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The paper uses a case study to illustrate the difficulties experienced by those trying to access direct payments for people with learning disabilities, and considers the reasons why such difficulties exist. It proposes measures needed to ensure that people with learning disabilities have equal access to this form of funding.

This paper discusses how professionally qualified cisgender lesbian, gay, bisexual or queer (LGBQ) women youth workers present their self. The research examined how youth workers consciously or unconsciously shared their sexual identity with young people with whom they worked. Whilst this research focussed on youth workers, issues discussed are relevant for practitioners from a range of professional backgrounds such as therapists, social workers, teachers and health care practitioners. The research focused only on the experiences of cisgender LGBQ women as the experiences of men and trans women are different and so requires separate research.

This research taking a qualitative approach, used in-depth interviews to discuss how respondents shared information about their identity.

Some of fifteen youth workers interviewed reported not having choices about being out with the young people as their sexuality had been leaked. Others were able to pass and so choose when, or if, to be out with young people. Their different strategies to sharing information regarding their sexuality used by these participants reflected different approaches to being out.

Although there is evidence in the literature of how being out or closeted impacts on teachers there is little written about the effect on youth workers or other professionals. The little research that has been undertaken in this area focusses on the impact of identity on the clients rather than on the professionals. This article contributes to filling this gap in the literature.

Killing Eve (BBC 2018–2022) has been hailed as a feminist television show. Its cinematic production values call upon a history of espionage on screen, encompassing international intrigue and glamorised hyperviolent action sequences. Is this violent aesthetic a cathartic reference to newly visible feminist discourse or are we just being sold a new version of old fantasies?

In this chapter Killing Eve is examined in relation to a history of violent women spies on screen, from Emma Peel (The Avengers 1961–1969) to Sydney Bristow (Alias 2001–2006). While Villanelle (Jody Comer) appears to present an amoral account of postfeminist ‘empowerment’, Eve (Sandra Oh) carries echoes of second-wave feminist concerns with community, morality and ethics. With each season the differences between Villanelle and Eve unravel, raising questions about what constitutes ‘quality’ television and how that might intersect with old-fashioned ideas about women's liberation. While the show depicts each character as ‘liberated’ in some respects, they are both entangled in corporate nets which repeatedly put them in danger and pull them back into violence as a form of labour.

Life studies are a rich source for further research on the role of the Afro‐American woman in society. They are especially useful to gain a better understanding of the Afro‐American experience and to show the joys, sorrows, needs, and ideals of the Afro‐American woman as she struggles from day to day.

The figure of the femme fatale is attached to a range of contested meanings around femininity, sexuality and violence. Despite its ambiguity and its origins in art, myth and fiction, the term has proven popular in giving a name to violent articulations of female power in non-fictional settings by journalists. In this chapter, I outline the figure of the femme fatale as an archetype of women's violence that appears throughout Western popular culture, and provide an overview of the term's definitions and cultural meanings. In doing so, I trace the figure's movement across different forms and genres of popular culture. I identify a number of themes in the existing scholarship around the figure: feminist criticism of the figure; the value that feminist film scholars have found in the figure as a symbol of power and sexual transgression; the relationship between the femme fatale, race and the colonial imagination; and the way the idea of the femme fatale has been used in reporting of real-life women's violence.

This chapter focuses on spy action as a way to answer the question: where can we find queer female action heroes? The chapter will identify three films – D.E.B.S. (Advocate, 2005), Atomic Blonde (David Leitch, 2017) and The Spy Who Dumped Me (Susanna Fogel, 2018) – worth attention to highlight the potential and problems of the queer female hero in spy action. This chapter examines how each of these spy action films contributes to the ongoing yet uneven development of the female hero as a queer figure in post-millennial action cinema. The chapter will consider to what extent these queer female-led action films may pose a challenge to some of the dominant standards and conventions associated with the action hero, gender roles and the representation of sexuality, but also reinforce others. Some comparisons will be made to James Bond in recognition that the Bond franchise has played an important role in the spy action genre.

This chapter intends to provide a reflexive discussion of the experience I loosely refer to as the ‘supervisory relationship breakdown’, which led me to withdraw from a Professional Doctorate in the penultimate year of completion. The event left an indelible impact upon me; a reminder of my blackness, the contrast between that and the ivory tower of academia and the emotional toil I endured as each incident unfolded, ultimately leading to my exit and the shattering of my emotional wellbeing. The term ‘supervisory relationship breakdown’ is a superficial reference to a complex entanglement of what I deemed to be dysconscious racism and attempts situated historically to control people of colour through education. I will explore how I as a black woman in academia believe I am perceived through a dysconscious racial lens, a lens shaped by a perception to maintain white privilege. I posit how a misalignment existed between who I am and who I was perceived to be by my doctoral supervisor. The space between this misalignment became filled with inequity, tension and oppression, culminating in the relationship breakdown. I present an ‘implosion’ of the relationship as a metaphor for the embodied affect having to withdraw from the doctorate had on me; it felt as though my ‘self’ – body, mind and spirit – were broken, in a state of collapse which I did not know how I would recover from. I conclude with support and renewed hope, I returned to academia and found an alternative approach for completing my doctorate.

This paper critiques institutional whiteness and racial categorisation in UK higher education. This is done through the representation of the complex narratives of “mixed race” women navigating their PhD experiences in predominantly white institutions, when their identities have proximity to whiteness.

This study introduces five vignettes of “mixed race” women, gathered from a wider study of 27 PhDs and early career researchers in UK higher education. The paper employs Yuval-Davis’ framework of belonging and bell hooks' approach to chosen versus forced marginality to create a conceptual framework based on fluid agency and empowerment, recognising belonging as an ongoing process.

The findings reveal how “mixed race” women can occupy a liminal space between belonging to and rejecting racial categorisation, as they attempted to situate their self-identifications within the boundaries of institutional whiteness.

The study only utilises a small sample size of five counter-stories from a larger study on PhD career trajectories, limiting its empirical claims. It also only engages with “mixed race” women who have proximity to whiteness, encouraging research on different “mixed race” intersections.

This paper encourages more discussion around “mixed race” experiences of UK higher education and critical engagement with higher education’s reliance on statistical data to understand racialised communities.

This paper contributes new empirical insights into how whiteness is experienced when “mixed race” women negotiate their relation to it in UK higher education. It also provides theoretical advancements into understanding of institutional whiteness and critically engages with racial categorisation.