Join the hilarious adventures of the cop, Nice Boob, of 'Ride Along;' the 'Soap' stars, Jezebel Taint, Belly Taint, Chorine, Heinous, Dapper and Butt Camel. The boys at the old One Three; Barmy Muller, Whoa Joe, and the dapper, Harris Tweed. Many bits by Elmira, Mistress in the Park. From Peppermint Twister, They call him Dill "The Extremist" Lastname. Her name is Jaw "Clenched" Harder. His new fiancee is Melinda "We Got Cows" Sex Therapist. From 'The Jerk, ' Naive Johnson. Many versions of Batty Man with or without Tweety, the Boy Wormer. The tough private eye, Wriggly Rear of 'Dead Men Wear No Tails.' A serious documentary of the Old West, Blazing Saddles. Robbing Good and his maid, Marrying, of 'Robbing Good: Many Times.' And finally Dr. Franks-n-Weenies of 'Yon Frankenstein.' Plus many lesser known gems.

Even though Caillou's a little boy, he's got a big job: he's Rosie's big brother! This video helps kids learn the importance of sharing and cooperating, and the fun and responsibilities of sibling relationships.

Take a fun look back at Quacker Oats, Blisterine, and more classic packaging parodies—plus an interview with creator Art Spiegelman! Known affectionately among collectors as “Wacky Packs,” the Topps stickers that parodied well-known consumer brands were a phenomenon in the 1970s—even outselling the Topps Company’s baseball cards for a while. But few know that the genius behind it all was none other than Art Spiegelman—the Pulitzer Prize–winning graphic novelist who created Maus. This treasury includes an interview with Spiegelman about his early career and his decades-long relationship with the memorabilia company—as well as a colorful compendium that will bring back memories of such products as Plastered Peanuts, Jail-O, Weakies cereal, and many more. Illustrated by notable comics artists Kim Deitch, Bill Griffith, Jay Lynch, Norm Saunders, and more, this collection is a visual treat, a load of laughs, and a tribute to a beloved product that’s been delighting kids (and adults) for decades.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

Dear Black Girls is a letter to all Black girls. Every day poet and educator Shanice Nicole is reminded of how special Black girls are and of how lucky she is to be one. Illustrations by Kezna Dalz support the book's message that no two Black girls are the same but they are all special--that to be a Black girl is a true gift. In this celebratory poem, Kezna and Shanice remind young readers that despite differences, they all deserve to be loved just the way they are.