Jeffrey Dahmer. Ted Bundy. John Wayne Gacy. Over the past thirty years, serial killers have become iconic figures in America, the subject of made-for-TV movies and mass-market paperbacks alike. But why do we find such luridly transgressive and horrific individuals so fascinating? What compels us to look more closely at these figures when we really want to look away? Natural Born Celebrities considers how serial killers have become lionized in American culture and explores the consequences of their fame. David Schmid provides a historical account of how serial killers became famous and how that fame has been used in popular media and the corridors of the FBI alike. Ranging from H. H. Holmes, whose killing spree during the 1893 Chicago World's Fair inspired The Devil in the White City, right up to Aileen Wuornos, the lesbian prostitute whose vicious murder of seven men would serve as the basis for the hit film Monster, Schmid unveils a new understanding of serial killers by emphasizing both the social dimensions of their crimes and their susceptibility to multiple interpretations and uses. He also explores why serial killers have become endemic in popular culture, from their depiction in The Silence of the Lambs and The X-Files to their becoming the stuff of trading cards and even Web sites where you can buy their hair and nail clippings. Bringing his fascinating history right up to the present, Schmid ultimately argues that America needs the perversely familiar figure of the serial killer now more than ever to manage the fear posed by Osama bin Laden since September 11. "This is a persuasively argued, meticulously researched, and compelling examination of the media phenomenon of the 'celebrity criminal' in American culture. It is highly readable as well."—Joyce Carol Oates

A historical account of how serial killers have become famous in American culture looks at the consequences of their fame and examines how that fame has been used in both the popular media and law enforcement, profiling a variety of notorious murderers and their influence on popular culture, from 1893 killer H. H. Holmes to terrorist mastermind Osama bin Laden.

This original screenplay offers fans and film buffs the opportunity to compare Tarantino's original vision with Oliver Stone's version of the story of Mickey and Mallory, outlaw lovers on the run.

In a world where guardian angels are celebrities who save people for money, Maddy's life was transformed when she became the girlfriend of the hottest Angel around. But she never imagined that she'd become even more famous than Jackson. Unfortunately for Maddy, she's an irresistible PR opportunity - and soon her popularity soars higher than any Angel. Her relationship is cracking under the pressure. And as tension starts to mount between Angels and humans, she finds herself an ambassador for humankind. With Jackson at the helm of the Immortals, the two ex-lovers must become sworn enemies. It's Angels in one corner, humans on the other - until an evil force, greater than anything on Earth, forces them to stand united if they want to survive.

Beneath the bright lights and the looming Capitol Records building there lays a different Los Angeles than the one depicted in films and on television. On the streets of South Central disputes are settled over gun smoke and the greatest love comes from your homeys. Welcome to the “Set.” Ever since they were kids John and Kevin had always lived in their brothers Killa and Crip Van's shadows and when tragedy strikes their families they would have to walk a mile in their shoes. Almost over night they go from fun loving teenagers to soldiers on the front line of the war between red and blue. During their rise they learn the harsh reality of the lifestyle they've chosen as friends become enemies and lovers executioners. John and Kevin quickly learn that there was only one law in the jungle they had chosen to roam… Crip or Die!

True crime is crime fact that looks like crime fiction. It is one of the most popular genres of our pathological public sphere, and an integral part of our contemporary wound culture-a culture, or at least cult, of commiseration. If we cannot gather in the face of anything other than crime, violence, terror, trauma, and the wound, we can at least commiserate. That is, as novelist Chuck Palahniuk writes, we can at least "all [be] miserable together." The "murder leisure industry," its media, and its public: these modern styles of violence and intimacy, sociality and belief, are the subjects of True Crime: Observations on Violence and Modernity. True Crime draws on and makes available to American readers—and tests out—work on systems theory and media theory (for instance, the transformative work of Niklas Luhmann on social systems and of Friedrich Kittler on the media apriori—work yet to make its impact on the American scene). True Crime is at once a study of a minor genre that is a scale model of modern society and a critical introduction to these forms of social and media history and theory. With examples, factual and fictional, of the scene of the crime ranging from Poe to CSI, from the true crime writing of the popular Japanese author Haruki Murakami to versions of "the violence-media complex" in the work of the American novelist Patricia Highsmith and the Argentinian author Juan José Saer, True Crime is a penetrating look at modern violence and the modern media and the ties that bind them in contemporary life.

The battle to save the world is being joined by a powerful new group of warriors. Celebrities are lending their name to conservation causes, and conservation itself is growing its own stars to fight and speak for nature. In this timely and essential book, Dan Brockington argues that this alliance grows from the mutually supportive publicity celebrity and conservation causes provide for each other, and more fundamentally, that the flourishing of celebrity and charismatic conservation is part of an ever-closer intertwining of conservation and corporate capitalism. Celebrity promotions, the investments of rich executives, and the wealthy social networks of charismatic conservationists are producing more commodified and commercial conservation strategies; conservation becomes an ever more important means of generating profit. Celebrity and the Environment provides vital critical analysis of this new phenomena and argues that, ironically, there may be a hidden cost to celebrity power to individual's relationships with the wild. The author argues that whilst wildlife television documentaries flourish, there is a significant decline in visits to national parks in many countries around the world and this is evidence that t a time when conservationists are calling for us to restore our relationships with the wild, many people are doing so simply by following the exploits of celebrity conservationists.