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Get Ready to Go ALL IN
Get Ready to Go ALL IN

We already know how it ends; the exciting part is finding out why. Dan Jones's new novella, All In, takes James Bond to Ceylon in 1954 with Tiffany Case at his side, and anyone who has read From Russia, with Love knows that Tiffany will not be at his side for long. Fleming told us that Bond and Tiffany came apart, but he never told us why, and that gap is where All In lives. Let’s take a fresh look at the clues Fleming left us in the original novels…

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Who REALLY made Silva want Bond?
Who REALLY made Silva want Bond?

This week Javier Bardem told the BFI London Film Festival that during a Skyfall script reading he pitched Sam Mendes a Silva who, besides destroying the world, wants to have sex with Bond. But hold on to your Tom Ford...

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The Diamond Age of Bond fiction
The Diamond Age of Bond fiction

The 'Golden Age' of James Bond books - that defining era when Ian Fleming delivered a title a year - is a period rightly bathed in the reverential glow. Fleming’s run is the undisputed gold standard, the foundation upon which the entire modern espionage thriller was built. But we should not let literary history overshadow the fact that we are currently living through a uniquely bright period: the Diamond Age of Bond fiction.

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Reviewed: King Zero by Charlie Higson
Reviewed: King Zero by Charlie Higson

In the acknowledgements of King Zero, author Charlie Higson uses the verb “graduate” to describe his transition from writing Young Bond to writing adult Bond. It is an apt choice, for his latest is most definitely a Bond book for grown-ups.

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Licence To Queer covers queer aspects of Bond books, video games and more. Search here for your favourite titles and characters or find content related to particular queer identities (lesbian, gay, bisexual, trans, etc).

David Lowbridge-Ellis MBE David Lowbridge-Ellis MBE

Sneaky Bond

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?

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