The eccentric household of Aunt Lucy, fourteen-year-old aviatrix Emmaline Cayley, pilot Rubberbones, and Princess Purnah of Chiligrit finds themselves on a remote Scottish island full of experimental scientists while being pursued by the Authorities, the forces of St. Grimelda's School for Young Ladies, and a dangerous Collector.

Budding aviatrix Emmaline and her copilot "Rubberbones" devise a plan to help Princess Purnah, a recent escapee from St. Grimelda's School for Young Ladies, evade capture by both the school and the master criminal known as the "Faceless Fiend."

Presents synopses of several well-known horror films whose plots revolve around the experiments of diabolical scientists.

Semi, Miranda, and Arnie are part of a group of 50 British Young Conservationists on their way to a wildlife conservation station deep in the rain forests of Ecuador. After a terrifying mid-air disaster and subsequent crash, these three are the sole survivors, stranded together on a deserted tropical island. Or so they think. Semi, Miranda, and Arnie stumble into the hands of Dr. Franklin, a mad scientist who’s been waiting for them, eager to use them as specimens for his experiments in genetic engineering.

The six members of the Mad Scientists' Club experiment with new projects which include investigating a strange sea monster and the theft of a valuable dinosaur egg.

Chronicles the rich human, plant, and animal diversity of this Isle off the East Coast of Africa, home to lemurs, unusual reptiles, and other creatures more at home in mythology than natural science.

Since its origin cinema has had an uneasy relationship with science and technology: scientists are almost always impossibly mad or impossibly saintly, and technology is nearly always very bad for you. In Mad, Bad and Dangerous?, Christopher Frayling explores the genealogy of the film scientist in films made in Western Europe, and especially in Hollywood after the 1930s, showing how in film the scientist has often been used to represent the prevailing phobias of the time. In the 1950s, for example, films were dominated by the fear of botched atomic research, and were a showcase of mutated, outsized creatures and radioactive zombies. Since Hitchcock’s The Birds, however, the role of the scientist has been less straightforward, and by the 1970s damage to the environment and the spread of diseases were the predominant consequences of science gone wrong. Scientists – and the corporations that controlled them – became the ‘baddies’. The author also examines in parallel the portrayal of real-life scientists in the movies, noting how they are in the main depicted as misfits, immersed in their work, sacrificing any normal life to the interests of science, yet distrusted by the scientific establishment. Interestingly, the cinematic portrayal of fictional and real-life scientists follow very similar dramatic conventions, and Frayling concludes that the mad scientist and the saintly one are two sides of the same Hollywood coin.