ABOUT THIS EPISODEA murdered night club mogul unlocks a web of infidelity and deceit. The most likely suspect? The daughter of the richest family in Baltimore, if only Detectives Malcolm Khalaji and Seong-Jae Yoon can piece the evidence together. The clues just aren't lining up--but Malcolm can't tell if he's missing a piece of the puzzle or completely missing the mark. The McAllister case still haunts him. So many dead. So many he couldn't save. It's throwing him off his game.And the only one who really understands is his strange, coldly aloof partner.A partner he can never see the same way, after a moment of intimacy that haunts him as much as the voices of the dead.Seong-Jae Yoon is struggling in his own way. He can't solve the case when he can't trust Malcolm, and he can't trust Malcolm when the grizzled old wolf is growing increasingly erratic, increasingly dangerous. What disturbs Seong-Jae is how much he needs to trust Malcolm. He doesn't get that close. He doesn't get that involved.But he may have no choice, if they want to stop a powerful killer from slipping away.ABOUT THE SERIESBaltimore homicide detective Malcolm Khalaji has his own way of doing things: quiet, methodical, logical, effective, not always particularly legal. He's used to working alone--and the last thing he needs is a new partner ten years his junior.Especially one like Seong-Jae Yoon.Icy. Willful. Detached. Stubborn. Seong-Jae is all that and more, impossible to work with and headstrong enough to get them both killed...if they don't kill each other first. Foxlike and sullen, Seong-Jae's disdainful beauty conceals a smoldering and ferocious temper, and as he and Malcolm clash the sparks between them build until neither can tell the difference between loathing and desire.But as bodies pile up at their feet a string of strange, seemingly unrelated murders takes a bizarre turn, leading them deeper and deeper into Baltimore's criminal underworld. Every death carries a dangerous message, another in a trail of breadcrumbs that can only end in blood.Malcolm and Seong-Jae must combine their wits against an unseen killer and trace the unsettling murders to their source. Together, they'll descend the darkest pathways of a twisted mind--and discover just how deep the rabbit hole goes. And if they can't learn to trust each other?Neither will make it out alive.

Groundbreaking! Does for TV shows what Leonard Maltin’s guides do for movies! Forget movies! Sales of TV DVDs are outpacing all other categories, according to Video Store magazine. The Simpsons, 24, Lost, Desperate Housewives, Alias, even old chestnuts like Columbo and Home Improvement are blowing out of the stores as fans and collectors rush to buy their favorite shows, compact and complete. How do buyers know which shows are the best, which season contains that favorite moment, which episode features that guest star? They don’t—not without their trusty copy of 5,000 Episodes No Commercials which gives full information on every sitcom and drama released on DVD, whether in season-by-season sets, individual episodes, best-of compilations, specials, or made-for-TV movies. Almost 500 pages of listings include year of original airing, information on audio and video quality, extras, Easter eggs, and more. Every couch potato is sure to heave up off the sofa just long enough to buy 5,000 Episodes No Commercials!

The police drama has been one of the longest running and most popular genres in American television. In TV Cops, Jonathan Nichols-Pethick argues that, perhaps more than any other genre, the police series in all its manifestations—from Hill Street Blues to Miami Vice to The Wire—embodies the full range of the cultural dynamics of television. Exploring the textual, industrial, and social contexts of police shows on American television, this book demonstrates how polices drama play a vital role in the way we understand and engage issues of social order that most of us otherwise experience only in such abstractions as laws and crime statistics. And given the current diffusion and popularity of the form, we might ask a number of questions that deserve serious critical attention: Under what circumstances have stories about the police proliferated in popular culture? What function do these stories serve for both the television industry and its audiences? Why have these stories become so commercially viable for the television industry in particular? How do stories about the police help us understand current social and political debates about crime, about the communities we live in, and about our identities as citizens?