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Universal developing a BATTLESTAR GALACTICA movie unrelated to the new TV series

In a slightly confusing move, Universal is pressing ahead with a Battlestar Galactica movie project at the exact same time it is developing a new television series, via NBC's Peacock service.

Simon Kinberg - the writer of X-Men: Apocalypse, Dark Phoenix and X-Men: The Last Stand who inexplicably keeps getting work - has been hired to co-produce and write the film. Dylan Clark, who has helped mastermind the highly successful Planet of the Apes reboot series and is currently producing The Batman, will work with Kinberg on the project.

The new BSG film will be a ground-up reboot of the classic premise, which sees the humans of the Twelve Colonies suffer a brutal attack by the robotic Cylons and forced to flee into space in search of the mythical "Thirteenth Colony" of Earth.

The Peacock project is being produced by Sam Esmail and Michael Lesslie. Esmail originally planned a show that intersects with the TV version of the franchise produced by Ronald D. Moore in 2003-09, but since taking a back seat on the project, it sounds like Lesslie is also pursuing a reboot of the premise.

The idea of two versions of the same story being in production at the same time feels weird, but not completely unprecedented. There are no less than three adaptations of Resident Evil in pre-production, all set in different universes: a live-action, post-apocalyptic Netflix show; a live-action new film based on the first two video games; and an animated film taking place in the video game timeline. Paramount are also planning to relaunch their Star Trek film series with movies set in a different timeline to the TV shows currently underway at CBS All Access.

The BSG movie project is not guaranteed to move forwards. Universal have been developing a new film version of the franchise since the Moore TV show wrapped in 2009. Bryan Singer worked on the project for a couple of years (having previously been attached to a TV version pre-Moore), whilst writers Jack Paglen and Lisa Joy also took tilts at the script. France Lawrence was also attached to direct at one point, but has since dropped out. The problem is likely tied to the budget, with the premise requiring a hefty cost but the profile of the franchise (even the much-praised, multi-award-winning Ron Moore version still only has a cult following) meaning it's difficult to justify a large expense.

More news as it develops.

Disney+ greenlights WILLOW TV series

Disney+ and Lucasfilm have commissioned a season of television adventures for Willow Ufgood, the hero of the 1988 fantasy film Willow, produced by George Lucas and directed by Ron Howard.

The new series picks up thirty-odd years after the film, with Willow and his family having to face new challenges. Warwick Davis reprises his role as Willow from the film.

The 1988 movie saw Willow team up with a redoubtable swordsman, Madmartigan (Val Kilmer) and Sorsha (Joanne Whalley), the treacherous daughter of the evil Queen Bavmorda (Jean Marsh), to save a young child, Elora Danan, the prophecised future Empress of Tir Asleen. It's unclear if any other actors from the film will return, although revisiting Elora Danan as an adult seems a no-brainer for the plot. The film was a moderate box office success, but not enough to warrant a sequel at the time.

A trilogy of novels, the Chronicles of the Shadow War series, was published in the 1990s as a sequel of sorts to the film, written by X-Men writer Chris Claremont based on George Lucas's outline. The novel trilogy was controversial, as it killed off most of the film cast, renamed Willow and had very little to do with the film. It's assumed that the novels will be completely ignored by this new TV series.

The Willow TV series marks the first non-Star Wars project undertaken by Lucasfilm since its buy-out by Disney in 2013. The series will be co-written by Jonathan Kasdan (Solo) and Wendy Mericle (Arrow), who will also act as showrunners. Jon M. Chu (Crazy Rich Asians) will direct the first episode and produce. Ron Howard will produce.

It's expected that the show will shoot in Wales in 2021 for a 2022 debut.

Shooting starts on the SANDMAN TV series

Neil Gaiman has reported that shooting has begun on Netflix's adaptation of his graphic novel series, Sandman.

Shooting began on Thursday 13 October, with the first scene being shot being a sequence set in 1918 where Dr. John Hathaway procures a book from the museum where he works and gives it to Roderick Burgess, the antagonist of the early part of the story.

Gaiman notes that with shooting underway, they should probably get around to announcing the cast (presumably because the longer shooting continues, the more likely it is that casting and set pictures will leak) and hopes to be able to do that shortly.

Sandman is expected to debut on Netflix in late 2021 or early 2022.

Margaret Weis & Tracy Hickman sue DUNGEONS AND DRAGONS publishers for $10 million for breach of contract

Margaret Weis and Tracy Hickman, the famed authors of the Dragonlance Chronicles and many other series in that world, have sued Dungeons and Dragons publishers Wizards of the Coast for breach of contract after a new Dragonlance novel trilogy was abruptly cancelled after the first book had been completed.

The news that Wizards were planning a new Dragonlance trilogy is in itself a surprise, given that there has been an extreme dearth of D&D fiction over the last four years, with only three Forgotten Realms books by R.A. Salvatore being published in that time. There have been unsubstantiated rumours that Wizards are planning a relaunch of Dragonlance as a D&D campaign setting in 2021 or 2022, so relaunching the novel series at the same time would have been a good move, and an encouraging sign that Wizards might be reconsidering entering the novel space in a more substantial manner after they effectively cancelled their ongoing lines in 2016.

Weis and Hickman had completed the first novel in the trilogy, Dragons of Deceit, and were working on the second, Dragons of Fate, when Wizards of the Coast abruptly informed them that the trilogy would not be published and they were terminating the contract immediately. It sounds like there had been rumblings of problems before that, particularly when Nic Kelman had been assigned to edit the trilogy (replacing editors Weis and Hickman have previously agreed to work with). Kelman, the Head of Story and Entertainment at Wizards, has long been a controversial figure after publishing a book which was alleged to have "promoted misogyny and paedophilia".

From the complaint it sounds like Wizards of the Coast became concerned over "problematic" aspects of older D&D worldbuilding (such as always-evil races) and asked the authors to address these in rewrites, which they say they fully complied with. Wizards then terminated the book deal anyway. This is particularly bizarre given that Dragonlance, even in the 1980s and 1990s, had a progressive tone to its work, rehabilitating evil races from other settings into more honourable and nuanced civilisations (such as ogres) and featuring "good" members of traditionally evil races (such as goblins and draconians).

Weis and Hickman are two of the biggest-selling living fantasy authors and the second-most-popular authors of D&D fiction (only marginally behind Salvatore). A new trilogy from them, especially accompanying a Dragonlance relaunch, would have likely sold hundreds of thousands of copies and brought substantial revenues to both authors. For this reason, they are suing Wizards of the Coast for $10 million in lost income and damages.

Weis and Hickman were part of the editorial team at then-TSR which created the Dragonlance world of Krynn as a setting for Dungeons and Dragons adventures in 1983. They then co-wrote the Dragonlance Chronicles and Dragonlance Legends novel series between 1984 and 1986, the first six books which launched the setting to acclaim and which sold more than four million copies before the end of the decade. They returned to the setting several times in the 1990s and 2000s to pen more novels. Cumulatively, they have sold over 25 million books in total.

The setting has previously seen some controversy. In 2008 urban fantasy author Jim Butcher was approached by WotC to spearhead a full reboot of the entire Dragonlance saga, including rewriting the original trilogy as a five-book series. Butcher would only proceed with Weis and Hickman's blessing and, when that was not forthcoming, the project was abandoned.

Out of Time, or Why is the "100 Best Fantasy Books of All Time" list so incoherent?

A publication has unveiled a list called “The 100 Best Fantasy Books of All Time.” Predictably, it has been published to howls of complaints about the makeup of the list and what works are missing. Normally you could dismiss such a thing as hyperbole (what’s wrong with “100 Pretty Good Fantasy Books?”) and the leanings of a single writer or blog, but in this case it is Time Magazine – still an influential publication, especially in the United States – and the list was assembled by a panel of famous and well-known writers, at least several of whom are noted for their deep knowledge of the genre, so the spotty and confusing nature of the list feels particularly notable.

The panel was made up of Tomi Adeyemi, Cassandra Clare, Diana Gabaldon, Neil Gaiman, Marlon James, N.K. Jemisin, George R.R. Martin and Sabaa Tahir. Slightly oddly, every member of the panel had at least one book on the panel and several had more than one. Fourteen books – 14% of the “100 Best Fantasy Books of All Time” – were written by people on the panel that nominated it, which is an extraordinary figure. Reportedly panel members did not nominate their own books, but instead seem to have nominated one another instead.

According to Time, the original nomination shortlist had 250 books on it and this was whittled down by Time’s editors based on key factors: originality, ambition, artistry, critical and popular reception, and “influence on the fantasy genre and literature more broadly.” Which is fine, but it does seem to remove the point of the panel in the first place, if Time’s editors chose to then edit the list by criteria that seem nebulous at best and self-contradictory at worst.

The resulting list certainly is not terrible, but it is strange and doesn’t seem to fulfil the remit indicated by the title. It has a very heavy recency bias: two of the books were published this year (one in August, about eight weeks ago), a further twenty-four since 2015 and fifty-one in total since the turn of the century. This recency bias – which by its nature omits vast swathes of acknowledged classics of decades or centuries of standing in preference to the newest, shiniest flavour-of-the-month – makes one wonder why the panel didn’t put together a list of “The 100 Greatest Works of Fantasy of the 21st Century (so far).” The list would immediately become vastly more credible, and indeed, would be enhanced with the addition of forty-nine more books from this century.

Even the recency bias feels somewhat inconsistent, with the absence of several high-profile recent fantasy novels which have enjoyed both immense critical and commercial success: Senlin Ascends (2013) by Josiah Bancroft, The Goblin Emperor (2014) by Katherine Addison, Under the Pendulum Sun (2017) by Jeanette Ng, Gideon the Ninth (2019) by Tamsyn Muir and anything by Kameron Hurley all feel like major omissions in any consideration of recent fantasy works.

The list also seems to lack any of kind of rules regarding what are even technically considered “novels.” The Lord of the Rings – planned, written and executed as one single novel and only published in three for cost and paper rationing reasons - is listed as three books, but The Once and Future King – a series of four previously independent novels, sometimes now available in omnibus – is listed as one. If The Lord of the Rings was also counted as one book, then that would have freed up two more slots for other books. There are also multiple entries for trilogies and series which feel like they could have been condensed into one, allowing the scope of the list to be widened to address the more egregious absences. The list also mostly avoids short story collections before randomly dropping a couple into the mix, which makes it feel like the criteria for the list was not strongly defined beforehand.

The list also has a baffling attitude to pre-modern works of the fantastic. Including The Arabian Nights and Le Morte D’Arthur makes one wonder why The Odyssey and The Iliad are missing, not to mention The Aeneid, The Ramayana and the Mahabharata. Beowulf feels like it should merit a mention, and perhaps the Finnish myth-cycle, The Kalevala. Gulliver’s Travels, a vital work of early fantasy, is notable by its absence, as are absolutely any works connected to Shakespeare. This part of the list feels very much like a sop to the fact that fantasy is an ancient genre and that a couple of pre-modern works should be slapped in to make it vaguely more credible before moving on to more recent material.

Even worse is the list completely side-stepping the foundational texts of much of modern fantasy: The Rose and the Ring, Phantastes, The Well of the World’s End, The King of Elfland’s Daughter, The Worm Ouroboros and Lud-in-the-Mist being completely ignored is remarkable. Two or three of them being skipped over might be expected, but all of them? The incoherence on whether short story collections count or not may also explain the absence of Robert E. Howard’s Conan and C.L. Moore’s Jiriel stories.

Probably the single biggest absence on the list is that of The Hobbit by J.R.R. Tolkien, published in 1937. The absence of The Hobbit is baffling, and if The Lord of the Rings had been included as one book (as it should have been), then The Hobbit could have also been included and another place freed up for another writer. As it stands, the list is YA and children’s book heavy but the biggest and most influential children’s fantasy novel of all time is missing. The absence of The Silmarillion is less surprising, given it's (oft-overstated) reputation as a "difficult" work, but its absence in favour of decidedly more disposable, recent fare is interesting.

A major issue with any list of fantasy works is the propensity of the genre towards long series, often ones which cumulatively have a huge impact but singling out single novels is difficult or contentious. For this reason, most such lists will allow nominations for an entire series rather than individual titles, but this list does not permit that (well, apart from the Once and Future King quartet, for unspecified reasons). This leaves the list in an awkward position where several times it appears to imply a place for the entire series using the first novel as an example (The Eye of the World representing the entire 15-book Wheel of Time, despite the book being middling in the quality level of the series as a whole), but in others it randomly picks a book from somewhere else in the series (The Wee Free Men, a rather minor and very definitely nowhere near the best entry from the Discworld series), or picks out the by-consensus best book of the series (A Storm of Swords representing A Song of Ice and Fire rather than the first book, A Game of Thrones). Towards the end, the list seems to lose consistency altogether by picking out multiple books from very recent series which have not yet had a chance to withstand the test of time. With the exception of the two entries for N.K. Jemisin’s Broken Earth trilogy (since all three won Hugo Awards and immense critical acclaim, there is some rationale for that), most of these feel bit over the top: R.F Kuang, Tomi Adeyemi, Ken Liu and Sabaa Tahir are all reasonable recent writers, but giving them two entries apiece feels like overkill when, say, established and important authors like Robin Hobb, Andrzej Sapkowski, Kate Elliott and Steven Erikson are missing from the list altogether.

Fantasy is of course a broad church, far broader than say “science fiction” or “detective novel,” with very elastic boundaries. The list goes for the broadest possible definition, meaning that epic fantasy, magic realism, children’s fantasy, modern YA, science fantasy, fairy stories and myths are conflated together. Even so, the list feels somewhat unrepresentative of the genre. The New Weird goes completely unmentioned (China Miéville or Steph Swainston are both notable by their absences), as does steampunk and, startlingly, urban fantasy: Kate Griffin’s Matthew Swift series feels like it should have appeared from a literary perspective, or Jim Butcher or Charlaine Harris if you wanted to go for something wither more commercial clout.

The list also leans very heavily towards children's fantasy and YA. Again, if the list was specifically meant to reward books in that mode, that would be fine but it does say it is for the best fantasy books of all time, not the best YA fantasy novels of all time. YA and children's fiction is overrepresented to such an extreme that it's possible that someone looking at this list would conclude that fantasy is a juvenile genre unworthy of serious literary consideration; the absence of fantasy and magic realism's literary heavyweights like Gene Wolfe, Mervyn Peake, Jorge Borges and Gabriel García Márquez, and Rushdie only getting on the list with a children's book, may reinforce this view. This is not to say that YA and children's fantasy should not be represented on the list - there are numerous classic works of fantasy that are YA or children's books in origin (and I previously noted the puzzling absence of The Hobbit) but the field on this list is overrepresented when other incredibly popular subgenres are wholly missing.

The list is clearly aiming for inclusion and fairer representation of non-white and non-male authors, which is great, but does brush against the elephant in the room. Much moreso even than science fiction, fantasy was very white and very male until comparatively recently: pre-1960 female fantasy authors are very thin on the ground, clearly a regrettable situation, but one that is a historical fact. The list seems to address this by simply minimising the importance all of early fantasy altogether, including those female authors who were influential and important (the aforementioned C.L. Moore, Hope Mirrlees of Lud-in-the-Mist fame, science fantasy author Leigh Brackett, Ruth Thompson and Rachel Cosgrove of the later Oz books and more), or throwing the baby out with the bathwater.

The list’s criteria for inclusion also do not extend to works not originally published in English. Only three of the books were not originally published in English and the list leaves out other influential and important non-English works. The Dutch De brief vor de koning (The Letter for the King) by Tonke Dragt is missing and the Polish Wiedźmin (Witcher) series by Andrzej Sapkowski doesn’t even rate a mention, despite both being recently brought to a wider English-speaking language by Netflix adaptations. Die unendliche Geschichte (The Neverending Story) by Michael Ende is also MIA.

The list also has a hesitant attitude towards controversy. The glaring absence of H.P. Lovecraft is likely down to his racist viewpoints despite the immense influence of his work over the modern genre, and I suspect Robert E. Howard’s absence might also be down to the perceived racism in his works (although Howard’s attitudes towards race were vastly more progressive than Lovecraft’s, or indeed most people of his time, and improved remarkably over his short lifetime) as well. The entry for The Eye of the World makes the interesting choice of accusing the author of sexism (the entry has a whole seems apologetic for including the book, making one wonder why they did) and even A Storm of Swords gets a non sequitur side-line where George R.R. Martin’s recent clumsy handling of the 2020 Hugo Awards is noted. However, the mention of controversy is seemingly limited to older authors: Cassandra Clare’s multiple brushes with plagiarism accusations and lawsuits are cheerfully ignored and Tomi Adeyemi’s online meltdown over an author with a similar book title to her own goes resolutely unmentioned.

When it comes to individual works that should have been mentioned but are not, there are too many to mention and of course the fact that 100 positions is far too few to accommodate any kind of broad overview of the genre. However, the absence of both Mervyn Peake’s Gormenghast trilogy and Gene Wolfe’s Book of the New Sun, often cited and indeed voted the greatest SFF work of all time, is ridiculous, and the absence of any of Robin Hobb’s work which distils the sometimes-high ideals of fantasy down to the level of human experience is glaring. Jonathan Strange and Mr. Norrell's baffling absence may make some consider if the list has, in fact, gone out of its way to be contrarian.

Ultimately the list can be seen as a form of clickbait to engender greater discussion of the genre, but it feels like Time deliberately misrepresented the list by calling it the “100 Best Fantasy Books of All Time.” They should have divided the list in three, publishing perhaps a pre-20th Century list, a 20th Century list and a 21st Century instalment, which is really the only way of doing such an enormous concept justice. As it stands, the list is too incoherent to be of much worth. If this was a Buzzfeed list aimed at new readers, it’d be one thing, but I generally expect better of Time.

1. The Arabian Nights (c. 8th Century) 
2. Le Morte D’Arthur by Thomas Malory (1485)
3. Alice’s Adventures in Wonderland by Lewis Carroll (1865)
4. Through the Looking Glass by Lewis Carroll (1871)
5. Five Children and It by E. Nesbit (1902)
6. Ozma of Oz by L. Frank Baum (1907)
7. Mary Poppins by P.L. Travers (1934)
8. The Lion, The Witch and The Wardrobe by C.S. Lewis (1950)
9. The Palm-Wine Drinkard by Amos Tutuola (1952)
10. The Voyage of the Dawn Treader by C.S. Lewis (1952)
11. The Fellowship of the Ring by J.R.R. Tolkien (1954)
12. My Life in the Bush of Ghosts by Amos Tutuola (1954)
13. The Two Towers by J.R.R. Tolkien (1954)
14. The Return of the King by J.R.R. Tolkien (1955)
15. A Hero Born by Jin Yong (1957)
16. The Once & Future King by T.H. White (1958)
17. James and the Giant Peach by Roald Dahl (1961)
18. The Phantom Tollbooth by Norton Juster (1961)
19. A Wrinkle in Time by Madeleine L’Engle (1962)
20. The Wandering Unicorn by Manuel Mujica Lainez (1965)
21. Dragonflight by Anne McCaffrey (1968)
22. The Last Unicorn by Peter S. Beagle (1968)
23. A Wizard of Earthsea by Ursula K. Le Guin (1968)
24. The Crystal Cave by Mary Stewart (1970)
25. The Tombs of Atuan by Ursula K. Le Guin (1970)
26. Watership Down by Richard Adams (1972)
27. The Dark is Rising by Susan Cooper (1973)
28. The Princess Bride by William Goldman (1973)
29. Tuck Everlasting by Natalie Babbitt (1975)
30. A Swiftly Tilting Planet by Madeleine L’Engle (1978)
31. The Bloody Chamber by Angela Carter (1979)
32. The BFG by Roald Dahl (1982)
33. Alanna: The First Adventure by Tamora Pierce (1983)
34. Howl’s Moving Castle by Diana Wynne Jones (1986)
35. Redwall by Brian Jacques (1986)
36. Swordspoint by Ellen Kushner (1987)
37. The Lives of Christopher Chant by Diana Wynne Jones (1988)
38. The Eye of the World by Robert Jordan (1990)
39. Good Omens by Terry Pratchett and Neil Gaiman (1990)
40. Haroun and the Sea of Stories by Salman Rushdie (1990)
41. Tigana by Guy Gavriel Kay (1990)
42. Outlander by Diana Gabaldon (1991)
43. The Golden Compass by Philip Pullman (Northern Lights)
44. Neverwhere by Nail Gaiman (1996)
45. Ella Enchanted by Gail Carson Levine (1997)
46. The Subtle Knife by Philip Pullman (1997)
47. Brown Girl in the Ring by Naolo Hopkinson (1998)
48. Harry Potter and the Prisoner of Azkaban by J.K. Rowling (1999)
49. Spindle’s End by Robin McKinley (2000)
50. A Storm of Swords by George R.R. Martin (2000)
51. American Gods by Neil Gaiman (2001)
52. The Wee Free Men by Terry Pratchett (2003)
53. Harry Potter and the Half-Blood Prince by J.K. Rowling (2005)
54. Mistborn: The Final Empire by Brandon Sanderson (2006)
55. The Name of the Wind by Patrick Rothfuss (2007)
56. City of Glass by Cassandra Clare (2009)
57. Where the Mountain Meets the Moon by Grace Lin (2009)
58. The Hundred Thousand Kingdoms by N.K. Jemisin (2010)
59. Who Fears Death by Nnedi Okorafor (2010)
60. Akata Witch by Nnedi Okorafor (2011)
61. The Night Circus by Erin Morgenstern (2011)
62. The Song of Achilles by Madeline Miller (2011)
63. Angelfall by Susan Ee (2011)
64. A Stranger in Olondria by Sofia Samatar (2013)
65. The Bone Clocks by David Mitchell (2014)
66. The Buried Giant by Kazuo Ishiguro (2015)
67. An Ember in the Ashes by Sabaa Tahir (2015)
68. The Fifth Season by N.K. Jemisin (2015)
69. The Grace of Kings by Ken Liu (2015)
70. Shadowshaper by Daniel José Older (2015)
71. Six of Crows by Leigh Bardugo (2015)
72. The Wrath and the Dawn by Renée Ahdieh (2015)
73. Song of Blood & Stone by L. Penelope (2015)
74. Get in Trouble by Kelly Link (2016)
75. All the Birds in the Sky by Charlie Jane Anders (2016)
76. A Torch Against the Night by Sabaa Tahir (2016)
77. The Wall of Storms by Ken Liu (2016)
78. Beasts Made of Night by Tochi Onyebuchi (2017)
79. The Blade Tides of Heaven by Neon Yang (2017)
80. The Changeling by Victor Lavalle (2017)
81. Jade City by Fonda Lee (2017)
82. The Stone Sky by N.K. Jemisin (2017)
83. Aru Shah and the End of Time by Roshani Choskshi (2018)
84. Blanca & Roja by Anna-Marie McLemore (2018)
85. Children of Blood and Bone by Tomi Adeyemi (2018)
86. Circe by Madeline Miller (2018)
87. Empire of Sand by Tasha Suri (2018)
88. The Poppy War by R.F. Kuang (2018)
89. Trail of Lightning by Rebecca Roanhorse (2018)
90. Witchmark by C.L. Polk (2018)
91. Black Leopard, Red Wolf by Marlon James (2019)
92. Children of Virtue and Vengeance by Tomi Adeyemi (2019)
93. The Dragon Republic by R.F. Kuang (2019)
94. Gods of Jade and Shadow by Silvia Moreno-Garcia (2019)
95. Pet by Akwaeke Emezi (2019)
96. Queen of the Conquered by Kacen Callender (2019)
97. Rage of Dragons by Evan Winter (2019)
98. We Hunt the Flame by Hafsah Faizal (2019)
99. Elatsoe by Darcie Little Badger (2020)
100. Woven in Moonlight by Isabel Ibañez (2020)

GAME OF THRONES spin-off show to be shot in England

House of the Dragon, the Game of Dragons spin-off prequel show, has revealed its new production base. The show will be using the Warner Brothers Studios in Leavesden, near London as its main base of operations.

Game of Thrones itself was based in the Titanic or Paint Hall Studios in Belfast, Northern Ireland, although overseas shoots ranged from Iceland to Morocco (and even, briefly, Los Angeles). HBO announced in March that they would not be returning to the Paint Hall, which surprised a lot of commentators. House of the Dragon, set during the Dance of Dragons, a brutal civil war fought between different off-shoots of House Targaryen using dragons, utilises many of the same locations as Game of Thrones, including King's Landing, the Red Keep, Harrenhal and Dragonstone, the sets for which were located at the Paint Hall. However, these sets were mostly destroyed during the filming of Game of Thrones' finale, and those which survived had to be torn down to make room for the sets for the first spinoff pilot, The Longest Night, which never got past a pilot order.

In addition, location filming for those locations ranged widely, with Malta and the city of Dubrovnik in Croatia both standing in for the exteriors of King's Landing, whilst some scenes on Dragonstone were shot in Spain and others in Northern Ireland. With House of the Dragon also scouting overseas locations, it seems possible that those locations will be used again, with just the set location in the UK changing.

Leavesden is a solid choice with economic benefits, since the studio complex is owned by HBO's parent company Time Warner. Films shot at Leavesden include the Harry Potter series, Sleep Hollow, The Phantom Menace, GoldenEye, Kingsman, Inception, Justice League, Warner Brothers, Spider-Man: Far From Home and The Batman. The studio is also notably further south than the Paint Hall in Belfast with a more temperate climate and predictable weather.

Production of House of the Dragon is expected to start in January and run through the summer, to debut in early 2022. Casting is currently underway, with Paddy Considine recently cast as King Viserys I Targaryen.

The Goblin Emperor by Katherine Addison

The Emperor of the Elflands has been killed in an airship accident, along with his immediate sons and heirs. The imperial crown falls on his youngest son, Maia, who has lived in effective exile. Ignorant of the politics of the Elflands and the ways of the court, Maia has to learn whom he can trust and how to navigate the channels of government, all the while trying to find out who killed his father and brothers, and why.

Originally published in 2014, The Goblin Emperor was a moderate hit for its author, Sarah Monette. Monette had already published or co-published six novels under her own name, but chose to adopt a new pen name to differentiate this work.

The Goblin Emperor is a work heavy on political intrigue and courtly manners and light on action. The story takes place in a well-realised fantasy world, but is constrained almost entirely to the imperial court, with the reader hearing about goings on in faraway places only through reports, rumours and hearsay. Those looking for a traditional epic fantasy with lots of travelling, sword fights, awesome displays of magic and epic battles best look elsewhere, but those who are looking for a well-written, in-depth character study will find much here that is rewarding.

This is a novel of manners, where characters behave and comport themselves through strict protocols which sometimes make it hard to discern their true motivations. Maia's job is to sort through the restrictions of hierarchy to work out who is an ally, who is an enemy and who is an enemy posing as a friend, and who is a friend who feels it impolite to impose themselves on the emperor. It requires a deft hand at characterisation to make this work, but the author succeeds in making these characters rise through the layers of formality and work as fully-fleshed-out individuals.

The book makes much of language and terminology, a bit oddly for a book that also uses fairly generic terms like "elf" and "goblin," although these don't seem to be describing the traditional fantasy races but merely different ethnicities of humans, similar to the witches, goblins and demons of The Worm Ouroboros (who are actually just different types of human). There's a complex system of address, titles and styles which occasionally means the same character may be referred to in several different ways and even by different names. This doesn't happen too often and from context it's relatively easy to pick up on who's who, but it does occasionally briefly disrupt the flow of the story as you try to work out if this character is someone we've met before.

The downside to all of this is that the pace is "relaxed" and occasionally risks being "languid," with major plot movements slow to develop and having to occasionally bulldoze your way through a dozen pages of Maia musing on dining etiquette and what is the acceptable level of formalwear for the next event he has to attend. If you're looking for a fast-paced, exciting book, this is definitely not it.

The Goblin Emperor (****) is an intelligent, thoughtful and slow (sometimes a tad too slow) book, well-written and solidly-characterised with a strong background. The novel lacks a certain dynamism but makes up for it with the richness of the setting and characters. The book is available now in the UK and USA.

MAD MAX: FURY ROAD prequel announces cast

Director George Miller has announced the cast for Furiosa, his forthcoming prequel movie to Mad Max: Fury Road (2015).

Anya Taylor-Joy (Split, Glass, The Witch, Peaky Blinders) has been cast as the younger version of Imperator Furiosa, played by Charlize Theron in the original movie. The film explores Furiosa's backstory as a young woman before she comes into the employ of Immortan Joe.

Chris Hemsworth (Thor in the Marvel Cinematic Universe) is playing Dementus, whilst Yahya Abdul-Mateen II (Aquaman, Watchmen) is playing Pretorian.

Miller spent some time working with Theron to see if there was a way of letting her continue as the character, including using de-aging technology, but concluded that the cost of doing so would be prohibitive. Theron has given the project her blessing.

Miller is shooting another project, Three Thousand Years of Longing, delayed due to the pandemic, whilst Hemsworth will be shooting Thor: Love and Thunder for the first few months of 2021, so production of Furiosa is not expected to begin until later in the year or in 2022. He has also been developing a sequel to Fury Road, called The Wasteland, but that seems to be a much further off project.

Fire Cannot Kill a Dragon by James Hibberd

Game of Thrones is the most successful show in the history of HBO, rising from humble beginnings in 2011 to become the biggest TV drama on the planet. In 2019 the show wrapped after eight seasons and 73 episodes to deliver one of the most negatively-received final seasons in recent memory. Journalist James Hibberd, who was allowed on set of the show every year from the second season onwards, has written a behind-the-scenes account of the commissioning, writing and making of the show, referring to hundreds of interviews he undertook whilst the show was on air and more undertaken since. Among the people he's spoken to are George R.R. Martin, David Benioff and D.B. Weiss, and vast numbers of the cast, from the smallest bit-part player to leading actors Kit Harington, Peter Dinklage and Emilia Clarke. This is the oft-contentious story of the making of the show that changed television.

TV companion books are a bit of a dying art these days, with the Internet and its plethora of fan blogs and wikis making them feel a bit redundant. Game of Thrones is so huge - and controversial - that it can overcome that problem and James Hibberd is well-placed to write such a companion volume given his access to the writers, the sets and the actors (via his work at Entertainment Weekly covering the show). He starts at the beginning, with George R.R. Martin starting writing the Song of Ice and Fire novel series in 1991, and proceeds through David Benioff and Dan Weiss picking up the books, wooing Martin to letting them and HBO have the rights, and their difficult struggle to get a pilot made, and the difficult process of admitting that they'd messed up the pilot and had to hope that HBO would give them a second chance. From there things proceed roughly chronologically until the end of the show.

The first thing that has to be noted is that this is not an "unauthorised" guide to the making of the show, but a HBO-approved product (complete with HBO-provided photographs). If you're expecting to find dirt and gossip, you're not going to find it here. Anything majorly contentious has been finely exercised from the text. Hibberd also doesn't add much in the way of authorial opinion, letting events stand for themselves and quoting other critics in determining if a plot twist or story turn was successful or not.

Despite this, the book's fact checking clearly left something to be desired. On the very first page of the book we're told that the Battle of the Bastards was filmed in October 2014; it was actually a year later (my friend, who was a weary extra on the set of Hardhome, noted that was when they were filming that battle). A few pages later we're told that George R.R. Martin started writing A Game of Thrones in 1993 but it was actually in 1991. A few other, similar errors crop up through the book and it does feel like a bit more attention to detail would not have gone amiss.

Once that hurdle is overcome, there is much to enjoy. Hibberd is a solid writer who knows how to handle and place quotes, and how to interview subjects, and to his credit he does avoid repeating a lot of stories and information that close watchers of the show have heard a thousand times already. Some of the familiar anecdotes do get trotted out yet again but there's a lot more information here that I hadn't ever heard before, such as director David Nutter almost dying in Iceland when his car crashed during a blizzard on a location scout and it if had rolled in a different direction, it would have plummeted off a sheer drop. Other stories are less dramatic but amusing: the weather in Iceland during Season 2 was so bad that scenes were often shot right outside the hotel the cast and crew were staying in, with constructive camera angles being used to hide that fact and actors having to perform in full view of all the guests in the dining room. During Season 1 they didn't have any security and David Benioff had to personally stand guard over Robert Baratheon's tent to stop curious bystanders from making off with props. And so forth.

These stories are amusing bits of trivia but somewhat inconsequential. Meatier are the controversies. The book doesn't shy away from many of these, spending a surprising amount of time debating the merits of Daenerys and Khal Drogo's relationship at the start of the show with the writers and actors, and the different ways they approached it in both the pilot and the reshoot with different actresses, and on the depiction of the Sansa-Ramsay-Theon relationship in Season 5. There's also a lot of open discussion about the weak Dorne storyline in Season 5 and how it didn't work and they had to scramble to try to fix it later on. Other controversies are completely ignored though, with a particularly criticised Cersei/Jaime scene in Season 4 getting no mention at all.

Even more interesting are the moments when people get a bit too honest. It's clear from the writing that some of the producers encouraged something of a "fratboy" relationship with other cast and crew, and sometimes pushed things too far, resulting in tense moments on set. The most honest and outspoken actor in the book is Liam Cunningham, who cuts through the normal Hollywood PR banter (which to be fair most of the cast try to avoid, but sometimes fall into it by rote) to deliver some real honesty on some of the conditions of shooting. His pointblank refusal to film some scenes because he felt they betrayed his character and made Davos less of a relatable figure is quite startling. He also stands up for Stephen Dillane, who played Stannis Baratheon and had made some dismissive comments of the show (Dillane didn't take part in the new interviews for the book), noting that Dillane always did good work, had a strong work ethic and a withering sense of humour that didn't always come across well in interviews.

The thing most people will be interested in is the reception to the finale. Benioff, Weiss and Martin don't really talk about it, but plenty of the actors, several HBO executives and Bryan Cogman do, and note how things may or may have not worked as well as they'd hoped. However, there is a bit of a disappointing PR answer that maybe the ending will be looked upon differently in another ten years.

Hibberd has certainly written an above-average TV companion book here, with plenty of interesting stories and funny moments of trivia, but it's one that also has some glaring holes. Ramin Djawadi's memorable score (the one thing almost uniformly praised about the series) goes almost completely unmentioned, the work of Elastic and Angus Wall on the memorable title sequence is also disregarded and the CG teams tasked with bringing the locations and creatures to life are also not quoted. It's good to see the writers and actors being self-deprecating and owning various problems and mistakes, but there's also a few moments when it feels like the book pulls its punches and doesn't delve deeper into behind the scenes issues. The book's real achievement may be in getting Benioff and Weiss to admit what many had suspected all along: they really wanted to be making movies all along, they always planned to prioritise big battles and effects over character and theme (Benioff's daft assertion that themes are only for eighth-grade book reports is mentioned several times) and that without Martin's books to rest on, they lost confidence in how to proceed and struggled more without source material.

Fire Cannot Kill a Dragon (***½) is readable and fun, packed with fresh anecdotes and interesting trivia about the making of Game of Thrones. In some areas it is insightful and revelatory, getting further into why certain baffling decisions were taken, but in others it leans back and goes out of its way to avoid criticism or controversy. It certainly doesn't trouble the quality of The Deep Space Nine Companion, which twenty years after release still represents the gold standard of a TV companion volume. But it's certainly worth reading if you're interesting in what happened behind the scenes on the biggest show of the decade. The book is available now in the UK and USA.