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Regardless of whether “elite” is defined with respect to social status, economic wealth, or professional accomplishment, these sources of advantage are blunted by democratic political commitments to equality. This durable dilemma has shaped the institutional development of the American polity and the economy, as those with extra-political advantages have sought new forms of political influence, at times subverting rules or advancing cultural projects that elaborate an image of corporations as moral actors or the development of a “business creed.” American elites have also worked at the margins of the formally democratic policy to construct fields of public action that are accepted as public, legitimate, and admirable, but not strictly democratic. Corporate philanthropy has been central to these efforts. Organizations like the Community Chest can be understood as practical responses to the constraints of ideological commitments to political egalitarianism. This line of response to the democratic dilemma is “constructive” in the nonnormative sense that it produces new fields of social action and reconfigures institutional arrangements. By linking economic position to civic influence, organizations of this type translate economic power into elevated influence over public affairs through the constitution and stabilization of partially hybridized forms or fields.

Prior social movement research has focused on the role that axes of inequality – particularly race, class, gender, and lesbian, gay, bisexual, transgender, and queer (LGBTQ) status – play for who participates and how they do so. Age is another important axis of inequality. The pervasiveness of a youth deficit model, which casts young people as deficient and requiring benevolent adult tutelage, is of particular concern for youth. This chapter assesses whether the internalization of the deficit model influences young people's activism and how they perceive their engagement. Drawing on interviews with 40 high school and college students from a southwestern US city, we find that many young people have internalized deficit-model assumptions, affecting when and how they participated. This was most evident among high school students, who limited their participation because they were “not old enough” or gravitated toward more “age-appropriate” forms of activism. Interestingly, we found college students were more willing to engage in online activism but also felt compelled to do significant research on issues before participating, thereby distancing themselves from the deficit model's assumptions of their political naivety. Finally, some participants felt discouraged by the perceived ineffectiveness of protest, which resonated with deficit model narratives of the futility of youth engagement. These findings highlight the importance of understanding the impacts of an internalized deficit model as well as considering age as an axis of inequality in activism. Youth engagement is best supported by seeing young people as capable actors with unique interests, capacities, and points of view.

The competition reality television show Dragula (Boulet Brothers, 2016-present) features a parade of monsters from the horror canon. Each episode, queer drag artists present outfits based on the show's aesthetic tenants: horror, filth and glamour. Nearly every outfit presented by the show's contestants, dubbed ‘drag monsters’, features some element of monstrosity and many pay specific homage to monsters from horror cinema. In drawing the monster figure into the world of gender performance, Dragula showcases the vast queer possibility of the monster figure. Like queerness itself, these drag monsters prove monstrosity is fluid and need not by associated to any one specific gender; the monster figure provides a canvas on which these artists can move between both human and non-human and male and female. This chapter traces the show's horror lineage – most notably the text from which it queers its name, Bram Stroker's Dracula (1987), and Stephen King's Carrie (1974) as well as the alternative precedent set by the drag legend Divine. Its analysis demonstrates Dragula's creative power in reimaging gender beyond the binary of man/woman by way of the monster figure.