Jordan

Bruna Guedes

Husain Kothari

FRNK

Uendi Prifti

Abdul Hasib

Loughlin Sullivan

Delaney Knopp

Auriel W

Blake Molmen

Dani Shahar

Luis Javier Campos nieto

You can’t stop the future. You can’t rewind the past.The only way to learn the secret . . . is to press play.Clay Jensen returns home from school to find a strange package with his name on it lying on his porch. Inside he discovers several cassette tapes recorded by Hannah Baker–his classmate and crush–who committed suicide two weeks earlier. Hannah’s voice tells him that there are thirteen reasons why she decided to end her life. Clay is one of them. If he listens, he’ll find out why. Clay spends the night crisscrossing his town with Hannah as his guide. He becomes a firsthand witness to Hannah’s pain, and as he follows Hannah’s recorded words throughout his town, what he discovers changes his life forever.

In Beatrice Prior's dystopian Chicago, society is divided into five factions, each dedicated to the cultivation of a particular virtue--Candor (the honest), Abnegation (the selfless), Dauntless (the brave), Amity (the peaceful), and Erudite (the intelligent). On an appointed day of every year, all sixteen-year-olds must select the faction to which they will devote the rest of their lives. For Beatrice, the decision is between staying with her family and being who she really is--she can't have both. So she makes a choice that surprises everyone, including herself.During the highly competitive initiation that follows, Beatrice renames herself Tris and struggles to determine who her friends really are--and where, exactly, a romance with a sometimes fascinating, sometimes infuriating boy fits into the life she's chosen. But Tris also has a secret, one she's kept hidden from everyone because she's been warned it can mean death. And as she discovers a growing conflict that threatens to unravel her seemingly perfect society, she also learns that her secret might help her save those she loves . . . or it might destroy her.

Despite the tumor-shrinking medical miracle that has bought her a few years, Hazel has never been anything but terminal, her final chapter inscribed upon diagnosis. But when a gorgeous plot twist named Augustus Waters suddenly appears at Cancer Kid Support Group, Hazel's story is about to be completely rewritten.Insightful, bold, irreverent, and raw, The Fault in Our Stars is award-winning author John Green's most ambitious and heartbreaking work yet, brilliantly exploring the funny, thrilling, and tragic business of being alive and in love.

This edition features George Orwell's best known novels – 1984 and Animal Farm – with an introduction by Christopher Hitchens. In 1984, London is a grim city where Big Brother is always watching you and the Thought Police can practically read your mind.  Winston Smith joins a secret revolutionary organization called The Brotherhood, dedicated to the destruction of the Party. Together with his beloved Julia, he hazards his life in a deadly match against the powers that be.Animal Farm is Orwell's classic satire of the Russian Revolution -- an account of the bold struggle, initiated by the animals, that transforms Mr. Jones's Manor Farm into Animal Farm--a wholly democratic society built on the credo that All Animals Are Created Equal. But are they?

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 Cover Edition ISBN: 0743273567 (ISBN13: 9780743273565)The Great Gatsby, F. Scott Fitzgerald's third book, stands as the supreme achievement of his career. This exemplary novel of the Jazz Age has been acclaimed by generations of readers. The story is of the fabulously wealthy Jay Gatsby and his new love for the beautiful Daisy Buchanan, of lavish parties on Long Island at a time when The New York Times noted "gin was the national drink and sex the national obsession," it is an exquisitely crafted tale of America in the 1920s.The Great Gatsby is one of the great classics of twentieth-century literature.(back cover)

The unforgettable novel of a childhood in a sleepy Southern town and the crisis of conscience that rocked it, To Kill A Mockingbird became both an instant bestseller and a critical success when it was first published in 1960. It went on to win the Pulitzer Prize in 1961 and was later made into an Academy Award-winning film, also a classic.Compassionate, dramatic, and deeply moving, To Kill A Mockingbird takes readers to the roots of human behavior - to innocence and experience, kindness and cruelty, love and hatred, humor and pathos. Now with over 18 million copies in print and translated into forty languages, this regional story by a young Alabama woman claims universal appeal. Harper Lee always considered her book to be a simple love story. Today it is regarded as a masterpiece of American literature.

Christopher John Francis Boone knows all the countries of the world and their capitals and every prime number up to 7,057. He relates well to animals but has no understanding of human emotions. He cannot stand to be touched. And he detests the color yellow.Although gifted with a superbly logical brain, for fifteen-year-old Christopher everyday interactions and admonishments have little meaning. He lives on patterns, rules, and a diagram kept in his pocket. Then one day, a neighbor's dog, Wellington, is killed and his carefully constructive universe is threatened. Christopher sets out to solve the murder in the style of his favourite (logical) detective, Sherlock Holmes. What follows makes for a novel that is funny, poignant and fascinating in its portrayal of a person whose curse and blessing are a mind that perceives the world entirely literally.

Chloe, a teenage wheelchair user, is home schooled by her mother, However, her mother's strange behavior doesn't go unnoticed and when Chloe pries into some private papers, she discovers a Change of Name Certificate document with her mother's name, Diane Sherman, on it. When Chloe googles "Diane Sherman," the internet suddenly disconnnects. Chloe becomes suspicious of all that her mother does, suspecting her of something sinister. She decides to go on the run in her wheelchair in a desperate attempt to get away from her.

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?

Living in denial, the depressed, pill-popping child psychologist, Anna Fox, has holed herself up in her eerily vacant, ill-lit Manhattan brownstone apartment for the past ten long months, separated from her husband and their eight-year-old daughter. While unsuccessfully grappling with agoraphobia and intense panic attacks, suddenly, the Russells move in across the street, and brimming with curiosity, Anna decides to distract attention away from her problems by peeking into the lives of the unsuspecting new tenants. Then, one night, tensions flare, a deadly kitchen knife gleams in the dim light, and before long, someone ends up dead. Has troubled Anna, indeed, witnessed a gruesome scene of blood-stained domestic violence or is her wine-addled mind playing cruel tricks on her?

Newlywed Jennifer (Brenda Song) is brutally attacked at a dark rest stop. While healing from her injuries, she can't recall anything from her past, including the ordeal. Her husband, Russell (Mike Vogel), is just thankful she's alive and eager to get her home. As he reintroduces her to their secluded mountain estate, Detective Page (Dennis Haysbert) pursues Jennifer's assailant - his own daughter went missing and was never found. The same fate now awaits Jennifer, unless someone realizes that her loving caretaker is actually her captor.

Six strangers are given mysterious black boxes with tickets to an immersive escape room for a chance to win tons of money. Being locked in several rooms with extreme conditions, they discover the secrets behind the escape room and must fight to survive and to find a way out.

In the wake of an unknown global terror, a mother must find the strength to flee with her children down a treacherous river in search of safety. Due to unseen deadly forces, the perilous journey must be made blindly. Directed by Emmy winner Susanne Bier, Bird Box is a thriller starring Academy Award winner Sandra Bullock, John Malkovich, Sarah Paulson, and Trevante Rhodes.

A psychiatrist tries to put her life back together after a violent attack by seeking to repair the life of a new patient, but he has his own terrifying history.

A mysterious place, an indescribable prison, a deep hole. An unknown number of levels. Two inmates living on each level. A descending platform containing food for all of them. An inhuman fight for survival, but also an opportunity for solidarity.

2019 film directed by Galder Gaztelu-Urrutia

A gripping story of a family in search of help for their son, Dalton, who fell into a coma after a mysterious incident in the attic. Little do they know that there is much more to this endless sleep than meets the eye as they explore the paranormal, and rediscover the past; the key to getting their son back once and for all.

A deaf and mute writer who retreated into the woods to live a solitary life must fight for her life in silence when a masked killer appears at her window.

Lindsay Lohan stars as Cady Heron, a 16 year old homeschooled girl who not only makes the mistake of falling for Aaron Samuels (Jonathan Bennett), the ex-boyfriend of queenbee Regina George (Rachel McAdams), but also unintentionally joins The Plastics, led by Regina herself. Join Cady as she learns that high school life can and will be really tough.

Nerdy, reserved bookworm Needy Lesnicki, and arrogant, conceited cheerleader Jennifer Check are best friends, though they share little in common. They share even less in common when Jennifer mysteriously gains an appetite for human blood after a disastrous fire at a local bar. As Needy's male classmates are steadily killed in gruesome attacks, the young girl must uncover the truth behind her friend's transformation and find a way to stop the bloodthirsty rampage before it reaches her own boyfriend Chip.

Adam and Barbara are a normal couple...who happen to be dead. They have given their precious time to decorate their house and make it their own, but unfortunately a family is moving in, and not quietly. Adam and Barbara try to scare them out, but end up becoming the main attraction to the money making family. They call upon Beetlejuice to help, but Beetlejuice has more in mind than just helping.

Two Women are chased through a shopping mall by a stalker named Arthur.

Nick Eliot, a 28-year-old newspaper reporter, moves into the guest house of the Forresters. Everything goes fine until he meets 14-year-old Adrienne, the Forresters' only child. When she develops a crush and is rebuffed, she retaliates with vengeance.

Sara Goldfarb (Ellen Burstyn) is a retired widow, living in a small apartment. She spends most of her time watching TV, especially a particular self-help show. She has delusions of rising above her current dull existence by being a guest on that show. Her son, Harry (Jared Leto) is a junkie but along with his friend Tyrone (Marlon Wayans) has visions of making it big by becoming a drug dealer. Harry's girlfriend Marion (Jennifer Connelly) could be fashion designer or artist but is swept along in Harry's drug-centric world. Meanwhile Sara has developed an addiction of her own. She desperately wants to lose weight and so goes on a crash course involving popping pills, pills which turn out to be very addictive and harmful to her mental state.

Christine "Lady Bird" McPherson (Saoirse Ronan) is a high school senior from the "wrong side of the tracks". She longs for adventure, sophistication, and opportunity, but finds none of that in her Sacramento Catholic high school. This movie follows the title character's senior year in high school, including her first romance, her participation in the school play, and most importantly, her applying for college.

From the proverbial wrong side of the tracks in Portland, Oregon, former competitive figure skater

A suburban teenager comes of age under the destructive guidance of his best friend, an aimless college dropout.

When her mentally ill mother passes away, Annie (Toni Collette), her husband (Gabriel Byrne), son (Alex Wolff), and daughter (Milly Shapiro) all mourn her loss. The family turn to different means to handle their grief, including Annie and her daughter both flirting with the supernatural. They each begin to have disturbing, otherworldly experiences linked to the sinister secrets and emotional trauma that have been passed through the generations of their family.

From Shondaland and Creator Chris Van Dusen, the first season of Bridgerton follows Daphne Bridgerton (Pheobe Dynevor), the eldest daughter of the powerful Bridgerton family as she makes her debut onto Regency London's competitive marriage market. Hoping to follow in her parent's footsteps and find a match sparked by true love, Daphne's prospects initially seem to be unrivaled. But as her older brother (Jonathan Bailey) begins to rule out her potential suitors, the high society scandal sheet written by the mysterious Lady Whistledown (Julie Andrews) casts aspersions on Daphne. Enter the highly desirable and rebellious Duke of Hastings (Regé-Jean Page), committed bachelor and the catch of the season for the debutantes' mamas. Despite proclaiming that they want nothing the other has to offer, their attraction is undeniable and sparks fly as they find themselves engaged in an increasing battle of wits while navigating society's expectations for their future.

A figure skating Olympic hopeful's struggle to balance love, family and fragile mental health as her dream of winning takes a dizzying hold.

2020 American drama web television series

After the Baudelaire parents die in a terrible fire, the Baudelaire orphans search for their families secrets and get them and their fortune away from the terrible grasp of the sinister Count Olaf as he moves with them between different guardians in disguise.

American black comedy-drama television series from Netflix

After their father is murdered under mysterious circumstances, the three Locke siblings and their mother move into their ancestral home, Keyhouse, which they discover is full of magical keys that may be connected to their father's death. As the Locke children explore the different keys and their unique powers, a mysterious demon awakens - and will stop at nothing to steal them. From Carlton Cuse and Meredith Averill, Locke and Key is a coming-of-age mystery about love, loss, and the unshakable bonds that define family.

2020 American supernatural horror drama television series

Reimagines the origin and adventures of Sabrina: the Teenage Witch as a dark coming-of-age story that traffics in horror, the occult and, of course, witchcraft. Tonally in the vein of Rosemary's Baby and The Exorcist, this adaptation finds Sabrina Spellman wrestling to reconcile her dual nature - half-witch, half-mortal - while standing against the evil forces that threaten her, her family and the daylight world humans inhabit.

Portland detective, Nick Burkhardt, has seen some gruesome crime scenes, but nothing prepares him for the strange visions he begins seeing: seemingly regular people momentarily transforming into hideous monsters. A visit from his only living relative reveals the truth. Nick has inherited the ability to see supernatural creatures, and as a "Grimm," he is tasked with keeping the balance between mankind and the mythological. A reformed "Big Bad Wolf" becomes his greatest (and also reluctant) ally and confidant. It's not long before his work as a policeman leads Nick to the criminals he once thought were only found in fairy tales.

American police procedural fantasy television series

A teenager is charged with lying about having been raped, but two detectives follow the path to the truth.

Princess Tiabeanie, 'Bean', is about to be married to Prince Merkimer. It is an arranged marriage and Bean isn't too happy about it. She is fun loving and free spirited and marriage is the last thing she wants to preoccupy herself with. Then she meets Luci, a demon, and Elfo, an elf, and things get rather exciting, and dangerous.

satirical fantasy sitcom created by Matt Groening

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

American adult animated sitcom created by Mike Judge

Daria Morgendorffer is an intelligent, unpopular, and quite sarcastic teenager tolerating life among the idiots at Lawndale High.

An unexpected friendship forms when three teenage girls meet in Shoplifters Anonymous.

The adventures of a young orphan girl living in the late 19th century. Follow Anne as she learns to navigate her new life on Prince Edward Island, in this new take on L.M. Montgomery's classic novels.

Wallace University is rocked by a string of murders. Kappa House, the most sought-after sorority for pledges, is ruled with an iron fist (in a pink glove) by its Queen Bitch, Chanel Oberlin (Emma Roberts). But when anti-Kappa Dean Cathy Munsch (Jamie Lee Curtis) decrees that sorority pledging must be open to all students, and not just the school's silver-spooned elite, all hell is about to break loose, as a devil-clad killer begins wreaking havoc, claiming one victim, one episode at a time. Part black comedy, part slasher flick, SCREAM QUEENS is a modern take on the classic whodunit, in which every character has a motive for murder... Or could easily be the next blood-soaked casualty.

A religion-based autocracy has taken over most of the United States, renaming the country Gilead. In this country women are second-class citizens. Anyone trying to escape is punished. One such person is June, who is captured while trying to escape with her husband and child and is sentenced to be a handmaid, bearing children for childless government officials. As a handmaid, June is renamed Offred. This is her story.

A look at life for a group of high school students as they grapple with issues of drugs, sex and violence. The series focuses on the relationship between two young girls trying to find their place in the world: recovering addict Rue and new-in-town Jules.

2019 American teen drama television series

The personal exploits of a 16-year-old girl and her family and friends during the Troubles in the early 1990s.

Based on Caroline Kepnes' best-selling novel of the same name, YOU is a 21st century love story that asks, "What would you do for love?" When a brilliant bookstore manager crosses paths with an aspiring writer, his answer becomes clear: anything. Using the internet and social media as his tools to gather the most intimate of details and get close to her, a charming and awkward crush quickly becomes obsession as he quietly and strategically removes every obstacle - and person - in his way.

2018 American psychological thriller television series

On the same day in October 1989, forty-three infants are inexplicably born to random, unconnected women who showed no signs of pregnancy the day before. Seven are adopted by Sir Reginald Hargreeves, a billionaire industrialist, who creates The Umbrella Academy and prepares his "children" to save the world. But not everything went according to plan. In their teenage years, the family fractured and the team disbanded. Now almost thirty years old, the six surviving members reunite upon the news of Hargreeves' passing. Luther, Diego, Allison, Klaus, Vanya and Number Five work together to solve a mystery surrounding their father's death. But the estranged family once again begins to come apart due to their divergent personalities and abilities, not to mention the imminent threat of a global apocalypse.

A disgraced, dissatisfied civil lawyer-turned-beauty pageant coach takes on a vengeful, bullied teenager as his client and has no idea what he's about to unleash upon the world.

Based on the award-winning series of comic books by Charles Forsman, The End of the F***ing World invites viewers into the dark and confusing lives of teen outsiders James and Alyssa as they embark on a road trip to find Alyssa's father, who left home when she was a child.

2017 British comedy-drama television series

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Jawaher Alo

Alice, an unpretentious and individual 19-year-old, is betrothed to a dunce of an English nobleman. At her engagement party, she escapes the crowd to consider whether to go through with the marriage and falls down a hole in the garden after spotting an unusual rabbit. Arriving in a strange and surreal place called "Underland," she finds herself in a world that resembles the nightmares she had as a child, filled with talking animals, villainous queens and knights, and frumious bandersnatches. Alice realizes that she is there for a reason--to conquer the horrific Jabberwocky and restore the rightful queen to her throne.

When Coraline moves to an old house, she feels bored and neglected by her parents. She finds a hidden door with a bricked up passage. During the night, she crosses the passage and finds a parallel world where everybody has buttons instead of eyes, with caring parents and all her dreams coming true. When the Other Mother invites Coraline to stay in her world forever, the girl refuses and finds that the alternate reality where she is trapped is only a trick to lure her.

A poetic guitarist Eric Draven is brought back to life by a crow a year after he and his fiancée are murdered. The crow guides him through the land of the living, and leads him to his killers: knife thrower Tin-tin, drugetic Funboy, car buff T-Bird, and the unsophisticated Skank. One by one, Eric gives these thugs a taste of their own medicine. However their leader Top-Dollar, a world-class crime lord who will dispatch his enemies with a Japanese sword and joke about it later, will soon learn the legend of the crow and the secret to the vigilante's invincibility.

John Constantine is approached by Det. Angela Dodson who needs his help to prove that her twin sister Isabel's death was not a suicide. The dead woman was a devout Catholic and Angela refuses to accept she would have taken her own life. She's asked Constantine for help because he has a reputation for dealing with the mystical. In fact, he is a demon hunter whose sole purpose on Earth is to send demons back to the nether regions. John himself has been to Hell and knows that he is destined to return there on his death - but hopes his good deeds may find him a place in Heaven. As he looks into Isabel's death, he realizes demons are trying to break through to the human world, and his battles lead him into a direct conflict with Satan.

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It's the late 1980s. Twenty-seven year old Wall Streeter Patrick Bateman travels among a closed network of the proverbial beautiful people, that closed network in only they able to allow others like themselves in in a feeling of superiority. Patrick has a routinized morning regimen to maintain his appearance of attractiveness and fitness. He, like those in his network, are vain, narcissistic, egomaniacal and competitive, always having to one up everyone else in that presentation of oneself, but he, unlike the others, realizes that, for himself, all of these are masks to hide what is truly underneath, someone/something inhuman in nature. In other words, he is comprised of a shell resembling a human that contains only greed and disgust, greed in wanting what others may have, and disgust for those who do not meet his expectations and for himself in not being the first or the best. That disgust ends up manifesting itself in wanting to rid the world of those people, he not seeing them as people but only of those characteristics he wants to rid.

In a castle high on top of a hill lives an inventor's greatest creation - Edward, a near-complete person. The creator died before he could finish Edward's hands; instead, he is left with metal scissors for hands. Since then, he has lived alone, until a kind lady called Peg discovers him and welcomes him into her home. At first, everyone welcomes him into the community, but soon things begin to take a change for the worse.

Begins when an opera ghost terrorizes the cast and crew of the French Opera House while tutoring a chorus girl. He finally drives the lead soprano crazy so she and her friend leave. The girl is able to sing lead one night but the soprano doesn't want her show stolen so she comes back. The ghost demands they keep giving his protégé lead roles. Meanwhile, His pupil falls in love with the Vicomte de Chagny, but the Phantom is in love with Christine, his student. The Phantom is outraged by their love and kidnaps Christine to be his eternal bride. Will Raoul, the Vicomte, be able to stop this dastardly plan?

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