Jordan

Bruna Guedes

Husain Kothari

FRNK

Uendi Prifti

Abdul Hasib

Loughlin Sullivan

Delaney Knopp

Auriel W

Blake Molmen

Dani Shahar

Luis Javier Campos nieto

The Fellowship was scattered. Some were bracing hopelessly for war against the ancient evil of Sauron. Some were contending with the treachery of the wizard Saruman. Only Frodo and Sam were left to take the accursed Ring of Power to be destroyed in Mordor–the dark Kingdom where Sauron was supreme. Their guide was Gollum, deceitful and lust-filled, slave to the corruption of the Ring. Thus continues the magnificent, bestselling tale of adventure begun in The Fellowship of the Ring, which reaches its soul-stirring climax in The Return of the King.

* The Hitchhiker's Guide to the Galaxy* The Restaurant at the End of the Universe* Life, the Universe and Everything* So Long, and Thanks for all the Fish* Mostly HarmlessSuppose a good friend calmly told you over a round of drinks that the world was about to end? And suppose your friend went on to confess that he wasn't from around here at all, but rather from a small planet near Betelgeuse? And what if the world really did come to an end, but instead of being blown away, you found yourself hitching a ride on a spaceship with your buddy as a travelling companion?It happens to Arthur Dent.An ordinary guy from a small town in England, Arthur is one lucky sonofagun: his alien friend, Ford Prefect, is in fact a roving researcher for the universally bestselling Hitchhiker's Guide to the Galaxy ... and expert at seeing the cosmos on 30 Altairian dollars a day. Ford lives by the Guide's seminal bit of advice: Don't Panic. Which comes in handy when their first ride--on the very same vessel that demolished Earth to make way for a hyperspacial freeway--ends disastrously (they are booted out of an airlock). with 30 seconds of air in their lungs and the odd of being picked up by another ship 2^276,709 to 1 against, the pair are scooped up by the only ship in the universe powered by the Infinite Improbability Drive.But this (and the idea that Bogart movies and McDonald's hamburgers now exist only in his mind) is just the beginning of the weird things Arthur will have to get used to. For, on his travels, he'll encounter Zaphod Beeblebrox, the two-headed, three-armed ex-President of the Galaxy; Trillian, a sexy spacecadet he once tried to pick up at a cocktail party, now Zaphod's girlfriend; Marvin, a chronically depressed robot; and Slartibartfast, the award-winning engineer who built the Earth and travels in a spaceship disguised as a bistro.Arthur's crazed wanderings will take him from the restaurant at the end of the Universe (where the main dish of the day introduces itself and the floor show is doomsday), to the planet Krikkit (locked in Slo-Time to punish its inhabitants for trying to end the Universe), to Earth (huh? wait! wasn't it destroyed?!) to the very offices of The Hitchhiker's Guide itself as he and his friends quest for the answer to the Question of Life, the Universe and Everything ... and search for a really good cup of tea.Ready or not, Arthur Dent is in for one hell of a ride!

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.

alternate covers for this ISBN can be found here and hereThe story of THE HITCH-HIKER’S GUIDE TO THE GALAXY continues"Good Evening ladies and gentlemen, I am your host for tonight, Max Quordlepleen, and I have just come straight from the other end of time where I have been hosting a show at the Big Bang Burger Bar and I will be your host for this historic occasion - the End of History itself."If you've done six impossible things this morning why not round it off with breakfast, lunch or dinner at Milliway's, The Restaurant at the End of the Universe...--back coverCover illustration by Chris Moore

The heroic son of Poseidon makes an action-packed comeback in the second must-read installment of Rick Riordan's amazing young readers series. Starring Percy Jackson, a "half blood" whose mother is human and whose father is the God of the Sea, Riordan's series combines cliffhanger adventure and Greek mythology lessons that results in true page-turners that get better with each installment.In this episode, The Sea of Monsters, Percy sets out to retrieve the Golden Fleece before his summer camp is destroyed, surpassing the first book's drama and setting the stage for more thrills to come.

Alternate cover edition here.The Companions of the Ring have become involved in separate adventures as the quest continues. Aragorn, revealed as the hidden heir of the ancient Kings of the West, joined with the Riders of Rohan against the forces of Isengard, and took part in the desperate victory of the Hornburg. Merry and Pippin, captured by Orcs, escaped into Fangorn Forest and there encountered the Ents. Gandalf returned, miraculously, and defeated the evil wizard, Saruman. Meanwhile, Sam and Frodo progressed towards Mordor to destroy the Ring, accompanied by SmEagol--Gollum, still obsessed by his 'precious'. After a battle with the giant spider, Shelob, Sam left his master for dead; but Frodo is still alive--in the hands of the Orcs. And all the time the armies of the Dark Lord are massing. J.R.R. Tolkien's great work of imaginative fiction has been labeled both a heroic romance and a classic fantasy fiction. By turns comic and homely, epic and diabolic, the narrative moves through countless changes of scene and character in an imaginary world which is totally convincing in its detail.

Six years of magic, adventure, and mystery make this luxurious boxed set the perfect gift for Harry Potter fans of all ages. Follow Harry from his first days at Hogwarts School for Witchcraft and Wizardry, through his many adventures with Hermione and Ron, to his confrontations with rival Draco Malfoy and the dreaded Professor Snape. From the thrilling search for the Sorcerer's Stone to the Triwizard Tournament to the return of He-Who-Must-Not-Be-Named, each adventure is more riveting and exhilarating than its predecessor, and now all six books are available together for the first time in an elegant hardcover boxed set.

The Hunger Games Trilogy: these are my issues, let me show you them.Most of the good fiction/fantasy/scifi literature these days is coming out of the Young Adult and Juvenile areas, so every six months or so I round up the new stuff and go on a reading spree. Around two years ago that included the Hunger Games trilogy (thanks to an ARC copy of Mockingjay). I did a review on that for my work newsletter which made me think about it for a good long while. (It wasn’t my best review because we’re encouraged not to say anything bad about the books, the object being to get people to read, not to drive them away.)The first book, Hunger Games, is awesome. Beyond awesome. I loved it and I greatly encourage anyone who hasn’t read it to pick it up now and get to reading! Engaging characters, tight (in both senses of the word) narrative, a plot that, while being far from original, seems shiny and new for all the different spins Suzanne Collins puts on it. It draws out your emotions and engages them, keeps you on the edge of your seat. Highly, highly recommended.The problem is, it’s best if you stop there. I sure wish the story had. At least Hunger Games stands on its own, and after reading the other two in the trilogy, I know that I can go back and just reread the first one and never have to touch the other two to have a complete fulfilling story.That’s not to say that the second book is terrible. Catching Fire is actually pretty good. Not up to the same standards as the first book - it does feel like exactly what it is, the middle book in a trilogy - but not a bad read at all. Basically it both asks and answers the age-old question, “If you could go back and do it all over, knowing everything you do now, would you do anything differently?” Which is intriguing, definitely. But at the same time, it is kind of a rehash of the first book, which is what makes it less engaging. The characters, the politics and the good narrative stop it from feeling tired and dull, and again, it’s a good read, but it’s lost its originality and some of the excitement that made the first book so entertaining.And then there’s the real problem; Catching Fire isn’t a complete narrative on its own. To know the whole story you have to read the third book, Mockingjay.Oh man, Mockingjay. The book that had all the potential to be a wonderful, heart-racing, utterly amazing finale to the trilogy. So much potential; so much fail. The ideas were there, but the execution was...just that. An execution. It’s like everything that would’ve made it a phenomenal book was taken out back and double-tapped.Even a couple years later I’m still somewhat angry when I think about it. Still so disappointed. I keep asking myself, did the author have a word limit she had to adhere to? Was she over her deadline by too much and had to rush? Was she simply bored/tired of this world? What on earth could’ve made her do this?Going against one of the major rules of good writing, Mockingjay is an exercise in telling instead of showing. Nothing big happens in the book that the author isn’t telling us about it instead of giving us the wonderful descriptions of the previous two books. With very few exceptions, events happen off screen and we get an info dump explaining them. That alone was just terrible to read. But then there’s poor Katniss.Remember the spitfire, kick-ass woman of the previous two books, the one who was determined to do whatever she could to survive and thus ensure her family’s survival? Yeah, well, say goodbye to her before reading this last book because you won’t be seeing much of her again.It’s like she just floats through events, letting things happen to her and barely reacting. She just lets herself be used, over and over, turns into something akin to a leaf in the wind. The few decisions she does make often don’t make any sort of good sense and we’re left wondering if this is really Katniss or a robot in a Katniss skin.The introduction of new characters should help things, but the narrative fails there too. The characters (heck, even the old ones we’re familiar with!) aren’t given nearly enough fleshing out; they’re just there. They don’t feel as real, as three dimensional as characters did in the last two books.The combination of all that leaves us with a flat, lifeless book and what amounts to a boring read. You want to get excited, I mean, there are serious, emotional things going on! Or at least they’re supposed to be. Hard to say when you don’t feel it and it’s just words on a page. The originality, excitement and all the drive behind the first two books is just gone. Vanished. And it’s painful to see.Yeah, two years gone and I’m still not over that. Such a let-down.I still encourage people to pick up The Hunger Games, but I barely give the next two in the trilogy more than a cursory mention. I reserve all my glowing praise for the first book and try to pretend the third never happened.

The adventures of an American hacker in Medieval England continue as Martin Banks takes his next step on the journey toward mastering his reality-altering powers and fulfilling his destiny.A month has passed since Martin helped to defeat the evil programmer Jimmy, and things couldn’t be going better. Except for his love life, that is. Feeling distant and lost, Gwen has journeyed to Atlantis, a tolerant and benevolent kingdom governed by the Sorceresses, and a place known to be a safe haven to all female time-travelers.Thankfully, Martin and Philip are invited to a summit in Atlantis for all of the leaders of the time-traveler colonies, and now Martin thinks this will be a chance to try again with Gwen. Of course, this is Martin Banks we’re talking about, so murder, mystery, and high intrigue all get in the way of a guy who just wants one more shot to get the girl.The follow-up to the hilarious Off to Be the Wizard, Scott Meyer’s Spell or High Water proves that no matter what powers you have over time and space, you can’t control rotten luck.

Martin Banks is just a normal guy who has made an abnormal discovery: he can manipulate reality, thanks to reality being nothing more than a computer program. With every use of this ability, though, Martin finds his little “tweaks” have not escaped notice. Rather than face prosecution, he decides instead to travel back in time to the Middle Ages and pose as a wizard.What could possibly go wrong?An American hacker in King Arthur’s court, Martin must now train to become a full-fledged master of his powers, discover the truth behind the ancient wizard Merlin… and not, y’know, die or anything.

Ever since Martin Banks and his fellow computer geeks discovered that reality is just a computer program to be happily hacked, they’ve been jaunting back and forth through time, posing as medieval wizards and having the epic adventures that other nerds can only dream of having. But even in their wildest fantasies, they never expected to end up at the mercy of the former apprentice whom they sent to prison for gross misuse of magic and all-around evil behavior.Who knew that the vengeful Todd would escape, then conjure a computer game packed with wolves, wenches, wastelands, and assorted harrowing hazards—and trap his hapless former friends inside it? Stripped of their magic powers, the would-be wizards must brave terrifying dangers, technical glitches, and one another’s company if they want to see Medieval England—and their favorite sci-fi movies on VHS—ever again. Can our heroes survive this magical mystery torture? Or will it only lead them and their pointy hats into more peril?

Five days after Owen Zastava Pitt pushed his insufferable boss out of a fourteenth story window, he woke up in the hospital with a scarred face, an unbelievable memory, and a job offer. It turns out that monsters are real. All the things from myth, legend, and B-movies are out there, waiting in the shadows. Officially secret, some of them are evil, and some are just hungry. On the other side are the people who kill monsters for a living. Monster Hunter International is the premier eradication company in the business. And now Owen is their newest recruit. It’s actually a pretty sweet gig, except for one little problem. An ancient entity known as the Cursed One has returned to settle a centuries old vendetta. Should the Cursed One succeed, it means the end of the world, and MHI is the only thing standing in his way. With the clock ticking towards Armageddon, Owen finds himself trapped between legions of undead minions, belligerent federal agents, a cryptic ghost who has taken up residence inside his head, and the cursed family of the woman he loves. Business is good... Welcome to Monster Hunter International.

The fourth book in the internationally bestselling Septimus Heap series by Angie Sage, featuring the funny and fantastic adventures of a wizard apprentice and his quest to become an ExtraOrdinary Wizard.New York Times Bestselling Series"Breezy charm, gusts of spectacular Magyk and a buoyant plot combining drama and comedy in just the right proportions." --Kirkus Reviews (starred review)"The Septimus Heap series remains one of the best outcomes of the young-wizard furor catalyzed by Harry Potter." --ALA BooklistThere's trouble at the Castle, and it's all because Merrin Meredith has returned with Darke plans for Septimus. More trouble awaits Septimus and Jenna in the form of Tertius Fume, the ghost of the very first Chief Hermetic Scribe, who is determined to send Septimus on a deadly Queste. But Septimus and Jenna have other plans--they are headed for the mysterious House of Foryx, a place where all Time meets and the place where they fervently hope they will be able to find Nicko and Snorri, who were trapped back in time in Physik. But how will Septimus escape the Queste?

After his death sometime in his 43rd year, suburbanite Lester Burnham tells of the last few weeks of his life, during which he had no idea of his imminent passing. He is a husband to real estate agent Carolyn Burnham and father to high school student Jane Burnham. Although Lester and Carolyn once loved each other, they now merely tolerate each other. Typical wallflower Jane also hates both her parents; the three suffer individually in silence in their home life. Jane tries to steer clear of both her parents. Carolyn, relatively new to the real estate business, wants to create the persona of success to further her career, aspiring to the professional life of Buddy Kane, the king of the real estate business in their neighborhood. Lester merely walks mindlessly through life, including at his job in advertising. His company is downsizing, and he, like all the other employees, has to justify his position to the newly hired efficiency expert to keep his job. Things change for Lester when he falls in love at first sight with Jane's more experienced classmate, Angela Hayes. Both Janie and Angela can see Lester's sexual infatuation with Angela, who courts such attention from any man as a sign that she is model material, she having once appeared in Seventeen and is a career to which she aspires. Lester's infatuation with Angela gives him a reenergized view on life, where he openly doesn't care anymore what anyone thinks about what he does, anyone except Angela. This infatuation coincides with the Fittses moving in next door: homophobic disciplinarian US Marine Colonel Frank Fitts who rules the house with a military fist (that fist being both figurative and literal), his semi-comatose wife Barbara Fitts, and their bright and quietly subversive 18-year-old son Ricky Fitts, who openly abides by his father's rules while behind the scenes lives by his own quite different perspective. Much like Lester's infatuation, Ricky immediately becomes infatuated with Jane; he considers girls like Angela as ordinary. The entry of Angela and the Fittses into the Burnhams' lives ultimately leads to each of the players confronting what is truly in his or her heart.

Jumanji, one of the most unique--and dangerous--board games ever, falls into the hands of the curious teen, Alan Parrish, in 1969. Mysterious and magical, the game strands the unsuspecting boy in the lush, savage forests of a mythical realm. Nearly three decades later, the game releases him before the awed eyes of the young orphaned siblings, Judy and Peter Shepherd. Now, the wild and incessant beat of the jungle's tribal drums is calling for the now-adult Alan and the other hesitant players, as the one who rolls the dice must never leave undone what the roll has started. Has anyone ever escaped from the game and Jumanji's formidable foes?

Following a truck hijack in New York, five criminals are arrested and brought together for questioning. As none of them are guilty, they plan a revenge operation against the police. The operation goes well, but then the influence of a legendary mastermind criminal called Keyser Söze is felt. It becomes clear that each one of them has wronged Söze at some point and must pay back now. The payback job leaves 27 men dead in a boat explosion, but the real question arises now: Who actually is Keyser Söze?

Fletcher Reede, a fast talking attorney, habitual liar, and divorced father is an incredibly successful lawyer who has built his career by lying. He has a habit of giving precedence to his job and always breaking promises to be with his young son Max, but Fletcher lets Max down once too often, for missing his own son's birthday party. But until then at 8:15 Max has decided to make an honest man out of him as he wishes for one whole day his dad couldn't tell a lie. When the wish comes true all Fletcher can do is tell the truth and cannot tell one lie. Uh-oh for Fletcher Reede.

Protagonist Alex DeLarge is an "ultraviolent" youth in futuristic Britain. As with all luck, his eventually runs out and he's arrested and convicted of murder. While in prison, Alex learns of an experimental program in which convicts are programmed to detest violence. If he goes through the program, his sentence will be reduced and he will be back on the streets sooner than expected. But Alex's ordeals are far from over once he hits the streets of Britain..

Paranoid Brigadier General Jack D. Ripper of Burpelson Air Force Base, believing that fluoridation of the American water supply is a Soviet plot to poison the U.S. populace, is able to deploy through a back door mechanism a nuclear attack on the Soviet Union without the knowledge of his superiors, including the Chair of the Joint Chiefs of Staff, General Buck Turgidson, and President Merkin Muffley. Only Ripper knows the code to recall the B-52 bombers and he has shut down communication in and out of Burpelson as a measure to protect this attack. Ripper's executive officer, RAF Group Captain Lionel Mandrake (on exchange from Britain), who is being held at Burpelson by Ripper, believes he knows the recall codes if he can only get a message to the outside world. Meanwhile at the Pentagon War Room, key persons including Muffley, Turgidson and nuclear scientist and adviser, a former Nazi named Dr. Strangelove, are discussing measures to stop the attack or mitigate its blow-up into an all out nuclear war with the Soviets. Against Turgidson's wishes, Muffley brings Soviet Ambassador Alexi de Sadesky into the War Room, and get his boss, Soviet Premier Dimitri Kisov, on the hot line to inform him of what's going on. The Americans in the War Room are dismayed to learn that the Soviets have an as yet unannounced Doomsday Device to detonate if any of their key targets are hit. As Ripper, Mandrake and those in the War Room try and work the situation to their end goal, Major T.J. "King" Kong, one of the B-52 bomber pilots, is working on his own agenda of deploying his bomb where ever he can on enemy soil if he can't make it to his intended target.

1964 British satire film directed by Stanley Kubrick

James Cole, a prisoner of the state in the year 2035, can earn parole if he agrees to travel back in time and thwart a devastating plague. The virus has wiped out most of the Earth's population and the remainder live underground because the air is poisonous. Returning to the year 1990, six years before the start of the plague, Cole is soon imprisoned in a psychiatric facility because his warnings sound like mad ravings. There he meets a scientist named Dr. Kathryn Railly and Jeffrey Goines, the mad son of an eminent virologist. Cole is returned by the authorities to the year 2035, and finally ends up at his intended destination in 1996. He kidnaps Dr. Railly in order to enlist her help in his quest. Cole discovers graffiti by an apparent animal rights group called the Army of the Twelve Monkeys, but as he delves into the mystery, he hears voices, loses his bearings, and doubts his own sanity. He must figure out if Goines, who seems to be a raving lunatic, holds the key to the puzzle.

A city of monsters with no humans called Monstropolis centers around the city's power company, Monsters, Inc. The lovable, confident, tough, furry blue behemoth-like giant monster named James P. Sullivan (better known as Sulley) and his wisecracking best friend, short, green cyclops monster Mike Wazowski, discover what happens when the real world interacts with theirs in the form of a 2-year-old baby girl dubbed "Boo," who accidentally sneaks into the monster world with Sulley one night. And now it's up to Sulley and Mike to send Boo back in her door before anybody finds out, especially two evil villains such as Sulley's main rival as a scarer, chameleon-like Randall (a monster that Boo is very afraid of), who possesses the ability to change the color of his skin, and Mike and Sulley's boss Mr. Waternoose, the chairman and chief executive officer of Monsters, Inc.

2001 American computer-animated comedy film

United Press International journalist Will Bloom and his French freelance photojournalist wife Josephine Bloom, who is pregnant with their first child, leave their Paris base to return to Will's hometown of Ashton, Alabama on the news that his father, Edward Bloom, stricken with cancer, will soon die, he being taken off chemotherapy treatment. Although connected indirectly through Will's mother/Edward's wife, Sandra Bloom, Will has been estranged from his father for three years since his and Josephine's wedding. Will's issue with his father is the fanciful tales Edward has told of his life all his life, not only to Will but the whole world. As a child when Edward was largely absent as a traveling salesman, Will believed those stories, but now realizes that he does not know his father, who, as he continues to tell these stories, he will never get to know unless Edward comes clean with the truth before he dies. On the brink of his own family life beginning, Will does not want to be the kind of father Edward has been to him. One of those stories from Edward's childhood - that he saw his own death in the glass eye of a witch - led to him embracing life since he would not have to fear death knowing when and how it would eventually come. The question is whether Will will be able to reconcile Edward's stories against his real life, either directly from Edward before he dies and/or from other sources, and thus allow Will to come to a new understanding of himself and his life, past, present and future.

Jerry works in his father-in-law's car dealership and has gotten himself in financial problems. He tries various schemes to come up with money needed for a reason that is never really explained. It has to be assumed that his huge embezzlement of money from the dealership is about to be discovered by father-in-law. When all else falls through, plans he set in motion earlier for two men to kidnap his wife for ransom to be paid by her wealthy father (who doesn't seem to have the time of day for son-in-law). From the moment of the kidnapping, things go wrong and what was supposed to be a non-violent affair turns bloody with more blood added by the minute. Jerry is upset at the bloodshed, which turns loose a pregnant sheriff from Brainerd, MN who is tenacious in attempting to solve the three murders in her jurisdiction.

1996 film directed by Ethan and Joel Coen

The lead character, called 'The Bride,' was a member of the Deadly Viper Assassination Squad, led by her lover 'Bill.' Upon realizing she was pregnant with Bill's child, 'The Bride' decided to escape her life as a killer. She fled to Texas, met a young man, who, on the day of their wedding rehearsal was gunned down by an angry and jealous Bill (with the assistance of the Deadly Viper Assassination Squad). Four years later, 'The Bride' wakes from a coma, and discovers her baby is gone. She, then, decides to seek revenge upon the five people who destroyed her life and killed her baby. The saga of Kill Bill Volume I begins.

Chihiro and her parents are moving to a small Japanese town in the countryside, much to Chihiro's dismay. On the way to their new home, Chihiro's father makes a wrong turn and drives down a lonely one-lane road which dead-ends in front of a tunnel. Her parents decide to stop the car and explore the area. They go through the tunnel and find an abandoned amusement park on the other side, with its own little town. When her parents see a restaurant with great-smelling food but no staff, they decide to eat and pay later. However, Chihiro refuses to eat and decides to explore the theme park a bit more. She meets a boy named Haku who tells her that Chihiro and her parents are in danger, and they must leave immediately. She runs to the restaurant and finds that her parents have turned into pigs. In addition, the theme park turns out to be a town inhabited by demons, spirits, and evil gods. At the center of the town is a bathhouse where these creatures go to relax. The owner of the bathhouse is the evil witch Yubaba, who is intent on keeping all trespassers as captive workers, including Chihiro. Chihiro must rely on Haku to save her parents in hopes of returning to their world.

2001 Japanese animated film directed by Hayao Miyazaki

History is turned on its comic head when, in tenth-century England, King Arthur travels the countryside to find knights who will join him at the Round Table in Camelot. Gathering up the men is a tale in itself but after a bit of a party at Camelot, many decide to leave only to be stopped by God, who sends them on a quest: to find the Holy Grail. After a series of individual adventures, the knights are reunited but must face a wizard named Tim the Enchanter, killer rabbits and lessons in the use of holy hand grenades. Their quest comes to an end however when the Police intervene - just what you would expect in a Monty Python movie.

1975 film directed by Terry Gilliam and Terry Jones

In 1954, up-and-coming U.S. marshal Teddy Daniels is assigned to investigate the disappearance of a patient from Boston's Shutter Island Ashecliffe Hospital. He's been pushing for an assignment on the island for personal reasons, but before long he thinks he's been brought there as part of a twisted plot by hospital doctors whose radical treatments range from unethical to illegal to downright sinister. Teddy's shrewd investigating skills soon provide a promising lead, but the hospital refuses him access to records he suspects would break the case wide open. As a hurricane cuts off communication with the mainland, more dangerous criminals "escape" in the confusion, and the puzzling, improbable clues multiply, Teddy begins to doubt everything - his memory, his partner, even his own sanity.

When "the dude" Lebowski is mistaken for a millionaire Lebowski, two thugs urinate on his rug to coerce him into paying a debt he knows nothing about. While attempting to gain recompense for the ruined rug from his wealthy counterpart, he accepts a one-time job with high pay-off. He enlists the help of his bowling buddy, Walter, a gun-toting Jewish-convert with anger issues. Deception leads to more trouble, and it soon seems that everyone from porn empire tycoons to nihilists want something from The Dude.

Maximus is a powerful Roman general, loved by the people and the aging Emperor, Marcus Aurelius. Before his death, the Emperor chooses Maximus to be his heir over his own son, Commodus, and a power struggle leaves Maximus and his family condemned to death. The powerful general is unable to save his family, and his loss of will allows him to get captured and put into the Gladiator games until he dies. The only desire that fuels him now is the chance to rise to the top so that he will be able to look into the eyes of the man who will feel his revenge.

Turkish and his close friend/accomplice Tommy get pulled into the world of match fixing by the notorious Brick Top. Things get complicated when the boxer they had lined up gets badly beaten by Mickey, who comes into the equation after Turkish, an unlicensed boxing promoter wants to buy a caravan off of Travellers. They then try to convince Mickey not only to fight for them, but to lose for them too. Whilst all this is going on, a huge diamond heist takes place, and a fistful of motley characters enter the story, including 'Cousin Avi', 'Boris The Blade', 'Franky Four Fingers' and 'Bullet Tooth Tony'. Things go from bad to worse as it all becomes about the money, the guns, and the damned dog.

The final confrontation between the forces of good and evil fighting for control of the future of Middle-earth. Frodo and Sam reach Mordor in their quest to destroy the One Ring, while Aragorn leads the forces of good against Sauron's evil army at the stone city of Minas Tirith.

Join the heroic quest for knowledge as we set course for the stars with the twenty-first century reboot of Cosmos. Hosted by world-renowned astrophysicist Neil deGrasse Tyson, this thirteen-part ground-breaking series will venture to new worlds, trace our roots back to the hearts of ancient stars, and travel across the universe for a vision of the cosmos on the grandest scale.

2014 American science documentary television series presented by Neil deGrasse Tyson

The world is divided into four elemental nations: The Northern and Southern Water Tribes, the Earth Kingdom, the Fire Nation, and the Air Nomads. The Avatar upholds the balance between the nations, but everything changed when the Fire Nation invaded. Only the Avatar, master of all four elements, can stop them. But when the world needs him most, he vanishes. A hundred years later Katara and Sokka discover the new Avatar, an airbender named Aang. Together they must help Aang master the elements and save the world.

Philip J. Fry is a twenty-five-year-old pizza delivery boy whose life is going nowhere. When he accidentally freezes himself on December 31, 1999, he wakes up one thousand years in the future, and has a chance to make a fresh start. He goes to work for the Planet Express Corporation, a futuristic delivery service that transports packages to all five quadrants of the universe. His companions include the delivery ship's Captain, Leela, a beautiful one-eyed female alien who kicks some serious butt, and Bender, a robot with very human flaws.

American animated sitcom for the Fox Broadcasting Company and Comedy Central

At an international spy agency, global crises are merely opportunities for its highly-trained employees to confuse, undermine, betray, and royally screw one another. At the center of it all is suave master spy Sterling Archer, whose less-than-masculine code name is "Duchess." Archer works with his domineering mother Malory, who also is his boss. He must also deal with his ex-girlfriend, Agent Lana Kane, and her new boyfriend, comptroller Cyril Figgis, as well as Malory's lovesick secretary Cheryl.

The curious, adventure-seeking, fourth grade group of 10 year old boys, Stan, Kyle, Cartman, and Kenny, all join in in buffoonish adventures that sometimes evolve nothing. Sometimes something that was simple at the start, turns out to get out of control. Everything is odd in the small mountain town, South Park, and the boys always find something to do with it.

The all new "true crime" case of Fargo's new chapter travels back to 1979 in Sioux Falls, South Dakota and Luverne, Minnesota, where a young State Police Officer Lou Solverson, recently back from Vietnam, investigates a case involving a local crime gang and a major Mob syndicate. Helping him piece things together is his father-in-law, Sheriff Hank Larsson. The investigation will lead them to a colorful cast of characters that includes Karl Weathers, the town lawyer of Luverne, Minnesota. A Korean War vet, Karl is a flowery drunk blessed with the gift of gab and the eloquence of a true con artist. Joe Bulo, the front man for the northern expansion of a Kansas City crime syndicate. The new face of corporate crime, Joe's bringing a Walmart mentality to small town America. His number two is Mike Milligan. Part enforcer, part detective, Mike is always smiling - but the joke is usually on you. Bulo and his crew have their sights set on the Gerhardt crime family in Fargo, currently led by matriarch Floyd Gerhardt. With her husband at death's door, Floyd takes over the family business, frustrating her eldest son, Dodd Gerhardt. An impatient hothead with a cruel streak to match his ambitions, Dodd can't wait for both his parents to die so he can take over and expand their business from kingdom to empire. Bear Gerhardt is the middle son, an intimidatingly large man who, although inarticulate, is the most decent of his clan. Rye Gerhardt, the youngest of the Gerhardt clan, views himself as a big shot, but in reality he's just a small dog who barks big.

American dark comedy-crime drama television series

Captain Malcolm 'Mal' Reynolds is a former galactic war veteran who is the captain of the transport ship "Serenity". Mal and his crew, ensign Zoe Alleyne Washburne; Zoe's husband, pilot Hoban 'Wash' Washburne; muscular mercenary Jayne Cobb; young mechanic Kaylee Frye; former Alliance medical officer Simon Tam; his disturbed teenage sister River (both on the run from the interplanetary government "The Alliance"); the beautiful courtesan Inara Serra; and preacher Shepherd Book do any jobs, legal or illegal, they can find as the Serenity crew travels across the outskirts of outer space.

When chemistry teacher Walter White is diagnosed with Stage III cancer and given only two years to live, he decides he has nothing to lose. He lives with his teenage son, who has cerebral palsy, and his wife, in New Mexico. Determined to ensure that his family will have a secure future, Walt embarks on a career of drugs and crime. He proves to be remarkably proficient in this new world as he begins manufacturing and selling methamphetamine with one of his former students. The series tracks the impacts of a fatal diagnosis on a regular, hard working man, and explores how a fatal diagnosis affects his morality and transforms him into a major player of the drug trade.

He's smart, he's good looking, and he's got a great sense of humor. He's Dexter Morgan, everyone's favorite serial killer. As a Miami forensics expert, he spends his days solving crimes, and nights committing them. But Dexter lives by a strict code of honor that is both his saving grace and lifelong burden. Torn between his deadly compulsion and his desire for true happiness, Dexter is a man in profound conflict with the world and himself. Golden Globe winner Michael C. Hall stars in the hit SHOWTIME Original Series.

After a meteor shower bursts from the heavens, raining destruction on the unsuspecting citizens of Smallville, years pass, and the healing process leaves the town's inhabitants with scars and secrets. From the ashes of tragedy, a popular yet awkward teen attempts to decipher the meaning of his life and his clouded past. As he struggles with the transition from boyhood to adulthood, Clark finds that his strength and strange abilities set him uncomfortably apart from his peers.

The past, present, and future lives of surviving Oceanic Flight 815 passengers are dramatically intertwined as a fight for survival ensues in a quest for answers after crashlanding on a mysterious island. Each discovery prompts yet more secrets, as the hastily-formed colony search for a way off the island, or is this their home?

People all over the U.S and the world start to realize they have special abilities, like telekinesis, healing abilities, flying powers, time travel, invisibility, and the ability to absorb other's abilities. One man, known as Sylar, wants to gain all the power of these "heroes" so he can be the most powerful and evolved human of all, and stops at nothing to gruesomely kill these people. In order to protect themselves from him, these people must help one another before Sylar can destroy them all, while they each deal with problems of their own.

American science fiction television drama series

movies

shows

books

Active tastebuds