Callum Ironstone didn't do guilt. Even so, the millionaire did feel responsible enough for struggling chef Miranda Owen to offer her a job. She could cater his holiday dinner party…an important affair where he planned to propose to the appropriate woman. Except somehow he'd ended up with Miranda in his bed. He tried to blame it on the mistletoe. But Callum knew Miranda's transformation from dowdy wallflower to sensual beauty had hit him right where it counted. Perhaps she could be made into the hostess his position demanded…provided Miranda forgave him for destroying her family.

Rebecca, a woman without a single relative, was raised with Fliss, another orphan, as sisters in the same foster family. They grew up together as close friends and started an event-planning company. Rebecca met Damon Asteriades, an important Greek businessman, at a wedding they were working and fell in love at first sight. But Damon believed the slander about her and, in the end, married Fliss… Four years later, Rebecca was raising a young boy when Damon showed up again…just as hateful as ever!

When her flaky sister abruptly backs out of their surrogacy agreement, Ella McLeod is left with a newborn she's in no position to care for. She'll have to give the baby up for adoption. Enter Yevgeny Volkovoy--her sister's bossy billionaire brother-in-law. Yevgeny won't let a Volkovoy be raised by strangers; he wants custody now. How can Ella be so cold as to deny him? Even worse--why does this woman warm his steely heart? He may be staking his claim on the baby, but Ella may stake a counterclaim on his bachelorhood.

Payback was the perfect present. Last year Trent Hightower walked away after a foiled one-night stand and had completely forgotten Paige McCauley. Now, she intended to seduce the untouchable CEO—and this time leave him wanting more. But Trent wasn't the man she thought he was. If he'd been with the sensual brunette, there would be no mistaking it. Yet his explosive secret was one he had to keep, even if it meant playing Paige's intoxicating game of seduction. A game he was determined to win.

The world saw Carlos Pena and Alexa Vega enjoying the success of their acting careers--Carlos on Nickelodeon's Big Time Rush and Alexa in the Spy Kids movies. But what they didn't see was the question both Carlos and Alexa were asking in the midst of all that fame and fortune: What's the point of it all anyway? Overflowing with both laughter and honest reflections, What If Love Is the Point? shares Carlos and Alexa PenaVegas' incredible story--from the red carpet, Spy Kids movies, and Big Time Rush to Dancing with the Stars to marriage and their greatest adventure, parenthood. Join them as they: Offer an inspiring window into how God builds young faith and strengthens it into lasting love Give insight into how to put God at the center of relationships, family, and career Explore why society's expectations never fulfill our true needs Share ideas for resisting the hustle of today's culture and finding true rest Carlos and Alexa believe that following Jesus was what they were made for--and they believe it's what you were made for too. If you find yourself asking, "Isn't there more to life than this?," lean in to their remarkable story of tender faith, God's persistent work, and learning why love is always the point of it all. Praise for What If Love Is the Point?: "This is more than a book. It's a story of freedom, hope, redemption, and love. Being in the public eye, I understand the struggles they faced (and continue to face), individually and as a couple. I recognize myself in a lot of the stories they share. What If Love Is the Point? helped me heal from life's wounds. It taught me that I'm not alone and I know this book will help so many others grow their faith and live out love. I didn't want it to end." —Sam Acho, author of Let the World See You, analyst at ESPN, and nine-year NFL linebacker

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.