All 23 episodes of the US TV drama series about ordinary people across the globe who discover they have extraordinary powers. As they discover their new found talents, the new superheroes have to come to terms with the impact the discovery has on their lives. Among the list of superheroes are Hiro Nakamura (Masi Oka), a Japanese comic-book fan who discovers he has the ability to stop time, Claire Bennet (Hayden Panettiere) a school chearleader who is literally indestructable, and Isaac Mendez, a junkie artist who can paint the future when he is high. The episodes comprise: 'Genesis', 'Don't Look Back', 'One Giant Leap', 'Collision', 'Hiros', 'Better Halves', 'Nothing to Hide', 'Seven Minutes to Midnight', 'Homecoming', 'Six Months Later', 'Fallout', 'Godsend', 'The Fix', 'Distractions', 'Run!', 'Unexpected', 'Company Man', 'Parasite', '7%', 'Five Years Gone', 'The Hard Part', 'Landslide' and 'How to Stop an Exploding Man.

All 31 episodes from season one and two of the Terminator TV spin-off series which follows on from 'Terminator 2: Judgment Day' (1991). On the run from the government, Sarah Connor and her son John set out to put an end to Armageddon by destroying the computer network Skynet. Episodes comprise: 'Pilot', 'Gnothi Seauton', 'The Turk', 'Heavy Metal', 'Queen's Gambit', 'Dungeons and Dragons', 'The Demon Hand', 'Vick's Chip', 'What He Beheld', 'Samson and Delilah', 'Automatic for the People', 'The Mousetrap', 'Allison from Palmdale', 'Goodbye to All That', 'The Tower Is Tall But the Fall Is Short', 'Brothers of Nablus', 'Mr Ferguson Is Ill Today', 'Complications', 'Strange Things Happen at the One Two Point', 'Self Made Man', 'Alpine Fields', 'Earthlings Welcome Here', 'The Good Wound', 'Desert Cantos', 'Some Must Watch While Some Must Sleep', 'Ourselves Alone', 'Today Is the Day: Part One', 'Today Is the Day: Part Two', 'To the Lighthouse', 'Adam Raised a Cain' and 'Born to Run'.

A timeless, little-known literary classic. As the Black Death ravaged London in 1608, the theatres closed, many people moved out of town for safety, and playwrights scrambled to find other outlets for their talent. While Shakespeare retreated to his hometown of Stratford, Thomas Dekker wrote Four Birds of Noah's Ark, a book containing fifty-six prayers for the people of London and all of England. Dekker's prayers bear witness to his deep faith and profound understanding of human psychology with a power and poignancy that few written prayers in English literature achieve. Bringing this devotional classic back into print for the first time since 1924, editor Robert Hudson has included a fine introduction, annotated the prayers, and modernised the language without sacrificing any of its beauty and simplicity. This lovely book at once surprises and enchants with its literary voice, devotional heart, and accessible writing.

Thomas Dekker and Robert Englund star in this horror written and directed by Robert Hall. When a group of people with extreme fears hear about a man called Dr Andover (Englund) who has built a chamber designed to cure phobias, they travel to his clinic and begin treatment. The unconventional therapy consisting of induced hallucinations seems to work at first, but when some of the patients still find themselves struggling with their fears one year on they return to the clinic to try again. As the patients restart their treatment they discover that not everyone can be cured...

First published in 1905, this edition of Thomas Dekker's The Seven Deadly Sinnes of London provides the original 1606 text in its totality. Beautifully presented, this book will be of value to anyone with an interest in Dekker's writings and English Renaissance literature in general.

Originally published in 1953, this was the first edition of Dekker's plays to appear in print since the late nineteenth century. Thus, for many years prior, Dekker had been the least accessible of the prominent Elizabethan dramatists, with the result that his anthologized plays had received undue attention at the expense of other highly readable works of the second rank. Professor Fredson Bowers here presents a critical old-spelling text of the ordinarily accepted canon, together with a few works not collected previously but which seem to merit inclusion in an edition of Dekker's plays. The text of the complete plays is in four volumes and a complementary four-volume set contains detailed introductions and notes to all the plays. In a general textual introduction Professor Bowers sets forth a reasoned account of his editorial method and procedures for a critical edition according to bibliographical principles.

This was the first edition of Dekker's plays to appear in print since the late nineteenth century. Thus, for many years prior, Dekker had been the least accessible of the prominent Elizabethan dramatists, with the result that his anthologized plays had received undue attention at the expense of other highly readable works of the second rank. Professor Fredson Bowers here presents a critical old-spelling text of the ordinarily accepted canon, together with a few works not collected previously but which seem to merit inclusion in an edition of Dekker's plays. The text of the complete plays is in four volumes and a complementary four-volume set contains detailed introductions and notes to all the plays. In a general textual introduction Professor Bowers sets forth a reasoned account of his editorial method and procedures for a critical edition according to bibliographical principles. Separate introductions provide textual analyses of the individual plays, including the circumstances of publication and of textual transmission. Apparatus for each play consists of textual notes, tables of press-variants derived from collation of a substantial number of copies of original editions, lists of editorial emendations to the copy-text, and historical collations of all early editions.

Volume III of the Cambridge Dekker contains The Roaring Girl, If this be not a Good Play..., Troia-Nova Triumphans, Match me in London, The Virgin Martyr, The Witch of Edmonton and The Wonder of a Kingdom. Professor Bowers's edition is recognized as a model critical old-spelling text, where the techniques of strong textual and bibliographical study have been methodically applied to one of the least accessible of the Elizabethan dramatists. The introductions to each play provide textual analyses which set out the circumstances of publication and transmission. The critical apparatus gives press variants derived from collations, editorial emendations to the copy-text and other textual notes.

Fievel and friends are back in this third animated adventure. The chirpy mouse sets out to help Mr Mouskewitz escape the drudgery of the Fat Rats' factory, setting out with Tony and Tiger the pussycat to find their fortune with a magical treasure map.

This Norton Critical Edition of Thomas Middleton and Thomas Dekker's The Roaring Girl is based on the text from English Renaissance Drama: A Norton Anthology. It is accompanied by generous explanatory annotations, five illustrations, and a detailed introduction. "Contexts" is thematically arranged to include almost all known documents from the period concerning Mary Frith (aka Moll Cutpurse), among them records of her court appearances, letters recounting the same, and her last will. Also reprinted are significant passages from her purported 1662 "autobiography," The Life and Death of Mrs. Mary Frith. While of dubious veracity, the "autobiography" is useful for comparing the play's portrayal of Moll with later developments in Moll Cutpurse lore, which the Norton Critical Edition traces through the eighteenth and nineteenth centuries. Perhaps most engaging for classroom discussion are substantial excerpts from the 1620 cross-dressing pamphlets-Hic Mulier; or, The Man-Woman and Haec Vir; or, The Womanish Man-which appear in annotated, modern-spelling versions. Together they give insight into how gender-bending trends in clothing, similar to those practiced by Moll, were understood in the early seventeenth century. A related passage from A Sermon of Apparel adds another perspective on cross-dressing practices. Fourteen critical essays chart the development of scholarly interest in The Roaring Girl, from the first half of the twentieth century, when the play received only passing reference, through the work on city comedy in the 1970s and 1980s, to the explosion of analyses in the late 1980s and 1990s, when the play became a major focus for early modern gender studies. The more recent critical essays move beyond a strict focus on gender and cross-dressing to explore The Roaring Girl's depiction of other aspects of early modern London, including consumer culture and the contemporary fascination with the language of the criminal underworld. Contributors include, among others, T. S. Eliot, Alexander Leggatt, Mary Beth Rose, Jonathan Dollimore, Jean E. Howard, and Jonathan Gil Harris. A Selected Bibliography is also included.