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Racialization is an important concept when looking at structural mechanisms that perpetuate racial inequalities. The State, and its various organizational spaces of action, is often seen as a site for race to be enacted. Policy sectors such as housing, education, taxation, and immigration have been ripe areas of research that reflect this. However, media policy research has not effectively engaged with this critical conception. Media policy research has been driven by political economy perspectives within the field of Mass Communication and Media Studies, and can benefit from an approach that analyzes it in relation to social science perspectives that focus on processes which constitute, or are constituted by, actors, groups, and organizations. Our hope is that future researchers will find this volume useful in further developing critical studies of media policy that take into account race as a social force.

The chapter situates the role of narrative power in shifting media policy amidst calls for police abolition, defunding, and media reparations following the documentation of media harm. Community-based narrative intervention is not only focused on those aspects of reporting and media that deal with harms perpetuated by discourses on public safety, but also about developing what I refer to as “collective narrative self-determination” to reflect the needs and desires of communities. The chapter documents how grassroots media efforts attempt to reconfigure the space of media policy and shift narratives toward the community power needed to reckon with the consequences of vital public resources being systematically defunded for budgets and policies that entail greater police powers. The chapter concludes this is an important moment for community-based initiatives and interventions that can shift media narratives around policing and urban violence and also shift who is served by those narratives, contributing to the long-term process of building narrative power and racial justice across a wide range of community and media organizations.

Efforts to make the television landscape more equitable for people of color have been evident both within and outside the industry as early as the 1940s. These advancements made by individuals within broadcasting were an attempt to allow more people of color to get opportunities to prove themselves competent in front of and behind the scenes in broadcast television. While these early attempts were ultimately unsuccessful, they laid the groundwork for future diversity initiative efforts. The purpose of this chapter is to expose the landmark events that introduced changes in diversity policy that eventually resulted from diversity initiatives at NBC despite the racial barriers within its corporate structure. This chapter will show that the trajectory of these early events exhibits that the diversity initiatives seen today resulted from decades of pressure from the government, the press and outside citizen activist groups.

This chapter offers an historical overview and analysis of US broadcast regulation. It demonstrates how seemingly race-neutral policies – the interpretation of “public interest,” the preference for incumbents, the application of the First Amendment, and the embrace of colorblindness within US media policy – has functioned to entrench White interests in the broadcasting sector. Drawing on critical policy studies and critical race theory, this chapter illuminates how broadcast regulation has been a technology of White privilege, one that has had substantial consequences for the distribution of both material and symbolic resources as well as for the contours of the public sphere in the United States.

Genetic risk for depressive disorders is poorly understood despite consistent suggestions of a high heritable component. Most genetic studies have focused on risk associated with single variants, a strategy which has so far only yielded small (often non-replicable) risks for depressive disorders. In this paper we argue that more substantial risks are likely to emerge from genetic variants acting in synergy within and across larger neurobiological systems (polygenic risk factors). We show how knowledge of major integrated neurobiological systems provides a robust basis for defining and testing theoretically defensible polygenic risk factors. We do this by describing the architecture of the overall stress response. Maladaptation via impaired stress responsiveness is central to the aetiology of depression and anxiety and provides a framework for a systems biology approach to candidate gene selection. We propose principles for identifying genes and gene networks within the neurosystems involved in the stress response and for defining polygenic risk factors based on the neurobiology of stress-related behaviour. We conclude that knowledge of the neurobiology of the stress response system is likely to play a central role in future efforts to improve genetic prediction of depression and related disorders.

On 2 September 2015, it was announced that Tom Ford would again be ‘dressing James Bond’, Daniel Craig, in Spectre (Mendes, 2015) after tailoring his suits for Quantum of Solace (Forster, 2008) and Skyfall (Mendes, 2012). Ford noted that ‘James Bond epitomises the Tom Ford man in his elegance, style and love of luxury. It is an honour to move forward with this iconic character’.

  With the press launch of ‘Bond 25’(and now titled No Time to Die) on 25 April 2019, it is reasonable to speculate that Ford will once again be employed as James Bond’s tailor of choice, given that it is likely to be Craig’s last outing as 007. Previous actors playing the role of James Bond have all had different tailors. Sean Connery was tailored by Anthony Sinclair and George Lazenby by Dimitro ‘Dimi’ Major. Roger Moore recommended his own personal tailors Cyril Castle, Angelo Vitucci and Douglas Hayward. For Timothy Dalton, Stefano Ricci provided the suits, and Pierce Brosnan was dressed by Brioni. Therefore, this chapter will analyse the role of tailoring within the James Bond films, and how this in turn contributes to the look and character of this film franchise more generally. It aims to understand how different tailors have contributed to the masculinity of Bond: an agent dressed to thrill as well as to kill.