No Time To Die is a deeply, magnificently queer film, so it will take me some time to pull together my thoughts and polish them into a queer re-view. However, this is the rough first draft - in podcast form.

The line didn’t exist in the earlier drafts of Casino Royale. Is it just a throwaway quip or something more revealing of Felix’s character?

Watching a double bill of Casino Royale and A View To A Kill with married couple Han (who had never seen a Bond film) and Maz (who loved Bond as a child but was bullied into not liking it at school) was like seeing both films for the first time all over again. Listen in as two same sex couples banter about Bond with themed drinks along the way.

Daniel Craig was vilified before he’d even stepped foot on the set of Casino Royale, with much of the opprobrium targeted at his distinctly un-Bondian, unmasculine blonde hair. Some said they couldn’t see him as the hero, but they would buy him as the villain. Here are four blonde Bond villains who helped to create the cinematic stereotype of blonde men as Other.

I’ve yet to find anyone who thinks having Noel Coward play Dr. No would have been even a vaguely good idea, and that included the man himself. So what did Ian Fleming see in Coward - friend, neighbour, best man, godfather to his son - which the rest of us have missed?

Sam Rogers delves into the similarities between the films in detail, exploring whether the overlaps are merely coincidences, nice easter eggs or whether there is something more substantial going on.

You would think that a film which opens with three men pretending to be blind would alert us to the need to look at things differently. But six decades of straight-washing has obscured quite how queer Bond’s beginnings were - and still are to this day. It’s high time we took the blinkers off: Bond was born this way.

The Avengers (the proper one, not the Marvel one) has gone down in cinema history as an unremitting disaster. But time has been kind and, viewed more than two decades later, it’s an enjoyable 86 minutes if you’re in the right frame of mind - a queer frame of mind that is.

The scenes where Bond sneaks around places - hotels, enemy bases, even his boss’s house - are highlights of the series. What is about them that makes them tick - and our hearts race? Do we experience these episodes differently if we have reasons to feel fearful in our own lives? How much is the music responsible for their effectiveness? And what are Licence To Queer readers’ favourite sneaky scenes?

No one integrates the masculine and feminine qualities of James Bond into the music as well as David Arnold. Is that why we keep wanting him back?

Bond purists might baulk but the best Martinis in the world are neither shaken nor stirred. Just ask the experts at Dukes in London, where Ian Fleming preferred to drink them.