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Purpose – We examine the meanings of objects that have indexical (or direct first-hand) connections to celebrities. In so doing, we distinguish between the meanings of proximal indexicality versus contagious indexicality. We reveal how these disparate meanings are linked to how consumers use a celebrity object, either by displaying the object or by using the object as the celebrity had originally used the object.

Methodology – Our informants were consumers participating in sales of celebrity-owned items. Data include videotaped depth interviews, photographs of auction participants and celebrity objects, field notes, and auction catalogue descriptions.

Findings – Some consumers were fans who desired to be close to the celebrity, while others participating in celebrity-object auctions desired to become a celebrity themselves. Those that desired to be close to the celebrity (fans) were attracted to the proximal indexical meaning of the object, in which an indexical link conveyed a perceived closeness between the perceiver and the signified (e.g., consumer and celebrity) through the indexically linked object. Those that desired to become a celebrity themselves were attracted to the contagious indexical meaning of the object which facilitates a perceived contamination of the perceiver (e.g., consumer) by the essence of the signified (e.g., celebrity) through the indexically linked object.

Contributions – We contribute to the Peircian semiotic framework as used in consumer research by differentiating between the meanings of proximal indexicality and contagious indexicality. We show these meanings are linked to consumers’ display use versus the original use of the celebrity-owned object.

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.

This chapter explores knowledge practices around the subject of capital punishment. Capital sentencing jurisprudence and certain strands of academic scholarship on the death penalty have certain resonances with recent developments in reflexive cultural anthropology. Using the notion of productive unraveling, this chapter seeks to reinforce relations between these various knowledge practices by conceiving of them as situated on the same ground, already interwoven with one another. This chapter presents itself as both an example of and a call for the development of interconnections between these various kinds of expert knowledges concerning the death penalty.