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In the months leading up to, and during, the 2021 legislative session – the most dangerous for trans athletes in the history of the United States – 1,224 news articles, public statements and opinion pieces were published through online sources about trans people having access to sport. Conducting a textual analysis of those mediated articles, we conclude that trans athletes are being used by conservative political forces to instigate a social, moral panic. We identified three primary framings being used to instil a moral panic in articles published between 1 December 2020, and 1 June 2021, inflaming the debate over trans athletes. First, trans athletes have been positioned as spectres haunting the future of sport. Second, narratives of fear frame trans women as psychologically malevolent. Finally, conservative politicians are creating a moral panic to paint themselves as protectors of cisgender girls in sport. We conclude by describing the ways fears about trans athletes are being politicized by larger conservative forces that may have especially harmful ramifications for both trans athletes and cisgender women athletes.

From Dr No in 1962 to Spectre in 2015 the opening themes for James Bond movies have always played an important role in marketing, audience expectation and reception. Whether instrumental or sung, brassy or orchestral, upbeat or mellow, the music and/or lyrics, alongside innovative title sequences, function as key signifiers of gender representation in the ongoing series of spy adventures. Bond’s suave machismo, for example, is immediately set out in the opening titles for Dr No created by Maurice Binder. The iconic image of Bond viewed through a gun barrel as a shot rings out, is punctuated by Monty Norman’s theme music with its swinging brass and the tough, machine-gun like sound of electric guitar being played fiercely with a plectrum. Although this theme became synonymous with the character, there was a shift towards songs written specifically to tie-in with subsequent film titles although the lyrics rarely had anything to do with the narratives of the film. The title sequences themselves also became more provocative, invariably focussing on silhouetted, naked or semi-naked female bodies or their component parts alongside gun barrels and bullets, albeit in a highly stylised and artistic manner. This chapter, then, will consider how the theme music functions with the opening credits sequences in relation to the representation of women, race and the image of Bond himself and how the character has changed over time.

Through all the villains that James Bond has encountered on his globe-trotting adventures – from Dr No to Auric Goldfinger, Drax to Le Chiffre and Rosa Klebb to Xenia Onatopp – one villain has remained a constant threat to both Bond and world security. Whether hiding behind a corrugated screen, living on a mountain top lair, working from a hollowed-out volcanic rocket site, or sitting in a wheelchair, Ernst Stavro Blofeld has proved time and time again to be a thorn in Bond’s side.

This chapter will investigate the changing appearances of Blofeld across the Eon Productions’ film franchise. It will consider the concept of Blofeld as Bond’s alter-ego, whilst offering in-depth analysis of just how – and why – this master-nemesis remains firmly rooted in Bond’s filmic adventures, whilst cementing his position as the villain most associated with the series.

This chapter argues that Albert Camus's post-World War II novella The Fall narrates a bridge of complicity between medicine and law, implicating both professions in the Nazi formulation of race. Rather than reading the work as a broadly construed allegory of the Holocaust, it situates Camus's text within the framework of the Nuremberg trials and their judgment of perpetrators in professional rather than in wide-ranging moral terms. The essay concludes by examining Camus's use of the subjunctive, which posits juridical force as the act of imagining alternatives to the past, and using these alternative scenarios as a basis for judgment.

In this chapter, the authors analyze the relationship between academia, organization, and gender in Chile. In particular, the connection between academic practices, management, and hegemonic masculinity throughout the history of Chilean universities. The authors took a critical approach from the field of gender and organizational studies, shedding new light on a longstanding problem: gender-based violence in universities. The authors will discuss how the centrality of management in Chilean universities makes sense in a late and globally connected capitalist scenario, characterized by the introduction of managerialism and business logic in higher education. Consequently, the practice of management acquired a central and hegemonic status that articulates the rest of the academic practices, organizing them not only in terms of the hegemony of management but also in terms of male hegemony.

Textuality within the Western tradition has functioned in Derrida's analysis as the essential, yet disavowed supplement of a logos that perpetually sets itself against the necessary interventions of writing. Derrida compares textuality to a pharmakon, an ambivalent substance that has the capacity to act as both poison and cure. The ‘cure’ that textuality offers to the law pertains to the law's inability to establish its own permanence, or presence, without some literary intervention: only once it is ‘put into writing’ does the law remain ‘on record’, its permanence ‘ensured [by the text] with the vigilance of a guardian’ (Derrida, 2000b, p. 113). At the same time, however, textuality could be said to commit a kind of crime against the logos: it improperly appropriates the ‘presence’ of the law, steals it and substitutes itself for it. Writing is, as Maurice Blanchot puts it, ‘the enemy of all relationships of presence, of all legality’ (Blanchot, 1987, p. 156). The law's ‘presence’ nevertheless depends upon this criminal narrativity. In particular, the emergence of law requires the emergence of a narrative capable of resolving the trauma that attends the inception of communal and individual subjectivity: the law acquires its ‘presence’ only after a certain violent communal fantasy has established a vital untruth about the law's origins. The founding moment of Western law is a representation of a fictive transgression that serves to account for the terrifying, symbolically unrepresentable rupture that separates the individual and the community from the pre-symbolic void. In order for the law to take its place, it is necessary to stage a ‘crime’ and then to re-present it as the law's sure foundation. This crime is parricide and Derrida links it explicitly to the advent of narrativity as the law's uncanny, necessary condition of being:[…] this quasi-event bears the marks of fictive narrativity (fiction of narration as well as fiction as narration: fictive narration as the simulacrum of narration and not only as the narration of an imaginary history). It is the origin of literature as well as the origin of law – like the dead father, a story told, a spreading rumour, without author or end, but an ineluctable and unforgettable story. (Derrida, 1992, p. 199)

On 2 September 2015, it was announced that Tom Ford would again be ‘dressing James Bond’, Daniel Craig, in Spectre (Mendes, 2015) after tailoring his suits for Quantum of Solace (Forster, 2008) and Skyfall (Mendes, 2012). Ford noted that ‘James Bond epitomises the Tom Ford man in his elegance, style and love of luxury. It is an honour to move forward with this iconic character’.

  With the press launch of ‘Bond 25’(and now titled No Time to Die) on 25 April 2019, it is reasonable to speculate that Ford will once again be employed as James Bond’s tailor of choice, given that it is likely to be Craig’s last outing as 007. Previous actors playing the role of James Bond have all had different tailors. Sean Connery was tailored by Anthony Sinclair and George Lazenby by Dimitro ‘Dimi’ Major. Roger Moore recommended his own personal tailors Cyril Castle, Angelo Vitucci and Douglas Hayward. For Timothy Dalton, Stefano Ricci provided the suits, and Pierce Brosnan was dressed by Brioni. Therefore, this chapter will analyse the role of tailoring within the James Bond films, and how this in turn contributes to the look and character of this film franchise more generally. It aims to understand how different tailors have contributed to the masculinity of Bond: an agent dressed to thrill as well as to kill.

This article draws from ethnomethodology and poststructural discourse analysis to examine commonsense knowledge about whiteness and white racial identities. In order to get at that which most broadly passes as matters of commonsense in the United States, the research design includes analysis of both interview and television data. I make two sets of concurrent arguments, one that regards the production of whiteness as a kind of normalcy against which race and racialization is made meaningful and another concerned with the analytical power derived by combining ethnomethodology and poststructural discourse analysis. I illustrate local practices for interrupting hegemonic reproductions of whiteness and conclude with methodological considerations.

This chapter aims to discuss the changes that are happening in the heart of the James Bond films especially with how women are described and treated in the newest versions of the movie franchise. For that, this chapter focusses on Miss Moneypenny, a recurrent presence since the very first movie, Dr. No (1962), and one that also appeared in Ian Fleming’s novels. Fleming based Moneypenny on four different women he knew, and she can be described as an intelligent, brave and beautiful person. Unfortunately, the original movie Moneypenny was painted as almost a comic relief, but since she was portrayed by the actress Naomie Harris in Skyfall (2012) and Spectre (2015), Eve Moneypenny (as she was not called) had an upgrade, becoming an action-oriented woman who provided a new base for the so-called ‘Bond Girls’ of the films.