Other books that might interest you

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  The New Female Antihero - The...

  Gillian Silverman, Sarah Hagelin

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  The New Female Antihero examines the hard-edged spies, ruthless queens, and entitled slackers of twenty-first-century television. 
    
  The last ten years have seen a shift in television storytelling toward increasingly complex storylines and characters. In this study, Sarah Hagelin and Gillian Silverman zoom in on a key figure in this transformation: the archetype of the female antihero. Far from the sunny, sincere, plucky persona once demanded of female characters, the new female antihero is often selfish and deeply unlikeable. 
    
  In this entertaining and insightful study, Hagelin and Silverman explore the meanings of this profound change in the role of women characters. In the dramas of the new millennium, they show, the female antihero is ambitious, conniving, even murderous; in comedies, she is self-centered, self-sabotaging, and anti-aspirational. Across genres, these female protagonists eschew the part of good girl or role model. In their rejection of social responsibility, female antiheroes thus represent a more profound threat to the status quo than do their male counterparts. From the devious schemers of Game of Thrones, The Americans, Scandal, and Homeland, to the joyful failures of Girls, Broad City, Insecure, and SMILF, female antiheroes register a deep ambivalence about the promises of liberal feminism. They push back against the myth of the modern-day super-woman—she who “has it all”—and in so doing, they give us new ways of imagining women’s lives in contemporary America.

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  Still Waters

  Claudia Allen

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  When there is a shortage of men during World War II in a rural Michigan town, Myrtle decides to become a preacher. She ministers to her community with wit, wisdom, a practical approach and insights far ahead of her time. But when the war ends, Myrtle must look to her close-knit family for support, as she battles small-town preconceptions that stand in the way of her continuing ministry.An L.A. Theatre Works full-cast performance featuring Deanna Dunagan, Joe D. Lauck, Nancy Lollar, Mary Mulligan, Larry Neuman Jr., Barbara June Patterson, Tim Sheridan and Meg Thalken.

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  Edgar Allan Poe Poems

  Edgar Allan Poe

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  Edgar Allan Poe (1809 - 1849) is widely famed as one of the greatest writers of all time. He is best known for his works of horror, such as "The Tell Tale Heart." However, and this is less known, Poe also wrote many love poems. In this collection of forty-eight poems by Edgar Allan Poe we will go through a wide variety of themes, from horror and raw creepiness in "The Raven" to pure love in "A Valentine" to depression in "Alone." Throughout all of his poems Poe kept a very strong meter and rhyme scheme. This is most obvious in "The Bells." (Summary by Shurtagal)

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  The Actor Retires

  Bruce Norris

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  Steppenwolf Theatre Company playwright and actor Bruce Norris presents a hilarious comedy in which an actor decides to end his career, burn his headshots and resumés, and become a serious furniture maker. An L.A. Theatre Works full-cast performance featuring Bruce Norris, D.W. Moffett, Lucy Childs, Christopher Donahue, Kevin Hurley, Amy Morton, Susan Nussbaum and William Peterson.

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  Season Finale - The Unexpected...

  Susanne Daniels, Cynthia Littleton

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  In the mid-1990s, two major Hollywood studios, Warner Bros. and Paramount Pictures, each launched their own broadcast television network with the hope of becoming the fifth major player in an industry long dominated by ABC, CBS, NBC, and, more recently, Fox. Despite the odds against them, the WB and UPN went on to alter the landscape of primetime television, only to then merge as the CW network in 2006—each a casualty of conflicting personalities, relentless competition, and a basic failure to anticipate the future of the entertainment business.Unfolding amid this backdrop of high-stakes business ventures, fanatical creative struggles, and corporate power plays, Season Finale traces the parallel stories of the WB and UPN from their prosperous beginnings to their precipitous demise. Following the big money, big egos, and big risks of network television, Susanne Daniels, a television executive with the WB for most of its life, and Cynthia Littleton, a longtime television reporter for Variety, expose the difficult reality of trying to launch not one but two traditional broadcast networks at the moment when cable television and the Internet were ending the dominance of network television.Through in-depth reportage and firsthand accounts, Daniels and Littleton expertly re-create the creative and business climate that gave birth to the WB and UPN, illustrating how the race to find suitable programming spawned a heated rivalry between the two but also created shows that became icons of American youth culture. Offering insider stories and never-before-published details about shows such as Buffy the Vampire Slayer, Dawson's Creek, 7th Heaven, Gilmore Girls, Smallville, Felicity, Girlfriends, Everybody Hates Chris, and America's Next Top Model, Daniels and Littleton provide an exhaustive account of the two creative teams that ushered these groundbreaking programs into the hearts, minds, and living rooms of Americans across the country.But in spite of these successes, the WB and UPN unraveled, and here the authors elucidate the corporate miscalculations that led to their undoing, examining the management missteps and industry upheaval that brought about their rapid decline and the surprising teamwork that united them as the CW. The result is a cautionary and compelling entertainment saga that skillfully captures a precarious moment in television history, when the dramatic transformation of the broadcast networks signaled an inevitable shift for all pop culture.

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  Maybe We'll Make It

  Margo Price

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  Audiobook exclusive: original and never-before-released music from the author, Margo Price. 
  When Margo Price was nineteen years old, she dropped out of college and moved to Nashville to become a musician. She busked on the street, played open mics, and even threw out her TV so that she would do nothing but write songs. She met Jeremy Ivey, a fellow musician who would become her closest collaborator and her husband. But after working on their craft for more than a decade, Price and Ivey had no label, no band, and plenty of heartache. 
  Maybe We’ll Make It is a memoir of loss, motherhood, and the search for artistic freedom in the midst of the agony experienced by so many aspiring musicians: bad gigs and long tours, rejection and sexual harassment, too much drinking, and barely enough money to live on. Price, though, refused to break and turned her lowest moments into the classic country songs that eventually comprised the debut album that launched her career. In the authentic voice hailed by Pitchfork for tackling "Steinbeck-sized issues with no-bullshit humility," Price shares the stories that became songs and the small acts of love and camaraderie it takes to survive in a music industry that is often unkind to women. Now a Grammy-nominated “Best New Artist,” Price tells a love story of music, collaboration, and the struggle to build a career while trying to maintain her singular voice and style.

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