Bond, IP Slop and the ‘F**king Idiots’ Taking Over 007

"Fucking Idiots." In December of 2024, that is what Barbara Broccoli, the second generation steward of the most bankable MI6 agent there is, called her opposite numbers at Amazon who referred to the titular spy as “content” and didn’t think “Bond was a hero.”
"Fucking Idiots" is a quote I get to use without any editorializing on my part thanks to a producer who looked after James Bond for decades, single-handedly fending off Amazon because of at least some degree of perceived fucking idiocy.
Just two short months later, Amazon and Broccoli, along with co-producer Michael G. Wilson, reached a deal to cede creative control of Bond, James Bond, to a company owned by one of the richest men on the planet, one of the few alive with the potential to be an actual Bond villain in real life.
For now though, Jeff Bezos and his "fucking idiots" at Amazon will just be the villains of the storied franchise’s next chapter. Their weapon will not be a satellite riddled with lasers or an army of algorithm-infused nanobots or biological weapons developed at a Swiss allergy institute catering exclusively to hot young women from around the world. It won’t be anything cool at all.
Amazon is set to deploy the cruelest weapon of them all. One that’s been crumbling entertainment franchises for years now… IP slop.
Firstly, I want to make something clear. This is not Barbara Broccoli and Michael G. Wilson’s “fault.” The deal is reportedly worth a billion dollars and if anybody has a problem with somebody making a billion dollars for made up stories about a super spy, they should just stop.
While I was very much high-fiving from afar at the thought of Barbara Broccoli holding the 007 franchise hostage in the face of Amazon’s team of "fucking idiots," I also don’t blame her at all. Broccoli’s name has been on every Bond movie since 1979’s Moonraker, for which she was an additional assistant director. She took over the title of producer on 1995’s Goldeneye, a title she held until the recent Amazon deal. That’s just as long a stretch as her dad Albert Broccoli’s, who, along with Harry Saltzman, held the reins from Dr. No through License to Kill.
The point is, Bond has always been a family business, and the entire point of any family business is to one day sell it. It’s called a harvest strategy and anybody in their 60s who’s spent their entire adult life and professional career growing the family business ought to have one. So honestly, good for her.
For us Bond fans out here in the real world, who are not suddenly a billion dollars heavier, the outlook is much bleaker.
History Is Not on Bond’s Side
IP Slop is designed to make money via the path of least resistance, no matter how it might degrade the source material. Rights holders know there’s a large audience out there for their IP who are eager and willing to consume it, regardless of its quality. And that’s the key.
These “slop-mongers” are just throwing shit at the wall, and not in a way that’s looking for something that sticks. Instead it just seems to be an insistence on putting everything out there. The least insidious version of it sounds something like “here are all the names of characters you’re familiar with because we, the parent company, finally wrangled 60 years worth of them into one corporate structure. This is what you want, right?” The more villainous flavor says, “Actually, scratch that. This is what you want. No question mark.”
The same report that surfaced the "fucking idiots" quotes highlighted some of the ideas being tossed around the fulfillment center. They included spinoff series for Moneypenny or other Double-O agents and even referred to entries in a would-be Bond shared universe as “content.” But for a company for which this “content” will not be its primary source of revenue, that “content” effectively becomes something else. It begins to be in service of the primary source of revenue.
Ask Disney how it’s worked out for them. Marvel has been, with the exception of a few thrilling moments here and there, creatively bankrupt since Avengers: Endgame. It was a fabulous final act that’s become synonymous with sticking the landing and plainly impossible to replicate. Endgame was made because of careful groundwork laid in the MCU’s early days. Long gone, however, are the days of risky propositions like Robert Downey Jr. and headlines confounded by the casting of unknowns. Those days have been replaced with studio mergers, fan cast cameos and any name they want to lead their next project because they can afford it.
You could also ask Kathleen Kennedy about it. On top of being a producer with a resume decades long and full of movies that made a generation fall in love with movies, myself included, she’s reportedly nearing the end of her own tenure in the Disney IP mines with a baby Yoda and an imbalance of announced-but-unmade projects as part of her legacy. But Disney had cartoons to remake in live action and theme park tickets to sell and a streaming service to populate, so it would be naive to think there’s a sole culprit for Star Wars' recent rise in output and drop in relative quality.
Creatively speaking, there are few who will argue we’re in the midst of the glory days of either Marvel or Star Wars, but damn if Disneyland and their Avengers Campus and Galaxy’s Edge isn’t bursting at the seams with merch. This is the direct result of IP Slop, the late stages of a steady flow of middling, but well-populated movies.
Star Trek suffered a similar fate over on Paramount+. I would argue, though, that franchise has "slopped" more thoughtfully than they might have because Lower Decks was clearly not made by "fucking idiots." But with major franchises fueled by corporations wanting to cash in on every square inch of intellectual property they can get their bottom-line loving hands on, maybe George Lucas was a bit of a case study in “getting out at the right time” for Broccoli and Wilson? Lucas was famously ahead of the curve on securing merchandising rights, so he’s undoubtedly savvy enough to have seen the direction the corporate winds were blowing.
This is all of course “just business.” It’s nothing new for "fucking idiots" to aim for as big a return on their investments as possible. Marvel was notorious for licensing their IP to anybody willing to pay for decades before hitting it truly big as their own film studio. But few industries combine art and consumerism the way that Hollywood does, and just as few feature such devoted fan bases. Where IP Slop really begins shaping a franchise’s creative output is when the fans are considered something else… customers.
“Temporary People”
A spectacular quote Barbara Broccoli reportedly bandied about in her conversations about the "fucking idiots" at Amazon came from her father. “Don’t have temporary people make permanent decisions.”
The first thing Jeff Bezos did after the deal was announced was poll his customers on their preference for the next James Bond actor. Where businesses are concerned, more than executives, more than rank and file employees, the most temporary of all people in their equation are their customers.
The casting of Bond has always, to be fair, been the subject of much public scrutiny. You can place bets on it, actors often have odds assigned to the likelihood of their casting and countless listicles with headlines like “The Most Likely Actor to Be the Next Bond Is Not Who You Think It Is” get updated on the regular to keep the algorithm busy. But the truth is, Bond’s casting decisions have always lived with permanent people.
They’ve also been a pendulum of sorts, rocking back and forth between actors that make the role and actors who take it over. Sean Connery was a nobody; even Ian Fleming wanted somebody else. Two or three somebody elses depending on the story you believe. But Connery came to define the role and, more than that, define an archetype for an action star that’s a casting shorthand still used to this day.
After a quick stop to find another unknown in George Lazenby (one that actually worked out great where the character was concerned but ended after only one film for behind the scenes reasons) and another outing from a clearly disinterested, but well compensated, Connery, Roger Moore picked up the Walther PPK coming off of a well known and well liked stint on The Saint, stepping from one spy role immediately into another.
Moore was followed by Timothy Dalton, who wasn’t terribly famous at the time and definitely wasn’t when he’d originally been the choice to take over instead of Roger Moore, but he passed because he felt that he was too young for the role. The bit of intrigue with The Living Daylights though is that Pierce Brosnan was offered the tux but the popular series Remington Steele wouldn’t let him out of his contract to make the film. By the time 1995 and Goldeneye came around, he was everybody’s no-brainer choice to join MI6.
In 2006 Daniel Craig kept the pendulum swinging, by veering back into the category of “casting the unknown.” The uproar about him simply being blonde aside, Craig defines the end of the Bond actor spectrum that makes the role their own.
Barbara Broccoli explains it best. She’s talked about when she first realized Craig was the choice. It wasn’t Matthew Vaughan’s Layer Cake like many assumed, it was 1998’s Elizabeth. She said: “I remember thinking, ‘Oh my God, he’s the guy,’ when he was in Elizabeth, walking down the corridor. I know that sounds crazy, but that was the moment I felt it in my gut. When your whole life is James Bond, some part of you is always looking for, who could play the role?”
That gut instinct is the first thing to go when IP slop takes over. Barbara Broccoli, who’s made Bond her life, sees something in an actor and just knows. But with Amazon, a room full of marketing people will weigh in, whole buildings full of people will have to sign off, even if it’s just rubber stamping the results of the online poll. It’s Bond by committee, and there’s not a single person on that committee who’ll be risking anything. They’re anonymously part of the process and not accountable for the results.
So now, with Bezos (my God, there’s a Z right in the middle of his name -- it looks and sounds like he’s got a cat in his lap at all times) looking to his most temporary people for guidance, the pendulum is once again going to swing back toward a known quantity and what I fear will be the most boring Bond has been to date.
But before we write off Bezos’ poll as just a cheeky bit of fun, we need to realize that fan input is all part of the IP slop formula. The evidence is in the course-correcting that’s happened over the years from Star Wars (The Last Jedi into The Rise of Skywalker), the nods to fan casting from Marvel (John Krasinski’s green screen cameo in Doctor Strange in the Multiverse of Madness) and DC (The Snyder Cut being a thing in the first place). Fan backlash and fan expectations are 100% taken into account at all times in a corporate environment. Fans are, after all, customers.
On the other hand, there’s something that Daniel Craig’s successful run proved. Fans don’t always know what they want until they see it. The most dangerous thing about IP Slop is the idea that we never would’ve gotten Daniel Craig if we crowd-sourced every Bond. The fact that recent history is pointing toward this exact thing happening is actually something 007 is used to.
“No, Mr. Bond, I Expect You to Play Along…”
Oddly enough, this Amazon deal is fitting for Bond historically. As a franchise, 007 has always been very reactive. In 1977, The Spy Who Loved Me ended with “James Bond will return in For Your Eyes Only,” but after Star Wars took over the business, they audibled and made Moonraker next instead. Blacksploitation is a market we can make money in? Great, let’s make Live and Let Die, gritty reboots are a thing? Awesome, Casino Royale can do that. He became monogamous in the '80s during the AIDS epidemic, his chauvinism was brought to account during the '90s. Bond has always found his place in the current industry climate. The question has always been, what does Bond have to offer this particular moment?
And so now, in the age of IP Slop, Bond is subject to the whims of one of the world’s largest and most influential companies. It’s par for his course to go with the prevailing winds of the business. The Bond-verse is coming whether any of us like it or not. Thanks to a bunch of "fucking idiots."