It's 1942 and Willowjean "Will" Parker is a scrappy circus runaway whose knife-throwing skills have just saved the life of New York's best, and most unorthodox, private investigator, Lillian Pentecost. When the dapper detective summons Will a few days later, she doesn't expect to be offered a life-changing proposition: Lillian's multiple sclerosis means she can't keep up with her old case load alone, so she wants to hire Will to be her right-hand woman. In return, Will is to receive a salary, room and board, and training in Lillian's very particular art of investigation.

When 24-year-old Kareela discovers she's pregnant with a child she isn't sure she wants, her struggle to understand her place in the world as a person who is half-Black, half-white—yet feels neither—is amplified. Her mother, Evelyn, fled to Canada with her husband and their first-born child during the politically charged Jamaican exodus in the 1980s, only to realize they'd come to a place where Black men are viewed with suspicion—a constant and pernicious reality Evelyn watches her husband and son navigate daily. Years later, Evelyn's mother-in-law, Violet, moves in.

Genevieve Francis, a 25-year-old Black reporter, assumed she’d go into her fourth year at her newspaper job with a bigger story than the latest seasonal ice cream flavor. Instead, she’s relegated to doing copy edits and sensitivity reads on the articles her white colleagues write. So when Gen finally gets the opportunity to cover a prominent CEO’s gala, she leaps at the chance—this will be her biggest assignment to date. The only problem: The CEO is her ex, Jude, whose marriage proposal she publicly rejected four years prior.

Twenty years ago, Ella Winters was the it girl. She made a name for herself in Hollywood and throughout America as the sole survivor in the cult-classic slasher Grad Night. But the real horror is what happened when the cameras weren’t rolling—something terrible that Ella and her co-stars agreed never to speak of again. Shortly after the movie’s premiere, Ella disappeared from the acting scene under the pretense of caring for her ailing mother, hoping for a quiet life out of the spotlight to ease her guilty mind.

Keeonna and Jason met as young teens. Only fourteen, Keeonna had never had a boyfriend before, dreamed of attending Spelman to become an obstetrician, and thought she was “grown.” Within a year she was pregnant and Jason was in prison, convicted of a carjacking and sentenced to twenty-two years. Overnight Keeonna had become a “mainline mama,” a parent facing the task of raising a child—while still growing up herself—with an incarcerated partner.

Mickey Hayward dreams of writing stories that matter, but, for now, her days are filled with listicles about lip gloss and click-bait articles about celebrity haircare. Still, the job is flashy and her girlfriend is steady and supportive. The path may be long, but Mickey’s well on her way, and it’s far from the messy life she left behind in Maryland. Everything finally seems to be falling into place—until she finds out she’s being replaced.

Dr. Raleigh Foster, an operative for a top-secret intelligence organization, knows that her undercover work has its risks. So she doesn't hesitate when asked to infiltrate Scimitar, the terrorist group that has stolen lethal environmental technology. But when she's assigned a partner—brooding, sexy Adam Grayson—to pose as her lover, Raleigh discovers that the most dangerous risk of all...is falling in love.

There’s something wrong in Renfield County. It’s in the water, the soil, the wood. But worst of all, it’s in the minds of the residents, slowly driving them mad. When Lawrence Renfield massacred his family and drew The Giant in his farmhouse with their blood, no one imagined the repercussions. At the very least, the bloodstained wood should have been set aflame, not chopped down and repurposed as furniture, décor, and heirlooms across the county. But that’s exactly what happened.

In the fall of 1959, Freda Gilroy arrives on the campus of Fisk University full of hope, carrying a suitcase and the voice of her father telling her she’s part of a family legacy of greatness. Soon, the ugliness of the Jim Crow South intrudes, and she’s thrust into a movement for social change. Freda is reluctant to get involved, torn between a soon-to-be doctor her parents approve of and an audacious young man willing to risk it all in the name of justice.

Nan's day is not off to a good start. Her on-again, off-again relationship with Walter is off...again, and when she offers a fellow busker a place to stay for the night he ends up murdered on her kitchen floor. To make matters worse, the busker turns out to have been an undercover cop. And his former partner has taken an immediate and extreme dislike to Nan. When she finds that the dead man stashed a wad of cash in her apartment, cash that could go to help his blind girlfriend, Nan's desire to do the right thing lands her in trouble.

Joe King Oliver was one of the NYPD's finest investigators until he was framed for sexual assault by unknown enemies within the force. A decade has passed since his release from Rikers, and he now runs a private detective agency with the help of his teenage daughter. Physically and emotionally broken by the brutality he suffered while behind bars, King leads a solitary life, his work and his daughter the only lights. When he receives a letter from his accuser confessing that she was paid to frame him years ago, King decides to find out who wanted him gone and why.

Bexley Simon and Sam Farmer aren't detectives, but they play them on TV. Well, played, past tense. The iconic cult hit that was Craven's Daughter ended five years ago, and their friendship died along with it. Fans were disappointed that the pair's legendary chemistry went unfulfilled—and other fans were crushed that the actual spark between actresses Bex and Sam didn't pay off, either. The network never intended for two women to get romantic, in life or onscreen, despite the fans. But the bigger tragedy was the loss of their dear friend, makeup artist Jen Arnot.

In the 1950s, as a continuation of Moses, Man of the Mountain, Zora Neale Hurston penned a historical novel about one of the most infamous figures in the Bible, Herod the Great. In Hurston’s retelling, Herod is not the wicked ruler of the New Testament who is charged with the “slaughter of the innocents,” but a forerunner of Christ—a beloved king who enriched Jewish culture and brought prosperity and peace to Judea.

Spanning over a hundred and fifty years, Morgan Jerkins’s extraordinary novel intertwines the stories of these star-crossed lovers and their descendants. As Tirzah's family moves across the country during the Great Migration, they challenge authority with devastating consequences, while of the legacy of heartbreak and loss continues on in the lives of Harrison's progeny.

Blues Highway is one migration story of Blacks from the American South, aided initially by the Pullman porters broad reach into the world beyond. Moving on to the next generation, the porter Sidney sets up his daughter Janet to take hold of his barber shop. As she navigates her life, opportunities and social conditions shift. The power of Janet and Frank's relationship moves the saga forward, touching honestly and deeply on the forces of change.