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This chapter intends to provide a reflexive discussion of the experience I loosely refer to as the ‘supervisory relationship breakdown’, which led me to withdraw from a Professional Doctorate in the penultimate year of completion. The event left an indelible impact upon me; a reminder of my blackness, the contrast between that and the ivory tower of academia and the emotional toil I endured as each incident unfolded, ultimately leading to my exit and the shattering of my emotional wellbeing. The term ‘supervisory relationship breakdown’ is a superficial reference to a complex entanglement of what I deemed to be dysconscious racism and attempts situated historically to control people of colour through education. I will explore how I as a black woman in academia believe I am perceived through a dysconscious racial lens, a lens shaped by a perception to maintain white privilege. I posit how a misalignment existed between who I am and who I was perceived to be by my doctoral supervisor. The space between this misalignment became filled with inequity, tension and oppression, culminating in the relationship breakdown. I present an ‘implosion’ of the relationship as a metaphor for the embodied affect having to withdraw from the doctorate had on me; it felt as though my ‘self’ – body, mind and spirit – were broken, in a state of collapse which I did not know how I would recover from. I conclude with support and renewed hope, I returned to academia and found an alternative approach for completing my doctorate.

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.

Gloria Pritchett – the fiery and caring Latina mother in Modern Family – is believed to recreate cultural and gender stereotypes. This audience study was interested in situating her as an intersectional representation to recognize that numerous social categories coproduce her characterization not just one. Textual analyses of open-ended questions reveal that participants tend to explicitly and exclusively discuss her stereotypes in ethnic and gender terms, with an emphasis on the former. However, a semantic analysis of the words/adjectives used to describe Gloria Pritchett suggested these share meaning across multiple social categories. Some aspects of her representation, like those based on ethnicity and gender (her Latina wisdom) or ethnicity and social class (her social mobility from Colombia to the United States), were found commendable, respectable, and likable. Eventually, the social identities encompassing Gloria Pritchett are taken apart and compounded, which in turn, suggest that her intersectionality was malleable for viewers.

This chapter asks, how do the decisions made by Ambridge women compare to the rest of the UK when faced with an unexpected positive pregnancy test, and will explore the decisions made by four Ambridge women when faced with the question of their own pregnancies. It will firstly present the UK context of pregnancy and family composition and go on to examine four case studies of unplanned pregnancy, the decision-making process encountered and its outcomes in BBC Radio 4’s The Archers.

This chapter focuses on spy action as a way to answer the question: where can we find queer female action heroes? The chapter will identify three films – D.E.B.S. (Advocate, 2005), Atomic Blonde (David Leitch, 2017) and The Spy Who Dumped Me (Susanna Fogel, 2018) – worth attention to highlight the potential and problems of the queer female hero in spy action. This chapter examines how each of these spy action films contributes to the ongoing yet uneven development of the female hero as a queer figure in post-millennial action cinema. The chapter will consider to what extent these queer female-led action films may pose a challenge to some of the dominant standards and conventions associated with the action hero, gender roles and the representation of sexuality, but also reinforce others. Some comparisons will be made to James Bond in recognition that the Bond franchise has played an important role in the spy action genre.

This study reports on a four-month ethnographic project conducted among young Catholic women in Mumbai, India. Here, the author examines how the media consumption of participants is implicated in reconstituting Indian national identity. Because Hinduism is closely tied to conceptualizations of Indianness and because women continue to be marginalized in Indian society, Catholic women in India are viewed as second-class citizens or “not Indian enough” or “appropriately Indian” by virtue of their gender and religious affiliation. However, through media consumption that emphasizes hybridity, participants destabilize narrow definitions of Indian identity. Specifically, participants cultivate hybridity as central to an Indian identity that is viable in an increasingly global society. Within this formulation of hybridity, markers of their marginalization are reframed as markers of distinction. By centering hybridity in their media consumption, young, middle-class Catholic women (re)imagine their national identity in translocal cosmopolitan terms that subverts marginalization experienced by virtue of their religion and leverages privileges they enjoy by virtue of their middle-class status. Importantly, this version of Indian identity remains elitist in that it remains inaccessible to poor women, including poor women of minority groups.