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Previous studies have confirmed the potential benefits of participating in theatrical improvisation, including improved mental health, well-being, skills and strategy development. This study aims to explore the experiences of improv (a subset of theatrical improvisation) for autistic, non-autistic, yet neurodivergent and neurotypical people. In particular, it explores whether participants believe that there have been any benefits from participating in improv.

Twenty adult participants were recruited using snowball sampling. Semi-structured interviews were conducted and analysed using interpretative phenomenological analysis (IPA) and qualitative content analysis (QCA). IPA explored the autistic lived experience during improv participation, while QCA sought to identify the benefits gained.

Implementing IPA allowed for the benefits of improv to be embedded into autistic lived experience. This was aggregated into two themes: “life beyond improv” and “social worlds negative impact”. Findings from QCA found five themes: “creativity and opportunities: the arts and workplace”; “acceptance, cognitive flexibility and rolling with it”; “interpersonal, social and communication skills and human connection”; “gains in mental health, quality of life and wellbeing”; and for just autistic participants, “‘I've gone full autistic’ (and can learn why neurotypicals are like they are)”.

To the best of the authors’ knowledge, this is a novel study area that has not been investigated previously.

The twofold aim of this theory-building article is to raise questions about the ability of queer cinema to transform market culture and ideologies around gender and sexuality. First, the authors examine how the very capitalization of queer signifiers may compromise the dominant order from within. Second, the authors address how brands possibly can draw on these signifiers to project authenticity.

Through visual methods of film criticism and the semiotic analysis of three films (Moonlight, Call Me By Your Name and Portrait of a Lady on Fire), the authors outline some profound narrative tensions addressed by movie makers seeking to give an authentic voice to queer lives.

Brands can tap into these narrative attempts at “seeing the invisible” to signify authenticity. False sublation, i.e. the “catch-22” of commodifying the queer imaginaries one seeks to represent, follows from a Marcusean analysis.

In more practical terms, “seeing the invisible” is proposed as a cultural branding technique. To be felicitous, one has to circumvent three narrative traditions: pathologization, rationalization and trivialization.

In contrast to Marcuse's pessimist view emphasizing its affirmative aspects, the authors conclude that such commodification in the long term may have transformative effects on the dominant ideology. This is because even if something is banished to the realm of imagination, e.g. through aesthetic semblance, it can still be enacted in real life.

In the democratic digital environment, brand managers frequently deal with the unauthorized use of the brand by third parties. The phenomenon, known as brand hijacking, has been treated in different and sometimes conflicting ways in the academic and professional literature. The aim of this paper is to clarify the meaning of brand hijacking and to shed light on the various motivations and intentions underpinning the phenomenon.

A Delphi-based survey among both academic and professional experts was conducted to explore the key features of brand hijacking and expand existing theories.

The results of the Delphi survey enable the main brand hijacking actions to be mapped, based on two motivational axes (utilitarian–idealistic and destructive–constructive) and on the various intentions that guide the hijackers. The results help re-define the key elements of brand hijacking, through the lens of non-collaborative brand co-creation.

Managerial implications are presented in terms of the corporate response to the two main effects of hijacking, namely, brand reputational damage and brand repositioning.

The paper helps to shed light on the main components of brand hijacking, thus gaining expert consensus in refining the existent conceptualization in relation to a rapidly changing brand management scenario because of the gradual loss by brand managers of their traditional control.