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Research on relational maintenance of long-distance or cross-residential romantic relationships is limited. Moreover, relatively little is known about relational maintenance among non-marital intimate partners in later life, many of whom prefer to live-apart-together (LAT) rather than cohabit. This research paper examines how older adults from the United States maintain their romantic relationships across residences. The authors conducted a grounded theory study drawing on interviews collected from 22 older adults in LAT relationships. The data revealed that older LAT partners engage in a process of safeguarding autonomy to maintain their partnerships and relationship satisfaction. Two broad strategies were identified: upholding separateness and reshaping expectations. While safeguarding autonomy was paramount, participants also emphasized the importance of having a flexible mindset about the physical copresence of their relationships. The findings have implications for practice, suggesting that creating an interdependent couple-identity may undermine, or at least have little bearing on, the relationship stability of older LAT couples. Future research is needed to determine how LAT experiences among racially/ethnically or socioeconomically diverse samples might differ.

This paper explores the relationship between social movement protest, economic sabotage, state capitalism, the “Green Scare,” and public forms of political repression. Through a quantitative analysis of direct action activism highlighting the Earth Liberation Front and Animal Liberation Front, the discourse surrounding mechanisms of social change and their impact on state power and capitalist accumulation will be examined. The analyses examines the earth and animal liberation movements, utilizing a Marxist-anarchist lens to illustrate how these non-state actors provide powerful critiques of capital and the state. Specifically, the discussion examines how state-sanctioned violence against these movements represents a return to Foucauldian Monarchical power. A quantitative-qualitative history will be used to argue that the movements’ actions fail to qualify as “terrorism,” and to examine the performance of power between the radical left and the state. State repression demonstrates not only the capitalist allegiances between government and industry, but also a sense of capital’s desperation hoping to counter a movement that has produced demonstrable victories by the means of bankrupting and isolating corporations. The government is taking such unconstitutional measures as a “talk back” between the revolutionary potential of these movements’ ideology as well as the challenge they present to state capitalism.

Freddie Mercury rose to fame as the lead singer of the UK pop group Queen. The group started working on tracks for their fourteenth studio album, Innuendo, in early 1989, and the album was finally released in February 1991. Progress on recording was slow as Mercury, who had been diagnosed with AIDS, was unable to work for more than a few days at a time. Innuendo became the final Queen album to be released during Mercury’s lifetime, and ‘The Show Must Go On’ is its final track. Its placing is arguably significant, given that both Mercury and the remaining band members must have assumed that this would be the last album that they would record together. In this chapter, I present an analysis of the song’s music and lyrics, along with the music video that accompanied the single release, with reference to Mercury’s illness and his wish to contribute vocals for as long as he possibly could, knowing the seriousness of his condition meant that this would be one of his last recordings.

This chapter examines the nexus between women's experiences of domestic abuse and their subsequent violent offending, as viewed through the lens of keyworkers in a women-only charity. The role of female subjectivity, stereotypes of femininity and the gendering of behaviours is discussed, alongside an exploration of the paradox of the female ‘victim-offender’. Qualitative semi-structured interviews with the keyworkers, drawing on the author's experience of working in the system, enable individual voices to be captured in detail, resulting in a rich narrative piece. This is analysed thematically and framed conceptually by the work of Judith Butler on gender performativity and precarious existence, and Jessica Benjamin on the ‘Third’ and the potential of recognition to transcend the experience of gendered violence. The discussions lead to the conclusion that the keyworkers' attention to interpellatory dynamics and intersubjectivity effects powerful individual change. However, the impact of this is limited, as the criminal justice system itself acts as Benjamin's ‘moral Third’, maintaining its status quo of inequality and gendered violence through patriarchal attitudes and a corresponding language of exclusion.

Pre-existing music has been used to underscore the moving image since the days of ‘silent’ film, and this practice is still commonplace today in Hollywood and beyond. Such music may be ‘classical’ or ‘popular’ and can feature within the narrative of a movie diegetically, non-diegetically, or both. With regard to art music in film, Wolfgang Amadeus Mozart is often the composer of choice, given the popularity and familiarity of many of his compositions. However, his music is employed cinematically in a range of different situations and for a variety of purposes.

In this chapter, I focus on ways in which compositions by Mozart are used to manifest the music and death nexus present in the narrative of three films that were released in different decades. ‘Là ci darem la mano’ from Don Giovanni (1787) features in the first film I analyse, The Picture of Dorian Gray (Albert Lewin, 1945), with the aria being linked to the symbolic death of the moral compass of the protagonist. I then consider the inclusion of music from one of Mozart's symphonies in the storyline of the film Vertigo (Alfred Hitchcock, 1958), the narrative of which includes the themes of deception and murder. The final film I examine is I am David (Paul Feig, 2003), in which one of the characters sacrifices his life to save that of his friend. Each example encapsulates death as embodied affect, with Mozart's music specifically impacting upon the emotions of the protagonists.

The COVID-19 pandemic accelerated many organisations’ reliance on the Internet, with schools, companies, and government agencies, among other institutions, all shifting their operations online in a relatively short period of time. This sudden shift created opportunities for cybercriminals, as did the burden on the healthcare sector, the rush for unemployment benefits, and the desire for up-to-date information about outbreaks and health precautions. This chapter examines the trends in cybercrime during the COVID-19 pandemic that were spurred by these changes, as well as the mitigation measures implemented by government and private industry stakeholders to help protect critical infrastructure and online operations. It argues that the nature of cybercrime and the most common forms of criminal activity did not change substantially during the pandemic, but rather that criminals’ focus on whom to target and how to exploit evolving current events enabled them to wield existing criminal tools to greater effect, and potentially also at greater scale, though reliable statistics on the frequency and size of cybercrimes are scarce. Finally, the chapter considers how these trends in cybercrime forced private organisations and governments to undertake new cybersecurity measures and programs and whether the long-term effects of the pandemic might actually include stronger cybersecurity if these efforts continue past the end of the public health crisis.