Father of two, David Jennings is divorced and working as a professor of literature in Singapore. Out of the blue he receives a phone call from his ex-wife, Anne. Their daughter, Kate, a promising university student, has been found dead on a bleak hillside outside Brighton. The police are convinced that she has taken her own life. The coroner's Open Verdict encourages him to start his own, guilt-ridden investigations into her death. As Jennings journeys into his daughter's past, the harrowing mission takes us to London, Bogota and the English coastline, in a search to understand 'Why?' But what if the truth is worse than not knowing?

Rodney Marshall examines Northampton Town's 2017-18 season, in addition to aspects of football which reach beyond NTFC: football as business; fan ownership; the ever-evolving power of social media; the mental health and safeguarding of players; racism, football franchises and B teams; the demise of the FA Cup; glass ceilings and transfer windows; referees, laws and the use of technology; ground safety and redevelopment; the changing nature of towns and football clubs in the 21st century.

Subversive Champagne re-examines the 1960s cult television series, The Avengers, through a close analysis of 25 filmed episodes. The book examines how The Avengers - during the classic Emma Peel era (1964-1967) - was continually shifting the boundaries of audience expectation, defying both genre classification and viewers' traditional desire for kitchen sink drama. Subversive Champagne centres on eighteen episodes from the monochrome Peel Season 4 - widely acknowledged as the artistic pinnacle of the series. It is in this era - caught between video-tape and colour film - that The Avengers was undergoing arguably its most profound stylistic and thematic transitions, from mild eccentricity to something genuinely experimental. The author extends his journey into the exhilarating but 'uneven' colour Season 5, adding chapters on seven more episodes, thus allowing us to explore the entire Emma Peel era. Entertaining froth or groundbreaking art? Rediscover the most iconic show in television history.

The Avengers was a unique, genre-defying television series which blurred the traditional boundaries between 'light entertainment' and disturbing drama. It was a product of the constantly-evolving 1960s yet retains a timeless charm. The monochrome filmed Emma Peel season had established a cult following for a series which became an intrinsic part of the 'Swinging Sixties'. Backed by US dollars, the show was now filmed 'in color' and Avengerland becomes stranger and more playful than ever: Steed is shrunk to the size of a desk pad, forced to evade a machine-gun-toting nanny; Emma Peel is tortured in a medieval ducking stool and turned into a living cybernaut. Mrs. Peel, We're Needed draws on the knowledge of a broad range of experts and fans of The Avengers as it explores the wonderfully mad Technicolor world of Emma Peel. "The Avengers in pop culture is The Avengers with Diana Rigg and Patrick Macnee, in colour. It is this season that defines the show." (Piers Johnson)

Lew Grade's pioneering ITC company created a production line of quirky new drama series for British Independent Television in the 1960s, fulfilling a vision of providing entertaining, colour film series for a global market. In the first of a proposed series of critical guides, Avengers expert Rodney Marshall and television historian Matthew Lee explore ITC's Man in a Suitcase. Their book offers new, inventive readings of all thirty episodes. Man in a Suitcase is a product of its mid-1960s context, exploring themes such as Cold War espionage and Swinging Sixties playgirls, yet most of the stories also have a timeless feel to them: political corruption, blackmail, murder, missing persons or money, art theft. Despite the private detective/bounty hunter formula, there are welcome elements of playfulness, quirkiness, surrealism and a healthy abundance of social and political critique. Man in a Suitcase cannot be simplistically labelled as 'light entertainment' given the dark subject matter and its treatment.

In the mid-1980s, in Edinburgh, Ian Rankin was hatching a plot for a 'crime thriller' from his student digs. Knots & Crosses - like its frayed protagonist John Rebus - was rough around the edges but marked a promising debut. More than a quarter of a century later, Rankin and Rebus have a global following. The series has been both critically acclaimed and commercially popular. Detective John Rebus is anything but conventional. The same can be said of Ian Rankin's innovative texts which take crime fiction far beyond formulaic genre, producing radical, disruptive, borderline texts. In the first ever full-length study of all twenty-one Rebus novels, Rodney Marshall argues that Rankin's fiction continues to break new ground, blurring the boundaries between traditional detective novel and modern literature. November 2016 fifth edition: now includes an exclusive eighteen page interview with Ian Rankin and a chapter on Rather Be The Devil, Rankin's new Rebus novel.

The Avengers was a unique, genre-defying television series which blurred the traditional boundaries between 'light entertainment' and disturbing drama. It was a product of the constantly-evolving 1960s yet retains a timeless charm. The creation of The New Avengers, in 1976, saw John Steed re-emerge, alongside two younger co-leads: sophisticated action girl Purdey and Gambit, a 'hard man' with a soft centre. The cultural context had changed - including the technology, music, fashions, cars, fighting styles and television drama itself - but Avengerland was able to re-establish itself. Nazi invaders, a third wave of cybernauts, Hitchcockian killer birds, a sleeping city, giant rat, a deadly health spa, a skyscraper with a destructive mind...The 1970s series is, paradoxically, both new yet also part of the rich, innovative Avengers history. Avengerland Regained draws on the knowledge of a broad range of experts and fans as it explores the final vintage of The Avengers.

Television drama is frequently marginalised as a piece of fleeting popular culture rather than 'a more lasting art form'. The emergence of television studies has helped to question this mind-set. Innovative television drama can rival any field of the arts in terms of material worthy of critical exploration. This series of books focuses on 'outstanding' examples of British television dramas, centring on a single episode in an attempt to explain what makes both the episode in particular, and the series in general, remarkable. The social context, script, characters sets/locations, music, and direction are all focal points. This Classic British Television Drama (CBTD) series of books continues with an exploration of Man in a Suitcase's episode Day of Execution. Elements of Cold War espionage, American gumshoe, British thriller and 'Swinging' London combine in a series which is hard to define and was, arguably, ahead of its time.

Father of two, David Jennings is divorced and working as a professor of literature in Singapore. Out of the blue he receives a phone call from his ex-wife, Anne. Their daughter, Kate, a promising university student, has been found dead on a bleak hillside outside Brighton. The police are convinced that she has taken her own life. The coroner's Open Verdict encourages him to start his own, guilt-ridden investigations into her death. As Jennings journeys into his daughter's past, the harrowing mission takes us to London, Bogota and the English coastline, in a search to understand 'Why?' But what if the truth is worse than not knowing?

Subversive Champagne re-examines the 1960s cult television series, The Avengers, through a close analysis of 25 filmed episodes. The book examines how The Avengers - during the classic Emma Peel era (1964-1967) - was continually shifting the boundaries of audience expectation, defying both genre classification and viewers' traditional desire for kitchen sink drama. Subversive Champagne centres on eighteen episodes from the monochrome Peel Season 4 - widely acknowledged as the artistic pinnacle of the series. It is in this era - caught between video-tape and colour film - that The Avengers was undergoing arguably its most profound stylistic and thematic transitions, from mild eccentricity to something genuinely experimental. The author extends his journey into the exhilarating but 'uneven' colour Season 5, adding chapters on seven more episodes, thus allowing us to explore the entire Emma Peel era. Entertaining froth or groundbreaking art? Rediscover the most iconic show in television history.