Judi Dench 2021: Husband, net worth, tattoos, smoking

We’ve been carrying on the Reddit Oscars with my favourite decade for film, the 1990s, and I’ve been monitoring statistics for the fun facts! You can check out the 21st century statistics here (https://www.reddit.com/Oscars/comments/i4p3fe/reddit_chosen_oscars_the_21st_century_stats/) to compare and see what’s changed, though if you’ve got any questions do give a comment below and I’ll see if I can find out for you.
Anyway, off we go!
MOST NOMINATED FILMS
Crouching Tiger Hidden Dragon remains the king of the pile with 20 nominations. Forrest Gump and The Lion King joined joint second place films Inglourious Basterds and Parasite with 17 nominations apiece – The Lion King took the animated record by a comfortable distance.
Other films joining the most nominated squad were Goodfellas and Saving Private Ryan (15 nominations each) and Titanic (with 16, joining the cluster).
MOST AWARDED FILMS
Joining the double-digit wins were Fargo, Goodfellas and Schindler’s List, which each won 10. Titanic meanwhile was at the top for the 90s with 11. Return of the King is still number one most awarded film with 15. Additionally, The Silence of the Lambs and Fargo joined Eternal Sunshine to be awarded the big 5.
MOST NOMINATED FILMS WITHOUT A WIN
No change here – The Prestige is still the recipient of this dubious honour thanks to losing all 14 nominations; Gangs of New York, True Grit, Carol and Pirates of the Caribbean: The Curse of the Black Pearl continue to round out the top 5 biggest losers.
MOST NOMINATED FILMS WITHOUT A BEST PICTURE NOMINATION
Harry Potter and the Philosopher’s Stone, Les Misérables and Star Wars: The Force Awakens still have a three-way tie for this position with 9 nominations each. Shakespeare in Love joined the crowd with 8, tying for fourth place with Monsters, Inc.
FEWEST WINS FOR A BEST PICTURE WINNER
Moneyball still has the fewest wins with a mere 2, Picture and Adapted Screenplay.
FEWEST NOMINATIONS FOR A BEST PICTURE WINNER
Still Moneyball, Get Out and Requiem for a Dream with six nominations each.
FEWEST NOMINATIONS FOR A BEST PICTURE NOMINEE
The Crying Game and Four Weddings and a Funeral join the bottom of this table alongside the four previously mentioned films that scored just 2 nominees.
LONGEST BEST PICTURE NOMINEES AND WINNER
It’s all change here as many films for the 90s crashed into the top 10. Kenneth Branagh’s Hamlet rolled into the top spot in some style, clocking in at a staggering 242 minutes. You could watch second place The Irishman (209 minutes) and have room to watch a Wallace and Gromit short afterwards! Malcolm X (202 minutes) and The Return of the King (201 minutes) both broke past the double century mark for runtime. The rest of the top 10 is now comprised solely of 90s films – Schindler’s List, Titanic, Magnolia, The Green Mile, JFK and Dances with Wolves – all over 3 hours long.
Some things stay the same though – The Return of the King is still the longest winner at 201 minutes. However, it has closer competition this time round, as second and third place films Schindler’s List and Titanic both clock in at 195 minutes.
SHORTEST BEST PICTURE NOMINEES AND WINNER
Lots of 90s films entered onto this top 10 here too, mostly animated films. At a miniscule 76 minutes, The Nightmare Before Christmas managed to supplant the 80-minute-long Before Sunset as the shortest film to be nominated. Third-placed Toy Story, at 81 minutes, managed to become the shortest winner, quite a way ahead of second shortest Fargo (98 minutes). The Squid and the Whale, Borat, Beauty and the Beast, Frances Ha, Fantastic Mr. Fox, Mulan and The Lion King round out this top 10.
FOREIGN/ANIMATED NOMINEES
19 foreign language films have been nominated for Best Picture – Dreams, Three Colours: Blue, Chungking Express, Three Colours: Red, Life Is Beautiful, Princess Mononoke, Crouching Tiger, Hidden Dragon, In the Mood for Love, Amélie, Spirited Away, City of God, Oldboy, Letters from Iwo Jima, The Lives of Others, Pan's Labyrinth, A Separation, Amour, The Handmaiden, Roma and Parasite. Of those two films, Spirited Away and Parasite, landed the win for Best Picture.
21 animated films scooped a Best Picture nomination – Beauty and the Beast, Aladdin, The Nightmare Before Christmas, The Lion King, Toy Story, Princess Mononoke, Mulan, Toy Story 2, Shrek, Spirited Away, Finding Nemo, The Incredibles, Ratatouille, WALL-E, Fantastic Mr. Fox, Up, Toy Story 3, The Lego Movie, Inside Out, Coco and Spider-Man: Into the Spider-Verse. Toy Story and the aforementioned Spirited Away grabbed Best Picture victories. Of these 21, only six films were not from Disney or Pixar. Three of these films, Toy Story, Fantastic Mr. Fox and Inside Out, won screenplay awards.
Incidentally, thirteen animated films were nominated in the Best Non-English Film category; Only Yesterday, Ghost in the Shell, Whisper of the Heart, Perfect Blue, Princess Mononoke, Spirited Away, Howl’s Moving Castle, Persepolis, Ponyo, Waltz with Bashir, The Tale of the Princess Kaguya, The Wind Rises and Your Name. Spirited Away and Howl’s Moving Castles were winners here. Notably, eight of these nominees were from Studio Ghibli.
MOST NOMINATED ACTORS (CORE 4)
Moving into the lead with nine nominations in total is Leonardo DiCaprio. Not only does he have the most nods overall, he has the most in a leading category, with seven nominations in Best Actor.
Brad Pitt moved up to a joint second with the previous title holder, Amy Adams. Adams still holds the title of most supporting nominations with 5. Brad’s four Supporting Actor nominations is the most for a man, tying with Tommy Lee Jones. Cate Blanchett moved into fourth place with 7 nominations overall and Kate Winslet moved up to a joint fifth with Scarlett Johansson, both ladies having 6 nominations apiece.
With Brad having finally taken home an acting win for Fight Club (he also has 3 wins for Best Picture), George Clooney and Al Pacino now move up to the unenviable position of most acting nominations without a win with 5 each.
MULTIPLE ACTING WINS
Joining Leonardo DiCaprio and Viola Davis at the top of the acting table with 3 awards each was Cate Blanchett. With wins for Elizabeth in 98, The Aviator in 04 and Blue Jasmine in 13 she became the first to win one award per decade. Joining the multiple wins club with the 90s were John Goodman, Frances McDormand, Natalie Portman, Marisa Tomei and Denzel Washington, joining Mahershala Ali, Christian Bale, Willem Dafoe, Jake Gyllenhaal, Philip Seymour Hoffman, Joaquin Phoenix and Meryl Streep in the multiple gold club.
MOST ACTING WINS FOR A FILM
Goodfellas became the first film to win three awards for acting as Ray Liotta, Joe Pesci and Lorraine Bracco scooped up acting wins. Six years later Fargo did the same trick as William H. Macy, Frances McDormand and Steve Buscemi won their gold.
LONGEST TIME BETWEEN FIRST AND LAST NOMINATIONS
Al Pacino and Joe Pesci were both nominated for awards in 1990 and then scooped up nominations in 2019 (both for The Irishman) – this span of 29 years is the longest time span of nominations. Laura Dern meanwhile has the longest span for an actress with 28 years between her first nomination in 1991 (Rambling Rose) and her last in 2019 (Marriage Story).
LONGEST TIME BETWEEN NOMINATIONS
Pacino strikes again – after his double nominations for Scent of a Woman and Glengarry Glen Ross in 1992, he lay dormant in the Oscars field for 27 years until The Irishman gave him a Supporting Actor nomination. Dern takes the ladies record again, with a span of 26 years between Jurassic Park and Marriage Story.
LONGEST TIME BETWEEN WINS
Frances McDormand had a span of 21 years between her wins for Fargo (96) and Three Billboards Outside Ebbing, Missouri (17). Joaquin Phoenix has the longest span for a man, with 12 years between Gladiator (00) and The Master (12).
YOUNGEST AND OLDEST ACTING NOMINEES
(Note: the age was measured on the day the nominations for that year's ceremony was announced in real life. Similarly the winners were measured by the day of that year's ceremony.)
Quevenzhane Wallis is still the record holder of youngest acting nominee, being 9 years and 135 days when she was nominated for Best Actress for Beasts of the Southern Wild. The youngest Best Supporting Actress is still Abigail Breslin for Little Miss Sunshine (10 years, 284 days) and Actor is still Jamie Bell for Billy Elliot (14 years, 336 days). Supporting Actor changed though, with Haley Joel Osment in The Sixth Sense (11 years, 311 days) being the new record holder.
Emmanuelle Riva still holds the record for oldest nominee at 85 years and 321 days for Amour, beating narrowly the 85 years and 195 days of Zhao Shu-Zhen for The Farewell, the most for Supporting Actress. Christopher Plummer in Beginners is still the oldest man nominated, being 82 years and 42 days when he got his Supporting Actor. Richard Farnsworth took over the record for oldest Best Actor nominee at age 79 years and 167 days for The Straight Story. Passing away in October 2000, Farnsworth took the record of shortest life span post nomination at just under 8 months (discounting the posthumous nomination of Heath Ledger).
YOUNGEST AND OLDEST ACTING WINNERS
The gentlemen stayed the same, with Jake Gyllenhaal in Brokeback Mountain (25 years, 76 days) and Timothee Chalamet in Call Me by Your Name (22 years, 67 days) being the youngest winners in Supporting Actor and Actor respectively. The ladies changed though – Natalie Portman’s performance in Leon (13 years, 291 days) and Anna Paquin in The Piano (11 years, 240 days) being the youngest winners for Actress and Supporting Actress respectively.
No change on the old side – Christopher Plummer in Beginners is still the oldest, whilst Ellen Burstyn, Laurie Metcalf and Mickey Rourke are still the oldest for Actress, Supporting Actress and Actor respectively.
The youngest batch of winners are the 1995 victors – Nicolas Cage (32 years, 78 days), Julie Delpy (26 years, 95 days), Kevin Spacey (36 years, 243 days) and Kate Winslet (20 years, 172 days) averaged out to 28 years, 330 days.
The oldest batch came in 2017 – despite featuring Timothee Chalamet’s win, the combination of Frances McDormand (60 years, 254 days), Willem Dafoe (62 years, 225 days) and Laurie Metcalf (62 years, 261 days) meant the average age of the winners was 52 years and 16 days.
LONGEST NOMINATED PERFORMANCE (SO FAR)
Times come from Matthew Stewart at Screentime Central (https://www.screentimecentral.com/) and are still a work in progress due to incomplete times.
Denzel Washington barely squeaked into the lead for longest nominated and winning performance, with the 2 hours, 21 minutes and 58-second-long performance for Malcolm X running under a minute longer than Leo’s 2 hours, 21 minutes and 7 second performance from The Wolf of Wall Street.
For nominees; Isabelle Huppert in Elle (1 hour, 49 minutes, 55 seconds) and Ethan Hawke in Training Day (1 hour, 14 minutes and 27 seconds) retain their records for Actress and Supporting Actor, whilst Marianne Jean-Baptiste rolled into the lead for Supporting Actress with her Secrets and Lies performance running 1 hour and 38 seconds.
For winners, Natalie Portman in Black Swan (1 hour, 29 minutes, 18 seconds) and Mahershala Ali in Green Book (1 hour, 6 minutes, 38 seconds) maintain their records in Actress and Supporting Actor. Kate Winslet in Sense and Sensibility (59 minutes, 32 seconds) is the new longest Supporting Actress winner.
SHORTEST NOMINATED PERFORMANCE (SO FAR)
All change here – Judi Dench’s cameo as Elizabeth I in Shakespeare in Love took the record for shortest performance nominated at just 5 minutes, 52 seconds. Another glorified cameo, Alec Baldwin in Glengarry Glen Ross, became the shortest male performance nominated at a mere 7 minutes, 45 seconds.
In the leads, new data released found that Laura Linney’s performance in The Squid and the Whale ran a mere 19 minutes and 29 seconds, the shortest for a lead. Finally, Anthony Hopkins in The Silence of the Lambs, a mere 24 minutes and 52 seconds long, became the shortest Best Actor performance nominated.
Hopkins was also the shortest Best Actor winner – Frances McDormand became the shortest Best Actress winner, with her role in Fargo clocking in at just 27 minutes and 9 seconds. Mahershala Ali and Viola Davis kept their shortest supporting records for Moonlight and Doubt respectively.
MOST NOMINATED ANIMATED/FOREIGN PERFORMANCES
Thanks to a staggering six nominations in a row, Gong Li blew into the lead but stumbled with none of those nominations bringing in any gold. Congregating at second we have four actors; Juliette Binoche, Isabelle Huppert, Song Kang-ho and Tony Leung. Kang-ho and Binoche are tied with Marion Cotillard, Penelope Cruz and Irene Jacob for most victories in the Best Non-English Performance category.
Nobody has come close to dethroning Andy Serkis’ eight nominations in the Best Voiceover Performance, nor his five victories. Tom Hanks obtained four nominations solely for voicing Woody in Toy Story, the most for a single character, and is at 2 wins, tying him second with Josh Brolin.
Twenty performances in the core 4 acting nominations have been non-English performances, though none have been victorious. Marion Cotillard’s three nominations is the most that fits this category.
MOST DIRECTING NOMINATIONS
With 8 nominations each, Martin Scorsese and Quentin Tarantino lead the pack in nominations. David Fincher is right behind with 7, whilst P.T. Anderson, the Coen Brothers and Christopher Nolan racked up 6 nods apiece.
MULTIPLE DIRECTING WINS
Cuaron is still on top with 3 wins; David Fincher joined the 2-director winner club and Steven Spielberg added two with Schindler’s List and Saving Private Ryan.
YOUNGEST DIRECTING NOMINATIONS/WINNER
John Singleton became the youngest nominee at just 24 years and 44 days when he got nominated for Best Director for Boyz n the Hood. Paul Thomas Anderson takes 2nd and 3rd place for Boogie Nights and Magnolia, knocking down previous champ Ryan Coogler (for Creed) down to 4th. Rushmore (Wes Anderson), Reservoir Dogs (Quentin Tarantino), Whiplash (Damien Chazelle), Juno (Jason Reitman), Being John Malkovich (Spike Jonze) and District 9 (Neill Blomkamp) round out the top 10. The youngest winner is now Quentin Tarantino, who won for Pulp Fiction on his 32nd birthday.
OLDEST DIRECTING NOMINEES/WINNER
The top 7 is the same as last time – The Irishman, Million Dollar Baby, Silence, Mystic River, The Wolf of Wall Street, Mad Max: Fury Road, Hugo – Scorsese dominating as he did last time. Robert Altman is the new man in this list, with Short Cuts and The Player coming in at 8th and 10th. Terence Malick for The Tree of Life finishes off the top 10. At 70 years, 362 days, George Miller is still the oldest winner for his Fury Road victory. Additionally, if he had lived to his nomination Stanley Kubrick would have made the top 10 eldest nominees for Eyes Wide Shut - the first posthumously nominated director would have been 71 years and 204 days, pushing him into the top 5.
MOST COMPOSING NOMINATIONS/WINS
The same names as last time make up the top 5 nominations for Best Original Score but in a different order. Thanks to a strong decade (and a weak one for his main rival) John Williams moved up to first place with 15 nominations, supplanting Hans Zimmer, who now has 14 nominations (four of which being collaborations). Howard Shore moved up to third with 9 nods, surpassing Alexandre Desplat, whose 8 nominations make him the most nominated composer to not win. Thomas Newman fended off his cousin Randy, as well as Danny Elfman, to retain his spot in the top 5 with 7 nominations.
With three wins in the 90s John Williams moved up to joint first with Howard Shore and Hans Zimmer, who also added on a third Oscar for The Lion King. Alan Menken’s back to back wins for Beauty and the Beast and Aladdin and Thomas Newman’s additional trophy for American Beauty allowed the two to join Michael Giacchino and Jonny Greenwood in the multiple winners club.
When we take Original Song into consideration things change around a bit. Thanks to the Disney Renaissance Alan Menken’s nominations in Best Original Song swelled to 15 – add on three Original Score nominations and he moves into the lead with 18 music nominations, passing John Williams who added on a song nomination (Somewhere in My Memory from Home Alone) to acquire 16 music nominations. Randy Newman’s 8 nominations for Song and 5 for Score combine to put him at fourth place musically, whilst three song nominations for Howard Shore gives him fifth place with 12 nominations total. With ten nominations combined from Song and Score, Danny Elfman leapfrogged past Desplat and Thomas Newman (who himself has another nomination for Song with Down to Earth from WALL-E) with their 8 nominations each.
With seven nominations for Best Original Song, lyricist Tim Rice has the most nominations in the category without being nominated for Original Score. Howard Ashman, Stephen Schwartz and David Zippel congregate behind him with 5 nominations each. Some notable names in the pop world who have acquired multiple nominations include Elton John, who has taken 6 nominations and 2 wins, Bono and The Edge, who acquired 3 nominations (bandmates Adam Clayton and Larry Mullens Jr. were writers on two of these), and Sting, Eddie Vedder and Bruce Springsteen with 2 nominations each.
Overall, Alan Menken and Randy Newman tied for most wins in the Best Original Song category with 3 each – all their wins were for Disney and Pixar films respectively. Elton John and Tim Rice are behind with 2 each.
Eight films won both Best Original Score and Song – Beauty and the Beast, Aladdin, The Lion King, Toy Story, Titanic, The Lord of the Rings: The Return of the King, Skyfall and La La Land. Of those, Beauty and the Beast, Aladdin, The Lion King, Toy Story and La La Land also won Best Soundtrack. Of those of those, The Lion King was the only one to win Best Sound.
MOST CINEMATOGRAPHY NOMINATIONS/WINS
Roger Deakins went from tying to being comfortably first, taking his nominations to 14. He moved right past former record tier Robert Richardson who settled in second with 11. Quite far behind them were Emmanuel Lubezki (6) and Wally Pfister (5).
Lubezki's 5 wins is still the most, but Deakins managed to come close as he bought his total wins to 4. Andrew Lesnie is third with his three LotR wins and Pfister tied with Janusz Kaminski to take 5th with two each.
LONGEST AND SHORTEST NOMINEES/WINNERS
At a staggering 467 minutes, the longest running nominee was OJ: Made in America, nominated for Best Documentary in 2016. Second place is the longest nominated narrative feature; Satantango, nominated for Best Non-English Film in 1994, runs a crazy 432 minutes. Fifth place is the longest winner of the bunch; A Brighter Summer Day, which won Best Non-English Film in 1991, is 237 minutes long… but it still looks like a Looney Tunes short next to the longest nominees!
On the other end of the scale, Fires of Kuwait, nominated for Best Documentary in 92, runs at a mere 36 minutes, making it the shortest film we’ve nominated. The shortest narrative feature was DragonBall Z: The Tree of Might (61 minutes) and Following was the shortest live-action narrative film at a mere 68 minutes. Paris Is Burning, the 1990 winner of Best Documentary, is the shortest winner at just 71 minutes, whilst The Nightmare Before Christmas, at 76 minutes, is the shortest narrative feature to win. Clocking in at just 80 minutes, Run Lola Run is the shortest live-action narrative winner.
BIGGEST LOSER
Gong Li and Alexandre Desplat look like Andy Serkis compared to our biggest Oscar loser – nominated four times for Actor and once for Picture, Director, Supporting Actor, Original Screenplay, Voice Performance and Directorial Debut but taking home no gold, George Clooney has reached the double digits mark of no victories. A record nobody wants, for sure.
MOST UNIQUE CATEGORIES NOMINATED IN
But George can take some solace in the fact that he was nominated in 7 categories (mentioned in the above), tied for the most unique categories nominated in. He’s tied with Alfonso Cuaron, who has been nominated for Best Picture, Director, Original Screenplay, Adapted Screenplay, Editing, Cinematography and Non-English Film.
MOST NOMINATIONS, TOTAL?
However, with 5 different category wins, Joel and Ethan Coen have the widest spread of wins overall – the duo has won for Picture, Director, Original Screenplay, Adapted Screenplay and Editing. Add on a nomination for Best Original Song and the brothers have gotten into six different categories. Altogether, Joel and Ethan have acquired a crazy 33 nominations, putting the likes of Alan Menken (18) and Paul Thomas Anderson (19) to shame. If anybody can point out someone who’s got more than them, do point them out to me!
That’s all for now! If you want me to look at another stat, comment below and let me know. I’ll see you again when we kick off the 1980s!

Let’s start with the good news. As advertised, 10 more Film4 productions have been added to the BritBox UK archive. These are as follows:

A Room with a View (1995)

Helena Bonham Carter and Dame Maggie Smith star in this BAFTA-winning story of an Edwardian romance. When a well-to-do young women and her chaperone find themselves staying in Florence in rooms without views, two fellow guests step in to help.

Alive & Kicking (1997)

A gifted young dancer has his life turned upside down when faced with death. Just when all seems dark around him, he meets an older man who becomes his lover, mentor and companion.

Brassed Off (1996)

Pete Postlethwaite, Ewan McGregor and Tara Fitzgerald star in this heartfelt drama set in a deprived northern town. When a Yorkshire mining pit is closed down, its colliery band tries to win a music contest to restore community pride.

Close My Eyes (2011)

Alan Rickman, Clive Owen and Saskia Reeves star in this tense drama exploring themes of forbidden intimacy. When a brother and sister's unconventional relationship crosses a line, her husband begins to suspect something is very wrong indeed.

Dancing at Lughnasa (1998)

Stunningly shot drama starring Meryl Streep, Kathy Burke & Rhys Ifans. Five sisters living together in 1930s rural Ireland experience the many ways in which family life can bring both joy and heartbreak.

Monsoon Wedding (2002)

BAFTA-winning comedy drama from director Mira Nair about a lively Punjabi wedding. As family gather from across the globe in Delhi to celebrate a marriage, themes of love & tradition are explored.

The Raggedy Rawny (1989)

Bob Hoskins makes his directorial debut in this atmospheric tale of a shellshocked army deserter who falls in with a band of gypsies. Disguised as a woman to avoid being found by his military superiors, Tom is initially mistaken for a witch.

Remembrance (1982)

Gary Oldman stars in his film debut alongside Timothy Spall in this story of young Navy recruits. A group of sailors head out for their last night of freedom in Plymouth before going on a six-month exercise.

Velvet Goldmine (1998)

Ewan McGregor, Jonathan Rhys Meyers, Christian Bale & Toni Collette star in this gloriously glam rock story inspired by David Bowie. A journalist attempts to discover why a rock star tried to fake his own death a decade earlier.

Vroom (1988)

Clive Owen and David Thewlis star as Jake and Ringe in this epic 80s road movie. Two pals escape their bleak northern hometown for adventure in their bright pink Chevrolet.

Now, let's move on to the ominous part of the headline. No, it isn't a typo. 82 pieces of content have been removed from BritBox UK today. The majority of which almost certainly due to the expiry of roughly 1-year streaming agreements. Make no mistake either, we'll definitely see more of this throughout November as initial deals continue to expire. Here is everything confirmed to have left the service today in a conveniently numbered list which I compiled with the help of third party-website New On BritBox UK:

Age Before Beauty
Arthur & George
Beecham House
Being Poirot
The Billion Dollar Chicken Shop
Bouquet of Barbed Wire
Boy Meets Girl
Chatsworth,
Churchill's Secret
Cockroaches,
Colditz
The Company of Wolves
The Coroner
Dark Angel
Doctor in the House
Doctor Thorne
The Four Feathers
The Frankenstein Chronicles
The Game Show Serial Killer: Police Tapes
The Ganges with Sue Perkins
Ghostboat
Gino's Italian Escape
Girlfriends
Hamlet
Henry V
HIM
The Hit
Hold the Sunset
Inside Claridges
The Inspector Lynley Mysteries
The Inspector Lynley Mysteries: Pilot: a Great Deliverance
The Intelligence Men
James Martin's American Adventure
James Martin's French Adventure
James Martin's Great British Adventure
Judi Dench's Wild Borneo Adventure
Jungle Book
Lightfields
Lucan
Madeleine
The Magnificent Two
Maigret
Michael Palin's Hemingway Adventure
My Family: Special: Christmas 2009: Special 2039 - A Christmas Oddity
My Mother and Other Strangers
Nature's Great Events
Nature's Great Migrations (Aka the Great Race)
Next of Kin
North and South
Ordinary Lies
Parade's End
Pollyanna
Posh People: Inside Tatler
Prick Up Your Ears
Prime Suspect 1973
QI XL
The Quiller Memorandum
Rescue: River Deep
Mountain High
Rillington Place
The Scandalous Adventures of Lord Byron
School Swap: The Class Divide
The Tamarind Seed
Tarka the Otter
That Riviera Touch
The Thief of Bagdad
Tina & Bobby
Top Gear
Top Gear: Africa Special
Top Gear: India Special
Top Gear: Patagonia Special
Trauma
Tutankhamun
Under Suspicion
Undercover Heart
Voyage of the Damned
The Widow
Wild Africa
Wild China
Wild Wales
Wilt
The Wolves of Willoughby Chase

Now, there's no way around it - this list is long and concerning when taken at face value. Hell, it roughly accounts for 10% or more of the current overall library. However, the likelihood that all (or even the majority) of these titles are gone for good is fairly low. Going by past behaviour, this is probably the usual cycle of content being allowed to leave, then BritBox will decide what's worth re-signing within their relatively tight budget. At very least, the major BBC and ITV programming feel like prime candidates to return. If you want to argue that BritBox UK should communicate expiries to their customers in advance, I'm sure most everyone would agree. But I doubt that many of these will stay gone if ITV and BBC can help it.

(Apologies for formatting, on my phone and literally just woke up from this dream)
I'm not entirely sure how I got in the situation but essentially I was at a rehearsal dinner for my wedding to this very self centered pretty boy prince. I remember feeling very annoyed that I was having to do this so I was purposefully being a passive aggressive bridezilla.
I can vividly remember my grooms outfit, (but not his name???) He was in a light navy three piece suit with fuchsia accents (tie, pocket square, buttons on the vest) and then on top of all that this ornate cream...duster? I'm not sure how else to describe it? It was fitted at the top like a suit but it had a train as well. It had swirled embroidery that was also fuchsia.
The next thing I really remember was that a joke was made about how wonderful I looked for a 60 year old. I was the only one laughing and realized they (I think an advisor to the queen possibly?) Were serious. I screamed at every one that I was 25, and asked if they really thought I was 60. They all were shocked and I had this feeling that everyone (including myself) was realizing what was happening.
I, an abnormally tall human woman, was mistaken for an elf (d&d or LotR style) and this royal family of elves thought that I was the same age as their prince.
So I ran. As I was running I became aware of two men who were preparing to catch me, but not on behalf of the royal family. These were just two creeps in maintenance jumpsuits who wanted to kidnap me. They were the stereotypical criminal pair with one short stocky aggressive one and a tall lanky more reserved one.
They caught up to me and I began trying to fight them. The lanky one (I think his name was James) was obviously not trying that hard to capture me, while the other (Fred) was very determined. Somehow I got them to start arguing which led to James reveling that he was gay and fred being so shocked that he forgot he was trying to kidnap me.
I guess this upset Fred so much he just left in their creeper van, while James began apologizing and saying that he never wanted to kidnap girls but Fred was his only friend and he felt he had no choice. I (for some reason) forgave him and helped him notice that a passerby was checking him out and that he should shoot his shot with this guy.
So as they walk off hand and hand I start walking back to deal with my relationship issues and then I hear the voice of my grandmother. Who in this dream is Julie Andrews. She's sitting in this sunroom/greenhouse and tells me not to bother going back, she and her girlfriend (Judi Dench) took care of everything and they've made tea so I just sit with them and drink tea and look at vintage jewelry.

Mulch Diggums should not know Butlers name
Artemis Fowl Sr should be an asshole
His mom should be alive
No way LepRecon just lets Mulch get interrogated and despite his criminal tendencies no way he just rats them all out like that
Artemis spends way to much time outside and is too athletic
Artemis allowed the counselor to get under his skin when it should be the opposite
Artemis should not be wearing what he is
Why is Butler dragging Artemis around while he has a freak out completely out of character for him
Why did Artemis believe in fairies as a kid
Why is butler wearing horrible contacts and have white hair
Sooo much verbal exposition done so clumsily
How the fuck does Butler living in Ireland and always by the Fowls side not know the Irish blessing?
Why is the diary so clumsily hidden
Why the fuck would his dad write Time to belive in his diary that makes no sense
With all the proper sized dwarfs why is Mulch so fucking huge
Holly seems way to amused by mulch when he's getting arrested
No way Root would use some future mobility scooter
Why is Juliet his niece? And how tf is she wrecking his shit in the kendo match
No way Artemis would be explaining so much to Juliet while researching he'd accuse her of bugging him and make her get out
Why does Holly need basics like how shuttles worked explained to her when she's supposed to have been one of the best at the academy at it
Cumudgeon should be around Roots age and his friend as far as Root knows
Butler would never complain about being freezing
They completely undermine Holly's rebelliousness by having Root allow her to engage not recon but then get mad at her healing a kid from dying
Time Freeze doesn't work that way at all in the books ffs and if faires are immune why is the troll affected
Why have Holly run away to clear her dad's name when the ritual already gives an easy reason to be there
No fairy besides the demon warlocks should have that much magic
Opal is all about tech over magic yet they make her plan to steal some magic spellbook of major power wtf
If Holly isn't short on magic why is she not shielding when Artemis kidnaps her
Why do the fairies call the surface world the real world
Dwarfs aren't master thieves just Mulch
Why is Holly's cage so lame and look like it was made by a child
Why are Holly's weapons sized to fit Butler
If the timestop can freeze all humans why didn't they just freeze Artemis and bring him to Haven to be interrogated where they have the power
Artemis is shooting and fighting hand to hand wtf
Why didn't the fairies shield when approaching the manor
Why is Opal a fairy supremacist when all she cares about is her own power
If the Fowls have been causing so many problems for generations why didn't the fairies just mindwipe them and destroy all the evidence
Mulch can enter not because Fowl didn't say any dwarfs but because he lost his magic
Why is Mulch antagonizing the Goblins on purpose in jail
WTFF Artemis takes his sunglasses off while talking to Holly like what
Why does Holly look happy when she tells Artemis her dad is dead
Why doesn't she just fucking mesmer him
Mulches desire to to be small wat

44, Mulch stretching his jaw is literal nightmare fuel

Mulches tunneling is so not subtle at all
If all the info on the fairies is in the diary in an already hidden chamber why include the wall safe
Artemis just lets Holly out
Why would Mulch let Artemis know about the eyecam
What was Dame Judy Dench thinking signing up for this
The Neutrinos look so dumb
How are they just blocking magic
No way Butler lets Artemis get even half that close to a troll nor would Artemis want to be
Why does Juliet seem to think she can handle a troll
Why get rid of the suit of armor scene that would look visually amazing and is the best
No way Butlers crying while he dies and being so smiley in general
Why is Mulch helping Artemis its never explained at all, Mulch would 100% have stolen the aculos to sell to the highest bidder
Koboi never had the kinda magic she seems to in this unless those are nanobots or something she has attacking Fowl SR
Why would Koboi not give Artemis enough time to bring the aculos to her when she knows he has it
Why would Koboi kill Beechwood Short instead of ya know interrogating him she's supposed to be a genius
Root is too nice and not verbally abusive enough
Is there really a Goblin in LepRecon
Why would Artemis warn Opal
He calls himself a criminal mastermind while having broken no laws seems they just thought the line was cool
Artemis is overall just way to nice, trusting, and emotional
Why would Artemis have Mulch arrested and tell the story and give humans actual video evidence of a fairy it makes no sense
That tracking device is way bigger than necessary lol

During quarantine, I've had the opportunity to rewatch every movie in relatively short succession. I've seen them all 2-10 times and have been a lifelong Bond fan. I enjoy every Bond film, even the "bad" ones, but I wanted to try and rank them. I used a scoring system to help me, but ultimately went with my gut (e.g. License to Kill MUST be better than The World is Not Enough). I thought a tier system of ranking was useful, because it really is splitting hairs to rank some of these. Feel free to critique my ratings, my ratings weightings, and opinions!

You could say I have too much time on my hands
Tier 7: The Worst

Die Another Day: Best Sword Fight

- Why it's not irredeemable: For being the lowest ranked film on this list, it's not without its moments. Bond getting caught, tortured, then escaping from MI6 was interesting and novel. The ice hotel was neat, as well as the chase scene. I'll even defend the much maligned invisible car, as the Aston Martin Vanquish is quite a car.
- Why it's not higher: Personally, I think Halle Berry is a terrible Bond girl, alternating between damsel in distress and super woman as the plot demands it. Moreover, Graves and the plot in general is pretty cheesy and boring. Perhaps most damaging is the deadly serious tone of the movie, which doesn't even provide the fun and excitement Brosnan's films generally provide the viewer.
- Most under-appreciated part: The fencing scene is the best action scene of the entire movie. It's surprising it took Bond this long to fence, but seeing them go at it across the club was a blast.

Tier 6: Disappointing

Quantum of Solace: Best Car Chase

- Why it's this high: The action is quite good, likely meriting the distinction of the best car chase in the entire series (the pre-credits sequence). Mathis is a good ally and it is sad to see him go.
- Why it's not higher: My biggest beef with Craig's Bond films is that they are too serious, so when the plot and script isn't top-notch, the movie watching experience is just kind of dull. Quantum of Solace takes a bold risk in making the first Bond sequel, but unfortunately it's just not that good. Greene seems like a rather pathetic Bond villain, and his henchman (the worst in the series?) ends up in a neck-brace after getting tripped by Camilla. Also, the shaky cam is distracting and exhausting.
- Most under-appreciated part: I actually thing the theme song is pretty good! Maybe I'm just too much of a Jack White groupie, but I think it rocks.

Moonraker: Best Locales

- Why it's this high: I'm pleased to see Jaws making a return, as he is an amazing henchman. On that note, the pre-credits sequence with Bond and Jaws falling out of the plane is exhilarating. Holly Goodhead is a very good Bond girl, beautiful, smart, and competent. Roger Moore always does an excellent job playing the role with suavity and wit.
- Why it's not higher: Gosh it's cheesy. Particularly egregious is Jaws' love story. The theme song is terrible and Bond doesn't have any solid allies besides Goodhead and Jaws.
- Most under-appreciated part: They really go all out with the settings here. Obviously, space is pretty polarizing, but I think Bond clearly should go to space at SOME point during the series. In addition, Italy and Brazil were gorgeous views, while Drax's estate is magnificent.

Spectre: Best Shooting

- Why it's this high: Rewatching this for the second time, I realized Lea Seydoux does a good job as the Bond girl, and it's actually quite believable she and James could work out, as she is the daughter of an assassin and can understand him (as Blofeld points out). Seeing Bond show off his marksmanship was quite satisfying, especially that one long shot during the escape from Blofeld's compound. Bonus points for Bond's DB10 and resurrecting the DB5.
- Why it's not higher: The fatal flaw of this film is making Blofeld Bond's adopted brother. How did Bond not recognize him? How is Blofeld able to keep himself secret from British intelligence yet every criminal worth his salt knows of him? The worst part is that it actually cheapens the plot of the other Craig movies. I believe the Bond franchise should stay clear from sequels from here on out. Yes, they can weave a great story if done correctly, but it's so much more difficult to make great sequels (e.g. Star Wars only made two worthy sequels in seven tries) than to do one-offs. As usual for a Craig film, Bond has little charisma (save for his surprisingly good rapport with Moneypenny) and little in the way of jokes to lighten the mood.
- Most under-appreciated part: The train fight scene with Dave Bautista is great! Gosh it was awesome to see them go at it, break through walls, and a priceless expression on Bautista's face when he knows he's done. Bautista is the first decent henchman since the 90s, so glad to see the series go back to this staple.

The Man with the Golden Gun: Best Potential, Worst Execution

- Why it's this high: This Bond movie frustrates more than any other, as it has the potential to be an all-time great. Bond's debriefing starts off with promise, as it turns out the world's top assassin is gunning for Bond! For the first time in the series, Bond seems vulnerable! M makes a hilarious quip as to who would try to kill Bond ("jealous husbands ... the list is endless"). Furthermore, the legendary Christopher Lee is possible the best Bond villain, a rare peer of 007.
- Why it's not higher: Unfortunately, the movie opts to change course so that it's just Maud Adams trying to get Bond to kill Scaramanga. Goodnight is beautiful, but maybe the most inept Bond girl of all-time. They used a SLIDE WHISTLE, ruining one of the coolest Bond stunts ever (the car jump).
- Most under-appreciated part: Nick Nack is a splendid henchman, showing the role can be more than just a strongman.

Diamonds Are Forever: Great Beginning and Ending, but Bad Everywhere Else

- Why it's this high: Is there another Bond with such a great contrast between the beginning/ending and everything in between? Connery shows his tough side, as he muscles his way through the pre-credits scene. Particularly good was the part where he seduces the woman, then uses her bikini top to choke her. At the end, Bond expertly uses his wine knowledge to detect something is amiss, then dispatches Kidd and Wint in style. Other cool scenes include Bond scaling the building to reach Blofeld and Bond driving the Mustang through the alley.
- Why it's not higher: This is one of the films that I find myself liking less and less over time. Vegas, and especially the space laboratory scene, just seem cheesy. Connery is officially too old at this point, and Jill St. John just isn't a very compelling Bond girl. I would've preferred to have seen more of Plenty O'Toole, but alas 'twas not meant to be. Leiter is uninspired as well. Having Bond go after Blofeld for the millionth time just seems tired at this point.
- Most under-appreciated part: Mr. Kidd and Wint are the creepiest henchmen in the Bond universe, but I'd argue they are some of the best. Their banter and creative modes of execution are quite chilling and thrilling.

A View to a Kill: Best Theme

- Why it's this high: Is it a hot take to not have View in the bottom five? Let me explain. I contend Duran Duran's theme is the very best. The ending fight scene on the Golden Gate Bridge is actually one of the most iconic ending set pieces in the series. The plot is stellar on paper, as the horse racing part was a very Bondian side story, and the idea of an attack on Silicon Valley actually seems even more plausible today.
- Why it's not higher: It's self-evident that Moore is way too old for the part. Some parts are just mind-blowingly ridiculous, such as the fire truck chase scene through San Francisco and the part where Stacey is caught unaware by a blimp behind her. Speaking of Stacey, she may be beautiful, but she spends most of the movie shrieking whenever something goes wrong.
- Most under-appreciated part: The scene with Bond and Ivanova is cool (I always like it when he interacts with other spies) and quite entertaining how he fools her with the cassettes.

Tier 5: Below Average

Octopussy: The Most Characteristically Roger Moore Bond Film

- Why it's this high: Maud Adams has great screen presence as Octopussy, and her Amazonian-like women are cool to watch fight. Bond's deft swipe of the egg was nicely done. On a related aside, I wish Bond films would emphasize Bond's intellect more, as it seems the 60s and 70s films would allow Bond to showcase his vast knowledge more frequently than he does today. Gobinda is a fierce henchman, while India in general is a cool location. The plot is realistic, yet grand (war-mongering Russian general tries to detonate a nuke to get NATO to turn on itself).
- Why it's not higher: This is the first Moore film where he simply was too old and shouldn't have been cast. Yes, it's too cheesy at times, most infamously during the Tarzan yell. Bond also doesn't use any cool vehicles.
- Most under-appreciated part: People tend to focus too much on Bond dressing as a clown, but the scene where Bond furiously tries to get to the bomb in time to defuse it is one of the tensest moments in the series. Moore's "Dammit there's a bomb in there!" really demonstrated the gravity of the situation (I get goosebumps during that part).

Tomorrow Never Dies: Most Tasteful Humor

- Why it's this high: Brosnan really settles into the role well here. He gives the most charismatic Bond performance in 15 years or so. His quip "I'm just here at Oxford, brushing up on a little Danish" is an all-time great Bond line. Teri Hatcher is stunning as Paris Carver, delivering a memorable performance with her limited screen time. The plot is original and ages well, highlighting the potential downsides of media power, while Carver is an above average villain.
- Why it's not higher: Wai Lin is good for action, but the chemistry between her and Bond is non-existent. By the end of the movie, Pryce just seem silly (especially the scene where he mocks Wai Lin's martial arts skills). There aren't any good Bond allies, as Jack Wade doesn't impress in his return to the franchise. In general though, the movie has few things terribly wrong with it, it just doesn't excel in many ways.
- Most under-appreciated part: Dr. Kaufman is hysterical. At first, I thought "this is weird," but by the end of the scene I'm cracking up. I genuinely wish they found someway to bring him back for World, but c'est la vie.

The World Is Not Enough: Less than the Sum of its Parts

- Why it's this high: According to my spreadsheet, this is a top 10 Bond film, while on my first watch on this film I thought it was bottom five. I think the truth is that it's somewhere in between. I like the settings, everything from the temporary MI-6 headquarters to Azerbaijan. Elektra is an all-time great Bond girl, with a nice plot twist and character arc. The glasses where Bond sees through women's clothing are hilarious. The sense of danger is strong, with everyone from Bond to M being in danger. The return of Zukovsky is a nice plus.
- Why it's not higher: I think two things really doom this film. First, Renard is totally wasted a henchman. The idea of him not feeling pain is a cool one, but he just seems boring and extraneous. I don't even think Carlyle acted poorly, he was just misused. Secondly, the ending (after Bond killing Elektra which is quite good) is rather terrible. The whole scene in the sub just isn't entertaining or engaging.
- Most under-appreciated part: I'm going to defend Denise Richards as Christmas Jones. Although no Ursula Andress, Richards is absolutely gorgeous and did not actively make Bond's mission more difficult, which is more than some Bond girls can say *cough Britt Ekland. In particular, I found her introductory scene to be quite memorable and convincing. Also, the Christmas quip at the end is quite cheeky.

Tier 4: Solid

The Living Daylights:

- Why it's this high: Dalton brings a breath of fresh air to the franchise here. His more serious take makes for interesting movies that seem more unique than most. I'm happy to see this subreddit appreciate Dalton more than the casual fun does, but I wouldn't go as far as the Dalton fanboys and say he's the best Bond or anything like that. I do wish he got the role sooner and did more films. Moving on to Daylights, it's got a good intro for Dalton and good plot in general. Surprisingly, Bond's fidelity doesn't bother me one bit, as it actually makes sense that Kara falls in love with James by the end, given all they've gone through.
- Why it's not higher: The biggest reason is that the villain is just terrible. Whitaker seems silly and pathetic, a terrible contrast to Dalton's serious nature. I think Whitaker might be the worst in the series, and a Bond movie can't be great without a good villain. Also, Dalton doesn't have much charm and is abysmal at one-liners, which, in my opinion, IS a facet of the perfect James Bond.
- Most under-appreciated part: The Aston Martin Vantage is a beautiful car, and the chase scene across the ice is great! It's both exciting and funny! Not sure why people don't talk about this chase scene and this car more; it's arguably the highlight of the movie for me.

Thunderball: The Most Beautiful

- Why it's this high: Thunderball used to be top five for me and here is why. The underwater scenes, the setting, the score, and the Bond girls are beautiful even to this day. Domino is excellent, while Volpe is a tour de force, oozing sexuality and danger. I think the underwater parts are interesting and novel, creating a staple of sorts for the franchise. The DB 5 is always welcome, and the jetpack use was quite cool for the time (and to some extent now).
- Why it's not higher: Some would say it's boring, while I would more generously admit the plot is slow. Furthermore, the theme song is all-time bad (apparently they could have used Johnny Cash!!!), and there is no great henchman for Bond to dispatch.
- Most under-appreciated part: Two plot ideas I liked a lot: Bond being injured and needing rehab, plus the part where all the 00s meet up and then are sent to the corners of the globe.

Never Say Never Again: Guilty Pleasure

- Why it's this high: Rewatching Never for the third time, I was struck by how fun this movie is. It's exciting, funny, and fast-paced. Basically, it's a more exciting version of Thunderball, with better pacing and better humor. I think Irvin Kershner did a great job managing this star studded cast. Carrera is a firecracker as Blush, Sydow is a convincing Blofeld, and Basinger is a classic Bond girl. Connery clearly has a blast returning to the role, doing a great job despite his advanced age. If anything, this one might not be ranked high enough.
- Why it's not higher: The music is terrible. Normally I don't notice these things, but one can't help but notice how dreadful this one is. The theme is awful as well. I'd argue this is the worst music of any Bond film.
- Most under-appreciated part: The humor! This is one of the funniest Bonds, as I found myself laughing out loud at various parts (e.g. Mr Bean!).

The Spy Who Loved Me: Best Intro

- Why it's this high: There's a lot to love about this one, so I get why this ranks highly for many. It is simply the best introduction, starting with Bond romancing a woman, followed by a skii chase, then jumping off the cliff and pulling the Union Jack parachute! The Lotus is a top 3 Bond car. Jaws is a superb henchman. Triple X was an excellent Bond girl, deadly, charming, and beautiful. Of course, Moore is charming and the locations are exotic (Egypt was a cool locale). If I had to pick one Moore movie for a newcomer to watch, it would be this one.
- Why it's not higher: The theme song is bad, and Stromberg is a below average villain. I also think the last 45 minutes or so of the movie kind of drags.
- Most under-appreciated part: The whole dynamic between Bond and Triple X is great. Whenever Bond movies show Bond squaring off against other spies (see View to a Kill, Goldeneye) it's just a pleasure to watch.

Live and Let Die: Most Suave

- Why it's this high: Roger Moore superbly carves out his own take on Bond in an excellent addition to the franchise. The boat chase is my favorite in the series, and Live and Let Die is my second favorite theme. Jane Seymour is a good Bond girl, while Tee Hee and Kananga are a solid villain/henchman duo. Unpopular opinion: I find J.W. Pepper to be hilarious.
- Why it's not higher: The introduction isn't very good, as Bond isn't even included! The second climax with the voodoo isn't great. Bond blowing up Kananga has aged terribly.
- Most under-appreciated part: When Bond is visited in his apartment by M and Moneypenny, Bond rushes to hide his girl from his coworkers. Finally, when they leave and he unzips the dress with his magnetic watch is one of the best uses of a Bond gadget in the series, showcasing why Moore might be the most charming Bond of them all.

You Only Live Twice: Best Blofeld

- Why it's this high: Just your classic, fun Sean Connery Bond movie. It was a great decision to send Bond to Japan for his first Asian visit, giving the movie a fresh feel. The ending set piece battle is potentially the best of this staple of 60s/70s Bonds. Tiger Tanaka is one of Bond's cooler allies. Pleasance killed it as Blofeld; when I think of Blofeld, I think of his take. In what could have been cheesy, he is actually somewhat frightening.
- Why it's not higher: The whole "we need to make you look Japanese" part seems both unrealistic (who is he really fooling?) plus surprisingly impotent coming from Tiger Tanaka who seems to be a competent and connected man otherwise. Honestly though, this movie doesn't have a major weakness.
- Most under-appreciated part: The fight scene with the guard in the executive's office is probably the best hand-to-hand fight in the series up until that point.

Tier 3: Excellent

Dr. No: The Most Spy-Like

- Why it's this high: Nearly 60 years later, this film is still a blast to watch, due in no small part to its focus on the little things of being a spy. I adore the scenes where Bond does the little things spies (presumably) do, such as putting a hair across the door, or showing Bond playing solitaire while waiting to spring his trap on Prof. Dent. I also enjoy the suspense of Bond sleuthing around the island, while he and the viewer are completely unaware of whom the villain is until quite late in the film. It's easy to take for granted now, but this film established so many series traditions that were ingenious. My personal favorite is Bond's introduction at the card table: "Bond .... James Bond."
- Why it's not higher: The film just doesn't have the payoff it deserves. Maybe it's just a result of the time and budget, but from the point Bond escapes on, it's just mediocre. Particularly egregious is the "fight" between Dr. No and Bond where No meets his demise.
- Most under-appreciated part: Ursula Andress was a surprisingly well developed Bond girl, with a shockingly violent backstory (she was raped!). Obviously, she is beautiful and the beach scene is iconic, but I was pleasantly surprised to conclude she is more than just eye candy.

License to Kill: The Grittiest

- Why it's this high: On my first watch, this was my least favorite Bond film, as I thought it was too dark and violent to befit 007. By my third time watching, I've decided it's actually one of the best. Fortunately, I don't have to go on my "Ackshually, Dalton did a good job" rant with this subreddit. I liked the wedding intro and the concept of a revenge arc for Leiter (although come on he should've been killed by a freaking shark). Also, Lamora and (especially) Bouvier are great Bond girls. Bouvier is both competent and beautiful, and it's great to see Bond choose her at the end.
- Why it's not higher: The theme song is atrocious, Dalton is so angry (dare I say charmless?) the whole time it's almost puzzling why Bouvier and Lamora fall for him, and Bond doesn't use any cool vehicles.
- Most under-appreciated part: Sanchez is actually a sneaky good Bond villain.

For Your Eyes Only: The Most Underrated

- Why it's this high: I think Moore is a bit underrated as Bond. Yes, he was too old towards the end and yes, his movies were at times too campy, but he himself played the role admirably. He was the most charming and witty of all the Bonds, so by the time he got his first relatively serious plot to work with, he hit it out of the park. Anyhow, the climactic mountaintop assault is one of my favorite Bond action climaxes. Columbo is one of the best Bond allies, and the plot twist where he turns out to be good and Kristatos bad was well-done.
- Why it's not higher: The intro is just silly. Bibi's romantic infatuation with Bond is just ...er... uncomfortable?
- Most under-appreciated part: The theme song is a banger. What a chorus!

Tier 2: Exceptional

Skyfall: The Sharpest Film (From Plot to Aesthetics)

- Why it's this high: One of the best plots of the entire series. The idea of an older Bond who had lost a step, along with making M the focus point of the movie, works very well. Seeing Bond's childhood home is also pretty cool. Bardem's take on Silva is delightful and a lot of fun to watch. Even the cinematography is a series peak, while Adele's them is excellent.
- Why it's not higher: One thing most Craig Bond films suffer from is the lack of a Bond-worthy henchman. Skyfall is no exception. More importantly, Bond girls are mostly irrelevant to the film. Yes, Severine is both beautiful and interesting, but she's scarcely twenty minutes of the film.
- Most under-appreciated part: Setting the new supporting characters up nicely. The Moneypenny backstory was well-done. Casting Ralph Fiennes as the new M is a great choice in of itself, but he also got a nice chuck of background story to help us going forward.

Casino Royale: The First Bond Film I'd Show a Series Newcomer

- Why it's this high: Craig's take on Bond feels like a breath of fresh air. In particular, his hand-to-hand combat scenes are so much better (and more believable) than any other Bond. The parkour chase scene is one of the best chase scenes in the series. Le Chifre is an excellent villain, but, more importantly, Vesper is an all-time great Bond girl. The conversation between Vesper and Bond on the train is probably the most interesting of any film. Bonus points for Jeffrey Wright as Leiter and the Aston Martin DBS.
- Why it's not higher: There are hardly any humorous parts or much charm displayed by Bond in general. More importantly, the movie should have just ended when Bond wakes up in rehab. The rest of the movie feels confused and superfluous.
- Most under-appreciated part: The decision to change from chemin de fer to poker makes for much better (and understandable!) cinema. The poker scenes are the best of Bond's many gambling scenes throughout the series.

Goldeneye: The Most Fun

- Why it's this high: Wow, rewatching Goldeneye I was struck by how entertaining the whole thing is. The opening jump is breath taking, the scene where Bond drives his evaluator around is hilarious, and Xenia Onatopp is a livewire. Sean Bean is a formidable villain as 006, and a great foil to James. Bond and Judi Dench's first scene together is amazing. Goldeneye feels like the first modern Bond, yet so true to the predecessors. Wade and especially Zukovsky are excellent allies.
- Why it's not higher: Simonova is a forgettable Bond girl. She's not annoying, unattractive, or acted poorly, but is just below average in most regards (looks, back story, chemistry with Bond, plot).
- Most under-appreciated part: the action is just so much better than any Bond before it

From Russia with Love: The Best Henchman (Red Grant)

- Why it's this high: Interesting settings, beautiful women, and an engaging story make this a classic. I'm not the first to point out that the scenes with Grant and Bond aboard the train are some of the best in the entire series. Grant is one of the few villains who feels like a match for 007. Furthermore, the addition of Desmond Llewyn as Q was crucial and Kerim Bey is one of the better Bond allies.
- Why it's not higher: The helicopter scene should've just been omitted, especially when combined with the subsequent boat chase. It's just awkward to watch.
- Most under-appreciated part: The gypsy scenes are quite exotic and entertaining.

On Her Majesty's Secret Service: The Most Heartfelt

- Why it's this high: James and Tracy's love story is charming, and when she dies at the end, this is the one and only time in the entire series where the viewer feels genuinely sad. Diana Rigg did an excellent job convincing the audience Bond could finally fall in love with one girl. The skiing scenes were beautifully filmed, and the score was exemplary. Personally, I quite liked Lazenby's take; however, some of his lines and jokes fall flat. To his credit, he looks and acts like Bond more than any other actor.
- Why it's not higher: Honestly, it does drag at times in the first half, plus there is no theme song!
- Most under-appreciated part: Bond's Aston Martin DBS is a beautiful car, combining 60's sports-car beauty with Aston Martin's elegance.

Tier 1: The Best

Goldfinger: The quintessential Bond

- Why it's this high: From the opening ("Positively shocking") to the seduction of Pussy Galore at the end, this film has it all. Goldfinger is an all time great villain, while Odd Job is an exceptional henchman. Connery delivers a master performance, and drives THE classic Bond Car, ejector seat included. The reason I put it #1 is not necessarily because it is the best film (although it is great), it checks all the boxes of what a perfect Bond film should do.
- Why it's not higher: I cannot think of any notable imperfections.
- Most under-appreciated part: The golf scene between Bond and Goldfinger is a delight to watch, demonstrating Bond's wits for the first and only time on the golf course.

Not that Tom Cruise is too synonymous with the role himself, Sean Connery is the epitome of James Bond, arguably the most iconic movie character of all time, and he got recast numerous times in the course of the years.
I just feel like, after Mission Impossible 8, when Cruise is 60 years old, and hopefully not performing life risking stunt work, the franchise should rest and so should Ethan.
I would not like to see Ethan Hunt "age", so that he becomes some sort of mentor or stuff and I'd also not want him to be recast either, because no one could seemingly step into Cruise's footsteps.
What are your thoughts on this?
EDIT:
So here are some possibilities:
1. Letting the franchise calm down after MI 7&8, remembering it as a 25 year tour with a terrific Tom Cruise
2. Create Spin-Offs, that feature the IMF, but not Ethan Hunt, you could a.) recast everyone or b.) take some actors on the way (unlikely)
3. "Expand" the universe and create a new IMF agent in the same timeline as Ethan Hunt & Cruise. Though this would have the consequence of Ethan Hunt getting old and losing the "timeless" status that some may want.
4. Re casting Ethan Hunt, like James Bond, recasting another actor for the role, you could act in many possible ways (Judi Dench continued M even when Brosnan and Craig changed), so you'd either have to act as if everything is in a different "timeline" or everything is just the same, including Ethan who's now played by someone else.

I'd prefer 1. actually.

https://www.google.ru/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=2ahUKEwiQj6bku-viAhUc5KYKHYRBCsUQFjAAegQIAxAB&url=https%3A%2F%2Fwww.ft.com%2Fcontent%2F26e4c6ac-8dc2-11e9-a24d-b42f641eca37&usg=AOvVaw2uwau1KdJ3bi2TPPranLUR

Killing Eve and the rise of the older screen queen
Kate Muir

There was a time, not so long ago, when actresses became invisible on their 40th birthdays. Work started to dry up: in film, 80 per cent of leading roles for “mature” actors went to men, as well as most of the dialogue. Even the Oscar-bedecked Meryl Streep feared obsolescence: “I remember, as I was hovering around 40, I thought each movie would be my last, really,” she said in 2016.

That was then. In recent weeks, however, it has felt as if all the smartest, best-written and most richly nuanced characters on television are older women. Streep is just one beneficiary of the changing mood: the 69-year-old has joined the cast of HBO’s Big Little Lies, whose second season premiered on Monday. The series also features several other women of a certain age: as well as Nicole Kidman, 51, and Laura Dern, 52, there’s Reese Witherspoon, 43; the director is 58-year-old British filmmaker Andrea Arnold.

At almost the same moment, the second season of Killing Eve hit British screens, starring 47-year-old Sandra Oh, who has transfixed viewers with her smart and compellingly weird performance as the obsessive MI6 agent Eve Polastri, foil to Jodie Comer’s antiheroine assassin Villanelle. Oh’s near decade-long run as a doctor on the US drama Grey’s Anatomy ended in 2014, and her career went rather quiet until Killing Eve exploded into the zeitgeist. When the eight new episodes dropped on the BBC’s iPlayer, 2.6m people downloaded the box set within 36 hours, watching between phone, laptop and television.

Suddenly, it seems, the small screen is finding room for mature, complex leading ladies. There’s Emma Thompson, currently starring as a sinister British prime minister in the BBC’s Years and Years. Sally Wainwright, writer of Happy Valley and a creator of strong female characters for decades, has her name in huge letters on the posters for Gentleman Jack, which stars Suranne Jones, 40, as a lesbian landowner in 19th-century Yorkshire. Gillian Anderson, 50, plays a liberated therapist in Netflix’s comedy Sex Education. These multifaceted roles are a far cry from the clichéd archetypes of yore.

It is a dramatic change that partly reflects the reckoning after the Harvey Weinstein revelations — but also a new-found confidence that a bankable audience exists for such programmes. TV commissioners have seen the shift in ratings in recent years and responded. There is a small-screen gold rush taking place, and female directors, writers and leads are in everyone’s sights.

At the vanguard are the streaming services, whose cultural influence is rocketing: Ofcom reports that Netflix and Amazon Prime together made £1.1bn in the UK last year, and Variety reports that American television chiefs are engaging in a streaming “arms race”. Netflix’s worldwide budget is predicted to rise to an unprecedented $15bn this year; the company says it has spent “hundreds of millions on UK productions in the last two years”, and that there are currently “50 plus projects on the go” in Britain, serving some 9.6m subscribers.

Anne Mensah, who moved last year from Sky to become the drama commissioner at Netflix UK, is keen to stress that the shift in what gets made comes in response to audience appetites rather than any desire for virtue-signalling. “What I love about Netflix is that no one makes assumptions about audiences,” she says. “We respond to what people love, rather than gender and demographics, and we want to see a broader version of what women can be behind and in front of the camera.” The commissioners at streaming services aren’t designing shows by algorithm, but they have a better idea than ever before about their viewers’ interests and watching habits.

“This is not a tipping point, but a beginning,” Mensah adds. “We have to keep pushing forward and exploring the diversity of what it means to be a woman, to be a person. We want to explore what it is to be a woman in India, trans in America, and a teenager in London.”

Moira Buffini has had a ringside view of this change. Just three years ago, she was struggling to sell Harlots, her drama about life in an 18th-century English brothel, now in its third season. The show was rejected by the BBC and Channel 4. Eventually the US streaming channel Hulu stepped in to co-produce the drama, and it is now available on Amazon Prime in the UK. The series stars Lesley Manville, 63, and Samantha Morton, 42, as redoubtable matriarchs.

“People couldn’t imagine a show about sex workers without it being titillating or miserable,” says Buffini. “They couldn’t see it as a workplace drama.” Now, however, she thinks the landscape is shifting, and that UK channel controllers are more willing to trust women. “There’s a hunger for this.”

“Television is changing,” she adds — although she says that there is more work to do. “It has been a world populated by mature and interesting men, and young, beautiful women, and that just has to stop. It has an insidious effect on people. Female characters need to lead the action, as they do in their lives, where they are not mere helpmeets.”

To be clear, men still dominate the screen. A Writers’ Guild of Great Britain report last year revealed that between 2001 and 2016, 81 per cent of prime-time drama was written by men, and overall women wrote only 28 per cent of television episodes. For cinema, the outlook was even worse: only 11 per cent of British feature films released between 2005 and 2016 were written solely or mainly by women.

Yet the report said that comparing production budgets and box office data proves that “films written by predominantly female writers tend to have higher revenues, both domestically and internationally, than those written by their male counterparts”. Late Night, starring Emma Thompson as a TV talk-show host in a film scripted by Mindy Kaling, was snapped up by Amazon for $13m at Sundance, and has already enjoyed the second-highest per-theatre debut in America of 2019. The audience for that was 65 per cent female.

Women buy over half of cinema tickets, and their television viewing outstrips that of men. An Ofcom survey from 2018 shows that women over the age of 55 spend almost two hours more a day watching television than the average adult — but traditionally the chances of their seeing themselves reflected on screen have been slim.

Perhaps most male writers have found it hard to imagine older women vividly — or found them less than compelling subjects. But Killing Eve — based on Luke Jennings’ books and given a surreal feminist reboot by Fleabag screenwriter Phoebe Waller-Bridge and Emerald Fennell — not only showcases Sandra Oh, but also Fiona Shaw, 60, as the downright peculiar and terrifyingly brusque MI6 chief Carolyn Martens. In the first new episode, Martens has burgers delivered to the morgue where she and Eve are studying a rotted corpse, “because the smell of bodies makes you crave meat”. You would never catch John le Carré being so bonkers.

But perhaps the most celebrated anthem to middle age in the new television is the scene in the most recent series of Fleabag when Kristin Scott Thomas plays an executive talking about the power of being post-menopause. “It’s the most wonderful f***ing thing in the world. And, yes, your entire pelvic floor crumbles and you get f***ing hot and no one cares, but then you’re free. No longer a slave, no longer a machine with parts. You’re just a person in business.”

Another under-explored area is that of female (and male) characters of colour. This is something that Gurinder Chadha, perhaps best known as the director of Bend It Like Beckham, is trying to address. She has written and directed a new six-part series, Beecham House, which premieres on ITV’s prime-time Sunday evening slot on June 23. The Asian-British drama is set in India in 1795, as the Mughal empire is in decline and the British East India Company is extending its reach. “They’re calling it Delhi Downton,” says Chadha, laughing, “but it’s not as posh.”

The series was bought by ITV’s head of drama Polly Hill. “It’s their first big commission from a company of colour and a woman,” says Chadha. The 59-year-old also has a mainstream movie out in August, Blinded by the Light, which is the musically inspired real-life story of writer Sarfraz Manzoor growing up in a Pakistani family in 1980s Luton, while obsessed by Bruce Springsteen. After a struggle to secure initial funding in the UK, Chadha sold the film for $15m to Warner Bros at Sundance.

“It’s definitely a big moment for me now. I have been plodding away, kicking. I often feel I have to start from scratch again and again,” says Chadha.

If TV production companies are increasingly nimble, bringing change to Hollywood is like turning some vast, stately ocean liner. The instinctive wariness to greenlighting projects led by women is deep-rooted. All the same, it seems the mood is slowly changing; 18 per cent of movies slated for release in 2019 from Hollywood’s six major studios have a female director, a jump from 3 per cent in 2018.

When films are publicly funded, there is more inclusivity. Lizzie Francke is a senior production and development executive at the British Film Institute. In the era of Time’s Up, the BFI has introduced, as a condition of funding, a set of diversity standards to tackle under-representation. “This year, 53 per cent of our films are directed by women, and we have three female BAME [black and minority ethnic] projects poised to go through. Putting these formal structures in place helps us to say no to the rest and nurture smart, distinct, original voices.”

Actor and director Alice Lowe — who recently played the psychiatrist in Black Mirror: Bandersnatch — says that women “have a disproportionately high profile at the moment, perhaps because the quality of shows is better. Male writers are moaning that they’re not fashionable now, but they are still getting most of the work.”

Lowe directed and starred in Prevenge, a horror-comedy about a pregnant serial killer. Lowe shot the film while pregnant herself, and promoted it at the Venice Film Festival with her baby daughter on her knee. Prevenge was a ticket to more offers of work. “I keep getting asked to direct things because they feel they ought to have a woman, but they don’t want to relinquish creative control.”

She is about to start a new film, Timestalker, but says it is tough making the leap to a second production, scaling up funding and having bigger names. “If you write a great female lead, male actors ask, ‘But what’s in it for me?’ ”

Carol Morley, director of films including The Falling and, most recently, the thriller Out of Blue, agrees that the right names can make or break a film. “There are financial algorithms connected to certain actors, and if you don’t have those names you can’t pre-sell a film” — a prerequisite for survival in independent cinema.

Morley notes, however, that as more scripts feature middle-aged women, actors such as Julianne Moore, Thompson, Annette Bening, Patricia Arquette and Kidman are in heavy demand. Morley tapped Patricia Clarkson, 59, to play the lead detective in Out of Blue. And Britain’s “three Dames” — Maggie Smith, Judi Dench and Helen Mirren — are always busy. “Oddly Olivia Colman wasn’t seen as a pre-sale name,” says Morley. “And then she won the Oscar for The Favourite.”

Colman’s extraordinary, exasperating Queen Anne and Frances McDormand’s performance in Three Billboards Outside Ebbing, Missouri provided complex and not necessarily likeable portraits of older women. They allowed audiences to reclaim female hysteria and anger, and relish it.

“Recently I was watching Glenda Jackson in King Lear in New York,” says Morley, “and she was doing a matinee and an evening performance, and I was thinking how much energy she has at 82, and how awful it is that mature women have long been deprived of those roles.”

But now, as streaming television and film enjoy an age of expansion, they will bring new lifeblood and storytelling. A creative renaissance is under way that is beginning to acknowledge that half the population has been myopically ignored for decades — and that maturity no longer means obscurity.

Kate Muir is a screenwriter and critic

Apologies but this is a long one. Here we go.
In my opinion there are two things that really hold back the X-Men franchise.

The refusal to move past the original films. I believe this is because they wanted to keep Hugh Jackman but Casino Royale was essentially a reboot and no one complained that Judi Dench was still M.
There is no single visionary behind it. Vaughn, Singer, Kinberg, etc have all just done their takes while trying to appease the studios demands. So for the sake of argument lets imagine Fox had a Nolan or Feige to give a single cohesive vision to the entire franchise.

X-Men First Class (2011)
I would set the film in 1969. Charles and Eric are exactly the same. Their backstory, even how they meet. Moira is also the same except her generic partner is now replaced by CIA agent Sean Cassidy (played by Damian Lewis or someone similar).
The key changes would be the X-Men are now the O5 and the Hellfire Club is closer to comics. I think Hoult would make an excellent Scott. Considering the young actors at the time, someone like a Mary Elizabeth Winstead or Garrett Hedlund would be good choices for Jean and Angel respectively. Maybe make Hank McCoy black so we don't get the token black guy who dies first. The Hellfire club replaces Riptide and Azazel with Harry Leland (Ray Winstone would be money) and Mastermind. Also replace January Jones with Rosamund Pike who was considered the favorite for a time.
The film would center around three plot lines.

The adults: Erik and Xavier's ideology and trying to build a better world for the blossoming Mutant species. Moira and Sean helping since she is sympathetic and he is revealed to be a Mutant as well. This story would be essentially the same as the original film. The main change would be removing the Oliver Platt stuff and giving more time to Moira and Sean. Emphasizing their importance.
The kids: The O5 get recruited. Scott is an awkward shy kid who learns to believe in himself and falls for Jean. Angel is the handsome but cocky romantic rival. Bobby is the clown. Beast is the brains. And Jean becomes the heart of the team. These young kids coming together and finding each other to become a team. I still kind of like the idea of Mystique. Her leaving after being disillusioned by Xavier and still not quite fitting in with the pretty Mutants (also adds some more weight since her and Hank were the two non "white" members since Lawrence is technically blue in this). Again, this is about building the characters so that we care about who they are and what they will do in future films
The Hellfire Club: Sebastian Shaw is still the same. I think using actual historical events cheapens things. Instead of The Cuban Missile Crisis, they are trying to provoke a nuclear war through their power and connections. Shaw is still connected to Erik. The fight scene at the end would also be more fun with Jean and Emma going full telepath against each other. Mastermind fucking with reality, and Leland's muscle.

The changes are relatively small but would help better set up future films. I love how they set up Eric and Charles, their friendship, and their split. The X-Men felt like an afterthought so bringing in the O5 and giving them time to develop and bond as young outsiders would give the film more heart. And now we have a stepping off point to expand the universe instead of a one off film set in the 60's. You can keep the Hugh Jackman cameo and joke since he would reprise his role in the future. It would also be fun to use the music of the time to make it feel more era specific.
All of this would lead to the future films. Just some rough outlines but...
The Wolverine: Essentially the same film. Still set in the present but his past (especially the Jean stuff is gone) is more ambiguous. The final act is completely reworked so it isn't a cartoon. He and Mariko stay together. Plus giving Jackman a solo film means we can spend less time focused on him in the X-Men films proper.
~~Days Of Future Past~~ Uncanny X-Men: Set in 1974. Mutants are now a known commodity. Senator Kelly introduces the Mutant Registration Act and invites Boliver Trask to the States because the Sentinel program has been such a success in his native Genosha.
Beast and Xavier are in DC to fight the act. Angel had his wings burned off so the remaining X-Men recruit the schools best students (Colossus, Kitty, and Rogue) to the team. They also recruit three outsiders in Storm, Nightcrawler, and Wolverine.
The X-Men must stop Magneto and his Brotherhood (Emma, Mastermind, Sabretooth, Destiny, and Quicksilver) from attacking the Government in retaliation for the MRA and Sentinels. While at the same time fighting the government from implementing oppressive policies.
Avengers: Age Of Ultron: No Quicksilver. Scarlet Witch is the lone Mutant that Hydra was hiding. Also, Wolverine was hunting down Klaw in Africa. He and Tony team up to fight Hulk. He joins the Avengers in the final fight with Ultron.
~~X-Men: Apocalypse~~ X-Men: From The Ashes: Set in 1979. This is the "dark" chapter. The X-Men are now essentially outlaws. Gambit and Psylocke have been hired to track the team by an unknown party. Bishop is leading a Panther-like subgroup but is sympathetic to the X-Men. Someone tries to assassinate Xavier while giving a human rights speech and he ends up in a coma. The death of Jean Grey and Cyclops is arrested after he takes the fall for all the "crimes" the X-Men have been accused of. Also, the Legacy Virus has started affecting Mutants. The lone bright spot is the Mutant Rights Act is ruled unconstitutional in the end which gives us hope heading into the final film.
Deadpool: Again, essentially the same film except Colossus is replaced by Rockslide and Wade is an X-Men fanboy instead of Colossus trying to recruit him. Plus a few tweaks to fit the new continuity.
~~X-Men: Dark Phoenix~~ X-Men Legacy: Set in 1984. This is the final "Classic X-Men" film. Reverend William Stryker was behind Xavier's assassination attempt. He is an evangelical preacher and leads the "Purifiers". The X-Men are now splintered between Scott / Magneto's Gold Team and Storm / Wolverine's Blue Team. The two must find a way to defeat Stryker without making him a martyr. Also, throw in Apocalypse since this is the last ride. He has the cure to the Legacy virus or some shit. Essentially he is just an excuse for all the X-Men to come together and show of their powers to save the world. A couple X-Men die. We end with title cards saying Kitty became a the first Mutant Senator. Storm did philanthropic work in Africa. Wolverine became an Avenger and so on.
Logan: Again, essentially the same film except his clone is now Sabretooth whom we find out killed Mariko and Logan's young son.
From here we can go anywhere. The New Mutants doesn't have to be this weird stepchild. It can be a new generation of X-Men set in modern times. Deadpool 2 can be X-Force proper. But we have a proper X-Men universe that makes canonical sense and has an overall arc with characters we love.
I know that was a lot but thoughts?

Jeopardy! recap for Thur., Mar. 31 - Well-matched contest that saw first place going into FJ up for grabs for all three players right down to the last clue of DJ. In the end we had a tie for the top spot at $11,000 between champ Todd and Laura, with Fariha right there with $10,400.
DD1 - NATIONAL STATUARY HALL - A statue of this governor & assassination victim stands solid for Louisiana (Laura won $1,400)
DD2 (video) - THE WINE CELLAR - A treasure of the Special Collections Room is a 1934 vintage from Château Latour, 1 of the 4 Châteaux that in 1855 received first growth status in this French region (Todd won $2,000)
DD3 - I LOVE A SYMPHONY - Fitting 4-word subtitle of the Dvorak symphony that Neil Armstrong listened to on his trip to the moon (Laura lost $2,000 - she said "The New World Symphony")
FJ - THE OSCARS - Since 1998 this actress has received 7 Oscar nominations, the most earned after age 60 by any performer
It often pays to know your Oscars on this show and it paid off for Todd, who was the only one to be correct on FJ. He doubled up to $22,000 and now has a three-day total of $74,402.
Triple Stumpers of the day: No one knew that the author of "Starship Troopers" was Robert Heinlein or took a guess that the comic strip dog created by Brad Anderson in 1954 is Marmaduke.
Contestant chit-chat: Laura was a contestant on Art Fleming's Jeopardy! in 1973, winning $1,160 which she said is around $20,000 in today's dollars. Actually, assuming a 4% annual inflation rate, that amount adjusts to just over $6,000.
Correct Qs: DD1: Who was Huey Long? DD2: What is Bordeaux? DD3: What us "From The New World"? FJ: Who is Judi Dench?

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