In a super follow-up to Hollywood Station, Wambaugh returns to the beat he knows best, taking readers on a darkly funny ride-along with a cast of flawed LAPD cops and eccentric lowlifes you won't forget. When LAPD cops Hollywood Nate and Bix Rumstead find themselves caught up with bombshell Margot Aziz, they think they're just having some fun. But in Hollywood, nothing is ever what it seems. To them, Margot is a harmless socialite, stuck in the middle of an ugly divorce from the nefarious nightclub-owner Ali Aziz. What Nate and Bix don't know is that Margot's no helpless victim: the femme fatale is setting them both up. But Ms. Aziz isn't the only one with a deadly plan.

For a cop, a night on the job means killing time and trying not to get killed. If you're a cop in Hollywood Division, it also means dealing with the most overwrought, desperate, and deluded criminals anywhere. When you're patrolling Sunset and Hollywood Boulevards, neither a good reputation nor the lessons of scandals past will help you keep your cool, your sanity, or your life when things heat up.The robbery of a Hollywood jewelry store, complete with masks and a hand grenade, quickly connects to a Russian nightclub, an undercover operation gone bloodily wrong, and a cluelessly ambitious pair of tweakers. Putting the pieces together are the sergeant they call the Oracle and his squad of street cops. There's Budgie Polk, a twenty-something firecracker with a four-month-old at home, and Wesley Drubb, a rich boy who joined the force seeking thrills. Fausto Gamboa is the tetchy veteran, and Hollywood Nate is the one who never shuts up about movies. They spend their days in patrol cars and their nights in the underbelly of a city that never sleeps. From their headquarters at Hollywood Station, they see the glamour city for what it is: a field of land mines, where the mundane is dangerous and the dangerous is mundane.

The legendary Hollywood Hills are home to wealth, fame, and power -- passing through the neighborhood, it's hard not to get a little greedy. LAPD veteran "Hollywood Nate" Weiss could take or leave the opulence, but he wouldn't say no to onscreen fame. He may get his shot when he catches the appreciative eye of B-list director Rudy Ressler, and his troublemaking fiancée, Leona Brueger, the older-but-still-foxy widow of a processed-meat tycoon. Nate tries to elude her crafty seductions, but consents to keep an eye on their estate in the Hollywood Hills while they're away. Also minding the mansion is Raleigh Dibble, a hapless ex-con trying to put the past behind him. Raleigh is all too happy to be set up for the job -- as butler-cum-watchdog -- by Nigel Wickland, Leona's impeccably dressed art dealer. What Raleigh doesn't realize is that under the natty clothes and posh accent, Nigel has a nefarious plan: two paintings hanging on the mansion's walls will guarantee them more money than they've ever seen. Everyone's dreams are just within reach -- the only problem is, this is Hollywood. A circle of teenage burglars that the media has dubbed The Bling Ring has taken to pillaging the homes of Hollywood celebutants like Paris Hilton and Lindsay Lohan, and when a pair of drug-addled young copycats stumbles upon Nigel's heist, that's just the beginning of the disaster to come. Soon Hollywood Nate, surfer cops Flotsam and Jetsam, and the rest of the team at Hollywood Station have a deadly situation on their hands. Hollywood Hills is a raucous and dangerous roller coaster ride that showcases Joseph Wambaugh in vintage form.

Bestseller Wambaugh's entertaining third Hollywood Station novel (after Hollywood Crows) provides lots of laughs and gasps from all of your favorite characters. There's a saying at Hollywood station that the full moon brings out the beast -- rather than the best -- in the precinct's citizens. One moonlit night, LAPD veteran Dana Vaughn and "Hollywood" Nate Weiss, a struggling-actor-turned cop, get a call about a young man who's been attacking women. Meanwhile, two surfer cops known as Flotsam and Jetsam keep bumping into an odd, suspicious duo -- a smooth-talking player in dreads and a crazy-eyed, tattooed biker. No one suspects that all three dubious characters might be involved in something bigger, more high-tech, and much more illegal. After a dizzying series of twists, turns, and chases, the cops will find they've stumbled upon a complex web of crime where even the criminals can't be sure who's conning whom. Wambaugh once again masterfully gets inside the hearts and minds of the cops whose jobs have them constantly on the brink of danger. By turns heart-wrenching, exhilarating, and laugh-out-loud funny, Hollywood Moon is his most thrilling and deeply affecting ride yet through the singular streets of LA.

The story of racial hierarchy in the American film industry The #OscarsSoWhite campaign, and the content of the leaked Sony emails which revealed, among many other things, that a powerful Hollywood insider didn’t believe that Denzel Washington could “open” a western genre film, provide glaring evidence that the opportunities for people of color in Hollywood are limited. In The Hollywood Jim Crow, Maryann Erigha tells the story of inequality, looking at the practices and biases that limit the production and circulation of movies directed by racial minorities. She examines over 1,300 contemporary films, specifically focusing on directors, to show the key elements at work in maintaining “the Hollywood Jim Crow.” Unlike the Jim Crow era where ideas about innate racial inferiority and superiority were the grounds for segregation, Hollywood’s version tries to use economic and cultural explanations to justify the underrepresentation and stigmatization of Black filmmakers. Erigha exposes the key elements at work in maintaining Hollywood’s racial hierarchy, namely the relationship between genre and race, the ghettoization of Black directors to black films, and how Blackness is perceived by the Hollywood producers and studios who decide what gets made and who gets to make it. Erigha questions the notion that increased representation of African Americans behind the camera is the sole answer to the racial inequality gap. Instead, she suggests focusing on the obstacles to integration for African American film directors. Hollywood movies have an expansive reach and exert tremendous power in the national and global production, distribution, and exhibition of popular culture. The Hollywood Jim Crow fully dissects the racial inequality embedded in this industry, looking at alternative ways for African Americans to find success in Hollywood and suggesting how they can band together to forge their own career paths.

The Crow is the ultimate cult movie, with a dedicated worldwide following, and two sequels, plus a fourth currently in production. Now, ten years after the original film’s release, the full story of this seemingly cursed production can finally be told... In The Crow’s last days of filming, its star Brandon Lee (son of Bruce Lee) was killed in a strange on-set accident, while filming his character’s death scene. Bridget Baiss describes the chain of events which led from O’Barr’s creation of the graphic novel, up to this fateful day, and beyond, to the film’s final, triumphant release. The definitive account of The Crow’s production and the phenomenon it became, packed with scores of interviews with the film’s cast and crew.

“Crows and people share similar traits and social strategies. To a surprising extent, to know the crow is to know ourselves.”—from the Preface From the cave walls at Lascaux to the last painting by Van Gogh, from the works of Shakespeare to those of Mark Twain, there is clear evidence that crows and ravens influence human culture. Yet this influence is not unidirectional, say the authors of this fascinating book: people profoundly influence crow culture, ecology, and evolution as well. John Marzluff and Tony Angell examine the often surprising ways that crows and humans interact. The authors contend that those interactions reflect a process of “cultural coevolution.” They offer a challenging new view of the human-crow dynamic—a view that may change our thinking not only about crows but also about ourselves. Featuring more than 100 original drawings, the book takes a close look at the influences people have had on the lives of crows throughout history and at the significant ways crows have altered human lives. In the Company of Crows and Ravens illuminates the entwined histories of crows and people and concludes with an intriguing discussion of the crow-human relationship and how our attitudes toward crows may affect our cultural trajectory.