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A faith-based international nonprofit and its newly hired, narcissistic CEO are examined in this chapter. The CEO made up his own rules acting contrary to many leadership, financial, and HR practices, as well as ignoring the law. As difficulties mounted, there was little to no outcry. Until his abrupt departure seven years later, the CEO operated with impunity. The authors analyze the CEO’s tenure through four lenses – the leader, the followers, the environment, and their faith perspective. As a narcissist, the CEO quickly created a toxic environment and stayed one step ahead of everyone else. Employees were most often compliant and the few who were not found themselves stripped of their position as an example to the onlookers. With the Board in transition, there were no checks and balances and, coupled with a perception of instability, the environment was advantageous for a narcissist. Each of these three lenses was influenced by the faith system which the organization and its employees espoused. Faith-based compliance and organizational silence created an open door for the narcissistic leader and resulted in great damage individually and collectively. The authors offer lessons for individuals, groups, and organizations working under a narcissist.

Nancy Maclean’s Democracy in Chains (2017) is an attempt to provide a narrative arc for the rise of free market ideas in political action during the second half of the twentieth century and into the first decades of the twenty-first century. The central character in her narrative is neither F.A. Hayek nor Milton Friedman, let alone Adam Smith or Ludwig von Mises, but James M. Buchanan, the 1986 Nobel Prize winner in economics. MacLean argues that rather than extol the virtues of the market economy as Hayek and Friedman did before him, Buchanan focused on the dysfunctions of politics. Due to a series of argumentative fallacies and failures that follow from her ideological blinders, I argue that MacLean’s attempt is a missed opportunity to seriously engage some very pressing issues in public choice and political economy and understand how James Buchanan attempted to resolve them in a democratic manner. As such, Democracy in Chains is not only a mischaracterization of Buchanan and his project but also a poignant lesson to us all about how ideological blinders can subvert even the sincerest effort to unearth truth in the social sciences and the humanities.

The Bureau of Economics in the Federal Trade Commission has a three-part role in the Agency and the strength of its functions changed over time depending on the preferences and ideology of the FTC’s leaders, developments in the field of economics, and the tenor of the times. The over-riding current role is to provide well considered, unbiased economic advice regarding antitrust and consumer protection law enforcement cases to the legal staff and the Commission. The second role, which long ago was primary, is to provide reports on investigations of various industries to the public and public officials. This role was more recently called research or “policy R&D”. A third role is to advocate for competition and markets both domestically and internationally. As a practical matter, the provision of economic advice to the FTC and to the legal staff has required that the economists wear “two hats,” helping the legal staff investigate cases and provide evidence to support law enforcement cases while also providing advice to the legal bureaus and to the Commission on which cases to pursue (thus providing “a second set of eyes” to evaluate cases). There is sometimes a tension in those functions because building a case is not the same as evaluating a case. Economists and the Bureau of Economics have provided such services to the FTC for over 100 years proving that a sub-organization can survive while playing roles that sometimes conflict. Such a life is not, however, always easy or fun.

The passing of David Maines has left a void in the field of Symbolic Interactionism. His contributions to developing narrative sociology remain part of the foundation of the perspective, but his empirical contributions and theoretical insights were at least as important in advancing Interactionist thought on scientific principles. His teaching and mentoring of others stimulated interest in Interactionism and his career-long dedication to helping others as an Interactionist apostle were factors in encouraging students and peers to launch their own successful careers in academia and elsewhere. My intent here is to trace his career and provide examples of how his legacy both influenced the profession and provided the basis for defining Interactionism as the powerful approach it has become today.

Pre-existing music has been used to underscore the moving image since the days of ‘silent’ film, and this practice is still commonplace today in Hollywood and beyond. Such music may be ‘classical’ or ‘popular’ and can feature within the narrative of a movie diegetically, non-diegetically, or both. With regard to art music in film, Wolfgang Amadeus Mozart is often the composer of choice, given the popularity and familiarity of many of his compositions. However, his music is employed cinematically in a range of different situations and for a variety of purposes.

In this chapter, I focus on ways in which compositions by Mozart are used to manifest the music and death nexus present in the narrative of three films that were released in different decades. ‘Là ci darem la mano’ from Don Giovanni (1787) features in the first film I analyse, The Picture of Dorian Gray (Albert Lewin, 1945), with the aria being linked to the symbolic death of the moral compass of the protagonist. I then consider the inclusion of music from one of Mozart's symphonies in the storyline of the film Vertigo (Alfred Hitchcock, 1958), the narrative of which includes the themes of deception and murder. The final film I examine is I am David (Paul Feig, 2003), in which one of the characters sacrifices his life to save that of his friend. Each example encapsulates death as embodied affect, with Mozart's music specifically impacting upon the emotions of the protagonists.