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Calvin, Dorian, and Bishop are about to catch all kinds of hell simply because they can't answer one question: Who shot Emory? Calvin thinks he's ready to finally be the man that he has always wanted to be, but there have been some weird things happening to him lately. He's pretty sure that someone is stalking him, but he can't figure out who. Also, his friendship with Alisha has reached a turning point. They both are trying to figure out what's best for them as individuals while also deciding if they want to take their friendship to another level. Bishop has somehow become public enemy number one. He's used to having the general public against him, but he finds himself in a situation where not even his own friends have his back. Bishop is quickly realizing that for the first time in his life he isn't going to be able to evade the consequences of his choices. The only problem is that Bishop claims he is innocent, but nobody believes him. If he doesn't figure something out, then this scandal could ruin his life. Dorian finds himself being pulled in many different directions. Everybody is looking to him for answers, and for the first time in his life, he doesn't have any. But things begin to change for Dorian when someone walks into his life and offers him everything that he never had. For the first time ever, he's thinking about turning in his player-card for something real, but a traumatic experience makes him question if he's ready for that. In this highly anticipated sequel, friendships will be tested, loyalties will be broken, but in the end, the truth will be unveiled. Find out if these bachelors can get their chaotic lives on track and possibly find true love in the process.
Calvin, Dorian, Emory, and Bishop are four bachelors who are living their dreams in Atlanta, GA. Between their successful careers and the crazy ration of women to men in Atlanta, it’s expected that there would be at least a few scandals involving various women. Calvin has decided that true love doesn’t exist and believes all women should be taught a lesson. Dorian, the lawyer, manages to lay low and maintain non-committal situationships while focusing on his legal career. Meanwhile, Emory puts his career as a music producer on the line when he foolishly starts to mix business with pleasure. Bishop, a pro football player, seems more prone to scandalous encounters than the others and always finds himself at the center of a media storm. When tragedy strikes, these friends are forced to an analyze their womanizing ways and decide if it is worth it to continue living life in the fast lane.
"Three date max" is all Doug Bader ever wanted in a relationship. But sometimes fate can put a wrench an attorney's playboy lifestyle. "Atlanta's Most Eligible Bachelor" by Mia Mae Lynne tells the story of how Doug's commitment free world unravels when he crosses paths with Lisa Dunbar.
AUSTRALIA’S MOST ELIGIBLE BACHELOR Margaret Way Corin Rylance is super-handsome, super-rich, and way out of farm girl Miranda Thornton’s league. Until Corin’s sister takes Miranda under her wing and puts her within touching distance of Corin. Join Miranda as she steps into the glittering world of The Rylance Dynasty.
Named a Best Nonfiction Book of 2022 by Esquire A sociological study of reality TV that explores its rise as a culture-dominating medium—and what the genre reveals about our attitudes toward race, gender, class, and sexuality What do we see when we watch reality television? In True Story: What Reality TV Says About Us, the sociologist and TV-lover Danielle J. Lindemann takes a long, hard look in the “funhouse mirror” of this genre. From the first episodes of The Real World to countless rose ceremonies to the White House, reality TV has not just remade our entertainment and cultural landscape (which it undeniably has). Reality TV, Lindemann argues, uniquely reflects our everyday experiences and social topography back to us. Applying scholarly research—including studies of inequality, culture, and deviance—to specific shows, Lindemann layers sharp insights with social theory, humor, pop cultural references, and anecdotes from her own life to show us who we really are. By taking reality TV seriously, True Story argues, we can better understand key institutions (like families, schools, and prisons) and broad social constructs (such as gender, race, class, and sexuality). From The Bachelor to Real Housewives to COPS and more (so much more!), reality programming unveils the major circuits of power that organize our lives—and the extent to which our own realities are, in fact, socially constructed. Whether we’re watching conniving Survivor contestants or three-year-old beauty queens, these “guilty pleasures” underscore how conservative our society remains, and how steadfastly we cling to our notions about who or what counts as legitimate or “real.” At once an entertaining chronicle of reality TV obsession and a pioneering work of sociology, True Story holds up a mirror to our society: the reflection may not always be pretty—but we can’t look away.