The cultural shift due to 9/11 and the years that followed cannot be understated. 24 became one of the most watched shows in America, trust in the government became remarkably low as constant surveillance and oversight became the norm and Middle-Eastern relations were not so good (Sanger).

When Die Another Day was released in 2002, the opening sequence promised a different Bond for the changing world. After the usual pomp and circumstance of the pre-title sequence, the formula is subverted. Bond is captured and tortured by the North Koreans as the audience is tortured by the worst Bond song of all time:

This intro was foreboding and ominous. It was a departure from the lighter fare of Brosnan’s previous work and promised a proper reflection of the current cultural landscape. The darker aspects displayed in the intro, however, were absent from the rest of the film, and despite making nearly half a billion dollars, Die Another Day marked the end for Brosnan. An update to the franchise was in order.

Once again, the larger budgets and gadget-filled antics of the previous era were abandoned in favor of a tighter narrative and a return to Fleming. This return, however, was not belabored this time by an actor ill-fit to represent the era. Instead, Daniel Craig burst from obscurity to immediate stardom as the face of a modern Bond.

Similar to Dalton, Craig felt the heart of the character lied in the conflict inherent in Bond. “I love James Bond movies, and I love all the old gags and everything that goes along with that. No disrespect to what happened before but this is completely different. It’s got weight and meaning,” said Craig. “There have to be consequences. He has to be affected by what happens to him. It’s not just that he has to kill the bad guy, there has to be a reason for it. (Bilmes)”

The conflicted nature of Craig’s Bond reflected the conflicted nature of the present geopolitical climate. Government surveillance had reached an all-time high, while simultaneously, news of terrorist organizations around the world became increasingly common (Marthoz). Questions of freedom versus safety became common talking points for debate. Craig captured the political dissonance and moral ambiguity of the times into a Bond, which kills without remorse and later drinks to forget. Craig stripped the character of the humor and constant womanizing present in the series for forty years. In their stead, Craig emphasized brutal physicality and depth.

The result was the most realized version of Fleming’s Bond yet seen on screen. Craig’s conflict harkens back to the tortured soul of the cold war. The graphic nature of the novels is recreated through long and brutal fight choreography. Casino Royale even includes several word-for-word callbacks to the novels.

The villains of the insurgent era were updated from their cold war backgrounds and given a modern facelift. They belong to no creed or country. They are terrorists existing in the shadows. I believe Judi Dench can do them more justice than I:

Daniel Craig reinvigorated Bond fever. The symbol of British prominence was reignited for the world to see; however, the world has continued to move forward. The latest film, Spectre, retread talking points already visited in Skyfall. Craig has also already expressed distaste for the role recently, despite returning for Bond 25 (Walker). The insurgent era may be at its end. Endless think pieces have been published regarding who should replace Craig when he does retire. Ideas of updating to a Bond of color or a female Bond have been quite popular with the growing social justice movement, but only time will tell.