After over 25 years in the business, Louis Theroux recounts his time in documentary television making and his personal life alongside it, shedding light on the behind the scenes action of some of his most memorable – and controversial – TV subjects.
Raxter School for Girls lies at the tip of an isolated island off the coast of Maine. Eighteen months ago it was hit by the Tox, a mysterious illness that killed off most of the teachers and leaves the students suffering from horrific and violent mutations. The island has been in quarantine ever since. The only people to ever leave the confines of the school are those chosen for Boat Shift; a select few tasked with collecting meagre supplies shipped in by the Navy to be brutally fought over by the surviving girls at the school.
The year is 2059 and the Earth has ceased orbiting the sun; an event that has become known as the Stop. Half the world burns in never-ending sunlight, whilst the other freezes under the cover of darkness. A thin slither of the globe that exists in permanent twilight has managed to survive. Within this small area lies Britain; under Prime Minister Davenport it is a country that has done monstrous things to preserve its resources, block its borders, and continue in some semblance of normalcy.
Journalist Tuva Moodyson has just two weeks left in the sleepy Swedish town of Gavrik. Soon she’ll be on a sleeper train to the south, to a new job and a fresh start. As she begins to pack up her life, a mysterious suicide and a horrific homicide occur within days of one another and plunge the town’s main employer, the family-owned liquorice factory, into the middle of a murder investigation. A local writer recruits Tuva to research the Grimberg liquorice dynasty amidst the police’s attempt to find what has become known as a the Ferryman killer. There are two bodies, and Tuva has just precious little time to figure out what the Grimbergs are hiding.
Driving home on Halloween night, a young woman stumbles out onto the road in front of Lauren’s father’s truck. Niall bundles her into the cab, taking her home and caring for her all night. In the morning, she is gone. When Lauren asks what happened to the woman from the road, Niall irritably tells her he doesn’t know what she’s talking about.
Jenny is in her mid-thirties and by all accounts, her life is pretty great. She has a good job at a cool magazine, owns a house in London, and has an array of funny friends just a text away. Problem is, she now has to live with three painfully hipster housemates since breaking up with her semi-famous artist boyfriend, her relationship with her best friend is also on the rocks, as is her career, and her fortune-telling mother has decided to show up on her doorstep. But the worst bit? Suzy Brambles just unfollowed her on Instagram.
The founding editor of Bitch Media examines how pop culture has changed feminism from a political movement to a media trend, by looking at movies, television, fashion, celebrities, and more.
The television show Peaky Blinders brought Birmingham’s interwar backstreets to life when it introduced us to the violent and compelling Shelby family. Noted historian and Brummy-born Carl Chinn delves into the Black Country’s archives to find out who the real peaky blinders were, separating fact from fiction and showing what a devastating effect this early 20th century gang violence had on working class Birmingham, and how it spilled onto the nation’s racecourses.
Annie’s mother is a serial killer. After years of abuse and being witness to her mother’s crimes, Annie has a new name: Milly. And she has a new life. Living with a rich foster family complete and attending an exclusive girls school, Milly tries to find a normal life amidst the stress of her mother’s impending trial. On of this, her foster sister, Phoebe, isn’t happy with her new family’s new adopted stray and makes sure Milly knows this at every opportunity. Soon Milly begins to wonder how much like her mother she really is.
Richard S. Kennedy, E. E. Cummings’ official biographer, compiles a selection of over 100 of the poet’s works. Covering a range of topics, each subject is introduced by Kennedy with brief biographical contextualisation and some of Cummings’ original artworks.