This book is based on the actual case of the East Area Rapist, later also known as the Original Night Stalker, a masked man who terrorized California communities for ten years; 1976 through 1986, and possibly to this day. Because I was not involved in the initial rape investigations, they are written from hundreds of reports, notes, memos, newspaper clippings, conversations and interviews with those who were involved. The crimes are factual. The crimes are real. While all characters and events have direct counterparts in the telling of the story, I have created some dialogue in the interest of readability. The cops in the initial rapes are not factual, their actions are. Their names and descriptions are completely fictitious. The names of the victims, witnesses and suspects are fictitious; the terror, the dialogue during the crimes, and the investigations are real. The cops involved in the cases after I was involved are real, their names and dialogue is factual, the investigations are real. The pain and terror may have diminished in the minds of the victims, I hope that the pain does not return. My intent is to tell the story without endangering the privacy or the dignity of the victims. They have suffered enough.

Set in the American Southwest, "desert terror" films combine elements from horror, film noir and road movies to tell stories of isolation and violence. For more than half a century, these diverse and troubling films have eluded critical classification and analysis. Highlighting pioneering filmmakers and bizarre production stories, the author traces the genre's origins and development, from cult exploitation (The Hills Have Eyes, The Hitcher) to crowd-pleasing franchises (Tremors, From Dusk Till Dawn) to quirky auteurist fare (Natural Born Killers, Lost Highway) to more recent releases (Bone Tomahawk, Nocturnal Animals). Rare stills, promotional materials and a filmography are included.

Sacred Terror examines the religious elements lurking in horror films. It answers a simple but profound question: When there are so many other scary things around, why is religion so often used to tell a scary story? In this lucid, provocative book, Douglas Cowan argues that horror films are opportune vehicles for externalizing the fears that lie inside our religious selves: of evil; of the flesh; of sacred places; of a change in the sacred order; of the supernatural gone out of control; of death, dying badly, or not remaining dead; of fanaticism; and of the power--and the powerlessness--of religion.

A New York Times Critics’ Top Book of 2021 "An impressive combination of diligence and verve, deploying Ackerman’s deep stores of knowledge as a national security journalist to full effect. The result is a narrative of the last 20 years that is upsetting, discerning and brilliantly argued." —The New York Times "One of the most illuminating books to come out of the Trump era." —New York Magazine An examination of the profound impact that the War on Terror had in pushing American politics and society in an authoritarian direction For an entire generation, at home and abroad, the United States has waged an endless conflict known as the War on Terror. In addition to multiple ground wars, the era pioneered drone strikes and industrial-scale digital surveillance; weakened the rule of law through indefinite detentions; sanctioned torture; and manipulated the truth about it all. These conflicts have yielded neither peace nor victory, but they have transformed America. What began as the persecution of Muslims and immigrants has become a normalized feature of American politics and national security, expanding the possibilities for applying similar or worse measures against other targets at home, as the summer of 2020 showed. A politically divided and economically destabilized country turned the War on Terror into a cultural—and then a tribal—struggle. It began on the ideological frontiers of the Republican Party before expanding to conquer the GOP, often with the acquiescence of the Democratic Party. Today’s nativist resurgence walked through a door opened by the 9/11 era. And that door remains open. Reign of Terror shows how these developments created an opportunity for American authoritarianism and gave rise to Donald Trump. It shows that Barack Obama squandered an opportunity to dismantle the War on Terror after killing Osama bin Laden. By the end of his tenure, the war had metastasized into a bitter, broader cultural struggle in search of a demagogue like Trump to lead it. Reign of Terror is a pathbreaking and definitive union of journalism and intellectual history with the power to transform how America understands its national security policies and their catastrophic impact on civic life.

A Wall Street Journal columnist delivers a brilliant narrative of the mugging of the millennial generation-- how the Baby Boomers have stolen the millennials' future in order to ensure themselves a comfortable present The Theft of a Decade is a contrarian, revelatory analysis of how one generation pulled the rug out from under another, and the myriad consequences that has set in store for all of us. The millennial generation was the unfortunate victim of several generations of economic theories that made life harder for them than it was for their grandparents. Then came the crash of 2008, and the Boomer generation's reaction to it was brutal: politicians and policy makers made deliberate decisions that favored the interests of the Boomer generation over their heirs, the most egregious being over the use of monetary policy, fiscal policy and regulation. For the first time in recent history, policy makers gave up on investing for the future and instead mortgaged that future to pay for the ugly economic sins of the present. This book describes a new economic crisis, a sinister tectonic shift that is stealing a generation's future.

Walk into any European museum today and you will see the curated spoils of Empire. They sit behind plate glass: dignified, tastefully lit. Accompanying pieces of card offer a name, date and place of origin. They do not mention that the objectsare all stolen. Few artefacts embody this history of rapacious and extractive colonialism better than the Benin Bronzes - a collection of thousands of brass plaques and carved ivory tusks depicting the history of the Royal Court of the Obas of BeninCity, Nigeria. Pillaged during a British naval attack in 1897, the loot was passed on to Queen Victoria, the British Museum and countless private collections. The story of the Benin Bronzes sits at the heart of a heated debate about cultural restitution, repatriation and the decolonisation of museums. In The Brutish Museums, Dan Hicks makes a powerful case for the urgent return of such objects, as part of a wider project of addressing the outstanding debt of colonialism.