Lance Reddick is an American actor and musician who was born on December 31, 1962. He grew up in Baltimore, Maryland, where he attended Friends School and later went on to graduate from the Eastman School of Music in Rochester, New York. He started his career as a theater actor before transitioning to film and television. His breakthrough role was as Cedric Daniels in the acclaimed HBO series The Wire, where he showcased his talents as a versatile actor. Reddick has since appeared in numerous films and TV shows, including John Wick, Fringe, Bosch, and American Horror Story. He is known for his commanding presence and deep, authoritative voice, which has also led to voice acting roles in video games such as Destiny and Horizon Zero Dawn. Outside of his acting career, Reddick is also a musician and has released two albums, Contemplations & Remembrances and Bridges. His diverse talents have made him a respected figure in the entertainment industry and a favorite among fans. In conclusion, Lance Reddick is an accomplished actor and musician whose talent and versatility have made him a prominent figure in the entertainment industry. He has built a successful career with his commanding presence and distinctive voice, which have enabled him to excel in a wide range of roles. Reddick continues to work on exciting projects and has cemented his place as a beloved and respected performer.

The film 'John Wick' is a 2014 American neo-noir action thriller directed by Chad Stahelski and written by Derek Kolstad. The film stars Keanu Reeves in the titular role as John Wick, a retired hitman who seeks vengeance for the killing of his beloved dog, Daisy. The film is set in New York City, where John Wick is a legendary assassin known as "the boogeyman," but after finding love and leaving the criminal underworld behind, he leads a peaceful life with his wife. After her death from an illness, Wick receives a final gift from her, a beagle puppy named Daisy, who becomes his only companion. However, when a group of Russian mobsters led by a man named Iosef Tarasov (Alfie Allen) break into his home, beat him, and kill Daisy before stealing his car, Wick emerges from retirement to track them down and take revenge. The film adopts a visually stylized aesthetic with action sequences that blend martial arts choreography, gunfights, and car chases. Its success has been attributed to its engaging protagonist, its gritty and grounded approach, its focus on practical stunts and effects, and its inclusion of world-building elements, such as the network of assassins and the Continental hotel. The film's critical and commercial success spawned two sequels, 'John Wick: Chapter 2' (2017) and 'John Wick: Chapter 3 - Parabellum' (2019), as well as other media adaptations in the form of comic books and video games.

The third installment in the John Wick franchise, "John Wick: Chapter 3 – Parabellum", directed by Chad Stahelski, picks up immediately after the events of "John Wick: Chapter 2". The film follows an ex-hitman, John Wick (Keanu Reeves), who is now on the run after being declared "excommunicado" by the High Table, a secret organization of assassins who control the criminal underworld. With a 14 million dollar bounty on his head, Wick must fight his way through an army of skilled killers who are out to get him, while also trying to find a way to clear his name and restore his reputation. The film is filled with non-stop action sequences and intense fight scenes set against a backdrop of stunning locations, including New York City, Morocco, and the desert landscape of the High Table. The cast includes returning favorites such as Laurence Fishburne as the Bowery King, Ian McShane as Winston, and Lance Reddick as Charon, as well as newcomers such as Halle Berry as Sofia, a fellow assassin and ally of Wick's. "John Wick: Chapter 3 – Parabellum" continues to satisfy fans of the series with its slick visuals, thrilling action, and intriguing mythology that expands upon the world of John Wick.

A comprehensive critical companion to the blockbuster TV show LOST, revisiting its core themes, lore, and impact on culture For fans of one of the most successful and highly discussed shows in recent memory, LOST: Back to the Island is both a delightful time capsule and a rousing work of entertainment criticism. Before it premiered in the fall of 2004, LOST looked doomed to be an expensive, disastrous plane crash of a TV show. Instead, LOST was a massive hit, debuting with the biggest audience for a new drama on ABC in over a decade, reaching heights of over 23 million viewers at its peak, and holding on to a hefty fan-base for its entire six-season run. The elements that made the series seem like a boondoggle proved, instead, to be a big part of its appeal. Audiences loved the exotic island setting, became invested in the morally compromised characters, and feverishly tried to unravel the show’s many mysteries. In LOST: Back to the Island, TV critics and veteran LOST recappers Emily St. James and Noel Murray revisit what made the show such a success and an object of enduring cultural obsession, twenty years later. Through essays, episode summaries, and cultural analysis, they take us back to the island and examine LOST’s lasting impact—and its complicated, sometimes controversial legacy—with a clear-eyed and lively investigation.

With diverse contributions from scholars in English literature, psychology, and film and television studies, this collection of essays contextualizes Fringe as a postmodern investigation into what makes us human and as an examination of how technology transforms our humanity. In compiling this collection, the editors sought material as multifaceted as the series itself, devoting sections to specific areas of interest explored by both the writers of Fringe and the writers of the essays: humanity, duality, genre and viewership.

Women Who Kill explores several lines of inquiry: the female murderer as a figure that destabilizes order; the tension between criminal and victim; the relationship between crime and expression (or the lack thereof); and the paradox whereby a crime can be both an act of destruction and a creative assertion of agency. In doing so, the contributors assess the influence of feminist, queer and gender studies on mainstream television and cinema, notably in the genres (film noir, horror, melodrama) that have received the most critical attention from this perspective. They also analyse the politics of representation by considering these works of fiction in their contexts and addressing some of the ambiguities raised by postfeminism. The book is structured in three parts: Neo-femmes Fatales; Action Babes and Monstrous Women. Films and series examined include White Men Are Cracking Up (1994); Hit & Miss (2012); Gone Girl (2014); Terminator (1984); The Walking Dead (2010); Mad Max: Fury Road (2015); Contagion (2011) and Ex Machina (2015) among others.