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The modern fairy tale hero identity falls into a general spectrum of tropes that spans from the charming prince who seals the fate of the beautiful princess with a kiss to borderline villains with little break in this spectrum. The Witcher's Geralt of Rivia brings to light an often overlooked hero's identity by representing neither ends of this heroic spectrum but rather a different breed of hero entirely. We argue that Geralt of Rivia differs from the typical representation of the fairy tale hero by embodying the spirit of the Huntsman archetype as depicted in stories such as Snow White and Little Red Riding Hood.

This creates a new means of exploring fairy tales as genres by giving perspective to the bloodier, messier sides of these tales which have since deviated from their darker origins. Geralt exists as neither hero nor antihero, but rather a sword-for-hire who cleans up messes that ‘heroes’ otherwise cannot or will not handle themselves. Across his depictions in the books, games, and show, Geralt involves himself as a witcher; hunter of monsters. Geralt's method in overcoming this style of quest is unlike the usual hero. Standing in for the Huntsman, Geralt understands the nature and balance of man and beast and carries this responsibility while looking to accomplish his goals. In this chapter, we seek to document and bring to light this underrepresented style of hero that the witcher has to offer to show that such a hero needs not be black nor white.

The breadth of research and study on the topic of fairy tales is rich and abundant. However, there exists a gap in the research of the genre where it pertains to the meticulous study of male fairy tale.

The character Hook has enjoyed some status in film including the notable portrayal by Dustin Hoffman in the 1991 film (Spielberg, 1991), this character relied heavily on traditional fairy tale tropes and depicted little in the way of character evolution or progression. Nevertheless, a more progressive and complex version of Hook was depicted in the Once Upon A Time series (2011–2018). This version of the character enjoys not only an extended and complex narrative journey but comprises several layers of nuanced character construction that implores a contemporary exploration thereof.

While Vladimir Propp's dramatis personae stands as, likely, the most prominent model for the study of fairy tales, its comprehensiveness can be called into question when applied to contemporary fairy tale characters. For example, whereas previously the female fairy tale character was confined to the role of damsel in distress, contemporary versions display substantial development in this area. And as illustrated through the complexity of Once Upon A Time's Captain Hook this is not, in contemporary times, confined only to the female character. Consequently, this chapter adapts the Looking Glass paradigm and utilises what the author has termed the Looking Glass Masculinity Matrix as an evaluative tool to unpack the contemporary representation, in line with current societal ideals and/or values.

Introduction: The circular economy is observed as a good sustainability practice that has gained importance recently. The effects of this practice specific to the financial industry are examined in the context of green accounting, finance, and sustainability reporting standards and needs.

Purpose: This chapter aims to analyse the impact of the circular economy on the finance industry based on three research questions: (1) What benefits and challenges does the circular economy bring to the financial industry? (2) What should be the financial industry’s strategic roadmap and business model for transitioning from a linear economy to a circular economy? (3) What are the differentiating aspects of ecosystem accounting and environmental accounting in its structure and use in the financial industry?

Methodology: The method of our work is based on a ‘strategic road map for circular economy’ implementation and a ‘sustainability business model framework’ relevant to the finance industry. Thus, we systematically present the ‘value generation process’ considering the industry trends and dynamics and regulatory challenges regarding ‘green business model’ management with a strategic approach.

Findings: To coordinate the transition to a circular economy based on systematic knowledge about the state of ecosystems and their interactions with society, it is necessary to design monitoring, accounting and reporting systems that adapt to the new business operating environment. This chapter provides recommendations from the perspective of the financial sector.

The folk or fairy tale is a complex combination of factors and functions and it is the analysis of these where nuances in the tales appear (Propp et al., 2015, p. 10). Propp was interested in plots, whereas this chapter aims to create an analysis of the visual perception of masculine identity, its relationship to the texts and to social and political expression in the early 1900s.

Challenges to masculine identity are found throughout fairy tale imagery of the 1900s. Artists of the time demonstrated their perceptions of societal change by creating illustrations that spoke to a changing audience. They began to depict versions of masculinity that played with, and celebrated a queer male character, amongst others. Although not always represented in a positive manner – Dulac's 1929 King in ‘Puss in Boots’, is a foolish fop – they were often portrayed with softness, flamboyancy and panache in opposition to the aggressive, hegemonic, or dominant persona who had until then been the staple of the fairy tale's visual masculine identity.

These new illustrations resisted the stereotypical depiction of masculine norms. They explored an identity that had not existed in the fairy tale until the changing rhetoric of social, political, and artistic movements was inculcated into them. The illustrations began to provide an opportunity to identify an atypical description of masculine norms in an unexpected domain. They challenged physical expectations and the hegemonic expectation of masculine identity, at a time where a predominant patriarchal hegemonic identity was the norm.

The role of the fairy godmother is a traditional archetype in the fairy tale genre, providing guidance and utilising transformative magic to enable the young heroes of the tales to find their happy endings. Shows such as Queer Eye feature LGBT+ people performing quasi-magical makeovers to reveal participants' ‘true selves’ and Pose and RuPaul's Drag Race have raised awareness of drag mothers and other forms of queer mentorship and support. As a result, the role of the fairy godmother is now opening up to include men and non-binary people.

One notable example is Billy Porter's ‘Fabulous Godmother’ in Cinderella (2021) who floats onto the scene, where the script, costuming, and performance underline his presentation as an openly queer character, taking Cinderella under his wing and providing her with the ballgown, chariot, and encouragement to attend the prince's ball. However, the fairy godmother is not simply gender-neutral. She remains a distinctly effeminate figure. Therefore, it remains to be seen whether this figure will eventually open up new forms of masculinity, reify existing images of queer femininity, or whether this diversity is simply a short-lived deviation from the existing trope.

Tabletop ‘pen and paper’ role-play games (TTRPGs) can function as spaces of creative experimentation with gender identity through shared storytelling. The last decade has seen an explosion of Actual Play (AP) shows that broadcast recorded gameplay of TTRPGs to online audiences. Neverafter is the 15th season of well-known AP show Dimension 20 and is a horror-themed re-imagining of classic fairy tales through the rules of Dungeons and Dragons. Four of the six player characters are male, based individually on the fairy tales of Pinocchio, Puss in Boots, the Frog Prince, and a (gender-swapped) Mother Goose, adventuring together in a story-world called ‘The Neverafter’. Not only are these versions of the fairy tale characters shaped by the players' own explorations of identity, but as an AP show, this is also layered with the expectations produced by the show's wide fan base. Their diverse gender explorations and their subversion of fairy tale conventions are enabled by the fluency of the players and audience in freely flowing between the framing perspectives of player and character. This chapter will focus on non-binary player Ally Beardsley's creation and performance of Mother Timothy Goose as a gay, elderly, human man as a particularly meaningful case study. This analysis considers how heroic masculinity is reconceptualised in Neverafter through the horror-themed embodiment of fairy tale men in the context of contemporary gender issues.

What's in a name? Not much if you're Prince Charming. While the erstwhile indistinctive princes and heroes of fairy tales have enjoyed a bit of the spotlight in modern television and film narratives, this exposure has not extended, as much, to the academic study of fairy tale men.

This collection of chapters delves into the often-overlooked realm of contemporary male fairy tale characters, a domain that remains largely unexplored within academic circles. By drawing on diverse narratives from television, film, and literature, this interdisciplinary collection sheds light on the evolving representations of male characters in fairy tales and their intersections with broader socio-cultural themes.

Through an acknowledgement of the historical roots of the fairy tale genre, this collection explores how these characters have transcended their original contexts and infiltrated various fictional genres. By examining the thematic resonance of fairy tales in contemporary narratives, this collection underscores its enduring influence on modern storytelling.

This collection seeks to fill the scholarly void surrounding male fairy tale characters, particularly within the realms of queer studies, gender studies, and postcolonial studies. By including a range of academic approaches, from character analysis to fan studies to film and television studies, this collection enriches the understanding of the complex role of male characters in modern fairy tale discourse.

Sustainable Development Goal 14 of the United Nations aims to ‘conserve and sustainably use the oceans, seas and marine resources for sustainable development’. To achieve this goal, we must rebuild the marine life-support systems that provide society with the many advantages of a healthy ocean. Therefore, countries worldwide have been using Marine Protected Areas (MPAs) to restore, create, or protect habitats and ecosystems. Palau was one of the first countries to use MPAs as a tool to develop biodiversity within its exclusive economic zone. On 22 October 2015, Palau placed approximately 80% of its maritime territory in a network of locally monitored MPAs, which has now shown a population increase in stationary and migratory fish species. This movement towards a MPA was intentional and because of increased pressure from tourism and the increasing incursion of foreign fishing vessels in Palauan territorial waters. Since countries worldwide are using and looking towards MPAs, secondary protection projects are becoming more and more popular. This chapter highlights the practical implementations and results in Palau, how to theoretically apply this within the Greater North Sea in combination with Windmill Farms, and how the Marine Strategy Framework Directive stimulates these practices.

In this chapter, we explore the ways in which media postpandemic responses communicate clearly the excessive entitlement reflected in the public discourse about teachers. During the pandemic, we noted many parent posts on social media lauding teachers. They expressed gratitude for the challenges teachers faced in teaching students on distance platforms and moving learning forward. Yet, we noted that the media reports following the pandemic were noticed a shift in the discourse following the pandemic. Thus, we became interested in exploring how teachers were represented in public discourse following the pandemic. Since the public discourse on teachers has consistently reflected a deficit orientation, given the praise of teachers during the pandemic, we wondered if this acknowledgment of teachers' sacrifice and service might shift the discourse after the pandemic to more positively represent teachers. To pursue this inquiry, we collected and analyzed narratives and examples from postpandemic media representations where teachers and teacher educators were represented as nonpersons. We also collected anecdotes and research and media reports to examine the ways in which teachers were represented. We identified three themes: lack of teachers' voices, the teacher shortage, and loss of learning. Our analysis identifies how teachers and teacher educators are positioned within society and the impact of treating teachers as nonpersons on teachers and the teaching profession. Such depictions fail to represent the vital role of teachers in the progress of society.