Fire a deep pass, sprint for a touchdown, or make a bone-jarring tackle. Capture the action and excitement on the football field by drawing yourself into the scene Produced in partnership with Sports Illustrated Kids."

Entire first series of the popular TV show. In 'Encounter at Farpoint', a double length story, the Enterprise encounters a planet that is being threatened by an alien creature - and to make matters worse, Picard is called before the super-being Q to answer questions on behalf of humanity. 'The Naked Now' has the cew infected by a deadly virus which manifests itself in such symptoms as intoxication and promiscuity.

'Code of Honour' sees Tasha kidnapped by an alien who wants her as his mate. 'The Last Outpost' finds the Enterprise coming face-to-face with the Ferengi for the first time. In 'Where No One Has Gone Before', a warp experiment goes wrong and flings the Enterprise into a strange galaxy billions of light-years from its starting point.

'Lonely Among Us' has Picard's body becomes the host for an alien entity. 'Justice' sees the unfortunate Wes Crusher sentenced to death for violating a local custom on an alien world. 'The Battle' finds Picard taking on DaiMan Bok, who wants revenge for the death of his son.

'Hide and Q' has the crew of the Enterprise D plagued once more by the cosmic trickster Q. 'Haven' sees Riker's heart set to break when Deanna is forced into an arranged marriage. In 'The Big Goodbye', Picard indulges his love of film noir detective stories on the holodeck, only to end up trapped when the system malfunctions.

'Datalore' has the crew of the Enterprise discover the component parts of Lore, Data's twin brother, on a devastated planet. 'Angel One' sees Riker caught up in the politics of a planet ruled entirely by women. '11001001' finds the Enterprise hijacked by an alien race called the Bynars, who upgrade the ship's computer to their own ends.

'Too Short a Season' has the Enterprise accompany the ageing Admiral Mark Jameson to Mordan IV, where his mission is to secure the release of Federation hostages. 'When the Bough Breaks' sees Wesley and various other children from the Enterprise kidnapped by the technologically advanced but sterile civilisation on the planet Aldea. In 'Home Soil', it transpires that the Enterprise is under attack from Microbain, a microscopic life-form, after Data is attacked by a laser drill.

'Coming of Age' finds Wesley preparing to sit an Academy exam, while Picard is investigated by the unpopular Lt Commander Dexter. 'Heart of Glory' has the Enterprise play host to two Klingons who claim to have been attacked by Ferengi. 'The Arsenal of Freedom' sees Picard lead a team to the lifeless planet Minos to search for the USS Drake.

'Symbiosis' finds Picard caught in the middle of a war between the narcotics-addicted Ornarans and their enemies the Brekkans, who possess a possible cure. In 'Skin of Evil', an Enterprise shuttlecraft crash lands on Vagra II and is captured by the evil Armus. 'We'll Always Have Paris' sees the man married to Picard's first love create a hole in the universe.

'Conspiracy' has Picard's best friend suffer from an acute paranoia which leads to the destruction of his starship being destroyed. Finally, in 'The Neutral Zone', the crew encounter an enemy stronger than any they have come across before.

The American Indian has figured prominently in many films and television shows, portrayed variously as a villain, subservient friend, or a hapless victim of progress. Many Indian stereotypes that were derived from European colonial discourse-some hundreds of years old-still exist in the media today. Even when set in the contemporary era, novels, films, and programs tend to purvey rehashed tropes such as Pocahontas or man Friday. In Native Americans on Network TV: Stereotypes, Myths, and the "Good Indian," Michael Ray FitzGerald argues that the colonial power of the U.S. is clearly evident in network television's portrayals of Native Americans. FitzGerald contends that these representations fit neatly into existing conceptions of colonial discourse and that their messages about the "Good Indian" have become part of viewers' understandings of Native Americans. In this study, FitzGerald offers close examinations of such series as The Lone Ranger, Daniel Boone, Broken Arrow, Hawk, Nakia, and Walker, Texas Ranger. By examining the traditional role of stereotypes and their functions in the rhetoric of colonialism, the volume ultimately offers a critical analysis of images of the "Good Indian"-minority figures that enforce the dominant group's norms. A long overdue discussion of this issue, Native Americans on Network TV will be of interest to scholars of television and media studies, but also those of Native American studies, subaltern studies, and media history.

"A common Huntsman spider is caught in the world of a little human girl."
"Will the Huntsman spider survive?"
Children are too often taught to quickly rid their world of pesky, scary spiders.
"A Huntsman Spider in My House" is an imaginative and engaging story of a Huntsman spider and a little girl, designed for young children all over the world.
The delightfully simple style and vivid graphics will entertain and inspire children to appreciate the world in which they live.
"A Huntsman Spider in My House" is the first in the Little Aussie Critters children's book series.

Born at Christmas 1249 to Richard, Edmund of Cornwall was nephew to Henry III and cousin to Edward I. His eventful childhood took him to Germany when his father was elected king there. He was captured at the battle of Lewes and imprisoned for more than a year. Returning from crusade, he witnessed the brutal murder of his half-brother, which left him as heir to his father, the richest man in the kingdom. Throughout his life, Edmund played a crucial role in medieval England. As Regent of England, Earl of Cornwall and the richest man in the land, he was a leading force of the late-thirteenth century. This book considers Edmund's life, his use of his wealth to lend to the king and others and to be a major benefactor of religious houses. His piety saw him found two new religious houses, rebuild another and bring the Holy Blood relic from Germany to Hailes abbey. His record as Regent of England for three years is assessed. The wide spread of his lands, which included 13castles and more than 800 places in 27 counties, and his tenants are set out as is his place in the local community. The basis of his wealth and its sources, including money from his lands but also from tin mining and marine dues in Cornwall, is explored and his knightly affinity and his close associates and officials are considered. On a personal level, the book examines his unsuccessful, childless marriage with the sister of the Earl of Gloucester. Edmund was a key figure throughout Edward I's rein and the late-thirteenth century. In this insightful account, the man behind England's 'greatest king' is at long last brought to the fore.

Documentary about contemporary artists and how they repond to consumerism through their work. The artists featured in the programme include Barbara Kruger, Michael Ray Charles, Matthew Barney, Andrea Zittel and Mel Chin.

As major universities and professional organizations like the Poynter Institute have begun to examine graphic nonfiction from a critical perspective, new courses are emerging that give student writers and artists the tools to tell their own nonfiction stories in comics form. Nonfiction Comics is the first textbook to bring these tools and techniques together in a single volume. Most novices who first attempt the form arrive at it from a background of journalism or art, meaning they arrive with at least one deficit in the required skill set. Journalists, for example, typically have had little training in illustration. Artists and designers may not know how to conduct interviews or to avoid the potential legal pitfalls of telling the personal stories of real people. This book aims to fill in the gaps providing student journalists, artists, designers, creative writers, web producers and others the tools they need to tell stories visually and graphically.

Based on the authors' popular team-taught nonfiction comics course, Nonfiction Comics teaches readers how to create a graphic nonfiction story from start to finish, providing guidance on:

• how to find the story and how to find and utilize appropriate facts and visuals;
• nonfiction narrative techniques
• artist's tools and techniques
• print, digital, and multimedia production
• legal and ethical considerations

Interviews with well-known nonfiction comics creators--showcased in the book and on the book's companion website--will discuss best practice and offer readers inspiration to begin creating their own work.

As major universities and professional organizations like the Poynter Institute have begun to examine graphic nonfiction from a critical perspective, new courses are emerging that give student writers and artists the tools to tell their own nonfiction stories in comics form. Nonfiction Comics is the first textbook to bring these tools and techniques together in a single volume. Most novices who first attempt the form arrive at it from a background of journalism or art, meaning they arrive with at least one deficit in the required skill set. Journalists, for example, typically have had little training in illustration. Artists and designers may not know how to conduct interviews or to avoid the potential legal pitfalls of telling the personal stories of real people. This book aims to fill in the gaps providing student journalists, artists, designers, creative writers, web producers and others the tools they need to tell stories visually and graphically.

Based on the authors' popular team-taught nonfiction comics course, Nonfiction Comics teaches readers how to create a graphic nonfiction story from start to finish, providing guidance on:

• how to find the story and how to find and utilize appropriate facts and visuals;
• nonfiction narrative techniques
• artist's tools and techniques
• print, digital, and multimedia production
• legal and ethical considerations

Interviews with well-known nonfiction comics creators--showcased in the book and on the book's companion website--will discuss best practice and offer readers inspiration to begin creating their own work.

More than 10,000 known caves lie beneath the state of Tennessee according to the Tennessee Cave Survey, a nonprofit organization that catalogs and maps them. In Hidden Nature: Wild Southern Caves, Taylor tells the story of this vast underground wilderness. Besides describing the sheer physical majesty of the region's wild caverns and the concurrent joys and dangers of exploring them, he examines their rich natural history and scientific import, their relationship to clean water and a healthy surface environment, and their uncertain future. As a long-time caver and the author of three popular books related to caving - Cave Passages (1996), Dark Life (1998), and Caves (2000) - Taylor enjoys (for a journalist) unusual access to their secretive world. He is personally acquainted with many of the region's most accomplished cave explorers and scientists, and they in turn are familiar with his popular writing on caves in books; in magazines such as Audubon, Outside, and Sports Illustrated; and on websites such as those of the Discovery Channel and the PBS science series Nova. Hidden Nature: Wild Southern Caves is structured as a comprehensive work of well-researched fact that reads like a personal narrative of the author's long attraction to these caves and the people who dare enter their hidden chambers.