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The two major entrepreneurial motivations of being “pushed” or “pulled” to start a business have been frequently explored in the entrepreneurship literature. In the global wine industry, thousands of small entrepreneurial wine businesses are flourishing, but few have been started by Black entrepreneurs. What is missing from the research is an exploration of the motivations of these entrepreneurs and what the industry can do to encourage the entrance of more minority entrepreneurs. The purpose of this study is to apply push–pull theory to better understand the motivations and challenges of what prompts Black entrepreneurs to start and succeed in the wine industry.

This exploratory study uses a qualitative methodology of 42 in-depth interviews with US Black winemakers, retailers, and other wine business owners conducted over Zoom. The data were analyzed using Otter software and a thematic coding process for 2,120 pages of rich text.

Findings included 12 motivation themes and 12 challenges for Black wine entrepreneurs, with more emphasis on “push” versus “pull” motivation factors. Many of these entrepreneurs were “pushed” to participate in the industry to create a more inclusive space for Black wine consumers and to create opportunities for other Black professionals and minorities in the industry. Managerial implications include solutions for more inclusive marketing and workplace culture.

This study contributes to push–pull theory by offering a unique perspective on the motivations of Black wine entrepreneurs, as well as being the first study, to the best of the authors’ knowledge, to focus on this issue.

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.