Every James Bond movie is the best James Bond movie to somebody. For nearly 60 years, this has been a franchise that’s dependably supplied the goods: the stunts, the gadgets, the girls, the theme songs (the last two of which have won Academy Awards).
By now there are so many shades of Bond himself – glib Roger Moore in a safari suit, Sean Connery in utter suavity, Daniel Craig in action-movie muscle. But who’s the big dog? In advance of the long-delayed release of Craig’s swan song, No Time To Die, we ranked all 24 of the official Eon entries (not including 1967’s intentionally silly Casino Royale and 1983’s independently made Never Say Never Again, a semi-remake of Thunderball).
For Time Out’s review of No Time To Die, click here.
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1. Casino Royale (2006)
The Bond franchise was in need of a shot in the arm after the retirement of Pierce Brosnan and an over-reliance on wonky effects and bad gags. Step up, Daniel Craig, previously best known for films like Layer Cake and Munich. GoldenEye director Martin Campbell returns behind the camera, and the script takes the character right back to the beginning, when Bond first earns his 007 licence, by drawing on Ian Fleming’s 1953 novel of the same name. Punchy, serious-faced and infused with tragic romance, this winner became an immediate Bond classic. We have no problem ranking it this high.—DC
Theme song: Soundgarden’s late Chris Cornell punches in with a workmanlike soft-rock entry in the Bond song canon. Catchy enough, hardly legendary.
The Bond girl: Born to this kind of role, Eva Green is Vesper Lynd, an agent for the British Treasury with whom Bond falls in love.
The killer moment: A parkour chase on a construction crane showed Craig’s Bond to be a no-nonsense physical presence.
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2. Goldfinger (1964)
The Bond series already had two films under its belt by the time 007 matched wits with Gert Fröbe’s precious-metal obsessive, but the third time was the charm. This was the movie that perfected the template for what we consider a proper Bond film: tricked-out sports cars and spy gadgets, eccentric supervillains and quirky sidekicks (the hat-throwing Oddjob), a name-dropping opening song and a fun, flirty, tongue-in-cheek version of Fleming’s hero. The earlier movies established Bond as Her Majesty’s most resourceful secret agent, a lover and a fighter. Goldfinger, however, made him a pop-culture icon that’s endured for decades.—DF
Theme song: It simply doesn’t get any better than Shirley Bassey’s window-rattling tribute to the “man with the Midas touch,” punctuated by those slinky horn blasts.
The Bond girl: Honor Blackman’s rough-and-tumble interest made a good match for Connery’s Bond.
The killer moment: Strapped to the laser table: “Do you expect me to talk?” “No, Mr. Bond, I expect you to die!”
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3. From Russia with Love (1963)
The first of many sequels drops the MI6 operative into a tried-and-true plot: A decoding device is stolen, and only Bond can retrieve it—which is what the cat-stroking Blofeld and his SPECTRE comrades are counting on. Though the movie is best known for giving us Robert Shaw’s juggernaut villain and Lotte Lenya’s shoe-knifing henchwoman, this is one of the franchise’s purest espionage entries—it suggests an alternate universe in which Bond was closer to a John le Carré spook than a gadget-wielding action hero. We love that latter version, of course, but Russia proved that a straightforward spy thriller equally suited the secret agent.—DF
Theme song: The number shows up briefly sans lyrics in the credits and as background noise later—which, given Matt Monro’s faux-Sinatra crooning, is probably a good thing.
The Bond girl: A former Miss Rome, Italian starlet Daniela Bianchi makes for a convincing Russian ballerina-turned-mole.
The killer moment: The fight between Shaw’s blond superthug and Bond in a tiny train compartment is one of the most brutal set pieces in the entire series.
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4. You Only Live Twice (1967)
It’s almost a shame that Bond’s fifth adventure is so good, because it’s also so racist. Scripted by legendary children’s author Roald Dahl (hardly the weirdest thing about the film), You Only Live Twice finds everyone’s favorite spy faking his own death and traveling to Tokyo in order to see if the Japanese are behind the hijacking of an American spacecraft. Beyond that tiny detail however, this is what we talk about when we talk about Bond: ninja armies, henchman-devouring piranhas and the glorious reveal of baldheaded SPECTRE mastermind Ernst Blofeld (Donald Pleasence).—DE
Theme song: Nancy Sinatra’s languid classic is one of the few Bond tunes good enough to earn a life of its own beyond the movie—those swirling violins will outlive us all.
The Bond girl: Mie Hama plays Japanese agent Kissy Suzuki.
The killer moment: Bond visits a bathhouse, where the employees prompt the spy to recite a “Japanese proverb”.
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5. The Spy Who Loved Me (1977)
Roger Moore’s glib brand of Bond is routinely slagged these days, but if the guy had a high point, it’s right here. Set to the disco-fied strains of a Marvin Hamlisch score, Moore’s white-funky superspy outwits pursuers in a Lotus that turns into a submarine, travels to Egypt to wrestle with metal-toothed Jaws (Richard Kiel) and battles with a nuke-crazy nut who hopes to survive the fallout underwater. Most impressively, there’s money, tons of it spent on cavernous sets (an entire new soundstage was built for this movie) and an amazing spiderlike hideout that rises from the ocean.—JR
Theme song: Carly Simon’s California cool was an uncanny match for Hamlisch’s “Nobody Does It Better” (with lyrics by Carole Bayer Sager), a staggeringly sexy torch song. Don’t take our word for it—here’s Radiohead’s version.
The Bond girl: Barbara Bach looks exotic enough to play Soviet agent “Triple X” (that’s the humor, folks), but her role is largely one of adornment.
The killer moment: Maybe the best one of the whole franchise: Bond (legendary stuntman Rick Sylvester) skis off a mountain, falling for an uncomfortably long time, until—surprise!—the ripcord is pulled and his parachute sports the Union Jack.
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6. No Time to Die (2021)
Beset by a pandemic, a change of directors and the odd on-set injury, the portents weren’t exactly great for Bond 25. It also had the unenviable task of picking up after the half-hearted Spectre, a sleepwalk of a Bond movie. But in the spirit of its hero, the franchise punched its way out of a corner to deliver a genuine all-timer to the Eon canon in Daniel Craig’s final film. Long, but in a way that feels epic rather than baggy, expertly handled by director Cary Fukunaga, and genuinely emotional in a way so few Bond movies are (Casino Royale and On Her Majesty’s Secret Service, aside), it gives Craig the send off he deserves. Thanks to some Phoebe Waller-Bridge screenwriting magic, it’s possibly the funniest Bond too.
Theme song: Preternaturally talented emo chanteuse Billie Eilish delivers a moody title track that sets the tone for the whole movie: spacious, soulful, haunting.
The Bond girl: Léa Seydoux’s Madeleine Swann is closer to Bond’s soulmate in this one. In fact, the movie eschews anything like a traditional ‘Bond girl’. Instead, it offers two fellow spies – Lashana Lynch’s Nomi and Ana de Armas’s Paloma – who meet Bond on equal terms.
The killer moment: The opening sequence, which sees Bond’s romantic getaway with Swann in the Italian hilltop town of Matera go south in a hurry, is up there with Casino Royale’s free-running opener. There’s no one like Spectre to ruin a nice holiday, so it’s lucky 007 took the car with the miniguns fitted as standard.
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7. Dr. No (1962)
Series producers “Cubby” Broccoli and Harry Saltzman were still working out the kinks of translating Ian Fleming’s books to the big screen when they launched this first entry. Yet from the moment Sean Connery first utters the words “Bond…James Bond,” we know we’ve entered a world of glamorous women, grandiose danger and globe-trotting derring-do. This is where everything starts, from that signature spy-a-go-go theme to Maurice Binder’s mind-blowing credits sequences. Also introduced here are centerfold-ready romantic interests and colorful megalomaniacs (Joseph Wiseman’s titular villain deserves more than two scenes). These elements get refined over the years, but you couldn’t ask for a better introduction to Fleming’s international man of mystery.—DF
Theme song: The memorable tunes wouldn’t start for a while, so we have to make due with a so-so calypso ditty, “Underneath the Mango Tree.”
The Bond girl: Ursula Andress’s Honey Ryder.
The killer moment: Bond cold-bloodedly confronts a friend who’s betrayed him: “That’s a Smith & Wesson. And you’ve had your six,” says 007, before reminding us he has a license to kill.
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8. On Her Majesty’s Secret Service (1969)
Don’t feel bad for odd-Bond-out George Lazenby (the unknown Australian was drafted when Connery got cold feet); his sole 007 film is actually one of the series’ finest. Darkly adventurous, the plot swirls with classic elements: Telly Savalas as the murderous Blofeld, an amazing ski sequence and—most notably—the first sign of our hero’s emotional vulnerability. Also, bar none, this is signature composer John Barry’s most extraordinary Bond score, bursting with psychedelic rock and lush, orchestral menace.—JR
Theme song: “We Have All the Time in the World” has become a standard for its lovely simplicity; it was the last vocal Louis Armstrong recorded before his death.
The Bond girl: Already a well-regarded toughie on British TV in The Avengers, classy Diana Rigg was more substantial than any previous Bond counterpart—and set a standard that’s rarely been met.
The killer moment: After heroically saving Rigg from drowning—and then fighting off goons—only to have her tear off in her car, Lazenby jokes directly to camera, “This never happened to the other fellow.”
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9. Skyfall (2012)
Casino Royale used the blond and brutish Daniel Craig to reignite the Bond franchise and give 007 the origin story we never knew we wanted. Skip Craig’s second round, 2008’s Quantum of Solace: Skyfall takes things a step further, bringing the MI6 superspy back to his titular childhood mansion in the Scottish Highlands and inviting psychotic former agent Raoul Silva (Javier Bardem) to come shoot it to pieces. Gorgeously lensed by legendary cinematographer Roger Deakins, the moodiest movie in the franchise is steeped in rare emotional warfare—Bond may never die, but that doesn’t mean he can’t be broken.—DE
Theme song: Best Bond theme ever? Adele’s chart-topping, lung-bursting anthem is definitely up there, a brassy throwback built on a modern pop structure. Bonus points for lyrics that try to make sense of the movie’s title.
The Bond girl: Moneypenny (Naomi Harris) and Séverine (Bérénice Marlohe), but the real Bond girl here turns out to be M (Judi Dench).
The killer moment: Skyfall skips from one brilliant mic drop to the next, but for all of its explosive set pieces, the film peaks with a simple shot of Javier Bardem sauntering toward our hero and regaling him with a story about cannibalistic rats.
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10. Diamonds Are Forever (1971)
Sean Connery had to be lured back to the role he created with a huge payday. Still, this has its moments.
Theme song: Shirley Bassey’s belter has taken on new life during the last decade courtesy of Kanye West and Jay-Z/
The Bond girl: Jill St. John’s gem thief Tiffany Case barely makes an impression. Even our undercover hero seems bored with her.
The killer moment: The villainous Bambi and Thumper, attacks Bond.
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11. The Man with the Golden Gun (1974)
We don’t want to say the Bond films were experiencing franchise fatigue by the time this ninth entry hit theaters. But given its concessions to in-vogue film fads—notably a martial-arts academy sequence lifted from Enter the Dragon—and the return of Clifton James’s embarrassing redneck from Live and Let Die, it’s clear the series was beginning to show its age. Christopher Lee as Scaramanga, the world’s deadliest assassin, brings a sense of malevolence to his killer-for-hire that almost makes up for the film’s overall softness.—DF
Theme song: When was the last time you started humming Lulu’s manic theme song? Our point exactly.
The Bond girl: Maud Adams would deliver a better Bond-girl performance in Octopussy nine years later; thankfully, Britt Ekland’s Girl Friday picks up the slack.
The killer moment: A final showdown in Scaramanga’s funhouse ends its cat-and-mouse game with a Bond “mannequin” that springs to life.
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12. Thunderball (1965)
Following up Goldfinger was no picnic, but Sean Connery’s fourth outing demonstrated the series’ durability, cementing a brash formula that yielded huge box office (it’s still the highest-grossing Bond, when adjusted for inflation). Return to it now, and the effort is painfully obvious: Yes, we love spooky underwater sequences involving the conveyance of stolen A-bombs, but must there be endless minutes of them? Regardless, there’s some essential stuff here: the electric chair that incinerates an underperforming villain at a meeting, the swimming pool with sharks, the widescreen luxury.—JR
Theme song: Tom Jones, already riding high in 1965 with his theme for What’s New Pussycat?, croons an electrifying spy song, heavy on John Barry’s brass and ominousness.
The Bond girl: Stronger and more sun-kissed than most of her kin, Claudine Auger’s Domino represents an early evolution of the archetype, handy with a harpoon gun and a playful match with Connery.
The killer moment: The effect is largely achieved via rear projection, but why do we watch Bond films if not for jet packs? This one launches our hero off a chateau, landing him only feet away from his Aston Martin.
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13. GoldenEye (1995)
Martin Campbell reinvented Bond for the Bourne era with Casino Royale, but the director also raised the bar when he kicked off the Brosnan age. Three decades on, it’s hard to overstate the cultural impact of GoldenEye: It introduced us to the pleasures of Sean Bean dying horribly and upped the ante on action with a tank chase that the Fast saga still has yet to top (to say nothing about the tie-in video game that kicked off the first-person shooter era). At its heart, this is a Bond film that pushed the franchise into modern times, with the former Remington Steele sliding into the tux as if it was tailor-made for him. As with the Craig era, Brosnan’s introduction remains the best thanks to Campbell’s deep understanding of how to balance the silly with the awe-inspiring.—AK
Theme song: Tina Turner does her best Shirley Bassey impersonation, but her contribution (co-written by Bono and the Edge) is less than golden.
The Bond girl: Izabella Scorupco’s skittish computer analyst steals Bond’s affection, but it’s Famke Janssen’s Xenia Onatop that scores a spot in the hall of fame.
The killer moment: Bond deftly avoids a ricocheting bullet without batting an eye—a single gesture that sums up Brosnan’s cool.
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14. License to Kill (1989)
Timothy Dalton came into his own with his second and final take on Bond. Licence to Kill follows our determined operative as he goes rogue, hunting down Robert Davi who literally fed Bond’s FBI confidant to the sharks. Dalton’s agonised performance (fuelled by the character’s undying loyalty to his friend) anticipates the darker turn the series would take with Daniel Craig; this is one of the few entries where Bond seems truly physically and emotionally vulnerable as opposed to a pun-toting cipher. Almost every action scene—from the opening skydiving sequence to the finale’s gobsmacking truck-convoy assault—is cream of the crop. And a young Benicio Del Toro (playing a henchman) too? It’s a sorely underrated entry.—KU
Theme song: The Empress of Soul, Gladys Knight, goes straight for our hearts with this soaringly goofy title ballad. Her attempt to out-Bassey Bassey is a guilty pleasure.
The Bond girl: CIA informant and pilot Carey Lowell’s salty vocabulary and way with a gun are her most distinctive traits.
The killer moment: A slimy henchman meets a head-popping end in a ship’s decompression chamber.
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15. For Your Eyes Only (1981)
After Moonraker, there’s relief in this film’s return to the basics. Roger Moore’s Bond searches for a nuclear sub’s tracking device, lost in a wreck at sea. En route to reclaiming what looks like a portable Blaupunkt stereo, he skis over some innocent Italians’ picnic lunch, takes out thugs in a hockey rink and scales a mountainside in a windy suspense sequence. Few of the Bond movies approach this film’s sunny Mediterranean allure, with beautiful location work in Greece (plus Fiddler on the Roof’s Topol as a robust, pistachio-loving comrade).—JR
Theme song: Equal parts synth cool and romantic gush, Sheena Easton’s title number fits the mold perfectly, subtly modernizing the gig for future New Wavers.
The Bond girl: Fashion model Carole Bouquet is almost certainly the only Bond girl to have worked with Luis Buñuel. Moreover, she has a real character to play: avenging the murder of her parents via her wicked crossbow skills.
The killer moment: In a pre-plot amuse-bouche, the opening sequence has Bond dropping wheelchair-bound villain Blofeld from a helicopter into a factory’s smokestack.
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16. Spectre (2015)
Returning Skyfall director Sam Mendes sputtered in a follow-up that is better remembered for its squandered potential than what actually happens on screen. It’s a shame, too: Spectre opens with a corker of a one-shot chase that tracks Bond from a street-level Day of the Dead parade to a barrel-rolling helicopter. Unfortunately, the rest of the film commits the error of casting the great Christoph Waltz as ultimate Bond nemesis Blofeld, then deprives him of the opportunity to chew the scenery. Instead, the Oscar-winner turns Basil Exposition, explaining a senseless plot that basically undoes the buildup of three previous films (at least they gave him a cat to pet while he yammered about being an “architect of pain”). Thankfully Craig signed on for No Time to Die: It would have been a pity to see the blond Bond go out with a whimper.—AK
Theme song: Poor Sam Smith was never poised to top Adele’s towering Skyfall contribution, but “Writing’s on the Wall” is one of the mopiest Bond ballads ever. They gave him an Oscar anyway.
The Bond Girl: Léa Seydoux found a much better espionage-based use of her icy charms in Mission: Impossible – Ghost Protocol: as Madeleine Swann, she’s simply given nothing to do.
The killer moment: Bond squares off against Dave Bautista’s bowler-hat-sporting heavy in a fight aboard a moving train that leaves the audience feeling as bruised and battered as 007. Pity it went by so quickly.
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17. Quantum of Solace (2008)
Daniel Craig’s second go as a more bruised and battered Bond suffers from being intricately connected to Casino Royale: Even though it’s a strict continuation, the movie is simply not as fresh. Out to avenge his beloved Vesper Lynd, Bond follows the trail to evil environmentalist Dominic Greene (Mathieu Amalric). Unlike the clean, cohesive Casino, the action sequences here look like jumbled rejects from one of Paul Greengrass’s Bourne movies (don’t get us started on that phony-looking parachute drop). KU
Theme song: The individual elements of the Jack White–Alicia Keys duet “Another Way to Die” are catchy (throbbing drums, fluttering piano, pounding guitar), but make for strangely unharmonic partners.
The Bond girl: Olga Kurylenko’s score-evening Bolivian operative partners Craig’s brooding Bond.
The killer moment: Judi Dench’s M: “Bond, I need you back.” Bond: “I never left.”
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18. Moonraker
Cashing in on the Star Wars craze, Bond heads to outer space to foil the plans of an apocalyptic industrialist (Michael Lonsdale). Dozens of jumpsuited bad guys dangle from zero-gravity wires, yet the movie rarely gets off the ground. Still, the movie inspires awe in its massive metal sets, designed to be exploded (why have merely one space shuttle launching from a secret Brazilian hangar when you can have six?), while composer John Barry unleashes some of his grandest orchestral swells.—JR
Theme song: After Kate Bush declined the gig (cruel world), Shirley Bassey returned to the franchise for her third outing, following Goldfinger and Diamonds Are Forever. Alas, she never gets the chance to truly vamp.
The Bond girl: Lois Chiles, playing an undercover CIA agent, benefits from a flinty demeanor and some women’s-lib speechifying.
The killer moment: High above Rio de Janeiro’s Sugarloaf Mountain, Bond and returning baddie Jaws (Richard Kiel) grapple while hanging from some shoddy-looking cable cars.
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19. Octopussy (1983)
This was the vehicle that put Roger Moore’s Bond in a clown costume (redundant?) and also had him running around India searching for priceless Fabergé eggs and the jewel thief who might precipitate a nuclear war. Tennis pro Vijay Amritraj makes for an inert sidekick, while Gigi’s Louis Jordan brings such a swishy suavity to his villain that the whole movie threatens to cave in on its own masculinity. For the first time in franchise history, Bond seemed thoroughly exhausted on every front.—JR
Theme song: Adult-contemporary crooner Rita Coolidge moans her way through series embarrassment “All Time High,” a song with lyrics so awful, Broadway legend Tim Rice should have returned one of his Tony Awards in shame.
The Bond girl: It’s a tribute to Maud Adams’s timeless glamour and good nature that this was her second Bond film, almost a decade after The Man with the Golden Gun. Still, her character is a relic of diaphanous female intrigue.
The killer moment: Undeniably, thrills arrive with Bond’s daring escape via personal mini-jet; he pilots it through an open hangar at 150 miles per hour.
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20. The Living Daylights (1987)
Roger Moore recedes into a mild, safari-suited haze; Timothy Dalton arrives to fill the tux. There’s no denying the vigor Dalton brings to the action sequences (he did many of these stunts himself), and an aging franchise suddenly feels high-octane. But couldn’t the dour actor have found his way to a little charm? No one leaves the theater shaken or stirred. —JR
Theme song: After the global success of Duran Duran’s “A View to a Kill,” producers thought it wise to go with A-ha, but the resulting title number (composed with John Barry in a reportedly spiteful collaboration) sounds thin.
The Bond girl: Bobbleheaded Maryam d’Abo, playing a Czech cellist, never seems comfortable with Dalton’s hard 007, plus she’s especially helpless during the chase sequences.
The killer moment: Bond and an evil henchman hang off the back of a cargo plane’s open hatch while soaring thousands of feet over the desert. Oh, and there’s a bomb onboard.
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21. The World Is Not Enough (1999)
Brosnan’s penultimate outing became a punching bag thanks to the casting of bombshell Denise Richards as a nuclear physicist (!!) named Christmas Jones (!!!) but the film’s biggest travesty is its squandered potential. It does nothing with the maniacal Robert Carlyle as an unfeeling terrorist with a bullet lodged in his brain, opting instead for recycled ski chases and an overabundance of melodrama. John Cleese is fun as Q, but this is the first time that Brosnan seemed to be asleep behind the wheel of the Aston Martin.—AK
The theme song: Mall-goth outfit Garbage gives its vintage Bassey-era theme a slinky edge, but the song feels less like an actual Bond theme than a cover of better tunes.
The bond girls: Sophie Marceau does a turn in a role that goes nowhere, while Denise Richards is a nuclear physicist named Christmas Jones.
The killer moment: The boats versus hot-air balloon opener makes an action promise that the film cannot keep.
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22. Live and Let Die (1973)
Roger Moore started playing secret agent Simon Templar on TV’s The Saint in 1962, the same year Connery ordered his first onscreen shaken-not-stirred martini. In fact, Moore had been suggested as a potential Bond from the get-go. So the London-born actor would seem like a wise choice to take over the reins—a notion his disastrous first Bond film was apparently hell-bent on disproving from start to finish. We’d have been happy to let this one die, frankly.—DF
Theme song: It’s ironic that one of the worst Bond films has one of the franchise’s best theme songs, courtesy of Paul McCartney and Wings in full pop-genius mode.
The Bond girl: Could Jane Seymour’s Solitaire be a little less bland overall? Definitely.
The killer moment: A fellow agent encounters a parade of New Orleans mourners: “Whose funeral is it?” “Yours!”
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23. A View to a Kill (1985)
How do you mess up a Bond film in which both Christopher Walken and Grace Jones plot to flood Silicon Valley by blowing up the San Andreas Fault? Here’s your blueprint. The constant quips of 58-year-old Roger Moore come off like ossified shtick, and his chemistry with Bond girl Tanya Roberts is nonexistent. Then there’s Walken’s Max Zorin, who’s more of a petulant child than a terrifying psychopath. Aside from a vertigo-inducing climax involving a zeppelin and the Golden Gate Bridge, the action scenes are a mishmash of shoddy stunt-doubling and eyesore rear projection. Not the best note to go out on, Rog.—KU
Theme song: The only Bond theme to go No. 1 on the Billboard Hot 100, Duran Duran’s “A View to a Kill” is a glammy, delirious piece of ’80s cheese.
The Bond girl: Roberts’s bland geologist pales next to the snarling, statuesque Jones, who can kill with a glare as much as a poisoned fishing rod.
The killer moment: Bond snowboards down a mountain to the Beach Boys’ “California Girls”—a cheeky summation of the Moore era if ever there was one.
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24. Tomorrow Never Dies (1997)
The second Brosnan Bond was a troubled production, with numerous script rewrites, openly unhappy performers (Teri Hatcher took her frustrations to the press) and the absence of hands-on producer Albert R. Broccoli, who’d recently died. So it’s kind of a miracle the movie is as watchable as it is, even though it’s still a pale shadow of Brosnan’s inaugural GoldenEye. Monomaniacal media mogul Jonathan Pryce is a splendid villain—an unholy amalgam of Rupert Murdoch and Bill Gates—who’s out to use his headline-blaring influence to start a war between Britain and China. And there’s a terrific central action scene, just the right mix of comedy and thrills, involving a motorcycle-helicopter chase through Saigon’s slums.—KU
Theme song: A bizarre mix of torch song, soaring ballad and coffeehouse improvisation, the lackluster title tune by Sheryl Crow immediately dies, and not tomorrow either.
The Bond girl: Hong Kong martial-arts superstar Michelle Yeoh is more equally matched with her male counterpart in terms of brain and brawn than past heroines.
The killer moment: Bond and his leading lady descend the outside of a skyscraper with the aid of a behemoth billboard of Pryce’s baddie.
