Ray - So... thinking about these books what the Guv wrote, I wondered if we might, you know, get in on the act a bit. I've knocked this up by remembering things the Guv's said about stuff, thought we could maybe send it to his publishers, get a cut of the proceeds. What do you think? Chris I think you'll be wearing your knacker-sack as a cap when the Guv sees it. Worth a try though I suppose. Ray Unable to resist the possibility of some easy cash, DC Chris Skelton and DS Ray Carling have brought together some of DCI Gene Hunt's (rather original) pearls of wisdom. Covering everything from women ("A smack on the arse and a whiff of Brut knocks 'em bandy, girls like to be appreciated.") to talking to fellow officers ("You great soft, sissy, girly, nancy, French bender Man Utd supporting poof!") this collection shows that the only thing 'The Guv' can't restrain is his tongue. 'Anything you say will be taken down, ripped up and shoved down your scrawny neck until you choke to death.' DCI GENE HUNT

The early twenty-first century has seen the emergence of a new style of television drama in Britain that adopts the professional practices and production values of high-end American television while remaining emphatically 'British' in content and outlook. This book analyses eight of these dramas - Spooks, Foyle's War, Hustle, Life on Mars, Ashes to Ashes, Downton Abbey, Sherlock and Broadchurch - which have all proved popular with audiences and in their different ways represent the thematic and formal paradigms of post-millennial drama. James Chapman locates new British drama in its institutional and economic contexts, considers their critical and popular reception, and analyses their social politics in relation to their representations of class, gender and nationhood. He demonstrates how contemporary drama has mobilised both new and residual elements in re-configuring genres such as the spy series, cop show and costume drama for the cultural tastes of modern audiences. And it concludes that television drama has played an integral role in both the economic and the cultural export of 'Britishness'.

Listening to popular music and watching television have become the two most common activities for postwar generations in Britain. From the experiences of programmes like Oh Boy! and Juke Box Jury, to the introduction of 24 hour music video channels, the number and variety of television outputs that consistently make use of popular music, and the importance of the small screen as a principal point of contact between audiences and performers are familiar components of contemporary media operation. Yet there have been few attempts to examine the two activities in tandem, to chart their parallel evolution, to explore the associations that unite them, or to consider the increasingly frequent ways in which the production and consumption of TV and music are linked in theory and in practice. This volume provides an invaluable critical analysis of these, and other, topics in newly-written contributions from some of Britain's leading scholars in the disciplines of television and/or popular music studies. Through a concentration on four main areas in which TV organises and presents popular music - history and heritage; performers and performances; comedy and drama; audiences and territories - the book investigates a diverse range of musical genres and styles, factual and fictional programming, historical and geographical demographics, and the constraints of commerce and technology to provide the first systematic account of the place of popular music on British television.

NONE WHO ENTER THE WORLD HOUSE LEAVE IT UNCHANGED. In some rooms, forests grow; animals roam and objects come to life. Great secrets and treasures await the brave or foolhardy. And at the very top of the house, the prisoner it was all built to contain sat behind a locked door waiting for the key to turn. The day that happened, the world ended. A sequel to the stunning "The World House". File Under: Modern Fantasy [Worlds within Worlds | End of Days | A Prisoner Escapes | Dark Powers]

Ey up, it's not only footie, pints and pies that are better up north - the humour also takes some beating. Whether it's comics like Peter Kay, Les Dawson and Victoria Wood, telly shows like Corrie and Open All Hours, or writers like Alan Bennett and Keith Waterhouse, the funniest and best-loved invariably hail from the land of perpetual drizzle (another thing they do better). This grand collection of northern wit is packed with these favourites and more. Likely lads and lippy lasses cast a wry eye on subjects close to the heart of every northerner, including - brass, grub, graft, courting, cricket, tittle-tattle and t'weather - adding up to a feast of northern hilarity.

When Oscar Lupe appears 20,000 feet up in the air, his body is frozen solid and free-falling to earth. It shatters on impact. Soon after, a CIA Special Activities Division squad goes rogue with a cargo marked 'Torchwood' that they've been escorting from somewhere called Cardiff. The Agency puts Rex Matheson on the case. As the strange deaths pile up, Rex realises there must be experimental tech out there, but someone is obstructing him at every turn. Rex is the CIA's golden boy - but has he met his match in the evasive Mr Wynter...? Based on the hit science fiction series created by Russell T Davies, The Men Who Sold The World is a prequel to Torchwood: Miracle Day, starring John Barrowman and Eve Myles as Jack Harkness and Gwen Cooper, with Mekhi Phifer as Rex Matheson.

Cardiff Bay. The government has ordered the excavation of the wreckage of a secret underground base. DCI Tom Cutler is watching from a distance, fascinated by the process. There are people in his dreams. People he feels he should know. The disbanded Torchwood Institute spent a century accumulating non-terrestrial artefacts and catching aliens. Who knows what - or who - might still be intact down there. But by the time they find the first body, Suzie Costello is long gone. Based on the hit science fiction series created by Russell T Davies, Long Time Dead is a prequel to Torchwood: Miracle Day, starring John Barrowman and Eve Myles as Jack Harkness and Gwen Cooper. It features Suzie Costello, as played by Indira Varma.