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This article’s principle aim is the investigation into the underdeveloped field of lesbian audience research. It theorises the relationship between the text of Xena Warrior Princess a television programme and a fanclub called Xenasubtexttalk that evolved on the Internet. The researcher has drawn on evidence from a case study and participant observation over a twelve month period, the gathering of postings from bulletin boards and continuing interviews lasting between one and two hours conducted over the Internet. This has revealed some of the practices and rituals of two self‐identified lesbians who participated in this fanclub. Informed by a postmodernist feminist framework several issues of methodology are discussed. The main theme in this study’s findings is that these fans have produced through the appropriation of this particular text, biographies that represent a “coming out narrative”.

Unlike Joss Whedon's cult series Buffy the Vampire Slayer (1997–2003), Angel (1999–2004) and Firefly (2002–2003), Dollhouse (2009–2010) is largely considered to be both a critical and commercial failure. Dollhouse is often dismissed as Whedon's worst television series, with critics citing their discomfort and disgust in watching hero Echo's (Eliza Dushku) repeated exploitation. Unlike other popular acclaimed TV series featuring a female action hero like Xena: Warrior Princess (1995–2001), Alias (2002–2006) and Nikita (2010–2013), the hero of Dollhouse is not empowered from the series' outset, but rather she slowly comes to her power and agency due to various traumatic and violent experiences. This chapter argues that Dollhouse stages a reworking of the cinematic female action hero figure by delaying empowerment and forcing the audience to linger in the hero's lack of agency. Dollhouse enables an unpacking of the female action hero popularised in films like Terminator 2: Judgement Day (1991), Long Kiss Goodnight (1996), The Fifth Element (1997) and the Alien franchise (1979, 1986, 1992, 1997). By exposing the mechanics of hero-creation, Dollhouse forces viewers to consider how heroes are made and who is exploited in the process. As such, this chapter considers Dollhouse as an intervention into the female action hero film and television cycle through an analysis of how the series adheres to and subverts the tropes of the cycle.

Women in management are marginalised by the continuing pervasiveness of heroic masculinism, the traditional and hierarchical form of management, which depicts executives as solitary (male) heroes engaged in unending trials of endurance. This theme of leadership as archetype is strengthened through official organisational myths and stories which function as vehicles of communication management to support organisational goals and to provide role models for aspiring executives. Calls have been made for new forms of writing and more women’s voices in women and management scholarship. Paradoxically, storytelling, which currently supports executive male norms, also provides a potential approach for women in management to break through the dominant masculinist appropriation of leadership. This paper examines women managers’ stories of gender within the context of organisational storytelling and heroic masculinism. These transformational narratives provide parallel but distinctive archetypes to heroic masculinity. At the same time, they present parodic inversions of the “slaying of monster” myths of traditional executive culture. These stories which women tell other women, create resilient images of women’s identities in management.

The 1980s saw both a return and rise to box office prominence of the once-popular Sword and Sorcery genre. Following on from Arnold Schwarzenegger's performance as Conan the Barbarian (1982), a raft of imitators followed. On the one hand, there were films like Krull (1983) and He-Man and the Masters of the Universe (1983) with their big budgets and excellent casts. On the other were their ‘spaghetti’ variations, such as Conquest (1983), Hercules (1983) and the Ator (1982–1990) series, where poor production values, doleful acting, and even more atrocious dubbing remained more frightening than any monsters the hero encountered.

For the most part, the sword and sorcery genre predominantly focused on the male in the canon. However, using Yvonne Tasker's (1993) work on spectacular and hard bodies in action cinema, this chapter will provide an analysis of how female characters in the sword and sorcery genre are portrayed, using Barbarian Queen (1985) as a case study.

The United States military, like most militaries, has traditionally been a male-dominated organisation. Contemporary military historians argue that wars and the militaries that fight them are “an entirely masculine activity” (Keegan, 1993, p. 76) and “[b]efore it was anything else, war was an assertion of masculinity. When everything else is said and done, an assertion of masculinity is what it remains” (Van Creveld, 2001, p. 161). Because the military's “core activity” is combat (…), a task viewed primarily in masculine terms because it has generally been defined as “men's work”, a “deeply entrenched cult of masculinity pervades US military culture” (Dunivin, 1997, p. 2). Language has codified the long history of the masculine warrior paradigm. Van Creveld notes that the Old Testament utilises the same term for “adult man” and “warrior” while medieval Germans used “becoming a man” and “carrying a sword” interchangeably (Van Creveld, 2001, p. 164). James Webb, former Secretary of the Navy in the late 1980s, called combat the “quintessentially male obligation in any society” (Webb, 1997, p. 4). If societies have obligated men to combat, they have rewarded them by connecting combat to the achievement of manhood. Men bestow manhood on one another: men are made, not born (Goldstein, 2001). According to Kimmel (2000a, p. 214), “What men need is men's approval (…) we test ourselves, perform heroic feats, take enormous risks, all because we want other men to grant us our manhood.”

Official organisational myths and storytelling constitute a powerful, persuasive force in both the public representation and the internal shaping of executive identity. Leaders of corportate culture are aligned with legendary heroes to promote images of the senior manager as a heroic and transformational leader. This process plays upon subconscious images, beliefs and expectations to reinforce the concept of leadership as archetype. Much of the persuasive power of leadership as archetype arises from the continual reclaiming and honouring of past and present leaders, within the ongoing stories of executive identity. For the most part, this process involves an active role of gendering that reiterates a hierarchical and masculinist paradigm of leadership, while it leaves female leadership as absence or “other”. In this paper, rather than focus on the issue of female leadership as “other”, the ongoing, if shifting nature of gendered organisational lives is taken to be a continuing given. From this given, examines the self‐representations of male and female executives within a framework of leadership as archetype. Argues that these self‐representations provide similar and parallel male and female paradigms of leadership, while they depict the “gendered heroes” of executive culture.

Purpose: Lesbian, gay, and bisexual (LGB) young adults smoke at rates much higher than the general population. Young adults, in general, are less likely to seek medical help for smoking cessation and LGB individuals are less likely to seek health care generally. Alternative methods to encourage smoking cessation are necessary. This research seeks to establish whether LGB young adults in California would be willing to use social media for smoking cessation.

Approach: We conducted 41 qualitative interviews among LGB young adults in the San Francisco Bay Area and Los Angeles in Fall 2014.

Findings: The results suggest that our participants were interested in a LGB-focused social media intervention, as long as the intervention was private or anonymous and moderated. Further, across topical areas our participants spoke extensively about the import of social connections. We may be able to leverage these connections to encourage cessation.

Research Limitations: This is a qualitative, non-generalizable dataset from a fairly limited geographic area.

Public Health Implications: Online smoking cessation interventions aimed at young adults would benefit from further testing with LGB young adults to ensure efficacy among this population. In addition, states and localities concerned about young adult LGB smoking might benefit from investing in an online socially mediated cessation forum. Online interventions could be scalable and might be useful for other groups who regularly face discrimination, stigma, or other stressors that make successful smoking cessation difficult.