Wildflower is a portrait of Drew Barrymore's life in stories as she looks back on the adventures, challenges, and incredible experiences of her earlier years....

A wryly funny and surprisingly moving account of an extraordinary life lived almost entirely in the public eye....

In this book, Richard Ayoade - actor, writer, director, and amateur dentist - reflects on his cinematic legacy as only he can: in conversation with himself....

Four-time Emmy winner Mike Reiss - who has worked on The Simpsons continuously since episode one in 1989 - shares stories, scandals, and gossip about working with America’s most iconic cartoon family ever....

For more than three decades, director Ken Kwapis has charted a career full of exceptional movies and television. Using his background and inside knowledge, But What I Really Want to Do Is Direct tackles Hollywood myths through Ken’s highly entertaining experiences....

Nothing "goes viral". If you think a popular movie, song, or app came out of nowhere to become a word-of-mouth success in today's media environment, you're missing the real story....

From his early days videotaping skateboard stunts to starring in the blockbuster Jackass franchise, there was little that Stephen “Steve-O” Glover wouldn’t do for attention....

Finish The Script! is a screenwriting audiobook for anyone who wants to be a writer....

In Dialogue, Robert McKee offers in-depth analysis for how characters speak on the screen, on the stage, and on the page in believable and engaging ways....

From a veteran culture writer and modern movie expert, a celebration and analysis of the movies of 1999 - arguably the most groundbreaking year in American cinematic history....

They are the two titans of the comic book industry - the Coke and Pepsi of superheroes - and for more than 50 years, Marvel and DC have been locked in an epic battle....

The world of TV hosting has drastically changed over the past decade. Thanks to the proliferation of reality TV, there are more genres of shows to host than ever before....

Billy Wilder’s Sunset Boulevard, a classic film noir and also a damning dissection of the Hollywood dream factory, evokes the glamour and ruin of the stars who subsist on that dream. It’s also one long in-joke about the movie industry and those who made it great - and who were, in turn, destroyed by it. One of the most critically admired films of the 20th century, Sunset Boulevard is also famous as silent-star Gloria Swanson’s comeback picture. 

It was the Golden Age of Radio and powerful men were making millions in advertising dollars reaching thousands of listeners every day. When television arrived, few radio moguls were interested in the upstart industry and its tiny production budgets, and expensive television sets were out of reach for most families. But four women - each an independent visionary - saw an opportunity and carved their own paths, and in so doing invented the way we watch TV today.

Before the international success of Platoon in 1986, Oliver Stone had been wounded as an infantryman in Vietnam, and spent years writing unproduced scripts while driving taxis in New York, finally venturing westward to Los Angeles and a new life. Stone, now 73, recounts those formative years with in-the-moment details of the high and low moments.

Leah was first thrust under the reality television microscope when her teen pregnancy was documented on MTV's groundbreaking series 16 and Pregnant. Since then, fans of Teen Mom 2 have watched her life play out on the small screen. She has learned to live under the harsh glare of media scrutiny, yet there is a truth behind the reality that the cameras have never revealed. 

Michael B. Druxman’s one-person play, Ronald Reagan: Movie Star, joins the actor in 1949, when he has just lost a major film role to Errol Flynn. Indeed, not much in his life seems to be going well at this time. Divorced from actress Jane Wyman, his recent romance with Patricia Neal has also taken a wrong turn after she discovered Gary Cooper. 

Robert Altman and the Elaboration of Hollywood Storytelling reveals an Altman barely glimpsed in previous critical accounts of the filmmaker. This re-examination of his seminal work during the "Hollywood Renaissance" or "New Hollywood" period of the early 1970s (including M*A*S*H and Nashville) sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rather than someone who rejected those norms in favor of modernist art cinema.