Howard Hughes was an industrialist, aviator, and eccentric, but he was also the most important movie producer during the golden age of Hollywood. At a time when filmmaking was tightly controlled and highly formulaic, Hughes used his enormous wealth to challenge the dictates and restrictions that defined the motion picture industry. Tackling subjects that were explicitly forbidden, he pushed the boundaries of onscreen sex and violence. He pioneered production and marketing techniques that were revolutionary, including the multimillion-dollar blockbuster and the promotion of scandal. When Hughes became the first person to completely own a major Hollywood studio, he continued his maverick approach to filmmaking as a mogul. Most importantly, Hughes's role in the federal government's antitrust case against the industry led to the collapse of the entire studio system and the transformation of American cinema. Although his contributions are often overlooked, Hughes was instrumental in shaping the motion picture industry that exists today.

The host of the podcast You Must Remember This explores Hollywood’s golden age via the cinematic life of Howard Hughes and the women who encountered him. Howard Hughes’s reputation as a director and producer of films unusually defined by sex dovetails with his image as one of the most prolific womanizers of the twentieth century. The promoter of bombshell actresses such as Jean Harlow and Jane Russell, Hughes supposedly included among his off-screen conquests many of the most famous actresses of the era, among them Billie Dove, Katharine Hepburn, Ava Gardner, Ginger Rogers, and Lana Turner. Some of the women in Hughes’s life were or became stars and others would stall out at a variety of points within the Hollywood hierarchy, but all found their professional lives marked by Hughes’s presence. In Seduction, Karina Longworth draws upon her own unparalleled expertise and an unpreceded trove of archival sources, diaries, and documents to produce a landmark—and wonderfully effervescent and gossipy—work of Hollywood history. It’s the story of what it was like to be a woman in Hollywood during the industry’s golden age, through the tales of actresses involved with Howard Hughes. This was the era not only of the actresses Hughes sought to dominate, but male stars such as Errol Flynn, Cary Grant, and Robert Mitchum; directors such as John Ford, Howard Hawks, and Preston Sturges; and studio chiefs like Irving Thalberg, Darryl Zanuck, and David O. Selznick—many of whom were complicit in the bedroom and boardroom exploitation that stifled and disappointed so many of the women who came to Los Angeles with hopes of celluloid triumph. In his films, Howard Hughes commodified male desire more blatantly than any mainstream filmmaker of his time and in turn helped produce an incredibly influential, sexualized image of womanhood that has impacted American culture ever since. As a result, the story of him and the women he encountered is about not only the murkier shades of golden-age Hollywood, but also the ripples that still slither across today’s entertainment industry and our culture in general. Praise for Seduction “Guaranteed to engross anyone with any interest at all in Hollywood, in movies, in #MeToo and in the never-ending story of men with power and women without.” —New York Times Book Review “The stories Longworth uncovers—about Katharine Hepburn and Jane Russell, yes, but also Ida Lupino and Faith Domergue and Anita Loos—are so rich, so compelling, that they urge you to question how much else in history has been lost within the swirling vortex of Great Men.” —Atlantic “A compelling and relevant must-read.” —Entertainment Weekly

This book offers fresh insights into the central role of journalism in shaping popular memories of community heroism in times of crisis. Further, it challenges familiar assumptions about Hollywood celebrity reporting and shows journalists’ active role in connecting popular culture icons with local communities. This book showcases fresh insights into how audiences collaborated and contributed to these widespread stories. The chapters included show how His Girl Friday, a Hollywood classic about tabloid newsroom stars, became a must-see movie for journalists, inspiring hundreds to choose the profession. Other appearances include Peter Fleming (James Bond creator Ian Fleming’s brother) and Norman Rockwell who helped create heroic characters in the news that became global symbols of community leadership. This offers a look at digital news activists who recreated heroic icons in social media to champion human rights in the Middle East. The historical and contemporary case studies offer insights into larger news trends that have contributed to the enduring popularity of these diverse, heroic identities in journalism. Presenting unique views of community, collaborative and interactive journalism, this book will be a valuable resource to students and scholars of journalism, communication, media and political history, as well as professionals already operating within the field of journalism.

Howard Hughes was one of the most amazing, intriguing, and controversial figures of the twentieth century. He was the billionaire head of a giant corporation, a genius inventor, an ace pilot, a matinee-idol-handsome playboy, a major movie maker who bedded a long list of Hollywood glamour queens, a sexual sultan with a harem of teenage consorts, a political insider with intimate ties to Watergate, a Las Vegas kingpin, and ultimately a bizarre recluse whose final years and shocking death were cloaked in macabre mystery. Now he is the subject of Martin Scorsese's biopic The Aviator. Few people have been able to penetrate the wall of secrecy that enshrouded this complex man. In this fascinating, revelation-packed biography, the full story of one of the most daring, enigmatic, and reclusive power brokers America has ever known is finally told.

Ava Gardner was one of the most glamorous and famous stars in Hollywood in the 1940s and 1950s. Her list of films includes The Killers, Showboat and Mogambo, for which she was nominated for an Academy Award for best actress, and her co-stars included Clark Gable, Gregory Peck, Burt Lancaster, Humphrey Bogart, Charlton Heston, and Richard Burton - the A-list of male Hollywood stars. Married three times - to Mickey Rooney, Artie Shaw, and Frank Sinatra - the first two lasted only about a year each whilst her marriage to Sinatra lasted several. She had a long-running affair with Howard Hughes, and a briefer one with George C. Scott, among others. In Ava Gardner, she has much to say about her husbands and lovers, and some of her co-stars,all of whom get Gardner's unflinchingly honest treatment. Ava Gardner is irresistibly candid and surprising. She began the book because, as she told Evans, 'it's either write the book or sell the jewels and I'm kinda fond of the jewels.' At the time of their collaboration Gardner was living in London, where she had lived for decades, smoking and drinking heavily. Having suffered a stroke that damaged the left side of her face and her left arm she had trouble sleeping and was often depressed - the glamorous wardrobes replaced by grey. Her story could itself have been depressing except for her wit and wickedness, which are on full display in this book. This book tells the story of her life as she wanted to tell it. Ava Gardner is the autobiography that Ava Gardner began with writer Peter Evans in 1988. She never finished it and decided against publishing it because of its frankness. She later collaborated on a tamer autobiography, which was published at her death in 1990. After Gardner's death, her estate authorised the book to be published much as she and Evans had originally conceived it.

An intriguing look at how the American film industry imposed the rating system upon itself to control competition from films independently produced and distributed.

An incredible true tale of espionage and engineering set at the height of the Cold War--a mix between The Hunt for Red October and Argo--about how the CIA, the U.S. Navy, and America's most eccentric mogul spent six years and nearly a billion dollars to steal the nuclear-armed Soviet submarine K-129 after it had sunk to the bottom of the Pacific Ocean; all while the Russians were watching. In the early hours of February 25, 1968, a Russian submarine armed with three nuclear ballistic missiles set sail from its base in Siberia on a routine combat patrol to Hawaii. Then it vanished. As the Soviet Navy searched in vain for the lost vessel, a small, highly classified American operation using sophisticated deep-sea spy equipment found it--wrecked on the sea floor at a depth of 16,800 feet, far beyond the capabilities of any salvage that existed. But the potential intelligence assets onboard the ship--the nuclear warheads, battle orders, and cryptological machines--justified going to extreme lengths to find a way to raise the submarine. So began Project Azorian, a top secret mission that took six years, cost an estimated $800 million, and would become the largest and most daring covert operation in CIA history. After the U.S. Navy declared retrieving the sub "impossible," the mission fell to the CIA's burgeoning Directorate of Science and Technology, the little-known division responsible for the legendary U-2 and SR-71 Blackbird spy planes. Working with Global Marine Systems, the country's foremost maker of exotic, deep-sea drilling vessels, the CIA commissioned the most expensive ship ever built and told the world that it belonged to the reclusive billionaire Howard Hughes, who would use the mammoth ship to mine rare minerals from the ocean floor. In reality, a complex network of spies, scientists, and politicians attempted a project even crazier than Hughes's reputation: raising the sub directly under the watchful eyes of the Russians.