In a fast-paced and action-packed narrative, Navy SEAL commander Rorke Denver tackles the questions that have emerged about America’s past decade at war—from what makes a hero to why we fight and what it does to us. Heroes are not always the guys who jump on grenades. Sometimes, they are the snipers who decide to hold their fire, the wounded operators who find fresh ways to contribute, or the wives who keep the families together back home. Even a SEAL commander—especially a SEAL commander—knows that. But what’s a hero, really? What do we have a right to expect from our heroes? How should we hold them accountable? Amid all the loose talk of heroes, these questions are seldom asked. As a SEAL commander, Rorke Denver is uniquely qualified to answer questions about what makes a hero or a leader, why men kill, how best to serve your country, how battlefield experiences can elevate us, and most important, why we fight and what it does for and to us. And in Worth Dying For, Denver shares his personal experiences from the forefront of war today. Denver applies some of his SEAL sense to nine big-picture, news-driven questions of war and peace, in a way that appeals to all sides of the public conversation. By broadening the issues, sharing his insights, and achieving what civilian political leaders have been utterly unable to, Denver eloquently shares answers to America’s most burning questions about war, heroism, and what it all means for America’s future.

Matt Corbin is going through a rough patch in his life, rougher than his time in Vietnam. He finds himself a cuckold, betrayed by a wife of ten years with another man. Returning to his job as a homicide detective after his service time doesn’t help, nor does having a batch of inadequate partners. It only compounds his trouble tenfold, making it that much heavier to carry. If it wouldn’t be for his best friend, Paul Rice, and a new female partner, attractive and feisty, he would have eaten his gun by now. Then along comes a weird murder case where the bones of the victims are all that is left of them. It’s enough to rock Corbin’s boat and set him back a step.

In the years since World War II, commercial television has become the most powerful force in American culture. It is also the quintessential example of postmodernist culture. This book studies how The Twilight Zone, The Prisoner, Twin Peaks, and The X-Files display many of the central characteristics that critics and theorists have associated with postmodernism, including fragmentation of narratives and characters, multiplicity in style and genre, and the collapse of traditional categorical boundaries of all kinds. The author labels these series strange TV since they challenge the conventions of television programming, thus producing a form of cognitive estrangement that potentially encourages audiences to question received ideas. Despite their challenges to the conventions of commercial television, however, these series pose no real threat to the capitalist order. In fact, the very characteristics that identify these series as postmodern are also central characteristics of capitalism itself, especially in its late consumerist phase. An examination of these series within the context of postmodernism thus confirms Fredric Jameson's thesis that postmodernism is a reflection of the cultural logic of late capitalism. At the same time, these series do point toward the potential of television as a genuinely innovative medium that promises to produce genuinely new forms of cultural expression in the future.

Emmy-winning CHEERS writer Ken Levine presents a brutally honest and hilarious satire on the television industry In order to keep his once-proud TV network afloat, beleaguered president Charles Muncie must keep his number one star happy. By killing his ex-girlfriend. What's more important? Human life or the Tuesday night line-up? Network television gets royally skewered in this fun, surprising, suspenseful romp. And there are no commercials!

Unlike images of sex, which were clandestine and screened only in private, images of death were made public from the onset of cinema. The father of the modern age, Thomas Edison, fed the appetite for this material with staged executions on film. Little over a century later the executions are real and the world is aghast at brutalities freely available online at the click of a button. Some of these films are created by lone individuals using shaky camera phones: Luka Magnotta, for instance, and the teenagers known as the Dnipropetrovsk maniacs. Others are shot on high definition equipment and professionally edited by organized groups, such as the militant extremists ISIS. KILLING FOR CULTURE explores these images of death and violence, and the human obsession with looking — and not looking — at them. Beginning with the mythology of the so-called ‘snuff’ film and its evolution through popular culture, this book traces death and the artifice of death in the ‘mondo’ documentaries that emerged in the 1960s, and later the faux snuff pornography that found an audience through Necrobabes and similar websites. However, it is when videos depicting the murders of Daniel Pearl and Nick Berg surfaced in the 2000s that an era of genuine atrocity commenced, one that has irrevocably changed the way in which we function as a society.