An omnibus edition of The Plutonium Blonde and The Doomsday Brunette Double your pleasure, double the laughs with this omnibus edition featuring Zachary Nixon Johnson, the last freelance PI on Earth. It's 2057, and Zach is partnered with an experimental A.I. named HARV. In what is both an homage to and parody of the great heyday of pulp fiction, they solve cases involving androids, future tech wizards, and of course, the occasional nuclear-powered, genocidal fembot...

With its focus on dangerous, determined femmes fatales, hardboiled detectives, and crimes that almost-but-never-quite succeed, film noir has long been popular with moviegoers and film critics alike. Film noir was a staple of classical Hollywood filmmaking during the years 1941-1958 and has enjoyed a resurgence in popularity since the 1990s. Dames in the Driver's Seat offers new views of both classical-era and contemporary noirs through the lenses of gender, class, and race. Jans Wager analyzes how changes in film noir's representation of women's and men's roles, class status, and racial identities mirror changes in a culture that is now often referred to as postmodern and postfeminist. Following introductory chapters that establish the theoretical basis of her arguments, Wager engages in close readings of the classic noirs The Killers, Out of the Past, and Kiss Me Deadly and the contemporary noirs L. A. Confidential, Mulholland Falls, Fight Club, Twilight, Fargo, and Jackie Brown. Wager divides recent films into retro-noirs (made in the present, but set in the 1940s and 1950s) and neo-noirs (made and set in the present but referring to classic noir narratively or stylistically). Going beyond previous studies of noir, her perceptive readings of these films reveal that retro-noirs fulfill a reactionary social function, looking back nostalgically to outdated gender roles and racial relations, while neo-noirs often offer more revisionary representations of women, though not necessarily of people of color.

Collects Batman comics including "Batman: Mad Love" which chronicles the history of the Joker's minion Harleen Quinzel, from their initial meeting in Arkham Asylum where she is a psychology intern to her rebirth as Harley.

When a French secret service operative is murdered on a lonely Alpine highway, a womanizing CIA agent must find the killer and terminate with Extreme Prejudice. Back in the states, the same agent discovers 'The only good red' Three years after a bank robbery goes bad, a convict on the verge of parole learns that his partner's wife really knows how to set up a 'Con job.' When an attractive young woman borrows money for a new car, it's the loan manager who learns never to trust the 'First blonde on the left.' After an account executive visits a fortune teller, he discovers there's 'A price to pay.' When two ex-cons try to return an unwanted engagement ring, they find themselves stuck between the 'Rock and a hard place.' A husband, a wife, and a hired killer soon learn that 'Three's a shroud.' They do bad things. For Love. For Money. For Fun. They're 'Bad girls.'

Both film noir and the Weimar street film hold a continuing fascination for film spectators and film theorists alike. The female characters, especially the alluring femmes fatales, remain a focus for critical and popular attention. In the tradition of such attention, Dangerous Dames focuses on the femme fatale and her antithesis, the femme attrapée. Unlike most theorists, Jans Wager examines these archetypes from the perspective of the female spectator and rejects the persistence of vision that allows a reading of these female characters only as representations of unstable postwar masculinity. Professor Wager suggests that the woman in the audience has always seen and understood these characters as representations of a complex aspect of her existence. Dangerous Dames looks at the Weimar street films The Street, Variety, Asphalt, and M and the film noir movies The Maltese Falcon, Gun Crazy, and The Big Heat. This book opens the doors to spectators and theorists alike, suggesting cinematic pleasures outside the bounds of accepted readings and beyond the narrow categorization of film noir and the Weimar street film as masculine forms.

Fortune hunter Billy Newman is not a man of great strength or physical courage. Like a young Johnny Depp, he gets by on his wit, wiles and good looks. And he’s had quite a good run—striking gold in the Philippines and buying his very own island in the South Seas. . . . But there’s trouble in paradise, and Billy’s in the thick of it. The island’s crops are failing. The island’s people are dying. And the island’s owner—Billy—is taking the heat. Why? Because he’s angered the 75-foot-tall big-boss god of the island. 75-foot tall? To Billy it’s a laughable superstition—until he finds out just how serious the islanders are. They’re out to sacrifice a beautiful young woman to the supposed god. The only way Billy can save her is to humor the locals and pretend to take the spirit on. But the joke may be on Billy…as he has to screw up some very real courage to face the very real Danger in the Dark. Hubbard lived on Guam in 1927, while his father was assigned to the US naval station there. In his journals he describes a local superstition: “the great cheese ghost” named Tadamona. He wrote that the devil had the shape of a man, attained the height of coconut trees and was the cause behind all sickness and disease. To dispel the superstition, Ron descended into Tadamona’s supposed abode, a great underground stream—an encounter reflected in Danger in the Dark. Includes the fantasy adventures The Room, in which Uncle Toby goes to his room, never to return, leaving it to his nephew to explore the magic and mystery of the place, and He Didn’t Like Cats, the story of one man’s feline phobia and the hauntingly high price he pays for it.