Incisive, controversial and startlingly funny, The Rules of Attraction examines a group of affluent students at a small, self-consciously bohemian, liberal-arts college on America's East Coast. Lauren, who changes the man in her bed even more often than she changes course, is dating Victor but sleeping with Sean. Sean -- cool, ambivalent and deeply cynical -- might be in love with Lauren, but he's not going to let that stop him from bedding Paul. Paul, as shrewd as he is passionate, is Lauren's ex-lover and the final point in this curious triangle. This is a breathtaking tale of sex, expectation, desire and frustration. 'A tour of the heart of darkness, a moral armageddon' The Times 'Compelling ...sympathetic to his "lost generation" the way only Fitzgerald was about his' Vanity Fair 'One of the primary inside sources in upper-middle-class America's continuing investigation of what has happened to its children' New York Times 'Inspired. A wonderfully comic novel' Gore Vidal
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In The Rules of Attraction Bret Easton Ellis trains his incisive gaze on the kids at self-consciously bohemian Camden College, a small, affluent liberal-arts college in New England at the height of the Reagan 80s. He treats their sexual posturings and agonies with a mixture of acrid hilarity and compassion while exposing the moral vacuum at the centre of their lives. Racing from Thirsty Thursday Happy Hours to Dressed To Get Screwed parties to drinks at The Edge of the World, this is a poignant take on the death of romance. 'Inspired. A wonderfully comic novel' Gore Vidal 'Compelling . . . sympathetic to his “lost generation” the way only Fitzgerald was about his' Vanity Fair 'One of the primary inside sources in upper-middle-class America's continuing investigation of what has happened to its children' New York Times 'Ellis has always been regarded as the bad boy of contemporary American letters' Douglas Kennedy 'A tour of the heart of darkness, a moral armageddon' The Times
Drums pound, building excitement; the music bursts into life with a cry of "Stingray! Stingray!" Who can resist? Especially when a dramatic voice announces, "Anything can happen in the next half hour!". Stingray (1964) was the show Gerry Anderson made just before he really hit the big time with Thunderbirds (1965), producing 39 episodes of the 21st-century adventures of Troy Tempest--tall, dark and handsome (his voice was based on James Garner) captain of the titular submarine. His mission: to protect the seas on behalf of WASP (World Aquanaut Security Patrol). With complex underwater model and puppet effects, this was ground-breaking television, especially as it was the first UK series to be made in colour, though for years it was only seen in black and white. Special effects director Derek Meddings later graduated to the James Bond movies, while Moneypenny herself (actress Lois Maxwell) voiced Atlanta Shore. Here, just as in the Bond movies, she played second fiddle in our hero's affections, the mute Marina becoming Stingray's sex-goddess. The end-credits even featured a song in her honour, "Aqua Maria", which became an international hit. As for the bad guys: half-man, half-fish Titan and his Terror Fish wage dastardly war against humanity and the peaceful underwater citizens of Pacifica. Four decades on the model and underwater sequences still impress, and surely much of the inspiration for the underwater city in The Phantom Menace came from locations in Stingray. Whether as bizarre 60s nostalgia, or winning a new generation of fans, Stingray remains eccentric cult family entertainment. --Gary S Dalkin
1-Roll With It 2-A Little More Country Than That 3-This Far From Memphis 4-The Way Love Looks 5-Someday When I'm Old 6-Don't Ask Me 'Bout A Woman 7-I Can't Love You Back 8-A Lot To Learn About Livin' 9-Let Alone You 10-That'll Make You Wanna Drink 11-Leavin' A Lonely Town (2010/MERCURY) 11 tracks - debut album feat.:' A Little More Country Than That'
Patrick Bateman is twenty-six and works on Wall Street; he is handsome, sophisticated, charming and intelligent. He is also a psychopath. Taking us to a head-on collision with America's greatest dream – and its worst nightmare – American Psycho is a bleak, bitter, black comedy about a world we all recognize but do not wish to confront. 'Serious, clever and shatteringly effective' Sunday Times 'American Psycho is a beautifully controlled, careful, important novel . . . The novelist's function is to keep a running tag on the progress of the culture; and he's done it brilliantly . . . A seminal book' Fay Weldon, Washington Post 'For its savagely coherent picture of a society lethally addicted to blandness, it should be judged by the highest standards' John Walsh, Sunday Times 'That the book's contents are shocking is downright undeniable, but just as Bonfire of the Vanities exposed the corruption and greed engendered in eighties politics and high living, American Psycho examines the mindless preoccupations of the nineties preppy generation' Time Out