Ali Caldwell figures her fifteen minutes of fame have expired, and she is ready to ditch the TV cameras. That’s hard to do when she has to spend Thanksgiving with her mother in Malibu, where they’ll be filming the Christmas special for their reality show. Then her little brother disappears while she’s in charge of him, and and everyone in the world is watching and blaming her, including her mother. Ali is determined to find him make everything right, but life is ever that simple.

Celebrities in the United States have drawn significant attention and resources to the complex issue of human trafficking—a subject of feminist concern—and they are often criticized for promoting sensationalized and simplistic understandings of the issue. In this comprehensive analysis of celebrities’ anti-trafficking activism, however, Samantha Majic finds that this phenomenon is more nuanced: even as some celebrities promote regressive issue narratives and carceral solutions, others use their platforms to elevate more diverse representations of human trafficking and feminist analyses of gender inequality. Lights, Camera, Feminism? thus argues that we should understand celebrities as multilevel political actors whose activism is shaped and mediated by a range of personal and contextual factors, with implications for feminist and democratic politics more broadly.

This inside look at the production of 20th century television commercials begins with a review of advertising's beginnings going through the 1960s and early 1970s. The author, a career "Mad man," recounts lightheartedly his experiences on commercial productions--both live and film--in theaters and studios in New York City, at LBJ's ranch, on the White House lawn, along Rome's Appian Way, in Lady Astor's dining room and on the Tryall Golf Course in Jamaica, among other places. The technical (and people) challenges involved in producing high-end commercials for major corporations are given in often funny detail.

Actress Kara Kensington flies to New Hope, Wisconsin, where she'll spend the winter holidays filming a movie. Her entire career depends on the success of the feel-good story based on her best friend's life. To salvage her strained friendship with Dani, Kara asks the cute guy from the flight to act as her new boyfriend. But the longer she spends with him, the less she's acting. For Chef Scott Neil, his holidays aren't only about family togetherness. He wants Aunt Shirley and Uncle Ted to retire. When he's asked to fake a relationship with Kara, he agrees. As he gets drawn into Kara's production, he questions what is real and what's just for show. Only a fool would fall in love with America's sweetheart.

Advances in forensic odontology have led to improvements in dental identification for individual cases as well as in disaster victim identification (DVI). New and updated technologies mean advances in bitemark analysis and age estimation. Growth in the field has strengthened missing persons networks leading to more and faster identifications of un

Meet Alice Guy-Blaché. She made movies—some of the very first movies, and some of the most exciting! Blow up a pirate ship? Why not? Crawl into a tiger's cage? Of course! Leap off a bridge onto a real speeding train? It will be easy! Driven by her passion for storytelling, Alice saw a potential for film that others had not seen before, allowing her to develop new narratives, new camera angles, new techniques, and to surprise her audiences again and again. With daring and vision, Alice Guy-Blaché introduced the world to a thrilling frontier of imagination and adventure, and became one of filmmaking's first and greatest innovators. Mara Rockliff tells the story of a girl who grew up loving stories and became an acclaimed storyteller and an inspiration in her own right.

International publisher Nina Jansous is the epitome of grace and style, and Blaze, her New York-based magazine has become one of the most successful in the world. Now Nina wants to return to Australia and re-launch an Australian edition of Blaze. Alisson Gruber, not yet 30, is unimpressed by Nina's decision to appoint her as editor of the Australian Blaze. Larissa Kelly, the 30-something chief-of-staff of Blaze New York, is sent out as Ali's deputy. Joining Ali and Larissa on Blaze; is Miche Bannister, a young woman coming to terms with the suicide of her mother, the editor of the New York edition of Blaze. Four women whose paths are entwined are facing the same demons – coming to terms with their past and the present before embracing their future. The men they love, the men they find, the men they never knew, all play a role in a private dance on a very public stage.