Edgar Colt

Vitor Miguel

Prisma Soulstorm

Serena

Jordan

Bruna Guedes

Husain Kothari

FRNK

Uendi Prifti

Abdul Hasib

Loughlin Sullivan

Delaney Knopp

A Spellbinding Thriller about a Science History Professor on the Run for his Life and an Unpublished Einstein Theory that Could Change the World Debut novelist Mark Alpert brings one of the most explosive books of 2008, seamlessly weaving current issues of science, history, and politics with white-knuckle chases. David Swift, a professor at Columbia University, is called to the hospital to comfort his mentor, a physicist who's been brutally tortured. Before dying, the old man wheezes "Einheitliche Feldtheorie." The Theory of Everything. The Destroyer of Worlds. Could this be Einstein's proposed Unified Theory--a set of equations that combines the physics of galaxies with the laws of atoms? Einstein never succeeded in discovering it. Or did he? Within hours of hearing his mentor's last words, David is running for his life. The FBI and a ruthless mercenary are vying to get their hands on the long-hidden theory. Teaming up with his old girlfriend, a brilliant Princeton scientist, David frantically works out Einstein's final theory to reveal the staggering scope of its consequences. With publishers around the world snapping up rights in twenty-two countries, the book has already become a global phenomenon, and the dynamic characters and gripping plot will keep readers compulsively turning the pages until the very end.

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.

My name is Katniss Everdeen.Why am I not dead?I should be dead.Katniss Everdeen, girl on fire, has survived, even though her home has been destroyed. Gale has escaped. Katniss's family is safe. Peeta has been captured by the Capitol. District 13 really does exist. There are rebels. There are new leaders. A revolution is unfolding.It is by design that Katniss was rescued from the arena in the cruel and haunting Quarter Quell, and it is by design that she has long been part of the revolution without knowing it. District 13 has come out of the shadows and is plotting to overthrow the Capitol. Everyone, it seems, has had a hand in the carefully laid plans - except Katniss.The success of the rebellion hinges on Katniss's willingness to be a pawn, to accept responsibility for countless lives, and to change the course of the future of Panem. To do this, she must put aside her feelings of anger and distrust. She must become the rebels' Mockingjay - no matter what the personal cost.

SPARKS ARE IGNITING.FLAMES ARE SPREADING.AND THE CAPITAL WANTS REVENGE.Against all odds, Katniss Everdeen has survived the Hunger Games. She and fellow District 12 tribute Peeta Mellark are miraculously still alive. Katniss should be relieved, happy even. Yet nothing is the way Katniss wishes it to be. Gale holds her at an icy distance. Peeta has turned his back on her completely. And there are whispers of a rebellion against the Capitol - a rebellion that Katniss and Peeta may have helped create.Much to her shock, Katniss has fueled an unrest that she's afraid she cannot stop. And what scares her even more is that she's not entirely convinced she should try. As time draws near for Katniss and Peeta to visit the districts on the Capitol's cruel Victory Tour, the stakes are higher than ever. If they can't prove, without a shadow of a doubt, that they are lost in their love for each other, the consequences will be horrifying. Katniss is about to be tested as never before.

WINNING MEANS FAME AND FORTUNE.LOSING MEANS CERTAIN DEATH.THE HUNGER GAMES HAVE BEGUN. . . .In the ruins of a place once known as North America lies the nation of Panem, a shining Capitol surrounded by twelve outlying districts. The Capitol is harsh and cruel and keeps the districts in line by forcing them all to send one boy and once girl between the ages of twelve and eighteen to participate in the annual Hunger Games, a fight to the death on live TV.Sixteen-year-old Katniss Everdeen regards it as a death sentence when she steps forward to take her sister's place in the Games. But Katniss has been close to dead before—and survival, for her, is second nature. Without really meaning to, she becomes a contender. But if she is to win, she will have to start making choices that weight survival against humanity and life against love.

When her father falls into a coma, Indian American photographer Sonya reluctantly returns to the family she’d fled years before. Since she left home, Sonya has lived on the run, free of any ties, while her soft-spoken sister, Trisha, has created a perfect suburban life, and her ambitious sister, Marin, has built her own successful career. But as these women come together, their various methods of coping with a terrifying history can no longer hold their memories at bay.Buried secrets rise to the surface as their father—the victim of humiliating racism and perpetrator of horrible violence—remains unconscious. As his condition worsens, the daughters and their mother wrestle with private hopes for his survival or death, as well as their own demons and buried secrets.Told with forceful honesty, Trail of Broken Wings reveals the burden of shame and secrets, the toxicity of cruelty and aggression, and the exquisite, liberating power of speaking and owning truth.

In reality, Hiro Protagonist delivers pizza for Uncle Enzo's CosoNostra Pizza Inc., but in the Metaverse he's a warrior prince. Plunging headlong into the enigma of a new computer virus that's striking down hackers everywhere, he races along the neon-lit streets on a search-and-destroy mission for the shadowy virtual villain threatening to bring about infocalypse. Snow Crash is a mind-altering romp through a future America so bizarre, so outrageous… you'll recognize it immediately.

In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.Written for J.R.R. Tolkien’s own children, The Hobbit met with instant critical acclaim when it was first published in 1937. Now recognized as a timeless classic, this introduction to the hobbit Bilbo Baggins, the wizard Gandalf, Gollum, and the spectacular world of Middle-earth recounts of the adventures of a reluctant hero, a powerful and dangerous ring, and the cruel dragon Smaug the Magnificent. The text in this 372-page paperback edition is based on that first published in Great Britain by Collins Modern Classics (1998), and includes a note on the text by Douglas A. Anderson (2001). Unforgettable!

One Ring to rule them all, One Ring to find them, One Ring to bring them all and in the darkness bind themIn ancient times the Rings of Power were crafted by the Elven-smiths, and Sauron, the Dark Lord, forged the One Ring, filling it with his own power so that he could rule all others. But the One Ring was taken from him, and though he sought it throughout Middle-earth, it remained lost to him. After many ages it fell by chance into the hands of the hobbit Bilbo Baggins.From Sauron's fastness in the Dark Tower of Mordor, his power spread far and wide. Sauron gathered all the Great Rings to him, but always he searched for the One Ring that would complete his dominion.When Bilbo reached his eleventy-first birthday he disappeared, bequeathing to his young cousin Frodo the Ruling Ring and a perilous quest: to journey across Middle-earth, deep into the shadow of the Dark Lord, and destroy the Ring by casting it into the Cracks of Doom.The Lord of the Rings tells of the great quest undertaken by Frodo and the Fellowship of the Ring: Gandalf the Wizard; the hobbits Merry, Pippin, and Sam; Gimli the Dwarf; Legolas the Elf; Boromir of Gondor; and a tall, mysterious stranger called Strider.

Who Moved My Cheese? is a simple parable that reveals profound truths. It is an amusing and enlightening story of four characters who live in a "Maze" and look for "Cheese" to nourish them and make them happy.Two are mice named Sniff and Scurry. And two are "Littlepeople"—beings the size of mice who look and act a lot like people. Their names are Hem and Haw."Cheese" is a metaphor for what you want to have in life—whether it is a good job, a loving relationship, money, a possession, health, or spiritual peace of mind.And the "Maze" is where you look for what you want—the organization you work in, or the family or community you live in.In the story, the characters are faced with unexpected change. Eventually, one of them deals with it successfully, and writes what he has learned from his experience on the Maze walls.When you come to see "The Handwriting on the Wall," you can discover for yourself how to deal with change, so that you can enjoy less stress and more success (however you define it) in your work and in your life. Written for all ages, the story takes less than an hour to read, but its unique insights can last a lifetime.

motivational business fable written by Spencer Johnson

Portia Kane is having a meltdown. After escaping her ritzy Florida life and her cheating pornographer husband, she finds herself back in South Jersey, a place that remains largely unchanged from the years of her unhappy youth. Lost and alone, looking for the goodness she believes still exists in the world, Portia sets off on a quest to save the one man who always believed in her—and in all of his students: her beloved high school English teacher, Mr. Vernon, who has retired broken and alone after a traumatic classroom incident.Will a sassy nun, an ex-heroin addict, a metal-head little boy, and her hoarder mother help or hurt Portia's chances on this quest to resurrect a good man and find renewed hope in the human race? Love May Fail is a story of the great highs and lows of existence: the heartache and daring choices it takes to become the person you know (deep down) you are meant to be.

Call it fate. Call it synchronicity. Call it an act of God. Call it . . . The Good Luck of Right Now. From The New York Times bestselling author of The Silver Linings Playbook comes an entertaining and inspiring tale that will leave you pondering the rhythms of the universe and marveling at the power of kindness and love.For thirty-eight years, Bartholomew Neil has lived with his mother. When she gets sick and dies, he has no idea how to be on his own. His redheaded grief counselor, Wendy, says he needs to find his flock and leave the nest. But how does a man whose whole life has been grounded in his mom, Saturday mass, and the library learn how to fly?Bartholomew thinks he’s found a clue when he discovers a “Free Tibet” letter from Richard Gere hidden in his mother’s underwear drawer. In her final days, mom called him Richard—there must be a cosmic connection. Believing that the actor is meant to help him, Bartholomew awkwardly starts his new life, writing Richard Gere a series of highly intimate letters. Jung and the Dalai Lama, philosophy and faith, alien abduction and cat telepathy, the Catholic Church and the mystery of women are all explored in his soul-baring epistles. But mostly the letters reveal one man’s heartbreakingly earnest attempt to assemble a family of his own.A struggling priest, a “Girlbrarian,” her feline-loving, foul-mouthed brother, and the spirit of Richard Gere join the quest to help Bartholomew. In a rented Ford Focus, they travel to Canada to see the cat Parliament and find his biological father . . . and discover so much more.

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.

A number-one New York Times bestseller when it was originally published, THE SILMARILLION is the core of J.R.R. Tolkien's imaginative writing, a work whose origins stretch back to a time long before THE HOBBIT.Tolkien considered THE SILMARILLION his most important work, and, though it was published last and posthumously, this great collection of tales and legends clearly sets the stage for all his other writing. The story of the creation of the world and of the the First Age, this is the ancient drama to which the characters in THE LORD OF THE RINGS look back and in whose events some of them, such as Elrond and Galadriel, took part. The three Silmarils were jewels created by Feanor, most gifted of the Elves. Within them was imprisoned the Light of the Two Trees of Valinor before the Trees themselves were destroyed by Morgoth, the first Dark Lord. Thereafter, the unsullied Light of Valinor lived on only in the Silmarils, but they were seized by Morgoth and set in his crown, which was guarded in the impenetrable fortress of Angband in the north of Middle-earth. THE SILMARILLION is the history of the rebellion of Feanor and his kindred against the gods, their exile from Valinor and return to Middle-earth, and their war, hopeless despite all their heroism, against the great Enemy.This second edition features a letter written by J.R.R. Tolkien describing his intentions for the book, which serves as a brilliant exposition of his conception of the earlier Ages of Middle-earth.

American singer, songwriter, pianist, and actress

Scottish DJ, singer, songwriter, and record producer

Steven Wilde always had everything he wanted, due to his improbably rich father. Except the girl, Emmy Kadubic, who is an environmentalist. Emmy and her daughter, Puddle come to live with him.

After being rescued from an underground bunker in which she lived the past fifteen years, Kimmy Schmidt decides to move to New York City to have a normal life. She makes friends with her new roommate Titus, and works as a babysitter for Jacqueline Voorhees, the wife of a billionaire with many issues. Even though many obstacles are thrown her way, Kimmy makes the best of her new life while having to adapt to the new world around her.

The gang, 5 raging alcoholic, narcissists run a failing dive bar in south philly. The gang make up some scheme for sex, money, fame or for any other terrible reason you could think of. It always goes south however, as the gang (sometimes literally) have their plans blow up in their face.

Meet the wildly dysfunctional Bluth family. This family was once at the height of real estate development in Orange County, California. But when the family business - the Bluth Company - goes bust, they're suddenly found penniless with their assets frozen. They move into their last remaining asset - the model home left over from their latest housing tract. Their luxury vehicles are replaced with a reminder of the family's former wealth: 'the stair car that accompanied their private jet'. The patriarch of the family is George Bluth - he's now in prison, and loving every minute of it. His wife Lucille and daughter Lindsay are spoiled socialites who can't handle getting kicked out of family restaurants. His son Buster is in his mid 30's and lives at home. His son George Oscar Bluth is a magician who started a group to get magicians to be taken seriously, and gets kicked out when his own tricks are revealed. Lindsay is married to a man named Tobias Funke, once a psychiatrist, who decides to become an actor. The only sane member of the family: Michael Bluth, along with his son George Michael, want nothing to do with the family business. But one bizarre circumstance after another keeps Michael and George Michael from leaving their eccentric family.

A mediocre paper company in the hands of Scranton, PA branch manager Michael Scott. This mockumentary follows the everyday lives of the manager and the employees he "manages." The crew follows the employees around 24/7 and captures their quite humorous and bizarre encounters as they will do what it takes to keep the company thriving.

Set in the fictional Sacred Heart hospital in California, John "J.D" Dorian makes his way through the overwhelming world of medicine, with the help of his best friend, his fellow rookie doctors, and the arrogant, but brilliant attending physician he views as his mentor.

American medical comedy-drama television series

Dr. Frasier Crane, a successful Boston therapist, moves to Seattle to get a new start on life. He has a radio talk show, which he uses to relay his wit and wisdom to others, but at times he struggles with his own problems with his salt-of-the-earth father, his pretentious brother, and his friends and co-workers.

In this sitcom, the suddenly risen film star Vince Chase, a 'jeune premiere' of humble origins, learns the ropes of the business and the high-profile world of the wealthy happy few in and around Hollywood, but not alone: he brings from his native New York his atypical 'entourage (hence the title), not glitterati or professionals but a close circle of friends since childhood, and his professional agent finds they often make his job harder as the Queens boys not only sponge on the star but also have his ear, so Vince is much harder to counsel. Vince chooses his friend from home Eric as his manager, and LA professional Ari Gold as his agent. Over the course of the Series, they progress from kids from Queens, to actors, to producers and chase the funding and support to try to make the perfect movie for Vincent.

Jerry Seinfeld stars in this television comedy series as himself, a comedian. The premise of this sitcom is Jerry and his friends going through everyday life, discussing various quirky situations, to which we can all relate (especially if we live in New York City). The eccentric personalities of the offbeat characters who make up Jerry's social circle contribute to the fun.

Captain Ray Holt takes over Brooklyn's 99th precinct, which includes Detective Jake Peralta, a talented but carefree detective who's used to doing whatever he wants. The other employees of the 99th precinct include Detective Amy Santiago, Jake's over achieving and competitive partner; Detective Rosa Diaz, a tough and kept to herself coworker; Detective Charles Boyle, Jake's best friend who also has crush on Rosa; Detective Sergeant Terry Jeffords, who was recently taken off the field after the birth of his twin girls; and Gina Linetti, the precinct's sarcastic administrator.

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