Will truth out? Set over one evening, Rathmines Road by Deirdre Kinahan is a play that rages in a tiny room. Fraught, funny and ferocious, it testifies to the pain of carrying the memory of sexual assault throughout a lifetime. A play about secret trauma and public revelation, Rathmines Road bristles with tension and interrogates catharsis to ask: when and how do we take responsibility? The play premiered at the Abbey Theatre as part of the Dublin Theatre Festival 2018, previewing at the Civic Theatre, Tallaght, in a co-production between Fishamble and the Abbey Theatre.

A New York Times Notable Book and Hugo and Nebula Award Finalist: This epic chronicle of ten immortals over the course of history “succeeds admirably” (The New York Times). The immortals are ten individuals born in antiquity from various cultures. Immune to disease, able to heal themselves from injuries, they will never die of old age—although they can fall victim to catastrophic wounds. They have walked among mortals for millennia, traveling across the world, trying to understand their special gifts while searching for one another in the hope of finding some meaning in a life that may go on forever. Following their individual stories over the course of human history and beyond into a richly imagined future, “one of science fiction’s most revered writers” (USA Today) weaves a broad tapestry that is “ambitious in scope, meticulous in detail, polished in style” (Library Journal).

Since the beginning of television, Westerns have been playing on the small screen. From the mid-1950s until the early 1960s, they were one of TV's most popular genres, with millions of viewers tuning in to such popular shows as Rawhide, Gunsmoke, and Disney's Davy Crockett. Though the cultural revolution of the later 1960s contributed to the demise of traditional Western programs, the Western never actually disappeared from TV. Instead, it took on new forms, such as the highly popular Lonesome Dove and Deadwood, while exploring the lives of characters who never before had a starring role, including anti-heroes, mountain men, farmers, Native and African Americans, Latinos, and women. Shooting Stars of the Small Screen is a comprehensive encyclopedia of more than 450 actors who received star billing or played a recurring character role in a TV Western series or a made-for-TV Western movie or miniseries from the late 1940s up to 2008. Douglas Brode covers the highlights of each actor's career, including Western movie work, if significant, to give a full sense of the actor's screen persona(s). Within the entries are discussions of scores of popular Western TV shows that explore how these programs both reflected and impacted the social world in which they aired. Brode opens the encyclopedia with a fascinating history of the TV Western that traces its roots in B Western movies, while also showing how TV Westerns developed their own unique storytelling conventions.

Tra-la-laaa! Dav Pilkey -- ahem -- we mean, George and Harold, the authors of SUPER DIAPER BABY, are back with their second epic novel! Meet Ook and Gluk, the stars of this sensationally silly graphic novel from the creators of Captain Underpants! It's 500,001 BC, and Ook and Gluk's hometown of Caveland, Ohio, is under attack by an evil corporation from the future. When Ook, Gluk, and their little dinosaur pal Lily are pulled through a time portal to 2222, they discover a future world that's even more devastated than their own. Luckily, they find a friend in Master Wong, a martial arts instructor who trains them in the ways of kung fu. Now all they have to do is travel back in time 502,223 years and save the day!

British culture is strewn with names that strike a chord the world over such as Shakespeare, Churchill, Dickens, Pinter, Lennon and McCartney. This book examines the people, history and movements that have shaped Britain as it now is, providing key information in easily digested chunks.

From King Kong to Candyman, the boundary-pushing genre of the horror film has always been a site for provocative explorations of race in American popular culture. In Horror Noire: Blacks in American Horror Films from 1890's to Present, Robin R. Means Coleman traces the history of notable characterizations of blackness in horror cinema, and examines key levels of black participation on screen and behind the camera. She argues that horror offers a representational space for black people to challenge the more negative, or racist, images seen in other media outlets, and to portray greater diversity within the concept of blackness itself. Horror Noire presents a unique social history of blacks in America through changing images in horror films. Throughout the text, the reader is encouraged to unpack the genre’s racialized imagery, as well as the narratives that make up popular culture’s commentary on race. Offering a comprehensive chronological survey of the genre, this book addresses a full range of black horror films, including mainstream Hollywood fare, as well as art-house films, Blaxploitation films, direct-to-DVD films, and the emerging U.S./hip-hop culture-inspired Nigerian "Nollywood" Black horror films. Horror Noire is, thus, essential reading for anyone seeking to understand how fears and anxieties about race and race relations are made manifest, and often challenged, on the silver screen.

Explores the proliferation of true crime audiovisual texts across multiple media platforms. Justice on Demand: True Crime in the Digital Streaming Eraoffers a theoretical rumination on the question asked in countless blogs and opinion pieces of the last decade: Why are we so obsessed with true crime? Author Tanya Horeck takes this question further: Why is true crime thought to be such a good vehicle for the new modes of viewer/listener engagement favored by online streaming and consumption in the twenty-first century? Examining a range of audiovisual true crime texts, from podcasts such as Serialand My Favorite Murderto long-form crime documentaries such as The Jinxand Making a Murderer,Horeck considers the extent to which the true crime genre has come to epitomize participatory media culture where the listener/viewer acts as a "desktop detective" or "internet sleuth." While Facebook and Twitter have re-invigorated the notion of the armchair detective, Horeck questions the rhetoric of interactivity surrounding true crime formats and points to the precarity of justice in the social media era. In a cultural moment in which user-generated videos of real-life violence surface with an alarming frequency, Justice on Demandaddresses what is at stake in the cultural investment in true crime as packaged mainstream entertainment. Paying close attention to the gendered and racialized dimensions of true crime media, Horeck examines objects that are not commonly considered "true crime," including the subgenre of closed-circuit television (CCTV) elevator assault videos and the popularity of trailers for true crime documentaries on YouTube. By analyzing a range of intriguing case studies, Horeck explores how the audience is affectively imagined, addressed, and commodified by contemporary true crime in an "on demand" mediascape. As a fresh investigation of how contemporary variations of true crime raise significant ethical questions regarding what it means to watch, listen, and "witness" in a digital era of accessibility, immediacy, and instantaneity, Justice on Demandwill be of interest to film, media, and digital studies scholars.