On October 8, 1920 the body of a young woman named Kate Lilian Bailey, aged 22, was discovered. It transpired that her husband, George Arthur Bailey, had poisoned his seven-months pregnant wife with prussic acid, and with a whiff of the same chloroform he used to ease her final anguish, sedated his three-year-old daughter whom he placed in bed next to the corpse. Fourteen hours later, he fled the cottage, taking his child to relatives in Swindon before being arrested three days after the murder, at Reading Station with four kinds of poison in his pockets. Police also found a note suggesting that Bailey had intended to kill his little girl as well as himself and his wife. So was this simply the botched suicide pact of a devoted couple that had gone tragically out of control? All would be revealed at a sensational 1921 trial at Aylesbury Assizes; a shabby record of forgery, fraud, theft, false information and army desertion. Bailey - also known to the police as George Cox and Ronald Gilbert Treherne, or Tremayne, was also, it's said, a budding sex criminal and a fantasist of the first order. Although, curiously, he didn't plead insanity at his trial, the accused had a history of mental disorder including nervous breakdowns and several suicide attempts. At his trial - where women would sit on an English murder jury for the first time - Bailey denied all the charges. The prosecution argued that Bailey murdered his wife in order to be free to seduce innocent local girls, and a conviction was swiftly secured after the four day trial. Despite an appeal, Bailey was hanged 'three clear Sundays' after the jury returned with its verdict. George was a milkman and was known as the 'musical milkman' because he could be heard whistling while on his daily rounds.

On October 8th, 1920 the body of a young woman named Kate Lilian Bailey, aged 22, was discovered. It transpired that her husband, George Arthur Bailey, had poisoned his pregnant wife with prussic acid, and sedated his young daughter. George was known as the 'musical milkman' because he could be heard whistling while on his daily milk rounds.

Ever since John Logie Baird first publicly demonstrated this now all-pervasive medium in his small Soho laboratory, the history of television has been littered with remarkable but true tales of the unexpected. Ranging from bizarre stories of actors’ shenanigans to strange but true executive and marketing decisions, and covering over one hundred shows, series and episodes from both behind and in front of the camera in British and American television studios, 'Television's Strangest Moments' is the ultimate tome of TV trivia. Why did the quintessential English sleuth The Saint drive a Swedish car? What happened when Michael Aspel met Nora Batty on the set of the 1960s drama-documentary 'The War Game'? Why is the Halloween chiller 'Ghostwatch' still unofficially banned by the BBC? From live TV suicide to Ricky Martin's disastrous candid camera-style episode involving a young female fan and several cans of dog food, 'Television's Strangest Moments' will keep you hooked when there's nothing worth watching on the box.

Albert Finney was once the screen's incarnation of the new British working-class hero. In the theatre, he was hailed as the new Olivier. Yet, instead of actively pursuing either image, he went his own way. This biography, attempts to probe the real man beneath the many masks of the actor, director, traveller, bon viveur and lover.

This is the first comprehensive study of the English crime play, presenting a survey of 250 plays performed in the London West End between 1900 and 2000. The first part is historically orientated while the second one establishes a tentative poetics of the genre. The third part presents an analysis of some 20 plays adapted from detective fiction.

Andreas's disappearance is a mystery to all, including his inseparable friend Zipp. But as much as the police question him, its not easy for Zipp to come forward with details of the last time he saw his friend: following an old woman into her home, brandishing his knife. Zipp waited anxiously outside but Andreas failed to reappear. Inspector Sejer and his colleague Skarre are baffled but while the confusion in the outside world continues, a chilling and heart-stopping drama is unfolding inside the old woman's home. In a plot in the tradition of Stephen King, Fossum deploys her trademark skill of looking realistically, terrifyingly, into the minds of criminal and victim. Appearances aren't always to be believed, and people are not always what they seem.

After discovering a derelict record plant on the edge of a northern English city, and hearing that it was once visited by David Bowie, Karl Whitney embarks upon a journey to explore the industrial cities of British pop music. Manchester, Liverpool, Newcastle, Leeds, Sheffield, Hull, Glasgow, Belfast, Birmingham, Coventry, Bristol: at various points in the past these cities have all had distinctive and highly identifiable sounds. But how did this happen? What circumstances enabled those sounds to emerge? How did each particular city - its history, its physical form, its accent - influence its music? How were these cities and their music different from each other? And what did they have in common? Hit Factories tells the story of British pop through the cities that shaped it, tracking down the places where music was performed, recorded and sold, and the people - the performers, entrepreneurs, songwriters, producers and fans - who made it all happen. From the venues and recording studios that occupied disused cinemas, churches and abandoned factories to the terraced houses and back rooms of pubs where bands first rehearsed, the terrain of British pop can be retraced with a map in hand and a head filled with music and its many myths.

When a woman who lived alone in the woods is brutally murdered, Inspector Sejer investigates the chief suspect, a schizophrenic loner who recently escaped from a mental institution.