Exactly that. Though I could stomach the step brother angle more if Waltz were just Oberhauser and not Blofeld.
Some other little details I enjoy:
Bond not taking Tanner’s hand after getting out of the boat.
“Christ!” - the sequel to CR’s “ow!”
Leaving Moneypenny flowers and Q champagne.
“Good evening.”
Waving at Hinx from the plane - very Moore Bond.
I quite like the fact SPECTRE doubles down on Craig’s Bond being a skilled pilot, which we first saw in QoS. We get him here flying two helicopters and a plane.
The London finale doesn’t really give Craig anything interesting to do, but I rate his performance. He has the mannerisms and presence down pat, which makes the prospect of NTTD even more exciting.
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Craig, for as bored as he looks during parts of Spectre, is terrific in Spectre’s pathetic finale.
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I do enjoy Bond’s line, “ The recently deceased head of SPECTRE, Ernst Stavro Blofeld.” Pretty cool to hear that name out loud in a new Bond movie.
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I think Spectre is Craig’s greatest Bond so far: at ease with all elements of the character, including some fairly outlandish humour: the face he pulls in the pts when hanging from the lampshade! He looks totally born for the part.
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Great moment!
More of that subtle wit and less of the “Health and safety” to underground train drivers Carry on Bond shtick, please Eon!
Comes down to the writers, but with PWB on board NTTD I’ve high hopes in this department.
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Agreed! I really think we could be about to get all time classic Bond 
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Given her work has been dialogue (as she herself has said) it is in the wit that I think work will be most easily found.
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And all the witlessness will be written by P&W.
Everyone has their strengths and weaknesses. No doubt P&W can claim a few great lines over the years (don’t know if or which ones of course). But on the subject of wit i’m betting on PWB every time.
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Because not knowing which lines she wrote won´t matter as much as feeling the good ones must be hers since she did write good lines in other tv shows…
Just playing devil´s advocate here. 
I do expect the lines to be good, too. But I’m very sure that there will be some clunkers in there - and I am sure nobody will say they were written by her - even if they were.
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Well clearly - if you dont like it, it was P&W
Plot it was Fukunaga
Dialogue = PWB
It’s so helpful the way we get those pop ups in the film to tell us exactly who did what.
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For a good long while, I was very worried and did not have high hopes for No Time To Die. It seemed like EoN weren’t happy with the P&W draft, So they hired Boyle and allowed him to start over. However, they were even less thrilled with Boyle’s specific demands and so walked away and returned to the P&W draft which all seemed to point to a straight Spectre sequel that it didn’t really seem like anyone wanted. The new director search wasn’t going well until CJF signed on and more or less started from maybe not square 1, but definitely square 2. He overhauled the script turning it into something very different from P&W’s work retaining only a very basic outline, making it his own. Then top tier talent was brought it and more writers were brought on for script polish, that made it seem as if the script was really in a lot of trouble, when maybe it was more just wanting to fine tune some things. Now it seems we’ve got a film that everyone involved is really excited about. Something you couldn’t really say about the last entry. At least this is how I’ve analyzed the NTTD production. I could be wrong, but I’m more excited than ever for April 2020.
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They say you’re only as good as your last job 
Honestly i can see her fessing up her clunkers at every opportunity. Being less than perfect is part of her shtick, so folk will love her all the more when she turns a bad Bond line into a funny chat show anecdote.
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I’m not sure how all of that is wrong. I just summed up what I gathered from information that has come out about the pre-production for the formerly titled Bond 25.
I was mostly teasing, but you kept assigning other people’s opinions on scripts, At no point was anyone been disappointed with a script, so much as each wanted their own person and themselves to have a go, and that was a deal breaker for one of them. EON wanted their go-to of P&W. Boyle wanted his of Hodge. EON wanted a fresh pair of eyes, so Boyle left. Fukunaga didn’t want to use Boyle/Hodge script, wanting his usual (himself) to work with EON’s go-to to go again from scratch and DIDN’T leave when Eon wanted fresh eyes and worked side by side with all four of his co-writers to create the current film…even if Burns mostly went missing in rewrites.
This behaviour, on all counts, is ludicrously common in script-writing, right @secretagentfan
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Now that’s a drinking game: say it 3 times quickly, take a shot; repeat thrice in fast succession! Nighty night.
Quite so.
And I agree also with Luke.
Whatever one thinks of SPECTRE as a film, I think the above is true. Craig has that relaxed killer aspect of Bond nailed now, but not that he didn’t before. I’m putting it down to completely owning the role after being four films deep into his tenure. There’s no doubt to the world who ‘the new guy’ is, and he’s no longer thought of in those terms.
The Rome chase is pedestrian (I prefer QoS’s intro by far) but even then it does impart personality that is uniquely Bond. The Moore era particularly had a Bond who was unfazed by tense situations, which may not lend itself to audience tension, but is a cool character trait in itself. The old guy being rammed by the DB10 received a laugh in my screenings. So much for the Craig films being too dark and dour.
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