Alex McGregor

Dana, daughter of the only survivor of a massacre in 1993, is going on a weekend trip with her friends. After their car breaks down in the very same town where her mother once fought the Driller Killer, Dana and her friends must come face-to-face with the man who has haunted her mother’s life for the past 30 years.

A boy haunted by visions of a parallel world aids its disillusioned guardian in preventing the destruction of the nexus of universes known as the Dark Tower.

This 90-minute factual drama goes behind the scenes of the hit video game Grand Theft Auto, arguably the greatest British coding success since Bletchley Park. The fastest-selling entertainment product in history comes not from Silicon Valley, but is driven by a bunch of British game designers. Friends since their school days, they are led by the game's mastermind-designer, Sam Houser. By 2002, Sam and his creative team have constructed for their fans a vast virtual world, teeming with a high-octane mix of criminal characters, lethal weapons and outrageous storylines. Here you can even shape and sculpt your avatar, crafting their character and appearance to your personal preference. This drama is for an adult audience and has not been authorised by the producers of Grand Theft Auto. Rather, it is based on court documents and interviews with many of those involved in the real events behind this compelling story.

As Spud Milton continues his awkward stagger through adolescence, he learns one of life's most important lessons: When dealing with women and cretins, nothing is ever quite as it seems. "I'm practically a man in most areas," writes Spud confidently on his sixteenth birthday. The year is 1992 and, in South Africa, radical change is in the air. The country may be on the bumpy road to an uncertain future, but Spud Milton is hoping for a smooth ride as he returns to boarding school as a senior. Instead, he discovers that his vindictive arch enemy is back to taunt him and that a garrulous Malawian has taken residence in his dormitory, along with the regular inmates and misfits he calls friends. Spud's world has never seemed less certain; he attempts to master Shakespeare, wrestles constantly with his God, and the power of negative thinking, and develops an aversion to fried fish after a shocking discovery about his grandmother, Wombat.

In a future where water is scarce, a farmer defends his land and hopes to rejuvenate his parched soil. However, his daughter's boyfriend schemes to steal the land for himself.

The year is 1991, and Spud Milton's long walk to manhood is still creeping along at an unnervingly slow pace. Approaching the ripe old age of fifteen and still no signs of the much anticipated ball-drop, Spud is coming to terms with the fact that he may well be a freak of nature. With a mother hell-bent on emigrating, a father making a killing out of selling homemade moonshine, and a demented grandmother called Wombat, the new year seems to offer little except extreme embarrassment and more mortifying Milton madness. But Spud is returning to a boarding school where he is no longer the youngest or the smallest. His dormitory mates, known as the Crazy Eight, have an unusual new member and his house has a new clutch of first years (the Normal Seven). If Spud thinks his second year will be a breeze, however, he is seriously mistaken.