Ubisoft is offering freebies to Ghost Recon fans, allowing gamers to claim a free copy of Tom Clancy’s Ghost Recon, the Wildlands Fallen Ghosts DLC, and Ghost Recon Breakpoint Deep State Adventure. The news comes alongside the reveal of a new free-to-play shooter, expanding the Tom Clancy series once again.
The Ghost Recon series is one of Ubisoft's most popular, beginning with 2001's Tom Clancy's GhostRecon. The series' last entry came with 2019's Ghost Recon Breakpoint, which was poorly received by players due to microtransactions, a lackluster story, and bugs. This year the franchise celebrates its 20th anniversary with the announcement of Tom Clancy's Ghost Recon: Frontline, which is shaping up to be one of the biggest games in the series to date. Fans will be pitted against each other in huge-scale matches, with PvP gameplay focused on strategy. The game will feature different game modes for players to get stuck into, with registration now open for the Ghost Recon: Frontline closed beta.
Announcing the news in a Ubisoft video showcase, the company has confirmed that Tom Clancy’s Ghost Recon will be free to download and keep via Ubisoft Connect (PC). Meanwhile, the Wildlands Fallen Ghosts DLC will be available for free for PS4, Xbox, and PC. Finally, Ghost Recon Breakpoint Deep State Adventure will all be available free of charge across PC, Xbox, PlayStation, and Stadia. The downloads will be available beginning today, October 5 until October 11. The celebrations will continue next month with three free Breakpoint skins from across the Ghost Recon games. From November 2, fans can redeem three full gear sets: Scott Mitchell from Tom Clancy’s Ghost Recon Advanced Warfighter, Alicia Diaz from Tom Clancy’s Ghost Recon 2, and John Kozak from Tom Clancy’s Ghost Recon Future Soldier. Full details and download information can be found on the official Ubisoft website.
Those who haven't yet played the originalTom Clancy's Ghost Recon won't want to miss claiming their free PC copy of the game to experience the very foundations of the series. Unfortunately for console players, it seems Ubisoft has no plans to bring the freebie to PS4 or Xbox One, though the free DLC should go some way in appeasing the blow. It's worth noting that players will need the Ghost Recon Breakpoint base game to play Deep State Adventure, while the Ghost Recon Wildlands base game is needed to play the Fallen Ghosts DLC.
The latest Tom Clancy video update honors the series roots while also offering a fresh look at the upcoming Tom Clancy's Ghost Recon: Frontline, giving fans a taste of what's to come from the franchise next. The upcoming release has been in development for three years and is still in early development. It's hoped the new Tom Clancy game will be able to bring something new to the free-to-play battle royale genre when it launches in the future.
Disney+'sStar Wars: Visions told a series of beautifully written and animated Star Wars short films, which, in some cases, understood the Force better than the Star Wars sequel trilogy. Visions exists outside of Star Wars canon, telling nine original, standalone, stories that can reimagine or adhere to established Star Wars lore as they please. The sequels are part of the official and ongoing Star Wars canon universe, which began in 2014 and includes the original six films in addition to the sequel trilogy and spinoff movies. The sequel trilogy films were highly anticipated by new and longtime fans, and while the first film was a crowd-pleaser, the following two were divisive, particularly in regards to their depiction of the Force.
In the original trilogy films, the Force was shown to be a fundamental and omnipresent energy field that life creates. While some individuals can have a natural aptitude for using the Force, anybody could learn to use it with training and discipline. The dark side was an addictive and destructive perversion of the Force, which seduced Force users to take a quicker path to power, but ultimately ruined them. Despite the seeming moral absolutes of the Force and its dark side, the original trilogy, especially through Luke Skywalker and Darth Vader, told an ethically nuanced and complex story about a son trying to rescue his father from the dark side.
The prequels expanded on both the story of Vader and the intricacies of the Force, introducing the concept of balance in the Force. While it’s clear that the dark side intrinsically putrefied the natural balance of the Force, the prequels also depicted a Jedi Order that lost their touch with it. The prequel-era Jedi had good intentions, but were corrupt and hindered by outdated and emotionally unhealthy practices, leaving them more vulnerable than ever to the Sith. The Force (nicknamed the “light side” or “good side”) doesn’t need any amount of the dark side to be in balance, it simply needed a better Jedi Order to follow it.
The Visions episode “The Village Bride” beautifully and accurately depicts the Force, matching its depiction in the original six films. A Jedi and Order 66 survivor, known simply as “F,” is hiding from the Empire on the planet Keelia, to which her late Jedi Master was connected. The inhabitants of this Outer Rim world have traditional wedding customs that have the bride and groom calling upon a power referred to as "Magina," which conjures a blue bubble around them. Although none of the Keelia locals are Jedi, "Magina" is their term for the Force, and they use it in simple techniques for their wedding ceremonies.
The episode highlights a vital and often forgotten element of the Force: it could technically be used by anybody. The Force exists in all life, and life nourishes it in turn. While most being in the galaxy don’t use the Force, they could if they underwent training and dedicated themselves to learning about it. The sequel trilogy inconsistently addressed this aspect of the Force. In Star Wars: The Force Awakens, the Jakku scavenger, Rey, is built up and characterized to be the descendent of a pivotal character to the saga, but no connection is established by the end. Star Wars: The Last Jedi does a disservice to her character for the sake of subversion by claiming she has no relation to any established characters, but this is retconned in Star Wars: The Rise of Skywalker, which reveals her to be the granddaughter of Darth Sidious.
The sequel trilogy’s inconsistency with the Force’s accessibility to everyone is mitigated by Finn’s Force-sensitivity in The Rise of Skywalker, and The Last Jedi lightly depicts the Force’s connection to nature, but not as succinctly as the original Star Wars trilogy, and not nearly as beautifully as “The Village Bride.” The Visions episode succeeds where the sequels couldn’t, and emphasizes the beauty and presence of the Force uniquely, without contradicting what was established in the original six films.
The ninth and final episode of Vision, “Akakiri” takes its cues from Akira Kurosawa’s The Hidden Fortress, a film with a profoundly strong influence on A New Hope. “Akakiri” also takes heavy inspiration from the prequel trilogy, depicting a tragic hero who struggles with the allure of the dark side, only to fall to its power in a willing, albeit reluctant and desperate, attempt to save someone he loves. Like the tragic fallen Jedi, Anakin Skywalker, the Jedi Tsubaki is manipulated into a no-win scenario by the Sith Lord Masago, forcing him to make a Faustian bargain to save the dying Princess Misa, but becoming a Sith apprentice in the process.
The sequel trilogy, especially The Last Jedi, contradicts the original and prequel trilogy’s depiction of the dark side by making it into one side of a scale, with the “light side” (a nonexistent concept) on the other side. Luke Skywalker refers to balance in the Force as “powerful light, powerful dark,” despite there being no redeeming qualities to the dark side, nor drawbacks to the “light side” in any previous Star Wars film. The Force Awakens seems to mischaracterize the “light side” by having it beckon Kylo Ren away from the dark side, but The Rise of Skywalker fixes this error by revealing it to have been his mother, Leia, trying to bring back her son.
Similar to “The Village Bride’s” depiction of the Force, “Akakiri” takes no such liberties with the original six films’ depiction of the dark side, despite its freedom to do so. The dark side is ultimately a trap that warps its users into shells of themselves. The dark side isn’t needed for balance because it intrinsically causes imbalance. Despite the absolutism of the dark side, the original and prequel trilogies proved that moral gray areas can still exist within these boundaries. The sequel trilogy, despite being official canon, didn’t line up with the original six films nearly as well as the non-canon standalone episode of Visions, as far as depictions of the Force go. The sequel trilogy has plenty of merits, but it simply didn’t understand the Force as well as Star Wars: Visions.
Apple recently announced that its new Apple Watch Series 7 will be available to pre-order soon and there is reason to believe that it could sell out quickly, due to short supplies. The Apple Watch Series 7 features a bigger display than ever and, with a faster processor and swipe keyboard, it’s the best version of a smartwatch to come from the company to date.
Earlier rumors that Apple Watch orders might be delayed were proven true as Apple announced its new wearable nearly one a month ago, but only recently shared when it will become available to order. These same production delays could mean that there hasn’t been enough time for a full shipment. While leaks about a new flat-edged design were way off base, at least this year, the Series 7 does have a significant design change. The front crystal is rounder, which provides greater structural strength, in the same way that a domed roof in a stadium can span greater distances and support more weight.
Apple has confirmed that the Apple Watch Series 7 will soon be available to buy with pre-orders starting at 5 a.m. Pacific Time (8 a.m. Eastern) on Friday, October 8, 2021. The latest smartwatch from Apple will appear in stores one week later, October 15. The suggestion that quantities will be limited has been backed by a recent Tweet from Jon Prosser. Either way, Apple’s website should be the best place to check first thing in the morning. Prices start at $399 for the Wi-Fi model and cellular capability adds an extra $100 to the cost. However, Apple gives $100 back when activating with T-Mobile/Sprint or Verizon and ordering through Apple's website or an Apple retail store.
Since Apple Watch Series 7 is likely to sell out quickly, Apple will be the best place to check, but Best Buy and B&H Photo tend to get Apple products in stock and ship quickly as well, sometimes matching Apple’s own delivery date. Also, third-party websites sometimes provide extra incentives to buy with them. For example, Best Buy usually bundles a six-month Fitness+ subscription with the purchase of an Apple Watch and that appears to hold true this year. The Apple Watch Series 7 is already listed on the website, a 45 mm model with gold-tone stainless steel case and Milanese loop. Shown as coming soon, the page listing does highlight the six-month Fitness+ bundle.
If the Apple Watch does sell out online quickly, there will probably still be some available on eBay albeit with significant markups. Alternatively, visiting a retail store on October 15 will provide another opportunity to pick up the new, larger, and more durable Apple Watch Series 7.
In a new poster for the upcoming biopic King Richard, Will Smith is in the spotlight as Richard Williams, the father of tennis superstars Venus and Serena Williams. The Hollywood legend, 53, is set to play the loving father turned tennis coach who raised his two daughters to become World champions from a very young age. In a long and dedicated career, Richard Williams' daughters went on to win a combined 150 titles under his leadership, including Wimbledon, US Open, and even Olympic Gold Medals. King Richard is set to follow Mr. Williams as he aspires and succeeds in turning the two sisters from Compton-born novices to world-famous athletes.
The 2021 film will star Smith in the title role, with reports suggesting he was paid at least 40 million dollars, alongside supporting cast members including The Punisher star Jon Bernthal and American Horror Story's Dylan McDermott. Directed by Reinaldo Marcus Green, King Richard is set to have quite a bit of awards buzz around it, as many inspirational biopics often do. Green reunites with lead actor Will Smith, having directed the 2018 Netflix documentary series Amend: The Fight For America, which Smith hosted. As well as Amend, Green also directed three episodes of the popular British crime series Top Boy, and his feature film debut Monsters and Men starred John David Washington and was received well by critics in 2019.
In the Empire exclusive poster, seen below, Smith takes center stage as the lead role, closely embracing his two daughters Venus and Serena (played by young actresses Saniyya Sidney and Demi Singleton). The poster highlights both the loving-family dynamic and the importance of coaching, with Venus seen holding her tennis racket. The tagline reads "Venus, Serena and a plan for greatness," outlining the movie's focus on the Williams family's aspired, planned, and achieved success.
The film is set to be an accurate and personal account of the life of the tennis star sisters, with both Serena and Venus Williams listed as executive producers on the picture. Alongside them, Smith's wife and fellow acting star Jada Pinkett-Smith and Will Smith himself, who also doubles up as a producer. The whole project, like the story it's telling, is a close-knit family affair. The emotionally charged plot is sure to be compelling viewing in this busy Fall season for cinema audiences, who will be eager to know the truth about the lesser-known hero that is Richard Williams.
Set to be released in cinemas across the world this November, as well as streaming on HBO Max in the US, King Richard is a much-anticipated drama, with award nominations almost certainly on the cards. For critics and enthusiasts, the film is set to premiere at festivals later this month, first opening at BFI London Film Festival in the UK on October 15th, then later at Chicago International Festival on October 24th.
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Ever since The Simpsons first aired in 1989 it has stolen the hearts of families around the world, with years of adventures springing from its initial inception. Most newSimpsonsstorylines exist within the main canon of the television show, or offshoots from creator Matt Groening in some form or fashion such as movies or video games. However,The Simpsonshas also inspired a number of fan-produced content, including a new manga-style fighting adventure in the form of a new webcomic that has taken Twitter by storm.
SPRINGFIGHT! a Simpsons fan comicreleased by Joe Chouinard is a five-part webcomic posted on Twitter that brings the comedy fans have come to expect fromThe Simpsonsand adds manga-style action. In the beginning, fans are told that Mr. Burns has died and his will states that his immense wealth will be left to the winner of a town-wide fighting tournament. All the regularSimpsonscharacters and side characters are participating, fighting each other much like characters in aDragon Ballmanga would, all for a chance at a grand fortune. As many familiar faces rise and fall on the panel, one man stands above the rest, and that man is none other than Homer Simpson.
Homer uses the power of drunken hopelessness to win his way to the top of the tournament, and while that description may seem a bit heavy and sad for a Simpsons comic, that’s because it is and the story doesn’t shy away from that fact. The whole reason Homer is fighting in the tournament is because he and Marge got a divorce, and his family all but hates him. To prove to them he isn’t a loser, Homer has decided to win Burns’ tournament, using beer to numb the pain it takes to win. Homer only realizes his mistake after he faces his final challenger: his own son Bart. Halfway through their epic fight, Homer leaves the ring and forfeits the tournament and Bart takes home the gold, but in the end Homer’s the real winner. His family sees how hard he is trying to get back into their lives and once he vows to give up drinking he is given another chance to be the husband and father they all hoped he would be.
SPRINGFIGHT! a Simpsons fan comicisn’t the only non-canonicalSimpsonsadventure that has sprung up in webcomic space. The fan madeThose Springfield Kidsby Mr. Spike R. Monster takes a similar approach to Simpsons character psychology asSPRINGFIGHT!but with a slight time jump and way less action.Those Springfield Kidsexplores the early high school life of Bart, Lisa, and the other younger characters present in the original Simpsons. While the series has its comedic moments, it certainly doesn’t hold any punches when tackling the traumatic drama present in the usually fantastical world in whichThe Simpsonstakes place.
While theseSimpsonsstories didn’t originate from the original creator Matt Groening and are therefore non-canon, they speak to how powerfulThe Simpsonsis to fans even to this day.The Simpsonsis one of the longest-running series on television, and even with the current competition in adult animation likeRick and Morty, Family Guy,andSouth Park, its characters and stories remain an inspiration to fans to create their own adventures with the characters they grew up with.Simpsonsfan comicSPRINGFIGHT!is a manga-style fighting tournament with a deep dive intoThe Simpsonsfamily dynamic that is a great tribute to the show that started it all.
Dataminers have seemingly uncovered plans by Epic Games to bring mechs back into Fortnite for the end of the currently running Season 8. Titanfall-style Mechs were first introduced to Fortnite more than two years ago, but their run in the online battle royale was short-lived due to many issues which eventually caused Epic to pull them from Fortnite altogether.
The B.R.U.T.E. was part of 2019's Fortnite Season 1,0 and it quickly developed a bad reputation among players due to how unbalanced it ended up being. Epic Games tried to keep the B.R.U.T.E. in Fortnitethrough a series of minor tweaks, however the developer's efforts proved to be not enough, as players went so far as to start a #RemoveTheMech trend on Twitter. Some even changed tactics in-game, deciding to work together to destroy the machines as soon they spawned. Mechs were removed the same month they were introduced and they have not been seen in Fortnite since... until now, it seems.
Dataminer Shiina recently discovered that Fortnite's mechs could make a return in Season 8, according to some of the text files they discovered. This was corroborated by HYPEX, who more concretely stated that Epic Games is planning to add funding for mechs at the end of the current season. It is unclear from these Fortnite leaks if the mechs will be some form of revamped B.R.U.T.E., but according to HYPEX there will certainly be some changes going forward. The full extent of those changes to Fortnite's mechs, however, is still currently unknown.
2019's end to Fortnite's B.R.U.T.E. came quickly and was met by relief throughout community. Epic Games has an uphill battle ahead of itself to combat the negative reputations Fortnite's mechs have cultivated. While it is extremely likely the new mechs mentioned in these Fortnite leaks will feel completely different after more than two-years of work, the question of proper balance remains unanswered, and will continue to be so until the return officially happens.
With Fortnite Season 8 now in full swing, all players can hope for is that Epic Games has learned from its past mistakes and has the intention to make up for them. Mechs are tricky to balance in a game like Fortnite, as their whole point is to be overpowering to some degree. Hopefully Epic can find the right balance to make the new mechs mentioned in these Fortnite leaks feel powerful without leaving those who do not have one feeling completely outgunned.
Fortnite is available now on Xbox One, Xbox Series X/S, PS4, PS5, Nintendo Switch, and PC.
The House of the Dragon trailer reveals that it is fixing Game of Thrones' Iron Throne mistake. The trailer shows a number of brief clips from the greatly-anticipated prequel series by HBO, one of which is a shot of the iconic metal seat — but looking quite different to the version audiences saw in the original show. The new throne is much wider, splaying out across the steps leading up to it, with sword points jutting out from the molten metal like the teeth of a dragon. Even the central chair is larger, more jagged, and far more imposing.
The Iron Throne is the central seat of power in Game of Thrones' Westeros. Created for Aegon Targaryen after conquering the six kingdoms, the metal throne is said to be forged with dragon fire from the thousand swords of his enemies. The books by George R. R. Martin describe the chair as being huge and unsightly with steep metal steps leading up to the seat that was so dangerous, rulers couldn't lean back against the sharp blades. The throne in HBO's Game of Thrones, however, is much smaller than described, a hunk of molten steel sitting atop a short stone pedestal, as many sword hilts as blades decorating the backrest.
The Game of Thrones spinoff House of the Dragon is making an Iron Throne that is much truer to the books than the original show's version. Not only is the new throne more accurate to the source material, but it does a better job of serving as the intimidating symbol that it's supposed to represent. It's still not quite the monstrous structure described in the books, but it comes a lot closer than the comparatively casual-looking chair in HBO's Game of Thrones.
The Iron Throne is not merely a seat of power, but a symbol of the conquest it took to establish the Targaryen dynasty. The melted swords surrendered or taken from Aegon's foes serve as a reminder to all the members of the great houses of what happens to those who oppose the aptly named House of the Dragon. It also holds a message from Aegon to the Targaryen rulers to come, a deliberately sharp and dangerous chair to remind them that conquerors can never rest easy. The Game of Thrones version looks hard and severe but not very intimidating, and although its lack of comfort is mentioned on multiple occasions, numerous characters can be seen lounging nonchalantly in it. The House of the Dragon throne, however, looks genuinely dangerous, posing a serious threat to any who approach it — much less dare to sit upon it.
Although the Iron Throne in House of the Dragon is a lot more similar to the version in the books, it still is not quite the grotesque structure described in the source material. The pedestal is supposed to be steep and tall, allowing the rule to tower over the rest of the court. The danger of the chair still seems less extreme than the Iron Throne of the Game of Thrones books as well. The source material almost personifies the throne, recalling the countless rulers and members of the council it has cut. It's even rumored that a Targaryen king who was found dead on the seat had been murdered by the throne itself. While the version in the trailer is a vast improvement on the original show, the new Iron Throne still lacks the proper size and a certain sinister aspect.
There are reasons that Game of Thrones provides a somewhat lackluster seat: it may have been a deliberate creative decision to showcase the decline of House Targaryen, or the initial production budget just didn't room for a towering metal monolith. It also could have been a safety concern for the actors. Either way, the prequel series takes place during the prime years of the Targaryen dynasty, and it deserves the symbol of power and conquest that the books describe. Although it's imperfect, the Iron Throne in the House of the Dragon trailer is certainly a massive improvement on that of Game of Thrones.
With all the anarchy in the Gallagher household, it can be difficult to keep track of how old the characters in Shameless are from the beginning to the end of the show. When the comedy-drama series debuted on Showtime in 2011, all of the Gallagher kids (except for Fiona) were still minors. By the time the series wrapped up with the season 11 finale in the spring of 2021, all except Liam are adults with jobs and - in some cases - kids of their own.
Monica Gallagher had six children altogether before walking out on the family and leaving Fiona to take on the brunt of the parenting (even more so than she already had). In a rant in season 1, Frank helpfully spells out the age differences between the kids, saying that Monica left when Fiona was 14, Lip was 11, Ian was 10, Debbie was seven, Carl was five, and Liam was four months old. Of course, this being Frank, there's probably some room for error in his calculation of the kids' ages. Other clues in the show indicate that Fiona is actually around five years older than Lip, not three.
The Shameless timeline is notoriously riddled with continuity issues, which often makes it difficult to keep track of how much time passes between seasons and how old the various characters are. In an interview with EW, creator John Wells joked that the show is written on "Shamelesstime," with some characters' storylines taking place over a few days while others take place over several weeks. However, thanks to mentions of their age in dialogue it's possible to pin down their ages when the story begins, and how old they are when things wrap up in the Shameless season 11 finale.
In Shameless season 1, Fiona is 21 years old, Lip is 16, Ian is 15, Debbie is 11, Carl is nine, and Liam is around 18 months old. Debbie's daughter Franny, who was born when Debbie was 15, celebrates her fifth birthday in Shameless season 11, at which point Liam is about 11 years old. Putting these details together, it appears that around nine years pass between the start of Shameless season 1 and the end of season 11. By the time of the series finale, Fiona is 30, Lip is 25, Ian is 24, Debbie is 20, Carl is 18, and Liam is 11 years old. It should be noted that all of these ages are approximate, and could vary by a year or so. This is due to the show not only operating on its own time, but Shameless' status as a TV series means that the number of seasons doesn't always equate to the number of years that have passed since its debut. And because of the occasional continuity issues, it wasn't always clear how old the characters were at certain points. However, there were enough clues and information given so that the ages were clearer by the end of Shameless' run.
By the end of Shameless season 11 the Gallagher family got even bigger. Mickey Milkovich is around the same age as Lip Gallagher, which would make him around 25 years old when the story ends. As mentioned above, Debbie's daughter Franny is five years old, having been born on the Gallaghers' kitchen table in season 6. Lip's son, Freddie, was born in the first episode of season 10 and therefore must be at least a year old by the series finale, since Ian and Mickey are celebrating the one-year anniversary of their wedding from the end of season 10. Fred is probably about the same age in the finale as Liam was at the start of Shameless season 1. That essentially brings the Gallagher household full circle with regards to their ages, as another generation is born.
Moving next door, Kevin and Veronica's ages are never explicitly given at any point in the series, but they appear to be in their mid-to-late 20s in Shameless season 1. That puts them in their mid-to-late 30s by the time they pack up and get ready to move to Louisville in Shameless season 11. Their twin daughters, Amy and Jemma, were born in the season 4 finale, and Franny was conceived just a few episodes later, which means that Kevin and Veronica's twins are about 6 years old by the end of the series.
The No Time To Die signal the end of Daniel Craig's time as James Bond for one final adventure. The movie is the 25th official James Bond film and the 5th movie for Craig’s interpretation of the character over a 15 year period. Like every Bond movie to date, the new film features an elaborate and highly stylized opening sequence that foreshadows much of what's to follow. Just as with all its predecessors, No Time To Die's credits have a lot to unpack.
Dating back to Bond’s cinematic debut in 1962’s Dr. No (where there was a flurry of multi-colored dots flashing on the screen while the Bond theme played), the opening credits set the tone for the film. They are just as important fixtures for the James Bond franchise as the Gunbarrel or the title song that plays over them. Designer Maurice Binder was responsible for title sequences for 16 of the first 17 Bond films before Daniel Kleinman took over for Goldeneye onwards (with the exception of Quantum of Solace). Unsurprisingly, No Time To Die carries on the tradition.
Kleinman returns for his 8th James Bond opening credits title sequence with No Time To Die, once again stylishly designing the sequence to convey the mindset of Bond, as well as the plot of the film. The key themes displayed are betrayal, and time, with numerous images of hourglasses and clocks throughout. The film itself takes inspiration from fan-favorite On Her Majesty’s Secret Service, including the song “We Have All the Time in the World”, referring to Bond and Madeleine spending the rest of their lives together. Bond utters the phase at the start of No Time To Die before a heart-wrenching call back to it in the finale. The hourglasses represent all the time in the world, but when they are broken so is Bond’s heart thinking (wrongly) that Madeleine has betrayed him.
Images of Vesper Lynd from Casino Royale are included alongside Madeleine, in order to tie her in with Vesper in the audience’s mind as both deceiving James Bond. Madeleine’s secret however is vastly different than the one Vesper kept from him. Throughout the opening credits the lyrics in Billie Eilish’s title song “No Time To Die” echo the theme of betrayal. Furthermore, Bond’s Aston Martin sinking is representative of him leaving behind his former life. The famous gadget-laden car is instantly recognizable and iconic as anything in the pantheon of Bond. To have it sink into the depths is powerful imagery that Bond has given up his days of saving the world for Queen and country.
Another feature of the opening credits is the DNA sequences using guns and bullet trails to mimic the double-helix structure. It's impressive imagery and offers a hint at the importance of DNA in the film. The villain Safin uses a stolen nanobot bioweapon that spreads like a virus upon touch, and are coded to specific DNA strands so that they are only dangerous if programmed to an individual’s genetic code. On a deeper level, it could also represent Bond’s DNA, passed on through his and Madeleine’s daughter (the secret she kept from him).
Along with No Time To Die's opening pre-title sequence, the opening credits are often mini-works of art in their own right. Kleinman’s in particular are often filled with easter eggs that are impossible to all take in in a single viewing. No Time To Die’s opening credits are no different, with references to Dr. No (the dots return), On Her Majesty’s Secret Service (the hourglasses), and even Thunderball (a diver is seen at one point) sprinkled throughout the expertly crafted sequence.
