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Filmed live at the Barbican in London, this major new five-star production of the classic musical comedy features an all-star cast including Sutton Foster, Robert Lindsay, Felicity Kendal, and Gary Wilmot...When the S.S. American heads out to sea, etiquette and convention head out the portholes as two unlikely pairs set off on the course to true love - proving that sometimes destiny needs a little help from a crew of singing sailors, a comical disguise, and some good old-fashioned blackmail.

Based on the comical and moving New York Times bestseller, it tells the story of Otto Anderson, a grumpy widower whose only joy comes from criticizing and judging his exasperated neighbors. When a lively young family moves in next door, he meets his match in quick-witted and very pregnant Marisol, leading to an unexpected friendship that will turn his world upside down.

A reclusive English teacher suffering from severe obesity attempts to reconnect with his estranged teenage daughter for one last chance at redemption.

Do nothing. Stay and fight. Or leave. In 2010, the women of an isolated religious community grapple with reconciling a brutal reality with their faith.

Award-winning Mexican-American and Indigenous author Jennifer Givhan brings us an exquisitely written, spell-binding psychological thriller--weaving together folk magick with personal and cultural empowerment--that is perfect for fans of Mexican Gothic.

When Eva's husband is arrested for the murder of a friend, she must confront her murky past and embrace her magick to find out what really happened that night on the river.

Eva Santos Moon is a burgeoning Chicana artist who practices the ancient, spiritual ways of brujería and curanderisma, but she's at one of her lowest points--suffering from disorienting blackouts, creative stagnation, and a feeling of disconnect from her magickal roots. When her husband, a beloved university professor and the glue that holds their family together, is taken into custody for the shocking murder of their friend, Eva doesn't know whom to trust--least of all, herself. She soon falls under suspicion as a potential suspect, and her past rises to the surface, dredging up the truth about an eerily similar death from her childhood.

Struggling with fragmented memories and self-doubt, an increasingly terrified Eva fears that she might have been involved in both murders. But why doesn't she remember? Only the dead women know for sure, and they're coming for her with a haunting vengeance. As she fights to keep her family out of danger, Eva realizes she must use her magick as a bruja to protect herself and her loved ones, while confronting her own dark history.

River Woman, River Demon is a mysterious incantation of reckoning with the past and claiming one's unique power and voice.

Walt Disney Feature Animation Florida opened in Orlando at the dawn of the Disney Renaissance. As a member of the crew, Mary E. Lescher witnessed the small studio’s rise and fall during a transformative era in company and movie history. Her in-depth interviews with fellow artists, administrators, and support personnel reveal the human dimension of a technological revolution: the dramatic shift from hand-drawn cel animation to the digital format that eclipsed it in less than a decade. She also traces the Florida Studio’s parallel existence as a part of The Magic of Disney Animation, a living theme park attraction where Lescher and her colleagues worked in full view of Walt Disney World guests eager to experience the magic of the company’s legendary animation process.

A ground-level look at the entertainment giant, The Disney Animation Renaissance profiles the people and purpose behind a little-known studio during a historic era.

Dept. of Speculation meets Black Mirror in this lyrical, speculative debut about a queer mother raising her daughter in an unjust surveillance state

In a United States not so unlike our own, the Department of Balance has adopted a radical new form of law enforcement: rather than incarceration, wrongdoers are given a second (and sometimes, third, fourth, and fifth) shadow as a reminder of their crime—and a warning to those they encounter. Within the Department, corruption and prejudice run rampant, giving rise to an underclass of so-called Shadesters who are disenfranchised, publicly shamed, and deprived of civil rights protections.

Kris is a Shadester and a new mother to a baby born with a second shadow of her own. Grieving the loss of her wife and thoroughly unprepared for the reality of raising a child alone, Kris teeters on the edge of collapse, fumbling in a daze of alcohol, shame, and self-loathing. Yet as the kid grows, Kris finds her footing, raising a child whose irrepressible spark cannot be dampened by the harsh realities of the world. She can’t forget her wife, but with time, she can make a new life for herself and the kid, supported by a community of fellow misfits who defy the Department to lift one another up in solidarity and hope.

With a first-person register reminiscent of the fierce self-disclosure of Sheila Heti and the poetic precision of Ocean Vuong, I Keep My Exoskeletons to Myself is a bold debut novel that examines the long shadow of grief, the hard work of parenting, and the power of queer resistance.

Winner of the 2023 PROSE Award for Excellence in Biological and Life Sciences!

Named a New York Times Notable Book and a Best Book of the Year by The Economist, Oprah Daily, BookPage, Book Riot, the New York Public Library, and more!

In The Song of the Cell, the extraordinary author of the Pulitzer Prize-winning The Emperor of All Maladies and the #1 New York Times bestseller The Gene “blends cutting-edge research, impeccable scholarship, intrepid reporting, and gorgeous prose into an encyclopedic study that reads like a literary page-turner” (Oprah Daily).

Mukherjee begins this magnificent story in the late 1600s, when a distinguished English polymath, Robert Hooke, and an eccentric Dutch cloth-merchant, Antonie van Leeuwenhoek looked down their handmade microscopes. What they saw introduced a radical concept that swept through biology and medicine, touching virtually every aspect of the two sciences, and altering both forever. It was the fact that complex living organisms are assemblages of tiny, self-contained, self-regulating units. Our organs, our physiology, our selves—hearts, blood, brains—are built from these compartments. Hooke christened them “cells.”

The discovery of cells—and the reframing of the human body as a cellular ecosystem—announced the birth of a new kind of medicine based on the therapeutic manipulations of cells. A hip fracture, a cardiac arrest, Alzheimer’s dementia, AIDS, pneumonia, lung cancer, kidney failure, arthritis, COVID pneumonia—all could be reconceived as the results of cells, or systems of cells, functioning abnormally. And all could be perceived as loci of cellular therapies.

Filled with writing so vivid, lucid, and suspenseful that complex science becomes thrilling, The Song of the Cell tells the story of how scientists discovered cells, began to understand them, and are now using that knowledge to create new humans. Told in six parts, and laced with Mukherjee’s own experience as a researcher, a doctor, and a prolific reader, The Song of the Cell is both panoramic and intimate—a masterpiece on what it means to be human.

“In an account both lyrical and capacious, Mukherjee takes us through an evolution of human understanding: from the seventeenth-century discovery that humans are made up of cells to our cutting-edge technologies for manipulating and deploying cells for therapeutic purposes” (The New Yorker).

Set in the international world of classical music, the film centers on Lydia Tar, widely considered one of the greatest living composer/conductors and first-ever female chief conductor of a major German orchestra.
 

Two lifelong friends find themselves at an impasse when one abruptly ends their relationship, with alarming consequences for both of them.