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The purpose of this paper is to provide a viewpoint on homelessness and health gained from a practical public health perspective.

Views derived from local review as well as other national epidemiology and research.

That housing has real impacts upon health especially for those who are homeless.

This is a viewpoint from a major city in England.

Homelessness leads to extreme vulnerability. There are other aspects of the home environment that impact elsewhere in the public sector, especially the health service. Vulnerable individuals are more likely to become homeless which can lead to exacerbation of vulnerability.

This is a viewpoint derived solely from local practice.

There is a considerable body of research on the assessment and prediction of aggression in psychiatric hospitals. A range of clinical and demographic characteristics associated with aggressive inpatients, such as young age and active symptoms of psychosis, have repeatedly been shown to contribute to aggression. Environmental factors have also been shown to be important. The study examined aggressive behaviours in an Australian forensic psychiatric hospital, using aggression‐specific recording instrumentation developed for the study. The purpose of the study was to compare results using aggression specific‐recording instrumentation with a previous study using retrospective methods relying on standard hospital incident forms, and to examine the relationship between type, direction and severity of aggression with the use of seclusion.In contrast with the results obtained in a previous study, staff rather than patients were more often the victims of both verbal and physical aggression, although patients were more frequently the victims of more severe forms of aggression. Patients were verbally and physically aggressive towards other patients at similar rates, although they were more frequently verbally, rather than physically, aggressive to staff. Acute wards recorded more aggression than rehabilitation wards. Males and females were aggressive at similar rates. A reduction in reported incidents of verbal and physical aggression, particularly against staff, occurred over the course of the study. Patients were secluded and incident forms were completed following approximately 30% of aggressive behaviours. Whether or not a patient was secluded and whether or not an incident form was completed depended on a range of factors, including the nature of the victim and the type and severity of the aggression.

In this chapter, I explore how the queer-coding, gendering and policing of the monstrous female villain figure of twenty-first-century fairy tale media is interrogated and renegotiated in the transformative narrative tradition of femslash fan-fiction. With fan studies often focusing on the most popular, vocal fandom spaces and cultures, femslash (female-female) fan-fiction has been undertheorized in academic scholarship, just as queer female desire is routinely invalidated by the mainstream media properties that inspire femslash fans (Cranz, 2016; Gonzalez, 2016; Ng & Russo, 2017; Stanfill, 2017). By romantically and sexually pairing female villains with the heroines against whom they are canonically cast as antagonists, femslash fans of Once Upon a Time and The Devil Wears Prada subvert the heteronormative and anti-feminist plot machinery that pits women against each other. The engagement of femslash fan authors with the depiction of the characters Regina Mills and Miranda Priestly as literal and figurative ‘Evil Queens’ in their source texts highlights the extent to which both women are situated as ‘villains’ because of their position as ‘unhappy queers’ who obstruct heteronormative happy endings (Ahmed, 2010; Pande & Moitra, 2017; Strauch, 2017). While in the Swan Queen fiction somewhere, someone must know the ending (maleficently, 2012), Regina is only the Evil Queen in her son's imagination, as he tries to make sense of her infidelity, The Lily and the Crown (Telanu, 2013) recasts Miranda Priestly as Pirate Queen Mír, guilty of mass-murder, rather than merely acerbic barbs (as in the film). Through close readings, I argue that the way these texts ask their readers to consider the limits of both villains' desirability, by playing with the terms of their respective criminality, shows the extent to which nuancing and negotiating the ‘evil’ of these ‘queens’ is structurally embedded in these femslash fandoms. The femslash fannish investment these texts reflect, in both the figure of the queer female villain and those who desire her, proposes an alternative version of happiness to the heteronormative happy ending, one that does not attenuate the queer codes that position these ‘Evil Queens’ as monster-outsiders to it, but embraces that monstrosity as a site of power, progress and futurity.