In Oscar Wars, Michael Schulman chronicles the remarkable, sprawling history of the Academy Awards and the personal dramas—some iconic, others never-before-revealed—that have played out on the stage and off camera. Unlike other books on the subject, each chapter takes a deep dive into a particular year, conflict, or even category that tells a larger story of cultural change, from Louis B. Mayer to Moonlight. Schulman examines how the red carpet runs through contested turf, and the victors aren't always as clear as the names drawn from envelopes.

Though there are many factors behind such success, including luck and the contributions of his creative partner Marshall Herskovitz, he’s known to have a special talent for bringing out the best in the people he’s worked with, notably the actors. In those intense collaborations, he seeks to discover the small pieces of connective tissue, vulnerability, and fellowship that can help an actor realize their character in full.

The behind-the-scenes story of the iconic funnymen who ruled '80s Hollywood - Bill Murray, Steve Martin, Chevy Chase, John Belushi, Dan Aykroyd, and Eddie Murphy - and the beloved films that made them stars, including Animal House, Caddyshack, and Ghostbusters.

A full-speed-ahead oral history of the nearly two-decade making of the cultural phenomenon Mad Max: Fury Road—with more than 130 new interviews with key members of the cast and crew, including Charlize Theron, Tom Hardy, and director George Miller, from the pop culture reporter for The New York Times, Kyle Buchanan.

The defining, behind-the-scenes chronicle of one of the most extraordinary, beloved, and dominant pop cultural entities in America’s history - Marvel Comics - and the outsized personalities who made Marvel, including Martin Goodman, Stan Lee, and Jack Kirby.

On a cold Saturday afternoon in 1975, two men (who had known each other for eight years before they’d ever exchanged a word) met for lunch in a Chicago pub. Gene Siskel was the film critic for the Chicago Tribune. Roger Ebert had recently won the Pulitzer Prize—the first ever awarded to a film critic—for his work at the Chicago Sun-Times. To say they despised each other was an understatement.

From a veteran culture writer and modern movie expert, a celebration and analysis of the movies of 1999 - arguably the most groundbreaking year in American cinematic history.

Julian Lawndsley has renounced his high-flying job in the city for a simpler life running a bookshop in a small English seaside town. But only a couple of months into his new career, Julian’s evening is disrupted by a visitor. Edward, a Polish émigré living in Silverview, the big house on the edge of town, seems to know a lot about Julian’s family and is rather too interested in the inner workings of his modest new enterprise.

Instead of focusing on one service, like HBO, Pandora’s Box asks, “What did HBO do, besides give us The Sopranos?” The answer: It gave us a revolution. Biskind bites off a big chunk of entertainment history, following HBO from its birth into maturity, moving on to the basic cablers like FX and AMC, and ending up with the streamers and their wars, pitting Netflix against Amazon Prime Video, Max, and the killer pluses—Disney, Apple TV, and Paramount.

The Joker is dead, but not forgotten. Gotham City is saved, but it is still not safe. By night, its new symbol of hope, Batman, continues his fight to protect the innocent and the powerless. By day, his alter ego, Bruce Wayne, wonders whether there may someday be a future beyond skulking the city’s rooftops or the cavernous halls of his stately manor alongside the ever-dutiful Alfred Pennyworth. But even after death, the Clown Prince of Crime’s imprint can be seen in more than just the pavement.

The superhero comic books that Marvel Comics has published since 1961 are, as Douglas Wolk notes, the longest continuous, self-contained work of fiction ever created: over half a million pages to date, and still growing. The Marvel story is a gigantic mountain smack in the middle of contemporary culture. Thousands of writers and artists have contributed to it. Everyone recognizes its protagonists: Spider-Man, the Avengers, the X-Men. Eighteen of the hundred highest-grossing movies of all time are based on parts of it. Yet not even the people telling the story have read the whole thing.

No one knows the writer's Hollywood more intimately than William Goldman. Two-time Academy Award-winning screenwriter and the best-selling author of Marathon Man, Tinsel, Boys and Girls Together, and other novels, Goldman now takes you into Hollywood's inner sanctums...on and behind the scenes for Butch Cassidy and the Sundance Kid, All the President's Men, and other films...into the plush offices of Hollywood producers...into the working lives of acting greats such as Redford, Olivier, Newman, and Hoffman...and more.

Rome, 107 BC. Quintus Sertorius just lost his father, and he may lose his home. When his rural village is stripped of its political status, he must leave his family to secure their food and protection from inside Rome's cutthroat government. As he transitions from countryman to politician, he's thrust into the middle of a bitter political war…. As Quintus struggles to gain the aid his village so desperately needs, he approaches Gaius Marius, the uncle of Julius Caesar himself.

It is an age of exploration. Jedi travel the galaxy, expanding their understanding of the Force and all the worlds and beings connected by it. Meanwhile, the Republic, led by its two chancellors, works to unite worlds in an ever-growing community among near and distant stars. On the close-orbiting planets of Eiram and E’ronoh, the growing pains of a galaxy with limited resources but unlimited ambition are felt keenly. The two worlds’ hatred for each other has fueled half a decade of escalating conflict and now threatens to consume surrounding systems.

Max Maurey should be on top of the world. He's a famous horror director. Actors love him. Hollywood needs him. He's making money hand over fist. But it's the 80s, and he's directing cheap slashers for audiences who only crave more blood, not real art. Not real horror. And Max's slimy producer refuses to fund any of his new ideas. But when Max discovers an old camera that filmed a very real Hollywood horror, he knows that he has to use this camera for his next movie. The only problem is that it came with a cryptic warning and sometimes wails.