Children's fantasy drama series in which a boy with secret powers finds himself forced to confront an alien invasion of Earth. To the outside world Tom Clarke (Scott Haran) appears to be an ordinary boy. He loves football and lives with his father (Michael Higgs) and grandmother (Annette Badland). However, Tom and his family are actually wizards and are gravely threatened by the arrival on Earth of the alien race Nekross, who, under the command of the Nekross King (voice of Brian Blessed), seek to acquire the planet's magic for themselves. Can Tom and his friends fight them off and protect their magical abilities?

"Water is patient... water just waits. Water always wins!" November 21st 2059, and Bowie Base One - the first human colony on Mars - is destined for destruction in a nuclear explosion. This tragedy is a fixed point in history. The Laws of Time dictate that it cannot - must never - be changed. The Doctor arrives just as a viral life-form escapes from the Martian ice into the base's water supply. A single drop can transform a human into a terrifying monster with the power to infect others. History records that the threat is destroyed along with the base and every human in it. But as his darkest hour comes calling, the Doctor resolves to break the rules as he never has before...

Hipsters have always used clothing, hairstyle, gesture, and slang to mark their distance from consensus culture, yet it is music that has always been the privileged means of cultural disaffiliation, the royal road to hip. Hipness in postwar America became an indelible part of the nation's intellectual and cultural landscape, and during the past half century, hip sensibility has structured self-understanding and self-representation, thought and art, in various recognizable ways. Although hipness is a famously elusive and changeable quality, what remains recognizable throughout its history in American intellectual life is a particular conception of the individual's alienation from society-alienation due not to any specific political wrong but to something more radical, a clash of perception and consciousness. The dominant culture thus constitutes a system bent on foreclosing the creativity, self-awareness, and self-expression by which people might find satisfaction in their lives. The hipster's project is to imagine this system and define himself against it; his task is to resist being stamped in its uniform, squarish mold. Culture then becomes the primary medium of hip resistance rather than political action as such, and this resistance is manifested in aesthetic creation, be that artworks or the very self. Music has stood consistently at the center of the evolving and alienated hipster's self-structuring: every hip subculture at least tags along with some kind of music (as the musically ungifted Beats did with jazz), and for many subcultures music is their raison d'etre. In Dig, author Phil Ford argues that hipness is in fact wedded to music at an altogether deeper level. In hip culture it is sound itself, and the faculty of hearing, that is the privileged part of the sensory experience. Ford's discussion of songs and albums in context of the social and political world illustrates how hip intellectuals conceived of sound as a way of challenging meaning - that which is cognitive and abstract, timeless and placeless - with experience - that which is embodied, concrete and anchored in place and time. Through Charlie Parker's "Ornithology," Ken Nordine's "Sound Museum," Bob Dylan's "Ballad of a Thin Man," and a string of other lucid and illuminating examples, Ford shows why and how music became a central facet of hipness and the counterculture. Shedding new light on an elusive and enigmatic culture, Dig is essential reading for students and scholars of popular music and culture, as well as anyone fascinated by the counterculture movement of the mid-twentieth-century.