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The purpose of this paper is to present learning on the strategies used by cooking skills practitioners and the programme theories, behaviour change mechanisms/contexts and intended outcomes associated with these in varied contexts.

Grey literature from Scottish cooking skills courses were reviewed using realist principles. Intervention implementation variables were identified and iteratively coded to uncover intended intervention strategies and programme theories. The lack of robust evaluation processes and outcome data in the grey literature prevented the testing of intended programme theories against outcomes. Alternatively, implementation strategies were aligned against behavioural-theory constructs contained in national guidance. Prioritised theories were further clarified/refined using practitioner and participant focus group data. Learning was used to inform future practice/evaluation.

Courses targeted and reached vulnerable individuals. Practitioners articulated multiple theories and assumptions about how strategies may work. Numerous strategies and behaviour constructs were used to target, tailor and reinforce cooking/food and wider social outcomes. Mechanisms were assumed to be triggered by different contexts and lead to varied outcomes. Strategies used were consistent with evidenced behaviour change constructs and guidelines. Interventions aimed to achieve non-cooking/social outcomes as well as cooking ones – including potential mediators of cooking behaviour, e.g. self-confidence. Contexts facilitated/limited the use of certain strategies. Limitations in course design, reporting and self-evaluation need to be addressed.

Recommendations for improving intervention commissioning, design and evaluation using realist principles are provided.

Learning addresses gaps in knowledge about the implementation of cooking skills interventions identified from systematic reviews and can improve course design and evaluation.

The purpose of this paper is to summarise policy interventions and realistic strategies for achieving greater gender equality in paid and unpaid work, which were identified during a conference on “Gender equality in paid and unpaid work” held on 8 December 2009 at the Church House Conference Centre, London, UK.

The conference included four plenary talks and group discussions. The paper is based on the presentations and group discussions.

Government policies need to be holistic in the sense that labour market inequalities are often interlinked with inequalities in the home. The current economic recession can be seen as an opportunity to renegotiate work and life arrangements.

The papers presented at the conference included original qualitative and quantitative research by researchers from several social science disciplines. The participants in the group discussions were academics, policy makers, pressure groups, practitioners and third‐sector workers, and thus provided a variety of different viewpoints.

The purpose of this paper is to review the conference on “Gender inequalities in the 21st century” held 26‐27 March 2009 at Queens’ College, Cambridge, UK.

The conference included four plenary talks and 18 papers presented in themed sessions. The report is based on the presentations and papers.

This report summarizes research on gender inequalities in the twenty‐first century, including gender differences in individual pathways; the gender division of paid and unpaid labor, including time use and income; and policy responses to gender inequalities.

The papers presented at the conference included original qualitative and quantitative research by researchers from several social science disciplines.

This study aims to contribute to research into narrative brands by investigating if the lack of closure in the ambiguous season two’s ending of the Australian television series, Wanted, constituted a brand transgression.

Comments on posts about Wanted from social media accounts associated with the series were downloaded and analysed using thematic analysis informed by non-participatory netnography.

Audiences found the ambiguous ending of Wanted season two disappointing and it did not fulfil implied promises and their expectations, which fits the description of a brand transgression, and so they engaged in behaviours indicative of a brand transgression such as spreading negative word of mouth online. The ambiguous ending could have been a cliff-hanger to lead into a third season that was not guaranteed when the final episode aired, or the ending for the entire series. Although a third season was eventually made and positively received by audiences, viewer numbers declined by nearly a third, illustrating the importance of brand management for narrative brands.

This research has implications for the creators of television series, particularly if they do not know if it will be renewed. Not providing audiences with their expected closure can constitute a brand transgression and damage the narrative brand’s residual brand equity and potential earnings from streaming or a revival at a later date.

Prior research has focused on audiences’ responses to definitive endings, rather than ambiguous endings, which is the focus of this research. Furthermore, narrative brands are still an under-researched context.

This study aims to investigate consumer perceptions of inauthenticity due to adulteration of a narrative brand ending by using the research context of the final season and ending of the television series, Game of Thrones.

Two data sets totalling 2,032 online comments detailing consumer reactions to the final season of Game of Thrones were analysed using thematic analysis and human interpretive analysis. The coding was an iterative and continuous process, and posts were returned to and re-examined to refine codes and groupings as the analysis progressed.

The results indicate consumers perceived the ending of the eighth and final season of the television series, Game of Thrones, did not meet their expectations and was not authentic due to rushed writing and illogical character and plot developments. Consumers judged this adulteration was so great that it was a moral violation and transgression. Consumers also sought to assign blame for the inauthenticity, which they attributed to the writers and showrunners, who became the subject of revenge behaviours.

This study indicates consumers of narrative brands, due to their strong emotional attachments to their characters and storyworlds, may perceive unexpected and extensive changes to them as moral violations and transgressions and thus inauthentic. Consumers establish the authenticity of a narrative brand by regularly scrutinising narrative and character development against their expectations as shaped by prior narrative content. Due to their emotional attachment, consumers may attempt to attribute blame for the inauthenticity. The findings have not been established in prior research, and inauthenticity in a narrative brand context is also explored for the first time.

This paper, an exploration into Black women cultural consumers of Tyler Perry Productions, examines the ways cultural consumption practices contribute to transformative ideologies and behaviors.

This regionally diverse ethnography using yo-yo fieldwork in Los Angeles, Atlanta, New York, and New Orleans, is based upon the author’s experiences over the course of five years engaging theater attendees and the casts and crew members of multiple Perry productions.

The author first discusses the dichotomous and provocative responses to Perry’s work by scholars, critics, and consumers of Tyler Perry Productions. After an ethnographically rich discussion of the setting surrounding a performance of the stage play Madea’s Big Happy Family, the author discusses how Black women report Perry’s work as a site of resistance to, and resources for responding to, microaggressions and other structures of oppression.

Building on the work of black feminist theory (Bobo, 2001, B. Smith, 1998) and black feminist theater aesthetic (Anderson, 2008), this paper, by crafting a Black Women’s Theatre Aesthetic that, for the first time, engages with and gives primacy to the consumers of theatrical productions, opens a portal for understanding the creative ways Black women call into play cultural consumption practices as tools and devices for transformative praxis.

Interactive media strategies and digital tools have enabled advertisers to target children with promotional offers and creative appeals.

Based on theories related to metaphors in advertisements, cognitive comprehension by children, promotional appeals, and presentation techniques, the research for this study comprised a content analysis of 1,980 online banner advertisements with reference to use of metaphors, promotional appeals, creative content, and selling techniques.

The research study concludes that online advertising to children, in contrast to traditional advertising vehicles, is characterized by (a) a vibrant visual metaphor, (b) surfeit of animated content, (c) interactive features, (d) myriad product types, and (e) creative content for a mixed audience of adults and children.

This study argues that the impact and content of the Internet as a new advertising medium are distinctly different from traditional characteristics of television and print.