Elena Rainn

KRKY Y

Kyrsten Iris

Fede Bonino

_ eshago@uw.edu

Watashi Wa Jigabudesu

Roman Bryzhatiy

Karl Halmos-Westram

Timothy Galvin

Ljsly Bernard

Ruby Brown

Dimitri Nuri

This is the story of a man who said that he would stop the motor of the world and did. Was he a destroyer or the greatest of liberators?Why did he have to fight his battle, not against his enemies, but against those who needed him most, and his hardest battle against the woman he loved? What is the world’s motor — and the motive power of every man? You will know the answer to these questions when you discover the reason behind the baffling events that play havoc with the lives of the characters in this story. Tremendous in its scope, this novel presents an astounding panorama of human life — from the productive genius who becomes a worthless playboy — to the great steel industrialist who does not know that he is working for his own destruction — to the philosopher who becomes a pirate — to the composer who gives up his career on the night of his triumph — to the woman who runs a transcontinental railroad — to the lowest track worker in her Terminal tunnels. You must be prepared, when you read this novel, to check every premise at the root of your convictions.This is a mystery story, not about the murder — and rebirth — of man’s spirit. It is a philosophical revolution, told in the form of an action thriller of violent events, a ruthlessly brilliant plot structure and an irresistible suspense. Do you say this is impossible? Well, that is the first of your premises to check.

“It Takes a Village offers a universal, unifying message. It captures perfectly Clinton’s vision of a multicultural America working toward a constructive goal. So hopeful and forward-looking.” —The Washington Post“Inspired by her 2006 book of the same name, Clinton’s unadorned text celebrates how civic spirit emerges…Most of the storytelling is found in Frazee’s delicately textured images, which exude energy, hope, and emotional authenticity.” —Publishers Weekly“This work is a welcome reminder that all people ‘are born believers. And citizens, too.’” —Shelf Awareness“A picture book to share with library audiences, families, and friends. Any audience that champions the abilities and potential of children will appreciate and promote its wise sentiment.” —School Library Journal“What does it take to change the world?”Former Secretary of State and Democratic Presidential nominee Hillary Rodham Clinton’s first book for young readers, inspired by the themes of her classic New York Times bestselling book It Takes a Village, and illustrated by two-time Caldecott Honor recipient Marla Frazee, asks readers what can they do to make the world a better place?It Takes a Village tells the heartwarming and universal story of a diverse community coming together to make a difference. All kinds of people working together, playing together, and living together in harmony makes a better village and many villages coming together can make a better world. Together we can build a better life for one another. Together we can change our world.The book will resonate with children and families and through the generations as it encourages readers to look for a way they can make a difference. It is a book that you will surely want to read again and again, a book you will want to share and a book that will inspire.

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.

BATTLESHIP, the official classic naval strategy game, is now on mobile formats! The object of the game is to seek out and destroy your enemies' entire naval fle...

Three separate but parallel stories of the U.S mortgage housing crisis of 2005 are told. Michael Burry, an eccentric ex-physician turned one-eyed Scion Capital hedge fund manager, has traded traditional office attire for shorts, bare feet and a Supercuts haircut. He believes that the US housing market is built on a bubble that will burst within the next few years. Autonomy within the company allows Burry to do largely as he pleases, so Burry proceeds to bet against the housing market with the banks, who are more than happy to accept his proposal for something that has never happened in American history. The banks believe that Burry is a crackpot and therefore are confident in that they will win the deal. Jared Vennett with Deutschebank gets wind of what Burry is doing and, as an investor believes he too can cash in on Burry's beliefs. An errant telephone call to FrontPoint Partners gets this information into the hands of Mark Baum, an idealist who is fed up with the corruption in the financial industry. Baum and his associates, who work at an arms length under Morgan Stanley, decide to join forces with Vennett despite not totally trusting him. In addition to Burry's information, they further believe that most of the mortgages are overrated by the bond agencies, with the banks collating all the sub-prime mortgages under AAA packages. Charlie Geller and Jamie Shipley, who are minor players in a $30 million start-up garage company called Brownfield, get a hold of Vennett's prospectus on the matter. Wanting in on the action but not having the official clout to play, they decide to call an old "friend", retired investment banker Ben Rickert, to help out. All three of these groups work on the premise that the banks are stupid and don't know what's going on, while for them to win, the general economy has to lose, which means the suffering of the general investor who trusts the financial institutions. That latter aspect may not sit well with Baum. Some of these assumptions may be incorrect and may be far more manipulative than they could have ever imagined, which in turn may throw curves into the process.

Helen Lyle is a student who decides to write a thesis about local legends and myths. She visits a part of the town, where she learns about the legend of the Candyman, a one-armed man who appears when you say his name five times, in front of a mirror. Of course, Helen doesn't believe all this stuff, but the people of the area are really afraid. When she ignores their warnings and begins her investigation in the places that he is rumored to appear, a series of horrible murders begins. Could the legend be true?

Thirty-seven year old Mavis Gary seems incapable of happiness. She has had one failed marriage with no romance in her immediate horizon. She ghosts writes a young adult series of books, which has just been canceled due to low sales. She is in the process of writing the last book, with which she is having a mental block. She lives vicariously through Kendall Strickland, the teenaged female heroine in her books, as like Kendall she believes her high school years were the best years of her life when she was the prom queen. When she receives news that her high school beau, Buddy Slade, and his wife, Beth Slade, have just had their first child, Mavis takes it as a sign that she and Buddy are meant to be together. As such, she devises a false pretense to travel from her Minneapolis home back her her old hometown of Mercury, Minnesota to reclaim Buddy from Beth. As Mavis slyly or not so slyly does whatever she can to hang out with Buddy, even in Beth's company if need be, she also runs into another old high school colleague named Matt Freehauf. She barely remembers Matt until she is reminded that he was the "hate crime" kid i.e. he was beaten almost to death by the school jocks who believed he was gay (which he is not), which has left him among other things needing to walk with a brace. Matt ends up being Mavis' drinking buddy and confidante, Matt, in turn, who tries to be Mavis' voice of reason to get her out of her delusional state about Buddy and get a grip on reclaiming her life as a functioning adult.

In the dystopian world of 2027 London, humans have been incapable of reproducing for 18 year for an unknown reason, meaning the imminent extinction of the species. Britain is the one remaining civilized society on the planet, which has resulted in people wanting to migrate there, so it has become a police state to handle the immigrants, who are placed into refugee camps. Lowly government bureaucrat Theo Faron, once an activist, is approached by the Fishes, deemed a terrorist group, led by his ex-wife Julian Taylor, whom he hasn't seen in almost 20 years, since their marriage disintegrated after their infant son Dylan's death during the 2008 flu pandemic. Although the Fishes did use terrorist means in their on-going revolution against the state in the fight for immigrant rights, Julian vows that they now garner support solely by speaking to the people, and she wants Theo to use his connections to get transit papers for a young immigrant woman named Kee who needs to get to the coast. Although initially reluctant to do it because of the difficulty, Theo is able to grant Julian this favor, however with the change that he now needs to accompany Kee on her journey. As Theo and Kee progress on that journey, Theo learns more and more about what's going on, including the reason that Kee needs to get to the coast, the fact that no one in the group knows if their end destination even exists, and that his and Kee's lives are in greater danger than he believed when they started the journey. But Theo's sole mission becomes to help Kee at any cost for the survival of the species.

Six different people, each from a very different walk of life, awaken to find themselves inside a giant cube with thousands of possible rooms. Each has a skill that becomes clear when they must band together to get out: a cop, a math whiz, a building designer, a doctor, an escape master, and a disabled man. Each plays a part in their thrilling quest to find answers as to why they've been imprisoned.

Nineteen year old Andrew Niemann wants to be the greatest jazz drummer in the world, in a league with

While exploring uncharted wilderness in 1823, legendary frontiersman Hugh Glass sustains injuries from a brutal bear attack. When his hunting team leaves him for dead, Glass must utilize his survival skills to find a way back home while avoiding natives on their own hunt. Grief-stricken and fueled by vengeance, Glass treks through the wintry terrain to track down John Fitzgerald, the former confidant who betrayed and abandoned him.

2015 film directed by Alejandro González Iñárritu

A mysterious and mythical motorcycle racer, Luke, (Ryan Gosling) drives out of a traveling carnival globe of death and whizzes through the backstreets of Schenectady, New York, desperately trying to connect with a former lover, Romina, (Eva Mendes) who recently and secretly gave birth to the stunt rider's son. In an attempt to provide for his new family, Luke quits the carnival life and commits a series of bank robberies aided by his superior riding ability. The stakes rise as Luke is put on a collision course with an ambitious police officer, Avery Cross, (Bradley Cooper) looking to quickly move up the ranks in a police department riddled with corruption. The sweeping drama unfolds over fifteen years as the sins of the past haunt the present days lives of two high school boys wrestling with the legacy they've inherited. The only refuge is found in the place beyond the pines.

In the epic finale to The Maze Runner Saga, Thomas leads his group of escaped Gladers on their final and most dangerous mission yet. To save their friends, they must break into the legendary last city, a WCKD controlled labyrinth that may turn out to be the deadliest maze of all. Anyone who makes it out alive will get the answers to the questions the Gladers have been asking since they first arrived in the maze. Will Thomas and the crew make it out alive? Or will Ava Paige get her way?

Awakening in an elevator, remembering nothing of his past, Thomas emerges into a world of about thirty teenage boys, all without past memories, who have learned to survive under their own set of rules in a completely enclosed environment, subsisting on their own agriculture and supplies. With a new boy arriving every thirty days, the group has been in "The Glade" for three years, trying to find a way to escape through the Maze that surrounds their living space (patrolled by cyborg monsters named 'Grievers'). They have begun to give up hope when a comatose girl arrives with a strange note, and their world begins to change with the boys dividing into two factions: those willing to risk their lives to escape and those wanting to hang onto what they've got and survive.

Twelve months after winning the 74th Hunger Games, Katniss Everdeen and her partner Peeta Mellark must go on what is known as the Victor's Tour, wherein they visit all the districts, but before leaving, Katniss is visited by President Snow who fears that Katniss defied him a year ago during the games when she chose to die with Peeta. With both Katniss and Peeta declared the winners, it is fueling a possible uprising. He tells Katniss that while on tour she better try to make sure that she puts out the flames or else everyone she cares about will be in danger.

In a dystopian future, the totalitarian nation of Panem is divided into 12 districts and the Capitol. Each year two young representatives from each district are selected by lottery to participate in The Hunger Games. Part entertainment, part brutal retribution for a past rebellion, the televised games are broadcast throughout Panem. The 24 participants are forced to eliminate their competitors while the citizens of Panem are required to watch. When 16-year-old Katniss' young sister, Prim, is selected as District 12's female representative, Katniss volunteers to take her place. She and her male counterpart, Peeta, are pitted against bigger, stronger representatives, some of whom have trained for this their whole lives.

After miraculously remaining 29 years old for almost eight decades, Adaline Bowman has lived a solitary existence, never allowing herself to get close to anyone who might reveal her secret. But a chance encounter with charismatic philanthropist Ellis Jones reignites her passion for life and romance. When a weekend with his parents threatens to uncover the truth, Adaline makes a decision that will change her life forever.

Leading a happy and quiet life with his lawyer wife and their two children in the small town of Millbrook, Indiana, mild-mannered Tom Stall cherishes his simple, uneventful existence. However, their idyllic lifestyle is shattered when, one night, Tom saves his customers and friends in self-defence, foiling a vicious attempted robbery in his diner by two violent wanted criminals. Now, heralded as a local hero, Tom's life is changed overnight, attracting unwanted attention, and a national media feeding frenzy. Uncomfortable with his newfound celebrity, Tom tries to return to normalcy, only to find himself confronted by a mysterious man who arrives in town believing Tom is the man who wronged him in the past. More and more, as Tom and his family struggle to cope with their new reality and this case of mistaken identity, they have no other choice but to fight back and protect all that they hold dear. But, is there more to Tom than meets the eye? Does he have, indeed, a history of violence?

Catherine is a woman in her late twenties who is strongly devoted to her father, Robert, a brilliant and well-known mathematician whose grip on reality is beginning to slip away. As Robert descends into madness, Catherine begins to wonder if she may have inherited her father's mental illness along with his mathematical genius. When Robert's work reveals a mathematical proof of potentially historic proportions, it sets off shock waves in more ways than one.

Balancing between feverish dreamlike hallucinations of a tormented past and a grim disoriented reality, the grizzled Joe--a traumatised Gulf War veteran and now an unflinching hired gun who lives with his frail elderly mother--has just finished yet another successful job. With an infernal reputation of being a brutal man of results, the specialised in recovering missing teens enforcer will embark on a blood-drenched rescue mission, when Nina, the innocent 13-year-old daughter of an ambitious New York senator, never returns home. But amidst half-baked leads and a desperate desire to shake off his shoulders the heavy burden of a personal hell, Joe's frenzied plummet into the depths of Tartarus is inevitable, and every step Joe takes to flee the pain, brings him closer to the horrors of insanity. In the end, what is real, and what is a dream? Can there be a new chapter in Joe's life when he keeps running around in circles?

In a lonesome house in the countryside between woods and cornfields live nine-year-old twin brothers who are waiting for their mother in the heat of summer. When she comes home, bandaged after cosmetic surgery, nothing is like before. The children start to doubt that this woman is actually their mother. An existential struggle for identity and fundamental trust emerges.

2014 film by Veronika Franz and Severin Fiala

Grey's a stay-at-home mechanic, whose wife is Asha. One day, Grey asks Asha to help him return a car to his client. Whilst Grey and Asha's self-driving car malfunctions, it crashes. Grey watches helplessly as Asha bleeds to death next to him. Grey returns home - a widowed quadriplegic, under the care of his mother. His wife's death and the inability of police to identify their attackers cause him to sink into a depression. After a suicide attempt, he's offered to have high tech chip implanted - enabling him to walk. Though initially hesitant, he's persuaded to have the surgery.

Theodore is a lonely man in the final stages of his divorce. When he's not working as a letter writer, his down time is spent playing video games and occasionally hanging out with friends. He decides to purchase the new OS1, which is advertised as the world's first artificially intelligent operating system, "It's not just an operating system, it's a consciousness," the ad states. Theodore quickly finds himself drawn in with Samantha, the voice behind his OS1. As they start spending time together they grow closer and closer and eventually find themselves in love. Having fallen in love with his OS, Theodore finds himself dealing with feelings of both great joy and doubt. As an OS, Samantha has powerful intelligence that she uses to help Theodore in ways others hadn't, but how does she help him deal with his inner conflict of being in love with an OS?

Despite being reunited with her husband from prison, Emily Taylor becomes severely depressed with emotional episodes and suicide attempts. After conferring with her previous doctor, her psychiatrist, Jonathan Banks, eventually prescribes an experimental new medication called Ablixa, but the drug's side-effects lead to Emily killing her husband while in a "sleepwalking" state. With Emily plea-bargained into mental-hospital confinement and Dr. Banks' practice crumbling around him, the case seems closed. However, Dr. Banks cannot accept full responsibility and investigates to clear his name. What follows is a dark quest that threatens to tear apart what's left of his life even as he discovers the diabolical truth of this tragedy.

American singer, songwriter, dancer and actress (born 1981)

American singer, songwriter, and record producer

English and Albanian singer and songwriter

Scottish DJ, singer, songwriter, and record producer

Australian singer, recording artist, songwriter, showgirl, and actress

The Returned opens in a small mountain community which is rocked to its core when several local people who are presumed dead suddenly re-appear at their homes. Despite having passed away some years earlier, these ghostly characters appear in human form, they have not aged, and they are completely unaware of their own fatality. Determined to reclaim their lives and start over, they slowly come to realize that they are not the only ones to have been brought back from the dead. Their return augers torment for their community when a gruesome murder attempt bears a chilling resemblance to the work of a serial killer from the past. This is a homecoming like no other.

French supernatural drama television series

Deadly Women fuses bone chilling story telling, sumptuous period drama and forensic fact in a bid to explore history's most alluring, intriguing and horrifying female killers. Each episode profiles four famous cases from the past and delves into a deadly world shaped by spiraling forces that are beyond the women's control: obsession, greed, and revenge.

television series focusing on female killers

Tells the compelling stories of people who are battling obsessive behaviors on the verge of taking over their lives. Follow these addicts as they reveal their strange addictions and meet with psychological experts.

Hosted by noted reporters Tom Brokaw and Jane Pauley, and now Lester Holt, this program presents in-depth coverage of news stories in the tradition of 60 Minutes and 20/20. Rather than just reading news reports, as most news shows do, the reporters for this show research their subjects and interview the people closely involved to create an informative work of investigative journalism.

Comedian Jimmy Fallon hosts a late-night talk show.

A fearless, raw approach to storytelling is the trademark of "VICE," a groundbreaking newsmagazine series that tackles global issues often overlooked by traditional media. From anti-government rebellions, to hotbeds of terrorist activity, to conflict and corruption, "VICE" uses an engrossing documentary style to bring unique perspective to events shaping the future. The series takes its name from a youth media company operating in more than 34 countries. Its founder,

Explores the high-pressure experiences of police, paramedics and firefighters who are thrust into the most frightening, shocking and heart-stopping situations. They must try to balance saving people with solving problems in their own lives.

American procedural drama television series

Told from the perspective of an unseen documentary filmmaker, the series offers an honest, often-hilarious perspective of family life. Parents Phil and Claire yearn for an honest, open relationship with their three kids, but a daughter who is trying to grow up too fast, another who is too smart for her own good, and a rambunctious young son make it challenging. Claire's dad Jay and his Latina wife Gloria are raising two sons together, but people sometimes believe Jay to be Gloria's father. Jay's gay son Mitchell and his partner Cameron have adopted a little Asian girl, completing one big -- straight, gay, multicultural, traditional -- happy family.

Mike, a Chicago police officer, meets fourth-grade teacher Molly one day when he speaks at an Overeaters Anonymous meeting and they fall in love, thanks in part to their mutual love of pie and the desire to resist it. Both face challenges in their quest to lose weight -- Molly from her slender sister and mother and Mike at the diner where he frequently eats. But having found each other, they will support each other as they try to achieve their goals, be it weight loss or Molly's decision to quit teaching and pursue her dream as a writer.

A look at the world of child beauty pageants.

Comedian and political satirist Bill Maher discusses topical events with guests from various backgrounds.

Professional skateboarder Rob Dyrdek and his friend Christopher "Big Black" Boykin live together in the Hollywood Hills.

Bob's Burgers centers on the Belcher family (Bob, Linda, Tina, Gene, and Louise) who own a hamburger restaurant. Bob's burgers are really delicious and appear to be better than his rivals' but his kids aren't really helpful at selling them, as more customers head over to Jimmy Pesto's restaurant.

Daytime Host of the now-defunct Air America Radio's liberal talk show host discusses current events, with an emphasis on politics.

daily news and opinion television program

An intense, hyperactive chihuahua (Is there any other kind?) and a happy-go-lucky, empty-brained cat share bizarre and often repulsive adventures. Their experiences usually involve hairballs, filthy litterboxes, "magic nose goblins", sentient farts, jars of spit, outhouses, eating dirt, monkey vermin and any other imaginable disgusting substance.

Mr Bean (portrayed by Sir Rowan Sebastian Atkinson) is a lazy, crazy, clumsy, mischievous and destructive lunatic alien man from outer space who has fallen to earth out of his UFO. join him on his adventures of solving problems and creating worse disasters in this hilarious slapstick science fiction comedy Television sitcom series for the entire family.

Die Zuschauerin

Joe Sanderson

SadisticFlaw

Aaron Sewall

TasteDive Official

Charlotte

Amir Onsori

Joe Something

It's the late 1980s. Twenty-seven year old Wall Streeter Patrick Bateman travels among a closed network of the proverbial beautiful people, that close

After having online chat room chats for three weeks, "Thonggrrrl14" convinces "Lensman319" to meet in person in a public place, they being up front th

Leading a happy and quiet life with his lawyer wife and their two children in the small town of Millbrook, Indiana, mild-mannered Tom Stall cherishes 

After a drug-op gone bad, Joey Gazelle is put in charge of disposing the gun that shot a dirty cop. But things go wrong for Joey after a neighbor kid 

Obsession/stalker/abduction/psychological thriller/drama

movie

tv show

As a toxin begins to turn the residents of Ogden Marsh, Iowa into violent psychopaths, sheriff David Dutton tries to make sense of the situation while he, his wife, and two other unaffected townspeople band together in a fight for survival.

Christine Brown is a loan officer at a bank but is worried about her lot in life. She's in competition with a competent colleague for an assistant manager position and isn't too sure about her status with a boyfriend. Worried that her boss will think less of her if she shows weakness, she refuses a time extension on a loan to an old woman, Mrs. Ganush, who now faces foreclosure and the loss of her house. In retaliation, the old woman place a curse on her which, she subsequently learns, will result in her being taken to hell in a few days time. With the help of a psychic, she tries to rid herself of the demon, but faces several hurdles in the attempt.

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.

Astronomer Dr. Ellie Arroway has long been interested in contact to faraway lands, a love fostered in her childhood by her father, Ted Arroway (David Morse), who died when she was nine-years-old, leaving her orphaned. Her current work in monitoring for extraterrestrial life is based on that love and is in part an homage to her father. Ever since funding from the National Science Foundation (N.S.F.) was pulled on her work, which is referred to some, including her N.S.F. superior David Drumlin (Tom Skerritt), as more science fiction than science, Ellie, with a few of her rogue scientist colleagues, have looked for funding from where ever they could get it to continue their work. When Ellie and her colleagues hear chatter originating from the vicinity of the star Vega, Ellie feels vindicated. But that vindication is short lived when others, including politicians, the military, religious leaders, and other scientists, such as Drumlin, try to take over her work. When the messages received from space are decoded, the project takes on a whole new dimension, which strengthens for Ellie the quest for the truth. Thrown into the mix are the unknown person who has up until now funded most of Ellie's work and what his motivations are, and Palmer Joss (Matthew McConaughey), a renowned author and theologian, who despite their fundamental differences in outlook, is mutually attracted to Ellie, that attraction based in part on intellect and their common goal of wanting to know the truth.

Movies to see

Presidential advisers get their personal lives hopelessly tangled up with professional duties as they try to conduct the business of running a country. Fictional Democratic President Josiah "Jed" Bartlet suffers no fools, and that policy alienates many. He and his dedicated staffers struggle to balance the needs of the country with the political realities of Washington, D.C., working through two presidential terms that include countless scandals, threats and political scuffles, as well as the race to succeed Bartlet as the leader of the free world.

American political drama series created by Aaron Sorkin for NBC (1999-2006)

A behind-the-scenes look at a fictional sketch-comedy television show.

American comedy-drama television series created by Aaron Sorkin for NBC

A drug-addicted nurse struggles to find a balance between the demands of her frenetic job at a New York City hospital and an array of personal dramas.

2009 American medical comedy-drama television series

Casey McCall and Dan Rydell are sports anchors and best friends. On "Sports Night," their nightly cable program, the two display their unique talent and skills in reporting up-to-the-minute sports news. When they step off-camera, office romances and sports-related hijinks ensue.

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