Reviews arrive for Double or Nothing

Double or Nothing, Kim Sherwood’s novel that expands the James Bond literary universe of 00-agents, is officially published Sept. 1 in the U.K. Reviews already are coming in

What follows are non-spoiler excerpts. James Bond is missing. Sherwood introduces a new cast of agents. They are directly overseen by Moneypenny. After a trilogy of Anthony Horwitz Bond continuation novels in the Ian Fleming timeline, the new Sherwood book timeshifts to the present day (or near future) with a plot related to climate change.

ROBERT CRAMPTON, THE TIMES: “The problem I had with Double or Nothing isn’t Kim Sherwood’s cultural update, it’s that James Bond, missing presumed dead, isn’t in it. So we get a Bond book without Bond. Which means we get a decent but nothing special spy thriller, better than Fleming in one way (because Fleming was a mediocre writer), but far inferior in the only way that matters. Because Fleming had one stroke of genius, namely creating this one fabulous character, the premier fictional star of the late 20th century. And Sherwood chooses to place this star, this legend, this 101-year-old king of cars and costume, coitus and cloak and dagger, not to mention luxury travel, off stage. Weird one.”

DAVID LEIGH, THE JAMES BOND DOSSIER: “The author, Kim Sherwood, is someone I was unfamiliar with but her writing is fast paced and she throws you right into the action from the start. While James Bond is MIA he looms in the background and there are many familiar elements and characters throughout the book…There are a whole host of characters, both from previous Bond books and new Double-O agents. Reflecting the modern world these characters are a much more diverse bunch than those appearing in Ian Fleming’s works. Most of the time they work perfectly well, at times it feels a little forced.”

SAM TYLER, SFBOOK.COM: “This is a thoroughly modern Bond book that brings (Ian) Fleming’s voice into 2022 and promises the future…The young agents also feel fresh, diverse, and deadly…Sherwood plays up the duplicitous nature of the agents. There are few people less trustworthy than someone who lies for a living…Rather than disturbing the legacy of Bond, (Double or Nothing) gives the franchise some new legs.”

In the United States, Double or Nothing won’t be published until April 2023. That follows the pattern of recent Bond continuation novels from Ian Fleming Publications.

Bond 26 questions: The lot of noise edition

Image that the official James Bond feed on Twitter has used in the past

As far as Bond 26 is concerned, there is more noise than light.

Some websites claim to know what’s going on. But the main tidbit from the powers that be is a Barbara Broccoli comment that filming on Bond 26 won’t occur until at least two years from now.

Still, nature abhors a vacuum. So there are questions out there, even if there aren’t real answers.

Who will be the next Bond actor?

Who knows? Supposedly, Eon wants a tall actor (after 15 years of Daniel Craig, who is shorter than six feet tall). Supposedly, Eon wants a young (say early 30s) actor who can hold the role for a while.

Craig was 38 when he started his tenure. The youngest Bond actor was George Lazenby (29 when On Her Majesty’s Secret Service started filming). Sean Connery was 31 when cameras rolled on Dr. No. Roger Moore, Timothy Dalton and Pierce Brosnan were in their 40s.

Last week, a website called Giant Freakin Robot claimed it had sources that the next film Bond will be a person of color and a search was underway.

Whatever. As stated before, there’s more noise than light at this point.

Why is it taking so long?

In the “old days,” Eon Productions could recast the role and implement a major change in direction quickly.

Between A View to a Kill (1985) and The Living Daylights (1987), Eon went to a more serious creative direction. Eon also cast not one, but two, actors. Pierce Brosnan was initially cast but NBC renewed the TV series Remington Steele. Timothy Dalton then got the role.

Now, Barbara Broccoli says a serious rethink is taking place and a script can’t even be started. She has said Bond is being “reinvented.”

What should we expect?

In the near term, more noise. Bookies and tabloids in the U.K. have an interesting relationship when it comes to Bond.

The bookies change odds to generate more bets. That churn provides the tabloids the opportunity to publish clickbait articles.

And it’s not just the tabloids in the mix. Remember back in January when a reporter for Deadline: Hollywood tweeted that he had talked to someone that, “I think we here (sic) who it is after the Oscars.”

The Oscars have come and gone with no word.

To be fair, the Deadline writer then published a follow-up tweet: “Obviously taking this with a grain a salt as putting an ETA on these types of decisions never works out but interesting that some believe this won’t be an all year wait.”

From the standpoint of Bond fans, it will be a long, hard slog.

Licence to Kill treatment: Bond meets Sanchez

Licence to Kill’s poster

Continuing the blog’s examination of a 1988 treatment by Richard Maibaum and Michael G. Wilson for what would become Licence to Kill. The treatment was provided by Gary J. Firuta.

Bond finally meet his target, Sanchez. Bond is covered by Sanchez’s security personnel. Bond is relieved of his Walther PPK and his passport.

Sanchez holds up the PPK.

“Why Senor Bond?”

Bond says he often carries around a lost of cash.

Sanchez nods and looks back to the TV screen where “Joe and Deedle conclude” their TV evangelist act.

Bond is free to walk around Sanchez’s quarters. He spots where an attack could be launched at Sanchez.

As this occurs, Sanchez orders a donation to the televangelists in his employ.

“Wonderful work these people do,” Sanchez tells Bond. “I always watch them. It is good for the soul.”

Sanchez then compliments Bond at his skill in playing blackjack. “I like your style. Your credit rating is impressive. What business are you in?”

Bond replies: “Your business, Senor Sanchez. I distribute pharmaceuticals in London. That’s why I asked your beautiful, charming Senorita Lupe to introduce us.”

Sanchez laughs.

“Your direct approach is refreshing but I do not discuss business in front of women,” Sanchez says.

Lupe leaves

Bond sits down in a chair opposite Sanchez.

“I want the East Coast business,” Bond tells Sanchez.

“Have we business there?” Sanchez asks.

“Let’s not play games, Senor Sanchez,” Bond says. “I’m interested in Milford (sic) Krest’s operation.”

Sanchez doesn’t back down. He tells Bond that “you come in here without references, carrying a weapon, talking about business I don’t understand. What’s your point?”

Bond also doesn’t back down.

“Krest is finished,” Bond says. “The D.E.A. turned over his warehouse in Key West. They took everything. Krest’s so desperate he’s ripped someone off.”

Sanchez is interested. “How do you know this?”

Bond continues: “He’s put 500 keys on the London market at bargain prices. It’s hot, I wouldn’t touch it.”

Sanchez tells Bond it will take a few days to investigate all this.

“I’m at the Hotel Presidente,” Bond says. “Be careful, Senor Sanchez. It is dangerous to corner a desperate man.”

Sanchez says he has known Krest for years. “We are hermanos, like brothers.”

Bond gestures to the television screen.

“Ask your favorite evangelists to tell you about Cain and Abel.”

TO BE CONTINUED

Pinewood names a sound stage after Connery

Iconic publicity still for Goldfinger with Sean Connery leaning against the Aston Martin DB5.

Pinewood Studios announced it was naming a new stage after Sean Connery (1930-2020).

The London studio used what would have been the actor’s 92nd birthday to make the announcement.

“Officially named, The Sean Connery Stage, the 18,000 square foot purpose-built sound stage is one of five new stages opening on the Pinewood Studios lot,” Pinewood said.

The announcement, understandably, heavily references Connery as the first actor to play James Bond in the film series made by Eon Productions.

At the same time, the studio mentioned other films produced at Pinewood, and its sister facility Shepperton, featuring Connery.

“First passing through the gates of Pinewood Studios for Hell Drivers (1957), other titles from his extensive filmography include On the Fiddle (1961) at Shepperton, Woman of Straw (1964) at Pinewood, The Russia House (1990) Pinewood, Robin Hood – Prince of Thieves (1991) Shepperton, First Knight (1995) Pinewood and Entrapment (1999) at both Pinewood and Shepperton.”

Connery, over a long career, was more than Bond. He did many commercial movies but also appeared in productions such as The Offence and Zardoz.

For more about Connery’s career, see THE SEAN CONNERY HAIRPIECE PAGE.

Licence to Kill treatment: Blackjack

Timothy Dalton gunbarrel

The blog continues its examination of a 1988 treatment by Richard Maibaum and Michael G. Wilson for what would become Licence to Kill. The treatment was provided by Gary J. Firuta.

Lupe answers the summons from Sanchez as Bond is adding to his winnings at the blackjack table at Sanchez’s casino.

Sanchez “points to Bond” on a closed-circuit television screen. Lupe “recognizes Bond at the blackjack table.” Lupe “conceals her reaction.” Sanchez instructs Lupe to “chat Bond up and get to know him.”

Bond, meanwhile, “continues playing and winning.” At the same time, “Several of the orientals, including Kwang and his beautiful young Asian companion, Loti, are now watching him play.”

Lupe enters. Bond “tells dealer he’s taking a break, rises, and asks Pam to hold his seat or him.”

Pam knows “nothing about blackjack except what she picked up watching Bond.”

Bond leaves the private gambling room with Lupe following him.

Bond is seated at a bar while Lupe “joins him hesitantly.”

According to the treatment, “Her natural inclination toward him conflicts with her fear of Sanchez.”

Lupe tells Bond she is “afraid Sanchez might somehow learn about the episode on Krest’s yacht. She begs him to leave.”

That’s not Bond’s style. “He asks her where Sanchez is,” the treatment reads.

“Upstairs in his penthouse office,” Lupe replies. “He’s getting ready for some kind of a big meeting tomorrow and a party afterward.”

Bond isn’t ready to retreat. He wants Lupe to take him to Sanchez.

“Are you loco?”

The treatment says, “He reassures her, says he has important information for Sanchez who will be pleased with her for bringing Bond to him.”

Lupe takes Bond “reluctantly” to a self-service elevator.

Bond and Lupe ride the elevator up. Bond “promises her that somehow he will reunite her with her family.”

When Bond gets out of the elevator, he is relieved of his Walther PPK and his passport by Sanchez thugs (Perez and Braun).

Bond says he has come to see Sanchez. “Perez takes Lupe into Sanchez,” the treatment says.

TO BE CONTINUED

Licence to Kill treatment: Pam changes her hair color

Licence to Kill’s poster

Continuing the blog’s examination of a 1988 treatment by Richard Maibaum and Michael G. Wilson for what would become Licence to Kill. The treatment was provided by Gary J. Firuta.

Bond and Pam go to a bank in Isthmus City. They are “appropriately dressed” and meet with the bank manager.

Pam “is now a stunning blonde.”

Bond wants to open an account with an initial deposit of $5 million. He tells the bank manager there will be additional monthly deposits. “Responding to the manager’s questions, he says he is an independent entrepreneur specializing in Investment Opportunities. Presently he is on an extended holiday with his confidential secretary.”

Bond also arranges a credit line of $2 million at Sanchez’s casino.

“The manager assures him there will be no difficulty with that,” the treatment says. “The bank’s chairman also owns the casino.”

Bond and Pam arrive at the casino in “a chauffeured driven Rolls Royce.” Both are well dressed.

What follows is a description of the casino and its clientele. The building is five stories tall “surmounted by a flag pole and a large satellite dish.” The patrons are “handsome and obviously well heeled.”

Bond and Pam “are taken into a private gambling salon reserved for big betters.”

The treatment says the betters include “the oriental group Bond saw at the airport.” The gathering “has one or two members from Japan, Taiwan, South Korea, Malaysia, and an impressive-looking Chinese from Hong Kong. We later learn he is named Kwang.”

As in the final film, Bond informs the pit boss he wants to play blackjack at a private table. What follows is a description of what’s happening upstairs. Sanchez is watching “a telethon fundraising for the Oaxaca Bible Institute.”

The program is hosted by “an evangelist couple, Deedie and Joe Butcher, who reminds us you know who.”

Presumably, this is a reference to Jim and Tammy Faye Bakker, who had a popular evangelist program, The PTL Club, in that era. Jim Bakker got into big legal problems in 1988 and 1989. In the final film, we only saw Joe Butcher, who was played by Wayne Newton.

Meanwhile, Chicago underworld types are watching the same program. “Big Boss Benjy reacts angrily” to how Sanchez is using the show to make bids for the drugs.

“The program is obviously not only an appeal for charitable contributions but to also announce prices and receive orders for cocaine,” according to the treatment.

Back at the casino, Bond now wants to play with no limit. The treatment provides more details of how the supposedly religious telecast is part of Sanchez’ empire.

The treatment describes Bond playing blackjack at the private table.

“Bond is obviously not the pigeon the pit boss thought he was,” the treatment reads. “The ten thousand dollar plaques are piling up in front of Bond. Pit boss tells Sanchez the Englishman has recouped and is 200 thousand up.” Presumably, that is $200,000.

Sanchez calls up Lupe who is “bored, leafing through a magazine in the sitting room of a penthouse suite….Sanchez tells her she wants him.”

TO BE CONTINUED

An excerpt of Double or Nothing is published

Relatively minor spoilers. But those who are super spoiler adverse should leave now.

The Times today published an excerpt of Kim Sherwood’s Double or Nothing novel, which introduces new 00-agents.

The excerpt is a briefing scene between Moneypenny, now in charge of the 00s, and agent 004, Joseph Dryden.

Dryden is a veteran of the British military. “Moneypenny considered 004 the most experienced of her new generation of Double-0s,” Sherwood writes.

Essentially, the scene covered in the excerpt spells out the stakes of the story. Climate change is a big theme in the story. A tech billionaire “claims he can reverse the climate crisis and save the planet,” according to an Amazon promo of the novel.

Sherwood is introducing new 00-agents, with James Bond missing.

The Times also published an interview with Sherwood. The author says James Bond creator Ian Fleming “has influenced me hugely.”

In the interview, Sherwood said Ian Fleming Publications “wanted to expand the universe, widen it out.”

The Times summarized it this way: “Along the way, it makes Fleming’s cast of MI6 spies less male and less white than before.” Dryden is British-Jamaican. Johanna Harwood (named after a screenwriter of Dr. No and From Russia With Love), 003, has a French-Algerian mother, The Times said. Sid Bashir, 009, is British-Asian.

The excerpt and interview can be found by CLICKING HERE. The stories are behind a paywall.

Tom Palmer, ace Marvel inker, dies

Images from a Daredevil issue inked by Tom Palmer over Gene Colan pencils, with Stan Lee (and his wife Joan) making a cameo (courtesy of writer Gerry Conway).

Tom Palmer, one of the best artists for Marvel Comics, has died at 81, according to the Comicbook.com website.

At Marvel, Palmer inked the pencils of Gene Colan, John Buscema and Neal Adams, among others.

With comic books, penciling and inking is often done by different artists to speed up the work. A great inker makes the pencils better. A bad inker makes the art worse.

By most accounts, Palmer was among Marvel’s best inkers. Palmer’s work with Colan included titles such as Daredevil, Dr. Strange and Dracula, which covered stories across very different genres.

Palmer’s death was first announced on his Facebook page. The artist died on Aug. 18.

This year is shaping up as a tough one for fans of comic books. Previously, Neal Adams and George Perez died.

Licence to Kill treatment: Pam’s backstory

Timothy Dalton gunbarrel

The blog continues its examination of a 1988 treatment by Richard Maibaum and Michael G. Wilson for what would become Licence to Kill. The treatment was provided by Gary J. Firuta.

After a night of bliss, Pam and Bond are still on the cigarette boat. At dawn, Bond is awakened as the engines come to life. Pam is “in her leather vest and jeans again.”

“You found the reserve tank,” Bond says.

“Driving Cigarette boats is my profession,” Pam replies. “It’s the vessel of choice for short haul smuggling.”

And what of long-haul? Bond asks.

“Planes. I used to fly Air America for the CIA. Guns, people, money, whatever was needed. That’s how I met Leiter.”

Pam later went free lance. She was hired by Dario for a job. Pam thought it meant smuggling “Mexican illegals into Texas. They turned out to be Colombian hit men. I got indicted. I helped Leiter while he was trying to nail Sanchez. He said he’d get me off if I did.”

In any case, Pam is going to help get Bond to Sanchez.

Back in London, similar to the final film, M criticizes Moneypenny for frequent typos on a memo. She’s worried about Bond.

M spots a telex on Moneypenny’s desk. It says that Bond cleared immigration at Bimini on his way to Isthmus City.

M asks who ordered the surveillance. Moneypenny admits she did. “I thought you’d want to keep track of his movements, sir.”

“Whatever he’s doing has nothing to do with this office,” M says. “I’ve told you that before.” M goes back into his office.

Moneypenny rings up Q but in the treatment, the line is slightly different. “Q, Moneypenny here, are you free for lunch?”

The treatment shifts to Isthmus City. There’s a detailed description of Bond’s arrival. At one point, Bond sees various people who’ve come in on a private jet including “six men from the Far East.” The group exits through a side gate by customs officials are are “whisked away in limos.”

“Pigeons Sanchez is bringing to his casino,” Pam says.

Bond later arrives at a suite in a posh hotel. A bell boy sets down heavy suitcases and asks what is in them.

“Money”, Bond says “jocularly.” “I don’t believe in banks.”

Bond tips the bell boy “lavishly.”

Bond checks out the beds of the suite.

“Don’t get any ideas,” Pam says. “Last night was pure lust.” She adds that getting Sanchez will be difficult without mixing up sex into the proceedings.

Bond opens one of the suitcases loaded with cash.

“Whose is it?” Pam asks.

“Sanchez’,” Bond replies. He hands her some cash.

Similar to the final film, Bond issues some instructions.

“Buy some clothes. You’re now my executive secretary…Start acting the part. Say, ‘Yes, Mr. Bond.'”

Pam “gives him a dirty look,” the treatment says. Pam says, “I should always trust my first impressions.”

TO BE CONTINUED

Graham Rye talks about his relationship with 007 films

Logo for Graham Rye’s 007 Magazine

Graham Rye, the publisher of 007 Magazine, has come out with an article (a decade old) about his long relationship with the Bond film series.

To be honest, Rye can be prickly. I’ve had my own encounters with him.

But Rye has been there since the beginning of the Bond movies. So he is a voice that can’t be ignored.

Rye has an extensive photographic inventory of Bond-related images.

According to the article for 007 Magazine by Luke G. Williams, Rye “once likened his relationship with Eon as a marriage in which ‘irreconcilable differences’ had caused a breakdown in the relationship leading to divorce.”

Regardless, Rye and his 007 Magazine have many followers. As we approach the 60th anniversary of the 007 film series, Rye has been a prominent figure. He remains so to this day.