Contains brief accounts of villains that have appeared in James Bond movies, and includes photographs and quotations from the films.

Winner of the AIGA'S International Competition for Notable Graphic Design. “It’s both an architecture and movie fan’s dream.” - Los Angeles Times "Strikingly designed." - Publishers Weekly “Explores the cinematic tradition of antiheroes with architecturally significant private spaces." - Architectural Digest “A fascinating gift for that highbrow nerd in your life.” - Syfy Wire Why do bad guys live in good houses? From Atlantis in The Spy Who Loved Me to Nathan Bateman's ultra-modern abode in Ex Machina, big-screen villains often live in architectural splendor. From a design standpoint, the villain’s lair, as popularized in many of our favorite movies, is a stunning, sophisticated, envy-inducing expression of the warped drives and desires of its occupant. Lair: Radical Homes and Hideouts of Movie Villains, celebrates and considers several iconic villains’ lairs from recent film history. From futuristic fantasies to deathtrap-laden hives, from dwellings in space to those under the sea, pop culture and architecture join forces in these outlandish, primarily modern homes and in Lair, which features buildings from fifteen films, including: Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb Star Wars The Incredibles Blade Runner 2049 You Only Live Twice The Ghost Writer Body Double North by Northwest Edited by acclaimed architect Chad Oppenheim with Andrea Gollin, Lair includes interviews with production designers and other industry professionals such as Ralph Eggleston, Richard Donner, Roger Christian, David Scheunemann, Gregg Henry, and Mark Digby. Contributors include director Michael Mann, cultural critic Christopher Frayling, museum director Joseph Rosa, and architect Amy Murphy. Architectural illustrations and renderings by Carlos Fueyo provide multiple in-depth views of these spaces.

Fashioning James Bond is the first book to study the costumes and fashions of the James Bond movie franchise, from Sean Connery in 1962's Dr No to Daniel Craig in Spectre (2015). Llewella Chapman draws on original archival research, close analysis of the costumes and fashion brands featured in the Bond films, interviews with families of tailors and shirt-makers who assisted in creating the 'look' of James Bond, and considers marketing strategies for the films and tie-in merchandise that promoted the idea of an aspirational 'James Bond lifestyle'. Addressing each Bond film in turn, Chapman questions why costumes are an important tool for analysing and evaluating film, both in terms of the development of gender and identity in the James Bond film franchise in relation to character, and how it evokes the desire in audiences to become part of a specific lifestyle construct through the wearing of fashions as seen on screen. She researches the agency of the costume department, director, producer and actor in creating the look and characterisation of James Bond, the villains, the Bond girls and the henchmen who inhibit the world of 007. Alongside this, she analyses trends and their impact on the Bond films, how the different costume designers have individually and creatively approached costuming them, and how the costumes were designed and developed from novel to script and screen. In doing so, this book contributes to the emerging critical literature surrounding the combined areas of film, fashion, gender and James Bond.

Jen Campbell's collection of terrifyingly gruesome tales lends a modern edge to fairy tale collections for young readers. Drawing on her extensive knowledge of fairy tale history, Campbell's stories undo the censoring, gender stereotyping and twee endings of more modern children's fairy tales, to return both classic and little-known stories to their grim versions, whilst celebrating a diverse range of characters. Featuring 14 short stories from around the globe, The Sister Who Ate Her Brothers is illustrated in a contemporary style by Canadian comic artist Adam de Souza. De Souza's brooding illustrations are a highly original blend of 19th-century Gothic engravings and moody film noir graphic novels. Beautifully produced in a hardback format with a rose gold ribbon marker, The Sister Who Ate Her Brothers is a truly thrilling gift.

“Bond. James Bond.” Since Sean Connery first uttered that iconic phrase in Dr. No, more than one quarter of the world’s population has seen a 007 film. Witty and urbane, Bond seduces and kills with equal ease — often, it seems, with equal enthusiasm. This enthusiasm, coupled with his freedom to do what is forbidden to everyone else, evokes fascinating philosophical questions. Here, 15 witty, thought-provoking essays discuss hidden issues in Bond’s world, from his carnal pleasures to his license to kill. Among the lively topics explored are Bond’s relation to existentialism, including his graduation “beyond good and evil”; his objectification of women; the paradox of breaking the law in order to ultimately uphold it like any “stupid policeman”; the personality of 007 in terms of Plato’s moral psychology; and the Hegelian quest for recognition evinced by Bond villains. A reference guide to all the Bond movies rounds out the book’s many pleasures.

Fifty years (and five billion dollars in ticket sales) ago, the dashing Scottish actor Sean Connery declared suavely that he was "Bond, James Bond." Thus began a cinematic series unlike any other. In November 2012, Skyfall, the 23rd movie in what is seen as the authorized line of Bond films, will be released, with Daniel Craig (the sixth Bond) again in the lead role. The world will once more stream to the theaters for another dose of Bond. LIFE was on the scene in the swinging '60s when James Bond became a cultural icon (in fact, when we put the gold-painted actress Shirley Eaton on the cover in 1964, we helped him along), and now LIFE tells the whole story in this commemorative book. Ian Fleming, a high-ranking officer in British Naval Intelligence of World War II, dreamt up his MI6 spy, code number 007, in 1953, and a decade later, with Dr. No, From Russia With Love and then the smash Goldfinger, saw his creation take on a life entirely his own. All the fun of Bond is here: The movies; the reminiscences by the stars; the LIFE photo shoots; the knockoffs and spoofs ("The Man from U.N.C.L.E.;" "Get Smart;" "I Spy;" the first Casino Royale); the artifacts (a model of Bond's Aston Martin DB5 was one of the best-selling toy of 1965); the trivia and inside information on M, Q and Moneypenny-anything a Bond fan would want, packed into one book and then shaken, not stirred. James Bond was, back in the day, one of those cultural phenomena tailor-made for LIFE: It was bright and colorful and vibrant. Today, it still is. Happy birthday, and welcome back, Commander Bond.

Spy-Fi Culture with a License to Kill From Sean Connery to Daniel Craig, James Bond is the highest-grossing movie franchise of all time. Out-grossing Star Wars, Harry Potter, and the Marvel Cinematic Universe, the world’s most iconic and international secret agent has a shelf life of almost six decades, from Dr. No to Spectre. As nuclear missile threats are replaced by a series of subtler threats in a globalized and digital world, Bond is with us still. In The Science of James Bond, we recognize the Bond franchise as a unique genre: spy-fi. A genre of film and fiction that fuses spy fiction with science fiction. We look at Bond’s obsessions with super-villains, the future, and world domination or destruction. And we take a peek under the hood of trends in science and tech, often in the form of gadgets and spy devices in chapters such as: Goldfinger: Man Has Achieved Miracles in All Fields but Crime! You Only Live Twice: The Race to Conquer Space Live and Let Die: Full Throttle: Bond and the Car Skyfall: The Science of Cyberterrorism And more! This is the only James Bond companion that looks at the film and fiction in such a spy-fi way, taking in weapon wizards, the chemistry of death, threads of nuclear paranoia, and Bond baddies’ obsession with the master race!