Charlotte's novel makes her very popular at school, but it almost costs her her very best friend.

Charlotte is a natural horseperson, and now she has the chance to try out for the Junior Olympic Equestrian Squad! But the academy head already disapproves of her, and Charlotte's roommates aren't above playing dirty tricks to get ahead. Then Charlotte meets the horse she'll be riding in the try-outs . . . Leila is a movie star horse with a diva...

The third book of the hilarious misadventures of an outback girl and a Hollywood horse. When Thornton Downs academy is sued by one of the Evil Three, there is only one solution: Leila must return to her beloved Hollywood and make a movie to save the academy. Luckily, Charlotte gets to tag along. But Hollywood has its own problems – snobby stars, superstitious writers, disgruntled employees and the lure of glamorous parties to tempt Leila away from the job at hand. Filming grinds to a stand still when Leila’s co-star, Sarah-Jane, is kidnapped. Charlotte, with the help of Todd, Leila and Feathers, needs to undercover who is jeopardising the film and why, before it is cancelled and the academy is shut down.

Charlotte is a natural horseperson, and now she has the chance to try out for the Junior Olympic Equestrian Squad! But the academy head already disapproves of her, and Charlotte's roommates aren't above playing dirty tricks to get ahead. Then Charlotte meets the horse she'll be riding in the try-outs... Leila is a movie star horse with a diva attitude. But Leila gets the shock of her life when she's kidnapped and ends up at a girls' riding academy in Australia. Her only way back to Hollywood is to reveal her big secret to her rider -- yes, Leila can talk. Can the two work together to achieve their dreams? Will Charlotte gain a place in the squad, or is running away her only option? And will Leila find her way back to her beloved film set?

Our favourite outback girl and Hollywood horse return for more hilarious misadventures! Charlotte has made it into the prestigious Junior Olympic Equestrian Squad (JOES), and Leila is having so much fun with Charlotte that she's given up her sparkling Hollywood movie career, for now. The Evil Three, Emma, Lucinda and Rebecca, are back to make Charlotte's life difficult. Luckily, Charlotte finds a friend in Hannah, a new JOES recruit. But this means she has less time to spend with Leila - and Leila is a horse who doesn't like to be ignored. Unfortunately, things get a whole lot worse when Charlotte is sent to a deportment academy, and she returns to Thornton Downs to discover Leila has been sold to a disreputable showman. Charlotte has to get Leila back, but it will take all her courage and brains, as well as help from Todd and Hannah, to rescue her best friend.

When a big Hollywood studio wants to use Bitsy Duke's gorgeous Victorian home for a movie shoot, she agrees, but only if Charlotte LaRue agrees to take care of her place during the shoot. The cast includes one of Hollywood's hottest ingenues, Angel Martinique. But as Charlotte quickly discovers, Angel is no saint - in fact, she's a complete diva. On the shoot, tensions run high, especially when Angel's friend Gavin is found dead in the star's dressing room. Charlotte senses there's more to Angel's story than meets the ye. But a little digging into her past turns up a lot more dirt than she bargained for - enough to put Charlotte in a killer's crosshairs if she doesn't watch her step...

Sofia Coppola's Lost in Translation (2003) brings two Americans together in Tokyo, each experiencing a personal crisis. Charlotte (Scarlett Johansson), a recent graduate in philosophy, faces an uncertain professional future, while Bob Harris (Bill Murray), an established celebrity, questions his choices at midlife. Both are distant - emotionally and spatially - from their spouses. They are lost until they develop an intimate connection. In the film's poignant, famously ambiguous closing scene, they find each other, only to separate. In this close look at the multi-award-winning film, Suzanne Ferriss mirrors Lost in Translation's structuring device of travel: her analysis takes the form of a trip, from planning to departure. She details the complexities of filming (a 27-day shoot with no permits in Tokyo), explores Coppola's allusions to fine art, subtle colour palette and use of music over words, and examines the characters' experiences of the Park Hyatt Tokyo and excursions outside, together and alone. She also re-evaluates the film in relation to Coppola's other features, as the product of an established director with a distinctive cinematic signature: 'Coppolism'. Fundamentally, Ferriss argues that Lost in Translation is not only a cinema classic, but classic Coppola too.