The drama continues as Myra founds her lover, Jamal with his deranged ex- girlfriend, Mercedes together in a compromising position. Heartbroken, Myra runs into the arms of her baby daddy, Lil’ T who’s willing to comfort her in her time of need. Myra, Jamal and Lil’ T will soon have to overcome the obstacles as the drama unfolds in front of their eyes, including someone who’d like Jamal out of the picture –for good. Can Myra and Jamal have a normal life without the drama and will they finally realize their love is stronger than anything ever?

Myra Gregory’s focus is to be a loving mother to her twin boys and provide the best life for her family. Insecure about her appearance, a relationship is the last thing on her agenda until her two best friends convince her to get back out in the dating scene. Jamal is just the man Myra’s been waiting on to come and sweep her off her feet. The two instantly hit it off, and all seems well until Jamal’s crazy ex-girlfriend, Mercedes comes back into the picture. Refusing to let go of the past, Mercedes will stop at nothing to tear the two of them apart. Unfortunately, Mercedes isn’t Myra’s only issue. After serving a year in jail, her children’s father Lil’ T is finally released and determined to reclaim what’s rightfully his. Soon Myra finds herself confused with a huge dilemma. Will she take Lil’ T back for the sake of her sons or will she stay with Jamal, the man she truly loves?

The drama continues as Myra finds her lover, Jamal with his deranged ex-girlfriend, Mercedes together in a compromising position. Heartbroken, Myra runs into the arms of her baby daddy, Lil' T who's willing to comfort her in her time of need. Myra, Jamal, and Lil' T will soon have to overcome the obstacles as the drama unfolds in front of their eyes, including someone who'd like Jamal out of the picture -for good. Can Myra and Jamal have a normal life without the drama and will they finally realize their love is stronger than anything ever?

Examining the theoretical, historical, and contemporary impact of South Korea's Golden Age of cinema.

As the two billion YouTube views for “Gangnam Style” would indicate, South Korean popular culture has begun to enjoy new prominence on the global stage. Yet, as this timely new study reveals, the nation’s film industry has long been a hub for transnational exchange, producing movies that put a unique spin on familiar genres, while influencing world cinema from Hollywood to Bollywood. Movie Migrations is not only an introduction to one of the world’s most vibrant national cinemas, but also a provocative call to reimagine the very concepts of “national cinemas” and “film genre.” Challenging traditional critical assumptions that place Hollywood at the center of genre production, Hye Seung Chung and David Scott Diffrient bring South Korean cinema to the forefront of recent and ongoing debates about globalization and transnationalism. In each chapter they track a different way that South Korean filmmakers have adapted material from foreign sources, resulting in everything from the Manchurian Western to The Host’s reinvention of the Godzilla mythos. Spanning a wide range of genres, the book introduces readers to classics from the 1950s and 1960s Golden Age of South Korean cinema, while offering fresh perspectives on recent favorites like Oldboy and Thirst. Perfect not only for fans of Korean film, but for anyone curious about media in an era of globalization, Movie Migrations will give readers a new appreciation for the creative act of cross-cultural adaptation.

From mid-twentieth-century films such as Grand Hotel, Waterloo Bridge, and The Red Shoes to recent box-office hits including Billy Elliot, Save the Last Dance, and The Company, ballet has found its way, time and again, onto the silver screen and into the hearts of many otherwise unlikely audiences. In Dying Swans and Madmen, Adrienne L. McLean explores the curious pairing of classical and contemporary, art and entertainment, high culture and popular culture to reveal the ambivalent place that this art form occupies in American life. Drawing on examples that range from musicals to tragic melodramas, she shows how commercial films have produced an image of ballet and its artists that is associated both with joy, fulfillment, fame, and power and with sexual and mental perversity, melancholy, and death. Although ballet is still received by many with a lack of interest or outright suspicion, McLean argues that these attitudes as well as ballet's popularity and its acceptability as a way of life and a profession have often depended on what audiences first learned about it from the movies.