What is there left to say about James Bond 007? The world’s most legendary spy has been written about for almost sixty years since Ian Fleming’s 1950’s/60’s novels exploded onto the cinema screen in 1962’s Dr. No, analysing every facet of the character’s escapades, his place in the wider scope of history, through to the technique behind his many movies.
Thunderbook, however, might be the first text to freely take the piss out of each and every one of Bond’s (to date) 24 missions.
The first season of Alias, the show that put superstar producer-director JJ Abrams on the map, has aged remarkably well.
Airing in 2001, a matter of weeks in the wake of the traumatic September 11th attacks on the Twin Towers in New York, Alias had the unenviable task of providing overblown, B-movie, pulp escapism to an audience reeling from the most existentially terrifying attack on American soil since the bombing of Pearl Harbor in 1941. Abrams, fresh off his first TV series Felicity (starring the later-to-be-famous Keri Russell) and a career penning screenplays across the 1990’s for major Hollywood blockbusters, had to try and sell a show which captured the retro, cult aesthetics of 1960’s adventure shows and movies he had grown up with – Mission: Impossible, I Spy, the James Bond series – shot through with a stylish, slick, modern action sensibility.
It was a hard sell. Audiences gravitated far more to the intense, dour, revenge fantasy of 24 and all-American hero Jack Bauer, who steadily across a decade in which Americans and Western Europe turned their gaze toward Islamic fundamentalism and the threat of the Middle East became more of the superhero Americans wanted. If he was The Punisher, a man of dubious morals ready to compromise his soul for the greater good, then Alias’ hero Sydney Bristow was Captain America; virtuous, homely, and a reflection of wholesome American values, wrapped up inside familial and emotional angst that recalled Buffy the Vampire Slayer. Audiences never truly took Sydney to their breast, to their heart, and almost immediately Alias became a cult genre hit, never to explode fully into the global mainstream.
The sad thing about this is just how well executed Alias’ first season is, one of those rare shows that arrives almost fully formed and very quickly steps into a unique tone and rhythm, only building on that start to deliver twenty two episodes which provide a real sense of payoff.
If The Box was the episode which transformed first season of Alias from a narrative perspective, The Prophecy is the episode which sees Alias finally embrace the fact it exists on a fine line of two distinctive genres.
It is hard to look past The Prophecy as perhaps the most important episode of Season 1 of Alias, indeed it may well be one of the most important episodes of the entire series. The Prophecy is the episode which embraces and contextualises the Rambaldi mythology in a way JJ Abrams’ series has thus far been hesitant to do. John Eisendrath’s script acknowledges that the reveal at the end of Page 47, which saw the key page of Milo Rambaldi’s 500-year old manuscript unveil an image of our heroine Sydney Bristow, was a moment Alias could never come back from.
This was the moment Alias becomes as much science-fiction as it has been pure, pulpy espionage.
If The Confession was the point of no return, The Box is the tale which catapults Alias into what is, barring one or two exceptions, a season and a half of dynamic, top drawer storytelling.
Alias was a high concept TV series from the outset. The ‘high concept’ in Hollywood vernacular defines an idea which can be distilled into a pure, accessible, often blockbuster form. ‘What if we could clone dinosaurs?’ for example with Jurassic Park, or to use another Michael Crichton example, ‘What if theme park robots became sentient and took control?’. Alias itself flaunts the high concept in its DNA, pitched essentially as ‘What if a spy found out she was working for the enemy?’. Even fromTruth Be Told, Alias perhaps throws a few extras caveats into that pitch but in basic terms, that’s the point JJ Abrams’ show starts from. The Box, however, is the first episode to truly deliver on a high concept idea.
If you look at Alias across the first half of its first season, we haven’t seen an episode anything like The Box. Right from the get go, Alias engaged in a level of serialised storytelling through which it broke the 90’s mould of stand-alone, easy to syndicate episodes of television to depict a compelling, ongoing narrative journey for Sydney Bristow as she becomes more embroiled in her double-agent life with SD-6 and the CIA. Each episode, even those which carried heavily over to each other such as Reckoning and Color-Blind, tells an espionage tale on a scale which never overwhelms the broader character and narrative arcs in play: Syd & Jack’s relationship, Syd & Vaughn’s relationship, the Rambaldi mythology etc… Thus far, the spy stories have been fairly incidental and the weekly bad guys relatively disposable.
All of that changes, immediately, with The Box. The first genuine two-part story in Alias’ lifespan, labelled indeed as such, it delivers on the high concept idea with the pitch: ‘What if terrorists seize control of SD-6?’.Alias does Die Hard, basically, and without a shred of embarrassment. Writers John Eisendrath and Jesse Alexander immediately understand their reference point and the fact they are riffing, broadly, off one of the greatest examples of a high concept in Hollywood history. It only adds to the joy of The Box which exemplifies the remarkable level of confidence Alias had in its storytelling from the very beginning. Many other series wouldn’t have the balls to make The Box until maybe its third, even fourth, seasons. Alias gets it out the way as a midpoint to its debut year.
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.
Another day, another James Bond rumour. Of all the great franchises out there, 007’s—perhaps appropriately—seems to play its cards the closest to its chest. Eon Productions always rations information about where their legendary character is going right up to the point they are ready to announce his destination, and for what looks to be Daniel Craig’s fifth and final outing in the role, this time is no different. Yet this time the rumour mill, courtesy of a story in The Express, has thrown up an unusual possibility.
The as-yet-untitled Bond 25 will end, apparently, with the death of James Bond.
This got me thinking, because the typical reaction to this would be a shocked gasp, a firm shake of the head, and a stiff dry Martini. “James Bond can’t die!” You can almost hear the clamour of middle-aged men who have been following this franchise since Roger Moore bedded women half his age in a safari suit angrily huffing those words, shaking off another nonsense newspaper report with various rebukes. “Bond is the main character!” “Bond is the hero!” “Bond, in the end, wins the day, kills the bad guy, saves the world and shags the girl over a load of diamonds which were being used to power a gigantic laser in space!” (or something).
Here’s where I’m wondering… maybe Daniel Craig’s 007 *should* bite the bullet.
After quite some time in the shadows, the James Bond rumour mill has kicked into overdrive with the announcement this week that the 25th film in cinema’s longest running franchise will be arriving in November 2019 (or very late October if you’re in the UK). That’s a whole year later than most Bond fans were expecting, given the usual three-year cycle most of us have come to expect. An interesting debate has arisen around the usual questions, however, and it concerns continuity.
Before we get to that, here’s the current state of play. MGM have announced the release date, as studios are often wont to do with major franchises (look at how Marvel let us know what they’re up to years in advance), but since the release of Spectre in 2015 the producers of the franchise, EON, have been locked in a difficult financial back and forth over distribution. Last year, Sony’s distribution rights expired and it seems Bond stewards Barbara Broccoli & Michael G. Wilson have struggled to find a replacement. This no doubt accounts in no small part for why 2019 and not 2018 is when 007 is returning.
There is also the unresolved issue of Bond himself, Daniel Craig. A lot of misreporting has circled around the actor, especially since his clearly flippant comments about not wanting to play the role anymore were taken seriously by many, and while almost certainly Craig has made his choice by now, the MGM announcement wasn’t accompanied by confirmation Craig is coming back in the role that made him a household name. This could indicate negotiations are still ongoing, that maybe Craig wants extra time to finish other projects, or indeed that he’s not coming back at all. Right now, it’s uncertain.