Miranda Frost’s quick improvisation in Die Another Day to pull Bond into a sudden make-out session behind a parked car spares him from being exposed as an intruder inside the Graves ice palace.  It’s one of the few moments where a fellow agent actively blurs the boundary between operational necessity and sexual entanglement.  Her reference to Bond’s “file,” and the implication that M had essentially anticipated Bond’s tendency to exploit such situations, is rather unsettling, however, as it frames Bond’s behavior as a problematic pattern the organization is aware of yet tolerates.

But what’s even more troubling is how readily Frost, despite these warnings, becomes enamored with 007 and deliberately set herself up for the explicit interaction.  It’s a quick scene but an instance in an otherwise campy movie where Bond’s character is shown to overwhelm even a fellow agent with his charm.