The Hitman S Masquerade

I might be a killer, but I'll risk my life to save her Sonya's supposed to be celebrating. A Halloween party to bring together all her friends and the biggest names in New York City before she departs overseas to tour with a prestigious ballet company. But the problem is that her guest list also contains some of the most dangerous men in the city. And at a costume party, no one is really who they say they are. That's why I'm here. To protect her. It's not just business, or Andrei Petrov's orders. Sonya is gorgeous, talented, and with the kindest eyes I've ever seen. I don't deserve a girl like that. Never have and never will. Someone wants her dead. I just want her. Tonight, only one of us will get our wish. This is a short Halloween story set in Alexis Abbott's Hitmen world.

I might be a killer, but I'll risk my life to save her Sonya's supposed to be celebrating. A Halloween party to bring together all her friends and the biggest names in New York City before she departs overseas to tour with a prestigious ballet company. But the problem is that her guest list also contains some of the most dangerous men in the city. And at a costume party, no one is really who they say they are. That's why I'm here. To protect her. It's not just business, or Andrei Petrov's orders. Sonya is gorgeous, talented, and with the kindest eyes I've ever seen. I don't deserve a girl like that. Never have and never will. Someone wants her dead. I just want her. Tonight, only one of us will get our wish. This is a short Halloween story set in Alexis Abbott's Hitmen world. Search Terms: romantic suspense, mafia romance, alpha male romance, bad boy romance, alpha male, dark romance, captive romance, age difference, antihero romance, series romance, forbidden romance

Screen Saviors studies how the self of whites is imagined in Hollywood movies—by white directors featuring white protagonists interacting with people of another color. This collaboration by a sociologist and a film critic, using the new perspective of critical "white studies," offers a bold and sweeping critique of almost a century's worth of American film, from Birth of Nation (1915) through Black Hawk Down (2001). Screen Saviors studies the way in which the social relations that we call "race" are fictionalized and pictured in the movies. It argues that films are part of broader projects that lead us to ignore or deny the nature of the racial divide in which Americans live. Even as the images of racial and ethnic minorities change across the twentieth century, Hollywood keeps portraying the ideal white American self as good-looking, powerful, brave, cordial, kind, firm, and generous: a natural-born leader worthy of the loyalty of those of another color. The book invites readers to conduct their own analyses of films by showing how this can be done in over 50 Hollywood movies. Among these are some films about the Civil War—Birth of a Nation , Gone with the Wind, and Glory; some about white messiahs who rescue people of another color—Stargate, To Kill a Mockingbird, Mississippi Burning, Three Kings, and The Matrix; the three versions of Mutiny on the Bounty (1935, 1962, and 1984) and interracial romance—Guess Who's Coming to Dinner. Forty years of Hollywood fantasies of interracial harmony, from The Defiant Ones and In the Heat of the Night through the Lethal Weapon series and Men in Black are examined. This work in the sociology of knowledge and cultural studies relates the movies of Hollywood to the large political agendas on race relation in the United States. Screen Saviors appeals to the general reader interested in the movies or in race and ethnicity as well as to students of com

Seth Dickinson's epic fantasy series which began with the “literally breathtaking” (NPR) The Traitor Baru Cormorant, returns with the third book, The Tyrant Baru Cormorant. The hunt is over. After fifteen years of lies and sacrifice, Baru Cormorant has the power to destroy the Imperial Republic of Falcrest that she pretends to serve. The secret society called the Cancrioth is real, and Baru is among them. But the Cancrioth's weapon cannot distinguish the guilty from the innocent. If it escapes quarantine, the ancient hemorrhagic plague called the Kettling will kill hundreds of millions...not just in Falcrest, but all across the world. History will end in a black bloodstain. Is that justice? Is this really what Tain Hu hoped for when she sacrificed herself? Baru's enemies close in from all sides. Baru's own mind teeters on the edge of madness or shattering revelation. Now she must choose between genocidal revenge and a far more difficult path—a conspiracy of judges, kings, spies and immortals, puppeteering the world's riches and two great wars in a gambit for the ultimate prize. If Baru had absolute power over the Imperial Republic, she could force Falcrest to abandon its colonies and make right its crimes. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

She's terrified of me. She should be. I'm no saint, but apparently even killers have limits. When the Bratva hired me as security for the night, I didn't know it was a flesh trade. I could have kept my cool, done my job, but then I saw her. Pure as a lily, dressed in skimpy lingerie, and being auctioned off to the foulest men in Brighton Beach. I'm not used to this white knight sh*t, but I did what I had to do. I outbid those pieces of trash and bought myself a bride. What the hell do I do with a sweet, subservient woman who's been trained to obey her husband? I can think of some things my baser instincts want me to do... But when she submits to me, I'm going to be the man that deserves it, not just the one she owes it to. So I'm going to make her life better. I'm going to make her want me just as bad as I want her. And at night, when my new princess is slumbering, I'm going to make every one of those pimps pay in blood.

Reviews and analyses of over 5000 titles from the 1930s to date. ... Every comic of note from the past fifty years is included in this comprehensive guide to American comics. From the underground to children's comics, autobiography to fantasy.