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Recognizing the need to build global-minded citizens, higher education institutions are increasingly trying to find ways to leverage their international programs to develop students’ intercultural competence. The MA in global leadership at Royal Roads University, Canada, created an international partnership in Ecuador that serves to go beyond the traditional student study abroad or service learning focus and instead focuses on developing competencies of global mindedness and strategic relationships. In this chapter, we present an analysis of how an international student group engaged in building dynamic partnerships within a Global South country to create change for sustainable development initiatives of mutual concern. Through a case example, we describe how these partnerships evolved and adapted in ways that enhanced the learning needs of the students while simultaneously supporting the development of new educational opportunities for Ecuadorians. To illustrate, this chapter delineates the activities that members of the program undertook to connect and develop a mutuality of relationship across diverse stakeholders in Ecuador. The authors analyze this network-building process from the perspective of cultural context, building trust and influence, and responding to social development needs of host communities.

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.

While authenticity, gender, and genre have all been studied in relation to music, the links between the three are underdeveloped theoretically. Specifically, the ongoing gendered process of constructing authenticity and the role of gendered authenticity in the creation and articulation of new musical genres remain fairly unexplored. In particular, more work is necessary to explain the role of gender in the emergence of new subgenres, in the ongoing maintenance of genre boundaries, and in fans' identity work as they construct “authentic” participation in “underground” scenes. In this paper, we examine genre as a gendered process in the Extreme Metal (EM) music scene, a popular subgenre of heavy metal. We explore several gendered dimensions of the EM genre, including the music (instrumentation, vocal style, lyrics, record covers, merchandise), live performance (gender distribution and arrangement, moshing/dancing, audience/crowd interaction), and embodied genre performance (fashion, hair style, makeup). We conclude by suggesting that the construction of new subgenres is, in part, a process of reestablishing and valorizing masculine traits, denigrating feminine traits, and connecting such traits to authenticity, thereby perpetuating gender inequality and hegemonic masculinities.

In his inauguration speech of 1961, John F. Kennedy, the first Catholic and youngest-ever holder of the office of US President, famously exhorted citizens to ‘Ask not what your country can do for you; ask what you can do for your country.’ At the time, few would have interpreted this as a call for open innovation or even citizen crowdsourcing: neither the language nor the architecture then existed for either. But the sentiment he expressed marked the beginning of a campaign of citizen engagement in developing ideas for government. It was, in effect, the first national exhortation for the crowdsourcing of ideas, and Kennedy’s words have subsequently been adapted by Jeff Howe for the modern crowdsourcing context.

Citizen crowdsourcing is now well-established. This chapter sets out to assess how successful it has been as a mechanism for finessing original and meaningful ideas that advance social goals. We look briefly at leading examples of crowdsourcing for social good. We also look at the underlying factors that support it, including the knowledge and input solicited from the crowd; the crowd’s willingness to participate; and the mechanisms through which the crowd can engage. We trace the idea and practice of crowdsourcing back to Socrates in ancient Athens. We look at prosocial behaviour, exploring selected annals of public intellectuals, including Emerson. We examine citizen science as a forerunner of crowdsourcing, then move into the business strategy of open innovation and, finally, we arrive at crowdsourcing for social good in various guises. In conclusion, we explore what has been learned from initiatives that can now be considered current best practice in this area.