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English local government audit has gone through fundamental change in the last decade and this period of instability looks certain to continue. Since 2014, councils have been audited by private sector auditors appointed theoretically by the councils themselves (though an overwhelming majority of councils have delegated this responsibility). The scope of audit after 2014 reduced to focus mainly on top-down financial management, rather than value for money or inspection. After growing concerns about the scope and quality of audit however, in 2020, the government commissioned Sir Tony Redmond to review local audit arrangements in England. The Redmond review identified several problems with the reformed structure and made recommendations for change. Currently, the sector is uncertain about what changes will be adopted to solve the issues discovered by Redmond.

The study of family mobilities necessitates an examination of how practices are orchestrated in time as well as space. Conventional approaches to the study of family time use either quantitative analysis of time-use data or qualitative studies of time pressure and work/life balance. The limitation with these approaches is that they assume a rather static family structure that is dominated by parents with young children. Moreover, these studies do not capture the dualistic quality of time; that time constitutes and is a constituent of family life. In this chapter, I use one-day diaries on organising and experiencing time, collated as part of the UK Mass Observation Project in Autumn 2017, to interrogate the relationality of family time. The analysis examines how family practices maybe sequential, synchronous, planned or serendipitous and how these different temporalities permeate the busyness of time pressure. These one-day accounts confirm how time is experienced through and by family and intimate relationships.

We introduce this volume featuring the work of C. L. Clarke and D. A. Hutchinson with references to existing literature addressing complexities of teacher knowledge development. Drawing from their metaphor of the muskeg, we write about ways in which notions of teacher knowledge intersect with prior personal and professional experiences across time, place, and social interaction. Clarke and Hutchinson write about ways in which identities that they view as having developed at the edges of their communities have contributed to shaping their sense of professional and personal identity in profound ways. They examine the potential impact of these experiences in: shaping their research and the building of research relationships with their participants using a narrative inquiry approach; and developing ways in which the use of poetic expression and word images enriched their understanding of the development of teacher identity and knowledge and informed their curriculum making. A chapter written by their dissertation supervisor offers further insight into ways in which their use of a narrative inquiry approach shaped their research work and writing, and offered a unique glimpse into their research phenomenon. We position this work in relation to existing research in the area of teacher knowledge and highlight ways in which this work contributes to knowledge in the area, as well as contributing to ideas about how narrative inquiry methodology has informed the examination of their research phenomenon.

Shortages of personal protective equipment (PPE) across the United States at the start of the COVID-19 pandemic created entrepreneurial opportunities for sewists and makers. In the United States in March and April 2020, masks were not readily available to the general public from existing retailers and PPE for medical use was being rationed for healthcare workers. Sewists and crafters, professionals and amateurs alike, began making and selling and/or donating masks. For individuals with sewing skills and time, sewing and selling masks became a lifeline financially, personally, and socially. To understand the experiences of people who made and distributed handmade masks during the early months of the pandemic in the United States, an interdisciplinary team developed an online cross-sectional survey instrument using a qualitative-dominated approach with both open and closed questions. This chapter explores themes identified from a sample of 94 participants, predominantly female-identifying, who created an enterprise or added a product line to an existing business. The sample includes individuals who did not identify as a ‘creative entrepreneur’ prior to the pandemic but did identify as an entrepreneur after starting a mask-making venture. Informed by entrepreneurship literature, the authors observed that these nascent entrepreneurs articulated recognisable motivations for social entrepreneurship, showed signs of pre-existing entrepreneurial mindsets, and employed business models and marketing tactics of entrepreneurs, largely without any business training. Implications for the study include increased recognition of latent entrepreneurial readiness, interest of women in social entrepreneurship, and higher levels of business knowledge among women than previously recognised.

This chapter seeks to compare and contrast two compelling portrayals of the bisexual or ‘gender-blind’ vampire: The Hunger (1983) and American Horror Story: Hotel (2015). These texts present a number of notable differences. They were released over 30 years apart and they also diverge markedly in form: Hotel is a 12-episode television serial, whilst The Hunger is a tight 97-minute-feature film. Whilst these differences highlight shifts in the format of horror more broadly, they also facilitate the reflection on whether the portrayal of the bisexual vampire has dramatically shifted alongside these changes. Such a reflection is ripe with potential given that in addition to their differences, both texts also share significant aesthetic and narrative similarities. Both Hotel and The Hunger foreground performativity and feature female protagonists who defy heteronormative understandings of gender and sexuality. Undoubtedly, Hotel can be read as an aesthetic homage to The Hunger. However, whether Hotel also echoes some of the more conservative aspects of the earlier film’s politics is a more complex question. Focusing on the ways that these female vampire protagonists, as well as a selection of their lovers and victims, are gendered, this chapter will illuminate a number of developments and lingering issues in the ways that horror depicts (or circumvents) complex facets of the relationship between bisexuality and gender.