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In attempts to defuse racial tensions on campus, higher education administrators have often commissioned special units and campus-wide initiatives. Historically, these commissions often address racial challenges in higher education that impact both faculty and students. If designed and deployed carefully, these commissions can be very useful mechanisms to address sensitive racial, religious, and linguistic concerns on campus. Despite the prevalence of studies that discuss racial experiences on campus, far less scholarship has focused on the effectiveness of these commissions and the dialogic strategies that faculty of color have employed in their service.

This study draws on three major findings. First, the chapter explores why the presidential commission structure is a powerful mechanism for improving dialogue about racial and ethnic issues on campus. Former commissioners discuss its potential for addressing the complex and interlocking concerns of faculty, staff, and students of color. Second, although the commission’s structure is promising, we present numerous problems that require further attention. We discuss how the emphasis on dialogue and less dedication to targeted actions and policies may actually undermine the goals of commissions like these and further frustrate aggrieved faculty, staff, and students. Third, the chapter highlights successful and unsuccessful strategies for sustaining fruitful dialogue that lead to an increased understanding and acceptance of diverse viewpoints and perspectives. These findings have specific relevance for international faculty and faculty of color interested in ways to be more proactive in shaping existing programs, policies, and approaches to meet the diverse needs of university life.

The enduring popular image of James Bond is (in the words of the theatrical trailer for Dr No) ‘the gentleman agent with the licence to kill’. Yet the screen Bond is hardly a hero in the manner of gentlemanly archetypes such as Cary Grant and David Niven (reputedly Ian Fleming’s preferred choice for the role). This chapter will explore how the image of Bond in the films has changed over time both in response to wider social and cultural archetypes of masculinity and due to the different performance styles of the various actors to play the role: Sean Connery, whose rough-hewn Scottishness can be seen as a means of representing the ‘otherness’ of Fleming’s character (‘Bond always knew there was something alien and un-English about himself’); George Lazenby, whose one-off appearance as an emotionally damaged Bond in On Her Majesty’s Secret Service anticipated later portrayals of the character; the parodic variant of Roger Moore; the brooding Byronic hero of Timothy Dalton; the ‘Milk Tray Man’ charm of Pierce Brosnan; and Daniel Craig, whose combination of bull-in-a-china-shop physicality and vulnerable masculinity (literally so in Casino Royale) has by common consent successfully transformed Bond from a cartoon superman into a twenty-first century action hero.

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.

Acute and chronic pain affects more Americans than heart disease, diabetes, and cancer combined. Conservative estimates suggest the total economic cost of pain in the United States is $600 billion, and more than half of this cost is due to lost productivity, such as absenteeism, presenteeism, and turnover. In addition, an escalating opioid epidemic in the United States and abroad spurred by a lack of safe and effective pain management has magnified challenges to address pain in the workforce, particularly the military. Thus, it is imperative to investigate the organizational antecedents and consequences of pain and prescription opioid misuse (POM). This chapter provides a brief introduction to pain processing and the biopsychosocial model of pain, emphasizing the relationship between stress, emotional well-being, and pain in the military workforce. We review personal and organizational risk and protective factors for pain, such as post-traumatic stress disorder, optimism, perceived organizational support, and job strain. Further, we discuss the potential adverse impact of pain on organizational outcomes, the rise of POM in military personnel, and risk factors for POM in civilian and military populations. Lastly, we propose potential organizational interventions to mitigate pain and provide the future directions for work, stress, and pain research.