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Today's students are powerful consumers and producers of media. Yet for all their access and use of media, many students need assistance from educators to develop critical media skills. These skills are necessary for participation in a culture increasingly characterized by the prevalence of the Internet and social web. However, despite significant changes in contemporary culture, the focus of media literacy remains much the same – meeting the challenge of accessing, analyzing, evaluating, and creating various media forms. Educators and students need to recognize that each has significant roles to play in developing a rigorous approach to media literacy. In embracing all forms of media as well as roles that extend beyond passive consumption, both educators and students are able to discover newly empowering skills that will provide best practice opportunities for better civic and educational engagement.

As fake news and other disinformation are spread primarily online and erode trust in experts and institutions, they challenge the role of librarians as information gatekeepers. Experts have advocated for libraries to educate the public to resist misinformation, yet libraries cannot assume sole responsibility for information literacy work. In this chapter, the authors explore several successful information literacy programs in Ukraine, whose fake news problems made global headlines in 2014, when the Russian annexation of Crimea was accompanied by a flood of crude but effective disinformation. The authors look particularly at the Learn to Discern programs established by the international non-profit organization IREX to foster information literacy using techniques grounded in interdisciplinary expertise and carefully evaluated through pilot studies and follow-up evaluations. These programs train instructors through workshops and provide them with materials. In the first program, aimed at the general public, many of the instructors were librarians, and library facilities were heavily used to deliver the public training. In the second program, information literacy was integrated into the public school curriculum and thousands of teachers were trained to deliver expertly designed materials for particular grade levels and subjects. The authors also consider the special challenges posed by the COVID-19 pandemic, both as a source for new forms of misinformation and as a disruptor of training previously delivered in tightly packed libraries and classrooms. These Ukrainian programs demonstrate the potential for fighting fake news and other misinformation on a scale far beyond what could be accomplished by individual libraries acting alone.

Dwayne ‘The Rock’ Johnson is one of the most bankable stars in Hollywood, in addition to his broad popular appeal. Since his transition from a successful pro-wrestling career to a full-time actor, his onscreen persona has transitioned from one dimensional action hero to more balanced star ‘type’ (Dyer, 1991), alternating action films with more family-friendly fare. Johnson's starring role in the Fast and the Furious franchise has been central to the growth of his career, yet as I will argue, this success is fuelled by his apparent rivalry with other action stars onscreen (Jason Statham) and offscreen (Vin Diesel). As I will show, these rivalries are rooted in the star ‘types’ formulated by Richard Dyer (1991), and this tension is central to the ongoing fan interest in the series.

Johnson's expanding profile has also led to the establishment of his own production company, Seven Bucks, and transition into television series Ballers (2015–2019) and Young Rock (2021–), both of which allowed him to explore autobiographical elements of his early life. As I will demonstrate via a case study of Hobbs and Shaw (2019), Johnson's success as a transnational action star and creative control allowed by Seven Bucks has allowed more explicit on-screen engagement with his Sāmoan heritage. The production history of Hobbs and Shaw illustrates both the successful co-existence of rivalry between action stars as a successful marketing strategy for action franchises, and the evolving action genre which allows a more personal exploration of race and masculine identity.

Although there are a number of hybrid tropes and cross-over conventions that relate to contemporary action cinema, broken down to its most rudimentary components, the genre places its cinematic hero in scenes of ritualised violence or conflict, with the intent of showcasing both athletic mastery and aesthetically pleasing physiques for interested and invested audiences. In as much as it is difficult to define the contemporary genre, the role of the action hero is clear in all permutations. Indeed, there is little question or query about who or what makes for a popular and long-standing action star. After all, names such as Stallone, Schwarzenegger and Statham have become inextricably linked to the genre in question. While there is much to consider here in relation to the muscles and power of these hard-bodied heroes in sweaty vests or form fitting t-shirts, there is another iteration of masculinity, a different and more agile physique, a more refined sartorial code, that has quietly overtaken these macho figures as the site of contemporary action, and that figure is Keanu Reeves. With this in mind, this chapter will examine the ways in which popular media reviewers foreground star image, acting, movement, the body and performance in order to position Reeves as an action star removed from the physical excesses of bulkier, slower and less agile men who continue to perform in the genre around him.

In this, the third volume of Emerald Publishing's Gender and Action Film series, the emphasis is placed firmly on the way that Action Cinema has transformed in the post-millennial period. Through a series of in-depth case studies, and using a mix of theoretical approaches and analysis, each chapter will offer comparative gender studies that are both evocative and interrogative of a genre that has often been lambasted for the way in which gender is portrayed. The volume covers such areas as ageing action stars and the roles they portray in geriaction movies, critical examinations of gender in Action Cinema post-9/11, and changes aspects of feminism, gender practices and metamodern narratives.

The transition to motherhood has been studied extensively, but primarily among participants in homogenous race/ethnicity relationships. The aim of the current study was to explore the lived experiences of a diverse group of women in biracial and monoracial relationships experiencing the transition to motherhood (e.g., biracial or monoracial motherhood). Informed by the symbolic interaction framework, in-depth semi-structured interviews were conducted to investigate the expectations and experiences of first-time motherhood on a sample of 12 U.S. women. Their diverse stories contained multiple themes including an overarching theme of racial/ethnic differences in appropriate infant care, which surfaces during engagement in family and social support interactions. This analysis emphasizes the need for more diverse portrayals of motherhood. We discuss our findings in light of the literature and implications for future research and practice.