You’re thinking of delayed choice quantum erasing. You are delayed and your wife thinks of erasing…
I remember this came actually up when it crystallised that QOS would be a direct CR sequel and revolve around Vesper. Some fans early on called this a possible mistake. With SKYFALL it seemed largely forgotten but SPECTRE tied the horse in front of the same saloon again - and now it’s indeed about revisiting SPECTRE’s Happy End again.
I am in two minds. Back in the days of CR/QOS I didn’t see a problem with giving Bond something that actually has an impact on him. A solid character can take this and become stronger for it. I’d argue without the tragic elements in his literary roots Bond would be some forgettable cardboard hero that had been entirely forgotten by now. With them he got an added dimension that went a long way to making him sufferable.
But the theme developed a certain normative dynamic that overshadowed the entire Craig run and when we talk about a pocket universe that’s actually only half jokingly. Craig’s films are pretty unique in this respect.
First off, thank you, Dustin. As a Star Trek fan, I love all the talk of tachyons in a Bond thread!
I was reading a review of the book Nobody Does It Better, and the authors point out that all Bond actor runs start serious then go silly (DN to YOLT or DAF, GE to DAD), then restart serious again with a new actor. This cycle sort of happens twice with Moore’s films. Craig’s pocket universe follows that same pattern (CR to SPECTRE.) The second entries tend to be the most serious (FRWL, TMWTGG, LTK, QoS, even OHMSS after YOLT) before things lighten up if given the chance (sorry, Timothy!)
I tend to think of the first 20 Bond films as hallucinations or fever dreams in Craig Bond’s head during any of his near death experiences (CR’s heart monitor, SF’s fall, SP’s chair.) It’s the one thing that explains the inconsistencies with the DB5’s shifting steering wheel, M’s gender shifting and office appearance, Q’s jokes about other Q’s gadgets, his Sterling alias in QoS, etc. It even works with NSNA and CR’67 and CR’54’s monochrome, how CR’06 starts. It’s his brain trying to make sense of conflicting information. This also explains the growing silliness in each actor’s run as his mind loses grasp of reality and consciousness.
NTTD could play into this (it’s right there in the title, after all.) But even Safin’s comment about skills living beyond the body, and whether or not he’s actually Dr. No. Maybe instead, Dr. No is Bond’s memory recall of Safin. The irony is, we’ve seen the dreams before the reality, where as for Bond it’s the reverse.
Thought I didn’t like it on the first listen, then found I couldn’t stop humming it. With a bit of volume I really like it. Love to play it, but do wish the final Bond flourish wasn’t there.
Wow, this song’s doing the rounds in my head. First thought it a little uninspired - a by the numbers emulation of SF (which TWOTW already tried and failed).
Then it grew on me and I started to like it’s slow build (admittedly it builds too not very much; in this case it’s the journey rather than the destination). I also questioned my dislike of it’s too-cool-to-try-too-hard affectations. Hypercritical of me since i also lament missing out on a Portishead and Goldfrapp bond theme.
But, now I’m back to finding it a little underwhelming again; it’s appeal was short lived. However, I’ll no doubt be back to liking it again before long, so the morel of the story: my opinion is worth diddly squat!
In hindsight I wish that if they wanted a darker, sombre number they’d went with Fever Rey, or Depeche Mode. Then I’d expect a little more edge. But it’ll do!
Side note: never had an issue with the lyrics, which are great for the most part (maybe the title is crow-barred in nonsensically, but aren’t they always). Particularly like the ‘Leaving alone’ opening; cuts straight to the point.