pillow talk

Fran Lovett, Floristin aus Los Angeles, wird nach 18 Ehejahren von ihrem Mann Peter mit dem schockierenden Geständnis überrumpelt, dass er schwul sei. Da beide ziemlich knapp bei Kasse sind, kann es sich keiner leisten, aus dem gemeinsamen Haus auszuziehen. So leben sie nach der Scheidung - meist friedlich - unter einem Dach. Als Neu-Singles stürzen sich Fran und Peter sofort wieder ins Dating-Getümmel – und beäugen argwöhnisch die Eroberungen des anderen. Der Selbstfindungstrip der beiden Frisch-Geschiedenen, Peters Herumtapsen in der Schwulenszene und das Doch-nicht-so-ganz-voneinander-Loskommen sorgen für komische Verwicklungen und jede Menge UnterhaltungEpisdoden:01 Das Geständnis (Pilot)02 Bettgeflüster (Pillow Talk)03 Der Hochzeitstag (Anniversary)04 Einer von denen (A Date With Destiny)05 Alter Kram (Spousal Support)06 Die Kreuzfahrt (I Wann Be Alone)07 Alte Liebe rostet nicht (Someone Wants Me)08 Beste Freundinnen (A Kiss Is Just A Kiss)09 Verliebt in Gregory (Vegas Baby)10 Schlechtes Timing (Torn Between Two Lovettes)

Was wäre Pillow Talk ohne nächtliches Bettgeflüster am Telefon? Was Phone Booth ohne Telefonzelle? Wie käme Neo bloß ohne Telefonverbindung in die Matrix? Und wie wieder hinaus? Wie mysteriös wäre der Mystery Man in Lost Highway eigentlich ohne Handy? Und was wäre Dial M for Murder ohne den Anruf zum Mord? – Oft fällt uns das Telefon auf der Leinwand gar nicht mehr auf, obwohl es nicht selten der heimliche Hauptdarsteller vieler Filme ist. Gerade im Zeitalter der ubiquitären, veralltäglichten Mobiltelefonie ist es als filmisches Objekt ein hochpräsentes Element der Handlungsdynamik. Was aber macht das Telefon für den Film seit jeher so besonders? Esther Lulaj rekonstruiert die Bedeutungsaspekte und Funktionen des Telefon(ieren)s in zehn ausgewählten Spielfilmen zwischen Stummfilmperiode und Gegenwart. Sie zeigt auf, dass dem Telefon als Kommunikationsinstrument und technischer Wahrnehmungsprothese des Menschen eine genuine Ambivalenz zukommt, die die Dramaturgie wie auch die visuell-akustische Gestaltung von Spielfilmen zu vielfältigsten ästhetischen und medial reflexiven Bedeutungskomplexen anregt. Wer hätte gedacht, dass ein simpler technischer Apparat die verschiedensten Stimmungen potenzieren, den Film in die erdenklichsten Richtungen führen, jederzeit Handlung auslösen und die unterschiedlichsten Sequenzen miteinander verbinden kann? Lulaj zeigt in ihrer Studie anschaulich, welche Folgen das Abnehmen oder Ablehnen eines klingelnden Telefons haben kann, wie eine Telefonverbindung zum rettenden Draht oder zur verhängnisvollen Kupferschlinge wird, wie der Fernsprecher Distanzen überwindet und im selben Moment aufbaut, wie er dem Anrufer Macht verleihen und den Angerufenen gleichzeitig in tiefe Ohnmacht stürzen kann – und umgekehrt. Die Autorin stellt dazu zunächst die Technikgenese und Kulturgeschichte des Telefons dar, seinen historischen und kulturellen Hintergrund, um dann eine detaillierte Analyse der vielfältigen Funktionen des Telefons im Spielfilm vorzulegen. Mit ihrer Studie richtet sie sich an Film-, Medien- und KulturwissenschaftlerInnen. Und an alle, die mit Telefon ins Kino gehen.

We were supposed to hook up and never see each other again. Oops. Ellis Donlan Me? A sports agent? Clearly, hell has frozen over. But it must be happening because Dad insists I start working for the family business, and I've run out of excuses not to. Already dreading my first day tomorrow, I know the best thing to take the edge off is finding myself a hot guy for the night. That plan leads me to Damon, the hottest, sweetest man ever. We agree to one night of fun, then we never see each other again. But the universe must have other ideas because the very next morning, I find out he's my new coworker. And thanks to a little too much pillow talk, I accidentally use his insider information against him. Now he hates me, and the sweet guy I met is nowhere to be found. Damon Marks I don't do one-night stands. Not my thing. Until Ellis enters my life. He's beautiful, bold, and I'm instantly enamored. He refuses to give me his number and tells me straight up that he only wants one night. Even if I don't usually do this, I can't walk away. It's too bad he doesn't want to see me again after this, because he's perfect. Unfortunately for him, the following day we're both surprised to discover we'll be seeing a lot more of each other-because he's the CEO's son. And unfortunately for me, I never even saw it coming. Now, two years later, just when I've gotten used to disliking the man I'm still very much attracted to, misfortune finds us once again when a snow storm traps us together in a hotel room-and we've only got one bed. Deal Breaker is an M/M holiday romance novella, featuring a one-night stand between two people who thought they'd never see each other again.

SOON TO BE A MAJOR MOTION PICTURE The definitive biography of the deeply complex and widely misunderstood matinee idol of Hollywood's Golden Age. Devastatingly handsome, broad-shouldered and clean-cut, Rock Hudson was the ultimate movie star. The embodiment of romantic masculinity in American film throughout the '50s and '60s, Hudson reigned supreme as the king of Hollywood. As an Oscar-nominated leading man, Hudson won acclaim for his performances in glossy melodramas (Magnificent Obsession), western epics (Giant) and blockbuster bedroom farces (Pillow Talk). In the '70s and '80s, Hudson successfully transitioned to television; his long-running series McMillan & Wife and a recurring role on Dynasty introduced him to a whole new generation of fans. The icon worshipped by moviegoers and beloved by his colleagues appeared to have it all. Yet beneath the suave and commanding star persona, there was an insecure, deeply conflicted, and all too vulnerable human being. Growing up poor in Winnetka, Illinois, Hudson was abandoned by his biological father, abused by an alcoholic stepfather, and controlled by his domineering mother. Despite seemingly insurmountable obstacles, Hudson was determined to become an actor at all costs. After signing with the powerful but predatory agent Henry Willson, the young hopeful was transformed from a clumsy, tongue-tied truck driver into Universal Studio's resident Adonis. In a more conservative era, Hudson's wholesome, straight arrow screen image was at odds with his closeted homosexuality. As a result of his gay relationships and clandestine affairs, Hudson was continually threatened with public exposure, not only by scandal sheets like Confidential but by a number of his own partners. For years, Hudson dodged questions concerning his private life, but in 1985 the public learned that the actor was battling AIDS. The disclosure that such a revered public figure had contracted the illness focused worldwide attention on the epidemic. Drawing on more than 100 interviews with co-stars, family members and former companions, All That Heaven Allows finally delivers a complete and nuanced portrait of one of the most fascinating stars in cinema history. Author Mark Griffin provides new details concerning Hudson's troubled relationships with wife Phyllis Gates and boyfriend Marc Christian. And here, for the first time, is an in-depth exploration of Hudson's classic films, including Written on the Wind, A Farewell to Arms, and the cult favorite Seconds. With unprecedented access to private journals, personal correspondence, and production files, Griffin pays homage to the idol whose life and death had a lasting impact on American culture.

'A wonderful and charming treasure of a book that will warm your heart!' Sarah Beth Durst, New York Times bestselling author of The Spellshop When a halfling, Pansy, and a goblin, Ren, each think they've inherited the same cottage, they make a bargain: they'll live in the house together and whoever is driven out first forfeits their ownership. Amidst forced proximity and cultural misunderstandings, the two begin to fall in love. But when the cottage-and their communities-are threatened by a common enemy, the duo must learn to trust each other, and convince goblins and halflings to band together to oust a tall intruder. From debut author Jessie Sylva comes the cosy tale of a halfling and a goblin who must learn to love each other despite their differences. How to Lose a Goblin in Ten Days is brimming with warmth and popular small town romance tropes, perfect for fans of The Honey Witch and The Spellshop. 'An adorable story that will fulfill your cottagecore dreams' M. Stevenson, author of Behooved 'Cozy fantasy lovers will tuck into this lovely story and want to savor every last morsel' J. Penner, author of A Fellowship of Bakers & Magic 'Everything I didn't know I wanted in a cosy fantasy novel and more. What do you MEAN it's a classic romcom meets Lord of the Rings?! It means that this was made for exactly me . . . a romantically fantastical delight' Stephanie Cooke, author of Pillow Talk Tropes: Cosy Fantasy Romance She made a bet Grumpy x Sunshine Enemies to lovers Forced proximity Opposites attract There's only one bed Just a small town girl Some of the Goodreads reviews so far: 'I was cheering for Pansy and Ren throughout' 'This book is a warm hug and a ray of sunshine on paper' '100% recommend this for anyone who needs a getaway to a magical place' 'This book is perfect for fans of cozy cottage core romantasy' 'When I saw the title of this book, I knew I HAD to read it' 'Sometimes you need a book that feels like being wrapped in the softest blanket while rain patters against the window. Jessie Sylva delivered exactly that' 'I cannot emphasize how lovely this book was enough, it was the perfect cosy read' 'Jessie Sylva's writing was phenomenal. I found I giggled, smiled, and sometimes even kicked my feet in pure delight' (Plus many more five star reviews on Goodreads.)

Leary Michaels has no problem using her feminine charms to daze her legal adversaries so they don't see her coming in for the kill. On her most personal case yet, she finds herself battling an attorney who's just as skilled, seductive and shamelessly determined to beat her at her own game. As a partner at Knight & Payne, I know what it takes to succeed-hard work, long hours and occasionally turning up my female powers of persuasion. I'm not afraid to show a little skin if it's going to get me what I want and I've been known to ignore the ethics rules a time or two. The opponent on my current case is nothing but a sleazy corporate lawyer willing to sell his soul to the devil to help his rich clients get richer by sticking it to innocent people like my client. No matter how devastatingly handsome Reeve Holloway is, I have zero qualms messing with his head... both above and below his belt. I've deviously planned out our first meeting and one excruciatingly long elevator ride at the courthouse leaves me with my stockings down, Reeve begging for more and the two of us on a decidedly unethical path to the bedroom. As the case and our dalliance go on, I find that my initial impression of Reeve couldn't be further from reality. What starts as a couple of workaholics blowing off steam turns into something deeper than we ever wanted. But pillow talk can be dangerous when you're walking a moral line and Reeve's law firm has made it clear they'll stop at nothing to win. As the gavel comes down on our case, I can't help but feel as if I'm losing everything I've worked so hard to attain. As our hearts become more entwined, can we find a way to battle in the courtroom or will the friction cause our love to burn to ashes? NOTE: Friction: Reeve and Leary's Story was originally released as Friction by Montlake in 2015. This tale of two attorneys battling it out in the courtroom received a fresh polish but the story remains the same-smart, sassy and smoking hot.

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Calle's seminal 1979 series of people sleeping in her bed: now in English In one of Sophie Calle's first artistic experiments, she invited friends, acquaintances and strangers to sleep in her bed. Twenty-seven people agreed, among them a baker, a babysitter, an actor, a journalist, a seamstress, a trumpet player and three painters. Calle photographed them awake and asleep, secretly recording any private conversations once the door closed. She served each a meal, and, if they agreed, she subjected them to a questionnaire that probed their personal predilections, habits and dreams as well as their interpretations of the act of sleeping in her bed: a curiosity, a game, an artwork, or--as Calle intended it--a job. The result, comprising her first exhibition in 1979, was a grid of 198 photographs and short texts. Unlike the original installation, this artist's book version of The Sleepers contains not only all the photographs and captions but also her engrossing, novellalike narrative, untranslated until now. From the single, liminal mise-en-scène of her bedroom, Calle reports in text and photos, as if in real time, as sleepers arrive, talk, sleep, eat and leave. Their acute and sometimes startling, sometimes endearing particularities merge into something almost like an eight-day-long dream. Many seeds of Calle's subsequent works are embedded in The Sleepers: her exacting and transgressive methods of investigation, her cultivation of intimacy and remove, and her unrelenting curiosity. In this work, as she observes the sleepers, they observe her too--with reciprocal candor. The Sleepers, clothbound and pillow-like, unfolds as it opens, inviting the reader to join the others in Calle's bed.

Calle's seminal 1979 series of people sleeping in her bed: now in English In one of Sophie Calle's first artistic experiments, she invited friends, acquaintances and strangers to sleep in her bed. Twenty-seven people agreed, among them a baker, a babysitter, an actor, a journalist, a seamstress, a trumpet player and three painters. Calle photographed them awake and asleep, secretly recording any private conversations once the door closed. She served each a meal, and, if they agreed, she subjected them to a questionnaire that probed their personal predilections, habits and dreams as well as their interpretations of the act of sleeping in her bed: a curiosity, a game, an artwork, or--as Calle intended it--a job. The result, comprising her first exhibition in 1979, was a grid of 198 photographs and short texts. Unlike the original installation, this artist's book version of The Sleepers contains not only all the photographs and captions but also her engrossing, novellalike narrative, untranslated until now. From the single, liminal mise-en-scène of her bedroom, Calle reports in text and photos, as if in real time, as sleepers arrive, talk, sleep, eat and leave. Their acute and sometimes startling, sometimes endearing particularities merge into something almost like an eight-day-long dream. Many seeds of Calle's subsequent works are embedded in The Sleepers: her exacting and transgressive methods of investigation, her cultivation of intimacy and remove, and her unrelenting curiosity. In this work, as she observes the sleepers, they observe her too--with reciprocal candor. The Sleepers, clothbound and pillow-like, unfolds as it opens, inviting the reader to join the others in Calle's bed.