the franchise with 2021's No Time to Die, McWilliams insisted that the search is yet to begin in earnest. "There's no conversation being had at the moment. Read more: How to choose the next James Bond, with casting boss Debbie McWilliams "[Series producer] Barbara Broccoli has been heavily involved in other projects. You know, it's not unusual for there to be quite a big gap between different Bonds, it has been known to have a five-year gap. So, no, nothing." Read more about Bond at 70: All the biggest bits from the Bond novels that haven't made it to the screen How much does it cost to be James Bond? Actors linked to Bond in the press have included Bridgerton's Regé-Jean Page, Henry Cavill, Aaron Taylor-Johnson, Idris Elba, Slow Horses star Jack Lowden, Tom Hardy, and James Norton. View Green Video on the source website No Time to Die is available to stream on Prime Video, with other Bond films also available to purchase – try Amazon Prime Video for free for 30 days. Visit our Film hub for the latest news and features. If you're looking for something to watch, check out our TV Guide or Streaming Guide. Try Radio Times magazine today and get 12 issues for only £1 with delivery to your home – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.