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A fast-paced, comprehensive look at how the network dramatic series Cagney & Lacey was made. Features many of television show's producers, writers, and craftspeople, sharing their insights.
Emmy Award–winning actress Sharon Gless tells all in this laugh-out-loud, juicy, “unforgettably memorable” (Lily Tomlin) memoir about her five decades in Hollywood, where she took on some of the most groundbreaking roles of her time. Anyone who has seen Sharon Gless act in Cagney & Lacey, Queer as Folk, Burn Notice, and countless other shows and movies, knows that she’s someone who gives every role her all. She holds nothing back in Apparently There Were Complaints, a hilarious, deeply personal memoir that spills all about Gless’s five decades in Hollywood. A fifth-generation Californian, Sharon Gless knew from a young age that she wanted to be an actress. After some rocky teenage years that included Sharon’s parents’ divorce and some minor (and not-so-minor) rebellion, Gless landed a coveted spot as an exclusive contract player for Universal Studios. In 1982, she stepped into the role of New York Police Detective Christine Cagney for the series Cagney & Lacey, which eventually reached an audience of 30 million weekly viewers and garnered Gless with two Emmy Awards. The show made history as the first hour-long drama to feature two women in the leading roles. Gless continued to make history long after Cagney & Lacey was over. In 2000, she took on the role of outrageous Debbie Novotny in Queer as Folk. Her portrayal of a devoted mother to a gay son and confidant to his gay friends touched countless hearts and changed the definition of family for millions of viewers. Apparently There Were Complaints delves into Gless’s remarkable career and explores Gless’s complicated family, her struggles with alcoholism, and her fear of romantic commitment as well as her encounters with some of Hollywood’s biggest names. Brutally honest and incredibly relatable, Gless puts it all out on the page in the same way she has lived—never with moderation.
Defining Women explores the social and cultural construction of gender and the meanings of woman, women, and femininity as they were negotiated in the pioneering television series Cagney and Lacey, starring two women as New York City police detectives. Julie D'Acci illuminates the tensions between the television industry, the series production team, the mainstream and feminist press, various interest groups, and television viewers over competing notions of what women could or could not be--not only on television but in society at large. Cagney and Lacey, which aired from 1981 to 1988, was widely recognized as an innovative treatment of working women and developed a large and loyal following. While researching this book, D'Acci had unprecedented access to the set, to production meetings, and to the complete production files, including correspondence from network executives, publicity firms, and thousands of viewers. She traces the often heated debates surrounding the development of women characters and the representation of feminism on prime-time television, shows how the series was reconfigured as a 'woman's program,' and investigates questions of female spectatorship and feminist readings. Although she focuses on Cagney and Lacey, D'Acci discusses many other examples from the history of American television.
Everything was against him from the beginning; poor parents, a sickly infant, bullied as a child, directionless adult, but he still made it. He angered his studio, but fans adored him. What made Cagney, Cagney? You have seen his films, now meet the man. It was not the movies that made the man, it was the man who made the movies. --Ellen Matney
FBI Special Agent Ana Grey returns in this psychologically acute, completely and unstoppably suspenseful thriller from April Smith. A fifteen-year-old girl has been abducted and Ana Grey is sent to investigate. When the girl reappears, completely traumatized, Ana realises she is far too emotionally invested in the case. She can no longer separate her own life from the victim's. And if the situation wasn't already sufficiently disturbing, her partner on the investigation is Andrew Berringer, her on-again, off-again lover. As her personal and professional lives converge, Ana reaches a breaking point. She no longer knows who she can trust, no even Berringer, and in a moment of anger fires her gun. Suddenly more than just the case is on the line--it's her whole career.
“Round-heeled” is an old-fashioned label for a woman who is promiscuous—someone who nowadays might be called “easy.” It’s a surprising way for a cultured English teacher with a passion for the novels of Anthony Trollope to describe herself, but then that’s just the first of many surprises to be found in this poignant, funny, utterly unique memoir. Jane Juska is a smart, energetic divorcée who decided she’d been celibate too long, and placed the following personal ad in her favorite newspaper, The New York Review of Books: Before I turn 67—next March—I would like to have a lot of sex with a man I like. If you want to talk first, Trollope works for me. This closing reference was a nod to her favorite author, of course. The response was overwhelming, and Juska took a sabbatical from teaching to meet some of the men who had replied. And since her ad made it clear that she wasn’t expecting just hand-holding, her dates zipped from first base to home plate in record time. Juska is a totally engaging, perceptive writer, funny and frank about her exploits. It’s high time someone revealed the fact that older single people are as eager for sex and intimacy as their younger counterparts. Jane Juska’s brave, honest memoir will probably raise eyebrows and blood pressure, but it will undoubtedly appeal to the very large audience of grown-up readers who will be fascinated and inspired by her daring adventure.
This is an insider's tour, touching on the network's dizzying decision-making process, and the artists who have revolutionized the medium.
When two felons growing up on opposite coasts meet—the attraction is magnetic. When Lacey’s past comes back to haunt her—Cagney’s love is put to the test. Will Cagney ride or die for his lady? Just like modern-day Bonnie and Clyde, these two embark on a killing spree in their quest to leave the past behind.
A mesmerizing novel of deception and betrayal from the acclaimed author of Wartime Lies and About Schmidt. John North, a prize-winning American writer, is suddenly beset by dark suspicions about the real value of his work. Over endless hours and bottles of whiskey consumed in a mysterious café called L’Entre Deux Mondes, he recounts, in counterpoint to his doubts, the one story he has never told before, perhaps the only important one he will ever tell. North’s chosen interlocutor–who could be his doppelgänger–is transfixed by the revelations and becomes the narrator of North’s tale. North has always been faithful to his wife, Lydia, but when one of his novels achieves a special success, he allows himself a dalliance with Léa, a starstruck young journalist. Coolly planning to make sure that his life with Lydia will not be disturbed, North is taken off guard when Léa becomes obsessed with him and he with her elaborate erotic games. As the hypnotic and serpentine confession unfurls, we gradually discover the extraordinary lengths to which North has gone to indulge a powerful desire for self-destruction. Shipwreck is a daring parable of the contradictory impulses that can rend a single soul–narcissism and self-loathing, refinement and lust.
"While Quinn writes with spirit on weighty subjects like domestic abuse, polygamy and religious cults, her primary and most poignant theme seems to be female friendship." —New York Times Book Review "An absolutely thrilling novel. I devoured it over a weekend, unable to put it down. It's a clever and completely original take on a domestic thriller." —Alex Michaelides, author of the #1 New York Times bestseller The Silent Patient Blake's dead. They say his wife killed him. If so... which one? Polygamist Blake Nelson built a homestead on a hidden stretch of land—a raw paradise in the wilds of Utah—where he lived with his three wives: Rachel, the first wife, obedient and doting to a fault, with a past she'd prefer to keep quiet. Tina, the rebel wife, everything Rachel isn't, straight from rehab and the Vegas strip. And Emily, the young wife, naïve and scared, estranged from her Catholic family. The only thing that they had in common was Blake. Until all three are accused of his murder. When Blake is found dead under the desert sun, all three wives become suspect—not only to the police, but to each other. As the investigation draws them closer, each wife must decide who can be trusted. With stories surfacing of a notorious cult tucked away in the hills, whispers flying about a fourth wife, and evidence that can't quite explain what had been keeping Blake busy, the three widows face a reckoning that might shatter all they know to be true. For fans of The Wife Between Us and The Dry comes a chilling murder mystery that takes a domestic thriller's classic question—"Did his wife kill him?"—and twists it into an completely new type of suspense.