Michael Winner, the legendary film director, writer and food critic, is a colourful figure who has led a remarkable life. He has a reputation for being outspoken, and, true to form, in his autobiography he tells it like it is with sharp and insightful observations. 'Winner Takes All' begins with his unconventional childhood as a Jewish boy attending a Quaker boarding school and introduces his eccentric mother, who was a compulsive gambler. Michael Winner gained his first taste of fame, when aged fourteen, he met the stars for a showbusiness column in twenty London local papers. At Cambridge he edited the student newspaper and became a local celebrity. The author is a natural raconteur and his anecdotes from the film industry are compelling. He recounts his early life with relish and provides fascinating accounts of his experiences directing some of the world’s most famous actors and actresses, including Charles Bronson, Sophia Loren, Joan Collins, Orson Welles, Marlon Brando and Anthony Hopkins. Many of them became close friends. As a food critic, Michael Winner is famous for shooting from the hip. Love him or loathe him, he is constantly in the public eye. His esure TV commercials – which produced a national catchphrase ‘Calm down dear!’ – have been an advertising industry phenomenon. What may come as a surprise to the reader is the gentle side that he reveals in his autobiography. He speaks with candour about his private life; he admits his fear of relationships with women and confides the heartbreaking story of the love of his life, a famous female star.

NEW YORK TIMES BESTSELLER • The groundbreaking investigation of how the global elite's efforts to "change the world" preserve the status quo and obscure their role in causing the problems they later seek to solve. An essential read for understanding some of the egregious abuses of power that dominate today’s news. "Impassioned.... Entertaining reading.” —The Washington Post Anand Giridharadas takes us into the inner sanctums of a new gilded age, where the rich and powerful fight for equality and justice any way they can—except ways that threaten the social order and their position atop it. They rebrand themselves as saviors of the poor; they lavishly reward “thought leaders” who redefine “change” in ways that preserve the status quo; and they constantly seek to do more good, but never less harm. Giridharadas asks hard questions: Why, for example, should our gravest problems be solved by the unelected upper crust instead of the public institutions it erodes by lobbying and dodging taxes? His groundbreaking investigation has already forced a great, sorely needed reckoning among the world’s wealthiest and those they hover above, and it points toward an answer: Rather than rely on scraps from the winners, we must take on the grueling democratic work of building more robust, egalitarian institutions and truly changing the world—a call to action for elites and everyday citizens alike.

Disney chairman Michael Eisner topped the 1993 Business Week chart of America's highest-paid executives, his $203 million in earnings roughly 10,000 times that of the lowest paid Disney employee. During the last two decades, the top one percent of U.S. earners captured more than 40 percent of the country's total earnings growth, one of the largest shifts any society has endured without a revolution or military defeat. Robert H. Frank and Philip J. Cook argue that behind this shift lies the spread of "winner-take-all markets"—markets in which small differences in performance give rise to enormous differences in reward. Long familiar in sports and entertainment, this payoff pattern has increasingly permeated law, finance, fashion, publishing, and other fields. The result: in addition to the growing gap between rich and poor, we see important professions like teaching and engineering in aching need of more talent. This relentless emphasis on coming out on top—the best-selling book, the blockbuster film, the Super Bowl winner—has molded our discourse in ways that many find deeply troubling.

Analyzes the growing divide between the incomes of the wealthy class and those of middle-income Americans, exonerating popular suspects to argue that the nation's political system promotes greed and under-representation.

"A senior editor at Mother Jones dives into the lives of the extremely rich, showing the fascinating, otherworldly realm they inhabit-and the insidious ways this realm harms us all"--

Competitive Rocky Raccoon turns everything he does into a contest until Humphrey Hippopotamus takes him on a fishing trip and helps him to see that winning isn't everything.

For many people, the cinematic vigilante has been shaped by Charles Bronson's character in Death Wish and its sequels. But screen vigilantes have taken many guises, from Old West lynch mobs and rogue police officers to rape-avengers and military-trained equalizers. This book recounts the varied representations of such characters in films like The Birth of a Nation, which celebrated the violence of the Ku Klux Klan, and Taxi Driver, Falling Down and You Were Never Really Here, in which the vigilante impulse was symptomatic of mental instability. Also considered is the extent to which fictional vigilantism functions as social commentary and to what degree it is simply stoking popular fears.

From New York Times bestselling author and senior economic correspondent at The New York Times, how to survive—and thrive—in this increasingly challenging economy. Every ambitious professional is trying to navigate a perilous global economy to do work that is lucrative and satisfying, but some find success while others struggle to get by. In an era of remarkable economic change, how should you navigate your career to increase your chances of landing not only on your feet, but ahead of those around you? In How to Win in a Winner-Take-All World, Neil Irwin, senior economic correspondent at the New York Times, delivers the essential guide to being successful in today’s economy when the very notion of the “job” is shifting and the corporate landscape has become dominated by global firms. He shows that the route to success lies in cultivating the ability to bring multiple specialties together—to become a “glue person” who can ensure people with radically different technical skills work together effectively—and how a winding career path makes you better prepared for today's fast-changing world. Through original data, close analysis, and case studies, Irwin deftly explains the 21st century economic landscape and its implications for ambitious people seeking a lifetime of professional success. Using insights from global giants like Microsoft, Walmart, and Goldman Sachs, and from smaller lesser known organizations like those that make cutting-edge digital effects in Planet of the Apes movies or Jim Beam bourbon, How to Win in a Winner-Take-All World illuminates what it really takes to be on top in this world of technological complexity and global competition.

The way a society punishes demonstrates its commitment to standards of judgment and justice, its distinctive views of blame and responsibility, and its particular way of responding to evil. Punishment in Popular Culture examines the cultural presuppositions that undergird America’s distinctive approach to punishment and analyzes punishment as a set of images, a spectacle of condemnation. It recognizes that the semiotics of punishment is all around us, not just in the architecture of the prison, or the speech made by a judge as she sends someone to the penal colony, but in both “high” and “popular” culture iconography, in novels, television, and film. This book brings together distinguished scholars of punishment and experts in media studies in an unusual juxtaposition of disciplines and perspectives. Americans continue to lock up more people for longer periods of time than most other nations, to use the death penalty, and to racialize punishment in remarkable ways. How are these facts of American penal life reflected in the portraits of punishment that Americans regularly encounter on television and in film? What are the conventions of genre which help to familiarize those portraits and connect them to broader political and cultural themes? Do television and film help to undermine punishment's moral claims? And how are developments in the boarder political economy reflected in the ways punishment appears in mass culture? Finally, how are images of punishment received by their audiences? It is to these questions that Punishment in Popular Culture is addressed.