A compulsively readable journey into the area of film-making where all writers, directors and stars fear to tread: Development Hell, the place where scripts are written, actors hired and sets designed... but the films rarely actually get made! Whatever happened to Batman versus Superman? Why have there been so many scripts written over the years for Steven Spielberg and George Lucas's still in development Indiana Jones 4? Why was Lara Croft's journey to the big screen so tortuous, and what prevented Paul Verhoeven from filming what he calls "one of the greatest scripts ever written"? Why did Ridley Scott's Crisis in the Hot Zone collapse days away from filming, and were the Beatles really set to star in Lord of the Rings? All these lost projects, and more, are covered in this major new book, which features many exclusive new interviews with the writers and directors involved.

The hilarious New York Times bestseller “sharply observes the lives of globe-trotting, overindulging investment bankers” (Entertainment Weekly). “Some chick asked me what I would do with 10 million bucks. I told her I’d wonder where the rest of my money went.” —@GSElevator For three years, the notorious @GSElevator Twitter feed offered a hilarious, shamelessly voyeuristic look into the real world of international finance. Hundreds of thousands followed the account, Goldman Sachs launched an internal investigation, and when the true identity of the man behind it all was revealed, it created a national media sensation—but that’s only part of the story. Where @GSElevator captured the essence of the banking elite with curated jokes and submissions overheard by readers, Straight to Hell adds John LeFevre’s own story—an unapologetic and darkly funny account of a career as a globe-conquering investment banker spanning New York, London, and Hong Kong. Straight to Hell pulls back the curtain on a world that is both hated and envied, taking readers from the trading floors and roadshows to private planes and after-hours overindulgence. Full of shocking lawlessness, boyish antics, and win-at-all-costs schemes, this is the definitive take on the deviant, dysfunctional, and absolutely excessive world of finance. “Shocking and sordid—and so much fun.” —Daily News (New York) “LeFevre’s workplace anecdotes include tales of nastiness, sabotage, favoritism, sexism, racism, expense-account padding, and legally questionable collusion.” —The New Yorker

From the author of the celebrated classic Louder Than Hell comes an oral history of the badass Heavy Metal lifestyle—the debauchery, demolition, and headbanging dedication—featuring metalhead musicians from Black Sabbath and Judas Priest to Twisted Sister and Quiet Riot to Disturbed, Megadeth, Throwdown and more. In his song “You Can’t Kill Rock and Roll” Ozzy Osbourne sings, “Rock and roll is my religion and my law.” This is the mantra of the metal legends who populate Raising Hell—artists from Black Sabbath, Judas Priest, Slipknot, Slayer, and Lamb of God to Twisted Sister, Quiet Riot, Disturbed, Megadeth, and many more! It’s also the guiding principle for underground voices like Misery Index, Gorgoroth, Municipal Waste, and Throwdown. Through the decades, the metal scene has been populated by colorful individuals who have thwarted convention and lived by their own rules. For many, vice has been virtue, and the opportunity to record albums and tour has been an invitation to push boundaries and blow the lid off a Pandora’s box of riotous experiences: thievery, vandalism, hedonism, the occult, stage mishaps, mosh pit atrocities, and general insanity. To the figures in this book, metal is a means of banding together to stick a big middle finger to a society that had already decided they didn’t belong. Whether they were oddballs who didn’t fit in or angry kids from troubled backgrounds, metal gave them a sense of identity. Drawing from 150-plus first-hand interviews with vocalists, guitarists, bassists, keyboardists, and drummers, music journalist Jon Wiederhorn offers this collection of wild shenanigans from metal’s heaviest and most iconic acts—the parties, the tours, the mosh pits, the rage, the joy, the sex, the drugs . . . the heavy metal life! Horns up!

Life out at the edges can be rough, scary and at times dangerous. Campfire Tales From Hell is a collection of essays from people who have been there, done that -- some of whom had to fight for their title of 'survivor.' Some are professionals, calmly going to work knowing a bad day means someone dies -- and that 'someone' could be them. Others came through by being smarter, more aware, better trained or just having it more together than the other 'team.' Some of the authors looked into the abyss and spit in its eye when it looked back. Still others were normal people thrown into extraordinary circumstances.Campfire Tales is not a collection of macho stories. It's a primer for what you'll need to know to make it out there, on the edge. It's what to remember when you're dealing with dangerous people and difficult situations. It's what attitudes, knowledge and perspectives you'll need to get through. It's 'what I wish someone had told me when I started.' It's how Hollywood and fiction can -- and will -- get you killed or thrown into prison. It's what you need to know to fill the holes in your self-defense or defensive tactics training. In a different direction, writers can learn from the people who actually do what they're writing about. But most of all, Campfire Tales From Hell is a collection of stories and wisdom that tells you, 'you too can get through.'

A cult phenomenon among those who work in graphic, print and web design - and those lucky enough to have discovered the namesake blog - Clients From Hell has been bringing readers to tears with its unbelievable and always hilarious anecdotes from the twenty and thirty-somethings on the frontlines of design.In print for the first time, this collection brings together the same type of original stories that make the blog a hit and exposes the designer's trade for what it really is: new, misunderstood and often unappreciated. Read the quotes, bizarre requests and elaborate communication failures that are all part of the daily life of working with clients.With anonymous submissions from over a thousand creative freelancers, Clients From Hell sheds an insider's perspective on difficult - and all-too-often irrational and insane - interactions with clients.Anyone who has ever worked with clients may find these tales frighteningly familiar. New designers may think twice about their chosen profession - or at least find relief in the fact that they're not alone in absurd client interactions. And non-designers? Well, they'll just feel grateful - while they laugh and discover the new and uncharted territory of miscommunication.

Most people who have had a roommate admit that it's no Melrose Place. This third book in the popular from hell series is filled with more than 100 absolutely true encounters with deranged roommates, ranging from the unsympathetic and inflexible to the just plain mean and cheap.

“[Ballingrud's] evocative and strangely beautiful.”—Publishers Weekly (starred review) “Nathan Ballingrud is one of my favorite contemporary authors and any time he’s got a new book out I run to the front of the line. His work is elegant and troublingly, wonderfully disturbing.”—Victor LaValle, award–winning author of The Changeling “Nathan Ballingrud's brilliant fiction brims with imagination, integrity (I do not use that term lightly), and an authentic world-weary dread that bores directly into your heart. With Wounds you'll gladly follow Nathan to Hell and (maybe) back.”—Paul Tremblay, award-winning author of The Cabin at the End of the World and A Head Full of Ghosts “Nathan Ballingrud is one of my favorite short fiction writers.” —Jeff VanderMeer, New York Times bestselling author of Annihilation and Borne “Stretch[es] the boundaries of the genre by employing these grand, horrific worlds. “The Butcher’s Table” reminds me of the first time I read Clive Barker’s “In the Hills, the Cities.” It’s horrifying, but there’s beauty.” —The New York Times “In only two slender collections, Nathan Ballingrud has emerged as one of the field’s most accomplished short story writers.” —The Washington Post “Ballingrud’s work isn’t like any other.”—Cory Doctorow, Boing Boing “One of the most disquieting and memorable short story collections to come out this year.”—The New York Review of Books “Wounds: Six Stories from the Border of Hell is without a doubt one of the best, most accomplished horror collections in recent memory.”—Hellnotes “Wounds will no doubt be remembered as one of the most disquieting and memorable short story collections to come out this year.”—New York Journal of Books “There’s enough nightmare fuel here to inspire weeks of insomnia — all told with an even hand with a penchant for precise storytelling. How else do you chart the furthest reaches of the uncanny?”—Tobias Carroll, Vol. 1 Brooklyn A gripping collection of six stories of terror—including the novella “The Visible Filth,” the basis for the upcoming major motion picture—by Shirley Jackson Award–winning author Nathan Ballingrud, hailed as a major new voice by Jeff VanderMeer, Paul Tremblay, and Carmen Maria Machado—“one of the most heavyweight horror authors out there” (The Verge). In his first collection, North American Lake Monsters, Nathan Ballingrud carved out a distinctly singular place in American fiction with his “piercing and merciless” (Toronto Globe and Mail) portrayals of the monsters that haunt our lives—both real and imagined: “What Nathan Ballingrud does in North American Lake Monsters is to reinvigorate the horror tradition” (Los Angeles Review of Books). Now, in Wounds, Ballingrud follows up with an even more confounding, strange, and utterly entrancing collection of six stories, including one new novella. From the eerie dread descending upon a New Orleans dive bartender after a cell phone is left behind in a rollicking bar fight in “The Visible Filth” to the search for the map of hell in “The Butcher’s Table,” Ballingrud’s beautifully crafted stories are riveting in their quietly terrifying depictions of the murky line between the known and the unknown.