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The Outsiders is about two weeks in the life of a 14-year-old boy. The novel tells the story of Ponyboy Curtis and his struggles with right and wrong in a society in which he believes that he is an outsider. According to Ponyboy, there are two kinds of people in the world: greasers and socs. A soc (short for "social") has money, can get away with just about anything, and has an attitude longer than a limousine. A greaser, on the other hand, always lives on the outside and needs to watch his back. Ponyboy is a greaser, and he's always been proud of it, even willing to rumble against a gang of socs for the sake of his fellow greasers--until one terrible night when his friend Johnny kills a soc. The murder gets under Ponyboy's skin, causing his bifurcated world to crumble and teaching him that pain feels the same whether a soc or a greaser.Librarian note: This record is for one of the three editions published with different covers and with ISBN 0-140-38572-X / 978-0-14-038572-4. The records are for the 1988 cover (this record), the 1995 cover, and the 2008 cover which is also the current in-print cover.

Those who don’t learn from history are condemned to repeat it.From the Stone Age to the information age, the undead have threatened to engulf the human race. They’ re coming. They’re hungry.Don’t wait for them to come to you! This is the graphic novel the fans demanded: major zombie attacks from the dawn of humanity. On the African savannas, against the legions of ancient Rome, on the high seas with Francis Drake . . . every civilization has faced them. Here are the grisly and heroic stories–complete with eye-popping artwork that pulsates with the hideous faces of the undead. Organize before they rise!Scripted by the world’s leading zombie authority, Max Brooks, Recorded Attacks reveals how other eras and cultures have dealt with–and survived– the ancient viral plague. By immersing ourselves in past horror we may yet prevail over the coming outbreak in our time.

Different religious groups include different books in their biblical canons, in varying orders, and sometimes divide or combine books. The Jewish Tanakh (sometimes called the Hebrew Bible) contains 24 books divided into three parts: the five books of the Torah ("teaching"); the eight books of the Nevi'im ("prophets"); and the eleven books of Ketuvim ("writings"). It is composed mainly in Biblical Hebrew, and its Septuagint is the main textual source for the Christian Greek Old Testament.Christian Bibles range from the 73 books of the Catholic Church canon, the 66 books of the canon of some denominations or the 80 books of the canon of other denominations of the Protestant Church, to the 81 books of the Ethiopian Orthodox Tewahedo Church canon. The first part of Christian Bibles is the Greek Old Testament, which contains, at minimum, the above 24 books of the Tanakh but divided into 39 (Protestant) or 46 (Catholic) books and ordered differently. The second part is the Greek New Testament, containing 27 books; the four canonical gospels, Acts of the Apostles, 21 Epistles or letters and the Book of Revelation.

At the dawn of the next world war, a plane crashes on an uncharted island, stranding a group of schoolboys. At first, with no adult supervision, their freedom is something to celebrate; this far from civilization the boys can do anything they want. Anything. They attempt to forge their own society, failing, however, in the face of terror, sin and evil. And as order collapses, as strange howls echo in the night, as terror begins its reign, the hope of adventure seems as far from reality as the hope of being rescued. Labeled a parable, an allegory, a myth, a morality tale, a parody, a political treatise, even a vision of the apocalypse, Lord of the Flies is perhaps our most memorable novel about “the end of innocence, the darkness of man’s heart.”

The Satanic Scriptures hands down the wit, wisdom and diabolical perspective of the Church of Satan's High Priest, Magus Peter H. Gilmore. These essays, articles and diatribes have been collected from over twenty years of the High Priest's writings for his infernal cabal, some first issued in the pages of publications available only to insiders. From the magic of toys to techniques of time travel, Magus Gilmore leads the reader down a Left-Hand Path where few will find what they expect. The Devil always has all the best tunes and now you'll hear from a Satanic Maestro how the Dark Lord has influenced composers and musicians long before the advent of electric guitars and stadium concerts. Magus Gilmore reveals principles of Satanic Ritual in a frank discussion of forbidden rites. What is a Satanic Funeral? How do Satanists marry? Find out now, as these unholy ceremonies have never before been disclosed outside of the Church of Satan's Hellish Hierarchy. Here is the philosophy for those bold enough to be their own Gods-or Devils.

Patrick Bateman is twenty-six and he works on Wall Street, he is handsome, sophisticated, charming and intelligent. He is also a psychopath. Taking us to head-on collision with America's greatest dream—and its worst nightmare—American Psycho is bleak, bitter, black comedy about a world we all recognise but do not wish to confront.

Lowry's book is a piece of nationalist propaganda, using oversimplification, emotional appeals, and dualistic morality to shut down her readers' minds. More troubling is that it is aimed at children, who don't yet have the critical faculties to defend themselves from such underhanded methods.Unsurprisingly, Lowry adopts the structure of the monomyth, equating a spiritual journey with a moral one. Her Christ-figure uses literal magic powers to rebel against his society. This rebellion and the morality behind it are presented as 'natural', to contrast with the 'abnormal morality' around him.Lowry doesn't seem to understand that we get our morality from our culture, it isn't something in-born that we 'lose'. This is the first hint of Lowry's misunderstanding of the human mind. She assumes her own morality is correct, and then builds her story to fit it.She also makes the character act and think like a modern person would, despite never adequately explaining how he came up with such unusual notions. It's the same trick many historical fiction authors use, leaving us scratching our heads as to why a Fourteenth Century French peasant speaks like a second-wave feminist. I'd suggest that Lowry falls to this fault for the same reason they do: she has no talent for imagining how others might think differently.Lowry's book ends with the standard nonspecific transgressive spiritual event that marks any overblown monomyth. Since the book is not a progressive presentation of ideas, it does not suggest any conclusion. Instead, the climax is a symbolic faux-death event (symbolic of what, none can say). Confusingly, Lowry later redacts the ending in the sequels, undermining the pseudo-spiritual journey she created.Though some call this book 'Dystopian', it's closer to the truth to say Lowry borrows elements from the Dystopian authors, attempting to combine the spiritual uplift of the monomyth with the political and social deconstruction of the Dystopia. What she doesn't recognize is that the faith of the one conflicts with the cynicism of the other. She draws on ideas and images from many other authors: Bradbury, Huxley, Orwell, Burgess, but doesn't improve upon them.These authors created novels that reflected the world around them. They based them on the political events of the times, presented with realism and careful psychology. Though they presented the struggle between the individual and the society, they portrayed morality as grey, and suffering as the result of individual human faults, not political systems. Lowry doesn't realize that the best way to critique Fascism or Communism is not to present it as 'evil', but to simply present it as it was.But Lowry's world is not based in reality, it is symbolic and hyperbolic. Instead of writing about how poverty makes the world seem small and dull, she has the characters magically unable to experience life. Instead of an impersonal government, she presents a sort of evil hippy commune. The only political system it resembles is a school, which is a neat little trick to get the kids interested. The idea that 'school=unfeeling totalitarian hell' is not an uncommon one, but it's one I'm surprised teachers would support. The book also suggests a creche, but lacking similarity to any real-world system, it doesn't work as a political criticism.Lowry creates this artificial world to suit her purposes, but it is not a symbolic exercise like 'Animal Farm'. We understand that the pigs of animal farm are symbolic, because there are no talking pigs. Lowry's world is more insidious, since its oversimplification is hidden. She builds an artificial world to support the dualist morality that she's pushing. She presents the same knee-jerk fears about euthanasia and abortion that people use against Women's Rights or Health Care.Worse than these Straw Man arguments is the fact that she never deals with the economic causes of totalitarianism. Tyrants don't just rise up and take control by their own force of will, they come into power because of the socioeconomic situations that surround them. Lean times produce strong, fascist leaders while profitable times produce permissive, liberal societies.Strong, centralized leadership simply doesn't self-propagate in cultures where everyone is clothed, fed, and housed. The Holocaust was socially about some ideal of 'change' and 'purity', but it was economically about the transmission of wealth from Jews, Poles, and Catholics to Germans (and more specifically, to those Germans who had elected the new ruling party).The atrocities of war are, for the most part, committed by normal people on other normal people. By presenting the power structure as 'amoral' and 'inhuman', Lowry ignores the fact that people will willingly cause others to suffer. Painting the enemy as 'evil' and 'alien' is just an unsophisticated propagandist method.She contrasts her 'evil' with the idealized 'goodness' of emotion, beauty, and freedom. This is nothing more than the American dream of 'specialness' that Mr. Rogers was pushing for so many years. We are all special, we are all good, we all deserve love and happiness. Sure, it sounds good, but what does it mean?Where does this 'specialness' come from? If it is just the 'sanctity of human life', then it's not really special, because it's all-encompassing. If all of us are special, then none of us are. There's nothing wrong with valuing life, but when Lowry presents one mode of life as valuable and another as reprehensible, she ceases to actually value humanity as a whole. Instead, she values a small, idealized chunk of humanity. 'People are good, except the ones I don't like' is not a moral basis, nor is it a good message to send to kids.If the specialness is only based on fitting in with a certain moral and social guideline, then Lowry isn't praising individuality, she's praising herd behavior. The protagonist is only 'special' because he has magic powers. His specialness is not a part of his character, it is an emotional appeal.The idea of being a special individual is another piece of propaganda, and its one kids are especially prone to, because kids aren't special: they are carefully controlled and powerless. Giving a character special powers and abilities and then using that character to feed a party line to children is not merely disingenuous, it's disturbing.There is also a darker side to universal specialness: giving a child a sense of importance without anything to back it up creates egotism and instability. Adults noticed that children with skills and friends had high self-esteems, but instead of teaching their children social skills and knowledge, they misunderstood the causal relationship and tried to give them self-worth first.Unfortunately, the moment unsupported self-worth is challenged, the child finds they have nothing to fall back on. Their entitlement didn't come from their skills or experiences, and so they have nothing to bolster that sense of worth. Instead, any doubt sends them down a spiral of emotional instability.A single book like this wouldn't be the cause of such a state in a child, but it does act as part of the social structure built to give a sense of worth without a solid base for that worth. People like to believe they are special, kids especially so, but being a remarkable person is not a result of belief but of actions. If the book had informed them, then it would leave them better off, but giving them a conclusion based on emotional appeals does nothing to build confidence or character.Many people have told me this book is good because it appeals to children, but children often fall for propaganda. Children develop deep relationships with pop stars, breakfast cereals, and Japanese monsters. This does not make them good role models for children.Feeding 'specialness' to kids along with a political message is no better than the fascist youth programs Lowry intends to criticize. The obsession with individuality is just another form of elitism. It's ironic that people in America most often describe themselves as individuals when pointing out the things they do to align themselves with groups.But banding together in a community is not a bad thing. For Lowry and other 'Red Scare' children, any mention of 'communal' can turn into a witch hunt, but we all give up some personal rights and some individuality in order to live in relatively safe, structured societies. There are benefits to governmental social controls and there are drawbacks, and it's up to us to walk the line between the two. Anarchy and Totalitarianism never actually exist for long: we are social animals.It's not difficult to understand why Lowry is so popular, especially amongst educators. The message she gives aligns perfectly with what they were taught as kids, from Red Scare reactionism to the hippy-dippy 'unique snowflake' mantra. These ideas aren't entirely misguided, either. It's good to recognize the benefits of difference and the dangers of allowing other to control our lives.If a reader believes that fascism and socialism are inherently wrong and that their own individuality is their greatest asset, they will likely sympathize with Lowry's work. However, this doesn't make the book honest, nor beneficial. One of the hardest things we can do as readers is disagree with the methods of authors we agree with ideologically.It makes us feel good to find authors who agree with us, but this is when we should be at our most skeptical. Searching the world for self-justification is not a worthwhile goal, it simply turns you into another short-sighted, argumentative know-it-all. 'Yes men' never progress.Lowry is toeing the party line. She does not base her book around difficult questions, like the Dystopian authors, but around easy answers. She doesn't force the reader to decide for themselves what is best, she makes it clear what she wants us to think. Her book is didactic, which means that it instructs the reader what to believe.Even if her conclusions about Individuality vs. Community are correct, she doesn't present arguments, she only presents conclusions. Like rote memorization or indoctrination, she teaches nothing about the politics, social order, economics, or psychology of totalitarianism or individuality. The reader is not left with an understanding, just an opinion.The baseless 'individuality' of the book lets the reader imagine that they are rebels--that they are bucking the system even as they fall into lock-step. By letting the reader think they are already free-thinking, Lowry tricks them into forgetting their skepticism.She is happy to paint a simple world of black and white, and this is likely the world she sees. I doubt she is purposefully creating an insidious text, she just can't see past her own opinions. She writes this book with a point to make, and makes it using emotional appeals and symbolism. She doesn't back it up with arguments because she doesn't seem to have developed her opinions from cogent arguments.In the end, she doesn't show us that the structure of this society is wrong, she says nothing poignant about individuality vs. community; instead, she relies on threats to the life of an innocent infant. Yet nowhere does she provide an argument for why communal living or the sacrifice of freedoms for safety must necessarily lead to infanticide.In politics, making extreme claims about the opposing side is called mud-slinging, it is an underhanded and dishonest tactic. It works. Arguing intelligently is difficult, accusing is easy, so that's what Lowry does.She is another child of WWII and the Cold War who hasn't learned her lesson. She quickly condemns the flaws of others while failing to search out her own. Even after the Holocaust, there are many racist, nationalist, violent Jews; conflict rarely breeds a new understanding.America condemned the faceless communal life of the Second World, and yet America created The Projects. We critiqued strong governmental controls, but we still have the bank bailout, socialized medicine, socialized schooling, and socialized charity. America condemned the Gulags and Work Camps, and yet we imprison one out of every hundred citizens; far more than Stalin ever did. Some are killed, all are dehumanized.As a little sci fi adventure, the book isn't terrible. It's really the pretension that goes along with it. Lowry cobbles together religious symbolism and Dystopic tropes and then tries to present it as something as complex and thoughtful as the authors she copied. Copying isn't a crime, but copying poorly is.Like Dan Brown or Michael Crichton, she creates a political pamphlet of her own ideals, slaps a pretense of authority on it, and then waits for the money and awards to roll in--and they did. Many people I've discussed this book with have pointed to those awards as the surest sign of this book's eminent worth.Award committees are bureaucratic organizations. Their decisions are based on political machinations. This book is a little piece of Nationalism, and so it was lauded by the political machine that Lowry supports. The left hand helps the right. If awards are the surest sign of worth, then Titanic is a better movie than Citizen Kane.What surprises me is how many of those who brought up the award as their argument were teachers. If a politically-charged administrative committee is the best way to teach children, then why do you take umbrage when the principal tells you that bigger class sizes (and fewer benefits) are fine? Listen to him: doesn't he have award plaques?The other argument is usually that 'kids like it'. I usually respond that kids also like candy, so why not teach that? Some people also get angry at me for analyzing a book written for children:"Of course it's not a great book, it's for kids! If you want a good book, go read Ulysses!"I prefer to give children good books rather than pieces of political propaganda (even if they agreed with me). Children can be as skeptical, quick-witted, and thoughtful as adults if you give them the chance, so I see no excuse for feeding them anything less. Kids aren't stupid, they just lack knowledge, and that's a fine distinction. It's easy for adults to take advantage of their naivete, their emotionality, and their sense of worth. Just because it's easier for the teacher doesn't mean it's better for the child.When we show children something that is over-simplified, presenting an idealized, crudely moralizing world, we aren't preparing them for the actual world. If you give a child a meaningless answer to repeat, he will repeat it, but he won't understand why. Why not give the child a book that presents many complex ideas, but no rote answers, and let them make up their own minds? If they don't learn how to separate the wheat from the chaff and form their own opinions early, in a safe, nurturing environment, what chance will they have on their own as adults?In all the discussions and research regarding this book, I have come across very little analysis. It's especially surprising for a book with such a strong following, but there aren't many explanations of why the book is supposed to be useful or important.This lack of argument makes sense from a political standpoint, since there is no reason to analyze the worth of propaganda: its worth is that it agrees with society and indoctrinates readers. Analyzing it would defeat the purpose; political diatribes do not stand up to thoughtful attention.Perhaps someday someone will create a thoughtful, textual analysis of this book that will point out its merits, its structure and its complexity. I've gradually come to doubt it. I never expected when I wrote my original review of this book that it would garner this much attention.I still welcome comments and thoughts, but if your comment looks roughly like this: "You should read this book again, but this time, like it more. You think you're smart but you aren't. You're mean. Lowry is great. This book won awards and kids like it. It's meant for kids anyways, why would you analyze what its about? I bet you never even read the sequels. Go read 'Moby Dick' because you are full of yourself."I've heard that one before. If you do want to comment though, you might check out this article; I find it helps me with presenting my ideas.

Stanley tries to dig up the truth in this inventive and darkly humorous tale of crime and punishment—and redemption. Stanley Yelnats is under a curse. A curse that began with his no-good-dirty-rotten- pig-stealing-great-great-grandfather and has since followed generations of Yelnats. Now Stanley has been unjustly sent to a boys' detention center, Camp Green Lake, where the warden makes the boys "build character" by spending all day, every day, digging holes: five feet wide and five feet deep. It doesn't take long for Stanley to realize there's more than character improvement going on at Camp Green Lake. The boys are digging holes because the warden is looking for something. Stanley tries to dig up the truth in this inventive and darkly humorous tale of crime and punishment—and redemption.

Forget what you know about first person shooters. Walk a week in the Postal Dude?s shoes. Freely explore full 3-D open ended environments. Interact with over 10...

Red Dead Redemption: Undead Nightmare is a standalone expansion pack to the 2010 video game Red Dead Redemption. It adds a zombie horror-themed single-player campaign, two multiplayer modes, and cosmetic additions to the environments and characters of the open world Western action-adventure game. The alternate timeline story follows the returning protagonist and former outlaw John Marston as he seeks to find the cause and cure for a zombie plague that has infected his wife and son. Marston liberates towns overrun by the undead and assists other non-playable characters with quests along the way.
Rockstar Games, the game's publisher, had a long-standing interest in creating a zombie game. They found the Red Dead Redemption universe and its American countryside to fit the cinematic heritage of the horror film genre. Rockstar wanted their additional content to function outside rather than within the base game's story, but draw on its characters and atmosphere. The company released Undead Nightmare as downloadable content for PlayStation 3 and Xbox 360 platforms on October 26, 2010, and as a retail disc bundle with other downloadable content packs in late November.

Global Offensive features new maps, characters, and weapons and delivers updated versions of the classic CS content....

Zombies are invading your home, and the only defense is your arsenal of plants! Armed with an alien nursery-worth of zombie-zapping plants like peashooters and...

Trine is a physics-based action game where three characters allow clever solutions to challenges created by hazardous puzzles and threatening enemies. The gamep...

Vice City, 1984. Opportunity abounds in a city emerging from the swamps, its growth fueled by the violent power struggle in a lucrative drugs trade. Constructio...

Liberty City Stories is an entirely new game in the Grand Theft Auto series and brings a mobile dimension to this epic experience. The origina...

[Metacritic's 2004 PS2 Game of the Year] Five years ago Carl Johnson escaped from the pressures of life in Los Santos, San Andreas... a city tearing itself apa...

Players are put at the heart of their very own gangster movie, and let loose in a fully-realised 3 dimensional city with a cast of hundreds, 50 plus vehicles, r...

[Metacritic's 2002 PS2 Game of the Year ] Welcome to Vice City. Welcome to the 1980s. Having just made it back onto the streets of Liberty City after a long str...

[Metacritic's 2008 PS3 Game of the Year; Also known as "GTA IV"] What does the American Dream mean today? For Niko Belic, fresh off the boat from Europe. It's...

Animal Crossing: City Folk, released as Animal Crossing: Let's Go to the City in PAL territories, is a 2008 social simulation video game developed and published by Nintendo for the Wii console and the third game in the Animal Crossing series. It is also one of the first titles that was re-released as a part of the Nintendo Selects collection in 2011.In City Folk, the player character lives in a rural village populated with anthropomorphic animals, taking part in various activities such as collecting and planting. Similar to other games in the Animal Crossing series the game is synced to the Wii system clock and calendar, allowing the game to be played in real-time and affecting the occurrence of in-game events based on the current time of day or season. City Folk utilizes Nintendo Wi-Fi Connection, allowing players to visit one another's villages via online play. The game is the first Wii title to be compatible with the Wii Speak accessory, which enables voice chat.

There are no points or levels, just a myriad of sights and sounds, places and activities...all ready to explore. Spend your time passing new ordinances—or goi...

Challenge up to four friends in online competitions over a LAN or the Internet. Take them on in both Trick Attack and Graffiti modes. [Activision]...

Tony Hawk's Underground is a skateboarding video game and the fifth entry in the Tony Hawk's series after Tony Hawk's Pro Skater 4. It was developed by Neversoft and published by Activision in 2003 for the GameCube, PlayStation 2, Xbox, and Game Boy Advance. In 2004, it was published for Microsoft Windows in Australia and New Zealand as a budget release.Underground is built upon the skateboarding formula of previous Tony Hawk's games: the player explores levels and completes goals while performing tricks. The game features a new focus on customization; the player, instead of selecting a professional skater, creates a custom character. Underground adds the ability for players to dismount their boards and explore on foot. The plot follows the player character and their friend Eric Sparrow as the two become professionals and grow apart.

One day, the Mushroom Kingdom was invaded by the Koopas, a tribe of turtles famous for their black magic. The quiet, peace-loving Mushroom People were turned in...

Ganon, the King of Evil, breaks free from the Dark World and captures Hyrule's beloved Princess Zelda. Before she is caught, Zelda manages to shatter the Trifor...

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In this city-building strategy game, control a group of exiled travelers who opt to restart their lives in a new land. They bring only the clothes on their back...

Construct and manage a maximum security prison....

In the distant future, a small waste-collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind.

Trevor Slattery is a fictional character portrayed by Ben Kingsley in the Marvel Cinematic Universe (MCU). An actor hired to portray the legendary terrorist leader of the Ten Rings dubbed "the Mandarin", he first appeared in the film Iron Man 3 (2013) and reprised the role in the Marvel One-Shot All Hail the King (2014) and in the film Shang-Chi and the Legend of the Ten Rings (2021), which features the real leader of the Ten Rings, Wenwu. He will also appear in the upcoming Wonder Man series. General response to the character was mixed, with many comic fans criticizing the character and how his reveal affected the film's Mandarin portrayal, while others defended the twist by noting its social commentary and how it avoided the racist caricature of the comics' Mandarin.

A young orphaned boy raised by underground cave-dwelling trash collectors tries to save his friends from an evil exterminator.

Three former parapsychology professors set up shop as a unique ghost removal service.

The discovery of a massive river of ectoplasm and a resurgence of spectral activity allows the staff of Ghostbusters to revive the business.

Earth is invaded by Martians with unbeatable weapons and a cruel sense of humor.

When a shy groom practices his wedding vows in the inadvertent presence of a deceased young woman, she rises from the grave assuming he has married her.

2005 British-American stop-motion-animated fantasy film

When eccentric man-child Pee-wee Herman gets his beloved bike stolen in broad daylight, he sets out across the U.S. on the adventure of his life.

Teenage Mutant Ninja Turtles is a 1990 American martial arts superhero comedy film directed by Steve Barron. Based on the fictional superhero team of the same name, the story follows Splinter and the turtles, their meeting April O'Neil and Casey Jones, and their confrontation with Shredder and his Foot Clan. It stars Judith Hoag, Elias Koteas, and the voices of Brian Tochi, Robbie Rist, Corey Feldman, and Josh Pais.
The film is an adaptation of the early Teenage Mutant Ninja Turtles comics, with several elements taken from the animated TV series airing at the time. The turtle costumes were developed by Jim Henson's Creature Shop, one of Henson's last projects before his death shortly after the premiere.

The Turtles and the Shredder battle once again, this time for the last canister of the ooze that created the Turtles, with which Shredder wants to unleash an army of new mutants.

A deadly entity from space crashes near a small town and begins consuming everyone in its path. Panic ensues as shady government scientists try to contain the horrific creature.

A frustrated writer struggles to keep his family alive when a series of global catastrophes threatens to annihilate mankind.

The Fluffy Movie is a 2014 American stand-up comedy film directed by Manny Rodriguez and starring Gabriel Iglesias. The film was released in theaters on July 25, 2014, by Open Road Films. The concert movie was filmed at two shows on February 28, 2014, and March 1, in San Jose, California at the SAP Center.

In a robot world, a young idealistic inventor travels to the big city to join his inspiration's company, only to find himself opposing its sinister new management.

Jack Sparrow races to recover the heart of Davy Jones to avoid enslaving his soul to Jones' service, as other friends and foes seek the heart for their own agenda as well.

2006 fantasy-adventure movie directed by Gore Verbinski

Captain Barbossa, Will Turner and Elizabeth Swann must sail off the edge of the map, navigate treachery and betrayal, find Jack Sparrow, and make their final alliances for one last decisive battle.

Blacksmith Will Turner teams up with eccentric pirate "Captain" Jack Sparrow to save his love, the governor's daughter, from Jack's former pirate allies, who are now undead.

2003 American adventure fantasy film directed by Gore Verbinski

In a future British tyranny, a shadowy freedom fighter, known only by the alias of "V", plots to overthrow it with the help of a young woman.

After being held captive in an Afghan cave, billionaire engineer Tony Stark creates a unique weaponized suit of armor to fight evil.

2008 superhero film produced by Marvel Studios

With the world now aware of his identity as Iron Man, Tony Stark must contend with both his declining health and a vengeful mad man with ties to his father's legacy.

2010 superhero film directed by Jon Favreau

American rapper, record executive, and entrepreneur

Eric Andre tries to host a talk show in a bizarre environment, where he is sometimes the player of pranks and sometimes the victim.

Project sees Keegan-Michael Key and Jordan Peele in front of a live studio audience bantering about a topic weaved between filmed shorts and sketches.

A young boy, who happens to be a genius, lives in a small town with his family and friends and often gets into crazy adventures with them involving the things he invents.

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An intelligent high school student goes on a secret crusade to eliminate criminals from the world after discovering a notebook capable of killing anyone whose name is written into it.

In the unreal world of Sacred Heart Hospital, intern John "J.D." Dorian learns the ways of medicine, friendship and life.

American medical comedy-drama television series

The daily surreal adventures of a blue jay and raccoon duo that attempt to deal with their mundane jobs as groundskeepers at the local park.

American animated television series created by J. G. Quintel for Cartoon Network

A boy and his beloved imaginary friend are able to stay together at an orphanage of sorts for imaginary friends that children have outgrown to be adopted by new children.

In Marzipan City, the young, excitable food-loving Chowder is the apprentice of Mung Daal, a very old chef who runs a catering company with his wife, Truffles and assistant, Shnitzel.

Several different deaths based on true stories.

Follows the exploits Mike Rowe as he performs various dirty and dangerous jobs around the USA.

Silent library is an American televised game show that aired on MTV. In this game show the contestants must endure strange punishments for money, all while staying silent.

The off-the-wall, day-to-day life of three friends who have exactly the same name.

Canadian-American animated comedy television series

The adventures of a group of ten-year-old friends who fight for the right to do everything that adults restrict from them.

The comical seafaring adventures of a young, enthusiastic boy, his pirate captain mentor, and the talking whale that raised him from birth.

The adventures of the Family Guy (1999) neighbor and former deli owner, Cleveland Brown.

American animated sitcom, spin-off of Family Guy

Two game developers try to survive their crazy Texas billionaire boss and his rich prissy son in 1983.

Animated MTV series about two teenage heavy-metal music fans who occasionally do idiotic things because they're bored. For them, everything is "cool" or "sucks."

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The misadventures of a milkshake, an order of fries, a meatball, and their retired next door neighbor in the suburbs of New Jersey.

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American stop-motion animated comedy television series

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