Round Up The Usual Suspects

An inside look at the making of Casablanca offers fresh insights into and revelations about the people, the period, and the countless details that all had a hand in shaping the quintessential movie-lover's movie.

TV shows that retain their popularity over the years do so for obvious reasons: good production values, good acting, and compelling storylines. But detective stories in particular also endure because they appeal to the gumshoe in all of us. America is obsessed with crime solving. Nancy Grace on CNN Headline News, Greta Van Susteren on Fox, and the seemingly annual recurrence of the courtroom sensation all testify to this fact. And these people and cases are able to reach their phenomenal status not simply because of the media-the media only demonstrates the enormous national appetite for this material. Rather, Cold Case, CSI, and Law & Order have achieved their current popularity because they all respond to the same national craving for crime, and do so with great skill and creativity. Round Up the Usual Suspects provides a comparison of the crime fighting models and justice proceedings of each of these TV series. Each series has its own special crime-fighting niche, and each approaches its job with a different set of values and different paradigms of discovery and proof. Their separate approaches are each firmly grounded in different components of human nature — analytical reasoning, for instance, in CSI, memory in Cold Case, and teamwork in Law & Order. After examining each of the individual series in depth, Ruble goes on to investigate some of the historical antecedents in classical TV detective series such as The FBI and Dragnet. It is interesting to note that these crime fighting methodologies are extensions of the way we all process information about the world. Ray Ruble here aims to increase our appreciation for the ingenious manner in which fictional cases are broken and convictions convincingly secured, and also illuminates the deeper human elements that lie under a more implicit spotlight in these runaway hits.

New York Times bestselling author Donna Andrews first introduced us to Meg Langslow as a crime-solving bridesmaid. In her 31st mystery, Round Up the Usual Peacocks, Meg returns to her roots, juggling cold cases and wedding guests. Kevin, Meg's cyber-savvy nephew who lives in the basement, comes to her with a problem. He's become involved as the techie for a true-crime podcast, one that focuses on Virginia cold cases and unsolved crimes. And he thinks their podcast has hit a nerve with someone . . . one of the podcast team has had a brush with death that Kevin thinks was an attempted murder, not an accident. Kevin rather sheepishly asks for Meg's help in checking out the people involved in a couple of the cases. "Given your ability to find out stuff online, why do you need MY help?" she asks. "Um . . . because I've already done everything I can online. This'll take going around and TALKING to people," he exclaims, with visible horror. "In person!" Not his thing. And no, it can't wait until after the wedding, because he's afraid whoever's after them might take advantage of the chaos of the wedding at Trinity or the reception at Meg and Michael's house to strike again. So on top of everything she's doing to round up vendors and supplies and take care of demanding out-of-town guests, Meg must hunt down the surviving suspects from three relatively local cold cases so she can figure out if they have it in for the podcasters. Could there be a connection to a musician on the brink of stardom who disappeared two decades ago and hasn't been seen since?

A Los Angeles Times bestseller A New York Times Book Review “Editor’s Choice” Selection “Even the die-hardest Casablanca fan will find in this delightful book new ways to love the movie they were certain they could never love more.” —Sam Wasson, best-selling author of Fifth Avenue, 5 A.M. Casablanca is “not one movie,” Umberto Eco once quipped; “it is ‘movies.’” Film historian Noah Isenberg’s We’ll Always Have Casablanca offers a rich account of the film’s origins, the myths and realities behind its production, and the reasons it remains so revered today, over seventy-five years after its premiere.

From the New York Times bestselling author of Rules of Civility. 'A comic masterpiece.' The Times 'Winning . . . gorgeous . . . satisfying . . . Towles is a craftsman.' New York Times Book Review 'A work of great charm, intelligence and insight.' Sunday Times 'Everything a novel should be: charming, witty, poetic and generous. An absolute delight.' Mail on Sunday 'If we do a better book than this one on the book club this year we will be very very lucky.' Matt Williams, Radio 2 Book Club 'Abundant in humour, history and humanity' Sunday Telegraph 'Wistful, whimsical and wry.' Sunday Express On 21 June 1922 Count Alexander Rostov - recipient of the Order of Saint Andrew, member of the Jockey Club, Master of the Hunt - is escorted out of the Kremlin, across Red Square and through the elegant revolving doors of the Hotel Metropol. But instead of being taken to his usual suite, he is led to an attic room with a window the size of a chessboard. Deemed an unrepentant aristocrat by a Bolshevik tribunal, the Count has been sentenced to house arrest indefinitely. While Russia undergoes decades of tumultuous upheaval, the Count, stripped of the trappings that defined his life, is forced to question what makes us who we are. And with the assistance of a glamorous actress, a cantankerous chef and a very serious child, Rostov unexpectedly discovers a new understanding of both pleasure and purpose.

Every seven minutes, every day, someone in the Twitter world tweets a Robert Brault quote. The author, a contributor to magazines and newspapers in the USA for over forty years, has appeared in publications and venues ranging from Reader's Digest to the CBS TV series Criminal Minds to the Ivory soap wrapper. In this, the first published collection of his writings, he draws from the archives of his popular internet blog A Robert Brault Reader to offer original thoughts on a basketful of familiar subjects. So kick up your feet, pour yourself a cup, and discover the author who says of himself, "I make no claim to fame, since I figure it would end up in small claims court, anyway."