Hollywood Wants To Kill You

'A wonderful book... Delightfully varied... As with all the best science writing, this book doesn't just give answers, it also asks interesting questions.' Daily Mail 'Captivating and intelligent! Who knew death could be this much fun?' Richard Osman Asteroids, killer sharks, nuclear bombs, viruses, deadly robots, climate change, the apocalypse - why is Hollywood so obsessed with death and the end of the world? And how seriously should we take the dystopian visions of our favourite films? With wit, intelligence and irreverence, Rick Edwards and Dr Michael Brooks explore the science of death and mass destruction through some of our best-loved Hollywood blockbusters. From Armageddon and Dr Strangelove to The Terminator and Contagion, they investigate everything from astrophysics to AI, with hilarious and captivating consequences. Packed with illustrations, fascinating facts and numerous spoilers, Hollywood Wants to Kill You is the perfect way into the science of our inevitable demise.

A history of Western culture’s fascination with undead creatures in film and television. Are you a fan of the undead? Watch lots of mummy, zombie and vampire movies and TV shows? Have you ever wondered if they could be “real?” This book, A History of the Undead, unravels the truth behind these popular reanimated corpses. Starting with the common representations in Western media through the decades, we go back in time to find the origins of the myths. Using a combination of folklore, religion and archaeological studies we find out the reality behind the walking dead. You may be surprised at what you find . . .

Winner of the Eisner Prize for Best New Graphic Album Winner of the National Cartoonist Society Reuben Award for Best Graphic Novel Named one of the Best Books of the Year by Vanity Fair, Kirkus Reviews, and Library Journal A New York Times Book Review Editors’ Choice Selection When three daunting dolls intersect with one hapless heroine and a hard-boiled private eye, deception, betrayal, and murder stalk every mean street in… Kill My Mother. Adding to a legendary career that includes a Pulitzer Prize, an Academy Award, Obie Awards, and Lifetime Achievement Awards from the National Cartoonist Society and the Writers Guild of America, Jules Feiffer now presents his first noir graphic novel. Kill My Mother is a loving homage to the pulp-inspired films and comic strips of his youth. Channeling Eisner's The Spirit, along with the likes of Hammett, Chandler, Cain, John Huston, and Billy Wilder, and spiced with the deft humor for which Feiffer is renowned, Kill My Mother centers on five formidable women from two unrelated families, linked fatefully and fatally by a has-been, hard-drinking private detective. As our story begins, we meet Annie Hannigan, an out-of-control teenager, jitterbugging in the 1930s. Annie dreams of offing her mother, Elsie, whom she blames for abandoning her for a job soon after her husband, a cop, is shot and killed. Now, employed by her husband’s best friend—an over-the-hill and perpetually soused private eye—Elsie finds herself covering up his missteps as she is drawn into a case of a mysterious client, who leads her into a decade-long drama of deception and dual identities sprawling from the Depression era to World War II Hollywood and the jungles of the South Pacific. Along with three femme fatales, an obsessed daughter, and a loner heroine, Kill My Mother features a fighter turned tap dancer, a small-time thug who dreams of being a hit man, a name-dropping cab driver, a communist liquor store owner, and a hunky movie star with a mind-boggling secret. Culminating in a U.S.O. tour on a war-torn Pacific island, this disparate band of old enemies congregate to settle scores. In a drawing style derived from Steve Canyon and The Spirit, Feiffer combines his long-honed skills as cartoonist, playwright, and screenwriter to draw us into this seductively menacing world where streets are black with soot and rain, and base motives and betrayal are served on the rocks in bars unsafe to enter. Bluesy, fast-moving, and funny, Kill My Mother is a trip to Hammett-Chandler-Cain Land: a noir-graphic novel like the movies they don’t make anymore.

Today many in Hollywood and the media have declared open warfare on the family, education, and Christianity in general. Intellectuals have labeled religion, particularly Christianity, as mere wish fulfillment or a virus of the mind, something to be eradicated at all costs. In Christianity's Dangerous Idea, Jonas Alexis picks up where he left off in his previous books and continues to examine the ideological fallacies that have been fabricated in order to attack Christianity and the people who promote those fallacies. This latest book is a tour de force of rigorous logic and testable evidence for the Christian worldview from history, science, experience, common sense, and final destiny. More importantly, Alexis subjects the rivals of Christianity to the same rigorous testing. Christianity's Dangerous Idea clearly demonstrates the destructive nature of popular atheistic and anti-Christian philosophies, spread throughout Western culture by such famous people as Friedrich Nietzsche, Sigmund Freud, Carl Jung, David Cronenberg, Steven Spielberg, Alan Moore, William S. Burroughs, Philip K. Dick, Bruce Lee, Ayn Rand, Bart D. Ehrman, Richard Dawkins, and many more. In a scholarly yet readable fashion, Alexis shows that what the ancient Greeks often referred to as "the cult of Dionysus" has become mainstream in our modern age.

"The science is strong, but a test is only as good as the men carrying it out," was said by Valery Legasov in the Chernobyl Mini-series. The quote resonates with me, as do the words, "Art pieces are as formidable as the quality of work, people, and resources drawn to bring them to life." Motion pictures are among the most radical art forms, and their role as sources of entertainment on both small and big screens speaks volumes. For more than a century, people have been making movies, and this trend will continue as long as people exist. In Nigeria's Nollywood, much has been accomplished, and much more is awaited. Therefore, the need to caution, educate, and take bold steps is greatly warranted. Nollywood's Path To Ascension (NPTA) aims to provide practical guidance and steps to reach the zenith.

This specially-priced 3-book Box Set of Investigative True Crime stories includes: FLOWERS FOR MRS. LUSKIN: The divorce was vicious, but at least it hadn't turned deadly. Then came the flowers. and THE UNSOLVED MURDER OF ADAM WALSH: Book 1: Was the man in the mall the most notorious murderer in history? Book 2: The body identified as Adam Walsh is not him. Is Adam still alive?

A Millionaire Has An Affair. His Wife Throws Him Out. She Gets The Mansion, The Business, The Cash. His Parents' Business. His Parents' Cash. She Gets Shot And Doesn't Know It. The Bullet Disappears. He Goes To Prison. His Parents Flee The Country. He Weds The Other Woman Behind Bars. Has There Ever Been A Case Like This? --The Miami Herald, Tropic Magazine FLOWERS FOR MRS. LUSKIN begins with a flower delivery to the best house in the best part of Hollywood, Florida. Inside, Marie Luskin was cautious; her husband Paul used to send her flowers but those days had ended more than a year before when she filed for divorce. She thought it was safe to open the door just enough to accept the pot of azaleas. She was wrong. The delivery was a ruse; the man pointed a gun at her and demanded her money and jewelry. When he left, she fell to the floor, bloodied, thinking he'd hit her with the gun. Over 40 years, Paul's family had built a business called Luskin's from one store in Baltimore into a chain of consumer electronics stores in Florida. Coming of age, Paul was taking it over, to run. He'd already made his first million, and he and Marie were living a life their friends admired. But between them all was not well. Then Paul's high school girlfriend moved to town with her husband, and sparks rekindled. When Marie discovered it she threw Paul out of the house. For a moment it looked like they would reunite. She asked Paul to move back in at the end of the day after Thanksgiving, the biggest sale day of the year. But that was a ruse, too. That day at the store, her attorneys served him the divorce. Marie's attorneys were aggressive. Accusing Paul's parents of shielding his assets, they asked the judge for everything he--and his parents--had. A year later, it looked like Marie would get it all. The divorce was overwhelming and compound stress. Three times Marie had him arrested for not paying his very high support payments exactly on time; the judge had frozen his assets, and his dad had asked him to leave his high-paying job because he couldn't concentrate both on it and the divorce. Marie's attorneys wanted Paul's mom to testify for days about the business's finances, but because she had a blood clot that stress could loosen and become lethal, Paul's family asked them to lay off her. They refused. Not long after came the flower delivery. The Feds indicted Paul for attempted murder-for-hire. They told the jury: A Luskin's employee called his brother in Baltimore who was a mob guy, who got someone to come to Hollywood to kill Marie. Although she thought the gunman hit her with the gun, he really shot her--his bullet grazed her head. Paul was convicted and sentenced to prison for 35 years. In prison, Paul married his high school girlfriend. To me, they protested so insistently that there was no murder-for-hire that it seemed something was truly wrong. I eventually found there had been a murder plot--but the real question was, who had asked the Luskin's employee to call his brother in Baltimore? Testimony said "Mr. Luskin" ordered the murder; the prosecutor naturally assumed that meant Paul. But there was a better case that "Mr. Luskin" was Paul's dad. As a result of his son's divorce he lost his whole business, owed Marie $11 million he didn't have and was facing jail for contempt of court for not paying her, and so had to leave the country. At the story's turning point, "Mr. Luskin" had to choose between two untenable outcomes: the death of the elder Mrs. Luskin or the younger. But prosecutors also were forced to make a tragic choice. Without certainty of which "Mr. Luskin" it was, did they choose the wrong one?