Where have all the parents gone? What happened to those who, like my grandmother, treated parenting as the most important human responsibility and the planet's oldest profession? My grandmother, if she were living, would not recognize today's parents. Something is amiss. We reside in a country that places higher demands on passing a driver's education course than it does on procreation and raising children. We offer classes like Lamaze to prepare parents for the birth of a child but have no such courses to equip parents for being able to raise a child. The way we view parenting and subsequently raise children is absurd. So, I wrote this book because I believe my grandmother would have wanted me to say something. I wrote this book because I'm concerned that if we wait much longer to outline a process to help our future citizens, we won't be able to repair or recondition the fabric of our nation. I wrote this book because I believe all children need and deserve great parents.

Discovered in a treasure-filled parking lot in Leicester, England (next to a pile of bones that didn't look that important), an ancient manuscript proves to be the long-lost first play written by none other than seventeen-year-old William Shakespeare from Stratford. We are totally not completely making this up. WILLIAM SHAKESPEARE'S LONG LOST FIRST PLAY (abridged) is the literary holy grail: an actual manuscript in Shakespeare's own hand showing all his most famous characters and familiar speeches in a brand-new story. But because it's one hundred hours long and contains multiple unwieldy storylines, it was decided, as a public service, to abridge it down to a brief and palatable ninety-minute performance for this lost masterpiece. "Something wickedly funny this way comes!" The New York Times "A breathlessly irreverent, pun-filled romp!" The Washington Post "A top-notch comic deconstruction of Shakespeare!" The Stage--U K

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Adopting and developing a ‘cultural politics’ approach, this comprehensive study explores how Hollywood movies generate and reflect political myths about social and personal life that profoundly influence how we understand power relations. Instead of looking at genre, it employs three broad categories of film. ‘Security’ films present ideas concerning public order and disorder, citizen–state relations and the politics of fear. ‘Relationalities’ films highlight personal and intimate politics, bringing norms about identities, gender and sexuality into focus. In ‘socially critical’ films, particular issues and ideas are endowed with more overtly political significance. The book considers these categories as global political technologies implicated in hegemonic and ‘soft power’ relations whose reach is both deep and broad.