It’s not just villains that are fond of saying, “goodbye mister Bond”. Any viewer mindful of prejudice is likely to have wished that he - or rather his casually misogynistic attitudes to women – could get killed off on occasion, too. And yet, could James Bond be considered to be both a feminist and modernist advocate? If not, then why would the author - an architect and a feminist - find the way in which both women and modernist buildings are represented in all 24 Bond films politically affirming and even professionally inspiring - as opposed to simply sexist or oppressive (Funnell, 2011)? In the spirit of auto-ethnographic curiosity (Chang, 2008), this paper considers whether the way in which Bond films represent both women and modernist architecture amounts to negative stereotyping, or if they offer instead a critique of their mutually problematised status within society.