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The PRCA December 2020 census tells us that, in the United Kingdom, the public relations (PR) industry continues to be predominantly female, with 68% of respondents ticking that box. It also highlights a ‘gender pay gap’ of 21%, an increase of 7% from March 2020 and states that ‘this can be explained by the fact that the respondents … are largely in senior roles which tend to be more male dominated’ (PRCA, 2020), thus demonstrating a leadership gap as well as a pay one. Both of the leading PR professional membership bodies in the United Kingdom – the PRCA and CIPR – acknowledge the gender pay and leadership gaps, made starker in an industry dominated by women, and have committed to tackle the disparity.

In this chapter, I build on Liz Yeomans' (2020) work, in which she suggests ‘new avenues for researching neoliberalism and postfeminism in PR’ (p. 44) to examine the ‘apparently progressive moves’ (Yeomans', 2020) by women's networking organisations. I analyse website texts from two women-only PR networking organisations – Women in PR and Global Women in PR – to explore the ways in which they construct their function, purpose and role, and to examine their position vis-à-vis the contemporary postfeminist media culture (Gill, 2007). The research takes a feminist, discourse analytic approach and sheds light on the reality of women in PR as constructed by organisations whose stated goal is to: ‘improve equality and diversity across the industry by increasing the number and diversity of women in leadership roles’ (Women in PR, 2022).

In this chapter, the authors argue that entrepreneurship education (EE) as currently conceived, does little to eradicate gender inequality – rather, its focus on the individual and its neglect of structural impediments and measures tend to reinforce this inequality. The authors discuss why this happens and suggest ways forward. The authors believe the most positive action would be to employ legislation and public policy to change gendered structures and practices which would lead to changes in gendered norms. However, the relationship between norms and structures is mutual. Structural change can only be achieved if existing norms are questioned and this should be the first step toward changing discriminatory structures. The authors argue that in this context EE must include norm critical education. The authors provide some practical examples related to the context of EE.

Killing Eve (BBC 2018–2022) has been hailed as a feminist television show. Its cinematic production values call upon a history of espionage on screen, encompassing international intrigue and glamorised hyperviolent action sequences. Is this violent aesthetic a cathartic reference to newly visible feminist discourse or are we just being sold a new version of old fantasies?

In this chapter Killing Eve is examined in relation to a history of violent women spies on screen, from Emma Peel (The Avengers 1961–1969) to Sydney Bristow (Alias 2001–2006). While Villanelle (Jody Comer) appears to present an amoral account of postfeminist ‘empowerment’, Eve (Sandra Oh) carries echoes of second-wave feminist concerns with community, morality and ethics. With each season the differences between Villanelle and Eve unravel, raising questions about what constitutes ‘quality’ television and how that might intersect with old-fashioned ideas about women's liberation. While the show depicts each character as ‘liberated’ in some respects, they are both entangled in corporate nets which repeatedly put them in danger and pull them back into violence as a form of labour.

This study aims to focus on the dynamics in influencer-consumer relationships to understand how Generation Z consumers’ identification and social comparison with influencers shape their response to influencers’ branded posts. Specifically, this study investigates how perceived similarity and wishful identification lead to distinct social comparison mechanisms that affect Generation Z consumers’ self-improvement motives, which, in turn, drive their message engagement, brand attitudes and purchase intentions.

An online survey was conducted with 295 college students who are digital natives and whose purchase decisions are heavily influenced by social media influencers.

The study findings confirmed that perceived similarity positively influenced assimilative comparison emotions of optimism, admiration and aspiration while negatively influenced contrastive comparison emotions of envy, depression and resentment. Wishful identification positively affected both assimilative and contrastive comparison emotions. Both types of social comparison emotions further affected consumers’ motivations to follow the influencer for self-improvement, thereby enhancing their brand attitude, purchase intention and engagement behaviors.

This study is one of the earliest attempts to investigate the relationship dynamics between influencers and consumers from the lens of social comparison. The study examines the antecedents of perceived similarity and wishful identification, the mediators of upward comparison emotions and self-improvement motives and the brand evaluation outcomes of message engagement, brand attitude and purchase intention.

Recent research has captured the impact of the COVID-19 pandemic in widening gender inequalities, by highlighting that academic women have been disproportionately affected. During the COVID-19 pandemic, women assumed most of the care labour at home, whilst working at normal patterns, leaving them unable to perform as normal. This is very concerning because of the short and long-term detrimental consequences this will have on women’s well-being and their academic careers. This article aims to stimulate a change in the current understandings of academic work by pointing towards alternative – and more inclusive – ways of working in academia.

The two authors engage with autoethnography and draw on their own personal experience of becoming breastfeeding academic mothers throughout the COVID-19 pandemic.

To understand the positioning of contemporary academic mothers, this study draws on insights from both cultural studies and organisation studies on the emergence of discursive formations about gender, that is “postfeminist sensibility”. Guided by autoethnographic accounts of academic motherhood, this study reveals that today academia creates an individualised, neutral (disembodied), output-focused and control-oriented understanding of academic work.

This paper adds to the conversation of academic motherhood and the impact of the pandemic on working mothers. The study theoretically contributes with the lens of “motherhood” in grasping what academic work can become. It shows the power of motherhood in opening up an alternative way of conceptualising academic work, centred on embodied care and appreciative of the non-linearity and messiness of life.

This chapter outlines the underpinning author’s perspective to explain the approach to decoloniality and untangle the current praxis and research method from coloniality. This chapter also describes the subsequent chapters’ structure, moving from colonialism and its roots to decoloniality in practice and research.

Chapter 8 engages in a round table discussion with Montesquieu (Persian Letters), Fanon (Black Skins, White Masks, Dying Colonialism, and the Wretched of Earth), and Camus (The Stranger) posthumously. This chapter explores the inner psyche of the subalterns as they strive to reach decoloniality. This chapter offers suggestions for decolonizing praxis.

The figure of the femme fatale is attached to a range of contested meanings around femininity, sexuality and violence. Despite its ambiguity and its origins in art, myth and fiction, the term has proven popular in giving a name to violent articulations of female power in non-fictional settings by journalists. In this chapter, I outline the figure of the femme fatale as an archetype of women's violence that appears throughout Western popular culture, and provide an overview of the term's definitions and cultural meanings. In doing so, I trace the figure's movement across different forms and genres of popular culture. I identify a number of themes in the existing scholarship around the figure: feminist criticism of the figure; the value that feminist film scholars have found in the figure as a symbol of power and sexual transgression; the relationship between the femme fatale, race and the colonial imagination; and the way the idea of the femme fatale has been used in reporting of real-life women's violence.