David Tennant's foreword caps this warm, witty memoir — a fitting tribute to a woman who will be sadly missed by legions of fans. When Elisabeth Sladen first appeared as plucky journalist Sarah Jane Smith in 1973 Doctor Who story "The Time Warrior," little did she know the character would become one of the most enduring and fondly remembered in the series' history. Here she shares the story of her years as Sarah Jane—traversing time and space alongside classic Doctors Jon Pertwee and Tom Baker, while a generation of children were terrified but transfixed as their heroine found herself menaced by Daleks, dinosaurs, Cybermen, man-eating alien flora, Egyptian mummies, extras in Bubble Wrap, and even the Loch Ness Monster. By the time she quit the TARDIS in 1976, making front page news, Elisabeth had become one of the most familiar faces of a TV golden age. But that wasn't the end of Sarah Jane. Elisabeth discusses the many times she has reprised her role—anniversary specials, a 1981 spin-off pilot with robotic sidekick K-9, and radio plays. She discusses touring the weird, wide, and wonderful world of Doctor Who fandom. And lastly, she shares details of Sarah Jane's most recent incarnation—when TV wunderkind Russell T. Davies approached her to come back again, this time to a Doctor Who backed by lavish budgets and garlanded with critical plaudits, how could she possibly say no? Funny, ridiculous, insightful, and entertaining, hers is the story of another girl, another planet, completed just months before she died.

    Conventional wisdom long held that big name, highly athletic hitters and young pitchers with rocket arms were the ticket to success. But Beane and his staff, buoyed by massive amounts of carefully interpreted statistical data, believed that wins could be had by more affordable methods such as hitters with high on-base percentage and pitchers who get lots of ground outs. Given this information and a tight budget, Beane defied tradition and his own scouting department to build winning teams of young affordable players and inexpensive castoff veterans. Lewis was in the room with the A's top management as they spent the summer of 2002 adding and subtracting players and he provides outstanding play-by-play. In the June player draft, Beane acquired nearly every prospect he coveted (few of whom were coveted by other teams) and at the July trading deadline he engaged in a tense battle of nerves to acquire a lefty reliever. Besides being one of the most insider accounts ever written about baseball, Moneyball is populated with fascinating characters. We meet Jeremy Brown, an overweight college catcher who most teams project to be a 15th round draft pick (Beane takes him in the first). Sidearm pitcher Chad Bradford is plucked from the White Sox triple-A club to be a key set-up man and catcher Scott Hatteberg is rebuilt as a first baseman. But the most interesting character is Beane himself. A speedy athletic can't-miss prospect who somehow missed, Beane reinvents himself as a front-office guru, relying on players completely unlike, say, Billy Beane. Lewis, one of the top nonfiction writers of his era (Liar's Poker, The New New Thing), offers highly accessible explanations of baseball stats and his roadmap of Beane's economic approach makes Moneyball an appealing reading experience for business people and sports fans alike. --John Moe

    Spider-Man, the Fantastic Four, Captain America, the Incredible Hulk, the Avengers, Iron Man, Thor, the X-Men, Daredevil—these superheroes quickly won children's hearts and sparked the imaginations of pop artists, public intellectuals, and campus radicals. Over the course of a half century, Marvel's epic universe would become the most elaborate fictional narrative in history and serve as a modern American mythology for millions of readers.Throughout this decades-long journey to becoming a multibillion-dollar enterprise, Marvel's identity has continually shifted, careening between scrappy underdog and corporate behemoth. As the company has weathered Wall Street machinations, Hollywood failures, and the collapse of the comic book market, its characters have been passed along among generations of editors, artists, and writers—also known as the celebrated Marvel "Bullpen." Entrusted to carry on tradition, Marvel's contributors—impoverished child prodigies, hallucinating peaceniks, and mercenary careerists among them—struggled with commercial mandates, a fickle audience, and, over matters of credit and control, one another.For the first time, Marvel Comics reveals the outsized personalities behind the scenes, including Martin Goodman, the self-made publisher who forayed into comics after a get-rich-quick tip in 1939; Stan Lee, the energetic editor who would shepherd the company through thick and thin for decades; and Jack Kirby, the World War II veteran who'd co-created Captain America in 1940 and, twenty years later, developed with Lee the bulk of the company's marquee characters in a three-year frenzy of creativity that would be the grounds for future legal battles and endless debates.Drawing on more than one hundred original interviews with Marvel insiders then and now, Marvel Comics is a story of fertile imaginations, lifelong friendships, action-packed fistfights, reformed criminals, unlikely alliances, and third-act betrayals— a narrative of one of the most extraordinary, beloved, and beleaguered pop cultural entities in America's history.

    The book highlights the shared conflicts as American and Japanese pop cultures dramatically intersect.

    More than forty years and $37 billion later, Star Wars-related products outnumber human beings, a stormtrooper army spans the globe, and "Jediism" has become a religion in its own right. Lucas's creation has grown into far more than a cinematic classic; it is, quite simply, one of the most lucrative, influential, and interactive franchises of all time. Yet until now, the complete history of Star Wars - its influences and impact, the controversies it has spawned, its financial growth and long-term prospects - has never been told.In How Star Wars Conquered the Universe, veteran journalist Chris Taylor traces the series from the difficult birth of the original film through its sequels, the franchise's death and rebirth, the prequels, and the preparations for a new trilogy. Taylor provides portraits of the friends, writers, artists, producers, and marketers who labored behind the scenes to turn Lucas's idea into a legend. He also jousts with modern-day Jedi, tinkers with droid builders, and gets inside Boba Fett's helmet, all to find out how Star Wars has attracted and inspired so many fans for so long.Since the first film's release in 1977, Taylor shows, Star Wars has conquered our culture with a sense of lightness and exuberance, while remaining serious enough to influence politics around the world and spread a spirituality that appeals to religious groups and atheists alike. Controversial digital upgrades and critically savaged prequels have actually made the franchise stronger than ever. Now, with a new set of savvy bosses holding the reins and Episode VII on the horizon, it looks like Star Wars is just getting started.An energetic, fast-moving account of this creative and commercial phenomenon, How Star Wars Conquered the Universe explains how a filmmaker's fragile dream beat out a surprising number of rivals and gained a diehard, multigenerational fan base - and why it will be galvanizing our imaginations and minting money for generations to come.

    and China “In this highly entertaining but deeply disturbing book, Erich Schwartzel demonstrates the extent of our cultural thrall to China. His depiction of the craven characters, American and Chinese, who have enabled this situation represents a significant feat of investigative journalism. His narrative is about not merely the movie business, but the new world order.” —Andrew Solomon, author of Far from the Tree and The Noonday DemonFrom trade to technology to military might, competition between the United States and China dominates the foreign policy landscape. But this battle for global influence is also playing out in a strange and unexpected arena: the movies. The film industry, Wall Street Journal reporter Erich Schwartzel explains, is the latest battleground in the tense and complex rivalry between these two world powers. In recent decades, as China has grown into a giant of the international economy, it has become a crucial source of revenue for the American film industry. Hollywood studios are now bending over backward to make movies that will appeal to China’s citizens—and gain approval from severe Communist Party censors. At the same time, and with America’s unwitting help, China has built its own film industry into an essential arm of its plan to export its national agenda to the rest of the world. The competition between these two movie businesses is a Cold War for this century, a clash that determines whether democratic or authoritarian values will be broadcast most powerfully around the world. Red Carpet is packed with memorable characters who have—knowingly or otherwise—played key roles in this tangled industry web: not only A-list stars like Matt Damon, Angelina Jolie, and Richard Gere but also eccentric Chinese billionaires, zany expatriate filmmakers, and starlets who disappear from public life without explanation or trace. Schwartzel combines original reporting, political history, and show-biz intrigue in an exhilarating tour of global entertainment, from propaganda film sets in Beijing to the boardrooms of Hollywood studios to the living rooms in Kenya where families decide whether to watch an American or Chinese movie. Alarming, occasionally absurd, and wildly entertaining, Red Carpet will not only alter the way we watch movies but also offer essential new perspective on the power struggle of this century.

    He spent three years on the floor of his house, eating his meals there and crawling to the bathroom, where he could barely hoist himself up onto the toilet. The excruciating pain and slow recovery tested Walton to the fullest. But with extraordinary patience, fortitude, determination, and sacrifice—and pioneering surgery—he recovered, and now shares his life story in this remarkable and unique memoir.Walton grew up in San Diego in the 1950s and 1960s and was deeply influenced by the political and cultural upheavals of that period. Although he strongly identified with the cool people, particularly in music and politics, his greatest role model outside his family was super-straight UCLA basketball coach John Wooden, a thoughtful, rigorous mentor who seemed immune to the turmoil of the times. Although there was always tension and conflict between them, the two men would speak nearly every day for forty-three years, until Wooden’s death at age ninety-nine.Despite a lifelong stuttering affliction, Walton chose a career in broadcasting after his playing days ended. He eventually won an Emmy Award and other accolades for broadcasting and was recognized as a leading media pundit.John Wooden once said that no greatness ever came without sacrifice. Nothing better illustrates this saying than the real story of Walton’s life. In his own words, Back from the Dead shares this dramatic story, including his basketball and broadcasting careers, his many setbacks and rebounds, and his ultimate triumph as the toughest of champions.

    And yet the questions about him remain the same: Who is he? Why does he act the way he does? What motivates him to fight evil across space and time?The Doctors Are In is a guide to television’s most beloved time traveller from the authors of Who Is The Doctor and Who’s 50. This is a guide to the Doctor himself — who he is in his myriad forms, how he came to be, how he has changed (within the program itself and behind the scenes) . . . and why he’s a hero to millions.

    It was Aaron Sorkin versus Tina Fey, and it was clear which series critics thought was more promising. The Baltimore Sun called it a competition 30 Rock “can’t win.” By November, the New York Times was noting lackluster ratings for both shows, and adding that 30 Rock was “perilously close to a flop.” But while Studio 60 was canceled after 22 episodes, Fey’s madcap buddy comedy lasted 138 episodes. It resurrected the career of Alec Baldwin, survived an extended absence by Tracy Morgan, and permeated the culture—it’s breakneck pacing, oddball characters, and extremely rich joke writing are deeply beloved by millions of fans. In this combination of narrative and oral history, culture writer and editor Mike Roe brings to life the history of the gloriously goofy show through interviews with the creators, stars, writers, and bit players.

    The author of the best-selling Mouse Tales: A Behind-the-Ears Look at Disneyland reveals how Walt Disney's City of Tomorrow evolved into a sprawling resort where?despite extraordinary efforts to control every aspect of the show?everything doesn't always go according to script.

    The weird turns that followed in this already sensational take are truly astonishing--the Hearst family tried to secure Patty's release by feeding the people of Oakland and San Francisco for free; bank security cameras captured "Tania" wielding a machine gun during a roberry; the LAPD engaged in the largest police shoot-out in American history; the first breaking news event was broadcast live on telelvision stations across the country; and then there was Patty's circuslike trial, filled with theatrical courtroom confrontations and a dramatic last-minute reversal, after which the term "Stockholm syndrome" entered the lexicon. Ultimately, the saga highlighted a decade in which America seemed to be suffering a collective nervous breakdown.

    George directly influenced the likes of Muhammad Ali, who took his bragging and boasting from George; James Brown, who began to wear sequined capes onstage after seeing George on TV; John Waters, whose films featured the outrageous drag queen Divine as an homage to George; and too many wrestlers to count. Amid these pop culture discoveries are firsthand accounts of the pro wrestling game from the 1930s to the 1960s.The ideal American male used to be stoic, quiet, and dignified. But for a young couple struggling to make ends meet, in the desperation born of the lingering Depression and wartime rationing, an idea was hatched that changed the face of American popular culture, an idea so bold, so over-the-top and absurd, that it was perfect. That idea transformed journeyman wrestler George Wagner from a dark-haired, clean-cut good guy to a peroxide-blond braggart who blatantly cheated every chance he got. Crowds were stunned—they had never seen anything like this before—and they came from miles around to witness it for themselves.Suddenly George—guided by Betty, his pistol of a wife—was a draw. With his golden tresses grown long and styled in a marcel, George went from handsome to . . . well . . . gorgeous overnight, the small, dank wrestling venues giving way to major arenas. As if the hair wasn't enough, his robes—unmanly things of silk, lace, and chiffon in pale pinks, sunny yellows, and rich mauves—were but a prelude to the act: the regal entrance, the tailcoat-clad valet spraying the mat with perfume, the haughty looks and sneers for the "peasants" who paid to watch this outrageously prissy hulk prance around the ring. How they loved to see his glorious mane mussed up by his manly opponents. And how they loved that alluringly alliterative name . . . Gorgeous George . . . the self-proclaimed Toast of the Coast, the Sensation of the Nation!All this was timed to the arrival of that new invention everyone was talking about—television. In its early days, professional wrestling and its larger-than-life characters dominated prime-time broadcasts—none more so than Gorgeous George, who sold as many sets as Uncle Miltie.Fans came in droves—to boo him, to stick him with hatpins, to ogle his gowns, and to rejoice in his comeuppance. He was the man they loved to hate, and his provocative, gender-bending act took him to the top of the entertainment world. America would never be the same again.

    Today he controls 80% of the voting shares of both Viacom and CBS, meaning that on a whim he could replace the entire boards of two public companies with a combined value of $40 billion. He spent decades performing meticulous estate planning so that his control would extend beyond the grave (which he loved telling reporters he would never lie in), constructing trusts designed to make it impossible for his heirs to sell his companies after he died. “Unless they start doing terribly,” he told the Wall Street Journal in 2012, “which they will not.”As readers will discover in The King of Content, Redstone’s confidence at the time was not misplaced. His life up to that point had been a story of exceeding expectations, climbing from the son of a linoleum peddler in the Jewish immigrant tenements of Boston’s West End to Harvard Law School, from the president of his father’s regional drive-in movie chain to the owner of Viacom, from a cerebral lawyer who shopped at Filene’s Basement to the owner of a coveted Hollywood studio, and ultimately, after the Viacom-CBS merger, to the controlling shareholder of the largest merged media entity in U.S. history. The credo that he coined and repeated for decades—“content is king”—turned out to be more true in the digital world than he could have ever guessed.Through exclusive interview and hundreds of pages of legal documents, Keach Hagey reveals the story behind the rise and fall of this remarkable figure, and the details of the family members fighting for control of his vast empire. At the heart of all the dueling lawsuits running through the Redstone family is Sumner Redstone’s tumultuous love life —particularly the fallout from his 2002 divorce from Phyllis, his wife of 52 years. More recently, Redstone’s life has become a tabloid soap opera thanks a lawsuit brought by one of his ex-girlfriends, Manuela Herzer. If the judge finds him incompetent, it will greatly increase the pressure on his trustees to begin the process of placing his controlling stakes in the hands of a seven-person trust who are expected to duke it out over what will become of the companies.Yet the appetite for Redstone’s assets is not what it would have been just a few years ago. While CBS—bolstered by its sports rights and the programming prowess of its former actor CEO, Les Moonves—has experienced modest declines in the age of cord-cutting, Viacom’s fall has been dizzying. Ratings at its biggest cable networks, which include MTV, Comedy Central, Nickelodeon, BET, and Vstrong, have been falling double-digit percentages for years. A few small cable companies, annoyed at Viacom’s demands for price hikes for their entire package of dozens of channels when ratings were so weak, dropped them altogether last year—a move widely viewed as a canary in the industry coal mine.There’s a corporate whodunnit here, as well as a series of mysteries that has captivated both the business and tabloid press. The answers lie in family feuds, corporate battles and alliances that go back decades, and will be laid bare in this ambitious book.

    From the beginning, King, Canada’s long-time national coach and former coach of both the Flames and Blue Jackets, realized he was in for an adventure. His first meeting with team officials in a Vienna hotel lobby included six fast-talking Russians and the “bag-man” — assistant general manager Oleg Kuprianov, who always carried a little black bag full of U.S. one hundred dollar bills.The mission seemed simple enough: keep the old Soviet style combination play on offence, but improve the team’s defensive play — and win a Russian Super League Championship. Yet, as King’s diary of his time in Russia reveals, coaching an elite Russian team is anything but simple. King of Russia details the world of Russian hockey from the inside, intimately acquainting us with the lives of key players, owners, managers, and fans, while granting us a unique perspective on life in an industrial town in the new Russia. And introducing us to Evgeni Malkin, Magnitogorsk’s star and the NHL’s newest phenomenon.