purvis

The other writers include Neil Purvis and Robert Wade (who both have 20 years of bond film writing credits each).

However, I think it's more likely that Purvis and Wade are the issue here, as the 1977-1997 era showed that Eon could make a decent original Bond.

Notably, Purvis and Wade have never been nominated for screenwriting awards, and the average RT score for the films they wrote without other screenwriters is...38 (the audience scores aren't much better, at 46).

(I rather thought Bill Purvis wrote a compiler, but it seems that was Occam for the T machine.) Thanks for the history, anyhow.

And given their historical backgrounds, it's clear that she and Fukunaga were responsible for the serious elements of the film, since that's not a capability that Purvis and Wade have demonstrated in any of their prior films.) except its about lesbian/bisexual bait so it wins awards.

Mike Purvis' shim listed in a comment above helps a lot.

TIL that "Tales from the White Hart" had at least some readership in the USA - I would have feared that its air of post-war English constraints (rationing and London grime) felt almost more fantastical than the accounts of Harry Purvis.

> "What we were looking at was being almost completely foreclosed from any of it because our state was considered nearly completely covered with 4G LTE service," [Clay] Purvis, [the state's telecommunications director] said.

TIL that "Tales from the White Hart" had at least some readership in the USA - I would have feared that its air of post-war English constraints (rationing and London grime) felt almost more fantastical than the accounts of Harry Purvis.

> "What we were looking at was being almost completely foreclosed from any of it because our state was considered nearly completely covered with 4G LTE service," [Clay] Purvis, [the state's telecommunications director] said.

Mike Purvis' shim listed in a comment above helps a lot.