From sensor-fuzed munitions and autonomous weapons, to ground moving target indication radar, laser vibrometers and artificial intelligence, the weapons of warfare are undergoing a rapid transformation, with modern technologies reshaping how armies intend to fight in the twenty-first century. The Arms of the Future analyses how the emergence of novel weapons systems is shaping the risks and opportunities on the battlefield. Drawing on extensive practical observation and experimentation, the book unpacks the operational challenges new weapons pose on the battlefield and how armies might be structured to overcome them. At a time when defence spending across NATO is on the rise, and conflict with Russia raises new questions of what it means to fight a truly 'modern' war, Watling examines not just the arms to be employed but how they can be fielded and wielded to survive and prevail in future wars.

Dominant narratives about the changing character of warfare and the revolutionary effect of technological advancement lack nuance and can ultimately be detrimental to the development of a defence capability fit for future purpose.

Using hard power in the context of an expanding set of threats is complex, expensive and risky. European medium powers, especially, must make tough choices on the future capabilities, roles and equipment of their armed forces, as well as their ability to act independently of alliance partners. Decision Points: Rationalising the Armed Forces of European Medium Powers examines these trade-offs and calls for policymakers to approach each key decision on the future of their country's armed forces with a clearer sense of the consequences for the state's foreign policy.

A new era of great power competition places a strategic premium on the efficiency with which states can pursue their aims. There is therefore likely to be an expanded scope for partnered operations. Partner force capacity building has a long history, with very mixed results, yet there is little historical memory in the institutions tasked with carrying it out. War by Others' Means uses archival research, interviews with practitioners, and observation of capacity building to understand why states undertake it, how they should select, train and equip their partners, and how they should manage the generation and withdrawal of trainers.

During the Second World War, Air Commodore Waltby is flying to Allied Command Headquarters with an attaché case packed with information that could stave off an invasion by Germany. Unfortunately, his plane is shot down and he and three colleagues are left drifting in a lifeboat in the North Sea - with the vital intelligence reports still not in the hands of Allied Command. As the Allied authorities direct the search, the four men are edging closer to death and the Germans are planning their assault.

During the Second World War, Air Commodore Waltby is flying to Allied Command Headquarters with an attaché case packed with information that could stave off an invasion by Germany. Unfortunately, his plane is shot down and he and three colleagues are left drifting in a lifeboat in the North Sea - with the vital intelligence reports still not in the hands of Allied Command. As the Allied authorities direct the search, the four men are edging closer to death and the Germans are planning their assault.

Classic drama from Alfred Hitchcock. In 1831, Irishman Charles Adare (Michael Widling) travels to Australia to start a new life with the help of his cousin who has just been appointed governor. When he arrives he meets powerful landowner and ex-convict Sam Flusky (Joseph Cotten), who wants to do a business deal with him. Whilst attending a dinner party at Flusky's house, Charles meets Flusky's wife Henrietta (Ingird Bergman) who he had known as a child back in Ireland. Henrietta is an alcoholic and seems to be on the verge of madness.

From sensor-fuzed munitions and autonomous weapons, to ground moving target indication radar, laser vibrometers and artificial intelligence, the weapons of warfare are undergoing a rapid transformation, with modern technologies reshaping how armies intend to fight in the twenty-first century. The Arms of the Future analyses how the emergence of novel weapons systems is shaping the risks and opportunities on the battlefield. Drawing on extensive practical observation and experimentation, the book unpacks the operational challenges new weapons pose on the battlefield and how armies might be structured to overcome them. At a time when defence spending across NATO is on the rise, and conflict with Russia raises new questions of what it means to fight a truly 'modern' war, Watling examines not just the arms to be employed but how they can be fielded and wielded to survive and prevail in future wars.

A collection of five Hammer horror films from the 1960s. In 'The Nanny' (1965), a nanny (Bette Davis) is hired to look after a ten-year-old who has just returned from a mental institution. The boy's mother has just been poisoned and he believes the nanny is to blame. When his aunt arrives and hears the boy's accusations she sides with the nanny, claiming the boy is making it all up. 'Dracula: Prince of Darkness' (1965) is the sequel to the 1958 film 'Dracula'. Four English tourists are holidaying in the Carpathians when they meet the unconventional Father Sandor (Andrew Keir) at an inn. He warns them to avoid the local castle if they value their lives, but the next day the quartet find themselves stranded in the mountains after their driver abandons them. When a driverless carriage arrives they board it, intending to travel to the nearest village. However, the carriage instead takes them to the very castle which Sandor warned them against, where they are welcomed by Klove (Philip Latham), sinister manservant of Count Dracula (Christopher Lee). 'Quatermass and the Pit' (1967) is the Hammer version of the popular TV series. When prehistoric skulls and the remains of an alien spaceship are discovered in the bowels of London's Underground during an excavation, a weird and powerful force is unleashed, and Professor Quatermass (Keir) is called in to investigate. 'Frankenstein Created Woman' is the sequel to the 1964 film 'Evil of Frankenstein'. The Baron (Peter Cushing) has taken up residence with well-meaning inebriate Doctor Hertz (Thorley Walters). When Hertz successfully revives Frankenstein after freezing his body, the latter deduces that the human spirit does not leave the body after death, and can therefore be transmuted into another form. He gets the chance to prove his theory when his young assistant, Hans, is hanged for a murder he did not commit, and Hans' disfigured lover, Christina, commits suicide in despair. After performing cosmetic surgery on Christina, the two scientists successfully transfer Hans's spirit into her body. However, Hans now sets out to take revenge on those responsible for his death. Finally, in 'The Devil Rides Out' (1967), the Duc de Richleau (Lee) is concerned by the disappearance of his young friend Simon (Patrick Mower) from the social scene. Accompanied by former army colleague Rex (Leon Greene), de Richleau discovers that Simon has joined a group of Devil worshippers, led by the evil Mocata (Charles Gray). Through de Richleau's attempts to wrest Simon from Mocata's influence, Rex becomes romantically involved with Tanith, another member of the cult.

A collection of previously lost, now restored episodes - known by fans as the 'orphaned' episodes - from the legendary Doctor Who series. Episodes are: 'The Crusade' (1); 'The Crusade' (3) - with commentary by Julian Glover and Gary Russell; 'The Daleks' Master Plan' (2) - with commentary by Peter Purves, Kevin Stoney and Ray Cusick; 'The Daleks' Master Plan' (5); 'The Daleks' Master Plan' (10); 'The Celestial Toymaker' (4); 'The Underwater Menace (3)'; 'The Moonbase' (2); 'The Moonbase' (4); 'The Faceless Ones' (1); 'The Faceless Ones' (3); 'The Evil of the Daleks (2) - with commentary by Deborah Watling and Gary Russell; 'The Abominable Snowmen' (2) - with commentary by Deborah Watling and Gary Russell; 'The Enemy of the World' (3); 'The Web of Fear' (1) - with commentary by Deborah Watling, Derrick Sherwin and Gary Russell; 'The Wheel in Space (3)'; 'The Wheel in Space (6) - with commentary by Derrick Sherwin and Tristan de Vere Cole; and 'The Space Pirates' (2). 'Audio only' episodes are: 'The Crusade' (2); 'The Crusade' (4); 'The Moonbase' (1); and 'The Moonbase' (3).