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This volume is dedicated to the memory of Patrick Primeaux. Of your editors, Michael knew him well, Howard knew his work. We both recognise his enormous contribution. Patrick was a very special individual who was unfortunately with us for far too short a time, but who in that time made a very unique contribution. The first three essays in this issue comprise a mini-festschrift issue to honour Patrick. They are by his American colleagues and good friends who knew Patrick well. A mini-festschrift seems particularly germane to Patrick. The festschrift or commemorative volume is deeply rooted in the culture of the Germanic universities, and Patrick, although having many attributes, could certainly not be construed as Germanic. We have no doubt that he would be as honoured by a mini-festschrift issue as he would be embarrassed by a full festschrift issue. The other essays are the result of the Australian Association for Professional & Applied Ethics 18th annual conference which was held in June 2011 at the University of Tasmania. The authors of these essays are academics in Australian universities who might not have known Patrick, but, as is discussed below, their essays reflect Patrick's contribution to applied ethics. There seems something very fitting about that conference being held at the University of Tasmania because their campus is in Hobart which is as far south as Australia goes. Patrick often spoke of visiting Australia but always ultimately dismissed it as too long a flight. It would, admittedly, have been a particularly long flight for Patrick who was a very heavy smoker. Nonetheless, we have no doubt that if Patrick had been able to embark upon the flight to Hobart and attended the conference, he would have enjoyed it. As it was his spirit was very much with us and pervaded many of our discussions about applied ethics.

This introduction to the 20-year anniversary issue of Research in Ethical Issues in Organizations notes that the role of organisations in society, the international and multidisciplinary scope of business ethics and the importance of narrative, issues identified in the early volumes, remain important.

National and international ethics associations serve an important purpose in the development of resources which can lead to ethical behaviour in organisations. They bring practitioners and academics together, promote discussion and foster excellence through the presentation and subsequent publication of papers. One purpose of this journal is to publish selected papers from the annual conference of the Australian Association for Professional and Applied Ethics. Our intention is that each year there will be one issue devoted to a theme and one to papers from the conference. Volume 8 was the first themed volume under our editorship, the festschrift in honour of Patrick Primeaux; Volume 10 will have the theme moral saints, moral exemplars and moral heroes.

A product manager at Apple examines the past, present, and future of the PC industry in September 2011 in the wake of Steve Jobs's resignation and HP's announcement that it was exiting the PC industry in favor of enterprise software solutions and consulting. The protagonist thinks through current forces in the PC industry, including market share trends, mobile computing, ultrabooks, and cloud computing services—as well as the position of the Mac in Apple's product portfolio—and is faced with making a decision about the future of the Mac.

In interviews, Jamie Lee Curtis positions Halloween (2018) as a #MeToo film. As merely self-serving publicity, this reading is far too simplistic. In Halloween (1978) Laurie Strode is victimised; she then assumes the role of quintessential Final Girl as described by Carol J. Clover, providing the template for the entire sub-genre of horror slasher films birthed in its wake. However, in the similarly titled 2018 film, Laurie is no longer a victim. Instead of following the role of the stereotypical Final Girl of slasher films, she falls more in line with one of Yvonne Tasker's Warrior Women.

This chapter investigates Laurie Strode's transformation throughout the Halloween franchise. Once passive and victimised, Laurie has evolved: No longer the Final Girl – or victim – her position and behaviour in this film is much more in line with the neoliberal Warrior Woman of action films. Thus, the film assigns her the role of action heroine as a vehicle for responding to the concerns of the #MeToo era – and in this era, women are no longer victims. Women can and will fight back.