In the late eighties and early nineties, while other kids were playing softball, Emily was sporting a Pink Ladies jacket, perfecting Michelle Pfeiffer's “ Cool Rider” choreography from Grease 2, and wearing out the VHS player. Comfort Sequels: The Psychology of Movie Sequels from the &‘ 80s and &‘ 90s tells stories from Emily's life, through the movie sequels of their childhood. When a film touches us, makes us deep-belly laugh, and has that feel-good spirit, we want more of it. We want the continuing story. We want the same story even, just recycled and offered in a slightly new way. What felt so good about the original can come back twofold and be the same, but different. Comfort Sequels examines the psychology behind what makes certain movie sequels memorable, safe, predictable, and comforting. These sequels are more of the universe we love— exploring something new while maintaining that which is familiar. Comfort Sequels is a sneaky memoir, celebrating the campiness and nostalgia that these films evoke. Every chapter is a love letter to a specific movie sequel. As a licensed psychotherapist and psychology professor, Emily interprets characters, story arcs, and major themes in a unique voice from a unique perspective while sharing fun and random behind-the-scenes facts about each film.Featuring interviews with Muppeteer Steve Whitmire (creator of Rizzo the Rat from The Great Muppet Caper), Christine Ebersole (My Girl 2), Stuart Pankin (Mannequin 2: On the Move), Peter Mosen (Ghostbusters II), Christopher McDonald and Leif Green (Grease 2), and the “ Cool Rider” himself, Maxwell Caulfield (Michael, also from Grease 2).Comfort Sequels covers the following twelve comfort sequels; Grease 2, Gremlins 2: The New Batch, My Girl 2, Karate Kid: Part II, The Great Muppet Caper, Teenage Mutant Ninja Turtles 2: The Secret of the Ooze, Ghostbusters II, Batman Returns, Dream a Little Dream 2, Mannequin 2: On the Move, The Neverending Story II: The Next Chapter, and The Evening Star.

In the late eighties and early nineties, while other kids were playing softball, Em was sporting a Pink Ladies jacket, perfecting Michelle Pfeiffer's "Cool Rider" choreography from Grease 2, and wearing out the VHS player. Comfort Sequels: The Psychology of Movie Sequels from the '80s and '90s tells stories from Em's life, though the movie sequels of their childhood. When a film touches us, makes us deep-belly laugh, and has that feel-good spirit, we want more of it. We want the continuing story. We want the same story even, just recycled and offered in a slightly new way. What felt so good about the original can come back twofold and be the same, but different. Comfort Sequels examines the psychology behind what makes certain movie sequels memorable, safe, predictable, and comforting. These sequels are more of the universe we love-exploring something new while maintaining that which is familiar. Comfort Sequels is a sneaky memoir, celebrating the campiness and nostalgia that these films evoke. Every chapter is a love letter to a specific movie sequel. As a licensed psychotherapist and psychology professor, Em interprets characters, story arcs, and major themes in a unique voice from a unique perspective while sharing fun and random behind-the-scenes facts about each film.Featuring interviews with Muppeteer Steve Whitmire (creator of Rizzo the from The Great Muppet Caper), Christine Ebersole (My Girl 2), Stuart Pankin (Mannequin 2: On the Move), Peter Mosen (Ghostbusters II), Christopher McDonald and Leif Green (Grease 2), and the "Cool Rider" himself, Maxwell Caulfield (Michael, also from Grease 2).Comfort Sequels covers the following twelve comfort sequels; Grease 2, Gremlins 2: The New Batch, My Girl 2, Karate Kid: Part II, The Great Muppet Caper, Teenage Mutant Ninja Turtles 2: The Secret of the Ooze, Ghostbusters II, Batman Returns, Dream a Little Dream 2, Mannequin 2: On the Move, The Neverending Story II: The Next Chapter, and The Evening Star.

The Bulletin of the Atomic Scientists is the premier public resource on scientific and technological developments that impact global security. Founded by Manhattan Project Scientists, the Bulletin's iconic "Doomsday Clock" stimulates solutions for a safer world.

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It is well known that American culture is a dominant force at home and abroad; our exportation of everything from movies to junk food is a well-documented phenomenon. But is it possible America's most troubling impact on the globalizing world has yet to be accounted for? In Crazy Like Us, Ethan Watters reveals that the most devastating consequence of the spread of American culture has not been our golden arches or our bomb craters but our bulldozing of the human psyche itself: We are in the process of homogenizing the way the world goes mad. America has been the world leader in generating new mental health treatments and modern theories of the human psyche. We export our psychopharmaceuticals packaged with the certainty that our biomedical knowledge will relieve the suffering and stigma of mental illness. We categorize disorders, thereby defining mental illness and health, and then parade these seemingly scientific certainties in front of the world. The blowback from these efforts is just now coming to light: It turns out that we have not only been changing the way the world talks about and treats mental illness -- we have been changing the mental illnesses themselves. For millennia, local beliefs in different cultures have shaped the experience of mental illness into endless varieties. Crazy Like Us documents how American interventions have discounted and worked to change those indigenous beliefs, often at a dizzying rate. Over the last decades, mental illnesses popularized in America have been spreading across the globe with the speed of contagious diseases. Watters travels from China to Tanzania to bring home the unsettling conclusion that the virus is us: As we introduce Americanized ways of treating mental illnesses, we are in fact spreading the diseases. In post-tsunami Sri Lanka, Watters reports on the Western trauma counselors who, in their rush to help, inadvertently trampled local expressions of grief, suffering, and healing. In Hong Kong, he retraces the last steps of the teenager whose death sparked an epidemic of the American version of anorexia nervosa. Watters reveals the truth about a multi-million-dollar campaign by one of the world's biggest drug companies to change the Japanese experience of depression -- literally marketing the disease along with the drug. But this book is not just about the damage we've caused in faraway places. Looking at our impact on the psyches of people in other cultures is a gut check, a way of forcing ourselves to take a fresh look at our own beliefs about mental health and healing. When we examine our assumptions from a farther shore, we begin to understand how our own culture constantly shapes and sometimes creates the mental illnesses of our time. By setting aside our role as the world's therapist, we may come to accept that we have as much to learn from other cultures' beliefs about the mind as we have to teach.

David Fincher: Mind Games is the definitive critical and visual survey of the Academy Award– and Golden Globe–nominated works of director David Fincher. From feature films Alien 3, Se7en, The Game, Fight Club, Panic Room, Zodiac, The Curious Case of Benjamin Button, The Social Network, The Girl With the Dragon Tattoo, Gone Girl, and Mank through his MTV clips for Madonna and the Rolling Stones and the Netflix series House of Cards and Mindhunter, each chapter weaves production history with original critical analysis, as well as with behind the scenes photography, still-frames, and original illustrations from Little White Lies' international team of artists and graphic designers. Mind Games also features interviews with Fincher's frequent collaborators, including Jeff Cronenweth, Angus Wall, Laray Mayfield, Holt McCallany, Howard Shore and Erik Messerschmidt. Grouping Fincher's work around themes of procedure, imprisonment, paranoia, prestige and relationship dynamics, Mind Games is styled as an investigation into a filmmaker obsessed with investigation, and the design will shift to echo case files within a larger psychological profile.