Amy Poehler and Paul Rudd star in this romantic comedy directed and co-written by David Wain. Joel (Rudd) is an executive at a confectionary corporation that is trying to close down Molly (Poehler)'s small, independent sweet shop. Given the circumstances, when they meet they instantly take a disliking to each other. Over time a mutual attraction develops between them but they find that their work is not the only obstacle in their way of finding romance. While dining out with friends Kyle (Bill Hader) and Karen (Ellie Kemper), they recount the story of how they met and got together. The cast also features Cobie Smulders, Ed Helms and Jack McBrayer.

LIMITED FIRST EDITION contains blue foil gilded page edges and a white satin ribbon marker. In the ‘70s and ‘80s Saturday Night Live, SCTV, and Monty Python ruled the television airwaves with sketch comedy. But then came the 1990s—and alongside grunge music and oversized denim, sketch comedy was turned up to 11. With the promise of low budgets, big laughs, more diverse cast members, and fresh content, an ever-expanding number of television stations each wanted their very own hit sketch show. Saturday Night Live was ‘dead’ anyway, right? We’re Not Worthy is the definitive account of ‘90s sketch comedy, the decade that forever changed what we laugh at. Author and comedian Jason Klamm goes behind the scenes of more than 50 sketch shows that ruled the ‘90s, including groundbreaking staples such as In Living Color, MTV’s The State, Mr. Show, Kids in the Hall, The Ben Stiller Show, and Mad TV, along with several swiftly canceled gigs (The Dana Carvey Show, anyone?). Each show seemed to launch at least one big name into the stratosphere: The Wayans family, Ben Stiller, Jennifer Coolidge, Amy Poehler, Chris Rock, Adam Sandler, Jim Carrey, Will Ferrell, Judd Apatow, Janeane Garofalo . . . the list goes on and on. Klamm brings readers back to the ‘90s comedy landscape like never before, through over 150 new and candid interviews with trailblazers such as Mike Myers, Bob Odenkirk, Carol Burnett, Tommy Davidson, Adam McKay, Dave Thomas, Patton Oswalt, Reno 911!’s Kerri Kenney-Silver, and a litany of additional favorites. Plus the producers, writers, directors, and other insiders that pulled it all together. Steeped with hilarious stories, on-the-set antics, and head-turning television politics, We’re Not Worthy is a revealing trip back to the decade that placed comedy on the razor's edge.

This revised and updated second edition features a new section tackling the issues arising from Islam's changing role in the volatile world order of the new millennium. Appearing at the end of a book which explores the ideas and traditions of Islam in depth, this new section offers thought-provoking reflections on the role of religion in the current conflicts. First Edition Hb (1995): 0-521-41880-1 First Edition Pb (1995): 0-521-42929-3

For three months in 1888, a serial killer stalked the streets of London's East End, slaughtering five prostitutes in a manner so grisly that the entire nation was gripped in a paroxysm of horror. The killer was not caught, so we will never know his true identity, although History has christened him with the most notorious of nicknames, coined by a journalist of the day: Jack the Ripper. Exactly one hundred years later, the same thing appears to be happening again and in the same places. The victims even have similar names. Marie Kelly, a young student, is haunted by horrifying dreams of Victorian London in which she is pursued through the gloomy, sooty alleyways of Whitechapel by a dark, shapeless shadow that seeks to destroy her utterly, as it did her near-namesake, Mary Jane Kelly, a century earlier. Marie experiences Mary's terror and despair as her own. As the body count rises, the truth emerges gradually. The two series of murders are linked fundamentally in a way far beyond the police's ability to prevent them. Even if they identify the modern killer, even if they kill him, there is no way that they can stop it. Only he can do that. Aware of the history, Marie even knows when he will strike. As the dreaded day approaches, her mind begins to fall apart under the pressure, just as her namesake's did. We witness the disintegration of both young women. She and the Ripper are 'Chained in Time'.

This volume deals with fundamental aspects of the material life of Islamic societies in the formative period. Three broad sections comprise the scope of the book: the first on housing, the second on textiles and clothing, and the final one on food and drink. In each section, studies based upon both archaeological and literary sources are included. The aim of the collection is to highlight features of continuity between the pre-Islamic cultures of the Middle East and those other aspects which were introduced as a consequence of the development and spread of the Islamic religious tradition. The editor's introduction to the volume reviews the developments and current trends in each area, and notes the problems in constructing knowledge of the material civilisation of the early Islamic period.