When he launched Non Sequitur a decade ago, Wiley Miller knew he didn't want a running joke. So he took the name of his strip from the Latin phrase for "it does not follow" and created a comic that features no central character or theme, no setting or time frame, just a Twilight Zone of cartoon moments. Day after day, Non Sequitur hilariously jabs at the feats and foibles of life, skewering everyone from doctors to politicians. Wiley's irreverent, satirical wit, combined with his superbly crafted illustrations, confirms once and for all that the universe is one big joke at humanity's expense. In Wiley's world, no one is a better target than lawyers. That's why The Legal Lampoon, a collection of the cream of Non Sequitur's legal cartoon crop, will be one of the Wiley's most popular books. Consider the poor panhandler standing next to a signboard that reads, "Stood on principle. Won my lawsuit. Went bankrupt." Or the Master of Spin, responding to his client's lost appeal to the parole board: "Congratulations! You've been held over by popular demand . . ." Or a fund-raiser who can't get any donations until she edits her sign to read: "Donations to spay and neuter stray pets and lawyers." Throughout the pages of The Legal Lampoon, lawyers get a royal roasting. It's a hilarious collection that will appeal to everyone who both reviles and respects lawyers. Yes, it's true: Many lawyers let Wiley know how much they appreciate his attorney humor. It's a book made in legal heaven.

Libel and Lampoon shows how English satire and the law mutually shaped each other during the long eighteenth century. Following the lapse of prepublication licensing in 1695, the authorities quickly turned to the courts and newly repurposed libel laws in an attempt to regulate the press. In response, satirists and their booksellers devised a range of evasions. Writers increasingly capitalized on forms of verbal ambiguity, including irony, allegory, circumlocution, and indirection, while shifty printers and booksellers turned to a host of publication ruses that complicated the mechanics of both detection and prosecution. In effect, the elegant insults, comical periphrases, and booksellers' tricks that came to typify eighteenth-century satire were a way of writing and publishing born of legal necessity. Early on, these emergent satiric practices stymied the authorities and the courts. But they also led to new legislation and innovative courtroom procedures that targeted satire's most routine evasions. Especially important were a series of rulings that increased the legal liabilities of printers and booksellers and that expanded and refined doctrines for the courtroom interpretation of verbal ambiguity, irony, and allegory. By the mid-eighteenth century, satirists and their booksellers faced a range of newfound legal pressures. Rather than disappearing, however, personal and political satire began to migrate to dramatic mimicry and caricature-acoustic and visual forms that relied less on verbal ambiguity and were therefore not subject to either the provisions of preperformance dramatic licensing or the courtroom interpretive procedures that had earlier enabled the prosecution of printed satire.

Non Sequitur creator Wiley Miller truly broke the cartoon mold when he first published his strip in 1992. This hugely popular cartoon is chock-full of witty observations on life's idiosyncrasies. The name of the comic strip comes from the Latin translation of "it does not follow." Each strip or panel stands on its own individual merits. Strips do not follow in a sequence and are not related. Non Sequitur's characters are not central to the plot; the humor is. Before it was even a year old, Non Sequitur was named the Best Newspaper Comic Strip of the Year by the National Cartoonists Society. With an ever-expanding cult following, this quirky cartoon is set in no specific time period or place. It is a whimsical yet flippant look at everyday life.

Dead Lawyers and Other Please Thoughts is the first collection the best from Non Sequitur, the sharp, sly new syndicated comic strip that has addicted fans from coast to coast. Cartoonist Wiley's irreverent, satirical wit, combined with his superbly crafted illustrations, confirm once and for all the sneaking suspicion that the universe is one big joke at humanity's expense. Non Sequitur explores the absurd and the unexpected with outrageously funny sendups of everything from the plight of the homeless to the might of defense attorneys; Dead Lawyers continues that tradition by refusing to conform to the monotonous, row-upon-row layout of most comic strip collections. As Wiley himself says, "Humor knows no bounds, and neither do my cartoons."

Updated to reflect new developments through 2019, the tenth edition of The Law of Public Communication provides an overview of communication and media law that includes the most current legal developments. It explains the laws affecting the daily work of writers, broadcasters, PR practitioners, photographers, and other public communicators. By providing statutes and cases in an accessible manner, even to students studying law for the first time, the authors ensure that students will acquire a firm grasp of the legal issues affecting the media. This new edition features color photos, as well as breakout boxes that apply the book’s principles to daily life. The new case studies discussed often reflect new technologies and professional practices, including hot topics such as cyber bullying, drones, government surveillance, campaign financing, advertising, and digital libel. The Law of Public Communication is an ideal core textbook for undergraduate and graduate courses in communication law and mass media law. A downloadable test bank is available for instructors at www.routledge.com/9780367353094.

Since its Broadway debut, Hamilton: An American Musical has infused itself into the American experience: who shapes it, who owns it, who can rap it best. Lawyers and legal scholars, recognizing the way the musical speaks to some of our most complicated constitutional issues, have embraced Alexander Hamilton as the trendiest historical face in American civics. Hamilton and the Law offers a revealing look into the legal community's response to the musical, which continues to resonate in a country still deeply divided about the reach of the law. A star-powered cast of legal minds—from two former U.S. solicitors general to leading commentators on culture and society—contribute brief and engaging magazine-style articles to this lively book. Intellectual property scholars share their thoughts on Hamilton's inventive use of other sources, while family law scholars explore domestic violence. Critical race experts consider how Hamilton furthers our understanding of law and race, while authorities on the Second Amendment discuss the language of the Constitution's most contested passage. Legal scholars moonlighting as musicians discuss how the musical lifts history and law out of dusty archives and onto the public stage. This collection of minds, inspired by the phenomenon of the musical and the Constitutional Convention of 1787, urges us to heed Lin-Manuel Miranda and the Founding Fathers and to create something new, daring, and different.

Leonardo Cook, practicing psychiatrist, is experiencing a delicate emotional phase. His wife has left him for another man, his patients are boring and he's feeling somewhat guilty about his relationship with his girlfriend, a Starbucks employee half his age. And he may be on the verge of another nervous breakdown. When Leonardo is called upon by a friend to talk a tech genius out of making public a secret new innovation—and the tech genius ends up jumping out of the window—Leonardo's life takes flight on a roller-coaster of disaster. Making a darkly hilarious debut, Jonathan Canter gleefully builds a small Massachusetts town filled with the interrelated lives of fantastically neurotic characters—and at their center, poor, "lucky" Leonardo. Fast-paced and laugh-out-loud funny, Lucky Leonardo is not to be missed.