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As Lorna Jowett and Stacey Abbott have pointed out, the US TV serial Supernatural owes much of its success to the way it combines horror with family drama, strengthening the affective involvement of viewers in the lives of its protagonists, the monster-hunting Winchester brothers. The notion of home – presented variously as a domestic, feminine space from which the Winchesters and their compatriots are excluded; a mobile and contingent space of masculine bonding; and a hybrid space which allows for self-expression outside prescribed gender norms, but which also holds the potential for danger – is central.

Heather L. Duda has pointed to the ways monster hunters are excluded from the normative institutions of their societies, and this is certainly true of the Winchesters, who live in their family car and are unable to maintain ‘normal’ homes. Later seasons give them a home in the form of an underground bunker, not designed as a domestic space, but nonetheless a place where their hypermasculine behaviours can be relaxed. This chapter examines the tensions that emerge in this apparent move from a traditional narrative of the home as feminine space under threat to something more ambivalent, where masculine identity itself may be in danger.

In recent years, practitioners have identified a number of problems with traditional performance management (PM) systems, arguing that PM is broken and needs to be fixed. In this chapter, we review criticisms of traditional PM practices that have been mentioned by journalists and practitioners and we consider the solutions that they have presented for addressing these concerns. We then consider these problems and solutions within the context of extant scholarly research and identify (a) what organizations should do going forward to improve PM practices (i.e., focus on feedback processes, ensure accountability throughout the PM system, and align the PM system with organizational strategy) and (b) what scholars should focus research attention on (i.e., technology, strategic alignment, and peer-to-peer accountability) in order to reduce the science-practice gap in this domain.

This chapter explores the potential for the classroom to be a space for activism and hope within the contemporary business school. Drawing on the extant literature, a reflexive account of our own teaching and learning practice, and a small number of interviews with academics using feminist material in their teaching in business schools, we explore the challenges, opportunities and joys experienced in the feminist classroom. We suggest that engaging in feminist teaching practice and theory can offer an opportunity for academics to engage in the critical management studies practice which is often said to be lacking within management research. We begin by setting out the extant positioning of Critical Management Studies, moving to an analysis of the educational context. Interwoven through this are our own perspectives. Our own reflections do not reveal the identities of students.

When Rambo Last Blood hit the screens in 2019 to an almost unanimous thumbs down from the critics, it seemed as if Sylvester Stallone's ‘last outing’ as his iconic action hero, John Rambo was to bow out with more of a violent whimper than a spectacular bang. But action heroes never really do know when to quit. There is always one last mission to undertake. In an online interview in September 2019, Stallone indicated that Rambo 6 could well be on the cards. This chapter will discuss not only ideas about ‘Rambo’ as a character and his character arc, but posit the idea that Stallone, through the process of gerontology, has moved through the decades to become not a simplification or distillation of a cinematic action hero, but rather a much more complex one that asks questions about the politics of the era, masculinity, fragility and ageing.

This writing is performed with and about disappointment in moments of failed research and teaching. The bulk of this chapter was written some years ago and describes, reflects on, and analyzes a self-study inquiry about the phenomenon of pedagogical reading. Having returned to and studied this earlier work, I offer a posthuman postscript that rereads the initial inquiry primarily through the work of Deleuze. Rereading intimate scholarship through a post-human lens decenters the self as knower, writer, and teacher, making possible otherwise ways of imagining reading, writing, and studying together. In my case, posthumanism provides tools for rereading two concepts offered for understanding teaching literature, naked and belated pedagogy. While these concepts were somewhat productive in helping me understand what I was experiencing as a researcher and writer, they reproduce and justify traditional, text-centered teacher identities and practices. They are a product of and themselves reproduce what Deleuze and Guattari (2003) called “arborescent” thinking. Ultimately, naked and belated pedagogies reinforce traditional curriculum practices, sidestep students’ lives, and position the teacher as final authority in matters of curriculum control and interpretation. Disappointment includes those affections and emotions that arise through a posthuman rereading of the research scene – including what I, the researcher and teacher, failed to do, say, think, and teach.

Purpose – This study addresses the great apes' fatal situation in the wild by integrating perspectives from conservation biology, conflict research, and bioethics.

Design/methodology/approach – We introduce the great apes' red list status and describe habitat destruction and bushmeat commerce as main threats to their survival. We analyze the complex context in which great ape extinction takes place in the Democratic Republic of the Congo (DRC) and thereby focus on a threatening factor that is interlinked with habitat destruction and bushmeat commerce: armed conflict.

Findings – The study shows that some characteristics of so-called “New Wars” are apparent in the DRC and that they directly or indirectly impact the great apes' situation. Because the human role in the animals' extinction is so severe and so obvious, ethical consequences become apparent. Animal ethics (the welfare as well as the rights approach) has to acknowledge the severity of the situation of the great apes in the wild. Implications for the human–animal relationship and the human identity come into play. After all, we have to ask ourselves what it means for us and for coming generations if our nearest relatives are going to be extinct one day.

Practical implications – It is argued that conservation policy has to include insights from conflict research. Likewise, peacemaking has to address ecological consequences of warfare.

Originality/value – Our findings promote an interdisciplinary approach. Armed conflict as a threatening factor to great ape survival has so far largely been neglected within the literature on conservation biology as well as in conflict research.

In interviews, Jamie Lee Curtis positions Halloween (2018) as a #MeToo film. As merely self-serving publicity, this reading is far too simplistic. In Halloween (1978) Laurie Strode is victimised; she then assumes the role of quintessential Final Girl as described by Carol J. Clover, providing the template for the entire sub-genre of horror slasher films birthed in its wake. However, in the similarly titled 2018 film, Laurie is no longer a victim. Instead of following the role of the stereotypical Final Girl of slasher films, she falls more in line with one of Yvonne Tasker's Warrior Women.

This chapter investigates Laurie Strode's transformation throughout the Halloween franchise. Once passive and victimised, Laurie has evolved: No longer the Final Girl – or victim – her position and behaviour in this film is much more in line with the neoliberal Warrior Woman of action films. Thus, the film assigns her the role of action heroine as a vehicle for responding to the concerns of the #MeToo era – and in this era, women are no longer victims. Women can and will fight back.

The presence of mature masculinity is slowly reshaping contemporary action cinema in the twenty-first century. It is a phenomenon that rejects the unrealistic view that action heroes are embodiments of Apollo and Ares in human flesh. Instead, action heroes are viewed as flawed characters who cannot escape the realities of their corporeality, mortality and humanity. The following chapter is an examination of a particular type of action hero archetype that combines ageing with virtuous and mature masculinity. Here I use Tom Cruise's development and portrayal of Ethan Hunt in the Mission: Impossible series as a lens through which to highlight the presence of the virtuous and mature hero archetype in action cinema.

Cruise's representation of heroic masculinity is significant because it achieves three separate goals. First, Cruise's mature masculinity repudiates the hardbody model by showing its deficiencies as a male archetype. Second, it introduces a version of an action hero that emphasises the benefits of ageing and mature masculinity. Lastly, Cruise's onscreen presence redoubles the idea that heroic masculinity is motivated by a deep sense of morality, duty and a desire to serve the greater good. As the model of the mature and virtuous hero becomes more prevalent, as I argue, it not only reshapes action cinema but also produces cinematic representations of heroic masculinity that are more positive in terms of showing the importance of maturity, virtue, and public service.

The literature on charismatic leadership in organizations has neglected the organizational context in which such leadership is embedded. The purpose of this article is to enrich and refine charismatic leadership theory by linking it to its organizational context. We argue that while charismatic leadership principles and processes potentially apply across a wide variety of situations, the emergence and effectiveness of such leadership may be facilitated by some contexts and inhibited by others. We develop and present a series of propositions linking contextual variable to the emergence and effectiveness of charismatic leadership. Among the contextual variable we examine are the organizational environment, life-cycle stage, technology, tasks, goals, structure, and culture, as well as the leader’s level in the organization and the circumstances surrounding his or her appointment.