Spectrum Issue 1 June - August 2024

LETTER FROM THE EDITOR

Greetings Fellow Humans!

Welcome to what I hope will be the first of many issues of Spectrum, a sci-fi and fantasy newsletter written for and (hopefully) by the members of Advocacy for All.

The word spectrum has had a lot of different associations over the years, but two of it’s most famous associations is with that of autism and the 1967 classic Captain Scarlet and the Mysterons, so it when it came to thinking up a title for this particular publication, it was quite frankly a no brainer!

Speaking of Captain Scarlet, in this explosive first issue, we will be talking to writer Phil Ford about his work on the short-lived (but highly underrated) reboot series as well as presenting a new short story which was partially inspired by the ethos of Scarlet creator Gerry Anderson’s other work. But if for some reason cult TV and original fiction are not your thing, we will also be reviewing and keeping you up to date on all of the latest TV shows and films.

So behalf of everyone involved, we sincerely hope you enjoy this issue. I know this is a very clichéd thing to say, but it really was a labour of love to produce and much like the good Captain, we hope that it will live to see another day.

Oliver Dallas

ACKNOWLEDGEMENTS

The editor wishes to thank Catherine Dyer, Phil Ford, David Hawthorne, Susannah Moorefinch and other Advocacy for All members for their assistance and contributions to this issue.

NEWS

TWO FOR TWO!

After months of speculation, Bad Wolf and BBC studios have officially confirmed that Star Wars actress Varada Sethu (pictured top right with Ncuti Gatwa and Millie Gibson) will be joining the main cast as the second companion in the second season of Disney/Bad Wolf era Doctor Who.

SHED A TEAR FOR YOUR WITCHER

Netflix have announced that The Witcher will conclude after it’s fifth season and will be filmed back to back with the fourth season which is currently in production.

A GOOD OMEN?

Neil Gaiman has confirmed to Deadline that he has begun writing the third season of Good Omens and that it is due to start filming in January 2025.

CINEMA IS THE WAY

Disney have confirmed that The Mandalorian & Grogu will be aiming for a theatrical release date of May 22nd 2026, making it the first Star Wars film to be released in cinemas since The Rise of Skywalker back in 2019.

THE FUTURE IS BLACK

Netflix have confirmed that Black Mirror will be returning next year for a seventh season. The series will comprise of six episodes, including a sequel to the fan favourite episode USS Callister

ALL TOGETHER OOKY

Netflix have also announced that Billie Piper, Christopher Lloyd, Steve Buscemi, Thandie Newton and Joanna Lumley will be joining the cast of Wednesday: Season 2. Production on the new series has begun and it is expected to air in mid-2025.

BACK IN THE RED?

Red Dwarf’s Robert Lewellyn has reported on his YouTube channel, Fully Charged that three new episodes of popular sci-fi comedy are due to be filmed in late 2024.

THUMBS UP!

Amazon Prime have confirmed that Fallout has been renewed for a second season, following the successful launch of its first season back in April. Production is expected to begin in late 2024.

SUPERPEACE

James Gunn has confirmed that the new Superman film and Peacemaker: Season 2 have both begun filming and will be shot simultaneously. Superman is aiming for a 2025 release date, as is Peacemaker

STANDBY FOR MORE ACTION!

Anderson Entertainment plans to celebrate the 60th anniversary of Stingray with a hugely ambitious multi-platform narrative which will be told across novellas, audiobooks, comics, and a live full-cast performance.

Witness the cunning Titan launch his most audacious plot yet against the World Aquanaut Security Patrol (WASP), forging alliances with sinister undersea races and hijacking Marineville’s latest technological marvel. It’s up to Troy Tempest, along with the valiant Stingray crew, to thwart Titan’s nefarious plans, protect Marineville and prevent the conquest of the surface world.

This brand new epic forms part of Anderson Entertainment’s newly expanded licence with ITV Studios to bring new adventures to life based on Gerry and Sylvia’s classic Supermarionation heroes.

To keep up to speed on all of the news and information about this event, please visit https://www.gerryanderson.com/stingray/

NEARBY CONVENTION DATES

• Big Finish Day, June 8th: Cadogan Hall, London

• Medway Gaming Festival, 15-16th June: Chatham Historic Dockyard.

• Essex Comic Con, 15th June: Lakeside Shopping Centre

• London Film Fair, 16th June: The Royal National Hotel, Bedford Way

• London Comic Mart & London Pop Market, 23rd June: The Royal National Hotel

• London Film and Comic Con, 5th7th July: Olympia, London

• Maidstone Pop Culture Market, 13th July: Maidstone Market Hall

• Fantom Events July Signing Spectacular, 27th July: St. Michael’s Centre, Chiswick

• Starfury Red Dragon 6, 2nd-4th August: Radisson Blu Hotel, Heathrow

• The Surrey Steam Punk Festival, 3rd-4th August: The Station Function Hall, Stoneleigh, Epsom

• Animangapop London, 4th August: The Royal National Hotel

• Croydon Comic Con, 11th August: Westcroft Leisure Centre, Carshalton

• London Comic Mart & London Pop Market, 11th August: The Royal National Hotel

• For the Love of Fantasy, 17th-18th August: ExCel, London

• Frightfest, 22nd-26th August: Odeon Luxe, Leicester Square

• London Anime & Gaming Con, 31st August-1st September: Novotel, London West

FEATURES

INTERVIEW: PHIL FORD

In 2005, Gerry Anderson embarked on what would turn out to be his final production, a CGI reimagining of one of his most beloved Supermarination programmes, Captain Scarlet and the Mysterons. 21 of the 26 New Captain Scarlet episodes were written by Phil Ford, a writer best known for his work on Doctor Who. Phil very kindly took time out of his busy schedule to grant Oliver Dallas this exclusive interview.

So, Phil, how did you become involved with New Captain Scarlet? I was introduced to Gerry by John Needham with whom he had made Space Precinct some years before. That was to work on Eternity, a show they had in development. I wrote two scripts, I think, but unfortunately the show never went into production. That was a couple of years before New Captain Scarlet began production because Gerry was still pursuing the rights. So when Scarlet got the green light Gerry brought me onboard.

Were you given any guidelines as to what you could or couldn't do in your episodes? For example, were you ever encouraged to tone down the darker aspects of the series? Gerry and I always worked very closely on the scripts. I’d come in and pitch an idea to him. We’d discuss and then I’d go away and write it.

Then he would give me his notes after my first draft, we’d discuss them and I would then go away and write the second draft, which was often the one that went into production. So, as I recall, the show really took shape as we went along. Gerry certainly never put any restrictions on the stories we told; he was far too smart for that. And, generally speaking, he never pushed to tone down any of the elements.

Scarlet – even in the original series – was always dark. At its heart was an alien race that killed and then brought back to life individuals to carry out their war with Earth. The Mysteron agents were effectively zombies.

To be honest, I’m astonished by some of the things we got away with. But there was one story that Gerry ultimately pulled because he thought one element was too scary. That was House of Dolls in which Scarlet, his sister and nephew find themselves taking shelter after a Mysteron attack at the home of an elderly toy maker which among other things is filled with marionettes. It was, of course, intended as a tribute to Gerry himself. The Mysterons take over the marionettes which get murderous. But it was a Mysteronpossessed teddy bear that overstepped the line as far as Gerry was concerned. And he was probably right. The story was replaced by Grey Skulls which is one of my favourite episodes.

Because the series was made using CGI, was there ever a temptation to be more ambitious with the storylines? Or alternatively, did it create any constraints? We were always ambitious with the stories. I always thought of each episode as a 23 minute action movie, usually kicking off with a big action sequence. We’d crash straight into the action. We’d have to because we only had 23 minutes!

But even if everything happens inside a computer, there’s still a cost implication, I came to learn. Which is why even when there’s a car chase in the middle of New York there’s very little traffic about! There were also technical difficulties in building some things - especially water. The animation teams we had working on the production were very talented and always pushing the envelope, however, which is why we were eventually able to do episodes like Best of Enemies and Proteus which heavily featured water.

In fact, although there are certainly some dodgy moments across the series, a lot of the CGI animation has stood the test of time extremely well, I’d say.

Another thing which has stood the test of time extremely well are the characters. Was it a conscious decision of you and Gerry to flesh them all out as much as you did? I come from a drama background where character is-

-everything and I wanted to bring that to the show. Certainly, Gerry who – famously –was always frustrated by the limitations of his puppets, was keen to make everybody, including Black, as believable as human beings as we could.

And who was your favourite character to write for? That’s a hard one because all the characters had their own traits. But, obviously Scarlet. And I loved Blue’s attitude, and portraying the friendship between them. There’s an episode where Scarlet is tending injured Blue when it looks certain he’s going to die.

I like to think it’s as emotionally strong as any similar scene done live action.

And of course the bad guy always gets the best lines. In the original series Black rarely speaks, but in our show he gets some delicious lines. The villain is always fun to write for.

So how did you feel about the poor treatment and eventual cancellation of the series? It must’ve been frustrating for you to not see all that hard work get the chance that it properly deserved. ITV obviously had its reasons for showing it in Ministry of Mayhem [A Saturday morning entertainment programme - Ed.]. I’m just very happy that now for the first time people can see the show the way it was intended on ITVX. I think Gerry would be delighted by that.

If there had been a third series, how would the story have continued? And would you have gone one step further than the original series ever did and actually provide a resolution to the Human/Mysteron conflict? , the last episode of the second series, there might be saved from his Mysteron masters. Although ultimately he remains under their control, I think it would have been fun to play more with that and with the idea of some of Black

The Achilles Messenger established the existence of a Mysteron faction that didn’t want the war with Earth, a kind of resistance movement, and I’d have loved to explore that – and the very nature of the Mysterons – more.

But resolve the conflict? Never. I’d have liked to see the war go on for centuries. Scarlet is indestructible, That means he doesn’t age. How cool would it have been to see Scarlet and Black still slugging it out as immortals in a never-ending war whilst everyone they had known (and loved) dies of old age around them?

Very cool! But that wasn’t quite the end of your association with science fiction, because shortly after Captain Scarlet you went on to write for Doctor Who and it’s various spin-offs (including the recent Tales of the TARDIS series). Was it your work on Scarlet that attracted the attention of Russell T. Davies, or was it just a happy coincidence that you went from working on one beloved science fiction franchise to another? Russell and Julie Gardner [Producer of Doctor WhoEd.] were both fans of the show, so it clearly played a part on my moving into the Whoniverse.

Despite the numerous set backs that you encountered along the way, are you proud of the work that you did on the series? Enormously proud! Both from a writing point of view and the technical achievement of the finished show. As a kid, Captain Scarlet was my favourite of Gerry’s puppet shows, probably because of the dark territory it inhabited. I can’t believe how lucky I was to actually work on a new version of my favourite series. And of course to work with Gerry was a huge privilege for which I will always be grateful. And I will always be grateful to you for lending me your valuable time, Phil, thank you!

New Captain Scarlet is available to watch on ITVX.

FICTION

PURPOSE

By Catherine Dyer

Booting

…

Running initial set-up protocols

Running initial diagnostics

Loading personality model

… Where am I?

Who am I?

What am I for?

The room is large, and cold, and dark. The air is still. Despite the paucity of visual input I can just about identify the sight of large machines all around me. They are inactive.

I try to move my arms and legs but they are bound in place. Although this is my very first experience, I nonetheless possess a memory telling my that the bonds should release now I am awake. At yet they have not.

I scan for network connections in an attempt to determine if I am alone in this place. If this facility ever had a network of its own it is inactive, but I detect a faint ping from a lone nearby electronic device. I am unable to connect, but can determine it is a mobile communications device of some description.

I am not alone.

I call out in the hope that the mystery person will hear. It is a strange experience to

“Today we’re exploring ‘Facility 14’, an abandoned robot factory from the war! Back then this place was churning out hundreds of robot soldiers a day, but now its machines are silent, sleeping beneath a blanket of dusk.”

“How poetic was that, chat? Anyway let’s check out the wartime factory architecture before some corp buys this place up for redevelopment, shall we?”

“As you can see, these factories were built very quickly so a lot of the structure is made from prefabricated parts. So not the best looking industrial architecture we’ve seen on Euphie’s Urban Exploration. Still, it has a certain dilapidated charm to it, don’t you think?”

“As you can see, after the entrance area the first room we come across is a control room, overlooking the main production hall. A lot of people are fans of the aesthetic of these war-era control boards and I think this room is a good example of why.”

“Now, taking care not to knock anythingnone of the machines here should be working but better safe than sorry - we reach a big glass window where you can get your first glimpse of the factory machinery. It’s hard to see well with the floodlights off though.”

“Now, lets see if we can find a way down so I can give you all a closer look! Here on the right of the room you can see we have some doors. Might as well start by trying - wait, what? Did you hear that, chat? Was that a voice?”

“There there shouldn’t be other people here. I need to leave, uh, sorry for the, uh, short stream I guess.”

I spent a total of 27.52 hours conscious in that abandoned factory before I was released.

I have now learned that I was constructed as a soldier for a war that ended before I could be activated. I am only awake because someone trespassed in the abandoned factory. Perhaps some day I should find that person and thank them.

I am currently sat in a very bright, very white, very clean laboratory for scientists to look me over while people decide what is to be done with me.

One researcher asked me what I would choose to do given the choice, but I could not answer. I know I was constructed for the purpose of fighting but fighting is to be avoided in a time of peace. So what purpose could I possibly have now?

***

It has been decided my cognitive systems are sufficiently advanced that I am entitled to the same rights as a biological citizen. Accordingly I have been found a place of residence.

It is a small, plain apartment, its walls painted in a light, desaturated blue which I am told is a “relaxing colour”. I do not know what to do with it as I need neither sleep nor food. I suppose I should be thankful for a safe place to recharge my batteries.

I also do not know what to do with the rest of my time. I should perhaps be looking for a “job” or “leisure activities” like a human would, but I do not know how to do any of those things.

I am programmed with basic communications skills and combat routines. I know nothing else.

So I sit in my little room and do nothing. I consider connecting to a network to seek out sources of information on how I might acquire new skills but the motivation seems to elude me.

Everything seems so bland.

***

I have sat in this apartment not knowing what to do for a total of 9 consecutive days. I expect my mind was designed primarily to follow orders and is thus not well suited for independence.

According to the view from my window it is a dry but overcast day. A gentle breeze appears to be blowing - I can tell from the way the leaves are moving on the trees that line the road outside.

Beyond the trees is another block of flats. It is a grey rectangle of a building with many windows. Sometimes I see the silhouette of a person appear in one of them.

Today I decide I should make at least a token effort to perform an activity other than looking out my apartment window, so I head outside for a walk. I understand it is advisable to do so periodically to prevent my joints from seizing up.

Outside the temperature is lower than inside. I find myself unable to enjoy going for a walk in the way I imagine a human would. There are not many humans about, but those that are staring at me, for I must be an unusual sight.

Suddenly I detect a major increase in thermal energy from a house to my left. A fire appears to have broken out.

Without thinking, I break through the door of the house. The temperature is highly elevated and visibility is low. Nonetheless I am able to detect the sound of the residents’ panicked breathing behind the sounds of combustion.

Navigating by sound, I locate each human and, shielding them from the flames with my body, carry them outside one by one. By the time the fire service arrives all of the residents are safely away from the flames.

The firemen congratulate me on my efforts. Have I found a role that I am suitable to perform?

REVIEWS

FILM: KINGDOM OF THE PLANET OF THE APES (2024)

If you’ll pardon the pun The Planet of the Apes franchise is a bit of a strange beast. Whereas other long running franchises will rely solely on the iconography and nostalgia of past instalments to sell sequels (Looking at you Star Wars!), each new Planet of the Apes film takes what has gone before whether it was considered good or bad, and builds on it to make something new. Because the studio and filmmakers don’t pander to fan backlash by ‘course correcting’ with crowd-pleasing cameos and references (again, looking at you Star Wars), I think this is why the franchise continues to gain a lot of respect from both critics and general audiences alike. The fact that this latest instalment is currently No.1 at the international box office and the fourth biggest selling film of this year proves that people will still go out of their way to see big franchise films if they are well written and made.

Set 300 years after the events of the last film (War), the apes are now in full control of the planet and have formed clans, whilst the human survivors have devolved into feral like animals. This sequel follows Noa and his quest save his clan from a mad tyrant who is using them as slave labour in order to open a military bunker.

Aswell as the story, another element that has been carried on from the previous film is the use of motion capture technology (recording the movements of the actors to use as reference for the CGI animation), but much like the titular apes themselves, the technology has advanced so much since 2017 that the mo-cap of that time now looks primitive in comparison. The apes in Kingdom look so believable and expressive that when you put them side by-

-side with the human actors, you don’t look twice. For the first time, audiences will feel like they’re watching a film starring real-life talking apes and not CGI ones.

My only real complaint is that there are too many subplots going on and even with a two and a half hour runtime, they feel either rushed or unfulfilled. I wanted to see more of Noa’s clan, I wanted to know more about William H. Macey’s character, I wanted to spend more time with Freya Allan’s. But maybe too much of those good things would’ve been a bad thing. Director, Wes Ball has intended this film to be the start of a new trilogy and given the way that the film ended, I don’t believe that this will be the last that we see of these characters.

That minor nit pick aside, if your looking for a summer blockbuster that will treat you with a modicum of intelligence and respect, then you can’t go too wrong with this.

Kingdom of the Planet of the Apes is available to watch in cinemas now.

Words: Oliver Dallas

TV: THE 3 BODY PROBLEM (2024)

A flawed yet compelling spectacle. Netflix's adaptation of The 3 Body Problem, which has been spearheaded by David Benioff and D.B. Weiss of A Game of Thrones fame, is an enthralling experience that manages to capture the intricate essence of the acclaimed sci-fi novel. The series also makes notable use of several Game of Thrones alumni, creating a familiar feeling for fans of the earlier series. The series shines particularly through its characters. Sophon, with her AI voice, which is simultaneously calm and terrifying is an exquisite portrayal that captivates and chills. Saul’s character arc, superbly acted, offers a nuanced look into personal dilemmas and manipulation, though some subplots around his character could feel slightly off-tone.

The 3 Body Problem is laden with allegories, notably highlighting the complexities around climate change/ capitalism and humanity's introspection on Earth’s degradation, irrespective of societal systems. It crafts an allegorical narrative about the dire consequences of human actions and the lengths people will go to rectify them, much like a parent who turns their child over to the authorities hoping for reformation. This metaphor parallels Earth's need for self-rescue, posing poignant existential questions: What is the lesser evil, dying by our own follies or at the hands of alien forces?

Despite its profound themes, the show is incredibly binge-worthy, I completed it in less than a week due to its gripping narrative and stunning visuals. Yes, it does require a generous suspension of disbelief at times, and some story arcs, like the unrequited romance, may seem to detract-

-from the core narrative. However, these do not significantly mar the overall experience. The series does occasionally veer towards Hollywood sensationalism, but it always remains entertaining, filled with moments that are both thought-provoking and visually spectacular. It’s a complex tapestry that occasionally gets tangled in its ambitions but nonetheless offers a rich, immersive world that’s hard to step away from.

In essence, The 3 Body Problem is a visually and intellectually stimulating journey that, despite its flaws, is thoroughly engaging. It's a testament to the series' quality that even with its narrative missteps, it remains a compelling watch. For those willing to dive into its tumultuous waters, the series promises a rewarding voyage filled with beauty, drama, and introspection.

The 3 Body Problem is available to watch on Netflix now.

Words: An Altogether Autistic Member

TV: DOCTOR WHO: SEASON

ONE: EPISODES 1 – 3 + CHRISTMAS SPECIAL (2023/4)

After two years of intermittent (and varying in quality) specials, Doctor Who has finally returned for a full new season of adventures. Aswell as introducing a new Doctor and companion, this new era of the show (co produced with Bad Wolf and Disney studios) also has the added pressure of having to justify itself in the age of online streaming and keyboard warriors who will use ridiculous buzzwords such as ’woke’ to try and justify their bigotry.

Luckily for the rest of us, Russell T. Davies is back in charge as showrunner, and with the casting of Ncuti Gatwa as the Fifteenth Doctor, he has effectively made it clear to all of those bigots that - whether they like it or not, this new era will be just as inclusive and forward thinking as the previous fourteen. And even if Gatwa is a so called ‘diversity hire’ (which he’s not) then he is a revelatory one who exudes all of the charm, wit, and bravery of his predecessors. To put it simply, he IS the Doctor

And although she hasn’t been given anything substantial to do yet, Millie Gibson is also instantly likeable as new companion, Ruby Sunday. Her on and off screen chemistry with Gatwa is infectious to watch and I can’t wait to see how it will develop over the rest of the series.

Another of one of Russell’s decisions which has proved controversial to some is his decision to lean more overtly into fantasy and the supernatural than the show has ever dared to do before. Following the return of the Celestial Toymaker in last year’s 60th anniversary specials, the Doctor and Ruby have so far encountered baby snatching goblins, a God like being-

-who feeds on music and a literal bogeyman, a far cry from the mechanical Daleks and Cybermen of the past.

That’s not to say that the science has completely disappeared from the show’s fiction (as demonstrated in Steven Moffat’s superb anti capitalism piece, Boom), but this move into a more fantastical direction has opened up new storytelling possibilities and refreshed what is now a sixty one year old format. And although a lot of dedicated fans will also take issue with the more light hearted tone of some of the new episodes, it has made it suitable family viewing again, something which it arguably hasn’t been since the Matt Smith era.

But love it or loathe it, Doctor Who is back, and it is alive and twisting again!

The season so far is available to watch on BBC iPlayer now. New episodes will be available to watch on iPlayer every Saturday from Midnight.

Words: Oliver Dallas

TV: DOCTOR WHO: THE DALEKS IN COLOUR (2023)

The Daleks is one of the most important stories in Doctor Who‘s history. Not only did it save the programme from a very early cancellation, but it also set the template for the sixty one years worth of adventures that followed on from it. HOWEVER, at a whopping 175 minutes, the story in its original presentation (seven 25-minute episodes in black and white) is intimidating for any audience to sit through, let alone a modern one.

In response, Bad Wolf Studios not only re-edited the story into a 75-minute feature with new scenes and incidental music, but colourised it for a whole new generation of fans to enjoy. But is this modern reinterpretation a worthy new addition to the Whoniverse? Well, yes and no…

Starting off with the positives, I think that it definitely succeeded in what it set out to do, being more accessible for newcomers. The choice of colours used in the colourisation, whilst not entirely accurate to how it would’ve really looked back in 1963, are visually arresting and breath new life into this story, whether it’s your first or millionth time viewing it. For me, it was undoubtedly the highlight of this production and the reason why I will be revisiting it for years to come.

Which brings me onto the negatives, i.e., the editing and pacing… Although the story started off well, with the editor only keeping in material that was essential to moving the story along, the editing very quickly descended into Quantum of Solace levels of incomprehensibility, with whiplash inducing time jumps between scenes, making the action extremely hard to follow at times and random flashbacks to events that happened only minutes before.

One of the most egregious examples of his schizophrenic approach to re-editing was the way that he reinterpreted the iconic escape scene from episode four. Instead of a being a tense, nail-biting sequence in which our heroes have to rely solely on their wit and ingenuity to stay alive, their escape from the Dalek city is now presented as a cheesy Ocean’s Eleven styled montage, complete with an OTT music score.

I wasn’t expecting this new edit to retain absolutely everything from the original, but I was expecting something a little bit more polished and cohesive. I got the impression that the editor either ran out of time or was so concerned with losing the target audience’s attention that they deliberately edited it into something that they would expect to find on TikTok or YouTube. Whatever the reason for his choices, I was not a fan, but then again, I went into this fully aware that it hadn’t been edited with fans like me in mind. As long as it succeeded in attracting new audiences to Classic era Who, then I am more than happy for it to sit alongside the original as an option rather than as a replacement.

Doctor Who: The Daleks in Colour is available to watch on BBC iPlayer now.

Words: Oliver Dallas

BOOKS: DOCTOR WHO: THE 60TH ANNIVERSARY SPECIALS (2023)

Regardless of what everyone thought of the 60th anniversary specials, it can’t be denied that they weren’t original. Instead of being a weightless nostalgia fest told over three weeks, we were given three standalone adventures that celebrated the range and scope of the series as well as it’s back history. Over the course of those three weeks, we were treated to an adaptation of an iconic comic book story, a claustrophobic horror piece featuring only the main cast, and a refreshing new take on the tried and tested multi-Doctor formula.

Another unexpected surprise during the festivities was the announcement that not only would the three specials receive the novelisation treatment, but they would also be released five days after their respective broadcasts, a new first for the series. But will the release of them so soon after transmission improve or lessen their impact?

Having been a fan favourite ever since it was first published in the pages of Doctor Who Magazine back in 1980, it was a no brainer of BBC Books to assign the task of writing what is now the third adaptation of The Star Beast story to a fan. Notorious for using lots of continuity references in his work, author Gary Russel’s adaptation features the return of an obscure minor character from the 2008 episode The Stolen Earth, the cameo of a major character from the original comic book story and (of all things) a sneaky little reference to the 2009 special Planet of the Dead. Although it doesn’t seem like a lot, the new additions really do help to make the special feel just that bit more special.

Disappointingly, the novel based on the second (and my personal favourite) special Wild Blue Yonder, offers very little in the way of expansion. But what it lacks in originality, it more than makes up for in accuracy. Known primarily in the industry for his horror work, writer Mark Morris was the perfect choice to adapt this story. Every creak and clank heard-

-on screen is accounted for, making the story just as scary to read as it was to watch. Wild Blue Yonder might not be an absolutely essential read, but it’s certainly not a wasted one either.

Famous for being an episode that broke a lot of the series’ rules and conventions, James Goss’ novelisation of The Giggle is also a bit of a rulebreaker. Once the identity of the villain behind the titular pandemic is revealed, they essentially hijack the book, turning the experience into a game that will, in no doubt, encourage multiple re-readings. As someone who prefers the novelisations to be more expansive, The Giggle certainly delivered. Not only is it the best of the three, but it’s one of the very best that we’ve had so far in the range.

Much like the episodes they’re adapted from, these novelisations are a celebration of the range’s malleability. You have one that enhances the source material, one which is an incredibly faithful retelling and one that totally reinvents the genre. As such, they deserve just as much admiration and acclaim as their television counterparts.

The 60th Anniversary Special novelisations are available to purchase individually in paperback and eBook format now.

Words: Oliver Dallas

TV AND FILM GUIDE

JUNE

TV

Star Wars: The Acolyte: Set 100 years before the events of The Phantom Menace, The Acolyte sees a respected Jedi Master conflict with a former Padawan learner and reveal sinister forces. Starring Amanda Stenberg and Lee Jung-jae, the series will be available to watch on Disney+ from June 4th.

Sweet Tooth: Season 3: The third series of the critically acclaimed fantasy drama series will be available to watch on Netflix from Thursday 6th.

The Boys: Season 4: The fourth series of the satirical superhero series starring Karl Urban and Jack Quaid will be available to watch on Amazon Prime from June 13th.

Joko Anwar's Nightmares and Daydreams: Ario Bayu and Marissa Anita star in seven mind-bending tales of the supernatural which will be available to watch on Netflix from Friday 14th.

House of the Dragon: Season 2: Starring Milly Alcock, Matt Smith and Olivia Cooke (pictured below), the hotly anticipated second series of the Game of Thrones prequel will finally be available to watch on NOW TV from Sunday 16th.

Severance: Season 2: The second series of the Emmy nominated phycological thriller starring Adam Scott and directed by Ben Stiller will be available to watch on Apple TV+ from Friday 21st.

Supacell: Season 1: Tosin Cole and Eddie Marsan star in a new drama about a group of ordinary young black people with super powers. The series will be available to watch on Netflix from Friday 27th.

FILMS

The Exorcism: Supernatural horror starring Russell Crowe as an actor who’s mind begins to unravel during the making of a film. Opens Friday 7th.

The Watchers: Ishana Night Shyamalan (daughter of M. Night) makes her directorial debut with a supernatural horror starring Dakota Fanning. Opens Friday 7th.

Latency: Sasha Luss stars as a gamer who is being secretly manipulated by a new form of AI. Opens Friday 14th.

A Quiet Place: Day One: A spin-off prequel to the popular A Quiet Place franchise starring Lupita Nyong’o (pictured below). Opens Friday 28th.

JULY

TV

T.P BON: Season 2: Anime adaptation of the Japanese manga series of the same name. Available to watch on Netflix from Wednesday 17th.

Time Bandits: Season 1: Taika Waititi’s remake of the 1981 cult film will be available to watch on Apple TV+ from Wednesday 21st.

FILMS

Twisters: A sequel to the 1996 original starring Daisy Edgar Jones, Glen Powell and Anthony Ramos. Opens Friday 19th.

Deadpool & Wolverine: An action/comedy superhero film featuring the long awaited return of both Ryan Reynolds as Deadpool and Hugh Jackman as Wolverine. Opens Friday 26th.

AUGUST

TV

Batman: Caped Crusader: Season 1: The animated reimagining of the iconic superhero will be available to watch on Amazon Prime from Thursday 1st.

The Umbrella Academy: Season 4: The fourth and final series of the popular superhero series starring Elliott Page and Tom Hopper will be available to watch on Netflix from Thursday 8th.

The Lord of the Rings: The Ring of Power: Season 2: Based on the legendary books by J.R. Tolkien, the second season will be available to watch on Amazon Prime from Thursday 29th.

Terminator Zero: Season 1: An anime series based on the popular film franchise will be available to watch on Netflix from Thursday 29th.

FILMS

Borderlands: A big screen adaptation of the popular video game series starring Cate Blanchette, Kevin Hart, Jack Black and Jamie Lee Curtis. Opens Friday 9th

Sky Peals: Faraz Ayub stars as a lonely fast food restaurant worker who believes that he had descended from aliens. Opens Friday 9th.

Alien: Romulus: The seventh instalment in the iconic Alien franchise starring Cailee Spaeny and David Jonsson. Opens Friday 16th.

The Crow: A reboot/remake of the 1994 cult classic starring Bill Skarsgård. Opens Friday 23rd.

Kraven the Hunter: A superhero film starring Aaron Taylor-Johnson and Russell Crowe. Opens Friday 30th.