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In 2020, the latest James Bond film will hit cinema screens. The film has been produced by Eon Productions, is based on Ian Fleming’s suave, sophisticated super spy and stars Daniel Craig in the title role. With a troubled production shoot well-documented in the media, Daniel Craig often seeming and contradictorily at odds of being both enamoured and loathing with the role, a director leaving through ‘creative differences’ and numerous screenwriters being drafted in as last-minute replacements or add-ons, it will be interesting to see how the latest Bond adventure fares both critically and financially.

At their heart, the Bond adventures – originally in Ian Fleming’s novels and short stories, and then in their film incarnations before spilling out into newer platforms – offer pure escapism for the reader, viewer, listener and gamer. Set against the backdrop of exoticism in a post-war climate, the stories centre around MI6 Agent, James Bond, stopping enemies of the British Empire in their attempts at world domination. They gave the reader a sense of both an attempt by Fleming/Bond to recapture Britain as an important power on the world stage. Whilst Bond may have sipped martinis as he coolly dispatched the latest despotic tyrant, they also offered up ideas about time, place, culture, the social climate of the period and gender.

This book will focus on numerous aspects of the Bond-catalogue, but in particular paying particular attention to how the portrayal of gender, both in the stories and behind the scenes, has helped shape one of the most significant, important and successful British franchises.

Many African Americans cheered the election of President Obama in 2008 with the hope he would cause an easing of the pain of economic and political barriers to collective black progress in America. This chapter assesses the role of President Obama in addressing these issues.

The Presidential Bully Pulpit is presented as a framework for addressing racial inequities. Properly used it can bring keen attention to issues a president deems important for consideration by the American public. Socio-historical texts and secondary data are used.

Data are presented to show how racial discrimination continues to affect African Americans during the age of Obama. These include housing discrimination, employment discrimination, and racial profiling. This chapter shows Mr. Obama has not used the office of the presidency as a bully pulpit for addressing these racial inequities. Rather he has tended to use the bully pulpit to chastise blacks, especially black males.

Also discussed are some promising developments challenging racism that have emerged from his administration, primarily from the Department of Justice, and how President Obama could use the bully pulpit more productively.

This chapter presents a contradiction in the actions of President Obama. While he seldom uses the bully pulpit to push his own legislative agendas or to push toward solutions to relieve racial inequities in society, he does use the bully pulpit to criticize black males.

This chapter examines three kinds of relational bonds (trust-based commitments, forbearance-based commitments, and apprehension-based commitments) on which parties rely in the processes employed in negotiating, committing, and executing their cooperative inter-organizational relationships (CIORs). It also considers three different societal contexts with strong, moderately strong, and weak exogenous governance safeguards in which these relational bonds are employed. The authors propose a process theory of relational bonds that fit different contexts. Specifically, our central proposition is that parties to CIORs are more likely to achieve their goals when they rely on relational bonds that fit their societal contexts in which they engage in economic exchanges.

This paper is intended as an overview and think piece, contributing to literature identifying accounting’s impact in making things knowable. Critical accounting research has always sought alternative ways of understanding the discipline and the legacy is extended here by considering pathways forward. Accounting continually impacts public policy in what it privileges for selecting and in what it silences and neglects. Given that humans are meaning-making we have choices, and this essay interrogates accounting techniques operating as façades while disguising social impacts. Promoting qualitative accounting research that reimagines these complexities and considers moral contexts is the substance of this essay, for advancing the public interest in accounting.

We evaluate the performance of fixed income mutual funds using stochastic discount factors motivated by continuous-time term structure models. Time-aggregation of these models for discrete returns generates new empirical “factors,” and these factors contribute significant explanatory power to the models. We provide a conditional performance evaluation for US fixed income mutual funds, conditioning on a variety of discrete ex-ante characterizations of the states of the economy. During 1985–1999 we find that fixed income funds return less on average than passive benchmarks that do not pay expenses, but not in all economic states. Fixed income funds typically do poorly when short-term interest rates or industrial capacity utilization rates are high, and offer higher returns when quality-related credit spreads are high. We find more heterogeneity across fund styles than across characteristics-based fund groups. Mortgage funds underperform a GNMA index in all economic states. These excess returns are reduced, and typically become insignificant, when we adjust for risk using the models.

With three credited scriptwriters and five credited directors, the 1967 release of Casino Royale saw a gang of multifaceted James Bond 007s facing off against an army of beautiful, hypersexualised, personality-less female spies, headed by the real James Bond’s neurotic, insecure, American nephew Jimmy. Perhaps this wasn’t Fleming’s intended storyline for Bond’s first outing at Casino Royale, but the resulting parodic outing absorbed and commented upon some of the inherent gendered archetypes of Fleming’s work. What the 1967 Casino Royale accomplishes is a narrative which contrasts varieties of masculinity which are segmented forms of the masculinity defined by Fleming’s Bond. This chapter compares the masculinity of Bond developed in Fleming’s novel, before examining the representations of masculinity inherent within the four key male characters: Sir James Bond (David Niven), Evelyn Tremble (Peter Sellers), Cooper (Terence Cooper) and Dr Noah/Jimmy Bond (Woody Allen). By showing the depictions of masculine elements each of these characters embodies, along with the metanarrative elements of each performer’s persona, this chapter aims to identify how the 1967 Casino Royale both faithfully depicts the masculine elements of Bond while at the same time satirizing Bond’s particular brand of masculinity. This examination ultimately argues that this segmentation of Bondian masculinity is the core point of cohesion in a deeply incoherent, parodic film adaptation of Fleming’s novel.