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To introduce the concepts of interval funds and tender offer funds and compare them to other pooled investment vehicles.

This article provides an overview of the interval fund and tender offer fund structures, including the law, regulations and market practices regarding redemptions, liquidity, fees and expenses and other key terms.

Interval funds and tender offer funds should be considered by alternative investment managers seeking to expand into public markets or traditional fund managers that seek additional portfolio flexibility.

In addition to a plain English analysis of the rules and regulations applicable to interval funds and tender offer funds, the article analyzes market practices regarding redemption frequency and amount.

To summarize the Municipal Securities Rulemaking Board’s 2017 Compliance Advisory for brokers, dealers and municipal securities dealers.

Summarizes several Municipal Securities Rulemaking Board (MSRB) rules that the Compliance Advisory highlights as presenting key compliance risks for brokers, dealers and municipal securities dealers. Discusses the factors included in the Compliance Advisory that dealers should consider when evaluating compliance procedures and controls.

By highlighting some key compliance risks and providing considerations tailored to those risks, the Compliance Advisory can be used as a tool to aid dealers in developing and assessing effective compliance programs.

Dealers should consider reviewing their firm’s existing compliance policies and procedures in light of the considerations discussed in the Compliance Advisory.

Practical guidance from experienced securities and financial services regulatory lawyers.

Within North American institutions of higher education, the sociopolitical construct of whiteness comprises an often implicit set of lessons that are reflected not only in policy and curricula but also in the teaching practices of faculty. Such lessons perpetuate white centricity and supremacy, at enormous costs to those who have been negatively racialized. Therefore, it is critical for white faculty to engage meaningfully with ongoing processes of self-reflection, self-education, and skill development so that they can contribute positively to the interrogation and disruption of whiteness in higher education. This chapter discusses seven processual considerations for white educators who seek to interrogate and disrupt the problem of whiteness in teaching and learning.

In 1958 the Daily Express began publication of a comic strip adaptation of Casino Royale authorised by Ian Fleming, predating the original film version by four years. For the next 10 years adaptations of the novels and short stories appeared in the newspaper with Bond’s appearance fashioned firstly by John McLusky and then Yaroslav Horak. When the supply of Fleming’s stories was exhausted, new adventures were penned by Jim Lawrence with artwork by Horak, McLusky or Harry North. From 1977 publication switched to the Sunday Express and then the Daily Star. Eventually, the strips were reprinted for a whole new audience by Titan Books.

Subsequently, Bond appeared in a number of other comic book adaptations and reworkings, including key adaptations by the independent publishers Dark Horse and Dynamite, offering contemporary re-imaginings of this iconic, but always controversial, male icon. Taken together they provide a run of Bond adventures over more than 50 years. As such, they contain an alternative Bond universe, where his embodiment of male heroism mimics and varies Fleming’s original and the images constructed in the film franchise. This chapter will consider these mirror images and their responses to changing societal pressures as Bond adapts to new definitions of what constitutes the male hero.

In 2020, the latest James Bond film will hit cinema screens. The film has been produced by Eon Productions, is based on Ian Fleming’s suave, sophisticated super spy and stars Daniel Craig in the title role. With a troubled production shoot well-documented in the media, Daniel Craig often seeming and contradictorily at odds of being both enamoured and loathing with the role, a director leaving through ‘creative differences’ and numerous screenwriters being drafted in as last-minute replacements or add-ons, it will be interesting to see how the latest Bond adventure fares both critically and financially.

At their heart, the Bond adventures – originally in Ian Fleming’s novels and short stories, and then in their film incarnations before spilling out into newer platforms – offer pure escapism for the reader, viewer, listener and gamer. Set against the backdrop of exoticism in a post-war climate, the stories centre around MI6 Agent, James Bond, stopping enemies of the British Empire in their attempts at world domination. They gave the reader a sense of both an attempt by Fleming/Bond to recapture Britain as an important power on the world stage. Whilst Bond may have sipped martinis as he coolly dispatched the latest despotic tyrant, they also offered up ideas about time, place, culture, the social climate of the period and gender.

This book will focus on numerous aspects of the Bond-catalogue, but in particular paying particular attention to how the portrayal of gender, both in the stories and behind the scenes, has helped shape one of the most significant, important and successful British franchises.

The enduring popular image of James Bond is (in the words of the theatrical trailer for Dr No) ‘the gentleman agent with the licence to kill’. Yet the screen Bond is hardly a hero in the manner of gentlemanly archetypes such as Cary Grant and David Niven (reputedly Ian Fleming’s preferred choice for the role). This chapter will explore how the image of Bond in the films has changed over time both in response to wider social and cultural archetypes of masculinity and due to the different performance styles of the various actors to play the role: Sean Connery, whose rough-hewn Scottishness can be seen as a means of representing the ‘otherness’ of Fleming’s character (‘Bond always knew there was something alien and un-English about himself’); George Lazenby, whose one-off appearance as an emotionally damaged Bond in On Her Majesty’s Secret Service anticipated later portrayals of the character; the parodic variant of Roger Moore; the brooding Byronic hero of Timothy Dalton; the ‘Milk Tray Man’ charm of Pierce Brosnan; and Daniel Craig, whose combination of bull-in-a-china-shop physicality and vulnerable masculinity (literally so in Casino Royale) has by common consent successfully transformed Bond from a cartoon superman into a twenty-first century action hero.

Johanna Harwood was the first, and until Phoebe Waller-Bridge’s hiring on No Time to Die, the only woman screenwriter to work on the Bond films. Harwood was there at the beginning, gaining credits for her work on Dr No (1962) and From Russia with Love (1963), but her chequered experiences of trying to gain leverage within the film industry as a writer, having to contend with institutionalised as well as individualised sexism, prompted her eventual decision to leave Bond, her former employer Harry Saltzman, and the film industry behind. Her story not only provides valuable insights into the genesis of Bond on screen, it also shows the importance of incorporating production studies into discussions of gender and James Bond films, thinking about off-screen as well as on-screen female representation. Beyond Bond, it also illuminates some of the obstacles faced by women trying to build a career in the film industry in the 1960s (not that their problems are limited to that decade) and how film production labour done by women frequently goes uncredited or is discredited, despite its often formative importance.

Throughout the many decades of Bond films, 007’s patriotism is much assumed and never questioned. However, how does the English male spy display devotion to Queen and Country? James Bond is an invaluable source when questioning the attitudes towards patriotism and identity over the last 50 years. For example, is his display of manliness patriotic? More importantly, how has the exhibition of the subjective nature of patriotism adapted from an imperial to a more modern British identity? This chapter will examine how the actors who have depicted Bond have worked within the ever-changing British patriotic codes of these international movies.