With access to the Obama re-election machine, Michael Hastings reports the behind-the-scenes story of the campaign trail: from Obama's self-destructive performance at the first debate to the harrowing days of Hurricane Sandy, all culminating in his triumphant victory late in the evening on November 6th. Along the way, Hastings gives a first hand account of the excitement and madness traveling with the White House press corps, bringing to life a series of unforgettably strange moments from the trail. From one of the sharpest, funniest, and most controversial young American journalists writing today comes "Panic: 2012" - the definitive account of how President Obama almost blew it.

    

    The story of filmmaker Hayao Miyazaki's life and work, including his impact on Japan and the world A thirtieth‑century toxic jungle, a bathhouse for tired gods, a red‑haired fish girl, and a furry woodland spirit—what do these have in common? They all spring from the mind of Hayao Miyazaki, one of the greatest living animators, known worldwide for films such as My Neighbor Totoro, Princess Mononoke, Spirited Away, Howl’s Moving Castle, and The Wind Rises.

    It premiered 37 years ago, in 1973, and, after 31 series it finally came to an end last year – even though all its original protagonists – Compo, Foggy, even Nora Batty – are now dead. Remarkably, for a series of such longevity and international appeal, it is all about elderly people, has little action or plot, and is set and filmed in and around the small Yorkshire town of Holmfirth. Now, Andrew Vine, the deputy editor of Yorkshire’s daily newspaper, has written the definitive history of this television phenomenon. It covers the show’s inauspicious beginnings, with low ratings, its endless reinvention as participants like Bill Owen, Michael Bates, Brian Wilde and Kathy Staff retired or died, the appearance of a string of guest stars from John Cleese and Norman Wisdom to Thora Hird and Russ Abbott (both of whom soon found themselves fixtures in the cast), and the ingenious plot contrivances as the protagonists became too old and frail to attempt any of the slapstick stunts with runaway prams – indeed any outdoor action. Holmfirth is now a year-round tourist attraction, and endless repeats and new DVD box sets will ensure a readership for this book for years to come.

    Sanjay Gandhi is dead under unexpected, tragic circumstances; not many years later, Indira Gandhi is assassinated; Rajiv Gandhi, ‘the reluctant politician’, abruptly becomes India’s Prime Minister.Pranab Mukherjee was witness to (and, sometimes, a participant in) the momentous events of the 1980s and the 1990s, a period that was indisputably the most turbulent in India’s post-Independence history. An insider, he sheds new light on every major political occurrence of the time—from Rajiv Gandhi’s ascendance as India’s Prime Minister to the emergence of P.V. Narasimha Rao as the leader of a nation; from Operation Blue Star to the Babri Masjid fiasco.Equally, Mukherjee is candid about each of the professional crises that marked this period of his career—the rumours that he wanted to elbow aside Rajiv Gandhi for the top post; the possible reasons for his ouster from Rajiv’s Cabinet and, later, the party; and the allegation that he aided and abetted the Left by not imposing President’s rule in West Bengal and Tripura in the late 1980s.The second volume of Mukherjee’s autobiography is not only an honest account of his years in power (and in the wilderness), but also a cogent analysis of the political and social turning points of a key period in the evolution of modern India.

    In the late 1990s and early 2000s, the landscape of television began an unprecedented transformation. While the networks continued to chase the lowest common denominator, a wave of new shows, first on premium cable channels like HBO and then basic cable networks like FX and AMC, dramatically stretched television’s narrative inventiveness, emotional resonance, and artistic ambition. No longer necessarily concerned with creating always-likable characters, plots that wrapped up neatly every episode, or subjects that were deemed safe and appropriate, shows such as The Wire, The Sopranos, Mad Men, Deadwood, The Shield, and more tackled issues of life and death, love and sexuality, addiction, race, violence, and existential boredom. Just as the Big Novel had in the 1960s and the subversive films of New Hollywood had in 1970s, television shows became the place to go to see stories of the triumph and betrayals of the American Dream at the beginning of the twenty-first century. This revolution happened at the hands of a new breed of auteur: the all-powerful writer-show runner. These were men nearly as complicated, idiosyncratic, and “difficult” as the conflicted protagonists that defined the genre. Given the chance to make art in a maligned medium, they fell upon the opportunity with unchecked ambition. Combining deep reportage with cultural analysis and historical context, Brett Martin recounts the rise and inner workings of a genre that represents not only a new golden age for TV but also a cultural watershed. Difficult Men features extensive interviews with all the major players, including David Chase (The Sopranos), David Simon and Ed Burns (The Wire), Matthew Weiner and Jon Hamm (Mad Men), David Milch (NYPD Blue, Deadwood), and Alan Ball (Six Feet Under), in addition to dozens of other writers, directors, studio executives, actors, production assistants, makeup artists, script supervisors, and so on. Martin takes us behind the scenes of our favorite shows, delivering never-before-heard story after story and revealing how cable TV has distinguished itself dramatically from the networks, emerging from the shadow of film to become a truly significant and influential part of our culture.

    What they didn't know at the time was that the Bush administration's highest priority was not to vanquish Al Qaeda but to consolidate its own power at any cost. It was a mission that could be accomplished only by a propaganda presidency in which reality was steadily replaced by a scenario of the White House's own invention---and such was that scenario's devious brilliance that it fashioned a second war against an enemy that did not attack America on 9/11, intimidated the Democrats into incoherence and impotence, and turned a presidential election into an irrelevant referendum on macho imagery and same-sex marriage.As only he can, acclaimed New York Times columnist Frank Rich delivers a step-by-step chronicle of how skillfully the White House built its house of cards and how the institutions that should have exposed these fictions, the mainstream news media, were too often left powerless by the administration's relentless attack machine, their own post-9/11 timidity, and an unending parade of self-inflicted scandals (typified by those at The New York Times). Demonstrating the candor and conviction that have made him one of our most trusted and incisive public voices, Rich brilliantly and meticulously illuminates the White House's disturbing love affair with "truthiness," and the ways in which a bungled war, a seemingly obscure Washington leak, and a devastating hurricane at long last revealed the man-behind-the-curtain and the story that had so effectively been sold to the nation, as god-given patriotic fact.

    Miraculously, he got it. For one year Dunne went everywhere there was to go and talked to everyone worth talking to within the studio. He tracked every step of the creation of pictures like "Dr. Dolittle," "Planet of the Apes," and "The Boston Strangler." The result is a work of reportage that, thirty years later, may still be our most minutely observed and therefore most uproariously funny portrait of the motion picture business.Whether he is recounting a showdown between Fox's studio head and two suave shark-like agents, watching a producer's girlfriend steal a silver plate from a restaurant, or shielding his eyes against the glare of a Hollywood premiere where the guests include a chimp in a white tie and tails, Dunne captures his subject in all its showmanship, savvy, vulgarity, and hype. Not since F. Scott Fitzgerald and Nathanael West has anyone done Hollywood better."Reads as racily as a novel...(Dunne) has a novelist's ear for speech and eye for revealing detail...Anyone who has tiptoed along those corridors of power is bound to say that Dunne's impressionism rings true."--Los Angeles Times

    This riveting book is both an indictment of an agency that lost its way and an unprecedented look at the roots of modern terrorism, and includes a new afterword in which Baer speaks out about the American war on terrorism and its profound implications throughout the Middle East.“Robert Baer was considered perhaps the best on-the-ground field officer in the Middle East.”–Seymour M. Hersh, The New YorkerFrom The PrefaceThis book is a memoir of one foot soldier’s career in the other cold war, the one against terrorist networks. It’s a story about places most Americans will never travel to, about people many Americans would prefer to think we don’t need to do business with.This memoir, I hope, will show the reader how spying is supposed to work, where the CIA lost its way, and how we can bring it back again. But I hope this book will accomplish one more purpose as well: I hope it will show why I am angry about what happened to the CIA. And I want to show why every American and everyone who cares about the preservation of this country should be angry and alarmed, too.The CIA was systematically destroyed by political correctness, by petty Beltway wars, by careerism, and much more. At a time when terrorist threats were compounding globally, the agency that should have been monitoring them was being scrubbed clean instead. Americans were making too much money to bother. Life was good. The White House and the National Security Council became cathedrals of commerce where the interests of big business outweighed the interests of protecting American citizens at home and abroad. Defanged and dispirited, the CIA went along for the ride. And then on September 11, 2001, the reckoning for such vast carelessness was presented for all the world to see.

    Will take 25-35 days

    We’re so used to being fed politics as fantasy entertainment, by art and the media, that we end up never being sure when we’re looking at the real thing...”—The New York TimesSURPRISE BUSH ANNOUNCEMENT CONFIRMS DETAILS OFNEW BOOK ON SECRET CIA PROGRAMSEPTEMBER 6, 2006—In a surprise admission, President Bush today confirmed widespread suspicion that the U.S. has maintained a network of secret prisons since 9/11—the first time the administration has acknowledged a secret CIA program despite worldwide criticism for the treatment of detainees, including accusations of torture and international kidnapping.The announcement confirms charges made in a new book, Torture Taxi:On the Trail of the CIA's Rendition Flights, the first book on the secret U.S. program.The “extraordinary rendition” program the president spoke of is part of what has become the largest single U.S. clandestine operation since the end of the Cold War. However, the President said that he would not divulge specifics of the CIA program, because “Doing so would provide our enemies with information they could use to take retribution against our allies and harm our country.”But investigative journalist A.C. Thompson—winner of a 2005 Polk Award for investigative reporting—and “military geographer” Trevor Paglen have systematically investigated the CIA program for more than two years, learning much about the specifics of the CIA’s operations. In a series of journeys investigating the agency, they have uncovered all of the major elements of the CIA’s rendition and detention operations.In Torture Taxi, they travel to suburban Massachusetts to profile a CIA front company that supplies the agency with airplanes; to Smithfield, North Carolina, to meet pilots who fly CIA aircraft; study with a “planespotter” who tracks CIA planes in the Nevada desert; and go to Afghanistan to visit the notorious “Salt Pit” prison and interview released Afghan detainees.Contradicting the President’s depiction of the CIA program as a legal and useful tool for bringing terrorists to justice, Torture Taxi proves that the CIA’s operations since 9/11 have been tainted by torture and a long series of intelligence failures.

    According to Chomsky, "propaganda is to democracy as the bludgeon is to a totalitarian state," and the mass media is the primary vehicle for delivering propaganda in the United States. From an examination of how Woodrow Wilson’s Creel Commission "succeeded, within six months, in turning a pacifist population into a hysterical, war-mongering population," to Bush Sr.'s war on Iraq, Chomsky examines how the mass media and public relations industries have been used as propaganda to generate public support for going to war. Chomsky further touches on how the modern public relations industry has been influenced by Walter Lippmann’s theory of "spectator democracy," in which the public is seen as a "bewildered herd" that needs to be directed, not empowered; and how the public relations industry in the United States focuses on "controlling the public mind," and not on informing it. Media Control is an invaluable primer on the secret workings of disinformation in democratic societies.From the Audiobook Download edition.

    #1 Bestseller! Sweethearts is the bestselling true story of one of Hollywood’s greatest cover-ups—the love affair between Jeanette MacDonald and Nelson Eddy. Known as “America’s Singing Sweethearts” of the 1930s and ‘40s, they made eight box office hits together for Metro-Goldwyn-Mayer and became the most popular singing team in movie history. Rumor had it that they hated each other off-screen but the truth was that they were secretly engaged in the summer of 1935 while filming their famous "Mountie" movie, Rose-Marie. Interference by MGM studio boss Louis B. Mayer triggered a series of tragic events that caused them to eventually marry others, self-destruct their film careers, health, and ultimately their lives. The 20th Anniversary Edition has been completely updated and features a wealth of startling new information, more photos and documentation, and previously anonymous sources coming forward to set the record straight. Reviews: “Offers considerable proof they may have been secret lovers for years.” – Robert Osborne “One of the finest books about Metro-Goldwyn-Mayer and Hollywood during the Golden Era. It is a bittersweet love story of a famous couple whose musical duets on the silver screen thrilled a generation of moviegoers. They were a once-in-a-lifetime experience. With the knowledge, thanks to Miss Rich, that the actors were in love off the screen, gives their films a heartbeat. Included are love letters, notes from diaries, and observations of those who kept their secret. You will enjoy every word of Sweethearts and you will find a new meaning when viewing their musicals. Then you’ll read it a second time. – Jane Ellen Wayne, The Golden Guys of MGM “That rarity among star bios, an absorbingly written, exhaustively researched, and fully sourced work.” – Preview, AFI “The star-crossed love affair of the century. Sharon Rich paints a story of love so passionate, volatile and ultimately futile, even Shakespeare’s frustrated lovers pale by comparison. At least Romeo and Juliet solved matters in less than a week. The account is anything but sugar-coated. Ms. Rich’s book certainly contains much to raise the eyebrows. She names names and pulls no punches. Still, this is not a sensational expose; one comes away feeling sorry for the protagonists, and wishing that their story could have had a happier resolution. Further, Ms. Rich appears to have scrupulously documented each element of her narrative. Nelson’s own letters, and the frequent comments of Jeanette’s older sister, Blossom Rock, give credibility to an amazing story.” – Rob Ray, Past Times One of Hollywood’s least well-kept secrets. Rich affords a long, exciting, revealing look at two of the most important screen personalities of the 1930s. Vital reading to anyone interested in film history, Hollywood, or popular culture.” – Mike Tribby, Booklist “A surprisingly interesting look at two people so wrapped up in make-believe that they began taking it seriously.” – Harry Bowman, The Dallas Morning News "A bonanza for MacDonald/Eddy fans, a pan full of nuggets for aficionados of Hollywood and MGM.” – Kirkus Reviews “This book rings true. Fans will love it.” – John Smothers, Library Journal

    Kenneth Turan’s fifty-four favorite films embrace a century of the world’s most satisfying romances and funniest comedies, the most heart-stopping dramas and chilling thrillers.Turan discovered film as a child left undisturbed to watch Million Dollar Movie on WOR-TV Channel 9 in New York, a daily showcase for older Hollywood features. It was then that he developed a love of cinema that never left him and honed his eye for the most acute details and the grandest of scenes.Not to be Missed blends cultural criticism, historical anecdote, and inside-Hollywood controversy. Turan’s selection of favorites ranges across all genres. From All About Eve to Seven Samurai to Sherlock Jr., these are all timeless films—classic and contemporary, familiar and obscure, with big budgets and small—each underscoring the truth of director Ingmar Bergman’s observation that “no form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul.”

    Bette Davis's eyes, Joan Crawford's bitchy elegance, Stepin Fetchit's stereotype, Sidney Poitier's superhuman black man...  These are the movie stars and the qualities that influenced James Baldwin...  and now become part of his incisive look at racism in American movies.Baldwin challenges the underlying assumptions in such films as In the Heat of the Night, Guess Who's Coming to Dinner, and The Exorcist, offering us a vision of America's self-delusions and deceptions.  Here are our loves and hates, biases and cruelties, fears and ignorance reflected by the films that have entertained us and shaped our consciousness.  And here, too, is the stunning prose of a writer whose passion never diminished his struggle for equality, justice, and social change.From The Birth of a Nation to The Exorcist--one of America's most important writers turns his critical eye to American film.