Very true, but it’s better for recovery if you don’t lie to your therapist
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It‘s really great that they had so much time to develop that script.
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It always baffles me how the script seems to be the last thing anyone cares about in Bond film production. Honestly. I cannot understand that. Screenwriters cannot possibly be more expensive than making a villain’s lair explode.
A recent example: in the recent Variety interview, it surfaced that when Fukunaga came on board, Bond being killed was already decided, but not how he would die. Blows my mind.
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For the same reason Mr. Kidd and Mr. Wint do not shoot Bond before they put him in the tube.
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You (well…Chris Corbould) can control the explosion - you can’t control what things (and people) will be available for you in the future. Think just how much of No Time To Die’s story relied on Lea Seydoux
-
being available
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agreeing to come back
If she wasn’t back, that film would’ve been dead in the water. Similarly, Spectre being involved in the plot needed Christoph Waltz to agree to return, Felix bringing Bond back relied on, not only Jeffrey Wright agreeing, but also being able to work around the production of Westworld. In an ideal world you would have everything start with a script, but practically it can’t…and I haven’t gotten to the input of the writer/director needing to be considered alongside the ideals of the producers.
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Just so.
In this respect the exploding tomb of Vesper is perhaps the closest Bond’s enemies ever come to deal with him in a ‘realistic’ fashion.
It’s a ‘bottleneck’, meaning Bond has to turn up there sooner or later. Had the rest of the Spectre team been closer and sprayed the site with their grease guns the case would have been closed right there.
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It wasn’t a given Waltz would be back either. In an interview during the gap he was very critical of his own part in SPECTRE and didn’t give the impression a return was in the cards.
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It‘s not. They care a great deal before.
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They mostly are not. But the money is not the problem. It‘s pleasing (too) many cooks.
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Some of whom you didn’t realise you had 
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In some sci fi, you could potentially take out a nanobot with an EMP device.
Also, if Mallory had realized how dangerous his ‘weapon’ was years before…he would have destroyed it, including data and not kept it in cold storage for Savin to acquire it.
Blofield’s eye does raise a question, even if it was ‘milky’ in Spectre…would it really need to be removed? Why would the British government replace it with a bionic eye especially when he’s a prisoner?
Honestly, wouldn’t Blofield have been able to see with it? Im curious to actually know.
NTTD doesn’t suffer from lazy writing. It’s not really a bad film, it’s just not good at the same time.
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You could just scroll up for the answers to all these…
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I could, but I don’t want to…
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As far as Mallory is concerned:
There is a major misconception about how people in Mallory’s position operate. A weapon like this Heracles thingy, targeting exactly who you want to target, without having to place your own resources even close to anything like risk, without the need for funds, sources, intelligence where or when to strike - this is the Golden Grail of security policy.
Do not for a minute assume otherwise. Everybody would be after this, not just the Saddams and Putins and Trumps of this world. It would be like the ultimate weapon, as close to a divine strike of lightning whenever you needed it as you can get. The purest definition of ‘expedient demise’ one could think of.
As for the potential dangers that come with it, just take a look at Porton Down and similar installations. They’ve got truly horrible biological/chemical agents far more lethal than COVID - nobody thinks about destroying these.
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How fast did the guy who rigged Vesper’s grave to explode get fired, amirite?
How do you rig that where it fails to take out the target??
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Better poison garden…
The one in NTTD or the rain forest exhibit under the ice palace in DAD?
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That‘s a real problem these days.
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Point taken about NTTD, but I’m still puzzled regarding all the other ‘standalone’ films in the franchise which seemed to suffer from the same wobbliness script-wise. I guess for those ‘pleasing too many cooks’ sealed the fate of the script.