Death’s dominion widens as bestselling author Daniel Abraham’s adaptation of George R. R. Martin’s fantasy masterwork continues! Drogo is dying of his wounds. Daenerys will do anything to save him, even if it means embracing forbidden bloodmagic. But such spells carry a deadly price. And as the pregnant Dany is about to learn, that price can be far harder to bear than any graveside grieving. Meanwhile, across the wide sea, grief is consuming Sansa Stark after the shocking execution of her father at the command of King Joffrey. Now Sansa, still betrothed to the mad young king, yet no longer in love with him, finds herself as much a prisoner as Lord Eddard was, facing a fate as cruel and capricious . . . and as final.

George R. R. Martin’s fantasy masterpiece continues. . . . With her unborn son proclaimed “the stallion who mounts the world,” Daenarys has more cause than ever to rejoice in her marriage to Khal Drogo. But when her brother, the mad Viserys, demands his promised crown, Dany’s future takes an unexpected turn. Meanwhile, in King’s Landing, Robert Baratheon is mortally wounded while hunting. Robert decrees that Eddard Stark shall be Lord Regent until Prince Joffrey comes of age, but Eddard knows the boy is no son of the dying king’s. Yet where in this serpent’s nest of intrigue can he turn for help to secure the throne for the rightful heir? And in the frozen north, Jon Snow, newly promoted to the Night’s Watch, suffers a shock to his pride—and takes the next fateful step toward his destiny.

By 1987, the British Transformers was at the peak of its powers. Alternating between US reprints showing the struggle for leadership within the Autobot and Decepticon forces and UK material dealing with the insane future Decepticon Galvatron's attempts to rule yesterday, what had started as a toy advert had become a sprawling space opera seared into the minds of an entire generation. Stuart Webb was one such reader, and in 2012 he began a journey looking through every single issue of the series, commenting on its highs and lows. He became the first person to look at every backup strip and editorial and how they worked together to create the most thorough exploration of a publishing phenomenon ever undertaken. It's also highly personal, full of humour and silliness and even the occasionally thoughtful moment. The final result is an essential read, not just for Transformers fans, but also for those interested in the history of Marvel UK and the impact this simple little comic had on an entire generation.

Television, Social Media, and Fan Culture examines how fans use social media to engage with television programming, characters, and narrative as well as how television uses social media to engage fan cultures. The contributors review the history and impact of social media and television programming; analyze specific programs and the impact of related social media interactions; and scrutinize the past fan culture to anticipate how social media programming will develop in the future. The contributors explore a diverse array of television personalities, shows, media outlets, and fan activities in their analysis, including: Jon Stewart, Stephen Colbert, and Paula Deen; Community, Game of Thrones, Duck Dynasty, Toddlers and Tiaras, Talking Dead, Breaking Bad, Firefly, Buffy the Vampire Slayer, Army Wives, The Newsroom, Doctor Who, Twin Peaks, and The Man from U.N.C.L.E.; as well as ESPN’s TrueHoop Network and Yahoo’s Ball Don’t Lie; and cosplay.

This carefully crafted ebook is formatted for your eReader with a functional and detailed table of contents. The sixth season of the fantasy drama television series Game of Thrones premiered on HBO on April 24, 2016, and concluded on June 26, 2016. It consists of ten episodes, each of approximately 50–60 minutes, largely of original content not found in George R. R. Martin's A Song of Ice and Fire series. Some material is adapted from the upcoming sixth novel The Winds of Winter and the fourth and fifth novels, A Feast for Crows and A Dance with Dragons. The series was adapted for television by David Benioff and D. B. Weiss. HBO ordered the season on April 8, 2014, together with the fifth season, which began filming in July 2015 primarily in Northern Ireland, Spain, Croatia, Iceland and Canada. Each episode cost over $10 million. This book has been derived from Wikipedia: it contains the entire text of the title Wikipedia article + the entire text of all the 593 related (linked) Wikipedia articles to the title article. This book does not contain illustrations. e-Pedia (an imprint of e-artnow) charges for the convenience service of formatting these e-books for your eReader. We donate a part of our net income after taxes to the Wikimedia Foundation from the sales of all books based on Wikipedia content.

This book explores how television series can be understood as a form of literature, bridging the gap between literary and television studies. It goes beyond existing adaptation studies and narratological approaches to television series in both its scope and depth. The respective chapters address literary works, themes, tropes, techniques, values, genres, and movements in relation to a broad variety of television series, while drawing on the theoretical work of a host of scholars from Simone de Beauvoir and Yuri Lotman to Ted Nannicelli and Jason Mittel, and on critical approaches ranging from narratology and semiotics to empirical sociology and phenomenology. The book fosters new ways of understanding television series and literature and lays the groundwork for future scholarship in a number of fields. By questioning the alleged divide between television series and works of literature, it contributes not only to a better understanding of television series and literary texts themselves, but also to the development of interdisciplinary scholarship in the humanities.

This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. At the Iliad's climax, the great Trojan hero Hektor falls at the hands of Achilles. But who is Hektor? He has resonated with audiences as a tragic hero, great warrior, loyal husband and father, protector of a doomed city. Yet never has a major work sought to discover how these different aspects of Hektor's character accumulate over the course of the narrative to create the devastating effect of his death. This book documents the experience of Hektor through the Iliad's serial narrative. Drawing on diverse tools from narratology, to cognitive science, but with a special focus on film character, television poetics, and performance practice, it examines how the mechanics of serial narrative construct the character of Hektor. How do we experience Hektor as the performer makes his way through the epic? How does the juxtaposition of scenes in multiple storylines contribute to character? How does the narrative work to manipulate our emotional response? How does our relationship to Hektor change over the course of the performance? Lynn Kozak demonstrates this novel approach through a careful scene-by-scene breakdown and analysis of the Iliad, focusing especially on Hektor. In doing so, she challenges and destabilises popular and scholarly assumptions about both ancient epic and the Iliad's 'other' hero.