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This chapter examines how groups' tactical selection shapes social movement mobilization and survival. I focus on 35 Indivisible groups founded in 10 American cities immediately after the 2017 Women's March. I analyze the descriptions of over 8,000 events on group Facebook pages from 2017–2019 and conduct 25 interviews with group members. These data allow me to assess how the type, diversity, and flexibility of tactics shape group mobilization and survival. I find that groups that use more protest and electoral tactics and those that use a diversity of tactics host more events and are more likely to survive over time. Being consistent in tactics was successful when groups used political tactics, particularly protest and electoral activities. Groups that engaged in a variety of tactics could also be successful, particularly in smaller and more conservative settings. This research illuminates the complex and situational ways that tactical choices matter for social movement longevity.

As a fairy tale is adapted to fit with current cultural discourses, drastic changes occur. One of these changes is the erasure of the old man. The wise old man, the doddering old fool, and many more tropes that older men fill have been altered. The eccentric Merlin and the mad Hatter have been replaced with younger versions in Merlin (2008–2012) and the Syfy miniseries Alice (2009). While the grandfather is technically found in Disney's Once Upon a Time in the form of Rumpelstiltskin, it is rarely discussed. In the Beauty and the Beast (2017), Maurice is no longer the town oddity as he goes from tinkering with odd inventions, to being a music box maker. His creativity and quirky idiosyncrasies have been erased.

This chapter delves into this disappearance of the older man in modern fairy tale adaptations, and the repercussions this has in the representation for the older man. Furthermore, this chapter seeks to show how toxic ageist notions in Hollywood have impacted the role of the old man as he is replaced with the stereotypical younger man, due to the increased objectification of men in film and the subsequent conformity to the ‘ideal masculine form’. This objectification can be seen through the slow ‘reinvigoration’ of the Mad Hatter from Disney's Alice in Wonderland (1951) to the Hatter in Syfy's Alice (2009), Johnny Depp's Mad Hatter, Tarrant Hightopp, in Tim Burton's Alice in Wonderland (2010), and finally Sebastian Stan's Mad Hatter in Once Upon a Time (2011–2018).