#the cvs girl revenge arc

[jtl-fics]

Me: I wanna write how FF got recruited.

Also me: Gotta finish the Thanksgiving Break arc.

[beevean]

1, 3 & 4

1) list 3 positive things about your current fandom(s)

It may be a phenomenon limited to the Tumblr side, but I find heartwarming how CV fans will pick their Special Guy/Girl and build an entire shrine around them, analyzing them to death until even others start to appreciate them more :) there are many people here that I recognize as, for example, the Joachim fan, the Simon fan, the John & Eric fan, the Shanoa fan, the Trevor fan... I never get bored of what they offer <3

Aside from that, I find it a more welcoming environment than the Sonic fandom, perhaps because the game fandom is so small hahahaha :') and, well, I found great friends here <3

3) a character that fandom has helped you appreciate

Sonic: Silver and Elise! Yes '06 is not the most charitable of first introductions, but they're neat. Silver works as a naive yet headstrong young hedgehog, idealistic and brutal, determined to the point of stubborness. Elise's issue is mostly in how the story treats her: as a character, she's intriguing to explore due to her trauma and repressed nature, and her sweet relationship with Sonic, the embodiment of freedom.

CV: Richter and Simon! I didn't get the hype around Richter until I understood better how his role in SoTN is tied to the Belmont's bigger theme of the cycle of revenge, and how Richter represents the fissure in such a big legacy - something foreshadowed in RoB, even. And Simon was always to me the most archetypal Belmont, a flat badass, but not only I realized that his badass feats are actually really cool, especially Simon's Quest, I can now see the appeal in such a noble guy, both inspired and an inspiration, kind of a gentle giant :)

4) say something nice about a ship you don't ship (it can be another ship in your fandom, a mutual's OTP, etc)

Shadamy can be cute if written well, even not going through the obvious path "Amy reminds Shadow of Maria/Amy can fix him". In his own game, Shadow can interrupt his corruption arc for the sake of helping Amy finding Cream and Chao, and even sounds a little flustered in the recap :P and Amy would probably like Shadow's good heart and courage.

I don't ship any ship with Alucard lol, but some are very cute. Trevorcard has potential, the shunned down to earth man and the disowned dhampir prince, Alucard full of turmoil for his family situation and Trevor looking past his identity as Dracula's son and seeing a wounded young man in need of a friend :) and Hectorcard not only has an immaculate aesthetic, but it would be fun to imagine how the two could grow closer after Dracula goes mad.

[gohyuck]

hometown (lee jeno) teaser

pairing: jeno lee x reader

genre: smut, angst

teaser word count: 1.5k

fic word count: 7k+ (it looks like it may end up being, like, 11-12k? i’m unsure)

teaser warnings: wet dream, one-sided emotional affair, jerking off into a shared bathroom sink, some discussion of math, general hatred of “the System”, mentions of depression

general plot warnings for the fic: infidelity: reader cheats on yuta and jeno cheats on his original character gf and neither of their partners find out so there isn’t even a nice little revenge scene at the end... it’s literally just them getting away with cheating, leftist thought points/philosophies discussed even if they aren’t outright stated as leftist, both implicit and explicit discussion of mental illnesses (mostly depression and suicidal ideation but like it isn’t explicit ideation and they don’t actually want to die they kind of just don’t want to exist), general disillusionment with the system, jeno and the reader are not very happy people and are actually full of a lot of hopelessness about society and the future of the planet as a whole, explicit mentions of American politics/legislation/etc. and implicit criticization of them, mentions of drugs (weed), the characters are so self-aware that it hurts me to write them because i feel bad for them and feel even worse for their significant others

A brief taste of hair in his mouth - he doesn’t like it, he decides then and there - before you pull yourself away from him, laughing softly at the way you’d accidentally shifted just as he’d leaned in to press a kiss against your forehead. You reach up to smooth the wrinkle between his eyebrows, a gesture more symbolic than anything, and he straightens his face out himself, trading the hair-in-mouth disgust in for the gentle smile he’d had just before being so rudely assaulted. It’s as you start to move your hand away from his face that the two of you meet eyes, and a corner of Jeno’s mouth turns up as he circles his hand around your wrist to stop it mid-air.

“Kiss?” He asks, one of his brows arched now. You can’t look at it too long, knowing that the urge to pluck away at his stray hairs will overcome you. Instead, you train your gaze on his cupid’s bow, thinner upper lip giving way to the kind of full lower lip you love to sink your teeth into. Jeno makes the prettiest noise when you do so.

“Mhm,” You respond, sounding noncommittal to the world but absolutely sure to the boy you’re straddling. He grins fully now, right before leaning up to capture your lips in his. The first touch is just a little clumsy, just slightly awkward, but after the initial meeting it’s only up from there. It’s easy, natural, the way you dissolve into each other, a mess of tongue and teeth as his hands grip the cloth across your back that much harder, as you grind the apex of your thighs down into his with that much more force. Time progresses at the speed of light. Time doesn’t progress at all.

It’s only a matter of seconds before Jeno cums in his pants, but it’s only a matter of seconds before you do, too. He knows it. It’s what happened when he’d actually lived through this, and it’s what happens now, over and over again, a moment preserved in time with a delicacy only minds can make. The stuff of dreams, literally.

Jeno wakes up right before it happens. It isn’t jarring only because he’s used to it. His fourth alarm of the morning is blaring, and he uses one hand to haphazardly wipe the sleep out of his eyes while extracting his other arm out from underneath his girlfriend in order to reach his phone. She’s sound asleep - she always is - and he envies her for a moment before turning the alarm off and, for good measure, turning his goddamn phone off too.

It’s a bit fucked, he realizes once he’s properly come to, for him to have a wet dream about you when Minhee is right there, still sleeping off the way he’d fucked her into the bed last night. He’s had this revelation twelve nights and days in a row now. For a split second he feels bad, feels as if he’s the worst person on Earth, but it’s easily overshadowed by the way his cock is straining in his boxers. This has happened for the past 12 days too.

Jeno’s always wanted to have a daily routine.

He slides out of bed, careful not to wake Minhee, before slipping the nearest shoes on - gold Nike slides, a birthday gift from Jaemin who’d insisted that Jeno wear colorful things even if it’s just in their dorm room - and making his way to the bathroom him and Jaemin share with Renjun and Donghyuck. They’re the best suitemates he could possibly have, but he’s even more glad in this moment: none of them will be awake ‘til noon. It’s a Saturday.

He can jerk off in peace.

Just in case, Jeno locks both the bathroom doors and double checks to make sure that they’re locked before he finally, finally slips a thumb under his waistband, forcing it down with almost gratuitous speed. He can’t help the soft grunt that bubbles up from the back of his throat as he wraps one hand around his dick. He braces the other against the mirror for balance, just in case.

Jeno swipes across the base of his tip with his thumb, his eyes sliding shut at the feeling. He moves his wrist up once, lets precum drool over his own fingers for a second before sliding his hand back down with purpose, slicking himself up to make the slide between his cock and his calloused palm easier. It isn’t Minhee’s face or body that sear themselves into the inside of his eyelids as he strokes himself, bottom lip folded in between his teeth. You’d love to bite it, tug on it. He imagines your face as you’d cum from grinding against him that one time.

He tightens his grip.

He’d never actually fucked you: you hadn’t wanted to lose your virginity to someone who was so starry-eyed, so untarnished by the ways of the world. You didn’t want to take the virginity of someone like that either. It felt wrong on every level somehow. You’d made sure to tell him so, never one to mince words, not even as a 16 year old. The breakup hadn’t come long after the singular time he had (in his pants, he remembers with a wince… always with a wince when he isn’t dreaming of it) and although it didn’t work out romantically between the two of you, you’d stayed friends for the rest of your high school careers. Even now, both in different parts of the country for college, the two of you keep up, more or less, with each other. It’s friendly in a way it wasn’t before.

You’d been having your manic pixie dream girl arc the year you’d dated him, Jeno supposes now. Cynical, hopeless, bitter at the world and hating everything and everyone. The world was and is awful, and you were too aware of it, or so you said. Jeno wants to laugh so badly at that old version of you, the one that had broken his heart, but he finds that he can’t anymore. A too-big part of him thinks you might’ve been right about everything.

You’d slept with YangYang Liu in senior year, had called Jeno afterwards to see if he’d go with you to get Plan B at 3 a.m. on a Friday. It’d been hardly a week after he’d cum embarrassingly early while sleeping with someone - a girl from his third period class - for the first time. He’d swallowed his suddenly resurfacing heartbreak to pick you up and drive you to the nearest CVS in the same car you’d made out with him so many times before. He’d swallowed his moans later that night as he lay in bed, fisting his cock tightly at the thought of gripping your thighs so hard they bruised, at sinking into you, at how warm, how wet, how tight - fuck!, he’d hissed to himself then, having bitten so hard into the hand he’d used to quiet himself that blood bloomed from broken skin.

Jeno had cum hard then, and he cums just as hard now, canine splitting the flesh of his lip as he muffles his long, drawn out groans. The metallic taste of blood is enough to push him further over the edge, and he practically hunches in on himself as spurts of opaque white liquid land in the bathroom sink. He’s satiated for now. He remembers all the work he has to do - midterms are upcoming - and his post-orgasm glory fades as soon as it’d come.

After an earth-shattering orgasm to properly wake him up, everything else feels twice as mundane as usual. Jeno’s quick to run hot water in the sink, making sure all evidence of his one-sided emotional affair is gone, before brushing his teeth and pissing. He’d shower, but for some reason he can’t bring himself to. Sometimes, he can’t bring himself to for two days, or three. Deodorant and Minhee’s perfume are his best friends now. Donghyuck, psych major that he is, calls it depression. Jeno, hellbent on never letting Hyuck be correct, calls it ‘finally experiencing ego death’.

He thinks Hyuck is right, though. He won’t say so.

Jeno’d come in as a mechanical engineering major, though he thinks he might switch to computer science. If he’s going to be a corporate shill - he’s realized, quite quickly, that there’s not much else to be - he may as well do it as efficiently as possible. He’d started college with the firm belief that the world is easy to change, and that he can help to do so. He’d dispelled this concept less than three weeks in.

He has midterms to study for, and corporate shill-dom to look forward to for it. Jeno should open the blinds - Jaemin isn’t here right now anyways, and Minhee’ll sleep through that, too - and sit down at his messy desk and get to work. He should study up on eigenvectors and eigenvalues - they’re easy, but they’re comfortable, and Jeno has started to like comfortable - or work through his solids textbook. He should, he should, he should.

Jeno doesn’t even pause between leaving the bathroom and climbing back into bed. Minhee shifts, and he presses a gentle kiss to her forehead before settling in beside her.

He has this moment, so he takes it. He doesn’t feel like he has many moments to himself anymore.

let me know if you want to be added to the taglist!

[nomnomzombies]

8x05: Two Graves and The Pale Mare

**DISCLAIMER: all images found through google. Links to the images have been provided. If I’ve used your image and you’d like me to take it down, message me**

> Part 1 < “Dany’s Inferno, YMBQ, Cersei” 

> Part 3 < “Going Forward”

There’s been several different interpretations of the “white horse” imagery that we saw at the end of 8x05. Probably the most prominent would be the Bible’s description of Death, one of the four horsemen:  

Revelations 6:8

“Then I looked and saw a pale horse. Its rider’s name was Death, and Hades followed close behind.”

Another would be an insert of “The Pale Mare” prophecy that Daenerys recieves from Quiathe in A Dance with Dragons:  

“No. Hear me, Daenerys Targaryen. The glass candles are burning. Soon comes the pale mare, and after her the others. Kraken and dark flame, lion and griffin, the sun’s son and the mummer’s dragon. Trust none of them. Remember the Undying. Beware the perfumed seneschal.”  

And once that prophecy comes into fruition, here is the quote from Grey Worm:  

“He came out of the morning mists, a rider on a pale horse, dying. His mare was staggering as she approached the city gates, her sides pink with blood and lather, her eyes rolling with terror. Her rider called out, ‘She is burning, she is burning,’ and fell from the saddle.”

I think that both of those interpretations are valid, but I think that they’re actually red herrings (I’m pretty sick of the use of that term because so many people are using it to justify tinfoil theories... but let’s call it what it is). A red herring is something that’s right in front of your face, so you instinctively follow that lead rather than peeling back the layers and trying to find the deeper symbolism. Casual fans may make the connection of Death’s Pale Horse and Arya now becoming the embodiment of death rather than serving him. Book fans may find the connection to “the pale mare” prophecy that put Slaver’s Bay on the brink of eradication at the hands of a plague. But “The Pale Mare” was always meant to be Martin’s allusion to Death. If you look at the entire Revelations quote, “...And they were given authority over a fourth of the earth, to kill by sword, by famine, by plague, and by the beasts of the earth,” it’s obvious that the riding of the pale mare is meant to be an allusion to the riding of death. Because the rest of the arc in Meereen is about the plagued people of Slaver’s Bay camped outside of the walls of Meereen, dying by the bloody flux or hunger, and encamped next to them are the Golden Company, the Storm Crows, and the Second Sons. So if “the pale mare” prophecy is meant to parallel Revelations, then what else could Arya’s white horse represent?  

Stranger  

Arya and Sandor’s arcs have once again become entwined. If there had been more time to tell this story, I would have sincerely enjoyed watching Their Escapades 2, but instead we get a glimpse of them riding out of Winterfell in 804 and then arriving in King’s Landing in 805. I’ve entertained the idea of peoples’ horses being symbolic of something, but I haven’t had enough evidence until now. There are five instances of symbolic horses that I’m going to bring up.   

When Arya and the Hound are leaving Winterfell, they are both riding black horses. 

https://timedotcom.files.wordpress.com/2019/05/gameofthronesaryahound.jpg?quality=85

(another instance of morality being represented by horse colour could be Sansa and Littlefinger at BotB—this is the first time I saw the colour of horses as possibly being symbolic)  

https://i.ytimg.com/vi/Cv-03djtvSQ/maxresdefault.jpg

Book readers know that the Hound had a staple horse, Stranger. It’s unlikely that the horse shown here is also Stranger, because the Hound was riding Stranger through the riverlands in Their Escapades 1.  

https://vignette.wikia.nocookie.net/gameofthrones/images/f/f8/Stranger.jpg/revision/latest/scale-to-width-down/2000?cb=20140323201338

But the point here, is that the Stranger is one of the Seven representing “death and the unknown, and leads the dead to the other world.” So we see the black horse with the association of death, but I think that it’s a little more simple in that the black horse represents morality. In Their Escapades 1, the Hound was planning on ransoming Arya. Up until this arc, we’ve understood the Hound to be bad—I'm hesitant to consider him an outright villain, because we see his relationship with Sansa, but we question him because he serves Joffrey and slaughters Mycah. We believe that he won’t hurt Arya because he didn’t hurt Sansa, but we understand that the relationship (superficially) is transactional. Underneath this, the Hound is motivated by revenge.  

“Before you embark on a journey of revenge, dig two graves.”  

Arya and the Hound have been great accompaniments because their driving force has been revenge (Arya’s core arc is about identity, but revenge has been her tertiary arc). We’ve seen the Hound on this journey of embracing his more sensitive and paternal side, but it doesn’t change that he’s still motivated to go on because of his desire to kill his brother.  

When Arya returned to Westeros, the first thing that she did was continue striking names from her list. After the Freys she had planned to go to King’s Landing but changed her mind once she’d learned that Winterfell had been retaken for the Starks (fun fact: the inn where this happened was called “The Crossroads” and every time we’ve seen this Inn, the character in question was on a path and changed their mind). This critical decision change underscores that Arya’s primary arc is the process of shedding and reclaiming her identity. Once she’s reunited with her family and felt a sense of closure to the biggest threats against her house and her home, she moves on to the next biggest threat. Cersei is not only on her list, but she is still threatening her family, and we know that Jon is going south on Dany’s coattails. It’s only natural that she’d go south with the intent of revenge. It’s also natural that Sandor would go south to kill his brother.  

Once they’re in the map room, Sandor assesses the situation and implores Arya to leave. Sandor’s paternal relationship is kicking in again, “Do you want to be like me?” As in, look at the effects of living a life of revenge.  

“Holding onto anger is like drinking poison and expecting the other person to die.”  

After Arya leaves—turns away from her vengeful life—the next scene juxtaposes the fates of being motivated by revenge. Sandor is getting his ass handed to him by the Mountain, and he’s losing. He’s getting the satisfaction of going toe-to-toe with his brother. Arya leaves the Red Keep and enters the chaos of the civilians of King’s Landing. Sandor is getting choked; Arya is getting trampled. The scenes are quickly going back and forth between the two of them. Arya’s situation is similar to Jon in Battle of the Bastards, but it’s likely just an easter egg as the back-and-forth between her and Sandor are meant to be the direct parallels.  

Sandor has made peace with his fate; Arya has found acceptance with Cersei’s.  

And she is therefore saved. She’s saved from the ugly life of retribution. She’s saved from poisoning herself. She is saved from being trampled to death. From the moment she is saved, her actions reflect someone walking a more honorable path. She attempts to escape the city, but she’s on the East end of the city and the Kingsroad is out of the West gate. She’s also trying to save the people sheltering in the crumbling city.  

With the hellfire that King’s Landing has devolved into, Cleganebowl climaxes with Sandor pushing Gregor through the wall, their descent looks like falling into hell. The first thought that crossed my mind was, “If I’m going to Hell, I’m dragging you with me.”

In the “behind the scenes,” one of the D’s refers to Arya as “Virgil,” which was very appropriate in my opinion. King’s Landing has descended to this hell-like atmosphere at Dany’s behest, but Hell in Dante’s Infirno is also referred to as “the world of sin”—where the “Virgil” reference comes from. Virgil was Dante’s guide through Hell. Another interesting note would be that Virgil is commonly viewed as an embodiment or symbol of “human reason,” and when we look at Arya’s hair style, who is it paralleling? Her sister Sansa.  

As Arya emerges from her close-call with dragonfire, she’s assessing the situation. She sees the ashen husks of the people she was attempting to save—yet it feels awfully like she lead them into the slaughter. The music that begins is the gut wrenching Stark theme. Circling back to Arya’s theme of identity (and the aforementioned nod to Sansa’s hairstyle), the music that plays is not Arya’s typical melody—the merging of “The Pointy End” with “No One” with the Stark variation—it is the Stark melody in its purest form. This is not Arya the Assassin standing here; it is Arya Stark. And she sees the toy of the little girl. It’s burned to a crisp, now, but when you go back, you see that the horse was white, as well. Arya then turns, and when she looks over—the white horse.  

The lighting of the horse is, initially, behind a layer of fog. Her head is foggy after being knocked unconscious approximately three times, and I’m sure she sees this wasteland and then just.... a horse. She probably thought she was hallucinating. But as she approaches, the lighting changes and we see that the white horse is cast in the light. The horse is the light.  

https://cheesecake.articleassets.meaww.com/106879/uploads/2a70d490-75c7-11e9-b4e2-15d91c2c7fa3_800_420.jpeg

It’s hard to say where, exactly, Arya is planning on going. In the behind the scenes, Maisie says that she’s riding out of the city, but we see in the preview that she’s in King’s Landing after the slaughter abates. It’s possible that she’s going to ride out of the city to find sanctuary before sneaking back in—it's also possible that she’s riding to meet up with Sansa.... as I postulated in a previous (very hastily typed up and theorized) post, Sansa may end up leaving Winterfell to garner support in the riverlands.  

Regardless, I’m going to bring up the last symbolic horse. What was the name of the other prominent white horse that we saw in the series?  

http://images6.fanpop.com/image/photos/39600000/Jaime-Lannister-Season-6-jaime-lannister-39669322-4500-2994.jpg

Honor.

[latestnews2018-blog]

Direct another day: Who can replace Danny Boyle on Bond 25?

New Post has been published on https://latestnews2018.com/direct-another-day-who-can-replace-danny-boyle-on-bond-25/

Direct another day: Who can replace Danny Boyle on Bond 25?

As fans speculate about who might take the director’s place, we look at five filmmakers who should apply for the job

As soon as news broke that director Danny Boyle was exiting the forthcoming instalment of the James Bond series, fans began speculating about who might replace him, with the usual big names filling out the wish list — Christopher Nolan, Denis Villenueve, Edgar Wright, Steven Soderbergh.

While any of these film-makers would bring something unique to the beloved franchise, the reality is that if someone like Boyle — a film-maker with an individual sense of style, but hardly a singular vision — couldn’t overcome “creative differences” with producers, there’s no way someone as exacting as Christopher Nolan would volunteer to take his place.

That’s not to say there are no exciting options available — available being the key word; directors currently elbow-deep in other productions (such as Patty Jenkins and Taika Waititi) or expected to return to their own tent-poles in the near future (like Ryan Coogler) can be ruled out.

With that in mind, here are five directors who should direct Bond 25:

The Safe Bet — Joe Wright

Like preceding franchise helmers Sam Mendes and Marc Forster, Joe Wright, whose credits include Atonement and Darkest Hour, is a well-known European film-maker with a fair share of middlebrow prestige to his name, and plenty of experience with big-budget spectacle.

He’s also a boring choice, or at least he would be, were it not for a weird little entry in his filmography that stands out among the statelier fare: the 2011 spy thriller by-way-of Grimm’s fairy tale, Hanna, which proved Wright has legitimate chops as an action director. Plus, if he were to make a Bond movie (he previously expressed interest), perhaps he could bring along current It Girl Saoirse Ronan, who would make a good pupil for the retiring Craig, or even a sharp, younger foil.

The Journeyman — Jaume Collet-Serra

Ever since his 2005 remake of schlock classic House of Wax exceeded everyone’s expectations, the Spanish Collet-Serra has built a reputation for himself as the go-to director of modern day B-pictures. After all this time, he deserves a shot at the A-list.

Collet-Serra would be an exciting choice for Bond 25 precisely because he’s the opposite of guys like Mendes or Forster. His take on the property would be a fun, muscular — and yes, kind of dumb — throwback to the early entries of the Moore or Brosnan eras, when these films had just the right amount of ridiculousness, but before they got completely bogged down in camp lunacy. He could also sweeten the pot by bringing along his regular leading man, Liam Neeson, who would bounce off Craig’s secret agent well as the main villain.

The Up-and-Comer — Coralie Fargeat

Traditionally, Bond producers choose directors with a sturdy CV. However, as many a Marvel movie has proven, picking younger, less experienced film-makers can turn out quite well.

French director Coralie Fargeat only has one feature-length film to her name — last year’s rape-revenge thriller titled (appropriately) Revenge — but as any viewer can attest, she’s more than ready to take on the responsibility of a major production. Her spin on the uber-masculine Bond mythos would prove a welcome (albeit controversial) change of pace for the overall series, even as her talent for eye-popping visuals, kinetic pacing, and gnarly physical violence would all but guarantee she would turn out a real barn burner. Bonus points if she brings along her Revenge lead, Matilda Anna Ingrid Lutz, the platonic ideal of a Bond girl in the physical sense, but who could also imbue such a character with much-needed steeliness and intelligence.

The Wildcard — Ben Wheatley

Given his penchant for alienating audiences with his Cronenberg-like brand of art house weirdness, the English Wheatley is the least likely choice on this list. Yet for as transgressive a film-maker as he is, he’s also a showman at heart, one entirely capable of delivering a crowd-pleasing slice of action cinema, evidenced by last year’s 90-minute shoot ‘em up Free Fire (had a crowd actually shown up).

Regardless of previous ticket sales, Wheatley would bring an edge to any 007 adventure, spiking major set pieces with a palpable sense of dread and an “anything-can-happen” vibe. He might also inject the franchise with its first dose of spookiness since the voodoo-themed shenanigans of 1973’s Live and Let Die. Again, he’s a wild card, but one that should be kept in the deck when considering potential replacements.

In the tradition of Odd Job and Jaws, his frequent on-screen collaborator Michael Smiley would make an excellent addition to the Bond series’ collection of grotesque henchmen.

The American — Tom Ford

Last but not least, fashion-designer-turned art house auteur Tom Ford already has a history with Bond, having designed Craig’s wardrobe the last time around. It would be fitting for Ford’s relationship with the franchise to mirror his larger career arc: moving from the role of tinker/tailor for the soldier/spy, and into the director’s chair.

Ford would be groundbreaking on a couple of different fronts — not only would he be the first openly gay director in the series’ history, he would be the first American (Irvin Kershner was the closest, directing the “unofficial” entry Never Say Never Again). Should the producers deign to hand the reins over to someone from the colonies, they couldn’t pick a more cosmopolitan choice.

The two films Ford has directed to date — his morose adaptation of Christopher Isherwood’s A Single Man and the pretentious art house-exploitation hybrid Nocturnal Animals — betray a penchant for style over substance, but if there is any franchise for which style should trump substance, it’s this one. Ford wouldn’t need help from previous collaborators; his costume design and eye for set dressing are all that he would be required to bring with him. If nothing else, he’d make James Bond look his absolute best, and really, isn’t that the first rule of any good Bond movie?