Emo Nemo

Mily

Sarah

Shaidrian Rios

Jimmy Beans

miCCwatreSSop

Julie Wynne - videos

Kapuster

Nicky Tallon

Harini Sen

Vastralaya

Evan Shively (Perseus271)

A Charm of Magpies Christmas coda. Stephen and Crane have finally got away on their long-awaited Christmas break, along with Crane’s henchman Merrick and Jenny Saint. A promised gift is made, and a request unexpectedly and magically fulfilled…This story comes after \
  Flight of Magpies\
 and is not a standalone read. Download now in any format from Smashwords.__________Word count: 6,280

Horse shifter Nick has one rule: never trust a witch.Nick has devoted his life to making his saloon a safe haven for the feral familiars of New York. So when a brutal killer slaughters a feral under his protection, Nick has no choice but to try and catch the murderer. Even if that means bonding with a handsome Irish witch.Officer Jamie MacDougal came back from the war in Cuba missing part of a leg and most of his heart. After his former lover becomes one of the killer’s victims, Jamie will do anything to solve the case.Nick comes to Jamie with a proposal: after making a temporary bond, they will work together to stop the murders. Once the killer is caught, they walk away and never see one another again.It sounds simple enough. But the passion that flares between the two men won’t be so easily extinguished. And if Nick can’t learn to trust his witch, he stands to lose everything—including his life.

None so blind…As torrential rains wash away the stench of a London heat wave, another kind of wave is sweeping through the city streets. A rash of ghost sightings, followed quickly by madness—and horrifying, eye-melting blindness.The outbreak hits close to home when Lord Crane’s manservant, Merrick, becomes the newest victim. Desperate to find the cause of the malady, Crane and his magician lover, Stephen Day, are in a race against time—to put an end to the magical assault and put to rest the painful memories resurrected by ghosts of the past. Warning: Magical horror, strong language, and strange brews disguised as strong drink.

Someone is killing members of the old families…and the evidence points to Whyborne.Widdershins has been unusually quiet for months. But now a mysterious creature from the Outside is on the loose, assassinating members of the town’s old families by draining their blood. Whyborne and Griffin set out to solve the mystery—but as the evidence piles up, the police begin to suspect Whyborne himself is the murderer.Now Whyborne must both clear his name and stop the horrors the monster threatens to unleash. His only hope: an alliance with his old enemies the Endicotts.Because something terrible lurks in the Draakenwood, and it will stop at nothing to seize control of the maelstrom itself.Draakenwood is the ninth book in the Whyborne &amp; Griffin series, where magic, mystery, and m/m romance collide with Victorian era America.

Monsters. Murder. Librarians.Librarian Sebastian Rath is the only one who believes his friend Kelly O’Neil disappeared due to foul play. But without any clues or outside assistance, there’s nothing he can do to prove it.When bookbinder Vesper Rune is hired to fill the vacancy left by O’Neil, he receives an ominous letter warning him to leave. After he saves Sebastian from a pair of threatening men, the two decide to join forces and get to the truth about what happened to O’Neil.But Vesper is hiding secrets of his own, ones he doesn’t dare let anyone learn. Secrets that grow ever more dangerous as his desire for Sebastian deepens.Because Kelly O’Neil was murdered. And if Sebastian and Ves don’t act quickly enough, they’ll be the next to die.

Detective Bill Quigley fell in love with the familiar Isaac the night they met. But after more than two years, it’s time to admit to himself that Isaac doesn’t return his feelings. Isaac knows he’s too broken by his experiences for anyone to fall in love with. Especially someone like Bill, who deserves a partner unplagued by Isaac’s nightmares and doubts. When children go missing from an orphanage, Bill and Isaac must work together to find them. And as years of yearning threaten to ignite into passion, they must decide once and for all whether to take a chance on love.

Whyborne, Griffin, and their friends have faced down cultists, monsters, and sorcerers. But their greatest challenge is now upon them.On the return voyage from Balefire Manor, Whyborne receives the worst news possible: Widdershins has fallen before the onslaught of the Fideles and their servants. There's still time to stop the return of the Masters, but that window grows shorter by the hour.Together with Christine and Iskander, Whyborne and Griffin must reach Widdershins to face the ultimate test--and decide the fate of the world, once and for all.

Apprentice magician Crispin Tredarloe returns to London to find his master dead, and his papers sold. Papers with secrets that could spell death. Crispin needs to get them back before anyone finds out what he's been doing, or what his magic can do.Crispin tracks his quarry down to waste paper dealer Ned Hall. He needs help, and Ned can’t resist Crispin’s pleading—and appealing—looks. But can the waste-man and the magician prevent a disaster and save Crispin’s skin?A 16,000 word story set in the Charm of Magpies world, and a prequel to the novel Rag and Bone (March 2016). This story was first published as part of the Charmed &amp; Dangerous anthology.Cover design by Catherine Dair.

Once beloved by London's fashionable elite, Hartley Sedgwick has become a recluse after a spate of salacious gossip exposed his most-private secrets. Rarely venturing from the house whose inheritance is a daily reminder of his downfall, he’s captivated by the exceedingly handsome man who seeks to rob him.Since retiring from the boxing ring, Sam Fox has made his pub, The Bell, into a haven for those in his Free Black community. But when his best friend Kate implores him to find and destroy a scandalously revealing painting of her, he agrees. Sam would do anything to protect those he loves, even if it means stealing from a wealthy gentleman. But when he encounters Hartley, he soon finds himself wanting to steal more than just a painting from the lovely, lonely man—he wants to steal his heart.Content Warning from Author: This book includes a main character who was sexually abused in the past; abuse happens off page but is alluded to.

Robin Loxleigh and his sister Marianne are the hit of the Season, so attractive and delightful that nobody looks behind their pretty faces. Until Robin sets his sights on Sir John Hartlebury’s heiress niece. The notoriously graceless baronet isn’t impressed by good looks, or fooled by false charm. He’s sure Robin is a liar—a fortune hunter, a card sharp, and a heartless, greedy fraud—and he’ll protect his niece, whatever it takes.Then, just when Hart thinks he has Robin at his mercy, things take a sharp left turn. And as the grumpy baronet and the glib fortune hunter start to understand each other, they also find themselves starting to care—more than either of them thought possible. But Robin's cheated and lied and let people down for money. Can a professional rogue earn an honest happy ever after?

Some of Ben Sedgwick's favorite things: Helping his poor parishionersBaby animalsShamelessly flirting with the handsome Captain Phillip DacreAfter an unconventional upbringing, Ben is perfectly content with the quiet, predictable life of a country vicar, free of strife or turmoil. When he's asked to look after an absent naval captain's three wild children, he reluctantly agrees, but instantly falls for the hellions. And when their stern but gloriously handsome father arrives, Ben is tempted in ways that make him doubt everything.Some of Phillip Dacre's favorite things: His shipPeople doing precisely as they're toldTouching the irresistible vicar at every opportunityPhillip can't wait to leave England's shores and be back on his ship, away from the grief that haunts him. But his children have driven off a succession of governesses and tutors and he must set things right. The unexpected presence of the cheerful, adorable vicar sets his world on its head and now he can't seem to live without Ben's winning smiles or devastating kisses.In the midst of runaway children, a plot to blackmail Ben's family, and torturous nights of pleasure, Ben and Phillip must decide if a safe life is worth losing the one thing that makes them come alive.

Will Darling came back from the Great War with a few scars, a lot of medals, and no idea what to do next. Inheriting his uncle’s chaotic second-hand bookshop is a blessing...until strange visitors start making threats. First a criminal gang, then the War Office, both telling Will to give them the information they want, or else. Will has no idea what that information is, and nobody to turn to, until Kim Secretan—charming, cultured, oddly attractive—steps in to offer help. As Kim and Will try to find answers and outrun trouble, mutual desire grows along with the danger. And then Will discovers the truth about Kim. His identity, his past, his real intentions. Enraged and betrayed, Will never wants to see him again. But Will possesses knowledge that could cost thousands of lives. Enemies are closing in on him from all sides—and Kim is the only man who can help.A 1920s m/m romance trilogy in the spirit of Golden Age pulp fiction.

A story too secret, too terrifying—and too shockingly intimate—for Victorian eyes.A note to the EditorDear Henry,I have been Simon Feximal’s companion, assistant and chronicler for twenty years now, and during that time my Casebooks of Feximal the Ghost-Hunter have spread the reputation of this most accomplished of ghost-hunters far and wide.You have asked me often for the tale of our first meeting, and how my association with Feximal came about. I have always declined, because it is a story too private to be truthfully recounted, and a memory too precious to be falsified. But none knows better than I that stories must be told.So here is it, Henry, a full and accurate account of how I met Simon Feximal, which I shall leave with my solicitor to pass to you after my death.I dare say it may not be quite what you expect.Robert CaldwellSeptember 1914

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.

Harry Potter's life is miserable. His parents are dead and he's stuck with his heartless relatives, who force him to live in a tiny closet under the stairs. But his fortune changes when he receives a letter that tells him the truth about himself: he's a wizard. A mysterious visitor rescues him from his relatives and takes him to his new home, Hogwarts School of Witchcraft and Wizardry.After a lifetime of bottling up his magical powers, Harry finally feels like a normal kid. But even within the Wizarding community, he is special. He is the boy who lived: the only person to have ever survived a killing curse inflicted by the evil Lord Voldemort, who launched a brutal takeover of the Wizarding world, only to vanish after failing to kill Harry.Though Harry's first year at Hogwarts is the best of his life, not everything is perfect. There is a dangerous secret object hidden within the castle walls, and Harry believes it's his responsibility to prevent it from falling into evil hands. But doing so will bring him into contact with forces more terrifying than he ever could have imagined.Full of sympathetic characters, wildly imaginative situations, and countless exciting details, the first installment in the series assembles an unforgettable magical world and sets the stage for many high-stakes adventures to come.

It started when she was served a soft drink laced with LSD in a dangerous party game. Within months, she was hooked, trapped in a downward spiral that took her from her comfortable home and loving family to the mean streets of an unforgiving city. It was a journey that would rob her of her innocence, her youth -- and ultimately her life.\
  Read her diary. Enter her world. You will never forget her.\


Shevek, a brilliant physicist, decides to take action. He will seek answers, question the unquestionable, and attempt to tear down the walls of hatred that have isolated his planet of anarchists from the rest of the civilized universe. To do this dangerous task will mean giving up his family and possibly his life—Shevek must make the unprecedented journey to the utopian mother planet, Urras, to challenge the complex structures of life and living, and ignite the fires of change.

Librarian's Note: For an alternate cover edition of the same ISBN, click here.This beloved story -first published more than fifty years ago- introduces readers to Milo and his adventures in the Lands Beyond. For Milo, everything’s a bore. When a tollbooth mysteriously appears in his room, he drives through only because he’s got nothing better to do. But on the other side, things seem different. Milo visits the Island of Conclusions (you get there by jumping), learns about time from a ticking watchdog named Tock, and even embarks on a quest to rescue Rhyme and Reason! Somewhere along the way, Milo realizes something astonishing. Life is far from dull. In fact, it’s exciting beyond his wildest dreams. . . .

Apples to Apples is a party game originally published by Out of the Box Publishing Inc., and now by Mattel. Players start with a hand of seven "red apple" cards, which feature nouns. A player is selected to be the first judge, and that judge plays a "green apple" card, which features an adjective. The round is won by playing the "red apple" card that the judge determines to be the best match for the "green apple" card. The role of the judge rotates, and the number of rounds is determined by the number of players. The game is designed for four to ten players and played for 30–75 minutes.Apples to Apples was chosen by Mensa International in 1999 as a "Mensa Select" prizewinner, an award given to five games each year. It was also named "Party Game of the Year" in the December 1999 issue of Games magazine and received the National Parenting Center's seal of approval in May 1999. The popularity of the game led to an increased interest in similar card-matching/answer-judging party games. On September 8, 2007, Out of the Box Publishing sold the rights for Apples to Apples to Mattel.

Cards Against Humanity is an adult party game in which players complete fill-in-the-blank statements, using words or phrases typically deemed offensive, risqué, or politically incorrect, printed on playing cards. It has been compared to the earlier card game Apples to Apples (1999).

Scrabble is a word game in which two to four players score points by placing tiles, each bearing a single letter, onto a game board divided into a 15×15 grid of squares. The tiles must form words that, in crossword fashion, read left to right in rows or downward in columns, and be included in a standard dictionary or lexicon.The name Scrabble is a trademark of Mattel in most of the world, except in the United States and Canada, where it is a trademark of Hasbro. The game is sold in 121 countries and is available in more than 30 languages; approximately 150 million sets have been sold worldwide, and roughly one-third of American and half of British homes have a Scrabble set. There are approximately 4,000 Scrabble clubs around the world.

Thrown together by circumstance, cousins Leon and Jason are left alone to navigate the world the only way they know how. Through a series of life altering events, they are confronted with the harsh reality that comes with life beyond

After a summer spent with his his best friend Kat to escape his family, Phil goes back to school and starts to question his feelings towards Nicholas, a new classmate.

An insomniac office worker and a devil-may-care soap maker form an underground fight club that evolves into much more.

A newly-engaged couple have a breakdown in an isolated area and must seek shelter at the bizarre residence of Dr. Frank-n-Furter.

Three friends attempt to recapture their glory days by opening up a fraternity near their alma mater.

Set on the last day of camp, in the hot summer of 1981, a group of counselors try to complete their unfinished business before the day ends.

Three company workers who hate their jobs decide to rebel against their greedy boss.

1999 American comedy film written and directed by Mike Judge

The story of the original Mercury 7 astronauts and their macho, seat-of-the-pants approach to the space program.

A bitter, aging couple, with the help of alcohol, use their young houseguests to fuel anguish and emotional pain towards each other over the course of a distressing night.

In Bodeen, Texas, an indie-rock loving misfit finds a way of dealing with small-town misery after discovering a roller derby league in nearby Austin.

Covert black ops and espionage take a back seat to zany personalities and relationships between secret agents and drones.

Dead End: Paranormal Park is an animated fantasy horror comedy streaming television series created by Hamish Steele for Netflix, which is based on the graphic novels series DeadEndia by Steele and Cartoon Hangover's Too Cool! Cartoons web short Dead End. Produced by Blink Industries, the series premiered on June 16, 2022. A second season premiered on October 13, 2022.The series follows Barney and Norma, the newest employees at their local theme park, Phoenix Parks, a Dolly Parton-esque park created by the famous celebrity Pauline Phoenix. Joined by Pugsley, Barney's childhood dog, and Courtney, a thousand-year-old demon, they discover the world of the Paranormal as well as learning new things about themselves.

For employees of the Deep State, conspiracies aren't just theories they're fact. And keeping them a secret is a full-time job.

The adventures of an axe-wielding police officer dedicated to killing the various bad guys he comes across.

A handsome secret agent and his team of LGBTQ superspies embark on extraordinary adventures.

Bob Belcher runs his dream restaurant with his wife and three children as their last hope of holding the family together.

The adventures of a single dad and his weird Alaskan family.

A family of aliens move to middle America, where they debate whether life is better there or on their home planet.

Princess Tiabeanie, 'Bean', is annoyed at her imminent arranged marriage to Prince Merkimer. Then she meets Luci, a demon, and Elfo, an elf, and things get rather exciting, and dangerous.

satirical fantasy sitcom created by Matt Groening

An animated series that follows the exploits of a super scientist and his not-so-bright grandson.

A workplace comedy set in the world of the monsters from Big Mouth.

Teenage friends find their lives upended by the wonders and horrors of puberty.

A 12-year-old boy and his best friend, wise 28-year-old dog with magical powers, go on a series of surreal adventures with each other in a remote future.

Adventure Time has a sequel with new adventures around other worlds.

American animated web television limited series

Ordinary Anne Boonchuy, 13, finds a treasure chest that sends her to Amphibia, a world full of frogs, toads, and giant insects. With help from Sprig, she must adjust to life in Amphibia and discover her first true friendship in her l

Twin siblings Dipper and Mabel Pines spend the summer at their great-uncle's tourist trap in the enigmatic Gravity Falls, Oregon.

A fearless blue-haired girl named Hilda leaves the forest to go to town and find new friends, great adventures, magic and mysterious creatures who might be dangerous.

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