In this cultural examination of American film noir, poet and novelist Nicholas Christopher contrasts the nightmare world of the genre with the sunny unreality of American popular culture, presenting a fresh view of its meaning for our time.

    As war raged on in Vietnam and the cold war continued to escalate, Hollywood began to heat up, recovering from its commercial crisis with box-office successes such as Star Wars, Jaws, The Exorcist, and The Godfather. Thanks to directors like Spielberg and Lucas, American cinema gave birth to a new phenomenon: the blockbuster. Meanwhile, across the Atlantic, while the Nouvelle Vague died out in France, its influence extended to Germany, where the New German Cinema of Fassbinder, Wenders, and Herzog had its heyday. The sexual revolution made its way to the silver screen (cautiously in the US, more freely in Europe) most notably in Bertolucci's steamy, scandalous Last Tango in Paris. Amidst all this came a wave of nostalgic films (The Sting, American Graffiti) and Vietnam pictures (Apocalypse Now, The Deer Hunter), the rise of the anti-hero (Robert De Niro, Al Pacino, Dustin Hoffman), and the prestigious short-lived genre, blaxploitation.

    But when they find themselves stranded alone together on New Year’s Eve, Ryan discovers Joe most definitely doesn’t want to avoid Ryan…

    Following in the maverick mold of Quentin Tarentino, Spike Lee, and Richard Rodriguez, Joe Queenan becomes an auteur and, in the process, funnier than ever, as he tries to master the art of writing, directing, scoring, casting, and marketing a movie--all by himself.

    Our planet is lost. We are the last humans, and we must go home. Children of Earthrise is a story of exodus. Of humanity lost among the stars. Of one man rising to lead our people home. In 2016, the Earthrise series became a surprise bestseller, captivating hundreds of thousands of readers around the world. Set two thousand years later, Children of Earthrise begins a new story, one for both new readers and old fans. This bundle includes the first three Children of Earthrise novels: The Heirs of Earth, A Memory of Earth, and An Echo of Earth.

    . . a fantastic book to read." 2058. As superpowers squabble over the remaining oil, and civilization limps on in a virtual universe, a cunning and ruthless genius uses the digital connectivity of our world to manipulate governments, subliminally sway the masses - and even kill - in his quest for immortality.The first bionic soldier­ - now mentally broken, a prodigy hacker abused as a weapon, a psychopath seeking redemption, and the CEO who created the cyber universe - and unwittingly - the means to rule both, are all that stands in his way.

    This time, Muir surveys 300 films from the 1980s. From backwards psychos (Just Before Dawn) and yuppie-baiting giant rats (Of Unknown Origin), to horror franchises like Friday the 13th and Hellraiser, as well as nearly forgotten obscurities such as The Children and The Boogens, Muir is our informative guide through 10 macabre years of silver screen terrors. Muir introduces the scope of the decade's horrors, and offers a history drawing parallels between current events and the nightmares unfolding on cinema screens. Each of the 300 films is discussed with detailed credits, a brief synopsis, a critical commentary, and where applicable, notes on the film's legacy beyond the 80s. Also included is the author's ranking of the 15 best horror films of the 80s.

    Yet, it was an honor Zane had not wished for.On Laney’s nineteenth birthday, Zane fell with the mission to keep her safe, but he was never given that opportunity...In this Brookehaven Vampires novella, you will step into the mind of Laney’s guardian angel, get a glimpse of his life before the fall, and see what our world looks like from his point of view.

    

    The book also analyzes the complex and problematic films of Brian De Palma, attacks the 1980s fantasy cinema of Lucas and Spielberg, examines the work of women directors, and celebrates the films of Scorcese and Michael Cimino.

    An experimental, violent prison unit. The death of an American city, as seen through a complex police investigation. A lawless frontier town trying to talk its way into the United States. A corrupt cop who rules his precinct like a warlord. The survivors of a plane crash trying to make sense of their disturbing new island home. A high school girl by day, monster fighter by night. A spy who never sleeps. A space odyssey inspired by 9/11. An embattled high school football coach. A polished ad exec with a secret. A chemistry teacher turned drug lord.These are the subjects of 12 shows that started a revolution in TV drama: The Sopranos. Oz. The Wire. Deadwood. The Shield. Lost. Buffy the Vampire Slayer. 24. Battlestar Galactica. Friday Night Lights. Mad Men. Breaking Bad.These 12 shows, and the many more they made possible, ushered in a new golden age of television — one that made people take the medium more seriously than ever before. Alan Sepinwall became a TV critic right before this creative revolution began, was there to chronicle this incredible moment in pop culture history, and along the way “changed the nature of television criticism,” according to Slate. The Revolution Was Televised is the story of these 12 shows, as told by Sepinwall and the people who made them, including David Chase, David Simon, David Milch, Damon Lindelof and Carlton Cuse, Vince Gilligan and more.

    The saga of Britain's best-loved martini hound (who we all know prefers his favorite drink "shaken, not stirred") has adapted to changing times for four decades without ever abandoning its tried-and-true formula of diabolical international conspiracy, sexual intrigue, and incredible gadgetry.James Chapman expertly traces the annals of celluloid Bond from its inauguration with 1962's Dr. No through its progression beyond Ian Fleming's spy novels to the action-adventure spectaculars of GoldenEye and Tomorrow Never Dies. He argues that the enormous popularity of the series represents more than just the sum total of the films' box-office receipts and involves questions of film culture in a wider sense.Licence to Thrill chronicles how Bond, a representative of a British Empire that no longer existed in his generation, became a symbol of his nation's might in a Cold War world where Britain was no longer a primary actor. Chapman describes the protean nature of Bond villains in a volatile global political scene--from Soviet scoundrels and Chinese rogues in the 1960s to a brief flirtation with Latin American drug kingpins in the 1980s and back to the Chinese in the 1990s. The book explores how the movies struggle with changing societal ethics--notably, in the evolution in the portrayal of women, showing how Bond's encounters with the opposite sex have evolved into trysts with leading ladies as sexually liberated as Bond himself.The Bond formula has proved remarkably durable and consistently successful for roughly a third of cinema's history--half the period since the introduction of talking pictures in the late 1920s. Moreover, Licence to Thrill argues that, for the foreseeable future, the James Bond films are likely to go on being what they have always been, a unique and very special kind of popular cinema.

    Other outlandish tales include John Wayne battling cancer using a highly alternative therapy, a gene for integrity being harvested from the brain of an unwilling donor, and the landing of Christopher Columbus in modern-day Manhattan. Included are the Locus and Nebula Award-nominated novelette Auspicious Eggs and several previously unpublished pieces.ContentsIntroduction by Michael Swanwick“Auspicious Eggs”“Come Back, Dr. Sarcophagus”“Director’s Cut”“Fucking Justice”“Isabella of Castile Answers Her Mail”“Martyrs of the Upshot Knothole”“The Cat’s Pajamas”“The Eye That Never Blinks”“The Fate of Nations”“The War of the Worldviews”“The Wisdom of the Skin”“The Zombies of Montrose”

    It wasn’t drugs, alcohol, or sex: it was film. After moving to Los Angeles, Oswalt became a huge film buff (or as he calls it, a sprocket fiend), absorbing classics, cult hits, and new releases at the famous New Beverly Cinema. Silver screen celluloid became Patton’s life schoolbook, informing his notion of acting, writing, comedy, and relationships.Set in the nascent days of LA’s alternative comedy scene, Silver Screen Fiend chronicles Oswalt’s journey from fledgling stand-up comedian to self-assured sitcom actor, with the colorful New Beverly collective and a cast of now-notable young comedians supporting him all along the way.

    Colin McGinn–“an ingenious philosopher who thinks like a laser and writes like a dream,” according to Steven Pinker–enhances our understanding of both movies and ourselves in this book of rare and refreshing insight.