In March 1980 Francis Coppola purchased the dilapidated Hollywood General Studios facility with the hope and dream of creating a radically new kind of studio, one that would revolutionize filmmaking, challenge the established studio machinery, and, most importantly, allow him to make movies as he wished. With this event at the center of Whom God Wishes to Destroy, Jon Lewis offers a behind-the-scenes view of Coppola's struggle--that of the industry's best-known auteur--against the changing realities of the New Hollywood of the 1980s. Presenting a Hollywood history steeped in the trade news, rumor, and gossip that propel the industry, Lewis unfolds a lesson about power, ownership, and the role of the auteur in the American cinema. From before the success of The Godfather to the eventual triumph of Apocalypse Now, through the critical upheaval of the 1980s with movies like Rumble Fish, Hammett, Peggy Sue Got Married, to the 1990s and the making of Bram Stoker's Dracula and Kenneth Branagh's Frankenstein, Francis Coppola's career becomes the lens through which Lewis examines the nature of making movies and doing business in Hollywood today.

For centuries, scholars and interpreters of the Hebrew Scriptures or Old Testament have read those Scriptures as if they spoke of a God whose desires, concerns, and interests were essentially no different than those of the other gods of antiquity known to us. Like those gods, what the God of Israel supposedly sought above all else was the honor, worship, and obedience of human beings and their submission to his will as his faithful and devoted servants. While he undoubtedly demanded the practice of what was good, right, and merciful among his people in a way that set him apart from other gods, ultimately he did so for his own sake in order to bring about in them the type of behavior that pleased him and compel them to live in conformity with his justice, holiness, and righteousness. Those who sought to enjoy his blessings and avoid his fierce wrath and punishments had no choice but to strive to keep him content by observing all that he had commanded and making atonement for the sins and offenses they committed by offering him the sacrifices that appeased him. Although he loved his people deeply, his righteous and holy nature placed limits on that love and prevented him from showing them his favor unless the demands of his nature were satisfied. When we abandon such an understanding of the God of Israel and instead read the Hebrew Bible on its own terms in order to grasp the logic underlying its narratives, however, a very different portrait of God emerges. The God of whom the biblical texts speak is a God who desires nothing but the good for all those whom he has created and refuses to back down from his efforts to bring them to live in ways that will allow them to enjoy the wholeness and well-being he desires for all when they insist on filling their lives with injustice, suffering, and violence. When he demands that they obey all that he has commanded by practicing justice and compassion and avoiding behaviors that do them harm, he does so not for his sake but for theirs. If he jealously refuses to let his people serve and worship other gods, it is only because those gods bring death and destruction rather than the life that is found in him alone. While at times he must himself resort to violence and even bring down evil on human beings in order to put a stop to oppression and injustice, he does so only because his passionate and unbending commitment to the well-being of all of the families of the earth together with his beloved people Israel will not allow him to hold back or relent in his efforts to save them, not from him, but from themselves. Christian and Jewish readers alike will find in the present volume a God who is very different from the God they have been taught to encounter previously in the biblical texts, a God whose ultimate concern is not for his own glory, honor, or worship or for the demands of a righteous and holy nature that holds him captive, but for the healing, wholeness, and well-being of all of his creatures. Such an understanding of God not only calls into question traditional interpretations of the Hebrew Bible but also lays the basis for a fresh reading of the many difficult passages that have long challenged biblical interpreters due to the violent and troubling image of God that they convey.

Many Christians believe that they have to understand everything about their faith for that faith to be genuine. This isn't true. There are many things we don't understand about God, His Word, and His works. And this is actually one of the greatest things about the Christian faith: that there are areas of mystery that lie beyond the keenest scholarship or even the most profound spiritual exercises. Sadly, for many people these problems raise so many questions and uncertainties that faith itself becomes a struggle. But questions, and even doubts, are part of faith. Chris Wright encourages us to face the limitations of our understanding and to acknowledge the pain and grief they can often cause. In The God I Don't Understand, he focuses on four of the most mysterious subjects in the Bible and reflects upon why it's important to ask questions without having to provide the answer: The problem of evil and suffering. The genocide of the Canaanites. The cross and the crucifixion. The end of the world. "However strongly we believe in divine revelation, we must acknowledge both that God has not revealed everything and that much of what he has revealed is not plain. It is because Dr. Wright confronts biblical problems with a combination of honesty and humility that I warmly commend this book." —John Stott

Brubaker and Phillips' bestselling series keeps ratcheting up the tension! Even the walls of a mental hospital can't protect Dylan from his curse, and back on the streets of New York, the police still hunt the vigilante, but nothing is what it seems. And remember, each issue of KILL OR BE KILLED contains extra content and articles only available in the single issues.

“Light on the Path” is a treatise written for the personal use of those who are ignorant of the Eastern Wisdom, and who desire to enter within Its influence, authored by Mabel Collins, nom de plume of Kenningale R. Cook. Warning by Boris de Zirkoff: The use of the physical senses as a stepping-stone to spirituality is fraught with danger and disappointment. H.P. Blavatsky defends the Cause of Truth and its detractors. The sparkle of that precious jewel, “Light on the Path,” has been dimmed by an indelible dark stain. Madame Blavatsky is the origin and fountainhead of all Esoteric Knowledge, and has the means and the necessary knowledge to teach. Mabel Collins may have been “studying” Madame Blavatsky for a time but she never “studied under” her, as she claims to have done. See how those whom god wishes to destroy, he first deprives of reason. Firstly, out of the blue, Dr. Coues proudly proclaimed himself “Perpetual President of the Esoteric Theosophical Society of America.” He then began casting slurs upon Madame Blavatsky and upon the Section of which she is the Head, in order to destroy one through the other. Secondly, for a woman to confess to the world that she has been deliberately deceiving it for years, simply for the pleasure of fathering the cause of a deception upon a supposed enemy, is a psychic riddle in itself. While the latter publicly proclaimed her own untruthfulness in order to slander a hated enemy, the former jumped at the opportunity to gratify his wounded vanity at the cost of breaking the pledge and his word of honour to the Theosophical Society, which he took upon joining it.

New Hollywood extends from the radical gestures of the 'Hollywood Renaissance' of the late 1960s and early 1970s to the current dominance of the corporate blockbuster. Geoff King covers new Hollywood dynamically and accessibly in this thoroughly modern introductory text. He discusses diverse films as well as the film-makers and film companies, focusing on the interactions between the film texts, their social contexts and the industry producing them. Using examples across Hollywood and its genres, King reveals how the positions of studios within media conglomerates, together with the impact of television, advertising and franchising on the New Hollywood, shape the form and content of the films.