A gripping dystopian sci-fi/horror thriller based on an Avenet-Bradley Film, scripted by Simon Clark and Brian Avenet-Bradley, and directed by Laurence and Brian Avenet-Bradley.
Kyra wakes in a mysterious, dungeon-like vault, and soon she will be plunged into a terrifying and dangerous struggle to save her own life.
Nick Aten is back! And his story continues – in a world full of violence, danger, and sudden death. Not only the adults are dangerous…not every young person is automatically an ally.
And soon it will be time to Carry the Can again. A game that is far from fun…and so often lethally explosive.
The nightmare vision of a world descending into brutal violence continues.
Jack and his friends will face adventures and danger. They will be besieged by thousands of murderous adults. But it gets worse…the adults are transforming…changing into something utterly different.
Experience for yourself this striking nightmare vision of a world descending into brutal violence. Everyone over the age of nineteen becomes murderously insane. They begin killing – especially their own children.
Nick is fleeing tens of thousands of homicidally deranged adults who will, if they catch him, tear him apart.
A collection of eight dark short stories containing unsettling themes. They explore manifold manifestations of dark psychology and behaviour, touching on impulsive violence and amorous transgression…with a touch of comedy to even out the mix.
They revisit the ‘Alphabet Wood’ hallucination of 1975, the mushroom-inspired ‘Cult of the Novel’ messianic quest to turn the world on to ‘reality fiction’, and contain updates to the ‘trippy movie’ coverage, including 2022 films Avatar: The Way of Water and the Doctor Strange sequel.
Steve Penhaligon confronts his father symbolically and then for real, and his Empty Chair takes on a life of its own as the cameras roll. The novel holds up a skewed mirror to personal and cultural history, constantly shuffling the relationship between truth and invention.
Obsessional author Nick is penning his ‘masterpiece’, killing off his enemies in the manner of Theatre of Blood. But as he gets deeper and deeper into imagined worlds, can he be sure where fiction ends and real life begins?