Danny Danny Quadrilogy 1

A wryly humourous, often hilarious warts-and-all account of a jaded urbanite who downshifts to the Orkney Isles in search of Utopia only to discover that the grass, while certainly abundant, is not greener..

Die Schwarze Engel - the mythical black angel of death, of evil, of sorrow. Or of something darker than all three... Danny has been missing for six years when one night, drunk and confused, Stephen thinks he sees him reflected in a bar mirror, like an apparition from the past. But surely he has imagined it? Danny haloed and burning above him like an avenging angel; Danny rescuing him from a midnight street in a sinister, dark car; Danny smelling of lemon and dressed all in black silk, as sharp and caustic as Lucifer himself. Those drunken visions can't be true, can they? But Rab believes they must be, Stephen fears they might be and Conley knows they are. Danny is back, and now there is one overriding question burning in all their minds: what has he been doing during those mysterious missing years - and with who? Vulnerable, lost, and deep in mourning, Danny is ripe for the picking. But that shadowy other is ever-present, like an unspoken third, a revenant determined to be at the party, ruining their fun. Is the 'Schwarze Engel' real, or just a figment of their collective imaginations? And, more importantly, can anyone finally set Danny free of it?.

The Jackson Moores have been tilling the land of Hope House Farm on the West Coast of Cumbria for many generations, but they have been harbouring a dangerous history of dark and sinister secrets for far longer: cancerous secrets, that have slowly eaten away at their family, their sanity and their very existence. Nemesis comes in the shape of P.C. James Henderson, when he first spies Danny - youngest son of the family - on his way to commit a crime - or at least to conceal one. This pivotal moment sets Henderson on a doomed road of infatuation and addiction, ending in ruin and, ultimately, death. For Danny is no ordinary boy and he belongs to no ordinary family. Until now, the Jackson Moores have managed to keep their skeletons firmly inside the closet, but when Henderson unwittingly uncovers their twisted House of Usher, the whole rotten construct starts to sink into the mire, dragging everyone with it in a spectacular display of ruthless revenge..

Part 1 of the Partwork Edition of the DANNY Quadrilogy The Jackson Moores have been tilling the land of Hope House Farm on the West Coast of Cumbria for many generations, but they have been harbouring a dangerous history of dark and sinister secrets for far longer: cancerous secrets, that have slowly eaten away at their family, their sanity and their very existence. Nemesis comes in the shape of P.C. James Henderson, when he first spies Danny - youngest son of the family - on his way to commit a crime - or at least to conceal one. This pivotal moment sets Henderson on a doomed road of infatuation and addiction, ending in ruin and, ultimately, death. For Danny is no ordinary boy and he belongs to no ordinary family. Until now, the Jackson Moores have managed to keep their skeletons firmly inside the closet, but when Henderson unwittingly uncovers their twisted House of Usher, the whole rotten construct starts to sink into the mire, dragging everyone with it in a spectacular display of ruthless revenge..

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Provides lists of selling prices of items found on eBay in such categories as antiques, boats, books, cameras, coins, collectibles, dolls, DVDs, real estate, stamps, tickets, and video games..

Ellen Ripley of the Alien Quadrilogy has become an iconic female figure in the male dominated genre of science fiction/action/horror since her first appearance in 1979. This collection offers readers varied interpretations of Ripley that are grounded in the social context and theoretical perspectives that were dominant prior to and during the time the films were released. Specifically, the rise of Second Wave Feminism—and the backlash against it—provides a backdrop for this collection. Is Ripley a feminist hero? A patriarchal woman and mother? Does she embody de Beavoir’s “myth of the feminine”? Does she exhibit sexual agency? Does she offer us a glimpse of individual autonomy that moves away from dichotomous gender roles? These are the primary questions explored in this collection. While the focus is clearly on Ripley, the arguments go beyond the confines of the films by examining the relationship between the individual and society in which both are product and producer of the other, and illustrate that social artifacts such as film can provide insights into the lived experiences of our world. The contributors come from a variety of backgrounds including Literature, Cinema Studies, Gender and Women’s Studies, Philosophy, Sociology, Theatre History, and reside in Canada and the United States. They represent a range from junior to senior scholars. While science fiction is clearly an interest of all these individuals, it is not the primary area of research for most of them. By bringing voices from multiple disciplines into the discussion about Ripley, this collection offers readers perspectives that deviate from and yet complement the current trend in film criticism and, thus, contributes to opening up discussions about such characters and the genre to a wider audience..

In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends..

A provocative feminist analysis of the moral panics of sexuality, this interdisciplinary edited collection showcases the range of historical and contemporary crises we too often suppress, including vagina dentata, vampires, cannibalism, age appropriateness, breast cancer, menstrual panics, and sex education..

His films are cult classics: Beetlejuice, Edward Scissorhands, The Nightmare before Christmas, Alice in Wonderland. Less well known, but no less relevant, is the artwork that Tim Burton creates outside of Hollywood. His drawings and paintings, poems and short stories delight his fans just as much as his adventures on the silver screen. In the spirit of Surrealism, Burton playfully blends elements from popular culture--cartoons, comic books and B-movies, as well as gothic culture. This catalogue affords fascinating insight into the bizarre, magical imagination of this exceptional multimedia artist. And like the title of his new film, these pictures leave the viewer in amazement, inspired, with Big Eyes. American director, producer, photographer, and author Tim Burton (born 1958) is known for his dark, gothic films about quirky outsiders, which have been nominated for and won several Academy Awards. They include Pee-Wee's Big Adventure (1985), Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Batman Returns (1992), Ed Wood (1994), Sleepy Hollow (1999), Charlie and the Chocolate Factory and Corpse Bride (both 2005), Sweeney Todd: The Demon Barber of Fleet Street (2007), Alice in Wonderland, (2010) Frankenweenie (2012) and Big Eyes (2014). Burton has collaborated extensively with actors Johnny Depp and Helena Bonham Carter..

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