Watkins' films are compulsively interesting almost in spite of themselves. His oeuvre may be characterised as a progression from polemical hysteria towards formal paranoia, yet it is impossible to deny his films their emotive, affective power, derived from an innovatory manipulation of technique. Culloden (made for TV) exhibits Watkins' virtues and vices in about equal proportions, but takes on a critical centrality as an initiator of the 'drama-doc' strain of British TV. These quasi-newsreels of the past and future, feeding off the documentary tradition to bolster the 'realism' of their speculative fictions, and usurping the medium's primary resources for capturing 'actuality' to present reconstructions, effectively efface their artifice by playing on the 'integrity' of certain strategies of representation. Yet Watkins must still here rely on an omniscient/propagandist commentary to convey the contextual discourses around his 'horror movies': a problem superseded in his later, similar, but increasingly worrying work.