Mia is fifteen and during her summer vacation she starts working at a children's playhouse, meets new people (including Eric, who she knew once long ago when he was not so interesting) and continues sibling warfare with her younger brother Chris.

Mia is fifteen and during her summer vacation she starts working at a children's playhouse, meets new people (including Eric, who she knew once long ago when he was not so interesting) and continues sibling warfare with her younger brother Chris.

Ready to start her freshman year at St. Hilary's High School, Mia Fullerton has set two goals for herself: to shed her long-held nickname of "Mia the Meek" and then to soar confidently into a new social, academic, and family life.

Mia's sophomore year starts out well when she lands a part in the school play and begins drivers ed, but things slowly take a turn for the worst after her ex-boyfriend plots a revenge plot against her, the crazy school janitor becomes the new drivers ed instructor, and her mother finishes a book based on Mia's life.

Glamour, power, champagne breakfasts in satin sheets--welcome to television's most dazzling and overlooked genre: women-centric melodrama miniseries of the 1980s and 1990s. Decades before Real Housewives, rags-to-riches fantasies depicting strong women overcoming tragedy to take charge of their destinies were a big hit with TV audiences. Reflecting the "greed is good" ethos of the day and encoded with feminist messaging, these glitzy, often camp stories depicted statuesque superwomen facing off with square-jawed men in boardrooms and bedrooms. This book explores the shows that epitomized the prime-time soap era and gave us such memorable scenes as Stefanie Powers trading lovers with her twin sister, Joan Collins fighting Nazis in haute couture and Phoebe Cates demanding, "Which one of you bitches is my mother?"

Seventeen-year-old Flora Mackey is not exactly thrilled to wake up from a car accident and find out she’s a ghost. Making this lifelike hell even worse is being trapped with her arch enemy and collision partner, Laney Tipps. The two normally couldn’t get along if their lives depended on it, but now they have no choice. After recovering from the initial shock of seeing their lifeless bodies—and that they can’t escape each other—Flora and Laney have to find a way out of the twisted, gray realm. But they quickly learn that the farther they stray from their motionless corpses, the weaker they become. Luckily Sara, a spirit guide, shows up to help. Sara informs them they’ll have to wait for someone in their city to die so they can take their place in the land of the living. What’s scarier than waiting in purgatory? Time. If Flora and Laney don’t return to the physical world and leave clues for their families that they’re still alive, they’ll never be found. Which sucks, because once their bodies give out, their souls will be permanently stuck in the afterlife.

We seem to see melodrama everywhere we look—from the soliloquies of devastation in a Dickens novel to the abject monstrosity of Frankenstein’s creation, and from Louise Brooks’s exaggerated acting in Pandora’s Box to the vicissitudes endlessly reshaping the life of a brooding Don Draper. This anthology proposes to address the sometimes bewilderingly broad understandings of melodrama by insisting on the historical specificity of its genesis on the stage in late-eighteenth-century Europe. Melodrama emerged during this time in the metropolitan centers of London, Paris, Vienna, and Berlin through stage adaptations of classical subjects and gothic novels, and they became famous for their use of passionate expression and spectacular scenery. Yet, as contributors to this volume emphasize, early melodramas also placed sound at center stage, through their distinctive—and often disconcerting—alternations between speech and music. This book draws out the melo of melodrama, showing the crucial dimensions of sound and music for a genre that permeates our dramatic, literary, and cinematic sensibilities today. A richly interdisciplinary anthology, The Melodramatic Moment will open up new dialogues between musicology and literary and theater studies.