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.

    They are immediately attracted. Despite knowing this may be the only time they will see each other, in the next few hours in the city of Vienna, they share everything and promise to meet again.    Nearly a decade later, Jesse, now a novelist on a publicity tour, sees Celine in a bookstore in Paris. Again their time is short, and they spend it reestablishing the connection they experienced on their first meeting. Romantic, poignant, understated, and often profound, these two screenplays are sure to become classics in their own right.

    She is enjoying life in the fast lane when, all of a sudden, she's put in charge of her firm's annual pro bono project. Her assignment: to devise a plan for revitalizing the coastal town of Rumton, South Carolina. Years of declining population, lack of industry, and a poor economy threaten to leave Rumton broke and hopeless. But Jaxie doesn't "do" small towns, much less know how to pull off saving one. She arrives in Rumton to discover that the lack of shopping and day spas is the least of her worries. There isn't even a hotel, and she must bunk down with an old man named Pop in an even older house. Determined to succeed---if only to get back home as quickly as possible---Jaxie sets out to meet the townsfolk and work on a plan. Just when she decides that Rumton is dreadfully uneventful---and her coworker is painfully boring---things heat up pretty quickly. It turns out that there is an interesting man beneath his ever-present suit and tie, after all. And there is much more to Rumton than meets the eye. A charismatic businessman arrives on the scene offering to buy up land---a development that Jaxie feels is too coincidental. A town resident is murdered, an intriguing history of piracy is uncovered, and a massive storm brews offshore. Although Jaxie is surrounded by danger, she hunkers down to complete the assignment she started, and in the process, she learns a thing or two about life and love.   Advance Praise for T. Lynn Ocean and Sweet Home Carolina "City girl meets small town in T. Lynn Ocean's captivating Sweet Home Carolina. Sassy, sexy, sunny, and sure to please."---Carolyn Hart, author of Dead Days of Summer "A sassy city girl who's allergic to small towns suddenly finds herself living and working in one, the perfect setup for a great story. Jaxie Parker's adventures and misadventures make this a hilarious and highly entertaining book not to be missed!" ---Cassandra King, author of The Same Sweet Girls "Take one sophisticated ad executive, drop her in the middle of a small Southern town, and get ready for surprises galore. Sweet Home Carolina mixes memorable characters, great humor, small-town Southern culture, history, and mystery for a delightful romp of a read."---Emyl Jenkins author of Stealing with Style "T. Lynn Ocean's novels give us characters to root for and laugh with. In Sweet Home Carolina, it's the spunky and intelligent Jaxie Parker who rethinks her career path after pushing a strappy Cole Haan sandal into a pile of horse dung, in the middle of a town that's in the middle of nowhere.… A fun and entertaining read."---Susan Reinhardt, author of Not Tonight, Honey, Wait 'Til I'm a Size 6

    Stone tries to adjust to her aimless new life in Rome. She is adjusting, too, to aging ("The knowledge that her beauty was lost had come upon her recently and it was still occasionally forgotten.") With poignant wit and his own particular brand of relish, Williams charts her drift into an affair with a cruel young gigolo: "As compelling, as fascinating, and as technically skilled as his plays." (Publishers Weekly)

    When his boss sticks him with a misdemeanour flasher case, Seegerman thinks, No problem. He’ll plead the case, caution his client to keep his trousers zipped, and rush back to rehearsal. No such luck. His client vanishes, a key witness winds up dead, and the case reveals corruption among his city's most prominent citizens, Seegerman finds himself having to act like a real lawyer for the first time in his life—and to his surprise, he’s good at it. Irresistible and irreverent, Misdemeanor Man will have you on the edge of your seat, rooting for the underdog and believing in the magic of Manilow.

    He has two manuscripts but lacks the funds to publish both. His difficult decision--whether to publish his lover's memoir or the novel written by his best friend--is further complicated by the arrival of a mysterious machine that produces pages predicting the future of the play's protagonists, affecting their lives and relationships in haunting and unexpected ways. "The Violet Hour" opened on Broadway on November 6, 2003, starring Robert Sean Leonard.

    The complete book about the life of Academy Award nominee River Phoenix, from his parents beginning, his birth, member of a cult religion, to his TV acting, activism, veganism and movie career.

    But when he is stricken with an ill-timed case of ED (Erectile Dysfunction), the desperate player faces his biggest campaign killer of all and goes to hilarious extremes to keep himself in the running. Peter Lefcourt holds a perfectly cracked mirror to the spin-filled world of Washington's sexual politics and asks a penetrating question: How hard does a politician have to be?

    A man not above faking his own death to sell more records, this is his not quite true story of romance, recidivism, country music, and an unshakeable belief in Marriage at First Sight.

    The guide presents the major debates that surround these works as they develop, from Martin Esslin's early appropriation of the plays as examples of the Theatre of the Absurd, to recent poststructuralist and postcolonial readings by critics such as Steven Connor, Mary Bryden and Declan Kiberd. Throughout, Boxall clarifies and contextualizes critical responses to the plays, and considers the difficult relationship between Beckett and his critics.

    IT WAS NEVER MEANT TO DIE HERE. Christopher Nolan takes on the infinite canvas of space to deliver a cutting-edge, emotionally charged adventure that will amaze movie audiences of all ages. This is the living blueprint of Nolan's journey. Interstellar, Nolan's much anticipated sci-fi film, opens in November 2014 and stars, among others, Matthew McConaughey, Anne Hathaway, Jessica Chastain, Michael Caine, Casey Affleck, William Devane, Topher Grace, John Lithgow.

    As the teachers struggle daily to nurture and groom, the students prefer to hang out and “chillax”. With upskirting and Facebooking, griping and politicking, school takes on a whole new meaning as the colourful characters struggle to prove that those who can, teach.Written by Singapore’s most prolific playwright Haresh Sharma, Those Who Can’t, Teach was first staged by The Necessary Stage in 1990 to critical acclaim. Twenty years later, Sharma revisits this classic to revitalise it for the Singapore Arts Festival 2010, transforming it into a powerful portrayal of the pressures and challenges facing teachers (and students) in schools in the 21st century.“The play throws up questions on the roles of parents, students and teachers, but does not collapse into an impotent tirade against society. The script is joyous. The laughter is warmly wry, not caustic.” —The Straits Times“Those Who Can’t, Teach does much to do away with the stereotypes and fallacies of the teaching profession.” —The Business Times

    He enlists the aid of his lifelong buddy, Aldo Scalicki, a confirmed bachelor who tries, without apparent success, to convince Huey that he would be better off sticking with his new lady friend, Teresa, a usually placid young waitress whose indignation flares when she learns what Huey is up to. In a moonlit balcony scene (hilariously reminiscent of Cyrano de Bergerac) Aldo pleads his lovesick friend's case and, to his astonishment, Janice capitulates although not for long. However we do learn that her earlier abuse of Huey was intended to make him "act like a man" which, at last, he does. And, more than that, he (and the audience) become aware that, in the final essence, "the greatest and only success is to be able to love" a truth which emerges delightfully from the heartwarming, wonderfully antic and always imaginatively conceived action of the play.

    Maria was young and innocent and had never known love—until Tony. And he, who had been seeking something beyond the savagery of the streets, discovered it with her. But Maria’s brother was leader of the Sharks and Tony had once led the rival Jets. Now both gangs were claiming the same turf. Tony promised Maria that he would stay out of it. Would he be able to keep his word? Or would their newfound love be destroyed by sudden death?

    A mystery, really. A man has been murdered. The mystery is, who he is, who murdered him and what were the circumstances? And to solve it, Wilson looks at the outsides and insides of his tiny, Middle Western town. He looks at a middle-aging woman who falls in love with the young man who comes to work in her cafe. He looks at a coarse, nasty woman mistreating her senile mother, who is obsessed with visions of Eldritch being evil and headed for blood-spilling. He looks at a tender relationship between a young man and a dreamy, crippled girl. But Wilson sees far more than this. He is grasping the very fabric of Bible Belt America, with its catchword morality ("virgin," "God-fearing") and its capability for the vicious. He senses the rhythm of its life and the cruelty it can impose. He understands the speech patterns of its loveless gossips, its sex-hungry boys, its compassionless preachers, its car-conscious blondes." In the end his portrait of Eldritch is full length, and the truth of its revelations will be pondered long after the stage lights have dimmed and the play has ended.