Inside Trek is an unauthorized, behind-the-scenes look at the making of televisionOs most beloved series, filled with never-before-told stories about the actors, the writers, and everyone else who made Trek what it is--most importantly, Star Trek creator Gene Roddenberry. For over seventeen years, Susan Sackett was RoddenberryOs executive assistantDand secret lover. She has an insiderOs view with Trek secrets you've never heard before.

In The Player, the Hollywood classic that was adapted into the celebrated movie by Robert Altman, film executive Griffin Mill got away with murder. Now Mill is back, down to his last $6 million, and broke. His second wife wants to leave him. His first wife still loves him. His children hate him, and believing that the end of the world is happening, he wants to save them all, with one last desperate plan to save his life: quit the studio and convince an almost billionaire that he has the road map and the mettle to make them both achieve savage wealth. In The Return of the Player , Tolkin again delivers a brilliant, incise portrait of power, wealth, and family in contemporary society gone out of control with greed and excess.

As the title Jar Jar Binks Must Die indicates, Daniel M. Kimmel is not only a film critic with strong opinions, he's also a fan. In this collection of essays, he covers movies from Metropolis (1927), answering the absurd claim that the restoration of this silent classic negated its status as a science fiction film, to how Star Trek, Avatar, Moon, and District 9 may have made 2009 a "miracle year" for the genre. Along the way he looks at neglected works like Things to Come (1936), explains why remakes aren't always bad, and how seeing E.T. in an empty screening room changed his mind about Steven Spielberg. Whether to rediscover old favorites or add new titles to your Netflix queue, this is a must-have for lovers of SF movies. Author Bio Daniel M. Kimmel is a past president of the Boston Society of Film Critics. When it was discovered he is also a science fiction fan he started getting invitations to participate at a number of SF conventions, which he continues to do. He reviewed for the Worcester Telegram and Gazette and now writes for Northshoremovies.net. He is a correspondent for Variety, the "Movie Maven" for the Jewish Advocate and teaches film--including a course on SF and horror--at Suffolk University. His essays on classic science films have appeared in several publications including Clarkesworld, Space and Time, and the Internet Review of Science Fiction. He is the author of a history of FOX TV, The Fourth Network (2004) which received the Cable Center Book Award. His other books include a history of DreamWorks, The Dream Team (2006) and I'll Have What She's Having: Behind the Scenes of the Great Romantic Comedies (2008). He is also the author of three novels: Shh! It's a Secret: a novel about Aliens, Hollywood, and the Bartender's Guide (2013) Time On My Hands: My Misadventures In Time Travel (2017), and Father of the Bride of Frankenstein (2019).

This follow-up to Ellison's 1989 Stoker Award-winning book of film (and by extension, cultural) criticism picks up precisely where its predecessor left off: with the 35th installment-dated July 1989-of his column in THE MAGAZINE OF FANTASY & SCIENCE FICTION, and continues through his 50th entry, written for this volume in September 2014. But wait, there's more: buy now, and at no extra cost, you'll get three pieces of twenty-first century film criticism bringing the collection bang -up-to-date, as well as a long-lost assessment of PSYCHO that predates even the 1965 entries in HARLAN ELLISON'S WATCHING; if that's not value for money, we don't know what is. Did I mention the stunning Overton Loyd cover? The Harlan Ellison's Watching columns included are: From 1989: Installment 35: In Which the Phantasmagorical Pales Before the Joys of the Mimetic Installment 36: In Which, Darkly and Deliciously, We Travel From Metropolis to Metropolis, Two Different Cities, Both Ominous Installment 37: In Which Not Only is No Answer Given, But No One Seems to Know the Question to Ask Installment 38: In Which, Though Manipulated, We Acknowledge That Which All Men Seek From 1990: Installment 39: In Which We Hum a Merry Tune While Waiting for New Horrors, New Horrors Installment 40: In Which We Scrutinize the Sedulousness to Their Hippocratic Oath of Troglodytic, Blue, Alien Proctologists Installment 41: In Which an Extremely Nervous Fool with His Credentials Taped to His Forehead Tacks Trepidatiously Between Scylla and Charybdis Knowing that Angels and Wise Men Would Fear Even to Dog-Paddle This Route Installment 42: In Which It Waddles Like a Duck, Sheds Water Like a Duck, and Goes Steady With Ducks, But Turns Out to be a Tortoise Installment 43: In Which We Lament, "There Goes the Neighborhood " Installment 44: In Which the Good Ship Coat-Tail-Ride Sinks, Abandoning Hundreds in Treacherous Waters From 1991: Installment 45: In Which Tempus Fidgets, Fugits, and Inevitably Omnia Revelats Installment 46: In Which We Bend So Far Over Backwards To Be Unbiased That You Can See The Nose Hairs Quiver With Righteousness Installment 47: In Which Artful Vamping Saves the Publisher $94.98 From 1994: Installment 48: In Which the Wee Child's Icons are Demeaned From 1995: Installment 49: In Which the Old Man of the Sea Bites the Head off Yet Another Chicken From 2014: Installment 50: In Which the Playroom of the Prodigal Gives One Last Gasp Pre-dating Ellison's column in The Magazine of Fantasy and Science Fiction, ENDLESSLY WATCHING collects a review of PSYCHO from a 1960 fanzine, 1974's "Total Impact: THE TERMINAL MAN," and Ellison's 1966 treatise on terror: "3 Faces of Fear," making its debut in a non-fiction Ellison collection. Bridging the nearly two decades between Watching columns are: 2007's "I Saw GHOST RIDER Today at the Galleria," and 2013's review of 12 YEARS A SLAVE and "Death to All Hollywood Award Shows " As an added bonus, we've exhumed two unpublished reviews...or, rather, one unpublished review of BRAM STOKER'S DRACULA and an unpublished refusal to review HONEY, I BLEW UP THE BABY.

This book analyzes seven important works in the field of Modern Hebrew fiction that were translated to English and adapted into films. The author presents a brief history of Modern Hebrew literature, and a brief survey of Israeli cinema and of the adaptation of Israeli prose fiction into films. The chapters include a presentation of the literary world of the author whose work is studied and an itemization of his literary works in English translations. At the end of each chapter there is a discussion of the cinematic adaptation of the literary work studied in that chapter followed by a bibliography.