Reviewer James Delingpole relies on many of the familiar ‘isn’t old TV funny, and wasn’t everything gentle and innocent in the old days’ tropes that afflict many contemporary press reflections on Survivors and other shows from the same decade.
He misrepresents Brian Aldiss’ conception of the ‘cosy catastrophe’. Whilst skimming through series one, he’s clearly skipped Corn Dolly (and he has not ventured beyond A Beginning at all). His understanding of 1970s’ Outside Broadcast production techniques is also pretty limited.
However, he does resist the temptation to use any of the tedious comparisons between Survivors and other shows that many of his contemporaries sucuumb to. He also concludes that, from his observations so far, he’d “much rather live in post-apocalyptic 1970s Britain than the much uglier and more freedom-deprived modern one.”
AUTHOR JOHN EYERS has just published Survivors: Salvation, a long-awaited sequel to his ‘cult classic’ novel Survivors: Genesis of a Hero.
Forty-five years have passed since the paperback and hardback edition were originally published. “I thought a follow-up was due,” says the author.
First published in 1977, Survivors: Genesis of a Hero was itself the sequel to Terry Nation’s original Survivors novel which had hit the bookshelves the previous year.
Eyers’ novel picked up Nation’s story just four hours on from its shocking conclusion – the fateful reunion of Abby Grant and her long-missing son Peter.
With the remainder of Abby’s group having arrived in France, following their sea-crossing, Eyers focused attention back on British shores. Genesis of a Hero tells the story of the now-orphaned Peter Grant’s rise through the ranks of the Wormley’s National Unity Force and his eventual emergence as a leader of the fiercely independent Welsh rebels The Red Dragons. This force destroys the army of Wormley’s successor, and secures the future of the Welsh clans – at least for now…
Survivors: Salvation continues the story of Peter Grant’s struggles against new threats to his rule, and to the society he’s now responsible for – and his growing anguish about his past actions.
Tortured by guilt for killing his mother, in post-pandemic Britain, Peter Grant is still and haunted by the fiery holocaust that he devised to ensure his victory at Llyn Edno.
He has found a passionate love with Branwen, the feisty warrior and clan leader of the Red Dragons.
But his family brings with it new challenges and responsibilities, and he struggles to make sense of his roles as war leader, father and husband in this fractured, conflicted world.
Spurred on by the deaths of his mentors, Chad and Daniel, Peter seeks to protect his people by forging a path to peace with the adversary he thought he had defeated five years before.
Just when it seems his hopes might be realised he finds himself facing an enemy he did not know existed, an enemy so pitiless, so numerous, that it could lay waste to friend and foe alike, an enemy of such horrendous proportions that for the first time Peter faces utter defeat.
This time he won’t be able to kill his way to victory.
As Britain plunges once more into chaos will a young woman with the Sight and her warrior sister be the Saviours, or is there yet another threat looming, just over the horizon?
‘John Eyers’ is the pen name of author Peter Hill, who also wrote the TV tie-in Special Branch: In At The Kill using the same pseudonym that was first published in 1976.
Peter has also published many works under his own name, including The Staunton and Wyndsor series, The Hunters, The Liars, The Enthusiast, and The Savages. He’s also authored the Commander Allan Dice books, The Fanatics and The Washermen.
“I have returned to novel writing after a career in TV drama,” Peter explains, “and published Killing Tomorrow, the first of a new series, Evolutions Path, as an ebook. I have recently published the second book in the series, The Ladies’ Game and started work on the third one. These are future fiction novels in the same genre as Genesis of a Hero.”
Survivors Salvation has been published in both paperback and Kindle formats (released on 11 March), and can be purchased by visiting Peter’s author page on Amazon.
Peter has also republished Survivors: Genesis of a Hero, which is now also available as a new paperback and as a Kindle title.
A review of Survivors: Salvation, and an interview with Peter Hill, will both be published on the Survivors: A World Away site in the coming weeks.
As Peter is producing his new works as an independent author, he is asking those who enjoy Survivors: Salvation to help promote the book by posting a review online.
“It would be great if you could spare a few minutes to post a review, which will help others when searching for books,” he says. Those producing books in this way “have to rely very much on word-of-mouth referrals like reviews to bring our books to the attention of readers,” he explains. “I’d really appreciate a few words.”
He looks at the interplay between custom and practice, acting theory, evolving technology and other factors in shaping how performance for television is realised. Hewett pays particular attention to the distinction between studio and ‘on location’ production, exploring the influence that ‘place’ exerts on the way that a story is translated from page to screen.
Hewett’s book builds on the research that he undertook for the doctoral thesis, and an academic journal article that he published as one of the outputs of his research findings. Yet it’s clear that the aim of the book is to reach a non-academic as well as an academic audience.
For those interested in the history of British television production, there’s a great deal in Hewett’s book to capture the attention.
Enthusiasts with a particular interest in Survivors will be able to enjoy some fascinating and original reflections on the making of the show, informed by new interviews with cast members (including Lucy Fleming and Denis Lill and Roger Lloyd-Pack), and illustrated with numerous screencaptures from different episodes of the show.
In a Q&A with publishers Manchester University Press, Hewett explains that he enjoyed “every aspect of writing the book, from re-viewing the case studies to poring over archive documents.” He suggests that conducting interviews was the most satisfying part. “It was fascinating to have my theories challenged by the practitioners who originally worked on my case studies,” he says – people who were on set at the time and who were able to offer “their own unique perspectives.”
This book provides a historical overview and then-and-now comparison of performing for British television drama. By examining changing acting styles from distinct eras of television production – studio realism and location realism – it makes a unique contribution to both television and performance studies, unpacking the various determinants that have combined to influence how performers work in the medium. The book compares the original versions of The Quatermass Experiment (BBC, 1953), Doctor Who (BBC, 1963-89) and Survivors (BBC, 1975-77) with their respective modern-day re-makes, unpacking the effects of the shift from multi-camera studio to single-camera location production. Textual analysis is combined with extensive archival research into production process and reception, alongside interviews with numerous actors and production personnel from more than sixty years of television production.
Richard Hewett. 2020. The Changing Spaces of Television Acting: From studio realism to location realism in BBC television drama. Manchester: Manchester University Press, ISBN 9781526148636.
RICHARD HEFFER (JIMMY Garland, Survivors) is interviewed in the current print edition of Starburst magazine, discussing his leading role in the three-part 1983 rabies mini-series The Mad Death.
Coinciding with the release of The Mad Death on DVD for the first time, Heffer recalls the making of the series, the topicality of its dramatic themes, the chilling and memorable opening titles, and his evident delight in taking on the role of no-nonsense government vet Michael Hilliard.
The DVD release is also reviewed in the online edition of Starburst magazine. The review concludes that the series:
remains gripping, thought-provoking, unsettling and disturbing; an overdue release from the TV archives from an era when the BBC made more shows that deserved those kinds of adjectives.
Rich Cross. 2018. ‘Interview – Richard Heffer: The Mad Death’. Starburst, No 449, p.92.
Discussing the upcoming series are director Ken Bentley, producer David Richardson, script editor Matt Fitton, writers Simon Clark, Christopher Hatherall and Roland Moore, and Helen Goldwyn (Ruth).
Of his opening episode “Journey’s End”, new-to-Survivors writer Moore says, enticingly:
In story terms we are picking up Abby’s search for her son after other events had taken up her time. And as Matt and I discussed various approaches to the opening episode, Matt wondered if Abby’s faith in Peter’s survival could be finally faltering and she might face the possibility that she’d never find him. So I took that and ran with it. In fact, when I submitted my idea I was worried it might be too much – but it wasn’t
A two-page, full-colour feature, previewing the sixth series of Big Finish’s Survivors audio adventures released later this month, appears in the new edition of Starburst magazine (Issue 438). The feature includes comments from producer David Richardson and from scriptwriters Andrew Smith, Christopher Hatherall and Simon Clark.
Rich Cross. 2017. ‘True Survivors can stand alone’, Starburst, Issue 438, June, pp. 52-53.
These latest episodes also bring to the fore the ‘Whitecross’ community, the centre of operations in Series Two of the TV series, and explore efforts to reconnect the first electricity supplies; one of the central themes of the third TV series. But with the new virus threatening everything and everyone, the finale of the audio Series Five shows how merciless its impact can be. Despite the death toll, with Series Six and Seven now confirmed, Big Finish’s Survivors series is itself clearly in rude and vibrant health.
An article in yesterday’s Daily Mail (11 December 2015), which revisits the making of the 1945 classic British film Brief Encounter, includes reflections on the work of Celia Johnson by her daughter, Survivors‘ actress Lucy Fleming. She recalls:
Celia Johnson was in many ways just like Laura Jesson, agrees her daughter, the actress Lucy Fleming, today. ‘She was very moral and wouldn’t have liked that kind of situation to arise in her own life,’ says Lucy, 68, who is married to the actor Simon Williams and was best known for her role in Seventies series Survivors. ‘People loved working with her. She was fun. She had a great sense of humour.’