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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.

Bureaucratic hierarchy, as the hallmark of the modern organization, has been remarkably resilient in the face of increasingly pervasive attacks on its fundamental value and usefulness. We investigate the reasons for this from a cultural, particularly psychoanalytic, perspective – one that sees hierarchy's perpetuation not in terms of the efficacy of its instrumental potential, but rather in the values that are culturally sedimented within it. We argue that hierarchy reflects longings for a pure heavenly order that can never be attained yet remains appealing as a cultural fantasy psychologically gripping individuals in its beatific vision. To tease out this cultural logic we examine two representations of it in popular culture – the U.S. television comedy The Office (2005–) and comedian Will Farrell's impersonation of George W. Bush (2009). These examples illustrate the strength of bureaucratic hierarchy as an affective cultural ideal that retains its appeal even whilst being continually the subject of derision. We suggest that this cultural ideal is structured through a ‘fantasmatic narrative’ revolving around the desire for a spiritualized sense of sovereignty; a desire that is always undermined yet reinforced by its failures to manifest itself concretely in practice. Our central contribution is in relating hierarchy to sovereignty, suggesting that hierarchy persists because of an unquenched and unquenchable desire for spiritual perfection not only amongst leaders, but also amongst those they lead.

Let us return to Nancy Cruzan's story. Hopeful that Nancy would eventually recover, her parents, Lester and Joyce Cruzan, agreed to have doctors insert a feeding tube to deliver artificial hydration and nutrition – a decision they would one day regret. Although the Cruzans visited frequently, Nancy was unable to respond to their attention. After four years had elapsed, the Cruzans concluded that Nancy would never regain consciousness and should be allowed to die.

The position of these Irish agitators is illogical and untenable; the remedy they propose is no remedy at all – nevertheless they are talking about the tenure of land and the right to land; and thus a question of worldwide importance is coming to the front.³

Over the past few decades, mainstream and independent films have increasingly represented kinky sexual behaviors of their characters, in ways that are frequently inaccurate, inappropriately titillating, and intentionally extreme. This chapter examines the representation of kinky sex lives in two groundbreaking (although extremely violent) offerings of exploitation cinema: director William Friedkin's 1980 film, Cruising, one of the first feature-length Hollywood movies to portray the sex lives of gay men in New York City's leather bars and sex clubs; and director Brett Leonard's 2005 film, Feed, one of the first feature-length independent offerings to explicitly explore the phenomena of fat fetishism and feederism. Both works are noteworthy for openly depicting nonnormative sexual activities and ways of being targeted primarily to mainstream audiences, at historical moments when doing so was quite rare. At the same time, this analysis demonstrates how both films, because of their exploitative approaches to their subject matter, ultimately communicate that the individuals and sexual activities they represent are “deviant” ones that must be contained or even eradicated in a civilized society.

An agency relationship exists whenever one party (the principal) delegates authority to another (the agent). Because agents are assumed to be self-interested and to possess goals that diverge from the principal's goals, the principal must expend resources (called agency costs) to insure that agents act in her interest (Jensen & Meckling, 1976). In chains, the firm can choose as outlet managers either employees who are paid a salary (and perhaps a bonus) or franchisees who are granted the right to their outlet's profits after royalties and other expenses. In both cases, an agency problem is created because the firm delegates local decision-making to outlet managers whose interests are not perfectly aligned with that of the franchisor's (Rubin, 1978).

With the large majority of colleges and schools of business integrating ethics into their curricula, business ethics educators must work to improve the quality of instruction and find methods that enhance student learning. Because many films now address business ethics issues, the content of these films may be used to enhance the teaching of business ethics to undergraduate and graduate business students. This chapter suggests films that may be presented in business ethics classes to illustrate the four ethical categories set forth by the accrediting body for schools of business, The Association to Advance Collegiate Schools of Business (AACSB International), in their 2004 report on ethics education in business schools: ethical decision-making, ethical leadership, responsibility of business in society, and corporate governance.