Welcome, dino‑enthusiasts! If you’ve just watched Jurassic World: Fallen Kingdom and are still buzzing from the roar‑filled spectacle, you’ve probably noticed a few scientific hiccups along the way. In this roundup we’ll walk you through the ten biggest blunders the franchise made, from the DNA‑cloning fantasy to the questionable intelligence of our favorite predators. Buckle up – 10 ways 8216 will guide you through the prehistoric faux pas that keep paleontologists shaking their heads.

10 ways 8216: The Science Behind the Slip‑Ups

10 DNA Extraction

The notion of pulling ancient, fossil‑locked DNA from amber and then splicing it together to resurrect a dinosaur sounds like straight‑out‑of‑a‑science‑fiction novel – especially when you consider that we’ve already cloned mammals like Dolly the sheep. In the movies, this speculative process is presented as a near‑miracle, but could it survive the test of real‑world biology?

The short answer: absolutely not.

Cloning hinges on copying an exact genetic blueprint, gene by gene, strand by strand. According to NBC News, Murdoch University researcher Mike Bunce explained that DNA degrades beyond recognition after roughly 6.8 million years – a far cry from the 145‑201 million‑year‑old bones of the Jurassic era. In other words, the DNA in a dinosaur fossil would be completely annihilated long before scientists could even locate it.

Given that the Jurassic Period spanned from 201 to 145 million years ago, the DNA extraction drama we see on screen is pure cinematic wizardry with no supporting data in the scientific literature.

Adding to the implausibility, amber specialist Dr. David Penney and a team of researchers have concluded that the method portrayed in the film – extracting intact strands from ancient insects – is “likely to be impossible and will have to remain in the realm of fiction.”

9 Brachiosaurus Takes A Stance

Remember the iconic scene from the original Jurassic Park where a massive Brachiosaurus lifts its hindquarters to reach a lofty branch? The same pose reappears in Jurassic World: Fallen Kingdom, albeit under very different circumstances.

At first glance, the pose seems harmless. After all, these gentle giants stand roughly 7 meters (23 feet) tall and stretch up to 26 meters (85 feet) long. One might imagine they’d need to arch upward to nibble the highest foliage, much like a cat or dog stretching for a treat.

But let’s run the numbers. A Brachiosaurus tipped with a weight range of 33‑88 tons places its massive bulk primarily over its four pillar‑like legs. Could two rear legs alone sustain that load without toppling?

Consider the physics: even if the tail offered some counter‑balance, the creature’s center of mass would still sit far forward. A tree that it leans against would likely buckle under the pressure, causing the dinosaur to crash rather than gracefully stand.

When you compare this to true bipedal dinosaurs – which possess powerful, muscular hind limbs and lighter torsos – the idea of a sauropod balancing on two legs becomes even more untenable. The elegant Brachiosaurus simply isn’t built for a two‑legged pose.

8 Jurassic Period

One of the franchise’s most glaring chronological errors is slotting the fearsome Tyrannosaurus rex into the Jurassic Period – or, more accurately, naming the series after a period that never hosted this apex predator.

In reality, the Cretaceous Period (about 66‑68 million years ago) was home to the T. rex, along with other iconic carnivores like Velociraptor and Spinosaurus. The Jurassic, by contrast, featured long‑necked herbivores such as Plesiosaurus, Brachiosaurus, Stegosaurus, and Diplodocus – but no tyrannosaurs.

Smithsonianmag.com puts the oversight into perspective: “Less time separates us from Tyrannosaurus rex than separates T. rex from Stegosaurus.” That temporal gap makes the franchise’s Jurassic‑T‑rex mash‑up a noticeable slip‑up.

Still, the movies have earned forgiveness for this anachronism because, thanks to the DNA‑magic of the storyline, dinosaurs from disparate eras coexist. While scientifically inaccurate, it’s a narrative convenience that keeps the audience thrilled.

7 The Mighty Spinosaurus

In Jurassic Park III, the climactic showdown pits a towering Spinosaurus against a ferocious T. rex. The former, a Cretaceous predator adapted to semi‑aquatic life, boasts a crocodile‑like snout for snapping fish and a sail‑like spine that allegedly helped it slice through water at impressive speeds.

However, the film glosses over the fact that a true aquatic hunter would sport webbed feet and dense, ballast‑rich bones – adaptations that would make it a poor combatant on land.

Scientific estimates place the T. rex’s bite force at roughly 5,800 kg (12,800 lb), making it the most powerful terrestrial bite on record. By comparison, the megalodon, an extinct marine shark, could exert a bite of about 18,600 kg (41,000 lb). The Spinosaurus’s aquatic specialization likely left it at a disadvantage in a land‑based duel.

Consequently, despite its intimidating size, the Spinosaurus was the underdog in this prehistoric brawl.

6 Sense Of Smell

Remember when Dr. Grant whispers, “Nobody move a muscle,” and the massive T. rex seems to ignore the immobilized humans? The scene suggests the dinosaur relies on motion‑based vision, only seeing moving objects.

While the movie later shows the beast reacting to flares and other movement, a purely motion‑dependent visual system would be a huge disadvantage for a top predator. In reality, a hunter like the T. rex would also employ acute hearing and a powerful sense of smell to locate prey.

Even if the creature can’t see a perfectly still person, it could still pick up subtle sounds – a quickened heartbeat, shallow breathing – or the scent of a human. In Jurassic World, Owen coats himself in gasoline to mask his odor while evading the engineered Indominus rex, underscoring the importance of olfactory detection.

Thus, the notion that the T. rex would simply walk away from a stationary victim ignores the multi‑sensory hunting strategies observed in modern apex predators.

5 Size Does Matter

Velociraptors roamed the Late Cretaceous and were bird‑like predators, complete with a wishbone and, as recent discoveries show, a covering of feathers. The movies, however, dramatically inflate their size, presenting them as turkey‑sized killers that can tower over humans.

Fossil evidence places these raptors at roughly the size of a modern turkey, with a length of about 2 meters (6.5 ft) and a weight under 15 kg (33 lb). Their agility came from feathered limbs and a keen hunting instinct, not from sheer bulk.

The franchise also tends to refer to them simply as “raptors,” blurring the distinction between different genera like Velociraptor, Deinonychus, and others. While the cinematic versions are undeniably terrifying, they stray far from the paleontological record.

4 Mosquitoes

Take a close look at the amber‑preserved mosquito trapped in Dr. Hammond’s cane. Its antennae sport tiny hairs called flagella, which are visible only on male mosquitoes.

Here’s the snag: only female mosquitoes bite to obtain the blood needed for egg production. Consequently, only a female would have ingested animal DNA – the very genetic material the film claims scientists extracted. Since the specimen is male, the premise of harvesting dinosaur DNA from its blood meal is scientifically inaccurate.

3 Frog DNA

In the original Jurassic Park, scientists splice frog DNA into the incomplete dinosaur genomes to fill missing genetic gaps, enabling the dinosaurs to reproduce despite being all‑female. This plot point hinges on the idea that some West African frogs can change sex when mates are scarce.

Surprisingly, frog DNA shares more similarities with human DNA than with dinosaur DNA. Research by Uffe Hellsten shows that amphibian and mammalian chromosomes contain many genes in the same order, and frogs even share diseases like cancer and asthma with humans.

Conversely, dinosaur DNA is far closer to that of modern birds. Ongoing work at the Institute of Vertebrate Paleontology and Paleoanthropology continues to cement the evolutionary link between dinosaurs and avian species.

2 Venomous Dinosaurs

In the opening film, the sneaky programmer Dennis Nedry is sprayed with what appears to be toxic saliva from a Dilophosaurus while fleeing with stolen embryos.

Real‑world evidence tells a different story. Dilophosaurus lacked any venom‑spitting apparatus or decorative frills, and it was considerably larger than the dog‑sized creature shown on screen – measuring about 6 meters (20 ft) in length and weighing upwards of 450 kg (1,000 lb).

Scientific American’s curator Scott D. Sampson notes that there is no credible fossil or trace‑evidence supporting the existence of venomous dinosaurs, making the movie’s depiction a pure work of imagination.

1 Dinosaurs’ IQs

Fans love the cleverness of the movie’s raptors – especially Blue, who seems to understand commands, show empathy, and even negotiate with humans. In Jurassic World: Fallen Kingdom, Blue protects Owen, Claire, and the kids, and appears to ask permission before attacking.

However, paleontologists point out that real dinosaur brain sizes were modest, suggesting limited cognitive abilities. Their brain‑to‑body ratios were generally lower than those of modern birds, which are already modestly intelligent compared to mammals.

Thus, while the cinematic raptors make for thrilling storytelling, the scientific consensus paints a picture of dinosaurs that were far less intellectually sophisticated than their Hollywood counterparts.

Franchise building is a massive money‑maker in Hollywood today, and studios are constantly hunting for fresh ways to stitch beloved characters together across as many pictures as possible. That relentless push has crowned Marvel as the reigning heavyweight of the big screen for the last decade‑and‑a‑half, yet the road to a multi‑film universe is littered with dead‑ends. In fact, the phrase “10 canceled franchise” perfectly captures the paradox of projects that never saw the light of day but still managed to leave a mark.

Why 10 Canceled Franchise Projects Matter

10 Escape From Earth (Escape From New York)

John Carpenter’s cult classic Escape from New York lit up the ’80s with its gritty, dystopian vibe, but it took a full decade‑and‑a‑half for the sequel Escape from L.A. to finally appear. Unfortunately, the follow‑up hit theaters alongside family‑friendly blockbusters like Independence Day, and its bleak, nihilistic tone failed to resonate with mainstream audiences.

The unrealized third chapter, Escape from Earth, would have taken Snake Plissken (Kurt Russell) into a full‑blown apocalypse, using a superweapon to plunge the planet into darkness. The poor reception of Escape from L.A. effectively killed the idea before it could even begin production.

Undeterred, Carpenter redirected his creative energy into Ghosts of Mars, a film that mirrors the core template of the Escape series: a rogue operative (Ice Cube’s James Williams) leading a daring extraction mission, this time on the Red Planet. While Carpenter denies that Ghosts of Mars is merely a rehashed third entry, the parallels are unmistakable, and the movie carries many of the abandoned concepts from Escape from Earth.

9 Monsters, Inc. 2: Lost In Scaradise (Monsters, Inc.)

During the mid‑2000s, the rift between Disney and Pixar sparked a plan at the House of Mouse to produce a sequel to the beloved animated hit Monsters, Inc.. The proposed follow‑up, Monsters, Inc. 2: Lost In Scaradise, would have seen Mike and Sully stranded in the human world, hunting for their little friend Boo while encountering a host of familiar monsters.

When Bob Iger took the helm at Disney, he mended the partnership with Pixar, bringing the studio back under the same roof. This reconciliation meant that Disney lost the ability to green‑light sequels on its own, and projects like Lost In Scaradise were axed.

Although the film never materialized, Pixar later delivered a prequel, Monsters University, and the 2021 series Monsters at Work resurrected many of the canceled sequel’s ideas— including Sully running the company and Mike inadvertently getting trapped in the human realm.

8 The Amazing Spider‑Man 3 (Spider‑Man)

The Amazing Spider‑Man reboot gave audiences a fresh take on Peter Parker, starring Andrew Garfield. The first installment performed respectably, and the sequel, while not a critical darling, earned enough at the box office to suggest a longer run.

In early 2015, a new agreement between Sony (who holds the film rights) and Marvel/Disney allowed Spider‑Man to be integrated into the Marvel Cinematic Universe, prompting a recast and effectively ending the Garfield‑led series.

Had it moved forward, Amazing Spider‑Man 3 would have reunited the second‑film’s creative team, exploring Peter’s grieving process over Gwen Stacy’s death and introducing the Sinister Six. While the film never materialized, the MCU’s No Way Home gave Garfield’s Peter a moment of redemption, showcasing his sorrow over Gwen and featuring a near‑complete Sinister Six lineup— the closest thing fans got to the canceled third movie.

7 MIB 23 (21 Jump Street / Men In Black)

Phil Lord and Christopher Miller gave the 1980s TV staple 21 Jump Street a comedic facelift in the 2010s, pairing Jonah Hill and Channing Tatum as the lead duo. Simultaneously, the sci‑fi series Men in Black 3 revived its franchise with a time‑traveling adventure that felt both fresh and reverent.

Seeing the potential synergy, Sony executives imagined a crossover titled MIB 23, which would have swapped the original MIB stars Tommy Lee Jones and Will Smith for the Jump Street pair, creating a sillier, more light‑hearted mash‑up.

Despite fan enthusiasm, the project lingered in development limbo. Sony eventually opted for a new direction with Men in Black: International, casting Chris Hemsworth and Tessa Thompson in hopes of recapturing the banter seen in Thor: Ragnarok. Unfortunately, the resulting film fell short of expectations.

6 Kick‑Ass 3 (Kick‑Ass)

During the early wave of comic‑book adaptations, Matthew Vaughn delivered an R‑rated deconstruction of superhero culture with Kick‑Ass. The film introduced audiences to a darker, more brutal world of amateur heroes, featuring Aaron Taylor‑Johnson, Chloe Grace‑Moretz, and Christopher Mintz‑Plasse.

Unfortunately, the sequel, Kick‑Ass 2, underperformed both financially and critically, dampening enthusiasm for any further installments. The intended third movie would have adapted the graphic novel’s storyline, where Kick‑Ass leads his own team, Hit‑Girl ends up behind bars, and a broken Red Mist learns from a new supervillain.

Vaughn has since confirmed a reboot is on the horizon, promising fresh blood to reflect contemporary sensibilities. While the original sequel plan remains shelved, Vaughn continues to mine the same source material, urging fans to watch Mark Millar’s comics for clues about what’s next.

5 X‑Men Origins: Magneto (X‑Men)

After the original X‑Men movies proved successful, 20th Century Fox plotted a series of character‑focused spin‑offs. While X‑Men Origins: Wolverine launched in 2009, the studio also green‑lit a Magneto‑centric film that had been percolating for years.

The proposed story would trace Erik Lehnsherr’s (Ian McKellen) evolution from his harrowing Holocaust childhood to his present‑day role as a mutant supremacist. Writer Sheldon Turner described the script as a blend of The Pianist and X‑Men, with David S. Goyer attached to adapt and direct, and McKellen slated to reprise the older Magneto.

When Wolverine failed to meet box‑office expectations, Fox brought back veteran director Bryan Singer to reboot the franchise, shelving the Magneto project. Instead, First Class emerged, weaving many Magneto elements— including his time in a Nazi camp— into its narrative. The Writers Guild of America later awarded Turner co‑writing credit, acknowledging his contribution.

4 The Silver Surfer (Fantastic Four)

The Fantastic Four franchise has long struggled to find a consistent cinematic voice, with three major adaptations either bombing or delivering modest returns. Nonetheless, Fox recognized the broader appeal of the Silver Surfer, who appeared in 2007’s Fantastic Four: Rise of the Silver Surfer.

To capitalize on that momentum, the studio hired J. Michael Straczynski— creator of Babylon 5— to craft a standalone Silver Surfer screenplay. The proposed film would have delved deep into the enigmatic hero’s backstory, exploring his cosmic origins and his fraught relationship with the planet‑devouring entity Galactus.

Following the underwhelming performance of Rise of the Silver Surfer, the two universes were split: the Fantastic Four rebooted in 2015, while Straczynski shifted his focus to the comic series Silver Surfer: Requiem. With Marvel Studios now planning a new Fantastic Four film, rumors persist that the Silver Surfer may finally make a triumphant return to the big screen.

3 Boba Fett (Star Wars)

Since his debut in The Empire Strikes Back, bounty hunter Boba Fett has become a cult favorite. After his apparent death in Return of the Jedi, fans have long yearned for a deeper dive into his backstory.

James Mangold— director of Indiana Jones and the Dial of Destiny— was slated to helm a standalone Boba Fett movie, envisioning the character as a spaghetti‑western gunslinger and aiming for an R‑rated tone, a stark contrast to the franchise’s usual PG‑13 rating.

When the first character‑focused Star Wars film, Solo: A Star Wars Story, underperformed at the box office, Disney put all related projects on ice. Eventually, the streaming series The Book of Boba Fett filled the void, delivering a lighter yet still Western‑flavored narrative that gave the bounty hunter a fresh lease on life.

2 Tron: Ascension (Tron)

Joseph Kosinski’s Tron: Legacy revived the cult sci‑fi series, turning a beloved classic into a modern franchise. After a respectable box‑office run—grossing more than double its budget—the studio green‑lit a sequel titled Tron: Ascension.

By 2015, Kosinski had fully storyboarded the sequel, intending to blur the lines between the digital and real worlds. However, Disney pulled the plug, citing the poor performance of the George Clooney vehicle Tomorrowland as a key factor, though Kosinski suggested the studio was simply reallocating resources to more bankable properties.

Nonetheless, the Ascension concept evolved into Tron: Ares, a fresh project built around the original script’s ideas. Jared Leto now stars as Ares, a character originally slated for a pivotal role in Ascension, and production is currently underway, promising fans a new glimpse into the Grid.

1 Invisible Man (Universal’s Dark Universe)

The latest adaptation of H.G. Wells’s Invisible Man was initially envisioned as a flagship entry for Universal’s ambitious “Dark Universe,” which aimed to unite classic monsters— Frankenstein, the Mummy, Dr. Jekyll and Mr. Hyde, Dracula, and the titular Invisible Man— into a shared cinematic world.

Originally slated to star Johnny Depp, the project was dramatically reshaped after the first Dark Universe film, 2017’s The Mummy (headlined by Tom Cruise), flopped critically and financially, prompting Universal to reconsider its monster‑crossover strategy.

Director Leigh Whannell and producer Jason Blum re‑imagined the story on a shoestring $7 million budget, casting Elizabeth Moss as the lead. The resulting film, simply titled The Invisible Man, became a tightly‑crafted, intimate thriller that tackled themes of domestic abuse and achieved a staggering twenty‑fold return on investment.

The problem with being a fan of a book‑turned‑movie saga is that the silver screen often can’t capture every nuance the pages provide. Translating sprawling novels into a handful of two‑hour films forces writers and editors to trim, shift, or even discard details to keep the story moving and the box office happy. In short, the movies had to balance storytelling with market appeal, and that’s why we’ve compiled this list of the top 10 things the Harry Potter movies got wrong.

Why These Top 10 Things Matter

Each omission or alteration changes how we experience the wizarding world. From misplaced creatures to altered character ages, these ten slip‑ups shape the way fans remember the saga. Let’s dive into the specifics, one magical misstep at a time.

10 Sneaky Snake

*Adjusts glasses* Alright, let’s start at the very beginning. In the first film, Harry discovers his ability to speak to snakes, and we get a tense moment with a reptile in the Hogwarts greenhouse. The book tells us that the creature is a boa constrictor, a classic, non‑venomous snake that fits the British setting. The movie, however, swapped it for a Burmese python – a much larger, exotic species more commonly kept as a pet.

One could argue the filmmakers wanted a snake that looked imposing and fit the visual language of a captive animal. Burmese pythons are notorious as oversized pets, far removed from their native habitats, mirroring Harry’s own feeling of being out of place. Still, the switch is a noticeable deviation from J.K. Rowling’s original description.

9 He Who Shall Not Be Named Is French

The pronunciation of Voldemort’s name is a subtle but telling detail. Split the name into “volde” and “mort”: the former can be linked to an Old Norse root meaning “to cause,” while “mort” is French for “death.” Proper French pronunciation drops the harsh “t” at the end, allowing the “r” to linger in the back of the throat.

In the original audiobook of *The Sorcerer’s Stone*, the narrator nailed this French nuance, and J.K. Rowling confirmed its accuracy. The film versions, however, pronounce the final “t,” giving the name a sharper, less authentic sound.

8 Your Mother’s Eyes

According to the books, Harry inherits his mother Lily’s striking green eyes – a detail that helps define his appearance. Daniel Radcliffe, however, does not naturally have green eyes, and the production team initially planned for him to wear colored contacts.

Unfortunately, Radcliffe suffered an allergic reaction to the lenses, forcing the filmmakers to settle for his natural blue eyes. The subtle genetic cue was thus lost in translation.

7 If I Could Turn Back Time, I Wouldn’t Have a Time Turner

Hermione’s relentless studying schedule is a hallmark of her character, and the Time Turner appears as a clever plot device to justify her packed timetable. In the books, Professor McGonagall gifts her a small hourglass necklace that lets her travel back one hour per turn, with a chain long enough to accommodate multiple users.

The rules are strict: you must avoid being seen by your past self, and any interference could cause paradoxes. The movies, however, gloss over these constraints, showing Hermione and Harry breezing through time‑travel scenes without much caution.

Beyond the narrative shortcuts, the Time Turner raises practical questions about how many hours one could realistically reclaim and why the Ministry eventually destroys all of them in *Order of the Phoenix*.

6 A Bunch Of Old Guys

In the novels, James and Lily Potter were in their early twenties when Harry was born, and their classmates—Sirius, Lupin, and Snape—were roughly the same age. The film adaptations, however, cast considerably older actors for these roles, making the trio appear as seasoned veterans rather than peers.

While Alan Rickman’s portrayal of Snape remains iconic, the age discrepancy subtly shifts the dynamic, making the older teachers feel more like mentors than contemporaries of Harry’s parents.

5 Ginny Weasley

The movies present Ginny mainly as Harry’s eventual love interest, offering limited insight into her own strengths and agency. The books, by contrast, flesh out Ginny as a fierce, independent witch who proves herself repeatedly—whether in Dumbledore’s Army or on the Quidditch pitch.

Rowling has emphasized that Harry’s partner needed to be strong, capable, and his equal. The cinematic treatment, however, reduces her to a background role, missing the depth that makes Ginny such a compelling character.

4 Voldemort’s Death

Literary deaths often rely on vivid description rather than spectacle. In the books, Voldemort’s demise is swift: the Killing Curse rebounds, and his body collapses lifelessly. The film opts for a more dramatic visual, showing his form crumbling and disintegrating in a cascade of ash.

Additionally, the novel makes it clear that the rebounded curse—originally cast by Voldemort—causes his downfall. The movie simplifies this, having Harry’s own spell directly end Voldemort, while also spotlighting Neville’s heroic act of destroying the final Horcrux.

Both approaches deliver closure, but the cinematic rendition trades subtle narrative nuance for visual flair.

3 Calm Down, Dumbledore

One memorable scene involves Dumbledore confronting Harry after the Goblet of Fire spits out his name. In the books, Dumbledore approaches calmly, gently asking Harry about the unexpected entry. The film, however, portrays a much more agitated Dumbledore, who practically shoves Harry against a wall and delivers a terse, one‑word query.

This shift reflects the change in actors—from the warm, soft‑spoken Richard Harris to the sharper, more forceful Michael Gambon—mirroring the darker tone of the later books.

Fans have noted the contrast, debating whether the cinematic Dumbledore’s urgency adds tension or betrays the character’s original composure.

2 Voldemort Has…His Mother’s Eyes, Too?

Voldemort’s appearance in *Goblet of Fire* is described as pale, skeletal, with red, cat‑like eyes that hint at his cruel nature. The movies, however, give him stark white eyes during his resurrection, a visual choice that softens the original description.

While the white‑eyed effect creates an eerie, otherworldly vibe, it diverges from Rowling’s vivid red‑eyed imagery. Some viewers wish the cinematic version had retained the crimson gaze to emphasize his lingering humanity—and perhaps a hint of disappointment at his bald, grotesque form.

1 The Story Behind Neville’s Parents

Neville Longbottom stands out as the underdog who blossoms into a hero, ultimately slaying Nagini. The books delve deeply into his tragic backstory: his parents, Frank and Alice, were tortured into madness by Bellatrix Lestrange, leaving them confined to St. Mungo’s Hospital.

The films skim over this trauma, offering only a fleeting reference to his parents’ condition. A full scene showing Neville visiting them in the asylum would have provided powerful emotional grounding and highlighted his resilience.

Such a glimpse would also deepen the connection between Neville and Harry, underscoring the shared theme of overcoming loss.

Despite the cinematic shortcuts, avid readers know just how formidable Neville truly is, and his quiet bravery remains a cornerstone of the series.

Are you a James Bond fan? If so, we’re not surprised. There’s something simply cool and fun about a Bond movie. Not only does he save the day (and usually the entire world… secretly, of course!) but he also gets a great car, gadgets, and a beautiful woman.

While you may have stood in line for the latest Bond movie, we doubt you know everything about them. Here are some facts that even some of the most enthusiastic “007” followers may not know…

10. You have one very dedicated family to thank for the franchise

Obviously, a lot of people have been involved in the making of the Bond films over the years. But there’s one family in particular that’s been the driving force behind keeping them going for decades.

The Broccoli family has produced James Bond movies since 1975. These movies are truly a family affair – with Albert R. Broccoli who produced until 1984 when his stepson Michael G. Wilson came on board. Then in 1995, Broccoli let his daughter Barbara Broccoli take over production of the James Bond franchise. So now two generations of the Broccoli family has managed the Bond films, bringing us hours of fantastic entertainment.

9. Ian Fleming didn’t get rich on the first movie

The Bond franchise is a bit of a cash cow, clearly. That’s why they keep churning new ones out, right? But author Ian Fleming didn’t exactly rake in the dough on his first movie adaptation. Not even close, actually. But then, the first movie wasn’t exactly a blockbuster.

In 1954, CBS paid Fleming $1,000 to obtain the rights to turn his first Bond novel, Casino Royale, into a one-hour show. This was part of the series named Climax Mystery Theater. The show featured Barry Nelson as James Bond and Peter Lorre as villain Le Chiffre and was shown to TV audiences on October 21, 1954.

8. The biggest box office hit it in the franchise might not be what you think

If we asked you what the biggest smash hit (financially) in the Bond franchise is, you might immediately think of the Daniel Craig version of Casino Royale, or maybe even Goldeneye. But it’s not either of those, in fact. Casino Royale actually only ranks fourth on the list, and Goldeneye is a distant eighth.

The top earner? It’s Skyfall, which was released on November 8, 2012. The domestic box office in the USA was $304,360,277. That’s more than a hundred million more than the second highest grosser, Spectre. The international box office was truly phenomenal – more than $1 billion, at $1,110,526,981! The Bond movies have been super successful overall and have grossed $7 billion, with their international box office totals.

7. Enjoy Daniel Craig as Bond… while you can

Daniel Craig wasn’t the obvious choice when he got cast as Bond prior to Casino Royale. He didn’t have the same suave, dark-haired look of a Roger Moore or Pierce Brosnan, so naturally some fans were skeptical. And then, of course, people saw him in the film and almost immediately, the debate opened up about whether he was a better Bond than Sean Connery.

However, you probably won’t be seeing him in the role much longer. The next James Bond film will be released on November 8, 2019. This is the final film, currently dubbed ‘Bond 25’, that Craig has been contracted for with them. Craig has been working on a TV show and originally was reluctant to do one last Bond movie, but it is great that he didn’t want to disappoint his enthusiastic fans.

6. That 2019 Bond film is still a total mystery

While it’s certainly great that Daniel Craig is returning to the role (at least) one last time, that’s about all we know about the film at this point. Most of the time, production companies share a plot synopsis or a few details. This time, it simply says “unknown.” This Bond movie has not been without a few bumps, though. Pregnancy bumps, that is. Production was pushed back due to Craig wanting to help his pregnant wife, Oscar winner Rachel Weisz.

Just last year they were searching hard to find a great director, and that is one piece of info that we do have. The newest Bond will be helmed by acclaimed director Danny Boyle, who was the man behind films like Trainspotting, 28 Days Later, and Slumdog Millionaire, and has won an Oscar. For now, we will simply have to be patient and wait.

5. Sometimes Bond’s gadgets have given us a window into the future

Many of Bond’s gadgets are pure entertainment and just add to the adventure. But a few of them seem as if they are a peek into what will be available to the rest of us one day.

The 1985 movie A View to A Kill featured a Ring Camera. Today, tiny cameras can be placed just about anywhere. But in the 1980s, the thought of that technology, being that tiny, was simply unheard of. In that same movie, there was a cute Robot Dog. Now, admittedly it did not quite look like Fido but it certainly was cute. Today you can buy all types of adorable little robot pets including cats and dogs.

In the 2008 movie Quantum of Solace, there was a Multitouch Table, similar to using a large tablet. It’s the size of a table that about 6 people can use. Now you’ll see large screens that people can move documents around with the touch of a finger – why, it’s so Bond-like!

4. Sean Connery wasn’t very “007” when it came to playing Bond

Some of the actors who played James Bond have done plenty of their own stunts. They certainly could not have done all of them, of course, for insurance reasons. One of the actors who refused to do any type of stunt at all, though, might surprise you (well, unless you read the header): Sean Connery.

As his fellow Bond, George Lazenby, noted, “Sean Connery wouldn’t step down a step without saying ‘stunt man!’” Now, let’s be fair. Some of those Bond stunts are a bit daunting. It’s easy for us to make a quick judgement from our comfy, plush movie seats while munching on buttery popcorn. Then again, you’d think the dashing guy who played Bond (and was also a Mr. Universe competitor!) would at least be up for racing a car, skiing down a hill or a few small adventures!

3. The first big-screen Bond was a real player… and not just on-screen

You may not know who George Lazenby is, but he’s the guy who briefly played Bond in exactly one movie: On Her Majesty’s Secret Service. And while he didn’t play Bond for long, he sure lived the James Bond lifestyle. He estimates that he was intimate with more than 1,000 women and during the peak of his fame he seduced an average of 5 women each day. He credits his luck with the ladies to being “a good looking Australian” and also having the confidence to approach them.

We think Lazenby was chock-filled with confidence in lots of ways. It might surprise you to know that he got the role of James Bond with absolutely zero professional acting experience! Can you imagine someone getting the lead role in a blockbuster movie like that today?

2. Can you spot the 1963 Aston Martin DB5?

Everyone knows that part of the fun of watching Bond movies is not just the adventure, but also the cars and cool gadgets that Bond has. It might surprise you to know that one Aston Martin car has popped up in six James Bond movies, making it quite unique. Typically a car or gadget appears only once. Even more amazing is the fact that its appearances have spanned decades.

The 1963 Aston Martin DB5 you’ll first see in Goldfinger (1964) and then in Thunderball (1965). It also reappeared more recently in Goldeneye (1995), Tomorrow Never Dies (1997), Casino Royale (2006), and then the super popular Skyfall (2012). So, it is easy to say that the Aston Martin is James Bond’s car. While he may drive others, this is one of his all-time favorites!

1. So… who will be the next Bond?

Many fans are hoping Daniel Craig will stay on in the role of James Bond, and it has been rumored he has been offered $150 million for another two films. But eventually, he’s going to hang up the Walther PPK, and someone else will need to step into the role. So, who could it be?

Names that have been included in entertainment magazines, on social media, and throughout internet message boards include actors like Idris Elba, Damian Lewis, Aidan Turner, Chris Hemsworth, Tom Hardy, or Jamie Bell. For now, we’re just going to have to continue to speculate and see who slides into the black tux and orders his martini… shaken, not stirred.

Are you a James Bond fan? If so, we’re not surprised. There’s something simply cool and fun about a Bond movie. Not only does he save the day (and usually the entire world… secretly, of course!) but he also gets a great car, gadgets, and a beautiful woman. And with the latest news about the franchise, it feels like a good time to revisit everyone’s favorite secret agent.

While you may have stood in line for the latest Bond movie, we doubt you know everything about them. Here are some facts that even some of the most enthusiastic “007” followers may not know…

Read the full list!

Film directors are more than just the people who shout “action” and aim the camera. They have a hand in the visuals, story, script, and acting of every production, bringing all elements together to make something better than the constituent parts—or that’s the idea. Sometimes directors overstep their bounds, misjudge the material, and churn out pictures that don’t live up to their promise. And franchise directors can be the worst of all because they’re at the mercy of the studio, audience expectations, and every previous film.

Whether there was another name attached to the project first, someone waiting in the wings who never got their shot, or a connected talent who could have been put to good use, here are 10 franchise movies that needed a different director.

10 Alien 3

When it came to following up the immensely popular Aliens, 20th Century Fox settled for Vincent Ward directing, having failed to secure Ridley Scott. But Ward was fired from the production of Alien 3 at the eleventh hour because the producers couldn’t control him. Thus, they brought on up-and-comer David Fincher, who they wrongly assumed would be more pliable; Fincher fought studio-mandated changes throughout, which they pushed through anyway. The result is a film that satisfied no one and killed off Hicks and Newt from the second film, as producers were unable to get the actors to return.

Given James Cameron was single-handedly responsible for bringing Sigourney Weaver back for Aliens, he would likely have gotten the cast back together for 3. He made The Abyss and T2 in the interim, pushing CGI relentlessly forward. He would have brought this innovation to the third entry with something bombastic that made full use of the technology available. A serious and established presence in the director’s chair, Cameron would also have wrangled the studio and kept their interference to a minimum.^[1]

9 Ant-Man

While by no means a disaster, the first Ant-Man film could have been a whole lot better. Peyton Reed’s first turn in the MCU is a safe, middling film that fails to experiment or step outside the franchise’s limited aesthetic boundaries.

The Ant-Man films have since found their own style in Reed’s care, but they could have been something radically different from the outset when Edgar Wright was attached to direct. With a writing team comprising Wright and the UK’s Joe Cornish, the film’s original treatment, which they had been working on since 2003, would have had decidedly British comic intuitions that would set it apart from its U.S.-written contemporaries.

Wright is a self-professed nerd and initially brought his passion for the comics to the position. More than this, though, he brought his signature directorial style, replete with jump cuts, niche music, Easter eggs, and all the usual hallmarks of an Edgar Wright picture. Unfortunately, this is what caused the studio to drop him because, in his words, “I don’t think [Marvel] really wanted to make an Edgar Wright movie.”^[2]

8 Star Wars: The Rise of Skywalker

The Star Wars sequels have had a rough ride since the release of J.J. Abrams’s The Force Awakens, with both it and its sequel—Rian Johnson’s The Last Jedi—dividing audiences. Lucasfilm’s president Kathleen Kennedy was spooked by the failure of The Book of Henry by the third film’s prospective director Colin Trevorrow and brought back Abrams to set things right. Unfortunately, this resulted in trilogy-closer The Rise of Skywalker suffering from a split vision that aligned with Abrams’s first film but not the new direction Johnson was taking.

As such, the man originally tapped to write the film—Rian Johnson—should have been retained to direct it. For better or worse, Johnson had succeeded in changing the films’ direction with , making bold stylistic and character-based decisions, including killing the overarching villain, and he would have been able to lead Star Wars onto a new frontier. Though Abrams communicated with Johnson while making the film, it ultimately wasn’t enough. And the story elements didn’t line up, leaving fans in the lurch.^[3]

7 Thor: Love & Thunder

After Avengers: Endgame, there were big expectations for Thor, having gone through several crises and come out the other side with the Guardians of the Galaxy in tow. But all that promise was wasted on a frankly baffling fourth solo outing that ditches the Guardians and spends the subsequent 120 minutes plying audiences with goat memes, cancer jokes, and a profoundly stupid protagonist.

Having struck gold with Thor: Ragnarok, which showed a lighter side of the space Viking, director Taika Waititi was the obvious choice for Love & Thunder, and yet he managed to take everything he had done well the first time and spoil it with a mismatched tone, mishandled characters, and a disposable villain (Christian Bale’s Gorr). By all accounts, Waititi only directed Love & Thunder because his live-action Akira was put on hold, and it, therefore, should have fallen to co-writer Jennifer Robinson to take the reigns. Not only would it have seen Marvel nurture a rising talent, but Robinson has proven with 2022’s Do Revenge that she knows how to make magic where darkness and comedy intersect.^[4]

6 No Time to Die

James Bond’s swansong, No Time to Die, had all the ingredients for a perfect 007 romp—classics cars, beautiful women, and not one but two physically disfigured villains. Yet it went out with a whimper instead of a bang. Trying to subvert audience expectations by killing series antagonist Blofeld while also ultimately conforming to them in a cliched third act, Fukunaga misunderstood the appeal of the character and universe. But, given the director’s history of socially conscious dramas, it should come as no surprise that he was out of his depth.

Danny Boyle was originally attached to direct before he left in 2018 due to “creative differences.” But knowing this was Bond’s big finale, it would have made sense for producers to turn to someone who knew the character and material and had a rich history of delivering pitch-perfect Bond adventures: Martin Campbell. Campbell directed GoldenEye and Casino Royale, both of which are widely considered two of the best Bond films ever made. This would also have brought a satisfying sense of closure to the Craig series, beginning and ending with the same director. Campbell said last year that he would consider directing a new Bond, but it’s too late for Daniel Craig.^[5]

5 F9

When franchises have nowhere left to go, they go to space. And that’s precisely where the Fast & Furious gang went in the positively cartoonish F9, helmed by Justin Lin and produced by star Vin Diesel. Lin has led this charge into absurdity for years, escalating the series’ action from Tokyo Drift through Furious 6, prior to his return on F9. But just because he has a history with the films doesn’t mean he knows what’s right for their narrative trajectory.

Instead of Lin, Diesel and the studio should have gone back to basics—and who better than the co-writer of the grounded first film The Fast & the Furious? David Ayer is well-known for directing tight, lower-budget action thrillers that marry urban environments, gangs, and compelling characters, such as End of Watch. As with the first Fast film, in which Ayer introduced a gritty tone, drew on real-life experiences, and fleshed out characters one-on-one with the cast, he would have brought the action back down to earth and revitalized an ailing series.^[6]

4 Terminator Salvation

Terminator Salvation gave audiences the one thing they never expected from the time-traveling robot stalker series: a film without time travel and robot stalkers. Even with a stellar cast—Christian Bale, Sam Worthington, Anton Yelchin—director McG was unable to deliver the goods in the series’ fourth entry, presenting a film with a grey palette, hollow set-pieces, one-dimensional characters, and a dull script. The solution? Franchise creator James Cameron.

The lengthy production of the first Avatar would have prevented Cameron from making the film in 2009, but it would have been worth waiting a few years to continue the director’s vision from the first two films. Cameron still had an interest in the series around this time, recommending Sam Worthington to McG, but thanks to a tiff over the third film’s rights, he had been shut out of Terminator for years and wasn’t in line to direct. All may not be lost, however, as Cameron has recently mentioned talks of returning to reboot the series and scrub Salvation and its successors off the map.^[7]

3 Bad Boys for Life

Directors Adil & Bilall drew straight from the Michael Bay playbook for the late third entry in the Bad Boys franchise, with endless glamour shots of Miami, soft lighting, and cameras on 360-degree dolly tracks. Yet they demonstrate none of Bay’s directing chops, with slapdash editing and a lackluster script. The resulting film strays into the same dad-joke territory that sank the fourth Indiana Jones, going over the top on all fronts and failing to strike a balance between action, comedy, and character that its predecessors managed so well.

Bay himself—director of Bad Boys I and II—would have been the better choice. While he relies heavily on clichés and hackneyed filmmaking techniques, there is no denying that he made a huge impact in the 1990s and early-2000s action-blockbuster scene, not least in making Bad Boys the global franchise it is today. Given he even directs a scene in the film, it would have made a lot of sense to have him back on board. The reason they didn’t? It took too long for the studio to put the project together, and given the 17-year gap between films, Bay had spent enough time waiting.^[8]

2 Dark Phoenix

Bringing back the writer from the X-Men franchise’s worst film to make his directorial debut on the latest entry may not seem a wise decision, but that’s what Fox did in 2019. Simon Kinberg, writer of X-Men: The Last Stand, was drafted to write and direct Dark Phoenix, the fourth in the rebooted timeline that began with the exceptional First Class, and the film that sank the X-ship for good. Taking such a gamble on an unknown entity wasn’t a smart move, and Dark Phoenix failed on almost every front, with erratic pacing and weak character development.

It would have made sense to instead bring back First Class director and Days of Future Past co-writer Matthew Vaughn, an all-around comic book nut who revitalized the series and has spent the intervening years making it big with Kingsman. Vaughn would have brought a snappy pace and sense of continuity to the film, rooted in the comics. Moreover, Vaughn was originally on board to do a trilogy of character-focused X-Men films, and it was thanks to the studio ignoring him that he walked away in the first place.^[9]

1 The Hobbit

Of all the bloated productions, CGI nightmares, and studio cash grabs of the 21st century, few are more egregious than Peter Jackson’s Hobbit films. Jackson hadn’t been an active filmmaker for quite some time, having made only two films since his Rings trilogy, and had lost touch with what audiences wanted, needed, and expected. The Hobbit films are sparse in character and plot, relying heavily on often sub-par computer imaging to build their world and characters. Plus, there is at least one film too many.

But The Hobbit didn’t begin life as three achingly long full-length features; it was once envisioned as a single film split into two parts by the project’s first director and co-writer, Guillermo del Toro. He sought to remain true to J.R.R. Tolkien’s slender novel of under 100,000 words, undergoing a laborious writing process, immersing himself in Tolkien’s books and lore, and seeking to use models, miniatures, paintings, and animatronics to bring it to life. The Pan’s Labyrinth director’s knack for fantasy storytelling is evident in all his work, and his knowledge of how to balance action, universal themes, and visual magic is what The Hobbit so desperately required.^[10]