Category Archives: Evolution

LEXINGTON, Ky. (Oct. 5, 2021) University of Kentucky College of Medicine researchers were part of a new study that gives insight into how limb development evolved in vertebrates.

The findings, published in Current Biology Oct. 4, identify a gene that plays a central role in the evolution of limb development in vertebrates. By manipulating this gene in mice, researchers were able to activate an ancestral form of limb development seen in early tetrapods (four-legged vertebrates).

In the limbs of all tetrapods, the bones on the hands and feet on the outside edge form first, known as postaxial development. The study focuses on salamanders, which are the only exception to this rule: their limb bones develop preaxially, or from the inside edge; the thumb before pinky.

For more than 100 years, scientists have wondered if preaxial development evolved uniquely in salamanders, said study co-author Randal Voss, Ph.D., University Research Professor in the Department of Neuroscience and Director of the Ambystoma Genetic Stock Center. Now we understand that its ancestral to the postaxial mode seen in all other tetrapods. Salamanders are not unusual, they simply retained the ancestral mechanism of vertebrate limb development.

Voss, who studies salamanders unique ability to regenerate body parts including limbs, teamed up with principal investigator Susan Mackem, M.D., Ph.D., with the National Cancer Institutes Center for Cancer Research, whose research focuses on the signaling networks involved in limb development.

In both mice and axolotl salamanders, researchers manipulated the function of Gli3, a gene that is known to be important in regulating the pattern of limb development. Mice with excess GLi3 repressor activity reverted to preaxial limb development just like salamanders. Conversely, when Gli3 was knocked out in salamanders, they developed limbs postaxially, like the mice and all other tetrapods.

In evolutionary terms, what wed basically done in mice is bring back the ancestral form of limb development by gene manipulation, proving that Gli3 was key for the shift from preaxial development seen in early tetrapods, said Voss.

The results are significant to developmental and evolutionary biologists, including paleontologists that have recently identified fossils that support the idea that preaxial limb development is the ancestral mode of limb development in vertebrates. They also give insight on evolutionary questions about the transition from fins as vertebrates acquired limbs and moved onto land.

In the future, findings from this work will also help answer questions about limb regeneration, Voss says. Salamanders are one of the few four-legged animals that can fully regenerate a limb after losing it and scientists have proposed the capability is linked to their retained preaxial development.

Voss now plans to study limb regeneration in salamanders that his lab genetically manipulated for postaxial development.

Research reported in this publication was supported by the Center for Cancer Research and the Frederick National Laboratory of the National Cancer Institute of the National Institutes of Health, by the Office of Infrastructure Programs of the National Institutes of Health under Award Number P40OD019794, and by grants from OHSU Medical Q10 Research Foundation and Shriners Hospitals for Children. The content is solely the responsibility of the authors and does not necessarily represent the official views of the National Institutes of Health.

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UK Research Identifies Gene Linked to Evolution of Limb Development - UKNow

Next time if you indulge in an argument over increasing the temperature of your abode, you can cite evolution to back you up. A new study has revealed that female members of species are genetically attracted to warmer temperatures because of a naturally occurring evolutionary difference. Israel-based researchers conducted a study on 13 birds and 18 bats species to evaluate if the creatures illustrated geographical separation among the genders. The study performed by Tel Aviv University concluded that the male gender preferred reduced temperatures as compared to females. This resulted in the physical distance between them at specific times of the year. Previously, research on humans has suggested that the genders feel temperature differently, with females feeling the more cold owing to variations in metabolism and the generation of heat by the body.

The co-author of the study, Dr Eran Levin in the university's zoology school, stated that the difference between the males and females heat-sensing mechanisms has developed over the course of evolution. In the earlier research, Dr Levin discovered that throughout the breeding season, males and females tend to separate, with the males dwelling in cooler regions.

For instance, entire communities in caves on the hills of Mount Hermon, on the Lebanon-Syria border, are formed of only males during the mating season. The warmer area of the Sea of Galilee, on the other hand, is primarily occupied by females who raise their babies in the region.

This aroused the curiosity in Dr Levin to perform the study. In a lot of mammals including those who live in pairs or in mixed groups throughout their lives, males prefer to live in shades. The females, on the other hand, prefer sunlight. Often, males climb to the tops of mountains while the females stay in the valleys according to the researchers.

Their study included around 11,000 birds and bats using data collected over 40 years.

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Females of Species are Drawn to Warmer Temperatures Due to Evolution, Claims New Study - News18

STOCKHOLM, Oct. 6, 2021 /PRNewswire/ -- At the extraordinary general meeting in Evolution AB (publ) on 6 October 2021, it was resolved to change the number of members of the board of directors, elect a new member of the board of directors as well as amend the fees to be paid to the board of directors.

The extraordinary general meeting resolved that the board of directors shall consist of seven board members and no deputies. Sandra Ann Urie was elected as new member of the board of directors for the period until the close of the annual general meeting 2022.

The extraordinary general meeting resolved that the total fees to the board for the period until the next annual general meeting shall be EUR 180,000, of which EUR 30,000 shall be paid to the each of the board members that are not employed by the company.

Minutes and complete resolutions

The minutes from the extraordinary general meeting will be available on the company's website, http://www.evolution.com.

For further information, please contact:

Jacob Kaplan, CFO, [emailprotected].

This information was brought to you by Cision http://news.cision.com

https://news.cision.com/evolution/r/resolutions-at-the-extraordinary-general-meeting-in-evolution-ab--publ-,c3428037

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The hottest news to come with the latest peek into the upcoming open-worldPokmonRPG,Pokmon Legends: Arceus, involves a new species. This game, set for release on January 28th, 2022, will debut a new evolution for the classic Kanto Pokmon Scyther. Fans will know that Scyther normally evolves into Scizor with a Metal Coat, but the ancient Hisui region, which is the region that would later become Sinnoh, provided an environment for Scyther to take a different evolutionary form: Kleavor, a Bug/Rock-type. What fans of the Pokmon TCG and Niantic's mobile gamePokmon GO may be wondering is if and when Kleavor will make its appearance there.

I originally theorized on the release of Hisuian Growlithe, Hisuian Braviary, and Basculegion when those were announced earlier this year. What I said then, I still believe now for Kleavor:

Looking to the history of Niantic's releases in Pokmon GO shows a pattern of the Pokmon Company using this popular mobile game to tie-in with releases in their other branches. In honor of Let's GO! we saw Meltan released. In honor of the Crown Tundra DLC, we saw Galarian Ponyta and Sirfetch'd released. As promotion for the as-of-yet-unreleased movie Secrets of the Jungle featuring Shiny Celebi, we saw Shiny Celebi released. There is a distinct pattern here, which makes me personally believe that we will see at least one of these forms released as a promotional campaign when Legends: Arceus itself is released. That could mean that we'll see a small Hisui dex added to the Pokmon GO Pokdex in under a year from now. Kind of crazy!

The same is true for theTCG. In fact, Japan is releasing an Arceus-themed set in January calledStar Birth. This is forsure a tie-in toPokmon Legends: Arceus, and I think it's a good bet that we will begin seeing Hisuian species in there including Kleavor. We do not yet know when this set will be adapted to English, but it will likely be, in part, the basis for the set we get in the first quarter of the year. I'd wager we'd get Kleavor on one of the pack arts as well.

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When Will New Scyther Evolution Kleavor Come To Pokmon GO & TCG? - Bleeding Cool News

Hybrid workers embrace anytime working and say office culture has 'changed forever', but concerns over discrimination, career progression, and noise weigh on employees' minds

LONDON, Oct. 6, 2021 /PRNewswire/ -- Poly (NYSE: POLY), today released a new report outlining the evolution of the workplace and changing employee attitudes to the 9-5. The Poly Evolution of the Workplace report provides analysis on the findings of a survey of 7,261 hybrid workers from the UK, France, Germany, Spain, Sweden, Poland and the United Arab Emirates. It examines how attitudes and behaviours have evolved looking at everything from working patterns and culture, to frustration and noise, right down to what we wear.

Hybrid workers embrace anytime working and say office culture has changed forever, but concerns over discrimination, career progression, and noise weigh on employees minds.

"Almost two third of hybrid workers (64%) believe that office culture has changed forever," says Dave Shull, president and CEO of Poly. "The uptick in hybrid working is a signal that our professional life is set to transform further. Work equity and equality of employee experiences is now at the forefront of all discussions as both organisations and workers are embracing the new ways of working. This is the change that Poly is helping our customers navigate enabling them to create balanced and personal experiences for all employees, regardless of location."

"Our research found that workers (58%) felt that the rise in remote working has meant they are 'always on' and always available, leaving them unable to relax or switch off from work, " says Paul Clark, senior vice president of EMEA sales at Poly. "And while many are enjoying the benefits of hybrid working the work-life balance, lie ins, and family time others are feeling side-lined and disconnected. For example, 52% think hybrid or home workers could be discriminated against or treated differently to employees in the office full-time. Equally, people are feeling anxious about the return to the office, with 42% admitting they will be prone to 'noise rage' if colleagues are too loud. Sadly, the younger generation many of whom entered the workforce during all the upheaval are feeling the strain particularly strongly. Of the 62% who reported that they have not been to their new office, 72% say the idea of going in is keeping them up at night. For hybrid working to be a success, these issues must be tackled head on. Companies need to continue to put their employees at the centre of all that they do and provide them with the tools they need to accomplish their jobs in this new environment."

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Always On vs Anytime Working Why employers need to set clear boundaries to prevent employee burnout

The research suggests hybrid working is here to stay. 82% of respondents intend to spend at least one day a week working from home in the future, with 54% planning to split their time evenly between the office and home. One of the drivers for this shift is the emergence of 'anytime working' whereby employees have greater autonomy over when they do their work with over two third of employees (69%) saying the 9-5 has been replaced by anytime working. When asked about the benefits of working from home, the top three responses given were: avoiding lengthy commutes, achieving a better work-life balance and feeling less stressed. Similarly, when asked what they would miss about working from home, people highlighted lie ins, time with family and finishing on time.

However, while many workers have reaped the benefits, working from home has not been a smooth transition for everyone. Worryingly the lines between anytime working and being 'always on' are blurring: more than half of workers (58%) felt that the rise in remote working has meant they are 'always on' and always available, leaving them unable to relax or switch off from work. Added to this, being expected to work outside of their hours was listed as the second biggest drawback of working from home after having less fun with colleagues. The findings also show:

Difficulty collaborating, lack of IT support and lack of equipment to enable home working are listed within the top five drawbacks of working from home suggesting many employees have not been provided with the right tools to work effectively.

Nearly half (47%) said they worried about missing out on learning from peers and seniors when working from home.

A further 52% think hybrid or home workers could be discriminated against or treated differently to employees in the office full-time.

"Anytime working should not be confused with being always on," adds Clark. "The organisations that promote a healthy work environment and empower anytime working will see a much happier and more productive workforce. This is especially important as we are experiencing the 'Great Resignation' phenomenon, where people across industries are leaving their jobs due to the pandemic. Businesses cannot afford to lose talent so must offer the best working experience possible to all its employees, no matter where they are located."

The Future Role of the Office and the Rise of 'Noise Rage'

The research suggests that there are very mixed feelings about the return to office. While many have missed the camaraderie and connection of seeing colleagues and clients, others are feeing anxious and worry their performance will suffer. What is evident is that for many, the changes of the past year are here to stay with 64% of workers saying that office culture has 'changed forever'. As a result, while many intend to return to the office, the role of the office and office etiquette are likely to evolve.

The survey suggests noise will be a particular hot button for returning workers, with the potential to cause friction between workers:

56% expressed concern that noise levels in the office will make them less productive.

42% worrying they will be prone to "noise rage" if their colleagues are too loud.

60% think they'll get fed up if their noisy co-workers break their concentration.

40% fear that they will be more prone to outbursts in the office now that they're unable to mute themselves or turn their cameras off.

Comparatively some are looking forward to returning to the office because of the noise at home (34%).

Despite the concerns, workers are looking forward to having more person-to-person interactions. Office banter, going for lunch with clients/ colleagues and office camaraderie are listed as the top three things workers miss about the office. The findings also highlight how the role of the office will evolve. When asked how people would see themselves using the office in the future, results tended to be practical and task oriented. The 'top three reasons to go back into the office' were brainstorming / collaborating with colleagues, attending meetings and access to better equipment and technology.

Corporate image has also changed. Even industries such as financial services that have always expected employees to maintain a certain standard of dress are now becoming more relaxed. 61% of workers in finance think that hybrid working has brought about the death of the suit, and that wearing suits might go away for good eight points higher than the average of 53%.

"The role of the office and what people want to use it for is changing. It's evident that people have craved human interaction since working from home and are looking forward to getting back to the office," says Clark. "However, noise is a legitimate concern for many, particularly for those younger workers that are new to the workforce or a new environment. To address the rise of 'noise rage', organisations need to provide employees with the right technology, such as noise cancelling products, to reduce distractions, improve productivity and ensure equality of experience. Where possible, organisations should also look to create dedicated quiet spaces (booths, more rooms, spacing out desks) equipped with the right technologies."

The Impact on Young Workers and their Future Careers

The findings highlight the impact remote working has had on young workers and how their careers could be in jeopardy, with many worrying about the return to office. Two fifths of respondents have been unable to visit their new office either because the company had moved office, or they joined during the pandemic a figure that rose to 62% of 1824-year-olds. Of the young workers who have not yet visited their office, 72% said the thought of visiting the office for the first time, and the potential noise levels, kept them awake at night.

Younger employees also worried about the impact of working remotely on their abilities to form relationships and communicate with their peers, with many worrying that this could hold them back:

52% of workers aged 16-24 were concerned that working remotely would have a negative impact on their development and career progression, compared to the average of 43%.

53% of 1824-year-olds worry that remote working has made them less confident in their ability to communicate and work with colleagues effectively, compared to the average of 42%.

50% of young workers fear they have lost the art of small talk, compared to the average of 39%.

Poly recommends that businesses think carefully about how they manage any future transition to a more permanent form of hybrid working. Here's some top recommendations from Poly:

Understand your employees' personas to truly understand the personality types and working style preferences within your business so everyone can do their best work.

Equip the anywhere workforce with the right tools to conduct business from everywhere. Video has rapidly become the de facto way for teams to connect, however the quality and experience can vary widely.

Modernise centralised meeting spaces, while enabling the ability to connect and collaborate from anywhere.

"To unlock the benefits of hybrid working, organisations need to keep people, technology and spaces front of mind," comments Clark. "Firstly, businesses need to understand employees' personas and working styles. Secondly, they need to clearly define their future office what spaces will be needed? Should we create more areas for quiet working or collaboration? Doing so will allow organisations to better understand their technology requirements to help the workforce become happier, and more productive. Most importantly, this will ensure everyone has an equal experience, no matter where, when or how they work. This will allow everyone to reap the rewards and truly make hybrid 'work'."

About the research

The findings are based on an online omnibus survey of hybrid workers conducted by Censuswide in August 2021. This includes a total of 7,261 Hybrid workers in the UK (2,003), France (1,001), Germany (1,002), Poland (1,000) Sweden (1,005), Spain (1,000) and the UAE (250).

About Poly

Poly (NYSE: POLY) creates premium audio and video products so you can have your best meeting -- anywhere, anytime, every time. Our headsets, video and audio-conferencing products, desk phones, analytics software and services are beautifully designed and engineered to connect people with incredible clarity. They're pro-grade, easy to use and work seamlessly with all the best video and audio conferencing services. With Poly (Plantronics, Inc. formerly Plantronics and Polycom), you'll do more than just show up, you'll stand out. For more information visit http://www.Poly.com.

All trademarks are the property of their respective owners.

Poly Media Contact:Sonal Bisht +44 1753 723 726 sonal.bisht@poly.com

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Poly Evolution of the Workplace Report Highlights Need for Work Equity and Total Meeting Equality for Hybrid Workers - Yahoo Finance

Two currently debated problems in galaxy evolution, the fundamentally local or global nature of the main sequence of star formation and the evolution of the mass-size relation of star forming galaxies (SFGs), are shown to be intimately related to each other. As a preliminary step, a growth function g is defined, which quantifies the differential change in half-mass radius per unit increase in stellar mass (g = dlogR1/2/dlogM) due to star formation. A general derivation shows that g = K(sSFR)/sSFR, meaning that g is proportional to the relative difference in specific star formation rate between the outer and inner half of a galaxy, with K a dimensionless structural factor for which handy expressions are provided. As an application, it is shown that galaxies obeying a fundamentally local main sequence also obey, to a good approximation, g n, where is the slope of the normalized local main sequence (|$sSFR ,, propto ,, Sigma _star ^{-gamma }$|) and n the Sersic index. An exact expression is also provided. Quantitatively, a fundamentally local main sequence is consistent with SFGs growing along a stationary mass-size relation, but inconsistent with the continuation at z = 0 of evolutionary laws derived at higher z. This demonstrates that either the main sequence is not fundamentally local, or the mass-size relation of SFGs has converged to an equilibrium state some finite time in the past, or both.

The Author(s) 2021. Published by Oxford University Press on behalf of Royal Astronomical Society.

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Implications of a spatially resolved main sequence for the size evolution of star forming galaxies - Oxford Academic

From the American Theater Group

The American Theater Group (ATG), Somerset Countys newest professional theater company, will present a reimagined version of The Evolution of (Henry) Mann as its 2021-22 season opener. The new musical, by composer Douglas Cohen (Childrens Letters to God) and Dan Elish (13) is an engaging, light-hearted look at finding love in todays modern world. The show begins previews October 14th, opens on Oct. 16th and runs through Oct. 24th, at the Fellowship Cultural Arts Center in Basking Ridge, NJ.

We are thrilled to begin our next season in our beautiful new home by presenting this exciting new work from respected artists Douglas Cohen and Dan Elish, noted Jim Vagias, Producing Artistic Director of ATG. And just as the character of Henry Mann grows and evolves, this production marks a reimagined, more complex version of the show that has evolved significantly from its earlier versions. It will feature new music and some enhancements to the book.

Tickets are currently on sale at https://fellowshipculturalarts.org/event/american-theater-group-presents-the-evolution-of-henry-mann/ or http://www.americantheatergroup.org or by calling 908-580-3892. Fellowship Cultural Arts Center is located on the scenic campus of Fellowship Village at 8000 Fellowship Road in Basking Ridge, New Jersey. All patrons must provide proof of vaccination in order to enter the Mitchell and Ann Sieminski Theater, and masks must be worn. Tickets are priced from $35-55. Performances are Thursday, Fridays and Saturdays at 7:30pm and Sundays at 2:30pm.

Jason Aguirre, who specializes in new musical development and reinvestigating the traditional American book musical, will direct the production. He is a member of the Directors Group at Roundabout Theatre Company, a member of the BMI Lehman Engel Musical Theatre Librettist Workshop, and a founding member of Theatre Nows NationalMusical Writers Group. Aguirre has also studied with The Upright Citizens Brigade, The Groundlings, and the Broadway Dance Center Professional Semester. He has several musicals in development including Sick Moves! (or The Dancing Plague of 1518), Public Dominance, and Disco Destruction. He is a member of the Dramatists Guild, an Associate Member of the Stage Directors and Choreographer Association, and currently serves as the Associate Artistic Director of Theatre Now New York.

Dan, Doug and I have collaborated to investigate and deconstruct what it really means to be in love, noted Aguirre, We look forward to bringing this revised version of the show to ATG audiences.

Composer Douglas J. Cohen is a 2021 Drama League nominee for Prospect Theater Companys Dont Stay Safe (co-written with Cheryl L. Davis. He received the Fred Ebb Award and two Richard Rodgers Awards for No Way To Treat A Lady (produced twice off-Broadway, Outer Critics Circle nomination for Best Revival) and The Gig (Manhattan Theatre Club Stage 2, Goodspeed, American Stage Company, The York Theater concert recording). Other musicals include The Big Time (book by Douglas Carter Beane, all-star 2020 McCarter Theater concert), Childrens Letters to God, (Drama Desk nominee, Outstanding Lyrics), The Opposite of Sex (Williamstown Theatre Festival), Bridges (Berkeley Playhouse, three Bay Area Theater Critics Circle nominations), and Barnstormer (Jonathan Larson Grant, Bare Bones production @ Lark Theater). Cohen is a member of The Dramatists Guild and ASCA.

Based on his novel Nine Wives, the Evolution of (Henry) Mann features a book by Dan Elish, who also wrote the book to the popular musical 13, which played at the Mark Taper Forum and won the 2007 Los Angeles Drama Critics Circle Award for Best Production; he was also nominated for best writing. 13 went on to Broadway and theaters all over the world; Netflix will soon release the film version. Elish is also the author of 11 novels, including The Royal Order of Fighting Dragons, and Born Too Short, which won a 2004 International Reading Association Students Choice Award for young adult literature. He has written numerous scripts for TV (notably Cyberchase and The Wonder Pets) and has penned music and lyrics to many childrens musicals and works of non-fiction for younger readers.

Ryan Gregory Thurman (AEA) has been cast as Henry, a 30-something single New Yorker eager to settle downor so he thinks. After receiving an invitation to his ex-fiances wedding, he embarks on a quest to find his perfect date. Thurmans credits include Elf: The Musical (National Tour), and regional productions of The Little Mermaid (Sebastian/The Argyle Theatre), Oklahoma! (Pittsburgh CLO), Peter And The Starcatcher (Ted/Dobama Theatre), and Sweeney Todd (Toby/Mac-Haydn Theatre). http://www.ryangregorythurman.com. @huggybruh

Ryan Gregory Thurman

Shani Hadjian (AEA) has been cast as Gwen, Henrys best friend and roommate. Her credits include National Tours of Andrew Lloyd Webbers The Wizard of Oz (Wicked Witch) and Beauty and the Beast (Madame de la Grande Bouche). Her regional credits include Fun Home (Alison/Public Theatre of San Antonio), Spamalot (Lady of the Lake/Muhlenburg Summer Music Theatre), Caroline, or Change (Rose Stopnick/StillPointe Theatre Initiative) and Les Miserables (Fantine/Bexley Theatre). http://www.shani.hadjian.com @shani_hadjian

Bebe Browning (AEA) will play Sheila, Henrys ex-fiance, as well as other supporting roles. Her regional credits include: First Date (Mason Street Warehouse), A Chorus Line (Sheila/Summer Repertory Theatre), Miss Saigon (Kim/Paliku Theatre), as well as several shows at the Diamond Head Theatre, including Little Women (Jo), Singin in the Rain (Zelda) and Legally Blond (Vivienne). http://www.bebebrowning.com @bebebrowning

Bebe Browning

ATG will continue its season with The Right to be Forgotten, by Sharyn Rothstein (By the Water, USA Networks Suits), a powerful look at todays social media landscape, from March 17-27th. Rounding out the season will be All Over the Map, an autobiographical one-man show performed by Bill Bowers, about his 30 years on the road performing in 25 countries, on Broadway, in the White House.and in the finest grade school cafeterias. It will run June 2- 12th.

American Theater Group (ATG), founded in 2012, produces new and classic works primarily by American playwrights with an emphasis on the development of new works and the rediscovery of undeservedly neglected older ones. It also provides quality arts-in-education programming. ATG programming is made possible in part by funds from the Somerset County Cultural & Heritage Commission, a partner of the New Jersey State Council on the Arts. More information can be found at http://www.americantheatergroup.org.

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Instagram: americantheatergroup Twitter: @group_theater

About Fellowship Cultural Arts Center:The Fellowship Cultural Arts Centers 257 seat multipurpose Mitchell and Ann Sieminski Theater benefits from the design work of top theater, lighting and sound professionals who created the state-of-the-art space. Open to the public, programming features theater, opera, symphony, jazz and ballet with performances by the New Jersey Festival Orchestra, New Jersey Ballet, Light Opera of New Jersey,American Theater Group, Centenary Stage Company, and with Trilogy Repertory. Visitwww.Fellowshipculturalartscenter.orgor call908-580-3892 for upcoming performances.

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American Theater Group Launches New Season with 'The Evolution of (Henry) Mann' at the Fellowship Cultural Arts Center - The Village Green

The mine represents about 1.5% of Evolutions gold resources and 1.7% of its reserves and was expected to produce between 45,000 and 50,000 oz. gold in the current financial year at all-in-sustaining costs of A$1,650 to A$1,700 ($1,196.79 to $1,233.06) per ounce.

The mine produced 59,000 oz. in the 2020 fiscal year.

Evolution says the divestiture, which includes its Crush Creek joint-venture exploration project about 30 km southeast of Mt. Carlton, will lower the companys consolidated AISCs by A$40 ($29.01) per oz. to A$1,180 to A$1,240 ($855.9 to $899.4) per oz., and will cut its fiscal 2022 production to 670,000 to 725,000 oz. per year.

The sale is in line with Evolutions growth strategy, says the companys executive chairman, Jake Klein.

With the company focused on delivery of growth projects at the cornerstone assets in the portfolio, we believe now is the time to hand Mt. Carlton over to an emerging gold producer who can focus on extending the operations mine life, Klein stated in a news release. The exposure we have retained will enable Evolution shareholders to benefit from the future success of the operation.

Of the A$90 million, A$40 million ($29 million) is made up of a mixture of equity and cash. Evolution will participate in Navarres equity raise up to a maximum shareholding of 19.9% (for about A$20 million), with the final holding determined after the equity raise.

Up to A$25 million ($18 million) is contingent on cumulative gold production milestones from Crush Creek, with A$5 million ($3.6 million) payable upon achievement of 50,000 oz.; another A$5 million upon achievement of 100,000 oz.; and A$15 million upon achievement of 175,000 ounces.

In addition, up to A$25 million is payable in the form of a 5% royalty linked to the gold price, where the average spot price is higher than A$2,250 ($1,632) per oz. in any given quarter. The royalty is payable on production from both Mt. Carlton and Crush Creek from July 1 2023 for a period of up to 15 years.

The transaction is expected to close in the December 2021 quarter.

Evolution also provided consolidated guidance for the fiscal years 2023 and 2024.

It plans to produce 775,000 to 830,000 oz. gold in fiscal 2023 at AISCs of A$1,085 to A$1,145 ($787 to $830.50) per oz. and 855,000 to 915,000 oz. gold in fiscal 2024 at AISCs of A$1,130 to A$1,190 ($820 to $863) per ounce.

Commenting on the divestiture, Brian Quast of BMO Capital Markets says the move is consistent with Evolutions strategy.

Overall, we view the transaction as a positive continuation of EVNs efforts to reposition the portfolio and its financing to invest in the next chapter of the companys disciplined organic and M&A investments, the analyst wrote in a research note to clients. The modest size of Mt Carlton and the consideration being roughly equal to our prior asset NAV [net asset value] estimate making the transaction value neutral.

(This article first appeared inThe Northern Miner)

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Evolution Mining divests Mt Carlton for up to $65 million - MINING.COM - MINING.com

This story originally published in print in February 2020.

Bond. James Bond. He was born in Jamaica, in a house named Goldeneye on a cliff overlooking a bucolic private beach. That three-bedroom bungalow is where Ian Fleming wrote Dr. No in 1958, and another 11 novels that would turn 007 into a magic number. And the beach is where the first actor to play Bond spied the first Bond girl, as Sean Connery poked his head through the bushes and watched Ursula Andress emerge from the sea in a white bikini, a knife slung from her waist, singing the calypso strains of Under the Mango Tree. It was a simpler, dumber time. Louche playboys were cool. Ogling was just a heightened form of espionage. And in a barely post-colonial world, where privilege was still synonymous with pleasure, Bond offered a risqu escape from the Cold War. One of his biggest fans was President John F. Kennedy, who watched From Russia With Love at a private screening in the White House, weeks before his assassination.

Now Goldeneye has expanded to become a luxury resort. The name of 007s creator has migrated to the Ian Fleming International Airport 10 minutes down the road. And Bond movies are bigger than ever. After 57 years, they constitute one of the longest-running film franchises in history, with a lifetime haul of more than US$8 billion at the box office, the third largest after the Marvel Cinematic Universe and Star Wars empiresthough the comparison hardly seems fair, considering they enlist entire teams of sci-fi superheroes armed to the gills with sci-fi powers and special effects, while James is still a one-man band who drives to work behind the wheel of an Aston Martin. Hell gun a motorcycle up a staircase, or sled an airplane down a ski hill, but hes all about keeping it physical.

This spring heralds a significant milestone for 007. In the first week of April, Universal and MGM will release No Time to Die, the 25th movie in the official canon of Bond movies generated by Britains Eon Productions (which doesnt include 1967s Casino Royale spoof starring David Niven as Sir James Bond and Connerys 1983 outlier, Never Say Never Again). Despite the title of the new film, after threatening to walk away more than once, Daniel Craig has sworn that No Time to Die will be his final Bond performance. Its the most expensive film in the history of the franchise, with an estimated budget of US$250 million. It may also be the most concerted effort yet to drag cinemas most iconic alpha male kicking and screaming into a world of gender fluidity, obscene wealth, viral racism and catastrophic climate change. It would be enough to drive Ian Flemings Bond to drink.

READ:The James Bond film franchise is actually a family business. Meet the Broccolis.

No Time to Dies generic title has a retro echo, riffing on a declension that includes You Only Live Twice (1967), Live and Let Die (1973), Tomorrow Never Dies (1997) and Die Another Day (2002). But the movie appears to be straining for relevance so hard that its not clear if the No Time to Die refers to its hero or the planet. Its villain, played by a disfigured Rami Malek, is plotting to kill off the worlds oceans with a form of lethal algae (as if theyre not dying fast enough as it is). Craig, meanwhile, is driving a sleek, eco-conscious hunk of luxuryAston Martins all-electric V12 Rapide E, one of a limited edition of 155 four-door coupes priced at over $400,000 apiece. But the headlights flip into Gatling guns. No matter what tech Q throws at him, James remains the ultimate Analog Man.

The British press, meanwhile, have reported that the films producers eliminated plastic water bottles on set and banned the phrase Bond girl. And it seems every woman who crosses his path in No Time to Die is fiercely independent. La Seydouxs sultry Dr. Madeleine Swannwho rode off into romantic bliss with Bond at the end of Spectre (2015)is back, and the trailer shows him seething with rage over her betrayal. While the story is not based on any of the novels, it rewires the DNA of the Bond Universe to bring back Christoph Waltz as the cackling incarnation of Blofeld, Bonds deceased arch-enemy. The script has 007 pulled out of a quiet retirement in Jamaica and forced to team up with a formidable Black female agent (Lashana Lynch), who is clearly nobodys Bond girl. I didnt want someone who was slick, Lynch told The Hollywood Reporter. I wanted someone who was rough around the edges and who has a past and a history and has issues with her weight and maybe questions whats going on with her boyfriend. With Naomie Harris returning for her third film as Moneypenny, that puts two Black British actresses from Jamaican families in lead roles. In a shoot that ranged from the U.K.s Pinewood Studios to locations in London, Italy and Norway, 007 returns to Jamaica for the first time since 1973s Live and Let Die, in which it played a fictional country.

The production is rife with firsts. An anomaly in a realm of digital blockbusters, it was shot on film and is the first Bond movie to use large-format 65mm Panavision and IMAX cameras. Its the first to cast a Cuban woman in a lead role, with Craig recruiting Ana de Armas, his co-star in Knives Out. Its also the first directed by an American or someone of Asian heritagefilmmaker Cary Joji Fukunaga (Beasts of No Nation) is both. And Fleabag sensation Phoebe Waller-Bridge, brought on by Craig to tweak the script, is the first female screenwriter on a Bond film since 1963 (Johanna Harwood had credits on Dr. No and From Russia With Love). Craig, however, was furious when a Sunday Times reporter asked if Waller-Bridge was hired to make Bond more representative of the times. Look, were having a conversation about Phoebes gender here, which is fking ridiculous, he said. Shes a great writer. And Waller-Bridge swiftly dismissed those who question Bonds relevance because of how he treats women. Thats bollocks, she said. Hes absolutely relevant now. The important thing is that the film treats the women properly. He doesnt have to. He needs to be true to this character.

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Whats more significant about No Time to Die than all its firsts is that Craigs fifth Bond movie will be his last. Hes the third-longest-serving 007 after Roger Moore and Connery, who both made seven films. And he has done more than anyone to transform the franchise, while refusing to get swallowed up by it. Connery fell into the role with an aplomb that made him an instant star, and then never escaped it. But he set the template for all his successors. Moore refashioned the character as a suave lounge act that devolved into camp and farce. Pierce Brosnan soldiered through his tour of duty, enduring the most pedestrian phase of the franchise. It was like watching a competent cover band do Bond. But Craig attacked the property like a punk on a mission, as if torn between redeeming and incinerating his mandate. Aside from the visceral force that he brought to the character, he applied a laser intelligence to the franchise both on camera and behind it, raising its pedigree with serious talents like Sam Mendes (Skyfall).

From the beginning, Craig didnt inhabit the role so much as infiltrate it. Burrowing into Flemings novels, he set out to restore the characters core of inner turmoil and professional cruelty. And hes been chafing against the tropes and gimmickry of the formula ever since he ordered a vodka martini in Casino Royale and, asked if it should be shaken or stirred, snapped, Do I look like I give a damn? But no matter how hard he tries to exert control over the franchise, Craigs frustration with it only seems to intensify. Hes still an aging mortal overwhelmed by a machine of movie-making that outlasts anyone who steps behind the wheel. In that sense, he operates like a double agent, toggling between hero and anti-hero in a dystopian franchise that he tries to subvert at every turn. His resentment and impatience are palpable, in and out of character. Even his charm is weaponized with cold-blooded intention. Whether or not Craig is the best Bond of all time, hes certainly the most ruthless, and the most vulnerable. Hes the spy who is forever coming in from the cold.

On the press tour for Spectre, when a journalist from Time Out asked if he would make another Bond film, Craig replied: Id rather break this glass and slash my wrists...All I want to do is move on...If I did another Bond movie, it would only be for the money. Craigs efforts to make Bond real have taken their toll. He lost two front teeth in a fight scene on the set of Casino Royale, had surgery to repair a shoulder separation incurred in Quantum of Solace, and underwent knee surgery after tearing his meniscus during a brawl in Spectre. But you still get the sense that hes a character actor trapped in the body of an action hero. And when hes not being Bond, he delights in stunts of a different kind, shape-shifting his persona from Joe Bang, the nut-job safe-cracker in Logan Lucky, to Benoit Blanc, the debonair detective in Knives Out, whose southern accent is so arch that you wonder if its the character, not the actor, whos faking it.

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But being a Bond, like being a Beatle, doesnt wear off. No matter what twists Daniel Craigs career takes, its what he will be remembered for. Its the reason that, like Connery and Moore, hell likely get a knighthood for his service as a cultural agent for Queen and country. And whoever inherits the roleIdris Elba, Tom Hardy, Richard Madden and Benedict Cumberbatch are among the plausible candidateswill be judged by an impossible standard. When Craig was cast, there was outrage that he was blond. The next 007 might be Black or Asian...but perhaps not female, an idea with advocates that range from Idris Elba to Pierce Brosnanbut which irritates Craigs wife, Rachel Weisz, who told the Telegraph, Women should get their own stories. Weisz said that Fleming worked hard to create a character that is particularly male and relates in a particular way to women. In other words, a female Bond wouldnt be Bond.For the royal family of movie franchises, male progeniture is part of 007s DNAand a legacy that is firmly rooted in a seismic moment of pop culture almost six decades ago.

It was the year the Rolling Stones played their first gig and Marilyn Monroe took her last breath. The year Nelson Mandela began a 27-year stint behind bars and John F. Kennedy vowed to put a man on the moon. The Cuban Missile Crisis was about to push the world to the brink of nuclear Armageddon. And on Oct. 5, 1962, Bond made his screen debut in Dr. No, the same day the Beatles released their first single, Love Me Do.

The two milestones are not unrelated. Both Bond and the bands that would spearhead the British Invasion emerged at the dawn of the swinging sixties, and put a spin on pop culture that is still reverberating. Both took the male fashions of the daycool irony, deadpan wit and brazen promiscuityin opposite directions. With his licence to kill, and seduce, the clean-cut 007 was a paragon of retro style from the start, a macho smoothie forged in the 50s by author Ian Fleming and left in the dust of the sexual revolution. While the Beatles, the Stones and David Bowie would melt down the masculine mystique in a river of drugs and androgyny, James Bond would remain crisp, suave and insensitive, a playboy predator fuelled by vodka martinis and room-service champagne.

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My dear girl, Sean Connerys 007 told Bond girl Shirley Eaton in Goldfinger, there are some things that just arent done, such as drinking Dom Prignon 53 above 38 degrees Fahrenheit. Thats just as bad as listening to the Beatles without earmuffs. As a pop reference, it must have seemed terribly au courant at the time, but was rendered instantly square: Goldfinger came out in 1964, seven months after the Beatles electrified a generation on the Ed Sullivan Show.

Bond fashions have come and gone over the years as six actors have tried on the role. From Connery to Craig, the arc of the character has swung from droll menace to camp swagger and back again. His pose has softened and hardened with the times, along with the women. The first generation of Bond girls were Barbie playmates, pure sex objects. As feminism nipped at Bonds heels, the women mutated into dominatrix ninjas, while Bond, always the central sex object, morphed from Connerys furry man of leisure to Craigs hard-bodied, hard-working, brutally efficient thug. But the beauty of Bond is that hes a classical icon: obdurate, invincible and immune to any style but his own. Each casting syncs the character to the culture, yet the basic formula for the films has retained an uncanny consistency.

For a generation raised on comic books and black-and-white TV, discovering Bond was like discovering sex. Until then, we had doted on men in capes, tights, masks, leather chaps and coonskin capsa carnival of superhero drag that included Superman, Batman, Roy Rogers, Davy Crockett, Zorro and the Lone Ranger. Then along came this guy in a suit. His idea of camouflage was to throw on a tuxedo. A secret agent without a secret identity, he was our first grown-up icon of male fantasy. Since then, comic-book superheroes have conquered Hollywood, but Bond, classic and straight-up, remains cinemas most durable action hero, sex symbol and brand.

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Dr. No didnt just launch films longest-running franchise. Even more remarkable, it has remained a family business for almost six decades, controlled by Londons Eon Productions, which was founded in 1961 by American producer Albert Cubby Broccoli and his Canadian partner, Harry Saltzman. Now that the founders are both deceased, the movies are produced by Cubbys daughter, Barbara Broccoli, and his stepson, Michael G. Wilson.

In half a century, budgets have skyrocketed, digital effects have upstaged stunts, and Commander James Bond has outgrown the Cold War to battle new breeds of international terror. But the formula remains unchanged from the one laid down in Dr. No right from the opening frames: the prematurely digital 007 logo, the gun-barrel view of Bond firing through the fourth wall, the descending curtain of blood, and the pop-art credits playing over dancing female silhouettesclothed for the first and only time.

Under the hood, nearly all the familiar elements were in place: the casino table, the coastal car chase, and all that lounging around in swimsuits and bathrobes, flashing equal opportunity expanses of skin. When Ursula Andress stepped out of the sea at Goldeneye, she set the bar for all the Bond girls to come, while Miss Moneypennyportrayed by Canadian actress Lois Maxwell in 14 moviesheld down the MI6 fort as 007s frustrated office wife. Dr. No also established the arc for the basic Bond mission: travel to an exotic clime, invade the sliding-door fortress of a sadist bent on world domination, become both his tortured prisoner and pampered guest, engage the soft-spoken lunatic in sophisticated repartee, and escape with the girl after foiling the villains doomsday scheme at the last possible moment.

Many consider 1963s From Russia With Love the best Bond movie of all (Everett Collection)

Sean Connery, who set the style for 007, is still widely regarded as the definitive Bond. But he wasnt the first choice. That would be Broccolis friend Cary Grant, who was passed over because he wouldnt sign on for more than one film. Other debonair rejects included James Mason, David Niven and Rex Harrison. I wanted a ballsy guy, said Broccoli. Put a bit of veneer over that tough Scottish hide and youve got Flemings Bond instead of all the mincing poofs we had applying for the job. Connery had been a milkman, labourer, artists model, coffin polisher and bodybuilderplacing third in a Mr. Universe contest. Before being cast as 007 at 32, he had been honing his acting chops for a decade in stage, screen and TV work, including the title role in a 1961 CBC production of Macbeth directed by Paul Almond. And like Commander Bond, hed even spent some time in the Royal Navy, with tattoos to prove it.

It was Terence Young, Dr. Nos Cambridge-educated director, who groomed the six-foot-two working-class Scot, teaching him how to dress, how to walk and how to open a bottle of champagne. All the little touches, thats the way Terence was, recalled Eunice Gayson, who played Sylvia Trench, the first Bond girl to appear on screen. He had style, he had lan. In those days Sean was very raw. Terence took him to his tailor and to his hairdresser and really gave Sean the confidence to be James Bond. The hairdresser, however, would be working with a toupe: already balding, Connery wore a rug from the start.

With the first shot of Connery introducing himself at a gambling table in Dr. No with a cigaretteBond, he said, snapping his lighter shut to mark the pause, James Bondno one has owned those words with such dry authority. Young recalled that Connery first spoke the line all at once and it wasnt funny. With the pause, suddenly it was a laugh. From the start, the movies injected a sense of humour that Flemings hard-boiled prose did not allow. Young, who went on to direct From Russia With Love and Thunderball, felt it was essential to lighten the mood because the films were so risqu for the times. Flying into Jamaica to shoot Dr. No, he remembers telling Connery, For Chrissakes we have to make this picture a little bit amusing, if for no other reason that its the only way were going to get away with murder. A lot of things in this picturethe sex, the violence and so onif theyre played straight, were never going to get past the censors.

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Dr. No was filmed on a budget of $1 million, meagre for a movie that had to convey an air of opulence. Like every Bond movie that came after, it combined interiors filmed at Britains Pinewood Studios with stunning locationsincluding Jamaicas north coast, not far from Goldeneye, the beach house where Fleming wrote all the Bond novels. Jamaica had just won independence from Britain, and the film is infused with the pre-reggae rhythms of a culture about to make its own indelible mark on pop culture. Dr. No became an early source of national pride, ironic considering its hero was an anachronism from a colonial past that Jamaica was shaking off. The movies location manager, meanwhile, was none other than founder of Island Records Chris Blackwell, who would produce Bob Marley. Blackwell, who bought Goldeneye from Marley after Flemings death, was to the Bond manor born. His mother, Blanche, was Flemings mistress and muse, and shes been credited with inspiring both Dr. Nos Honeychile Rider and Goldfingers Pussy Galore.

For the second movie, 1963s From Russia With Love, the budget was doubled, with locations that included Istanbul, Venice and Scotland. Many consider it the best Bond movie of all, an opinion shared by Connery and Craig. It had a sense of gritty realism we wouldnt glimpse again until Craig smacked the franchise back down to earth in 2006 with Casino Royale. Bonds brutal fight scene with blond Euro-thug Red Grant in a cramped train compartment on the Orient Express remains a masterpiece of hand-to-hand combat. It took three weeks to film and was performed mostly without stunt doubles. (Fights on trains would become a staple of the franchise, with Roger Moore battling a goon with a mechanical claw in Live and Let Die and one with steel teeth in The Spy Who Loved Me.) The movies climactic helicopter chase was as dangerous as it looked. An inexperienced pilot flew perilously close to Connery, almost taking his head off, and another chopper, carrying director Terence Young, crashed over water. Young finished the days shoot with his arm in a sling.

As the Cold War heated up, both Dr. No and From Russia With Love neutered the political resonance of Flemings fiction by changing the enemy from SMERSH, the Soviet spy agency in the books, to SPECTRE, the private criminal empire run by Ernst Stavro Blofeld, which Fleming didnt create until Thunderball, the eighth novel. In Bonds universe, reality is not permitted to disrupt fantasy. The only political frontier of strategic importance is the edge of the towel covering Bonds butt on the massage table. Even in From Russia With Love, the authentic detail of its locations was undercut by casting. Bonds Turkish cohort was played by Pedro Armendriz, a Mexican veteran of John Ford westerns, who could not mask his accent. Neither could John Kitzmiller, the African-American actor who portrayed Bonds Caribbean sidekick in Dr. No.

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From Russia With Love introduced some classic Bond tropes. Welsh actor Desmond Llewelyn made his debut as Q, the MI6 weapons expert who would outfit 007 with gadgets in 17 films. Bond may have been frozen in the 1950s as a male model of conspicuous consumption, but no man is complete without state-of-the-art toys. Q began modestly, giving James a trick attach case armed with a canister of tear gas. SPECTRE had its own, more sinister devices, such as Red Grants wristwatch garrote and Rosa Klebbs poisoned toe spikes. For luxury spy gear, however, the pice de rsistance was Bonds Bentley convertible equipped with...a large car phone. Whats wonderful about space-age gadgets is how quickly they become absurd artifacts of vintage futurism. As the spy-toy arms race escalated, by 1965 Thunderball had Bond soaring over London with a jetpack strapped to his back. (By 1973s Live and Let Die, Q was dropped entirely because Broccoli felt the gadgets were getting out of control, but he was brought back by popular demand.)

Beginning every film with a pre-title action sequence was another tradition introduced by From Russia With Love. Over the years, as the action preludes got more extravagant and the titles became more slinky and seductive, whenever a Bond film failed to live up to the hype, it was often said its best moments were over by the end of the opening credits.

With Goldfinger (1964), those credits were accompanied for the first time by a title song, the legendary anthem belted out by Shirley Bassey. She recorded it while watching the credits roll, and as they kept running she held the final note until she almost passed out. The song was a massive hit and so was the picture, which became the fastest-grossing movie of all time until then. Goldfinger introduced Bonds finest car, the Silver Birch Aston Martin DB5. With the car, the song and the gold-plated poster girl, 007 attained an apotheosis of pop-culture cool that he would never reach again. Fleming, who died shortly before the films release, would never see it.

Moore debuted as Bond in Live and Let Die, with Yaphet Kotto as Dr. Kananga (Everett Collection)

Goldfinger introduced director Guy Hamilton, who brought a more comic touch to the franchise, and went on to shoot three more Bond films: Diamonds Are Forever (1971), Live and Let Die (1973) and The Man With the Golden Gun (1974). Its also the only film from the Connery era that does not feature SPECTRE. And unlike most Bond movies, this is one movie that doesnt incorporate a glamorous travelogue, aside from a sojourn in Switzerland. Much of it takes place in the United States, where Auric Goldfinger (Gert Frbe) plots to infiltrate Fort Knox, but the U.S. scenes were shot in Britain. In Flemings novel, Goldfinger plots to steal the gold, but in the movie he tries to contaminate it with a dirty bomb, to goose the gold standardforeshadowing the monetary terrorism of 2006s Casino Royale.

Bond villains are often upstaged by henchmen, and that was the case with Goldfingers mute thug, Oddjobplayed by Olympic wrestler and weightlifter Harold Sakatawho used his bowler hat as a lethal Frisbee. The filmmakers tried to cast Orson Welles as Goldfinger, but wouldnt meet his price. Lowering their sights, they ended up with Frbe, who spoke little English, delivered his lines in German and was dubbed by another actor. Having been a pre-war member of the Nazi party, Frbe became nervous about a scene where his character unleashed nerve gas. In fact, Goldfinger was banned in Israel, then released after it was revealed that Frbe had risked his life to hide Jews from the Gestapo.

In the Bond business, theres no greater buzzkill than the real world, which is why SPECTRE was the perfect enemy. Before al-Qaeda, no one took the real-life spectre of a global terrorist conspiracy seriously. Although the plots of Bond films are routinely wired with doomsday scenarios of nuclear missiles being sunk, stolen, deflected and misdirected, that was just the sideshow. Viewers embraced Bond movies as vicarious tourism, a chance to join James in a cinematic Club Med. And, alpine ski jaunts notwithstanding, his destination of choice has always been the sea, from the Cte dAzur to the Caribbean. Fleming, after all, wrote the novels beside a Jamaican beach.

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Thunderball (1965) is the most aquatic of the movies. Shot in and around the turquoise waters of the Bahamas, with enough underwater scenes to turn the screen into a glass-bottomed boat, it sold more tickets than any other movie in the series. By then, it was clear Bond was selling a lifestyle and pioneering a kind of product placement that is now ubiquitous. Stocked with luxury brands, from Rolex to Revlon, Aston Martin to Calvin Klein, the Bond film became Hollywoods answer to the glossy fashion magazine. The man who wore the watch, drove the car and filled the well-tailored suit was as much a model as an actor. And for Connery, the role had begun to wear thin. Even before shooting Thunderball, he admitted: My only grumble about the Bond films is that they dont tax one as an actor. All one needs is the constitution of a rugby player to get through 18 weeks of swimming, slugging and necking...Id like to see someone else tackle Bond. He swore the next movie would be his last, but shot three more.

You Only Live Twice (1967) was the first Bond film to almost completely discard the Fleming novel. Ironically, the screenplay was written by the authors close friend, celebrated childrens author Roald Dahl, a novice screenwriter who called it Ian Flemings worst book. By the time the producers were shooting the movie, set largely in Japan, they were already seeking a replacement for their disenchanted star.

George Lazenby, Connerys successor, signed on for seven movies but quit the role after just one, On Her Majestys Secret Service (1969). Adapted from Flemings 10th novel, its a curious anomaly in the catalogue. Tricked out in a ridiculous wardrobe of ruffled shirts, a beige leisure suit, a cravat and a kilt, Lazenby came across as a bored action mannequin going through the motions. This is the movie where Bond gets married, with tragic consequences, to a contessa played with sly complexity by Diana Rigg, the only Bond girl ever to possess more authority and depth than Bond. While Rigg acted circles around Lazenby, a miscast Telly Savalas blundered through a gloating parody of Blofeld. Bond is upstaged at every turnby a Fellini-esque cult of mind-controlled beauties in an Alpine chalet; a ski chase thats buried in an avalanche; and an ailing Louis Armstrong crooning We Have All the Time in the World. And Lazenby served as proof that, without an actor to brand the role with his own personality, Bond is an empty shell. Timothy Dalton, the other temp Bond, was a far better actor, and darkened 007 with some gravitas. But Dalton never seemed to own the character, or convey the required relish for decadent pleasure. Liking the job is part of the mission.

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Connery was talked into making one last picture for the Eon franchise, Diamonds Are Forever (1971). I was really bribed back into it, said the actor, who was paid a record salary of US$1.25 million (nearly US$8 million in 2020 dollars), plus 12.5 per cent of the gross. Like Elvis, Connerys swan song ended in a Vegas setting, driving a silly lunar rover in a slapstick chase scene through the desert. Quite the comedown from the Aston Martin.

Moonraker brought Moores Bondto space (Everett Collection)

After Connery turned down US$5 million to make Live and Let Die (1973), he gave his blessing to Roger Moore, who could not have been more different. Famous from TVs The Saint, the 45-year-old Moore was soft-edged and elegant, with an air of rom-com affectation. Lacking the working-class grit of Connery or Craig, his Bond was more prone to snobbery than to cruelty. Moore made his Live and Let Die entrance as a flustered womanizer in a bedroom farce. After M surprised him at home with an early morning visit, he showed off his first gadgeta high-tech cappuccino machine. Serving coffee, and chasing after his boss with a sugar bowl, Bond is reduced to a servile secret service man. The next gadget is a magnetic Rolex that can divert a bullet, which he used to unzip the dress of a girl he has stashed in the closet.

Based on Flemings second novel, Live and Let Die cooks up a white gumbo of colonial blaxploitation, Mardi Gras and voodoo. Paul McCartneys title song plays as the opening credits roll, and a montage shows a nude African woman in flames whose eyes bug out as her face turns into a skull. Filmed in Harlem, Louisiana and Jamaica (cast as a fictional Caribbean island), Live and Let Die brought Bond back to Jamaica for the first time since a tarantula shared his bed in Dr. No. The movie is crawling with snakes, crocodiles, sharks and retro clichs such as tying a white damsel to stakes in the jungle. You half expect a cannibal pot to materialize.

Moore considered The Spy Who Loved Me (1977) the best of his seven Bond movies. Directed by Alfies Lewis Gilbert, its the most spectacular, beginning from the pre-title scene of 007 flying off a mountaintop on skis and opening a Union Jack parachutean uncut stunt filmed on Baffin Islands Mount Asgard. The action, which involves a missing nuclear sub, ranges from Egypts pyramids to the ocean lair of a Captain Nemo-like villain, with Bond taking an underwater spin in an amphibious Lotus Esprit.

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But during Moores tenure, as the franchise exhausted the Fleming oeuvre, the movies began to founder as they became bloated with techno spectacle and cynical self-parody. The cartoonish Moonraker (1979), which tried to capitalize on space operas like Star Wars and Close Encounters of the Third Kind, was the last of Flemings novels to be adapted, and bore scant resemblance to the book. Like Connery, Moore began to talk of stepping down years before he eventually did.

For Your Eyes Only (1981), based on some of Flemings short stories, was the first Bond movie without M; Bernard Lee, who had played the pipe-smoking chief of MI6 in 11 films, died early in the shoot. Moore said it would be his swan song, then went on to make Octopussy in 1983, a year that saw a battle of the Bonds. The 52-year-old Connery was lured back by a rival production company to star in Never Say Never Again, another version of Flemings Thunderball, which had been tied up in years of legal wrangling over rights. It opened to generally favourable reviews and healthy revenues, although its box office failed to eclipse Octopussy, which had opened a few months earlier.

Brosnan in Die Another Day (Everett Collection)

At 57, Moore took his final bow with A View to a Kill (1985), a movie he dissed almost as much as the critics did, admitting he had spent too long at the party. After the Timothy Dalton interlude of The Living Daylights (1987) and Licence to Kill (1989), contract disputes stalled the franchise for six years before another dashing TV star, Remington Steeles Pierce Brosnan, finally kicked it back to life with GoldenEye.

Whenever a new 007 is minted, the first movie has to be an attention-getter. But by 1995, the new Bond was being launched into a movie culture of blockbuster spectacles enhanced by computer-generated imagery. The high-tech dream fetishized in Bond movies was taking over filmmaking itself. GoldenEye was the first Bond movie to use digital effects, yet physical stunts have always been a trademark staple. Directed by New Zealands Martin Campbell, the movie opened with a record-breaking bungee dive off Switzerlands vast Verzasca Dam followed by a blazing firefight with a double-digit body count and a jump from a motorcycle to a plane in flight.

Dench as the character M in 1995 (Everett Collection)

The story, the first not based on Flemings fiction, finds Bond in a changed world. The end of the Cold War is celebrated by a title sequence of silhouetted nudes hanging off giant hammers, sickles and toppled Soviet statuary. Taking over the role of M, a crisp and caustic Judi Dench informs 007 that hes a sexist, misogynist dinosaur, a relic of the Cold War. Making M a matriarch and casting Dench was an inspired move. A superb actor with wit and gravitas, she is a walking time bomb in her own right, fused by a new polarity of sexual and global politics. Driving home the point that the world has changed, the climax has Bond bashing through St. Petersburg in a tankon location in the city formerly known as Leningrad.

At the same time, GoldenEye milked nostalgia for the old Bond with a greatest-hits collection of classic scenarios: the Cte dAzur casino, the Turkish bath, the bunker fortress, the doomsday countdownand the silver Aston Martin, which Bond guns around the hairpin cliffs of Monte Carlo, doubling the clutch in pursuit of a woman in a red Ferrari who, as Fleming would say, drives like a man. But Xenia Onatopp (Famke Janssen) was not your fathers Bond girl; she crushed men with her thighs until they were gasping for air.

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Pierce Brosnan, stepping into the role at age 42, was a trim, economical 007 who kept his head down, wore the suits well, and made a virtue of neutrality and nuance. The Irish-born actor made for a less mannered Bond than Moores self-conscious thespian, who always looked most at home in a silk bathrobe, emanating noblesse oblige. But the smouldering Brosnan didnt give off much attitude of any kind, which posed a problem. As the movies escalated in scale, they began to overwhelm his character, now orphaned both from Flemings fiction and his world. Dwarfed by fireballs and smothered in product placements, Bond was reduced to the obedient steward of a corporate franchise that had lost the plot. Brosnan was doing the job with executive precision, but didnt look like he was having a whole lot of fun. And what could be more un-Bond-like than that?

Craig in Casino Royale (Everett Collection)

Then Daniel Craig arrived as an unlikely saviour in 2006s Casino Royale. He looked like a character actor, not a movie star. He had the face of a dock worker looking for a fight after the pubs had closed. And his casting ignited a firestorm among Bond fans. They said he was too blond, too brutish, not classically handsome. Craig, who took on the role at 38the first Bond who hadnt been born when the series starteddidnt just prove himself. He took violent possession of the character, and reminded us that the most glamorous action hero in the history of cinema was a polished thug. After 45 years, Casino Royale remade 007 from scratch. It resurrected Flemings first Bond novel, which had never been properly adapted, only plundered for a 1954 CBS episode about a CIA spy called Jimmy Bond, and the 1967 spoof with David Niven. Transposed to a post-9/11 era, the book became fodder for an origin story that rebooted both the character and the franchise.

With Martin Campbell back in the directors chair, the producers turned to Oscar-winning Canadian Paul Haggis to write the script. When they approached him, I thought they were out of their fking minds, Haggis said at the time. Why would they want me? I thought Id either reinvigorate this franchise or destroy it forever. So its a crapshoot. I approached it like everything else and asked questions of the protagonist. Like, whats with Bond and women?

Craig asked the same questions. Scuffing the polish off the icon to reveal an animal instinct, he portrayed Bond as a raw predator, a hothead whose feelings still ran dangerously close to the surface. He was a spy impersonating a playboy, but hadnt taken the role to heart; his heart was still breakable. After 44 years, it was as if 007s emotions were finally making their screen debut. Denchs M came into her own as a severe matriarch. And as his minder Vesper Lynd, Eva Green was not just another duplicitous Bond girl, but a tragic love interest who got under his skin.

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The violence in Casino Royale was more visceral than any Bond film before, beginning with the black-and-white prelude of James driving a mans head into a bathroom sink. In an era of fast-cut digital chaos, the movie reminded us that nothing pumps up the adrenalin like spectacular stunt work unfolding in real time. The foot chase in Madagascar, featuring freerunner Sbastien Foucan, introduced Craig as an intensely athletic Bond; no lazing around the spa for him. When he was tortured, it wasnt with the slow tease of a laser beam burning a path to his groin, as in Goldfinger. Stripped naked and tied to a chair, his genitals are pounded with a knotted rope. Even the plot has a sordid touch. The villain with a bleeding eye (Mads Mikkelsen) isnt bent on world domination; hes a seedy banker for terrorists trying to pay off a bad debt. And with serious actors like Mikkelsen, Dench and Craig given a licence to act, Casino Royale conveys at least the illusion of substance.

While subverting the Bond formula, the film took care not to destroy it, a fine line in a franchise that is as protective of its brand as Disney. Standards of nudity and profanity have changed radically in 50 years, but not in the Bond films. Take the scene in Casino Royale where Bond is asked if he wants his martini shaken or stirred, and responds, Do I look like I give a damn? With the films rating, I could have said, Do I look like I give a fk? and we could have got it past the censors, Craig said. But it just didnt feel right. It was profanity for profanitys sake. The fact is, theres no profanity in Bond.

Craigs second film, Quantum of Solace (2008), was less impressive. Directed by Marc Forster (Monsters Ball), it was more of a flat-out action movie. Perhaps sated by Casino Royales marathon poker scenes, Bond doesnt even set foot inside a casino; not once does he introduce himself as Bond...James Bond. The screenplay, co-written by Haggis, is a revenge drama with some barbs of wit, but no cheesy double entendres. The dialogue is sparse and the action hectic, with a fast-cutting style more typical of The Bourne Identity. Yet Craig conveys physical menace with the smallest gesturesflipping open a cellphone or grabbing a set of keys off a dresser.

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In 2012, after Craig co-starred with the Queen in a 007 stunt for the opening of Londons Olympics, came the royal flush of Skyfall, directed by Oscar-winning director Sam Mendes (American Beauty), who cast an echelon of Oscar-winning actors, including Javier Bardem, Ralph Fiennes, Albert Finneyand Judi Dench in an expanded role as M. It was Craig who hand-picked Mendes. Its a very showbizzy story, he told Esquire. I was at Hugh Jackmans house in New York. It was a soiree, and Sam was there. Id had a few too many drinks and I went, How do you fancy directing a Bond? And he kind of went, Yeah! And it snowballed from there.

Craig and Ola Rapace (right) both did their own stunt work on top of a moving train for a fight scene in Skyfall (Collection Christophel/Alamy)

Mendes also recruited ace cinematographer Roger Deakins (who in 2017 would win his first Oscar for Blade Runner 2049 after 13 nominations). All Bond movies revel in eye candy, but none has been so profoundly gorgeous as Skyfall, which unfolds as a suite of moody compositions, from liquid neon vistas of Shanghai to the moors of Scotland. The plot involves a disastrous mission in Istanbul, after which Bond goes missing and is presumed dead, while the identities of MI6 spies are leaked on the internet. When Bond resurfaces, his loyalty to M is challenged with secrets from her past, and her tragic death seals the story with a surge of high tragedy that goes far beyond the Bond formula. As for Craig, the way he described his character, he could be talking about Hamletsuffering from a combination of lassitude, boredom, depression [and] difficulty with what hes chosen to do for a living. The actor, however, finally settles into his career choice as if to the manor born.

With Skyfall, we may have reached Peak Bond, with an Oscar-winning title song by Adele crowning the occasion. Three years later, Spectre slipped back into formula with bouts of cartoonish extravagance, but under Mendes direction, the level of artistry and acting remained high. In a magisterial opening sequence, Bond leaps across the rooftops of Mexico City, while a Day of the Dead parade fills the streets below, with Craig displaying breathtaking agility in buttoned suit and tie that somehow never get dishevelled. And an epic fistfight in a railway carthe one that earned him his knee surgeryis brutally convincing.

But the films most luxurious moments are its character piecesthe slow seduction of La Seydoux, who parlays the sly enigma of Dr. Madeleine Swann from damsel in distress to femme fatale, and the slow boil of Fiennes, who deepens his role as the new M with a dramatic severity that never flinches for a second. Hes joined by yet another Oscar winner with a more cavalier style, Christoph Waltz, whos cast as an evil mastermind plotting to overrun the world with an Orwellian surveillance system. With his usual appetite for comic mugging, he, well, waltzes through the movie as if the scenery has never tasted so good. His character is revealed to be a resurrection of the classic Bond villain Blofeldthe original Jokerin a cats cradle of a script that tries to tie a bow on Spectres tangled strands of franchise genealogy. As actors come and go, theres obvious merit in stitching some narrative continuity from one movie to the next, if only to hold the Bond Universe together. But in the end, despite all the preposterous plotting and stunts, any good Bond film hangs from one thread: the guy who convinces us hes 007.

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Every generation gets the Bond it deserves. Connery was the rogue who got away with murder in an age when sex was harmless, smoking was de rigueur and air travel was romantic, especially while smoking. Moore was Disco Bond, a suave cynic who escorted 007 into an 80s wasteland where both movies and music were overproduced. Brosnan was Gentleman Bond, trying to keep his cool amid the rising din of blockbuster mayhem. Craig is Existential Bond, who channelled the frustration of tackling the role into the character. Each of his predecessors became trapped and typecast. But Craig, like Bond himself, was determined not to be held hostage.

Since James Bond first appeared on screen in Dr. No, he has notched his bedpost with countless kills and sexual conquests. Hardly a Love Me Do kind of guy, hes the original unrepentant rock star, more in the vein of that other jet-set Lothario with a franchise of the same vintage, the Stones Mick Jagger. Forever on the road, Bond cruises the colonies and stays in the best hotels, burning through women and booze. Satisfaction eludes him. But unlike an aging rocker, 007 is always replaced by a newer model. And as long as the revenue rolls in, hes not about to fade away any time soon.

This article appears in print in the Macleans James Bond special collectors edition, with the headline, Bondeverlasting.

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James Bond: The evolution of an iconic franchiseand the coolest secret agent of all time - Maclean's

April 11, 2018

Across the world of mammals, teeth come in all sorts of shapes and sizes. Their particular size and shape are the process of millions of years of evolutionary fine-tuning to produce teeth that can effectively break down the foods in an animals diet. As a result, mammals that are closely related and have a similar menu tend to have teeth that look fairly similar. New Arizona State University research suggests, however, that these similarities may only be skin deep.

The teeth at the back of our mouths the molars have a series of bumps, ridges and grooves across the chewing surface. This complex dental landscape is the product of the spatial arrangement of cusps, which are conical surface projections that crush food before swallowing. How many cusps there are, how they are positioned and what size and shape they take together determine a molar's overall form or configuration. A simple, straightforward developmental rule the patterning cascade is powerful enough to explain the massive variability in molar crown configuration over the past 15 million years of ape and human evolution. Photo courtesy Pixabay.com

Over the course of hominin (modern humans and their fossil ancestors) evolution, molars have changed markedly in their configuration, with some groups developing larger cusps and others evolving molars with a battery of smaller extra cusps.

Charting these changes has yielded powerful insights into our understanding of modern human population history. It has even allowed us to identify new fossil hominin species, sometimes from just fragmentary tooth remains, and to reconstruct which species is more closely related to whom. Exactly how some populations of modern humans, and some fossil hominin species, evolved complex molars with many cusps of varying sizes, while others evolved more simplified molar configurations, however, is unknown.

In a study published this week inScience Advances, an international team of researchers led by ASUsInstitute of Human OriginsandSchool of Human Evolution and Social Changefound that a simple, straightforward developmental rule the patterning cascade is powerful enough to explain the massive variability in molar crown configuration over the past 15 million years of ape and human evolution.

Instead of invoking large, complicated scenarios to explain the major shifts in molar evolution during the course of hominin origins, we found that simple adjustments and alterations to this one developmental rule can account for most of those changes, said Alejandra Ortiz, a postdoctoral researcher with the Institute of Human Origins (IHO) and lead author of the study.

CT-rendered chimpanzee cranium (left) with enlarged image of a virtually extracted molar (middle). The outer layer, called enamel, is rendered transparent revealing the 3-D landscape of a molars underlying dentine core. The location of embryonic signaling cells that will determine future cusp position is indicated by yellow spheres (middle). The distribution of these signaling centers across the dentine landscape is measured as a series of intercusp distances (red arrows in right, top), which determines the number of cusps that will ultimately develop across a molar crown, as well as the amount of terrain mapped out by each cusp (dashed lines in right, bottom). Image credit: Alejandra Ortiz and Gary Schwartz

In the past decade, researchers understanding of molar cusp development has increased a hundredfold. They now know that the formation of these cusps is governed by a molecular process that starts at an early embryonic stage. Based on experimental work on mice, the patterning cascade model predicts that molar configuration is primarily determined by the spatial and temporal distribution of a set of signaling cells.

Clumps of signaling cells (and their resultant cusps) that develop earlier strongly influence the expression of cusps that develop later. This cascading effect can result in either favoring an increase in the size and number of additional cusps or constraining their development to produce smaller, fewer cusps. Whether this sort of simple developmental ratchet phenomenon could explain the vast array of molar configurations present across ape and human ancestry was unknown.

Using state-of-the-art microcomputed tomography and digital imaging technology applied to hundreds of fossil and recent molars, Ortiz and her colleagues created virtual maps of the dental landscape of developing teeth to chart the precise location of embryonic signaling cells from which molar cusps develop. To the research teams great surprise, the predictions of the model held up, not just for modern humans, but for over 17 ape and hominin species spread out across millions of years of higher primate evolution and diversification.

Not only does the model work for explaining differences in basic molar design, but it is also powerful enough to accurately predict the range of variants in size, shape and additional cusp presence, from the most subtle to the most extreme, for most apes, fossil hominins and modern humans, Ortiz said.

These results fit with a growing body of work within evolutionary developmental biology that says very simple, straightforward developmental rules are responsible for the generation of the myriad complexity of dental features found within mammalian teeth.

The most exciting result was how well our results fit with an emerging view that evolution of complex anatomy proceeds by small, subtle tweaks to the underlying developmental toolkit rather than by major leaps, said Gary Schwartz, a study coauthor, paleoanthropologist with IHO and associate professor with the School of Human Evolution and Social Change.

This new study is in line with the view that simple, subtle alterations in the ways genes code for complex features can result in the vast array of different dental configurations that we see across hominins and our ape cousins. It is part of a shift in our understanding of how natural selection can readily and rapidly generate novel anatomy suited to a particular function.

That all of this precise, detailed information is contained deep within teeth, continued Schwartz, even teeth from our long-extinct fossil relatives, is simply remarkable.

Our research, demonstrating that a single developmental rule can explain the countless variation we observe across mammals, also means we must be careful about inferring relationships of extinct species based on shared form, said Shara Bailey, a coauthor and paleoanthropologist at New York University. It is becoming clearer that similarities in tooth form may not necessarily indicate recent shared ancestry, added Bailey, who, in 2002, was the first doctoral graduate to be affiliated with IHO.

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A study of skull growth and tooth emergence reveals that timing is everything - ASU Now