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Nominated in Awards Chronology 661 the same category were David Giles’s The Barchester Chronicles and Simon Langton’s Smiley’s People. The winners of the BAFTA Awards for best actor and actress both shone under Langton’s direction of Smiley’s People: Alec Guinness and Beryl Reid. Golden Globes: Winning the Golden Globe for best TV movie or miniseries was Brideshead Revisited, directed by Michael Lindsay-Hogg and Charles Sturridge. Also nominated in the same category were John Erman’s Eleanor, First Lady of the World (CBS), Robert Greenwald’s In the Custody of Strangers (ABC), Roger Young’s Two of a Kind (CBS), and Alan Gibson’s A Woman Called Golda, for which Ingrid Bergman won a Golden Globe. Peabody Awards: The BBC and Operation Primetime won a Peabody for the presentation of Simon Langton’s Smiley’s People. Hunt’s Skeezer with Karen Valentine, and Linda Yellen’s Prisoner Without a Name, Cell Without a Number, starring Roy Scheider as Argentine political prisoner Jacobo Timerman. Its competition included Waris Hussein’s Little Gloria. Happy at Last (NBC), William A. Graham’s MADD: Mothers Against Drink Drivers (NBC), Clive Donner’s The Scarlet Pimpernel (CBS), and John Erman’s Who Will Love My Children? (ABC). The syndicated Life and Adventures of Nicholas Nickleby, directed by the team of John Caird, Jim Goddard, and Trevor Nunn, won the Emmy for outstanding limited series. Also nominated were Simon Langton’s Smiley’s People (syndicated), Daryl Duke’s The Thorn Birds (ABC), Dan Curtis’s mammoth recreation of World War II’s eve, The Winds of War (ABC), and To Serve Them All My Days on Masterpiece Theatre (PBS). Directing this last miniseries were Ronald Wilson, Peter Jefferies, and Terence Dudley. John Erman won the Emmy for outstanding direction of a limited series or special for Who Will Love My Children. Also nominated were Curtis, Duke, Langton, and Zwick. In The Thorn Birds, Duke directed three of the Emmy-winning performances in a limited series or special: lead actress Barbara Stanwyck and the supportingcategory winners, Richard Kiley and Jean Simmons. Tommy Lee Jones won the Emmy for best lead actor under Lawrence Schiller’s direction in The Executioner’s Song (NBC). DGA Awards: Winning the DGA Award for directorial achievement in dramatic specials was Edward Zwick’s Special Bulletin. Nominated in the same category were Daryl Duke’s The Thorn Birds and John Erman’s Who Will Love My Children.


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There’s a great 2006 animated film version of the book that blurs representations of reality and fantasy in very interesting ways onscreen. Television, computers, virtual reality: science fiction writers have taken inspiration from invention, suggesting that these new forms of escape might also become addictive. In Strange Days (1995) ex-cop Lenny Nero has become a seller of SQUID recordings. These tapes allow the user to directly experience the emotions and events of another; it’s not unlike a form of virtual reality, twinned with the element of escape associated with psychoactive drugs. There’s a black market trade in the worst kind of experiences. People become addicted to violent imagery, and don’t care who suffers in their desire to get it. Ryan Lambie has already written brilliantly on this site all about why Videodrome is seriously noir, so I’ll leave the description up to him. What if light itself was the drug that everyone craves. Oliver Langmead’s epic poem Dark Star (2015) is set on a planet that orbits a sun emitting no light, and addiction to a drug called Prometheus is common; it envelops the user in much-craved warmth, like sunshine, but this can easily prove fatal. Writing novels that thrive by tying noir to science fiction to the downright weird, Noon’s Vurt (1993) features coloured feathers that are incredibly powerful drugs, acting as gateways to an alternative reality, and his later novel A Man Of Shadows (2017) uses noir addiction as a reflection on time itself. Detective John Nyquist lives in a world where everybody makes their own personal time, adjusting their watches as they see fit. The drug of choice is Kia, an orange liquid that reveals to the user: what. Knowing what happens next is hugely addictive, but destroys the mind. Kia plays with time in a most troubling way, and reminds us that the narrative itself is a construct, placing one event after the other until a meaning is arrived at. A detective story relies upon the promise of an answer to a question; in Noon’s books, sometimes you end up not quite sure what the question was to begin with. Whether in a film or television series, as a comic or a novel, noir continues to inspire. I’ve only touched on a few of the existing examples (see this article by Jeff Noon himself about other imaginary drugs in particular, with varying amounts of noir mixed in if you want more); I wonder what will prove to be addictive in fiction next, and whether it will continue to rely on a hard-boiled detective, a squalid side of the city, and a smoke-filled bar, late at night, where dark deeds aren’t only in our imaginations. It’s a noir-tinged science-fiction story of love, addiction, and forgiveness. There will be a preview performance for students, Nov.


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I have no idea what the show has shown vs what I've only read. If a book has been out for over a decade, it's part of communal knowledge and if it comes up in normal conversation, then it happens. I think this might be a common misunderstanding as well. I didn't initially respond to epeddy1's comment here because my response would include book info. Except, I didn't take them as a spoiler but as a theory. Based on the Book Series title, people figured it out. Prior to it being confirmed on the show, it was a theory that had so much background from the books and almost nothing from the show. I avoided discussing it here for that reason prior to the season 6 finale. Even they can't remember what is different between the books and the show. But don't watch the show if you don't want to be spoiled on the books, and don't read the books if you don't want to be spoiled on the show. All the vindictive bullshit is just vindictive bullshit. Play nice (to the best of your ability - it is difficult to keep everything mentally compartmentalized) or be summarily scolded. Yet people are able to put together a whole family tree - based on what info exactly. No way that Targ family tree came from show knowledge. I avoided discussing it here for that reason prior to the season 6 finale. Exactly. And even when Sansa asked him for help, he apparently provided it (re: Littlefinger). But what motivation would have have to be the NK or on the side of the NK. Seems clear that the NK was trying to kill him and the prior 3ER, right.


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