This book is a collection of essays highlighting different disciplinary, topical, and practical approaches to the study of kink and popular culture. The volume is written by both academics and practitioners, bringing the essays a special perspective not seen in other volumes. Essays included examine everything from Nina Hartley fan letters to kink shibari witches to kink tourism in a South African prison. The focus is not just on kink as a sexual practice, but on kink as a subculture, as a way of living, and as a way of seeing popular culture in new and interesting ways.

Pinder explores how globalization has shaped, and continues to shape, the American economy, which impacts the welfare state in markedly new ways. In the United States, the transformation from a manufacturing economy to a service economy escalated the need for an abundance of flexible, exploitable, cheap workers. The implementation of the Personal Responsibility Work Opportunity Reconciliation Act (PRWORA), whose generic term is workfare, is one of the many ways in which the government responded to capital need for cheap labor. While there is a clear link between welfare and low-wage markets, workfare forces welfare recipients, including single mothers with young children, to work outside of the home in exchange for their welfare checks. More importantly, workfare provides an "underclass" of labor that is trapped in jobs that pay minimum wage. This "underclass" is characteristically gendered and racialized, and the book builds on these insights and seeks to illuminate a crucial but largely overlooked aspect of the negative impact of workfare on black single mother welfare recipients. The stereotype of the "underclass," which is infused with racial meaning, is used to describe and illustrate the position of black single mother welfare recipients and is an implicit way of talking about poor women with an invidious racist and sexist subtext, which Pinder suggests is one of the ways in which "gendered racism" presents itself in the United States. Ultimately, the book analyzes the intersectionality of race, gender, and class in terms of welfare policy reform in the United States.

Critically analyzes the discursive relationship between cultural value and popular feminism in American television. While American television has long relied on a strategic foregrounding of feminist politics to promote certain programming's cultural value, Woman Up: Invoking Feminism in Quality Television is the first sustained critical analysis of the twenty-first-century resurgence of this tradition. In Woman Up, Julia Havas's central argument is that postmillennial "feminist quality television" springs from a rhetorical subversion of the (much-debated) masculine-coded "quality television"culture on the one hand and the dominance of postfeminist popular culture on the other. Postmillennial quality television culture promotes the idea of aesthetic-generic hierarchies among different types of scripted programming. Its development has facilitated evaluative academic analyses of television texts based on aesthetic merit, producing a corpus of scholarship devoted to pinpointing where value resides in shows considered worthy of discussion. Other strands of television scholarship have criticized this approach for sidestepping the gendered and classed processes of canonization informing the phenomenon. Woman Up intervenes in this debate by reevaluating such approaches and insisting that rather than further fostering or critiquing already prominent processes of canonization, there is a need to interrogate the cultural forces underlying them. Via detailed analyses of four TV programs emerging in the early period of the "feminist quality TV" trend-30 Rock (2006-13), Parks and Recreation (2009-15), The Good Wife (2009-16), and Orange Is the New Black (2013-19)-Woman Up demonstrates that such series mediate their cultural significance by combining formal aesthetic exceptionalism and a politicized rhetoric around a "problematic" postfeminism, thus linking ideals of political and aesthetic value. Woman Up will most appeal to students and scholars of cinema and media studies, feminist media studies, television studies, and cultural studies.

Eunuchs tend to be associated with eastern courts, popularly perceived as harem personnel. However, the Roman empire was also distinguished by eunuchs - they existed as slaves, court officials, religious figures and free men. This book is the first to be devoted to the range of Roman eunuchs. Across seven chapters (spanning the third century BC to the sixth century AD), Shaun Tougher examines the history of Roman eunuchs, focusing on key texts and specific individuals. Subjects met include the Galli (the self-castrating devotees of the goddess the Great Mother), Terence's comedy The Eunuch (the earliest surviving Latin text to use the word 'eunuch'), Sporus and Earinus the eunuch favourites of the emperors Nero and Domitian, the 'Ethiopian eunuch' of the Acts of the Apostles (an early convert to Christianity), Favorinus of Arles (a superstar intersex philosopher), the Grand Chamberlain Eutropius (the only eunuch ever to be consul), and Narses the eunuch general who defeated the Ostrogoths and restored Italy to Roman rule. A key theme of the chapters is gender, inescapable when studying castrated males. Ultimately this book is as much about the eunuch in the Roman imagination as it is the reality of the eunuch in the Roman empire.