The classic New York Times–bestselling tale of suspense and intrigue that takes readers behind the scenes of the secretive billion-dollar diamond business From a centuries-old building on a narrow street in the heart of London, a firm known as the System, the world’s most lucrative and least-known cartel, maintains a stranglehold on the world’s diamonds. The company selects the stones a customer can buy and decides how much he must pay for the privilege. One dealer is tired of the game, and so he sets out to destroy the System forever. With the help of his mistress, Chesser sketches a plan to infiltrate the offices at 11 Harrowhouse—and make off with every diamond the System owns. But this billion-dollar heist is not as simple as it seems, for the System is always watching.

This A-Z guide to lesbians and lesbianism in the movies contains reviews, gossip, facts and commentary on over 200 films, including specifically lesbian films such as "Go Fish" and "Desert Hearts" as well as films with a lesbian character or theme, like "The Children's Hour" and "The Hunger".

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

A freelance intelligence agent with a deadly gift goes after a gang of terrorists in New York Times–bestselling author Gerald A. Browne’s stylish, action-packed thriller The train slips across the horizon, its serial numbers painted over, its cars empty save for the soldiers who guard the cargo. Its mission is classified, but there are four men waiting in the night, keeping a close eye on the mysterious train. They know it carries something far more dangerous than a nuclear bomb, and they will do anything to get their hands on it. Unlocking the train’s secrets requires a daring crime, and victory seems within their reach. But they did not count on Hazard. A hard-drinking gambler with a taste for beautiful women and no love for authority, freelance intelligent operative Hazard is an unlikely hero. But when a corpse washes up in the Hudson River, he vows revenge. The victim was an idealist whose sense of honor got him killed, and Hazard will destroy the men responsible—even if he has to save the world along the way.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

Sarah Thomas's study moves beyond the image of the brooding, destructive man at odds with employers and his own star status to explore the complexity of Mason's career and star persona. Her analysis is structured around three strands central to understanding stardom: the star persona, industry and power, and screen performance. Thomas addresses the incredible range of Mason's star career – 1930s 'quota quickies'; 1940s Gainsborough melodramas; the desperate IRA man in Carol Reed's 'Odd Man Out' (1947); from the 1950s onwards, Hollywood classics including starring in Hitchcock's 'North by Northwest' (1959) and playing Humbert Humbert in Kubrick's 'Lolita' (1962). She also considers in depth his undervalued post-1962 career, off-screen celebrity status, non-film work, comic and vocal performances, and the star's own self-commentary. In doing so, she offers a new perspective on such subjects as power and powerlessness; public image and national identity, contextualizing Mason's career in wider histories of British, American and European transnational filmmaking.