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No Olympics in recent history have come in on or under budget, with past Olympics having overrun their budgets by an average of 172% (Flyvbjerg et al., 2021). Growing concerns among taxpayers about the expense have led many cities to drop out of the bidding process for the Olympics: for the 2024 Olympic Games, bids were withdrawn by Boston, Budapest, Hamburg, and Rome (Okada & Greyser, 2018). Sports infrastructure, including the main stadium, is a major cost category for the Olympic Games. Building or renovating venues to Olympic specifications can leave cities with heavy costs of long-term maintenance as well as the cost of initial construction (Baade & Matheson, 2016). In practice, cities tend to overestimate the size and suitability of existing venues, leading to underestimated costs and budget overruns (Preuß et al., 2019). The Brisbane 2032 Olympic bid says that Brisbane’s Olympics are confident of breaking even, and avoiding building stadiums that end up as white elephants. But does the choice of Olympic stadium make a difference to the final cost overrun? This study finds that cost overruns for past Olympics have been predicted using a few characteristics of the main stadium: its age, its distance from the city centre, and its seating capacity. This has important policy implications for selecting stadiums to be used at the Olympic Games and particularly for the Brisbane 2032 Olympic Games where a stadium has been earmarked for selection without data-driven evidence to support the decision.

The vigilante subgenre represents one of the more problematic trends in American action cinema, as it inherently boasts reactionary sentiments through the promotion of violence as an adequate means of asserting one's masculinity. As will be argued in this chapter, American vigilante films can be categorised into three distinct historical waves: the 1970s, the 2000s and the 2010s. The products of each wave present themes of masculinity relevant to their respective cultural period, specifically, anti-counterculture sentiments, post-9/11 anxieties and a growing cultural awareness of toxic masculinity. The third wave of vigilante films is particularly noteworthy in that it correlates with the prospective emergence of metamodernism, a cultural movement that, in contrast to postmodernism's use of apathy as response to trauma, opts for a cautiously optimistic return to metanarratives. Consequently, third wave vigilante films provide more deconstructive portrayals of vigilante figures through metamodernism's oscillation between irony and optimism. This chapter will outline the history of these three waves of vigilante cinema and provide textual analysis of Blue Ruin (2013) and You Were Never Really Here (2017), two third wave films that demonstrate self-reflexive portrayals of vigilante violence in correlation with metamodern masculinity. The results of these analyses indicate that vigilante films, and perhaps American action cinema in its entirety, are moving towards narratives that seek to challenge the more reactionary sentiments of films from years prior.