That Same Old Dream: Dr. No (1962 – James Bond #1)

Over the course of 2019 and into 2020, in the run up to the 25th James Bond movie, I am going to be deep diving into every Bond film in depth, revisiting one of my favourite franchises.

We start at the beginning with 1962’s Dr. No…

It struck me watching Dr. No just how much the most recent James Bond film to date, Spectre, called back to the very first cinematic outing for 007.

In Spectre, Bond pursues an urbane, calm and collected super-villain who wears Nehru jackets, like in Dr. No. Said villain in Spectre only truly reveals himself fully in the third act, while charming Bond and his female companion with a luxury suite and fine clothing, like in Dr. No. Given the villain in question is Ernst Stavro Blofeld, arguably the most iconic bad guy in the Bond lexicon, it is easy to suggest Spectre is first and foremost inspired by Donald Pleasance in You Only Live Twice, but Christoph Waltz’ modern take on 007’s arch enemy has far more in common with Joseph Wiseman’s Doctor No, certainly when it comes to performance and style. Dr. No may not be a film which perfectly nails the historic James Bond movie formula but there is not one of the twenty-four films that follow it across half a century that do not owe a debt to this somewhat quieter beginning.

It is easy to dismiss Dr. No as a stepping stone to the embarrassment of riches to come in From Russia With Love or Goldfinger, but that is to lend a disservice to a picture steadily growing finer with age. A picture that puts in place a range of Bond movie aspects that without question made the franchise a global, beloved success.

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Alias – ‘The Box – Pt 2’ (1×13)

The first part of The Box established that nothing would ever be the same for Alias once this story was over. The second part cements this one hundred percent in stone.

In discussing part one of The Box, one of the major aspects that becomes clear watching this two-part story is how heavily indebted everything about it is to the classic Hollywood high-concept, and particularly the seminal John McTiernan action thriller from 1988, Die Hard. Indeed, the van which delivers Quentin Tarantino’s McKenas Cole and his lethal band of non-denominational terrorists has the marking ‘McTiernan Air Conditioning’, a direct nod to Die Hard’s helmsman. Later, investigative journalist Will gets key information about his ongoing probe into SD-6 in an envelope on a ship named the ‘Alba Varden’, sharing the name of the same ship key to Richard Donner’s Lethal Weapon 2 from 1989. The Box is keenly aware of the touchstones it is borrowing from and utilising on a modest TV budget, but it suggests the clear scope of Alias’ ambition as a series.

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A Slayer Reborn: Buffy and the Reboot Question

Every July weekend at San Diego Comic Con, the biggest geek showcase on the planet where all the major studios and productions roll up to drop exclusives and surprises, you always get one announcement which courts a level of controversy and/or deep analysis. This year it wasn’t even the debut of a trailer for the Jodie Whittaker-fronted, Chris Chibnall-era new series of Doctor Who—which is going to almost certainly lead to a Star Wars-esque online tirade from grown man children at the idea of a woman playing the Doctor. 2018 had another major female figure from popular culture waiting in the wings get people talking: Buffy, she of the vampire slaying.

More specifically, the fact that Joss Whedon is overseeing, though likely not directly show running, a modern reboot of his legendary 20th Century Fox series which remains one of the bastions of 90’s pop culture, female empowerment, and genre storytelling. Note the word here that is crucial: reboot. Not revival. Not continuation. A reboot.

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Nostalgia & Star Trek: Picard, Discovery and the Future

Nostalgia seems to be a double edged sword right now in Hollywood. What on the surface appears to be a comforting guaranteed winner in terms of audience satisfaction and cinematic box office is becoming something of a poisoned creative chalice. The lacklustre critical (if not box-office) responses to pictures such as Jurassic World: Fallen Kingdom or Ocean’s Eight, sequels to long-standing, well-regarded franchises; or Lucasfilm’s decision to put a hold on more A Star Wars Story anthology movies after the tepid box office (by Star Wars terms) of Solo, seemingly putting immediately paid to rumoured Boba Fett & Obi-Wan Kenobi-centric films. There is a nostalgia blowback in progress, the ripple effect of which we are only beginning to understand.

Is this a ripple effect that, like the Nexus in Generations, threatens to engulf the future of the Star Trek franchise?

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STAR WARS and why Fandom cannot “let the past die”

The cyclical nature of storytelling is one of my fascinations, and something I fully intend to write more about on Cultural Conversation. Star Wars is one of many major franchises which taps into deeply mythological, archetypal stories which end up telling cyclical narratives about characters and worlds which repeat history, repeat myth and cleve to prophecy. These concepts are all over fiction, in myriad ways. What people don’t always realise, however, is that cyclical narratives are all over Fandom too, and yes that is Fandom with a capital F. Insert your own word appropriately. Fandom started as a beautiful thing, a coming together of like minds. Much like the rest of our society circa 2017, the Force no longer seems, sadly, to be with it.

If the reaction to The Last Jedi, the latest entry into the legendary Star Wars lexicon, proves anything, its that Fandom cannot cope with change. This is no startling revelation. Many writers have been discussing the toxicity of Fandom for some time now, particularly since the advent of Twitter and the rest of social media gave a voice to a legion of what many would consider ‘trolls’; intentional rabble-rousing, mischief making naysayers who love nothing more than to be reactionary and tear down anything the majority love. /Film has written recently about the toxic reaction to The Last Jedi, a film which as I discussed is not without its problems. It does, however, expose the issue of change and Fandom in greater detail.

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Quentin Tarantino’s STAR TREK makes no sense to me – this can only be a good thing

Let’s be honest, nobody expected this, did they? Though specific confirmation hasn’t exactly taken place, it’s looking more and more likely the rumour that Quentin Tarantino met with Paramount and series producer JJ Abrams to pitch a Star Trek movie is true, and that said movie could well be his tenth picture after filming his 1969 Manson era drama. Not only that, Paramount reputedly have assembled a working writers room to flesh out Tarantino’s idea into a script, and have signed off on his insistence the picture be R-rated.

Just let this all digest for a moment… that’s an R-rated Star Trek movie directed by Quentin Tarantino.

It really does sound like the stuff crystal meth dreams are made of, don’t you think? That level of fantasy casting when it comes to cast and crew for your favourite property. Usually when rumours like this float up to the surface, they’re quickly disposed of as lunacy or the workings of a website or tabloid, a perfect example of Trump-ist ‘fake news’. This one, bizarrely, seems to be true, at the very least the notion that Tarantino pitched Paramount a Star Trek movie idea which they absolutely loved. Star Trek IV: Effing and Jeffing? Well, this is now part of the reactionary state of worry within much of the fandom.

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