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The purpose of this paper is to examine the relationship between social and gender inequalities and how they have been studied over the last 30 years. What have we learned, as academic sociologists in higher education, about how the socio‐cultural context, policies and global social transformations in the UK, and North America influence social stratification? The key focus is on how gender differences influence forms of social stratification through complex relations between “work”, family and education.

The paper reflects on changing research methodologies from their origins in sociology and second wave feminism by addressing three international studies about the troubled question of mothers’ work. All three studies reflexively address the question of changing knowledge and methodologies about social inequality or stratification.

The paper finds that while all three studies are from a feminist perspective and consider methodologies in the light of the so‐called “neo‐liberal project” and the knowledge economy, they come to rather divergent conclusions. The three studies illustrate the complexities of knowledge and methodologies about social stratification and gender inequalities.

The paper demonstrates how alternative methods contribute to our knowledge and the rich diversity of sociological work as an academic practice.

This chapter seeks to compare and contrast two compelling portrayals of the bisexual or ‘gender-blind’ vampire: The Hunger (1983) and American Horror Story: Hotel (2015). These texts present a number of notable differences. They were released over 30 years apart and they also diverge markedly in form: Hotel is a 12-episode television serial, whilst The Hunger is a tight 97-minute-feature film. Whilst these differences highlight shifts in the format of horror more broadly, they also facilitate the reflection on whether the portrayal of the bisexual vampire has dramatically shifted alongside these changes. Such a reflection is ripe with potential given that in addition to their differences, both texts also share significant aesthetic and narrative similarities. Both Hotel and The Hunger foreground performativity and feature female protagonists who defy heteronormative understandings of gender and sexuality. Undoubtedly, Hotel can be read as an aesthetic homage to The Hunger. However, whether Hotel also echoes some of the more conservative aspects of the earlier film’s politics is a more complex question. Focusing on the ways that these female vampire protagonists, as well as a selection of their lovers and victims, are gendered, this chapter will illuminate a number of developments and lingering issues in the ways that horror depicts (or circumvents) complex facets of the relationship between bisexuality and gender.