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In 2015, Idris Elba declared ‘I’m probably the most famous Bond actor in the world … and I’ve not even played the role’. Speculation about Elba taking on the role of the world’s most famous spy has circulated for over a decade, fuelled by current Bond Daniel Craig’s assertion that the role has ruined his life. This chapter will examine the role of fans in driving hype about the future of Bond, focusing on the case study of alt-right outrage at the potential casting of Elba. The anti-Elba camp have framed their outrage as informed by authorial intent, and the desire to maintain canon, with claims that Ian Fleming’s Bond was, and should always be white and Scottish. Bond’s expansive narrative universe has remained constant since its inception, enabling fans of the series to form an emotional connection and sense of ownership over the text as a cohesive brand, a form of ‘affective economics’ (Hills, 2015; Jenkins, 2006a). By situating the debate over Elba’s suitability within the timeline of the Bond franchise, the author will posit that the rigid casting and structure of the film series to date enables feelings of fan ownership to flourish. Whilst the influence of vocal fan groups has altered the future direction of numerous popular texts, this chapter will suggest that the sameness of Bond-as-brand provides the justification for fan backlash towards potential change. In sum, this chapter will highlight the Elba-as-Bond rumours as a reflection of the contemporary political moment which seeks to flatten out difference under the auspice of protecting the canon and tradition of ‘brand Bond’.

This chapter argues that aspiring hegemons face a wide array of complex and distinct military challenges. Managing scarce military resources requires a subtle and complex global strategy that is likely to generate cognitive overload for the political system. As a result of cognitive overload, aspiring hegemons are likely to flail around, rapidly shifting from one global strategy to another. Such strategic flailing will occur independently of whether or not the economy is in crisis, though clearly economic crisis will exacerbate the tendency towards strategic incoherence. The chapter examines U.S. global strategy since the end of the Cold War, looking at the focus on “rogue regimes,” a growing concern with “global chaos,” worry about the rise of a peer competitor (China), and the debates about the root causes of, and best strategies to mitigate, terrorism. The chapter concludes with a discussion of the role of culture and notions of national identity and their role in the formulation of grand strategy.

In the contemporary visual art market, for art to be valuable, it must be deemed authentic. In this chapter, we deconstruct the space within which the authentication of art takes place to understand the structural underpinnings of value and its ideological foundations. Through a three-part model, we demonstrate how authenticity in the art market, as a socially constructed concept, relies on the interpretation of cultural brokers who demonstrate recognition of the artist's vision in the work by placing it within an art context and thus legitimising it as culturally valuable. In our spatial analysis, we illustrate the complexity of visual art products and their valuation, demonstrating how authenticity operates through multiple dimensions. Ultimately, we demonstrate that authenticity is an autopoietic market practice which serves to further monopolise power.

Resurgent interest in the life and work of the Italian Cambridge economist Piero Sraffa is leading to New Directions in Sraffa Scholarship. This chapter introduces readers to some of these developments. First and perhaps foremost is the fact that as of September 2016 Sraffa’s archival material has been uploaded onto the website of the Wren Library, Trinity College, Cambridge University, as digital colour images; this chapter introduces readers to the history of these events. This history provides sharp relief on the extant debates over the role of the archival material in leading to the final publication of Production of Commodities by Means of Commodities, and readers are provided a brief sketch of these matters. The varied nature of Sraffa scholarship is demonstrated by the different aspects of Sraffa’s intellectual legacy which are developed and discussed in the various entries of our Symposium. The conclusion is reached that we are on the cusp of an exciting phase change of tremendous potential in Sraffa scholarship.

Drawing upon Alfred Sohn-Rethel's work, we argue that, just as capitalism produces abstract labor, it coproduces both abstract mind and abstract life. Abstract mind is the split between mind and nature and between subject/observer and observed object that characterizes scientific epistemology. Abstract mind reflects an abstracted objectified world of nature as a means to be exploited. Biological life is rendered as abstract life by capitalist exploitation and by the reification and technologization of organisms by contemporary technoscience. What Alberto Toscano has called “the culture of abstraction” imposes market rationality onto nature and the living world, disrupting biotic communities and transforming organisms into what Finn Bowring calls “functional bio-machines.”