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Dwayne ‘The Rock’ Johnson is one of the most bankable stars in Hollywood, in addition to his broad popular appeal. Since his transition from a successful pro-wrestling career to a full-time actor, his onscreen persona has transitioned from one dimensional action hero to more balanced star ‘type’ (Dyer, 1991), alternating action films with more family-friendly fare. Johnson's starring role in the Fast and the Furious franchise has been central to the growth of his career, yet as I will argue, this success is fuelled by his apparent rivalry with other action stars onscreen (Jason Statham) and offscreen (Vin Diesel). As I will show, these rivalries are rooted in the star ‘types’ formulated by Richard Dyer (1991), and this tension is central to the ongoing fan interest in the series.

Johnson's expanding profile has also led to the establishment of his own production company, Seven Bucks, and transition into television series Ballers (2015–2019) and Young Rock (2021–), both of which allowed him to explore autobiographical elements of his early life. As I will demonstrate via a case study of Hobbs and Shaw (2019), Johnson's success as a transnational action star and creative control allowed by Seven Bucks has allowed more explicit on-screen engagement with his Sāmoan heritage. The production history of Hobbs and Shaw illustrates both the successful co-existence of rivalry between action stars as a successful marketing strategy for action franchises, and the evolving action genre which allows a more personal exploration of race and masculine identity.

Despite the media spotlight, increased public awareness, extensive research and policies in practice, the systems and processes in place to protect vulnerable adults still need significant strengthening, according to the ADASS. In this article, Dwayne Johnson outlines the seven areas that the ADASS says need priority attention.

Although there are a number of hybrid tropes and cross-over conventions that relate to contemporary action cinema, broken down to its most rudimentary components, the genre places its cinematic hero in scenes of ritualised violence or conflict, with the intent of showcasing both athletic mastery and aesthetically pleasing physiques for interested and invested audiences. In as much as it is difficult to define the contemporary genre, the role of the action hero is clear in all permutations. Indeed, there is little question or query about who or what makes for a popular and long-standing action star. After all, names such as Stallone, Schwarzenegger and Statham have become inextricably linked to the genre in question. While there is much to consider here in relation to the muscles and power of these hard-bodied heroes in sweaty vests or form fitting t-shirts, there is another iteration of masculinity, a different and more agile physique, a more refined sartorial code, that has quietly overtaken these macho figures as the site of contemporary action, and that figure is Keanu Reeves. With this in mind, this chapter will examine the ways in which popular media reviewers foreground star image, acting, movement, the body and performance in order to position Reeves as an action star removed from the physical excesses of bulkier, slower and less agile men who continue to perform in the genre around him.

Professional wrestling is a multi‐million pound industry. Loyal fans watch events and buy merchandising. However, even the participants admit that the results are pre‐arranged, with writers producing the stories and the characters for those involved. In other words, the whole phenomena is manufactured. The spectators are aware of this, and still continue to offer their support. This study looks at the ways in which the industry seeks to entertain these fans and offer them the product that will maintain their interest and their attention and ensure that they will continue to pay regularly so as to maintain the industry’s profitability.

The purpose of this paper is to measure the effect of superstar gig workers, defined as independent contractors who are the most successful in their field, on shareholder value. Gig workers comprise as much as 33% of the workforce and are projected to exceed 50% by 2028. Thus, understanding their impact on shareholder value is important.

This paper uses OLS regression analysis. To establish causality regarding wealth effects, the sudden deaths of superstar gig workers are used. To facilitate the uncontaminated measurement of wealth effects, sudden deaths that coincide with a significant event on a [−3, 3] window about the death event are not used.

The sudden death of a superstar gig worker causes shareholder wealth to increase significantly by 0.35% or almost $1.5m. Rational and behavioral explanations are offered for this result.

Generalizability is limited because data on superstar gig workers in traditional corporations are unavailable. For this reason, this paper uses the only available data, namely, data on superstar wrestlers, who are contracted to perform in matches (i.e. “gigs”) in a lucrative promotion (e.g. World Wrestling Entertainment (WWE)). Future research could examine the effect of corporate gig workers on shareholder value if the data become available at some point.

This paper is the first to document the effects of any type of gig worker, whether superstar or regular, on shareholder value.