"A bit of a masterpiece... reminded me of John Le Carré in its very plausible complexity, but a lot more engaging and exciting." — Alan Moore (Watchmen, V for Vendetta, Batman: The Killing Joke) THE ORIGINAL GRAPHIC NOVEL THAT INSPIRED THE MOVIE! November 1989. MI6 spy Lorraine Broughton was sent to Berlin to investigate the death of another agent, and the disappearance of a list revealing every spy working there. She found a powder keg of mistrust, assassinations and bad defections that ended with the murder of MI6's top officer, as the Berlin Wall was torn down. Now Lorraine has returned from the Cold War's coldest city, to tell her story. And nothing is what it seems. Don't miss the thrilling sequel, The Coldest Winter, available now.

Born Joan Lucille Olander in a small South Dakota town, Mamie Van Doren rose to "Blonde Bombshell" status in Hollywood when she signed with Universal Pictures in 1953, right on the heels of Marilyn Monroe. This comprehensive biography explores Van Doren's early life and career, spanning from her start as a bit player in Howard Hughes' Jet Pilot to her significant role as the last surviving member of Hollywood's famous "Three M's": Mamie Van Doren, Marilyn Monroe, and Jayne Mansfield. A complete filmography lists Van Doren's roles in film and television. Entries include a plot synopsis, cast and crew details, and in many instances recent and contemporary reviews.

Writer ANTONY JOHNSTON and artist STEVEN PERKINS return to Cold War-era Berlin for this prequel to THE COLDEST CITY. After a string of botched assignments for MI6 in Berlin, David Perceval is being sent home. Even his final mission before leaving — the defection of a Soviet scientist — goes badly wrong, as the coldest winter for 30 years descends on Europe. With transport out of Berlin impossible, and the KGB searching everywhere for their lost scientist, Perceval must improvise a deadly game of cat and mouse through the frozen city to keep the Russians at bay, and deliver his own unique brand of revenge!

SOON TO BE A MAJOR MOTION PICTURE! November 1989. MI6 spy Lorraine Broughton was sent to Berlin to investigate the death of another agent, and the disappearance of a list revealing every spy working there. She found a powder keg of mistrust, assassinations and bad defections that ended with the murder of MI6's top officer, as the Berlin Wall was torn down. Now Lorraine has returned from the Cold War's coldest city, to tell her story. And nothing is what it seems.

This is the second volume of the widely acclaimed Art of the Cut book published in 2017. This follow-up text expands on its predecessor with wisdom from more than 360 interviews with the world’s best editors (including nearly every Oscar winner from the last 30 years). Because editing is a highly subjective art form, and one that is critical to the success of motion picture storytelling, it requires side-by-side comparisons of the many techniques and solutions used by a wide range of editors from around the world. That is why this book compares and contrasts methodologies from a wide array of diverse voices and organizes that information so that it is easily digested and understood. There is no one way to approach editorial problems, so this book allows readers to see multiple solutions from multiple editors. The interviews contained within are carefully curated into topics that are most important to film editors and those who aspire to become film editors. The questions asked, and the organization of the book, are not merely an academic or theoretical view of the art of editing but rather the practical advice and methodologies of actual working film and TV editors, bringing benefits to both students and professional readers. The book is supplemented by a collection of downloadable online exclusive chapters, which cover additional topics ranging from Choosing the Project to VFX. In addition to the supplementary chapters, access to the full-color, full-resolution images printed in the book—and other exclusive images—is included.

"My name is Zachary Nixion Johnson. I am the last private detective on Earth...not exactly one hundred percent true, but it sounds good." "The year is 2057 and, after a handful of species-altering upheavals, earth-shatteringc cataclysms, history changing extra-terrestrial contacts, and pop-culture disasters, the world is now a pretty safe place..." "But every once in a while some crazy thing happens that threatens all of society, all of humanity, or the entire space-time continuum." "And for some reason it always happens on my watch." So begins the first installment of this all-new, all-hilarious trilogy that pokes fun at the pulps, and skewers sci-fi, as a private dick of the future goes after the most dangerous prey of all...The Plutonium Blonde.

Contributions by Thomas J. Cobb, Donna A. Gessell, Helena Goscilo, Cyndy Hendershot, Christian Jimenez, David LaRocca, Lori Maguire, Tatiana Prorokova-Konrad, Ian Scott, Vesta Silva, Lucian Tion, Dan Ward, and Jon Wiebel In recent years, Hollywood cinema has forwarded a growing number of images of the Cold War and entertained a return to memories of conflicts between the USSR and the US, Russians and Americans, and communism and capitalism. Cold War II: Hollywood’s Renewed Obsession with Russia explores the reasons for this sudden reestablished interest in the Cold War. Essayists examine such films as Guy Ritchie’s The Man from U.N.C.L.E., Steven Spielberg’s Bridge of Spies, Ethan Coen and Joel Coen’s Hail, Caesar!, David Leitch’s Atomic Blonde, Guillermo del Toro’s The Shape of Water, Ryan Coogler’s Black Panther, and Francis Lawrence’s Red Sparrow, among others, as well as such television shows as Comrade Detective and The Americans. Contributors to this collection interrogate the revival of the Cold War movie genre from multiple angles and examine the issues of patriotism, national identity, otherness, gender, and corruption. They consider cinematic aesthetics and the ethics of these representations. They reveal how Cold War imagery shapes audiences’ understanding of the period in general and of the relationship between the US and Russia in particular. The authors complicate traditional definitions of the Cold War film and invite readers to discover a new phase in the Cold War movie genre: Cold War II.