At nine, Sean Connery saved him from drowning. At thirteen, desperate to hook up with Janis Joplin, he attended his aunt Joan Didion and uncle John Gregory Dunne’s legendary LA launch party for Tom Wolfe’s The Electric Kool-Aid Acid Test. At sixteen, he got kicked out of boarding school, ending his institutional education for good.

By the 1970s, the country’s oldest continuously published newspaper had fallen on hard times, just like its nearly bankrupt hometown. When the New York Post was sold to a largely unknown Australian named Rupert Murdoch in 1976, staffers hoped it would be the start of a new golden age for the paper. Now, after the nearly fifty years Murdoch has owned the tabloid, American culture reflects what Murdoch first started in the 1970s: a celebrity-focused, noisy, one-sided media empire that reached its zenith with Fox News.

From its debut in 1962, Edward Albee’s Who’s Afraid of Virginia Woolf? was a wild success and a cultural lightning rod. The play transpires over one long, boozy night, laying bare the lies, compromises, and scalding love that have sustained a middle-aged couple through decades of marriage. It scandalized critics but magnetized audiences. Across 644 sold-out Broadway performances, the drama demolished the wall between what could and couldn’t be said on the American stage and marked a definitive end to the I Love Lucy 1950s.

In 2002, Bill Zehme landed one of the most coveted assignments for a magazine writer: an interview with Johnny Carson—the only one he’d granted since retiring from hosting The Tonight Show a decade earlier. Zehme was tapped for the Esquire feature story thanks to his years of legendary celebrity profiles, and the resulting piece portrayed Carson as more human being than showbiz legend. Shortly after Carson’s death in 2005 and urged on by many of those closest to Carson, Zehme signed a contract to do an expansive biography.

By the acclaimed author of Pictures at a Revolution and Five Came Back comes a magnificent biography of one of the most protean creative forces in American entertainment history, a life of dazzling highs and vertiginous plunges - some of the worst largely unknown until now. Mark Harris explores, with brilliantly vivid detail and insight, the life, work, struggle, and passion of an artist and man in constant motion.

When twenty-five-year-old Judith Jones began working as a secretary at Doubleday’s Paris office in 1949, she spent most of her time wading through manuscripts in the slush pile and passing on projects—until one day, a book caught her eye. She read it in one sitting, then begged her boss to consider publishing it. A year later, Anne Frank: The Diary of a Young Girl became a bestseller. It was the start of a culture-defining career in publishing. Legendary editor Judith Jones finally gets her due in this intimate biography.

The enigmatic and elusive filmmaker Stanley Kubrick has not been treated to a full-length biography in over twenty years. Stanley Kubrick: An Odyssey fills that gap. This definitive book is based on access to the latest research, especially Kubrick's archive at the University of the Arts, London, as well as other private papers plus new interviews with family members and those who worked with him. It offers comprehensive and in-depth coverage of Kubrick's personal, private, public, and working life.

Christina Crawford's book was an immediate bestseller, addressing the infrequently discussed topic of child abuse. When Paramount Pictures released the film, starring Faye Dunaway as Crawford, it was critically panned, and remains one of the most legendary critical bombs in film history. The lavish, big-screen adaptation drew unexpected laughter in the scenes depicting life in the Crawford household. Rarely have such good intentions been met with such ridicule.

The only person ever to win Oscar, Emmy, and Tony awards in the same year, Bob Fosse revolutionized nearly every facet of American entertainment. His signature style would influence generations of performing artists. Yet in spite of Fosse’s innumerable—including Cabaret, Pippin, All That Jazz, and Chicago, one of the longest-running Broadway musicals ever—his offstage life was shadowed by deep wounds and insatiable appetites.

Eddie Mannix and Howard Strickling are virtually unknown outside of Hollywood and little-remembered even there, but as General Manager and Head of Publicity for Metro-Goldwyn-Mayer Studios, they lorded over all the stars in Hollywood’s golden age from the 1920s through the 1940s—including legends like Garbo, Dietrich, Gable and Garland. When MGM stars found themselves in trouble, it was Eddie and Howard who took care of them—solved their problems, hid their crimes, and kept their secrets. They were “the Fixers.”

“What am I, bologna?” Mary Rodgers (1931-2014) often said. She was referring to being stuck in the middle of a talent sandwich: the daughter of one composer and the mother of another. And not just any composers. Her father was Richard Rodgers, perhaps the greatest American melodist; her son, Adam Guettel, a worthy successor. What that leaves out is Mary herself, also a composer, whose musical Once Upon a Mattress remains one of the rare revivable Broadway hits written by a woman. Shy is the story of how it all happened.

From the outside, Hollywood starlet Lana Turner seemed to have it all—a thriving film career, a beautiful daughter, and the kind of fame and fortune that most people could only dream of. But when the famous femme fatale began dating mobster Johnny Stompanato, thug for the infamous west coast mob boss Mickey Cohen, her personal life became violent and unpredictable. Lana's teenage daughter, Cheryl, watched her beloved mother's life deteriorate as Stompanato's intense jealousy took over.

Francis Ford Coppola is one of the great American dreamers, and his most magnificent dream is American Zoetrope, the production company he founded in San Francisco years before his gargantuan success, when he was only thirty. Through Zoetrope’s experimental, communal utopia, Coppola attempted to reimagine the entire pursuit of moviemaking. Now, more than fifty years later, despite myriad setbacks, the visionary filmmaker’s dream persists, most notably in the production of his decades-in-the-making film and the culmination of his utopian ideals, Megalopolis.

The saga behind The Blues Brothers, as Daniel de Visé reveals, is epic, encompassing the colorful childhoods of Belushi and Aykroyd; the comedic revolution sparked by Harvard’s Lampoon and Chicago’s Second City; the birth and anecdote-rich, drug-filled early years of Saturday Night Live, where the Blues Brothers were born as an act amidst turmoil and rivalry; and, of course, the indelible behind-the-scenes narrative of how the film was made, scene by memorable scene.

Who invented reality television, the world’s most dangerous pop-culture genre? And why can’t we look away? In this revelatory, deeply reported account of the rise of “dirty documentary”—from its contentious roots in radio to the ascent of Donald Trump—Emily Nussbaum unearths the origin story of the genre that ate the world, as told through the lively voices of the people who built it. At once gimlet-eyed and empathetic, Cue the Sun! explores the morally charged, funny, and sometimes tragic consequences of the hunt for something real inside something fake.

Separated by 10 years, 3,000 miles, and the unrelenting stresses of adulthood, best friends Janet and Serena plan a 40th birthday girls’ trip to reconnect. But after a massive crash, they’re the only survivors to wash ashore on an uncharted Caribbean Island. Armed with only the clothes on their backs and zero survival skills, they fight to overcome hunger, thirst, deadly wildlife—and most terrifyingly—decades of accrued resentment. Can they find their way home, or will they kill each other first?

In this award-winning Audible Studios production, Trevor Noah tells his wild coming-of-age tale during the twilight of apartheid in South Africa. It’s a story that begins with his mother throwing him from a moving van to save him from a potentially fatal dispute with gangsters, then follows the budding comedian’s path to self-discovery through episodes both poignant and comical.

A bad best man’s speech can ruin a wedding. Why do we plan every detail of a perfect day and then give the groom’s idiot best friend five minutes of total power? Enter Nate (Glen Powell), a speechwriter-for-hire who helps people write incredible best man speeches. To keep the best man from embarrassing himself (and the newlyweds), Nate uses his list of don’ts: Don’t mention the exes, don’t be rated R, and don’t bum everyone out. Nate’s system never fails. That is, until he meets Dan (Nicholas Braun).

Traumatized by the bombing of Dresden at the time he had been imprisoned, Pilgrim drifts through all events and history, sometimes deeply implicated, sometimes a witness. He is surrounded by Vonnegut's usual large cast of continuing characters (notably here the hack science fiction writer Kilgore Trout and the alien Tralfamadorians, who oversee his life and remind him constantly that there is no causation, no order, no motive to existence).

Alice's journey begins as all good journeys do: hitting on the sales guy at REI. After a tumultuous breakup, a quick career transition, family upheaval, and a sobriety journey that didn't fix her life quite as much as she expected it to, Alice decides that the only way to solve all her problems is to hike the Pacific Crest Trail. But as she begins preparing for the months-long quest, she realizes the answers she's seeking might not be on top of a snow-covered mountain. Especially since she just learned there was snow in California.

Jenna Jones, former It-girl fashion editor, is broke and desperate for a second chance. When she’s dumped by her longtime fiancé and fired from Darling magazine, she begs for a job from her old arch nemesis, Darcy Vale. The beyond-bitchy publisher of StyleZine.com, Darcy agrees to hire her rival - only because her fashion site needs a jolt from Jenna’s old school cred. But Jenna soon realizes she’s in over her head.

Patrick Bateman moves among the young and trendy in 1980s Manhattan. Young, handsome, and well educated, Bateman earns his fortune on Wall Street by day while spending his nights in ways we cannot begin to fathom. Expressing his true self through torture and murder, Bateman prefigures an apocalyptic horror that no society could bear to confront.

He is one of the longest-running cast members on Saturday Night Live, an American comedy genius renowned for his spot-on sendups of politicians and celebrities. But off-stage, Darrell Hammond’s life was anything but a joke. In CRAY, a special audio performance captured live onstage at Audible’s Minetta Lane Theatre, Hammond brings to life his acclaimed memoir, God, If You're Not Up There, I'm F*cked: Tales of Stand-Up, Saturday Night Live and Other Mind-Altering Mayhem.

Breakfast of Champions (1973) provides frantic, scattershot satire and a collage of Vonnegut's obsessions. His recurring cast of characters and American landscape was perhaps the most controversial of his canon; it was felt by many at the time to be a disappointing successor to Slaughterhouse-Five, which had made Vonnegut's literary reputation.

Heads Will Roll is an Audible Original from Saturday Night Live star Kate McKinnon and her cocreator/costar (and real-life sister) Emily Lynne. Produced by Broadway Video, this is not an audiobook - it’s a 10-episode, star-studded audio comedy that features performances from Meryl Streep, Tim Gunn, Peter Dinklage, Queer Eye’s Fab Five, and so many more. Please note: This content is not for kids.

Starting out in the mid-70s, a time when few women were directing movies, Susan Seidelman was determined to become a filmmaker. She longed to tell stories about the unrepresented characters she wanted to see on screen: unconventional women in unusual circumstances, needing to express themselves and maintain their autonomy. Her genre-blending films reflect a passion for classic Hollywood storytelling, mixed with a playful New Wave spirit, informed by her years living in downtown NYC.

By the acclaimed author of Pictures at a Revolution and Five Came Back comes a magnificent biography of one of the most protean creative forces in American entertainment history, a life of dazzling highs and vertiginous plunges - some of the worst largely unknown until now. Mark Harris explores, with brilliantly vivid detail and insight, the life, work, struggle, and passion of an artist and man in constant motion.

From its debut in 1962, Edward Albee’s Who’s Afraid of Virginia Woolf? was a wild success and a cultural lightning rod. The play transpires over one long, boozy night, laying bare the lies, compromises, and scalding love that have sustained a middle-aged couple through decades of marriage. It scandalized critics but magnetized audiences. Across 644 sold-out Broadway performances, the drama demolished the wall between what could and couldn’t be said on the American stage and marked a definitive end to the I Love Lucy 1950s.

Growing up on Long Island, lonely and quiet and queer, she was enchanted by Hollywood starlets like Kim Novak. She found her turn in New York’s early Off-Off-Broadway theater scene, in Warhol’s films Flesh and Women in Revolt, and at the famed nightclub Max's Kansas City. She inspired songs by Lou Reed and the Rolling Stones. She became friends with Jane Fonda and Lily Tomlin, borrowed a dress from Lauren Hutton, posed for Richard Avedon, and performed alongside Tennessee Williams in his own play.

Over the course of her sixty-five-year career, the longest of any female filmmaker, Agnes Varda (1928-2019) wrote and directed some of the most acclaimed films of her era. She helped to define the French New Wave, inspired an entire generation of filmmakers, and was recognized with major awards at the Cannes, Berlin, and Venice Film Festivals, as well as an honorary Oscar at the Academy Awards. In this lively biography, Carrie Rickey explores the "complicated passions" that informed Varda's charmed life and indelible work.

Alice Carrière tells the story of her unconventional upbringing in Greenwich Village as the daughter of a remote mother, the renowned artist Jennifer Bartlett, and a charismatic father, European actor Mathieu Carrière. From an early age, Alice is forced to navigate her mother’s recovered memories of ritualized sexual abuse, which she turns into art, and her father’s confusing attentions—her childhood is spent in an adult’s world, with little-to-no boundaries or supervision.

Dubbed a voice of her generation, poet and writer Morgan Parker has spent much of her adulthood in therapy, trying to square the resonance of her writing with the alienation she feels in nearly every aspect of life, from her lifelong singleness to a battle with depression. She traces this loneliness to an inability to feel truly safe with others and a historic hyperawareness stemming from the effects of slavery.

The internationally acclaimed actress Patricia Neal (1926-2010) was a star on stage, film, and television for more than 60 years. She is perhaps best known for her portrayal of Alma Brown in Hud, which earned her the 1963 Academy Award for Best Actress.

In When Women Ran Fifth Avenue, journalist Julie Satow draws back the curtain on three visionaries who took great risks, forging new paths for the women who followed in their footsteps. This stylish account, rich with personal drama and trade secrets, captures the department store in all its glitz, decadence, and fun, and showcases the women who made that beautifully curated world go round.

“What am I, bologna?” Mary Rodgers (1931-2014) often said. She was referring to being stuck in the middle of a talent sandwich: the daughter of one composer and the mother of another. And not just any composers. Her father was Richard Rodgers, perhaps the greatest American melodist; her son, Adam Guettel, a worthy successor. What that leaves out is Mary herself, also a composer, whose musical Once Upon a Mattress remains one of the rare revivable Broadway hits written by a woman. Shy is the story of how it all happened.

Christina Crawford's book was an immediate bestseller, addressing the infrequently discussed topic of child abuse. When Paramount Pictures released the film, starring Faye Dunaway as Crawford, it was critically panned, and remains one of the most legendary critical bombs in film history. The lavish, big-screen adaptation drew unexpected laughter in the scenes depicting life in the Crawford household. Rarely have such good intentions been met with such ridicule.

Among a crop of fresh filmmakers including Steven Spielberg, George Lucas, Martin Scorsese, and Francis Ford Coppola revolutionizing Hollywood in the ’70s, Brian De Palma—a director from Philadelphia with a few social satires under his belt—charted a cinematic path unlike any of his peers. At times he was unfairly dismissed as a Hitchcock copycat; other times he was misunderstood for his peculiar mix of sexuality, humor, music, and violence. But, over the course of ten years, he created a new cinematic language.

In the 1980s, the subways of New York City were covered with art. In the stations, black matte sheets were pasted over outdated ads, and unsigned chalk drawings often popped up on these blank spaces. These temporary chalk drawings numbered in the thousands and became synonymous with a city as diverse as it was at war with itself, beset with poverty and crime but alive with art and creative energy. And every single one of these drawings was done by Keith Haring.

From the outside, Hollywood starlet Lana Turner seemed to have it all—a thriving film career, a beautiful daughter, and the kind of fame and fortune that most people could only dream of. But when the famous femme fatale began dating mobster Johnny Stompanato, thug for the infamous west coast mob boss Mickey Cohen, her personal life became violent and unpredictable. Lana's teenage daughter, Cheryl, watched her beloved mother's life deteriorate as Stompanato's intense jealousy took over.

Could you write what you write if you weren’t so tiny, Joan? —Eve Babitz, in a letter to Joan Didion, 1972. Joan Didion, revealed at last… Eve Babitz died on December 17, 2021. Found in the wrack, ruin, and filth of her apartment, a stack of boxes packed by her mother decades before. The boxes were pristine, the seals of duct tape unbroken. Inside, a lost world. This world turned for a certain number of years in the late sixties and early seventies, and centered on a two-story rental in a down-at-heel section of Hollywood.