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Using data from securities analysts, who are awarded status by the third-party organization Institutional Investor magazine, we examine the emergence of competition and articulate a model of competitive response among actors aware of the importance of status and some of the dimensions on which it may be gained. We predict analysts’ initiating or ceasing coverage of stocks in response to other analysts initiating coverage on stocks they cover. We find that competition can emerge because of status seeking rather than as a response to own capabilities or market needs, with compelling, and potentially negative, market implications for overt status seeking.

Since the mid-2000s, there has been a marked resurgence in Hollywood action films featuring older male heroes, predominantly showcasing stars ranging from their mid-fifties into their seventies. This ‘geri-action’ cycle – a less-than-kind label that combines geriatric and action – has revitalised the careers of aged action stars such as Sylvester Stallone and Arnold Schwarzenegger. A core element of the cycle, beyond action franchise revivals and all-star ensembles featuring stars from the 1980s and 1990s, has been the emergence of late-career action turns by ageing Hollywood actors in globally successful French-produced, Hollywood-style action films. Part of a larger trend in French cinema towards the production of films in a distinctly commercial register, the ‘globalised’ aesthetic of French action film cannily mimics Hollywood action film style and aesthetics. These French-produced geri-action films are the roots of the cycle, represent some of its biggest box office successes and have transformed the career of several acclaimed recent-to-action Hollywood stars, exemplified by the prolific late action career of Oscar-nominated actor, Liam Neeson, most notably across three Taken films (2008–2014, EuropaCorp). Despite this, these French-produced geri-action films have predominantly been examined as a Hollywood and American phenomenon.

Geri-action quickly became synonymous with 1980s Hollywood action cinema's white male ‘hard bodies’, who are still widely understood to diagnose national anxieties and social ills – and violently embody their so-called “cures”. These French geri-action films similarly feature protagonists who forcefully struggle against perceived threats to the cultural position of traditional (white) masculinities and professional and paternal redundancy. Yet they also showcase deep-seated European anxieties about the threat of porous borders, immigration and social change, presaging a later shift in the cycle in Hollywood. Focusing on films that have received comparatively less scholarly attention, Taken 2 (2012), 3 Days to Kill (2014) and The Commuter (2018), this chapter examines the productive confluence of lower budget French-produced geri-action films and their ageing recent-to-action stars. These films depend on their stars to fortify their globalised Hollywood aesthetic and the stars' personae permit efficiencies such as clipped pacing. At the same time, budget constraints enhance the action performance of recent-to-action stars as unadorned, visceral and authentic-feeling. The films often stage fight sequences in confined, everyday spaces of work and tourism with ageing heroes who must creatively ‘make do’ with objects available to them. Equally, stunt coordination and choreography, editing and sound design make ageing and less experienced action performers appear to move faster and hit harder. Taken together, French-produced geri-action and its recent-to-action stars have transformed not only who stars in ‘Hollywood’ action cinema but who produces it.

In this chapter, the authors consider the progress and present state of star scholarship, while planting seeds for future inquiry where we believe fruitful opportunities await – both in furthering our understanding of stars and in more effectively situating this understanding in the talent management literature. Following a reflection on the multiple conceptualizations of stars that have been proposed and employed in star research in recent years, we suggest that the most useful conceptualization of stars is one that focuses simply on stars’ exceptional contributions to value creation – allowing the specific mechanisms of value creation to vary, as they do, across contexts. Next, the authors review recent progress in star scholarship – highlighting advances in scholarship on both the favorable and unfavorable influences of stars in organizations, as well as recent research shedding light on the professional experiences of stars as employees. The authors then turn their attention to future scholarship, specifically noting opportunities for research in two veins: how stars’ motivations, contributions, and experiences may evolve over the course of their careers and how stars and their broader work environments are best managed. Finally, we share thoughts on ways in which scholars can think about increasing the practical value of research on stars, primarily by integrating insights from research on stars with ideas rooted more squarely in the talent management literature which focuses on the deliberate identification, support, and management of individuals deemed to be equipped to create exceptional value in organizations.

Organizational theorists and strategy scholars are both interested in how organizations deal with ambiguity, especially in relation to implementation. This chapter examines one source of ambiguity that organizations face, which is based on their efforts to implement moral mandates. These mandates, which are related to areas such as environmental sustainability and diversity, are inherently ambiguous, as they lack a shared understanding regarding their scope and associated practices. They are also often broad and systemic and may be unclearly aligned with an organization's strategy. Due to these challenges, in this chapter, we theorize that collective action at the field level is necessary for organizations to advance and concretize moral mandates. We examine this theorizing through the case of the implementation of sustainability in higher education. We hypothesize and find support for the idea that when an organization's members engage in collective action at the field level, those organizations have an increased likelihood of achieving sustainability implementation. To gain insight into this field-to-organization relationship, we qualitatively examine 18 years of conversations from an online forum to develop a process model of moral mandate implementation. We theorize that collective action functions as a field-configuring space, in which actors from a variety of organizations come together to (1) refine the scope of the mandate and (2) create an implementation repertoire that actors can draw on when seeking to bring sustainability to their own organizations. Overall, our study provides a model of how ambiguous moral mandates can be implemented by highlighting the important role of collective action across organizations in concretizing those mandates and providing actors with the tools for their implementation.

Dwayne ‘The Rock’ Johnson is one of the most bankable stars in Hollywood, in addition to his broad popular appeal. Since his transition from a successful pro-wrestling career to a full-time actor, his onscreen persona has transitioned from one dimensional action hero to more balanced star ‘type’ (Dyer, 1991), alternating action films with more family-friendly fare. Johnson's starring role in the Fast and the Furious franchise has been central to the growth of his career, yet as I will argue, this success is fuelled by his apparent rivalry with other action stars onscreen (Jason Statham) and offscreen (Vin Diesel). As I will show, these rivalries are rooted in the star ‘types’ formulated by Richard Dyer (1991), and this tension is central to the ongoing fan interest in the series.

Johnson's expanding profile has also led to the establishment of his own production company, Seven Bucks, and transition into television series Ballers (2015–2019) and Young Rock (2021–), both of which allowed him to explore autobiographical elements of his early life. As I will demonstrate via a case study of Hobbs and Shaw (2019), Johnson's success as a transnational action star and creative control allowed by Seven Bucks has allowed more explicit on-screen engagement with his Sāmoan heritage. The production history of Hobbs and Shaw illustrates both the successful co-existence of rivalry between action stars as a successful marketing strategy for action franchises, and the evolving action genre which allows a more personal exploration of race and masculine identity.

The chapter analyzes the characteristics of a new political subject, the Five Star Movement, which arose in Italy in 2005 (as local civil lists), was officially constituted in 2009, and became the most voted-for party in the 2013 general election, when the country was hit by a strong surge of populism. This party was founded by the Italian comedian Beppe Grillo and launched via his Internet blog. The chapter will be divided into five parts: a brief introduction about the general context and a description of the Italian political framework and the general crisis of traditional parties, setting the scene from which the discussion will develop. Then, in Section “‘People against the Parties’: The Five Star Movement’s Populist Messages,” I will describe the global characteristics of the Five Star Movement, with an analysis of Grillo’s party communication style, especially its use of social media, its people call (with its enemies), and its mobilization strategies. In Section “Inside the Movement: The Party’s Structural Characteristics,” I will describe the party’s internal organization, in order to underline some controversial elements. In the conclusion I will hazard some hypotheses about the party’s destiny, compared to other populist examples.

Mutual fund ratings are extremely popular among mutual fund investors, with over 8,000 mutual funds currently available to them and a huge increase in privately managed retirement accounts. Morningstar introduced the star-rating system to mutual funds, grading them on a range of one to five stars, with one star being the lowest and five stars being the highest. Because of its simplicity and resemblance to the ratings of so many other products we buy, the star-rating system has become an intrinsic element of mutual fund jargon. Morningstar experts award 5-star funds a gold, silver, or bronze medal ranking based on their instinctual analysis. This research investigates whether all gold-medal winning five-star mutual funds are equally efficient in terms of risk-adjusted performance. When total return, adjusted expense ratio, standard deviation, tax cost ratio, Sharpe ratio, and fund alpha are all considered, we discovered that not all “gold medal” mutual funds are equally efficient. Investors should take care even among “gold medal” funds since some are more efficient than others.

Since the 1990s, Charlize Theron has appeared in films from a wide range of genres but has seen significant financial success from starring in action films, such as Mad Max: Fury Road (2015) and Atomic Blonde (2017). However, unlike some female action leads, she has not solely been defined or pigeonholed by these roles but has been able to transition between action roles and more ‘respectable’ dramatic roles, as well as the other conventions of female celebrity, such as being the face of advertising campaigns for perfume brands.

Theron has notably received several physical injuries during filming, such as breaking her teeth practising fight choreography during the production of Atomic Blonde. These injuries have frequently been added as part of the publicity campaign for the films and Theron's star image overall as signs of ‘authenticity’, leading these action films a sense of increased legitimacy. Tasker states that a female action star's ‘[public] formulation is indicative of the uncertainties generated by her image’ (1993, p. 14). Media attention is divided between focusing on Theron's physicality, both in the sense of the traditional Hollywood gaze and in terms of Theron's molding of her marketable image. Theron has managed to succeed as both a mainstream star and an action heroine. This has enabled Theron to transition between genres and franchises such as The Fate of The Furious (2017), and an Oscar-nominated dramatic role in the biopic Bombshell (2019).

This chapter will unpack the public persona of Charlize Theron as an action film star, exploring both the filmic texts and the presentation of Theron's often complicated and contradictory image in the media.