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To study how twenty-first-century fairy tale retellings recombine villainy and motherhood, this chapter analyses two mother figures in Maleficent: Mistress of Evil (2019): Aurora's godmother, Maleficent, and Aurora's soon-to-be mother-in-law, Queen Ingrith. I argue that Mistress of Evil attempts and fails to trouble the Good/Terrible Mother binary, ultimately reconfirming traditional notions of the Good Mother, by juxtaposing two mother villain characters. Ingrith first appears to be the epitome of the Good Mother, but the film quickly reveals that she is actually the stereotypical evil mother-in-law who uses the Good Mother image to mask her villainy. By exposing Ingrith's lie, the film debases the myth of perfect motherhood, suggesting that the image of the ‘Good Mother’ is only used to vilify other women in order to control people, but it also uses the Good Mother image to highlight how Terrible Ingrith is. Maleficent, on the other hand, vacillates between twenty-first-century images of the Terrible and Good Mother, specifically the aberrant and supermother. Rather than balancing these images and depicting a more nuanced motherhood, the film switches Maleficent completely between these two extremes, making her seem more villainous when she is aberrant and more motherly when she steps into the role of supermother. Whereas the representation of Ingrith highlights the lie of the Good Mother, Maleficent is forced into becoming a variation of that image. I argue that while Mistress of Evil attempts to reveal the pernicious nature of the Good Mother myth, it ultimately reconfirms it for a new generation of women.

This chapter argues that Maleficent's physical difference and social exclusion can be analysed as disabling rather than villainous trajectories in Maleficent (2014) and Maleficent: Mistress of Evil (2019). I explore how Maleficent is (re)represented in the twenty-first century as a more sympathetic figure who contends with disability and social prejudice in her attempt to form meaningful connections with others. I analyse Maleficent's ‘villainous’ traits using Feminist Disability Studies (Garland-Thomson, 1997, 2017; Wendell, 1989) to argue that her physical and cultural differences invite hostility from the human kingdom, especially in relation to her maternal connection with Aurora. While critics have examined themes of disability and motherhood in Maleficent (Donnelly, 2016; Wehler, 2019), I argue that these narratives are continued and subverted further in the sequel Maleficent: Mistress of Evil (2019). In re-visioning Maleficent in this way, it becomes possible to challenge narratives of female villainy by paying attention to physical disability, social exclusion and maternal love.

Wicked problems are causally complex, lack definite solutions, and re-emerge in different guises. This paper discusses how new ways of organizing emerge to tackle changing manifestations of wicked problems. Focusing on the wicked problem of poverty, we conducted a longitudinal study of Fe y Alegria (FyA), one of the world’s largest non-governmental organization, which provides education for the poor across 21 countries in Latin America and Africa. Drawing on archival and ethnographic data, we trace the historical narratives of how FyA defined poverty as a problem and developed new ways of organizing, from its foundation by a Jesuit priest in 1955 to its current networked structure. Our findings reveal the ongoing cycle of interpretive problem definition and organizing solutions for wicked problems. First, since there is no “true” formulation of a wicked problem, actors construct narrative explanations based on their understanding of the problem. Second, organizational solutions to a wicked problem are thus reflections of these narrative constructions. Third, emerging and changing narratives about what the problem is inspire new organizational responses. Our findings provide insights into the dynamic relationship between organizing for wicked problems, narratives, and the changing manifestations of wicked problems and grand challenges more broadly.

The Fourth Industrial Revolution has escalated innovation to new heights unseen, creating an evolution of innovation and corporate social responsibility (CSR), and as a result, a more Innovative CSR. With this evolution comes also the evolution of the ‘Preneur’ from social entrepreneur to corporate social entrepreneur and corporate social intrapreneur. It is therefore important to acknowledge that social entrepreneurship is not just for the social sector, or start-up entrepreneur – corporations can also be social entrepreneurs. This chapter establishes an understanding of this possibility alongside solving wicked problems and challenges, and how to provide collaborative networks and co-creation experiences to assist others on this journey. More importantly, the chapter discusses how corporates can assist millennials (and Generation Z) by funding and incubating their innovative or social enterprise idea under the umbrella of CSR strategy, until it is ready to be released to the world. The chapter is supported by academic literature and business publications with suggestions for future research opportunities.

The ‘Terrible Mother’ traditionally connotes monstrous aspects of motherhood and devouring femininity, encompassing two stereotypical representation of women in myth, fairy tale and fantasy: The Seductress and the Wicked stepmother. The Seductress personifies female malevolence and is characterized as rebellious, manipulative and relentless. Furthermore, she often adopts male aggressiveness, especially sexual, thus usurping male prerogative. Ironically, the temptress is condemned for exhibiting traits which the male hero is lauded for, while also embodying a warning to other women regarding their fate should they rebel against male authority. These narrative strands converge in Cersei, who becomes an embodiment of male anxiety and stands as the chief moral foil and greatest sociopolitical threat to male hegemony.

Concomitantly, Cersei plays the part of the wicked stepmother to Sansa Stark, the series' archetypal damsel in distress. Like Sansa, Cersei began with starry-eyed dreams of womanhood, but quickly grew disillusioned. Despite this, Cersei subjects Sansa to the same injustices she suffered. This re-enactment of her own mistreatment situates Cersei as the female accomplice to the patriarchy. Yet, Cersei also attempts to educate Sansa about women's position vis-à-vis the patriarchy and the tools at their disposal, thus layering the role of the wicked stepmother. Furthermore, Cersei's narrative is complicated as she becomes a point of view character: her focalization becomes a fertile ground for myriad challenges to an androcentric culture, opening avenues for social criticism and possible reimagining of gender roles.

In this chapter, the author delves deeper into adaptive and sustainability challenges, specifically discussing the roles of management and leadership in addressing these problems. Both responsible leadership and management are essential for tackling sustainability challenges. Leadership focuses on establishing a vision and inspiring others to attain it, while management is concerned with devising and executing strategies to realize that vision. Addressing wicked problems necessitates collaboration, engagement and innovative solutions, involving both leadership and management. To effectively conquer sustainability challenges, organizations must embrace a more holistic and sustainable approach to management and leadership. This might include collaborating with stakeholders to discover innovative solutions that prioritize sustainability and social responsibility. Resolving wicked problems calls for a distinct management and leadership approach that is cooperative, systemic, and sustainable.

We revisit the problem of redesigning the Master in Business Administration (MBA) program, curriculum, and pedagogy, focusing on understanding and seeking to tame its “wicked problems,” as an intrinsic part and challenge of the MBA program venture, and to render it more realistic and relevant to address major problems and their consequences. We briefly review the theory of wicked problems and methods of dealing with their consequences from multiple perspectives. Most characterization of problems classifies them as simple (problems that have known formulations and solutions), complex (where formulations are known but not their resolutions), unstructured problems (where formulations are unknown, but solutions are estimated), and “wicked” (where both problem formulations and their resolutions are unknown but eventually partially tamable). Uncertainty, unpredictability, randomness, and ambiguity increase from simple to complex to unstructured to wicked problems. A redesigned MBA program should therefore address them effectively through the four semesters in two years. Most of these problems are real and affect life and economies, and hence, business schools cannot but incorporate them into their critical, ethical, and moral thinking.

Purpose: This paper examines a promotional exhibit for the Broadway musical Wicked, entitled “The World of Wicked,” to better understand the ways in which art marketers continue to hail new and existing consumers. Eco’s concept of hyperreality and its relationship to remediation and cultural sustainability are brought to bear upon this phenomenon. As producers utilize new media platforms to reach the consumer, they make the experience of their shows more immediate. Set in the context of a shopping mall, the hyperreality of the exhibit is unpacked and analyzed.

Design: This is an interpretive study using direct observation, participant observation, depth interviews, narrative analysis, and artifact analysis.

Findings: By facilitating embodiment, encouraging intense emotional arousal, and providing a sense of community, “The World of Wicked” is a metonym for Wicked itself. The hyperreal context of the shopping mall facilitates the consumption of fantasy as well as material goods.

Originality and value: The findings of this paper extend theories of hyperreality, adaptation, and remediation into the context of arts. This contribution is foundational to building a larger theory of cultural sustainability.