Now a Major Motion Picture Here is the Trainspotting crew ten years further down the line: still scheming, still scamming, still fighting for the first-class seats as the train careens at high velocity with derailment looming around the next corner. In this world, even the cons get conned. Sick Boy and Renton jockey for top dog, and out-of-jail and in-for-revenge Begbie is on the loose. But it’s drug-addled Spud who may be creating the most trouble.

The explosive sequel toTrainspotting– ten years down the line. Still scheming, still scamming – it’s ten years later and the boys fromTrainspottingare still trying to fight for the first-class seats as the locomotive careers at high speed towards the buffers. Simon “Sick Boy” Williamson is back in his native Edinburgh after a spell in London. Having failed spectacularly as a hustler, pimp, husband, father and businessman, he taps into an opportunity, which to him represents one last throw of the dice. For this scam to work, Sick Boy needs bedfellows. A desirable one may be the lovely Nicola Fuller-Smith, a young student with enough ambition, ego and troubles to rival his own. However, to realize his dream of directing and producing a pornographic movie, Sick Boy teams up with old pal and fellow exile Mark Renton and a motley crew that includes the city’s favourite ex-aerated-water-salesman, “Juice” Terry Lawson. In the world ofPorno, however, nothing is straightforward as Sick Boy and Renton find out that they have unresolved issues to address concerning the increasingly unhinged Frank Begbie, the troubled, drug-addled Spud, but, most of all, with each other. From the Trade Paperback edition.

"The best book ever written by man or woman...deserves to sell more copies than the Bible."--Rebel, Inc.

‘Back to his violent best...dark, gruesome and captivating’ Esquire The most terrifying character from Trainspotting returns. Jim Francis has finally found the perfect life – and is now unrecognisable, even to himself. A successful painter and sculptor, he lives quietly with his wife, Melanie, and their two young daughters, in an affluent beach town in California. Some say he’s a fake and a con man, while others see him as a genuine visionary. But Francis has a very dark past, with another identity and a very different set of values. When he crosses the Atlantic to his native Scotland, for the funeral of a murdered son he barely knew, his old Edinburgh community expects him to take bloody revenge. But as he confronts his previous life, all those friends and enemies – and, most alarmingly, his former self – Francis seems to have other ideas. When Melanie discovers something gruesome in California, which indicates that her husband’s violent past might also be his psychotic present, things start to go very bad, very quickly. The Blade Artist is an elegant, electrifying novel – ultra violent but curiously redemptive – and it marks the return of one of modern fiction’s most infamous, terrifying characters, the incendiary Francis Begbie from Trainspotting.

Politics, craft, and cultural nostalgia in the remaking of Star Wars for a new age A long time ago, in a galaxy far, far away—way back in the twenty-first century’s first decade—Star Wars seemed finished. Then in 2012 George Lucas shocked the entertainment world by selling the franchise, along with Lucasfilm, to Disney. This is the story of how, over the next five years, Star Wars went from near-certain extinction to what Wired magazine would call “the forever franchise,” with more films in the works than its first four decades had produced. Focusing on The Force Awakens (2015), Rogue One (2016), The Last Jedi (2017), and the television series Rebels (2014–18), Dan Golding explores the significance of pop culture nostalgia in overcoming the skepticism, if not downright hostility, that greeted the Star Wars relaunch. At the same time he shows how Disney, even as it tapped a backward-looking obsession, was nonetheless creating genuinely new and contemporary entries in the Star Wars universe. A host of cultural factors and forces propelled the Disney-engineered Star Wars renaissance, and all figure in Golding’s deeply informed analysis: from John Williams’s music in The Force Awakens to Peter Cushing’s CGI face in Rogue One, to Carrie Fisher’s passing, to the rapidly changing audience demographic. Star Wars after Lucas delves into the various responses and political uses of the new Star Wars in a wider context, as in reaction videos on YouTube and hate-filled, misogynistic online rants. In its granular textual readings, broad cultural scope, and insights into the complexities of the multimedia galaxy, this book is as entertaining as it is enlightening, an apt reflection of the enduring power of the Star Wars franchise.

Intercultural Screen Adaptation offers a wide-ranging examination of how film and television adaptations (and non-adaptations) interact with the cultural, social and political environments of their national, transnational and post-national contexts. With screen adaptations examined from across Britain, Europe, South America and Asia, this book tests how examining the processes of adaptation across and within national frameworks challenges traditional debates around the concept of nation in film, media and cultural studies. With case studies of films such as Under the Skin (2013) and T2: Trainspotting (2017), as well as TV adaptations like War and Peace (2016) and Narcos (2015 - 2017), Intercultural Screen Adaptation offers readers an invigorating look at adaptations from a variety of critical perspectives, incorporating the uses of landscape, nostalgia and translation.

"First there is an opportunity, then there is a betrayal. Twenty years have gone by. Much has changed but just as much remains the same. Mark Renton returns to the only place he can ever call home. They are waiting for him, of course: Spud, Sick Boy, and Frank Begbie. But they are not alone. Other old friends are waiting to: sorrow, loss, joy, vengeance, hatred, friendship, love, longing, fear, regret, diamorphine, self-destruction and mortal danger - they are all lined up to welcome him, ready to join the dance. Mark Renton returns, to the chaos of life and death."--