Ian Fleming

Because on one hand, as you mentioned, you've got the right wing kind of media having one image and the left wing media having another image.

You've got youth culture coming through with music and art, but then you've also got these figures who are from World War II, like Ian Fleming and John le Carré, who were also playing a role in shaping this culture.

And they all seem to kind of I got this sense that they were jarring against one another.

They are at odds with how Britain is trying to figure out what role it has as a nation and a society.

I have to say that's a magnificent work.

So that's happened on the one hand.

But then Fleming is doing these absolute fantasy things.

But then slightly to the side of Fleming, You've got people like Len Dayton, who, I mean, Len Dayton's written, wrote a lot of great, or certainly interesting Second World War histories, you know, non-fiction, but quite an idiosyncratic take on history.

They got Spectre and made very poor use of it.

Did you hear what exactly happened in that? Just briefly, before we get into the game and the movie itself, Ian Fleming wrote a book called Thunderball.

Right.

But it was actually...

So I do think some of it actually has to do with the actual finances of the film.

And with understanding, you know, Ian Fleming's initial conceptualization of this character in a literary form had certain demographic characteristics.

And there is this push within the fandom to maintain that type of identity moving forward.

You know, there's greater opportunity if you really want to talk about diversity in terms of race and gender of building out the world around James Bond.