Bond 21-25 questions: Assessing the Craig era edition

Daniel Craig in Quantum of Solace

The Daniel Craig era of the James Bond films is drawing to a close. A thoughtful reader drew my attention to an August 2020 article by the Screen Rant site assessing Craig’s tenure.

Still, until No Time to Die comes out, there’s only so far you can go. Or is that correct? Naturally, the blog has questions.

Was the Craig era really that different? Absolutely.

Ian Fleming’s Bond novels referenced how his creation had relationships with married women. In the Eon film series, M lists “jealous husbands” as a possibility for hiring $1 million-a-hit-assassin Scaramanga in 1974’s The Man With the Golden Gun. But 2006’s Casino Royale was more explicit.

Anything else? The tone often was more violent, in particular a killing Bond performs early in 2008’s Quantum of Solace.

Quantum also had a more political point of view courtesy of director Marc Forster.

Did the Craig era follow earlier Bond films in any way? Yes. The Craig films, like earlier Eon Bond entries, adapted to popular trends in cinema.

In the 1970s, Bond films followed blaxploitation movies (Live And Let Die), kung fu (The Man With the Golden Gun) and science fiction (Moonraker).

In the 21st century Craig movies, the series followed Jason Bourne films (Quantum, including hiring a Bourne second unit director), Christopher Nolan Batman movies (Skyfall) and the Marvel Cinematic Universe (SPECTRE, moving to tie all of the Craig adventures together).

Anything else? Some Bond fans argue Craig is the best film James Bond. No Time to Die (apparently) is the final chapter. No doubt there will be more debate once No Time to Die can be viewed.

Live and Let Die script: More mayhem

Part of the Live And Let Die soundtrack packaging.

Live And Let Die was a rare case for the James Bond film series. Only one screenwriter, Tom Mankiewicz, was employed throughout the production.

An Oct. 2, 1972 screenplay was labeled as the shooting script. It’s close to what moviegoers would see in the summer of 1973 for Roger Moore’s debut as Bond. But the script still contains notable differences. With the excerpts below, words between asterisks were underlined in the script.

A more gruesome death: The script opens with the deaths of three agents as in the finished film. But the demise of the third agent is implied to more gruesome.

A MACHETE BLADE FLASHES INTO FRAME: A sickening laugh i heard as the blade sweeps down at BAINES. CAMERA FREEZES FRAME ON GLINTING MACHETE BLADE.

Recognition phrase: When Bond arrives in New York, he meets up with a contact named Charlie. Except in this script, there’s a recognition phrase or code involved,

Charlie attempts to introduce himself in a more conventional way. Bond instead pulls his Walther PPK on Charlie.

CHARLIE
Oh!
(mechanically)
You want to go to Shea Stadium? The Yankees are playing a double header.

BOND
(smiles, lowers gun)
The *Mets* play at Shea. The Baseball season doesn’t begin until April.

CHARLIE
My mistake.
(sighing)
Sorry – I forgot. We don’t do too much of that over here anymore. Oh – Mister Leiter wants to talk to you.

This exchange doesn’t appear in the film. But the basic notion of American operatives giving up on recognition phrases while the British stick with them would be used in 1995’s GoldenEye.

Bond’s trip to Harlem: Bond catches a cab to Harlem while following a group of Dr. Kananga’s associates. For some reason, the cab driver addresses Bond as “Jim” twice even though no introduction had been made. In the film, as in this script, the driver shows up again in New Orleans calling Bond “Jim.”

Tombstones: Mr. Big/Kananga tells Bond that, “Names are for tombstones, baby.” In the film, it’s come out as, “Names is for tombstones, baby.” The latter is sometimes used as a catchphrase among Bond fans.

Bond dispatches Mr. Big’s thugs: Bond is being led from Mr. Big/Kananga’s New York office to be killed by two thugs. The description is a bit more violent than in the film.

As in the film, Bond uses a steel grating from a fire escape. The grating is coming at Bond’s face but the agent ducks. The grating “slams into GUARD ONE’s face with a terrifying crunch.” Bond gets the thug’s gun as the man falls. Bond then gets behind the first thug as the second fires. That shot kills the first thug. Bond shoots the second to death.

Bond arrives in San Monique: There is a scene that’s not in the movie. Bond goes through customs upon arrival. The customs area has photos of Dr. Kananga and “propaganda messages for San Monique.” Bond doesn’t notice that the customs official he’s dealing with takes a photo of the agent’s passport photo.

Bond’s San Monique bungalow: The scene is very similar to the final film but there are a few key differences. Bond manages to decapitate the snake intended to kill him. Rosie Carver is described as “a beautiful WHITE GIRL.” After Bond tosses her on the bed she is “semi-naked, her dress having been torn in half.” The part was played by Black actress Gloria Hendry in the movie.

Continuity: Bond and Rosie charter a boat. She doesn’t know it belongs to Quarrel Jr., who’s working with Bond. Eventually, the agent makes an introduction. “Rosie Carver – meet the man who shares my hairbrush – Quarrel Jr. His father and I locked horns with a Doctor named No several years ago.” The latter line wouldn’t make the final film.

Shark gun: This weapon, which fires gas-filled pellets, is introduced during the boat sequence of the script. After told about the gun by Quarrel Jr., Bond fires a pellet into the mouth of a shark. “CAMERA HOLDS ON SHARK as it suddenly *begins to inflate to several times normal size*, the huge balloon-like fish now disappearing in the wake of the fishing boat.”

Rosie’s death: In the movie, she is killed by a gun hidden in a Baron Samedi-style scarecrow. In this script, she’s running away from Bond when she “suddenly *jumps off the side of the road*, disappears from view.” It’s a long fall. “ROSIE’s body lies broken and mangled in a stone quarry some hundred feet below.”

New Orleans airport: Bond eventually meets up with Solitaire and takes her to New Orleans. The sequence set at that city’s airport has considerably more mayhem than in the final film.

Among other things, Bond attempts to take off in the Bleeker flying school plane (with kindly Mrs. Bell aboard). But he uses a runway where two private planes are landing. There are combined plane and car crashes. The gag where the wings of the Bleeker plane are torn off is in the script but adds Mrs. Bell feinting.

Toward the end of the sequence, the plane’s controls won’t respond. The aircraft hits a fence, its propeller cutting through the fence. The plane comes down at a 45-degree angle. Bond is hanging upside down, held in place by his seat belt. “He looks over at MRS. BELL who moans, starts to come out of her coma.”

Felix Leiter later summarizes events.

“Not too bad. Extensive damage to the hangar, five planes, four cars, and a forty foot section of fence. Not to mention giving a seventy-year-old Granny the worst jolt she’s had since her wedding night. Christ, James, what a way to sneak into town.”

Boat chase: This was the action centerpiece of the film. This script’s version is more frantic. For example, a boat towing a pyramid of water skiers gets in the middle of the chase. The skiers stay upright for quite a while before they inevitably come tumbling down.

Also, a boat involved in the chase goes from the water onto a golf course. A member of a foursome is about to attempt a 30-foot putt. He jerks, striking his golf ball involuntarily as one of the villain boats lands in a nearby bunker. Naturally, the putt proves successful.

The end: In this script, there is no Baron Samedi riding the train engine. Instead we have this symbolic ending of what Bond and Solitaire are doing. Perhaps it was an homage by Mankiewicz of North by Northwest.

EXT. TRAIN TRACK JUNCTION CLOSE ON RED SIGNAL NIGHT

CAMERA CLOSE on a large, circular sign hanging over one track at a central train junction: A red light blinks on and off over the words: *NO ENTRY*. With a loud “ding,” the sign flips down, is replaced by a bright, blinking green light as BOND’s train whistles through, and off into the distance…

FADE OUT

THE END

John Logan provides a peek behind the 007 film curtain

John Logan

John Logan, co-screenwriter of Skyfall and SPECTRE, provided a glimpse behind the James Bond film curtain in a guest essay for The New York Times.

Logan’s article primarily is a plea for Amazon, which last week agreed to acquire Metro-Goldwyn-Mayer (the $8.45 billion deal is subject to regulatory review) to leave the cinematic Bond alone. MGM is Bond’s home studio but it only has half of the Bond franchise, with the Broccoli-Wilson family having the other half.

Where Logan raises the curtain (some) is in describing how the making of Bond films works. One example:

Barbara Broccoli and Michael Wilson are the champions of James Bond. They keep the corporate and commercial pressures outside the door. Nor are they motivated by them. That’s why we don’t have a mammoth Bond Cinematic Universe, with endless anemic variations of 007 sprouting up on TV or streaming or in spinoff movies. The Bond movies are truly the most bespoke and handmade films I’ve ever worked on.

Logan’s specific example concerns Skyfall where Bond finally meets Silva, the film’s villain.

Sam Mendes, the director, and I marched into Barbara and Michael’s office, sat at the family table and pitched the first scene between Bond and the villain, Raoul Silva. Now, the moment 007 first encounters his archnemesis is often the iconic moment in a Bond movie, the scene around which you build a lot of the narrative and cinematic rhythms. (Think about Bond first meeting Dr. No or Goldfinger or Blofeld, all classic scenes in the franchise.) Well, Sam and I boldly announced we wanted to do this pivotal scene as a homoerotic seduction. Barbara and Michael didn’t need to poll a focus group. They didn’t need to vet this radical idea with any studio or corporation — they loved it instantly. They knew it was fresh and new, provocative in a way that keeps the franchise contemporary. 

Now, this is an opinion piece and Logan is certainly entitled to his opinion. But the scribe overlooks a few things.

When Skyfall began production, Mendes declared the movie was not connected to Casino Royale and Quantum of Solace, the first two films starring Daniel Craig.

That didn’t last long. SPECTRE, where Logan was the first screenwriter, decided that Silva wasn’t an independent menace but rather was a part of Quantum/SPECTRE. And SPECTRE, after the fact, opted to make all of the Craig films one big arch.

In short, Bond was following the Marvel Cinematic Universe route that Logan appears to decry in his New York Times essay. And Barbara Broccoli and Michael G. Wilson have doubled down on Marvel-style continuity that with No Time to Die, directed and co-written by Cary Fukunaga.

What’s more, it’s not like Bond has ignored popular trends prior to this. Albert R. Broccoli (father of Barbara Broccoli and stepfather of Michael G. Wilson) was involved with 007 films that referenced blaxploitation films (Live And Let Die), kung fu movies (The Man With the Golden Gun) and Star Wars and science fiction (Moonraker).

And it was under Cubby Broccoli’s watch that Johnny Weissmuller’s Tarzan yell (originally recorded for a 1930s Tarzan movie) showed up in Octopussy.

Logan’s essay is worth reading for Bond fans. But it should be read amid a larger context.

Yaphet Kotto, an appreciation

Yaphet Kotto in Live And Let Die

Early in his career, Yaphet Kotto (1939-2021) was working as an actor when “Old Hollywood” was holding on for dear life.

For example, he appeared in 5 Card Stud, a 1968 western starring Dean Martin and Robert Mitchum. It was produced by Hal Wallis, born in 1900 and as “Old Hollywood” as you could get. His credits included Casablanca as well as Martin and Lewis comedies. And this movie came out before the Wallis-produced True Grit.

Nevertheless, Kotto, not yet 30, more than held his own with his established fellow actors. Kotto’s character is killed but in his dying moments provides the clue needed to track down his killer.

Hollywood was about to change. And Yaphet Kotto would be part of the change.

Kotto made an impact, whether in films or on television shows. As news of his passing circulated, the actor was subject of numerous tributes on social media.

He was one of the most memorable villains in the James Bond film series. Kotto was Bond’s first Black primary adversary in Live And Let Die (1973). His Dr. Kananga led a double life, as the leader of a Caribbean nation who moonlights as an American criminal.

In his two identities, Kotto projected different personalities. Kananga was the seemingly dignified head of government for San Monique. Mr. Big was the street criminal.

It’s not until the second half of the movie, the audience gets to see Kananga’s true self. Kotto gets one of the best “villain speeches” in the series. He explains his plan is to provide free samples of heroin until the number of addicts in the U.S. has doubled.

Roger Moore, making his Bond debut, asks if that won’t upset certain “families” (i.e. the Mafia).

Kotto seizes the set-up line and runs with it.

He says those families will be driven out of their minds and “subsequently out of the business, leaving me and the telephone company as the only growing monopolies in this country for years to come.” Kotto’s delivery makes an impact.

Kotto had a long career. His IMDB.COM entry lists more than 90 credits. He appeared in a variety of genres, everything from science fiction to gritty crime dramas.

Among those paying tribute to Kotto were two film directors:

Yaphet Kotto dies

Yaphet Kotto with Roger Moore in Live And Let Die

Yaphet Kotto, who played the villain in the first Roger Moore James Bond movie, Live And Let Die, has died at 81, according to website Comicbook.com, which cited a post by Kotto’s official Facebook site.

Kotto played Dr. Kananga, prime minister of the fictional Caribbean island of San Monique. Kananga also impersonates American gangster Mr. Big, who operates out of Harlem in New York City. Kotto’s character, with both identities, opposes Moore’s Bond in his first 007 film outing.

All of that was a major change dreamed up by Tom Mankiewicz, the sole screenwriter for Live And Let Die.

In the documentary Inside Live And Let Die, Mankiewicz said he was approached by Eon Productions about what Ian Fleming novel he’d like to adapt. Mankiewicz was the second scribe on Eon’s Diamonds Are Forever, which featured the return of Sean Connery as James Bond. It was a hit and Eon wanted Mankiewicz back.

The screenwriter, in the documentary, quoted himself as saying he wanted to do Live And Let Die because it was edgier. The book was Fleming’s second Bond novel and featured Bond against Black villains in New York, Florida and the Caribbean.

Kotto had a long career. His credits included 1979’s Alien, Across 110th Street and a first-season Hawaii Five-O episode as a U.S. soldier suffering a head injury who thinks he’s back in Vietnam.

UPDATE (2 a.m., New York Time): Variety has a story about Kotto’s death that includes a confirmation from his agent.

A trivia note: Both Kotto and his Live And Let Die co-star, Julius W. Harris (Tee Hee), played Uganda President Idi Amin in competing productions about the 1976 Israeli raid at Entebbe. Harris appeared first (in a show produced on video tape) on ABC, while Kotto was on a filmed NBC production. The latter was directed by Irvin Kershner, who’d later helm The Empire Strikes Back and Never Say Never Again.

About that ‘James Bond knockoff’ thing

A James Bond Jr. character with a pencil communicator that looks a lot like The Man From U.N.C.L.E. pen communicator

A James Bond friend of mine misses much spy entertainment as examples of “James Bond knockoffs.”

OK. But the James Bond film franchise has, more than once, borrowed from others. A few examples:

From Russia With Love: Ian Fleming’s fifth novel didn’t include a sequence where Bond dodges a helicopter. This was something the filmmakers added to the movie to add visual excitement. Clearly, it’s an “homage” to North by Northwest where a crop-duster plane goes after Cary Grant.

More broadly, the Bond series owes a lot to North by Northwest. NxNW has a delicate balance of drama and humor. Director Alfred Hitchcock and screenwriter Ernest Lehman practically provide a blueprint for the Bond series that Eon Productions would go on to make.

Live And Let Die: The eighth Eon Bond film is based on Fleming’s second novel. But its popularity also owes much to the early 1970s “blaxplotation” craze. Essentially director Guy Hamilton and screenwriter Tom Mankiewicz drop Bond into the middle of a blaxplotation movie. Mankiewicz wanted to cast Diana Ross as Solitaire but Eon wouldn’t go that far.

The Man With The Golden Gun: The ninth Eon Bond film sought to take advantage of the popularity of 1970s kung fu movies. You’d see stories (ahead of the film’s release) about how Roger Moore was training furiously to credibly do martial arts.

Moonraker: In 1966, there was an Italian-based spy movie called Kiss the Girls and Make Them Die. It shares Brazilian locations with 1979’s Moonraker. Heck, you could easily argue the 1966 movie makes better use of Brazil, including Rio’s massive Jesus statue. Also, there are sequences of the 1966 movie that would practically be repeated in Moonraker.

In addition to all that, in Moonraker, we hear a key tune from Close Encounters of the Third Kind.

Licence to Kill: Bond has a gun with attachments (site, extended barrel, extended magazine, rifle stock) that looks an awfully lot like the U.N.C.L.E. special. In Licence to Kill, the base gun looks like a camera but all the attachments look like the attachments of the U.N.C.L.E. Special.

James Bond Jr.: Many fans disavow this early 1990s cartoon series. But it was officially sanctioned by Eon and Michael G. Wilson shares a “developed by” credit. In episode 9, “The Eiffel Missile,” a character has a pencil communicator that appears copied from U.N.C.L.E.’s pen communicator that debuted in the second season of that series.

1973: Live And Let Die’s unusual soundtrack packaging

Part of the Live And Let Die soundtrack packaging (Spy Command photo)

In the 21st century, vinyl music (you know, records) has been revived. Truth be told, it was the best format for movie soundtracks. There was more room for poster images and other art related to the movie.

One of the best examples of this occurred in 1973 with the release of Live And Let Die, the eighth James Bond film.

Most soundtracks of the era were single discs that fit into a sleeve. Live And Let Die’s soundtrack, likewise, was just one disc. But when you looked at the cover, you could open it and see two sets of images (see above).

The biggest image, naturally, was Roger Moore as the new James Bond. Still, all told, there were 11 either film stills or publicity images from the movie. It’s not the kind of presentation you get on a CD or a music download.

The cover was an image of the movie’s main poster art. The back cover was a listing of the tracks on the record.

The list included “Just a Closer Walk With Thee,” (from the fake funeral scene) arranged by Milton Batiste. Batiste also composed “New Second Lind,” performed by Harold A. “Duke” Dejan and The Olympia Brass Band.

The other tracks were composed by George Martin except for the final track on side two, the film’s version of The James Bond Theme.

A final note: On this U.S. version of the album, Albert R. Broccoli gets top billing over fellow producer Harry Saltzman. Saltzman was actually the primary producer of the film. A lot of home video versions work from a version where Saltzman got top billing.

UPDATE: A former Bond collector (he sold his collection off some time back) advises me the 1969 U.K. vinyl release of the On Her Majesty’s Secret Service soundtrack also had a gate-fold cover as described above for the Live And Let Die soundtrack. I have a copy of the U.S. OHMSS vinyl soundtrack, but it only has a standard cover.

Also, a reader complained that I didn’t mention Paul McCartney and Wings. They performed the title song. It was written by Paul and Linda McCartney. Most fans know that but I decided to make up for that here.

UPDATE II: Another reader advises the U.K. version of the vinyl release of The Spy Who Loved Me also had a gate-fold cover. I have the U.S. vinyl release and no gate-fold cover.

To quote Commodore Schmidlapp from the 1966 Batman feature film: “Pip, pip, Yankee dollars.” Except, when it comes to Yankee Bond fans: “Go stuff it, you uncouth barbarians.”

UPDATE III: David Reinhardt of the Ian Fleming Foundation, up seeing this post provided gate-fold images from the On Her Majesty’s Secret Service and The Spy Who Loved Me soundtracks that appeared outside the U.S.

OHMSS soundtrack gate-fold images
The Spy Who Loved Me gate-fold images

As stated before: “Pip, pip.”

21 Club, a literary Bond location, to close

The 21 Club, a well-known New York City restaurant, is closing, the New York Post reported, citing a spokesman.

The restaurant was a location for the literary James Bond. In the novel Diamonds Are Forever, James Bond and Tiffany Case dine there after Bond has smuggled diamonds into the U.S. They meet “one of the famous Kriendler brothers, who have owned ’21’ ever since it was the best speak-easy in New York.”

The Kriendler and Berns families owned 21 from 1922 to 1985, according to the restaurant’s entry in Wikipedia.

The 21 Club also is referenced, but not shown, in the film Live And Let Die. Bond (Roger Moore) and Felix Leiter (David Hedison) are to meet there for dinner, the audience is told as Bond and Solitaire (Jane Seymour) get ready to board a train to travel to New York.

The restaurant is known for his exterior (statues of jockeys) and its clientele (the likes of Frank Sinatra and Ernest Hemingway) over the decades.

The restaurant has been hit hard by the COVID-19 pandemic. New York state has banned indoor dining for a second time to slow the spread of the virus. 21 has been shut since March of this year. According to the Post, 21’s employees have been told they’ll lose their jobs by March 2021.

The Post said 21’s owners are exploring options for the restaurant to reopen in some form in the future.

Broccoli & Wilson talk up diversity in Bond films

Barbara Broccoli, boss of Eon Productions

Barbara Broccoli and Michael G. Wilson of Eon Productions have talked up how the James Bond film series has embraced diversity over its almost 58-year history in an interview with the Blackfilm website.

We’ve always tried to have diversity in the films,” Wilson said in the interview.

“We’ve always had international casts, and they’ve all been different ethnicities,” Wilso added. “So it’s nothing new. However, people are more sensitive to what they want to see, and when they see it — they point it out. I think we have a great diverse cast from all over the world. It’s in keeping with the times, but I think we’ve always been a little ahead of the times.”

Barbara Broccoli added the following: “Look at Live and Let Die, which was 1973. It was one of the first interracial relationships, Bond with Gloria Hendry. I mean, it’s crazy.”

Fact check: In Dr. No, Sean Connery’s Bond told Quarrel to “fetch my shoes.” This occurred seven years after the Montgomery bus boycott (a major event in the U.S. civil rights movement) and hasn’t aged well since.

What’s more, Live And Let Die screenwriter Tom Mankiewicz got shot down when he proposed that Solitaire (Jane Seymour in the movie) be played by an African American actress. So Bond films weren’t that ahead of the times. (Soliaire was written as a white woman in Ian Fleming’s novel.)

Broccoli also talked about Lashana Lynch and Ana de Armas:

“These women have trained like you can’t imagine. They are absolutely in tip-top, peak condition, and they could take anyone on. It is not just strength; it’s flexibility. Your muscles have to be in good condition, you have to be able to stop and start. So it’s a constant training thing. And then they have weapons training. They have to look like they know how to shoot a weapon, and you want them to be safe, and you want them to look good. It’s been a long, intensive training program for both of them.”

Broccoli also talked up how No Time to Die ties up the Daniel Craig era for Bond films.

“I think the story is really an accumulation of the past four films and this one. So the five-film cycle, and I think the arc of his character — particularly the emotional arc of his character, is completed. We feel it’s a very satisfying conclusion to his movies; hopefully, the audiences will too.”

About the buzz over a Bond title song performer

John Barry (1933-2011)

Whenever a new James Bond is being made, there’s a lot of interest in who will be doing the title song. On Sunday, the MI6 James Bond website reported that American singer-songwriter Billie Eilish, 18, will have the honors.

While unconfirmed, naturally fans are commenting about it. Calvin Dyson, who runs an entertaining YouTube channel centered on Bond asked the following in a tweet.

Reacting to news that Billie Eilish is likely doing the #NoTimeToDie theme do you:

A: Feel good about it
B: Acknowledge she isn’t really for you but reserve judgement until release
C: Grumble “Never heard of her” for 3 months
D: Froth at the mouth that it’s not Shirley Bassey

For me, the answer is none of the above. Just a personal reaction, but for a while now Bond title songs have been more part of the marketing but tacked on to the films themselves.

It wasn’t always that way. John Barry’s first Bond score was From Russia With Love. He didn’t write the title song (Lionel Bart did). But Barry incorporated it into his score with different arrangements, tempos and orchestrations.

Of course, once Barry started writing Bond title songs with Goldfinger, he layered them into the scores — sometimes quietly, sometimes with a loud, brassy sound. In the case of Thunderball, Barry incorporated two songs: Mr. Kiss Kiss Bang Bang (written first but rejected) and Thunderball.

Barry wasn’t around for Live And Let Die. Paul and Linda McCartney wrote the title song. George Martin, who had helped McCartney produce the song and who negotiated with producer Harry Saltzman, did the score. Martin incorporated instrumental versions of the song into his score. Other Bond composers, such as Marvin Hamlisch and Bill Conti, also worked the title songs they helped write into their scores.

In other words, the song was more than just something performed for the titles. A title song became part of the movie itself, playing a role in establishing mood and emotion.

Things change. One reason Barry finally walked away from the series for good was he would not be allowed to write the title song for Tomorrow Never Dies. He’d already been away from Bond for a decade. That was simply the last straw.

The last time a title song got the Barry treatment was “You Know My Name” for 2006’s Casino Royale. David Arnold, composer for the score, collaborated with performer Chris Cornell on writing the song.

In the 2010s, both Skyfall and “Writing’s on the Wall” from SPECTRE won Oscars for best song. Instrumental versions appear in the two movie scores but, to my ear, seem placed because that’s what’s expected.

Nothing stays the same. John Barry died in 2011. David Arnold, who updated the Barry/Bond music template, hasn’t worked on the series since 2008.

The new title song, whoever writes and performs it, may be great. It may be OK. It may be mediocre. There’s no way to know until it’s released.

But, speaking only for myself, I find hard to get excited about it. Your mileage may vary.