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Finding a suitable home can be difficult in a constrained housing market such as small rural village. Within Ambridge, only a small proportion of the homes in the village is known about, and it is rare for additional homes to be added to those where named characters live. This chapter takes a generational view of housing pathways and options, showing how Generation X, Millennial and Generation Z populations in Ambridge are housed. The chapter examines the extent to which characters rely on friends or family for solving their housing problems and considers the role of family wealth and wider dependence in determining housing pathways. The research shows that dependence on others' access to property is by far the most pronounced feature of housing options for these households. These pathways and housing choices are compared to the wider context in rural England, to consider the extent to which luck, in the form of the mythical ‘Ambridge Fairy’, plays a role in helping people to find housing. The ways in which the Ambridge Fairy manifests are also considered – showing that financial windfalls, unexpectedly available properties and convenient patrons are more likely to be available to people with social capital and established (and wealthy) family networks. The specific housing pathway of Emma Grundy is reviewed to reflect on the way in which her housing journey is typical of the rural working-class experience of her generation, within the wider housing policy context.

Ambridge residents live with extended kin and non-family members much more often than the population of the United Kingdom as a whole. This chapter explores cultural norms, economic need, and family and health care to explain patterns of coresidence in the village of Ambridge. In landed families, filial obligation and inheritance norms bind multigenerational families to a common dwelling, while scarcity of affordable rural housing inhibits residential independence and forces reliance on access to social networks and chance to find a home among the landless. Across the socioeconomic spectrum, coresidence wards off loneliness among unpartnered adults. Finally, for Archers listeners, extended kin and non-kin coresidence creates a private space where dialogue gives added dimensionality and depth to characters who would otherwise be known only through their interactions in public spaces.

In 1976, in a speech at Ruskin College, Oxford, Prime Minister James Callaghan asked ‘Why is it that such a high proportion of girls abandon science before leaving school?’ (Gillard, 2018). Little has changed over the last 40 years; a recent report from the National Audit Office (2018, p. 28) stated that only 8% of science, technology, engineering and mathematics (STEM) apprenticeships were taken up by women in 2016/2017 and that the shortage of STEM skills in the workforce is a key UK economic problem. However, just as the Aldridge marriage has been the source of considerable interest and the site of significant financial investment in terms of designer kitchens and expensive holidays, so has the issue of ‘girls in science’ been a consistently debated topic and taken up a large chunk of government and industry spending. Research (Archer et al., 2013) suggests that although children enjoy their science experiences in school, too few pupils aspire to a STEM career. It reveals that the pupils most likely to aspire to careers in science are those whose families have high ‘science capital’ which ‘refers to the science-related qualifications, understanding, knowledge (about science and “how it works”), interest and social contacts (e.g. “knowing someone who works in a science-related job”)’ (Archer et al., 2016, p. 3).

Episodes of The Archers are full of scientific talk, from herbal leys to plate meters. This chapter looks at how the science capital in Ambridge is shared. Why is Alice Carter an engineer and not Emma Grundy? Will Kiera Grundy choose physics A level? Who are the female STEM role models? How can the concept of science capital help us to understand the career paths of Ambridge residents? Will the young girls of Ambridge remedy the gender imbalance in STEM careers?

Purpose: In this paper, we focus on the mythic nature of the anonymous Bitcoin creator, Satoshi Nakamoto. Drawing on ideas from Foucault and Barthes on authorship, we analyze the notion of the absence of the author and how that sustains the brand. Design/methodology/approach: Based on interview data, participant observation, archival data, and a netnography, we examine the discourses that emerge in the wake of multiple Satoshi Nakamoto exposés that serve as both stabilizing and destabilizing forces in the Bitcoin ecosystem. Findings: We analyze the different interpretations of Satoshi Nakamoto through his own text and how his readers interpret him. We identify how consumers employ motifs of myth and religiosity in trying to find meaning in Satoshi’s disappearance. His absence allows for multiple interpretations of how the Bitcoin brand is viewed and adopted by a diverse community of enthusiasts.

Implications: Our findings provide a richer understanding of how, in a period of celebrity brands, Satoshi Nakamoto’s anti-celebrity stance helps sustain the Bitcoin ecosystem.

Originality/value: Our analysis examines the nature of anonymity in our hyper-celebrity culture and the mystique of the anonymous creator that fuels modern-day myths for brands without owners.

Killing Eve (BBC 2018–2022) has been hailed as a feminist television show. Its cinematic production values call upon a history of espionage on screen, encompassing international intrigue and glamorised hyperviolent action sequences. Is this violent aesthetic a cathartic reference to newly visible feminist discourse or are we just being sold a new version of old fantasies?

In this chapter Killing Eve is examined in relation to a history of violent women spies on screen, from Emma Peel (The Avengers 1961–1969) to Sydney Bristow (Alias 2001–2006). While Villanelle (Jody Comer) appears to present an amoral account of postfeminist ‘empowerment’, Eve (Sandra Oh) carries echoes of second-wave feminist concerns with community, morality and ethics. With each season the differences between Villanelle and Eve unravel, raising questions about what constitutes ‘quality’ television and how that might intersect with old-fashioned ideas about women's liberation. While the show depicts each character as ‘liberated’ in some respects, they are both entangled in corporate nets which repeatedly put them in danger and pull them back into violence as a form of labour.

Purpose: This chapter aims to study the organizational challenges that arise from a hybrid character of organizations. Using a taxonomy of hybridization, based on the societal triangle, we provide a more comprehensive understanding of challenges that different archetypes of hybrid organizations face. This research focuses on enterprises providing private goods. Methodology/Approach: First, a taxonomy of hybridity is introduced based on the societal triangle of state, market, and society. Based on a literature search, we selected 75 articles to determine the main organizational challenges for the four hybrid archetypes. The organizational challenges are clustered in five themes: mission and balancing divergent goals, leadership, hiring and employee involvement, accounting and financial issues, and future outlook. The themes are discussed with 17 case organizations including social-oriented enterprises (SEs), as well as profit-driven enterprises that have moved toward different levels of hybridity. Findings: Our findings emphasize that different kinds of hybrid organizations face different kinds of challenges but also handle them differently. For SEs, the main challenges are related to financial value creation and future outlook, while for profit-oriented enterprises, the main struggles are related to leadership, employee involvement, and balancing divergent goals. Research Limitations/Implications (if applicable): This study is of an explorative nature, focusing on four hybrid archetypes and using broadly defined themes. Future research could involve all hybrid archetypes and define the challenges more succinctly. Originality/Value of Paper: Hybrid enterprises are usually classified according to typologies based on at least two different ways of thinking (“logics”). This paper uses a taxonomy based on the societal triangle which brings analytical clarity when defining hybridity and identifying challenges. Next to that we discuss organizational challenges with 17 organizations from different hybrid archetypes. The results show that depending on the archetype, organizations face different challenges and also handle these challenges differently.

Current responses to women's violence are rooted in stereotypical views that delink women's violence from the context of gendered inequality and social marginalisation that mediates it. In this chapter, we draw from feminist scholarship on women's violence, including violence by female sex workers (FSWs), and qualitative data to examine different forms of FSWs' violence against their male clients and the contexts that shape their use of violence. Twenty-seven in-depth interviews were conducted with FSWs recruited through snowball sampling in Uyo, Nigeria. Thematic analysis revealed three forms of violence: ‘situational violence’ – an individual-centred, self-defensive and spontaneous response to conflict situations; ‘collective violence’ – pre-meditated violence used by a group of FSWs to revenge the victimisation of its member, and ‘symbolic violence’ – the un-planned outcome of FSWs' violence that has the effect of deterring client violence and inducing cooperative behaviour. FSWs use violence to deter or counter threatened or enacted client violence and to exact revenge for past victimisation. They also use violence to enforce rules, extract payments and establish solidarity. FSWs' violence is contextualised within the everyday experience of client violence. This violence is not only reactionary; it is a pragmatic attempt to negotiate structural and gender dynamics that shape risks in sex work.