The Bond books, films and games are more than just cultural artefacts: they comprise a time capsule of seven volatile decades of social and political history - especially LGBTQ+ history. Although the lives of queer people over this period have generally improved, it’s a mistake to see this improvement as universal - or linear. Sometimes putting one foot forward has been swiftly followed by having to take two back. For seventy years, Bond has been there, reflecting and representing this ever-changing world in which we’re living.

If Dorothy in the The Wizard of Oz is to be believed, there's no place like home. But what if that home is Skyfall? In his 50th anniversary queer odyssey, 00-Dorothy doesn’t just kick back against traditional notions of home and family; along the way he creates a unconventional family to replace the one he lost and blows up his childhood abode with dynamite. Talk about cathartic!

Non-binariness is baked into the very DNA of Die Another Day and not even experimental gene therapy can alter that. Although there are binaries aplenty - a dual mission, fire and ice, a duelling dual showdown over a divided country - the film rejects any earnest attempt to pin it down as one thing or another. Fear contends with desire in a cockfight to the death. Analyse this.

It’s not just the zeros that are double in Octopussy, a film queerly obsessed with doppelgängers. We see double when it comes to Fabergé eggs, identical knife-throwers, uncanny clowns and female cult members who share more than a passing resemblance. And let’s not forget Double-0 Seven himself of course. But it’s the titular character’s lesbian utopia that steals the show.