As part of On Her Majesty’s Secret Podcast’s excellent series on James Bond video games I was interviewed about 007 Legends (in which I appear)! Jarrod Alberich, aka The Yard Sale Artist, takes you through an audio documentary deep dive dive into the world of James Bond in video games – find the episode here. For more of this series, and their other terrific podcasts about the world of James Bond, look here.
Recently I had the pleasure of discussing Timothy Dalton’s James Bond films with Crawford-Clarke Close Up on Youtube! It was a great chat, and his other videos are well worth a look too (find them here).
I’ve had the pleasure to be interviewed by the terrific chaps at the “Really OO7” podcast about my book, He Disagreed with Something that Ate Him, and whatever other Bond stuff took our fancy – it was so much fun we ended up with two episodes! Check it, and there other excellent podcasts, here.
Back in October I had the privilege to be part of a Fan Commentary for Ian Fleming’s Casino Royale! Lots of terrific people were involved discussing their thoughts on individual chapters (I got Chapters 1 and 10) – it’s available here https://anchor.fm/the-fan-commentary
It was my delight to be able to chat with Spy Movie Navigator about Timothy Dalton’s Bond, and He Disagreed with Something that Ate Him. Head on here https://spymovienavigator.com/podcast/dalton-as-bond-with-film-prof-author-dr-cary-edwards/ to have a listen!
Wow – a really fantastic review from Eoghan Lyng of The James Bond Dossier – read it here
He Disagreed with Something that Ate Him has been listed among some very distinguished company! Thanks to Jack Lugo from James Bond Radio.
Find the review here
Coming soon from Cinephiles Press – He Disagreed with Something that Ate Him, a critical reading of Timothy Dalton’s two Bond films The Living Daylights (John Glen, 1987) and Licence to Kill (John Glen, 1989).
Press Release Info:
He Disagreed With Something That Ate Him analyses the two James Bond films starring Timothy Dalton made in 1987 and 1989. Critically overlooked and often seen as a misstep for the series the author argues that both films are a unique contribution to the series and form an important dialogue with the rest of the franchise.
By placing the films within the context of the Bond series and the works of Ian Fleming, Cary Edwards argues that The Living Daylights and, in particular, Licence to Kill, are a radical attempt to return Bond to his literary origins, while aiming the film franchise towards a more adult audience.
