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A tale of witches and werecats. It all started on a cold October’s eve in 1954. Using a token offering from a handsome new stranger in town, a coven of young witches cast a spell to make their home a beacon to others of his kind. But magic can be very specific. By the time they discover that he's a feline shifter, the spell has been set and Aspire, New York will never be the same.
Paige's attempt to learn more about her powers at a Wiccan convention is not well received by her sisters, who are only interested in saving innocent lives, but when they hear of the recent murders of Wiccans, they quickly change their minds.
The first in a new series about three gorgeous sisters who disover they are the most powerful of all witches. Prue, Piper and Phoebe Halliwell didn't think reading a mgical incantation would work, but now Prue can move things with her mind, Piper can freeze time and Phoebe can see into the future.
Although horror shows on television are popular in the 1990s thanks to the success of Chris Carter's The X-Files, such has not always been the case. Creators Rod Serling, Dan Curtis, William Castle, Quinn Martin, John Newland, George Romero, Stephen King, David Lynch, Wes Craven, Sam Raimi, Aaron Spelling and others have toiled to bring the horror genre to American living rooms for years. This large-scale reference book documents an entire genre, from the dawn of modern horror television with the watershed Serling anthology, Night Gallery (1970), a show lensed in color and featuring more graphic makeup and violence than ever before seen on the tube, through more than 30 programs, including those of the 1998-1999 season. Complete histories, critical reception, episode guides, cast, crew and guest star information, as well as series reviews are included, along with footnotes, a lengthy bibliography and an in-depth index. From Kolchak: The Night Stalker to Millennium, from The Evil Touch to Buffy the Vampire Slayer and Twin Peaks, Terror Television is a detailed reference guide to three decades of frightening television programs, both memorable and obscure.
In 1998, the series "Charmed", the story created by Constance M. Burge of three sisters who discover that they are powerful witches, first aired on the WB network. The series ran for eight series and into top-rating DVDs, and has established a continuing presence as cult TV. The world of "Charmed" is distinctively one of female solidarity, with sisters Piper, Prudence, Phoebe and, with the death of Pru, half-sister Paige making up the 'power of three'. In their crusade against the demonic population of their home city of San Francisco, the Halliwell sisters have also inherited their powers and "The Book of Shadows" through the female line. The expert contributors to "Investigating 'Charmed'", all of them fans of the show, explore its nature as ground breaking TV. They debate the status of "Charmed" as third wave feminist narrative, as well as its upturning of notions of sexuality, and its creation of alternative forms of family life. The San Francisco setting is explored as is "Charmed's" brand of witchcraft and fantasy, its mythological antecedents and female heroes. Looking also at the fans' relationship to the show, as well as its novelizations, fan fiction and blogs, the book on this fantastic magical show concludes with a complete Episode Guide.
From Cole's downfall and Phoebe's somewhat questionable fashion sense to the power of three in history and literature and a magical tourist's guide to the Halliwells's hometown of San Francisco, this clever, lighthearted essay collection offers a fun and funny look at the world of the WB hit series Charmed. Edited by New York Times bestselling author Jennifer Crusie, these accessible and entertaining essays apply the wit and insight of one of today's leading romance authors to the stylish, occasionally campy fan favorite known for its scandalous outfits, revolving door of love interests, and the magical mayhem of three otherwise normal sisters who must fight against evil as they deal with the challenges of everyday life.
The witch as a cultural archetype has existed in some form since the beginning of recorded history. Her nature has changed through technological developments and sociocultural shifts--a transformation most evident in her depictions on screen. This book traces the figure of the witch through American screen history with an analysis of the entertainment industry's shifting boundaries concerning expressions of femininity. Focusing on films and television series from The Wizard of Oz to The Craft, the author looks at how the witch reflects alterations of gender roles, religion, the modern practice of witchcraft, and female agency.
In his latest iconoclastic work, Douglas Brode—the only academic author/scholar who dares to defend Disney entertainment—argues that "Uncle Walt's" output of films, television shows, theme parks, and spin-off items promoted diversity decades before such a concept gained popular currency in the 1990s. Fully understood, It's a Small World—one of the most popular attractions at the Disney theme parks—encapsulates Disney's prophetic vision of an appealingly varied world, each race respecting the uniqueness of all the others while simultaneously celebrating a common human core. In this pioneering volume, Brode makes a compelling case that Disney's consistently positive presentation of "difference"—whether it be race, gender, sexual orientation, ideology, or spirituality—provided the key paradigm for an eventual emergence of multiculturalism in our society. Using examples from dozens of films and TV programs, Brode demonstrates that Disney entertainment has consistently portrayed Native Americans, African Americans, women, gays, individual acceptance of one's sexual orientation, and alternatives to Judeo-Christian religious values in a highly positive light. Assuming a contrarian stance, Brode refutes the overwhelming body of "serious" criticism that dismisses Disney entertainment as racist and sexist. Instead, he reveals through close textual analysis how Disney introduced audiences to such politically correct principles as mainstream feminism. In so doing, Brode challenges the popular perception of Disney fare as a bland diet of programming that people around the world either uncritically deem acceptable for their children or angrily revile as reactionary pabulum for the masses. Providing a long overdue and thoroughly detailed alternative, Brode makes a highly convincing argument that with an unwavering commitment to racial diversity and sexual difference, coupled with a vast global popularity, Disney entertainment enabled those successive generations of impressionable youth who experienced it to create today's aura of multiculturalism and our politically correct value system.
The most comprehensive study available of neo-pagan religious movements in North America and Europe. Modern Paganism in World Cultures collects the work of specialists in religion, folklore, and related fields to provide a comprehensive treatment of the movement to reestablish pre-Christian religions. Detailed accounts of the belief systems and rituals of each religion, along with analysis of the cultural, social, and political factors fueling the return to ancestral religious practice, make this a rich, singular resource. Scandinavian Asatru, Latvian Dievturi, American Wicca—long-dormant religions are taking on new life as people seek connection with their heritage and look for more satisfying approaches to the pressures of postmodernism. The Neopagan movement is a small but growing influence in Western culture. This book provides a map to these resurgent religions and an examination of the origins of the Neopagan movement.
Media Depictions of Brides, Wives, and Mothers, edited by Alena Amato Ruggerio, explores how television, film, the internet, and other media variously perpetuate gender stereotypes. The contributors to this volume bring a variety of feminist rhetorical and media criticism approaches from across the communication discipline to their analyses of how television, film, news coverage, and the Internet shape our expectations of the performance of women's identities. This collection includes studies of Bridezillas, Jon & Kate Plus 8, Sex and the City, Sarah Palin, Nancy Pelosi, The Devil Wears Prada, Practical Magic, "momtini" blogs, and Mad Men fan websites. Readers will learn to apply the insights from each chapter to their own sets of myths, stereotypes, and assumptions about gendered roles, and to recognize the possibilities for both liberation and domination when women's practices of marrying, mating, and mothering are represented and misrepresented in the media. This collection is an essential contribution to media studies and criticism of gender stereotypes in contemporary culture. Read the author's recent interview with Literary Ashland. You can also visit the author's website here.