James Bond Amazon gets control

James Bond Amazon gets control

I have written about James Bond in the past. Briefly wrote about the ownership. Small paragraph that worth revisiting.

The Broccoli family has diligently safeguarded control over the Bond franchise. Danjaq holds the copyright for the film series. The first twenty Bond movies are co-owned by Danjaq and MGM, while the remainder belong to Danjaq, MGM, and Columbia Pictures (a Sony subsidiary). Eon Productions, owned by the Broccoli family, meticulously oversees all Bond projects. Their level of control rivals J.K. Rowling’s veto power over the Harry Potter franchise.

Danjaq is owned and managed by Broccoli family, Eon Productions is also owned and operated by Broccoli. Franchise is creative direction and production is owned by this family. Why is that important? Well because we just got news that is changing.

Amazon MGM has gained control over creative control and production. Amazon MGM, Wilson, and Broccoli have come to an agreement. A new joint venture to house the property rights. All three remain co-owners, but creative control goes to Amazon. Ending 60 years of control for Wilson and Broccoli family. Both have retired from producing films. What does this mean for Eon productions? I have no idea. Looks like Sony has sold to Amazon. I can’t find anything on that just a guess.

So what does this mean?

Well, two producers protecting Bond legacy are gone. Made it clear they want theatre releases, not just prime only. Long stalemate after last release in 2021. Last year it was reported nothing was happening. It was an open secret that Broccoli and Amazon did not agree. For whatever reason, they have handled control over to Amazon. Giving up the fight but not the pay day if it works out. Bond brand could now appear anywhere, for years it was protected and guarded. Now a big tech company with a studio has full control. I’m worried yes.

It fine, I have my memories of bond and what it means to me. If they screw this up, I won’t watch it or buy anything. They have big shoes to fill.

James Bond: 60th Anniversary and Top 10 Theme Songs

My Top 10 James Bond Theme Songs

“James Bond Theme” – Monty Norman and John Barry (1962)
The James Bond Theme is based on an earlier melody Monty Norman composed for a play, originally inspired by Bad Sign, Good Sign. Despite legal battles over its authorship, Norman’s creation became one of cinema’s most recognisable pieces, while John Barry’s orchestration gave it the unmistakable brassy punch that we now associate with Bond. This theme laid the foundation for the franchise’s musical legacy.

“Goldfinger” – Shirley Bassey (1964)
Shirley Bassey’s soaring vocals made Goldfinger an instant classic. Despite technical challenges during its recording and producer Harry Saltzman’s dislike of the track, it was released unchanged. The result is one of the most iconic Bond themes, embodying the franchise’s glamour and intrigue. For many, it remains the defining Bond song.

“On Her Majesty’s Secret Service” – John Barry (1969)
This instrumental theme introduced a synthesiser to Bond’s world, marrying futuristic sounds with Barry’s signature orchestral grandeur. Often overlooked, it is a dynamic piece that stands out in the series for its boldness and innovation. Its brassy, pulsating energy mirrors the film’s tension and style, earning its place as a standout.

“Live and Let Die” – Paul McCartney and Wings (1973)
Paul McCartney and Linda McCartney created the first rock-inspired Bond theme. Its fusion of orchestral drama, reggae interludes, and explosive rock gave the franchise a fresh edge. Paul insisted on performing the song himself, fending off suggestions that another artist should sing it. The result is a thrilling, genre-blending masterpiece that redefined Bond’s soundscape.

“For Your Eyes Only” – Sheena Easton (1981)
Sheena Easton made history as the first performer to appear in the opening credits of a Bond film. The romantic ballad reflects the emotional undercurrents of the film, while Bill Conti’s score perfectly complements her tender performance. Interestingly, Blondie had also penned a theme for the film, but producers chose Easton’s version, which aligned more closely with Bond’s aesthetic.

“The Living Daylights” – a-ha (1987)
a-ha’s The Living Daylights merges the synth-pop energy of the ’80s with Bond’s signature orchestral elements. Despite reported creative tensions between the band and John Barry, the track’s electric vibrancy remains a highlight. It encapsulates Timothy Dalton’s gritty take on Bond while nodding to the franchise’s evolving identity.

“GoldenEye” – Tina Turner (1995)
Written by Bono and The Edge of U2, GoldenEye balances modernity with Bond’s classic flair. Tina Turner’s sultry, powerful vocals pay homage to the grandeur of earlier themes while ushering in a new era for the series. Its cryptic lyrics and dramatic arrangement complement Pierce Brosnan’s debut perfectly.

“The World Is Not Enough” – Garbage (1999)
Garbage delivered a unique take with this alternative rock-inspired theme. Shirley Manson’s haunting vocals and the song’s orchestral flourishes evoke the Bond mystique while exploring a darker tone. The lyrics, written from the villain’s perspective, provide a compelling twist that enriches the film’s narrative.

“Skyfall” – Adele (2012)
Adele’s Skyfall channels the essence of classic Bond themes while infusing a modern sensibility. Her insistence on reading the script to align the lyrics with Bond’s journey paid off, creating a track that is as poignant as it is grand. This song marked a triumphant return to form for Bond, winning an Academy Award for Best Original Song—the first Bond theme to do so.

“No Time to Die” – Billie Eilish (2021)
At just 17, Billie Eilish became the youngest artist to record a Bond theme. Written with her brother Finneas, the track captures the sombre tone of Daniel Craig’s final outing as 007. Its understated melody and haunting lyrics reflect Bond’s emotional struggles, serving as a fitting farewell to Craig’s era.


Honourable Mentions and Misses

Some Bond themes, like We Have All the Time in the World by Louis Armstrong, hold a special place for their emotional resonance, while others, such as Madonna’s Die Another Day, feel experimental to a fault. While Die Another Day embraced electronic influences, its heavy use of autotune and techno I don’t enjoy.

For me, instrumental pieces like On Her Majesty’s Secret Service stand out for their innovative blending of tradition and modernity. Tracks like GoldenEye successfully merge past and present, capturing both the nostalgia of Bond and the excitement of reinvention.


My Favourite Theme Song

Choosing a favourite Bond song is no easy task, but for me, Skyfall takes the crown. Adele masterfully captures the essence of Bond, making the song personal and deeply tied to the character’s journey. Winning an Academy Award cemented its legacy, and it set a trend for the franchise, leading to two more Oscar-winning themes. For its emotional depth, cinematic scale, and unforgettable delivery, Skyfall remains unparalleled.

Joker – Arthur Fleck story

Small disclaimer: I haven’t seen Joker or its newly released sequel. However, the sequel has garnered mixed reviews so far. From what I understand, the first film focuses on a character who adopts a Joker-like persona—a mentally ill individual who transforms and commits violent, shocking acts. This is odd because the film is called Joker but isn’t actually about the Joker. The character is inspired by the Joker, even borrowing some of his iconic look. It was a fresh take on the character, but only in name; unlike the comic book Joker, Arthur Fleck never aspired to be the “Prince of Crime.” Though I haven’t watched it, this is the impression I have of the first movie. Todd Phillips’ grounded vision of Gotham, much like Christopher Nolan’s Dark Knight trilogy, offers a more realistic take on the mythos. Just to be clear, it’s called Joker, but it’s not about the Joker, even though it borrows from the source material.

Maybe that’s why it should have had a different title—something more reflective of its intent, rather than evoking expectations of a traditional comic book film.

I never had any desire to see Joker or Joker: Folie à Deux. So, what changed my mind? The answer is the negative reaction to the sequel—it made me curious. Reports of people walking out during screenings caught my attention. How could a film that made $1 billion have a sequel that fails to match that? People have told me the movie is bad, which only piques my curiosity further. Based on what I know of the plot, it seems to be a darker, more sombre film than the original. The first movie was an action-packed drama-thriller, while this one is described as a musical courtroom thriller. Dealing with the consequences of the first film is something rarely seen in movies these days. I can see why this might divide audiences, especially those expecting a conventional, action-packed Joker. That choice is also part of the reason I want to see it—it seems like a very bold move from conservative Hollywood. The marketing seems to completely avoid highlighting that shift in tone.

Before I watch Joker: Folie à Deux, I need to watch Joker—the film that looks like him but isn’t really about him.

Joker Review

At its core, the film is rather unpleasant to watch—it’s about witnessing terrible things happen and watching a man spiral into decline. Arthur always seems just one breakdown away from doing something truly dangerous. We soon get a glimpse into his mental health issues, and it’s clear that the support he’s given isn’t nearly enough for what he needs. Everything he does feels like a performance—smiling and laughing to mask the pain. The violence in this movie feels personal, and you can’t help but feel bad for everyone involved. Joaquin Phoenix is outstanding in this role, not just following the script but embodying the character fully. His facial expressions change on the fly, giving off an air of menace followed by moments of guilt, which makes his performance deeply unsettling yet captivating. Anybody who has struggled with mental health issues can see part of themselves in Arthur. That’s what makes it so compelling. Compared to other DC comic movies, this is far lighter on action, focusing more on the drama. Each action has consequences, slowly leading to his further decline and drift into insanity. Everything that happens adds up. The film takes on a much darker tone, shifting from portraying a somewhat sympathetic character to a more menacing one. Yet you can still sense that Arthur exists underneath it all, which makes it even more chilling.

Unwittingly, Arthur becomes the Joker, making this a Joker origin story that’s not really about the Joker but uses his image. Yes, that includes the Batman origin story, linking him to the Joker indirectly by influencing the events that lead to the death of Bruce Wayne’s parents. To me, it’s obvious that Arthur never wanted to be the Joker. Society as a whole helped create and give him that name. I don’t quite buy the idea that this movie isn’t about the Joker when it borrows so much from the source material. It’s a refreshing, self-contained story that works, but it doesn’t leave much room for a follow-up. I’m not sure what to think about it—how do you continue Arthur’s story? Arthur in prison, perhaps? Do you fully make him the Joker, or do you continue his long drift towards becoming the Joker? Sorry—not the Joker, but someone who looks more and more like the Joker. Maybe they could take a different route, like exploring Harley Quinn treating Arthur, only to descend into insanity herself.

Joker: Folie à Deux

Before watching it, what intrigued me was the shift in genre to a musical thriller, reflecting Arthur’s ongoing struggle with trauma. If you watch Joker, you’ll notice that Arthur is a performance- and theatre-driven character who wants to be a comedian. So, it’s not a stretch to shift the focus towards a more musical element. While I’m unsure if “eccentric” is the right word to describe him, his tragic, shock humour remains central to his character.

My expectations going in were pretty low, but I think it’s a far stronger movie than the first. The musical set pieces replace any action scenes, breaking up the film and adding a much lighter tone to an otherwise dark movie. However, anyone describing this as a full-on musical is misrepresenting it—the musical sections are a small part of the film. For Arthur, it feels like he’s constantly on stage, with the singing and dancing serving as performances to shield himself. He’s not a singer, and that’s deliberate—his eccentricity shines through as he clings to this tragic, self-imposed role.

Some might argue that this film doesn’t progress his character much, but it’s clear he’s still resisting fully becoming the Joker. The institutional abuse he endures is implied rather than shown, but he suffers more from the consequences of his own actions. Yet, he never fully becomes the monster people expect. Instead, he offers a performance when things get tough. Some of the most powerful scenes are those where you see Arthur’s vulnerability; he’s just a scared man, and the film often feels like he’s being dragged along by forces beyond his control.

The pacing is much stronger in this movie. It feels like Arthur’s dream about being in prison, with the musical sections representing his fantasy escape. His character arc makes sense, and by the end, he finally seems to regain control, only for it to be taken away again. If you watch closely, the entire film hints at this—foreshadowing the ending multiple times, which is why I think it’s a dream. Lee’s character, waking up from the same dream, is a truly painful moment, and it explains the title perfectly. I’m not sure if Lee is meant to be a metaphor for the audience, but it certainly feels that way.

This isn’t a bad movie—in fact, I think it’s far better overall than the first. That might be an unpopular opinion, but it feels more cohesive and enjoyable. The challenge of expanding such a self-contained story is significant, but Folie à Deux manages to do it well.

Conclusion

Overall, I enjoyed Joker: Folie à Deux far more than the first film. While it was never going to appeal to mainstream comic book fans, the original’s success still baffles me. This sequel feels more like a continuation of Arthur’s story—a fitting conclusion to his character arc—rather than a typical sequel. The film defies expectations in many ways, from its musical elements to its avoidance of traditional fan service. Even though I’m still puzzled by the decision to call this series Joker when it feels so different from the comic book character, the direction Todd Phillips takes makes sense within this unique vision of Gotham and Arthur Fleck. It may not satisfy everyone, but as a character study and a bold cinematic experiment, Folie à Deux stands out as a compelling and well-crafted follow-up.

Marvel infinity war

Marvel infinity war,  great conflict.   Knowledge of the story is rather limited.  Reading comic books was never possible.  Not until much later that became interested in comic books.  World wide web makes much easier to read them.

The story around infinity war is simple powerful ancient stones.  Stones fall into hands of death.  Stones process the power of infinity able to control whatever.  Universe attacked half of life destroyed.  Heroes from every galaxy join together fighting.  Hand of death reason for this destruction.  Turns out wants to impress a love interest.   Conflict is massive in scale and price.

Movies are not strictly accurate to comic books.   Stones are found in different places.  The concept behind each stone remains the same. Created by the Cosmic Entities,coming from different aspects of the universe,  Stones are space, mind, reality, power and time. Infinity Gauntlet combining stones together.  Only the most powerful can survive using the stones.   The power contained allows you to shape everything.

Thanos is called the hand of death.  Based on mythology, version of that concept.   Fallen in love with death herself. The concept of death in marvel universe is a character.  The same thing is done for cosmic entities.  Various characters based cosmic entities.  Marvel yet to unleash cosmic entities.

So far happy with marvel universe.   Each movie covers different character.   Looking forward to infinity war.  Years of work in one giant climax.  Much ground is missing like cosmic entities.   Before that spiderman home coming.