Animation filmmaker Lucy Freers must clear her name in the drowning death, in her swimming pool, of a neighbor who had romantic views on her husband. The case plays out against the background of a new Hollywood craze--motherhood.

A “Dead is the New Fabulous” Mystery (#1) “Lindsay Maracotta has created in Lucy an exhilarating smart and sassy character. Her insider’s take crackles with fresh insight and laugh-out-loud one-liners.” —Janet Evanovich, #1 New York Times Bestselling Author “Killingly amusing. Lindsay Maracotta wields the sharpest tongue since Nora Ephron banged out Heartburn. The book’s social observations are right on the money.” —The Chicago Tribune In the tradition of Janet Evanovich comes a smart and sassy first mystery about family values—Hollywood style. Animation filmmaker Lucy Frampton seemingly has it all—the glamorous mansion, adorable child and too-handsome-for-his-own-good producer husband. But Lucy has something her famous neighbors do not: a nude, wannabe starlet floating dead in her swimming pool!!! When she and her husband become the prime suspects in the high-profile murder investigation, Lucy knows she’s going to have to clear her own name—especially when she finds out that the enterprising victim had set her sights on Lucy’s husband! In a world of sex, lies, and iPhones, it’s up to Lucy to find the killer...lest she find herself as the next Fabulous victim!!!

This volume is a comprehensive collection of critical essays on The Taming of the Shrew, and includes extensive discussions of the play's various printed versions and its theatrical productions. Aspinall has included only those essays that offer the most influential and controversial arguments surrounding the play. The issues discussed include gender, authority, female autonomy and unruliness, courtship and marriage, language and speech, and performance and theatricality.

Like other fictional characters, female sleuths may live in the past or the future. They may represent current times with some level of reality or shape their settings to suit an agenda. There are audiences for both realism and escapism in the mystery novel. It is interesting, however, to compare the fictional world of the mystery sleuth with the world in which readers live. Of course, mystery readers do not share one simplistic world. They live in urban, suburban, and rural areas, as do the female heroines in the books they read. They may choose a book because it has a familiar background or because it takes them to places they long to visit. Readers may be rich or poor; young or old; conservative or liberal. So are the heroines. What incredible choices there are today in mystery series! This three-volume encyclopedia of women characters in the mystery novel is like a gigantic menu. Like a menu, the descriptions of the items that are provided are subjective. Volume 3 of Mystery Women as currently updated adds an additional 42 sleuths to the 500 plus who were covered in the initial Volume 3. These are more recently discovered sleuths who were introduced during the period from January 1, 1990 to December 31, 1999. This more than doubles the number of sleuths introduced in the 1980s (298 of whom were covered in Volume 2) and easily exceeded the 347 series (and some outstanding individuals) described in Volume 1, which covered a 130-year period from 1860-1979. It also includes updates on those individuals covered in the first edition; changes in status, short reviews of books published since the first edition through December 31, 2008.

From the author of books about women police officers and a retired editor who’s now a volunteer cop in small town America, Food, Drink, and the Female Sleuth gathers together the best food scenes in mainstream detective fiction. Over 140 flavorful contributors, over 250 slurpy excerpts, 23 rich chapters with titles like “Undercover Grub and Stakeout Takeout,” “Junk Food on the Run,” “A Dozen Ways to Feed Your Lover,” “Bribing with Food,” and “The Last Bite.” Like us, PIs, cops, and amateur sleuths ARE what they eat. Also they are known by how they eat, where they eat, why they eat, and by who does the cooking. What better way to flesh out a sleuth’s work partner than “Let’s Have A Drink,” or spell out social class with humor in “Upper and Lower Crusts”? What better way to get a plot underway than breakfast? Or stir in suspense and foreshadow events in “Let’s Do Lunch”? This book is for anyone whose shelves are stacked with really good detective novels and really good food. Face it, if you like to eat, put Food, Drink on your table.

From Carrie and Rosemary's Baby to Us, Hereditary, and Run, the image of the mentally ill mom as villain looms large in the horror genre. What do these movies communicate about mothers living with mental illness, and how do these depictions affect them? Portraying mentally ill moms as problems to be overcome, often by their own children, perpetuates harmful stereotypes with potential real-world consequences, such as the belief that these women are unfit to bear or raise children. More compassionate representations are needed to lessen the social stigma associated with the mentally ill. Fortunately, some of the contemporary horror films are attempting to achieve that task with critical success. Using case studies from a broad range of films--including the classic, campy, slasher, or prestige--and placing them within their historical context, this work extends conversations about horror and mental illness, such as post-partum depression, bulimia, Munchausen by proxy syndrome, and others. Highlighting the trope of the mentally ill mother as a pervasive image within the genre furthers examination of how these films challenge or reflect existing stereotypes and illustrates how horror can be both a site of oppression and a source for positive transformation.