DUANE SWIERCZYNSKI – FUN & GAMES

A FAMILY IN TURMOIL. A COUNTRY IN CRISIS. ALL DEBTS MUST BE SETTLED   Sarah Lund is contacted by old flame Mathias Borch from National Intelligence. Borch fears that what first appeared to be a random killing at the docks is the beginning of an assassination attempt on Prime Minister Troels Hartmann. The murder draws attention towards the shipping and oil giant, Zeeland, run by billionaire Robert Zeuthen. When Zeuthen’s 9-year-old daughter, Emilie, is kidnapped the investigation takes on a different dimension as it soon becomes clear that her disappearance is linked to the murder of a young girl in Jutland some years earlier. Hartmann is in the middle of an election campaign, made all the more turbulent because of the mounting financial crisis. He needs Zeeland’s backing. Lund needs to make sense of the clues left by Emilie’s perpetrator before it’s too late. And can she finally face the demons that have long haunted her? Lund’s last case is now adapted from screen to page in the final instalment of The Killing trilogy. This is an adaptation — not a novelisation. So if you’ve seen The Killing III on TV expect plenty of surprises, included a changed cast and an entirely different ending.

To avoid fainting keep repeating, It's only a move ..only a movie ..only a movie ..only a movie If you grew up believing that Planet of the Apes told you all you needed to know about politics, that Slade in Flame was a savage exposé of the pop world, and that The Exorcist revealed the meaning of life, then you probably spent far too many of your formative years at the cinema. Just as likely, you soon realised that there was only one career open to you - you'd have to become a film critic. In It's Only a Movie, the incomparable Mark Kermode takes us into the weird world of a life lived in widescreen. Join him as he embarks on a gut-wrenching journey through the former Soviet Union on the trail of the low-budget horror flick Dark Waters, cringe as he's handbagged by Helen Mirren at the BAFTA awards ceremony, cheer as he gets thrown out of the Cannes Film Festival for heckling in very bad French, and don't forget to gasp as he's shot at while interviewing Werner Herzog in the Hollywood Hills. Written with sardonic wit and wry good humour, this compelling cinematic memoir is genuinely 'inspired by real events'.

Kristen Simmons' fast-paced, gripping YA dystopian series continues in Three. Ember Miller and Chase Jennings are ready to stop running. After weeks spent in hiding as two of the Bureau of Reformation's most wanted criminals, they have finally arrived at the safe house, where they hope to live a safe and quiet existence. And all that's left is smoking ruins. Devastated by the demolition of their last hope, Ember and Chase follow the only thing left to them―tracks leading away from the wreckage. The only sign that there may have been survivors. With their high profile, they know they can't stay out in the open for long. They take shelter in the wilderness and amidst the ruins of abandoned cities as they follow the tracks down the coast, eventually finding refugees from the destroyed safe house. Among them is someone from Chase's past―someone he never thought he'd see again. Banding together, they search for a place to hide, aiming for a settlement a few of them have heard about…a settlement that is rumored to house the nebulous organization known as Three. The very group that has provided Ember with a tiny ray of hope ever since she was first forced on the run. Three is responsible for the huge network of underground safe houses and resistance groups across the country. And they may offer Ember her only chance at telling the world her story. At fighting back.

The suddenness and depth of the recession has raised questions about the workability of capitalism not seen since the 1930s. One of the constraints on recovery is the growing belief that if the old model did not work there is no new one on offer. This book sets out to provide one, arguing that reconstructing a bust financial system is not just a technical question. It cannot be done without a wholescale revision of the wider system and values on which it is based. And fairness must be placed at the heart of the new capitalism for society's future wellbeing. Will Hutton's new book musters brilliant, convincing arguments which will lend favour on both right and left. It is set to be a book which captures the mood of the moment in the same way that THE STATE WE'RE IN did.