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Collaborative learning with recorded lectures and presentations can be supported by allowing users to anchor notes in the documents and exchange them with other learners. While the traditional modality for annotation and discussion is text, there are a number of reasons in favour of supporting other media and modalities as well. We describe the extension of a lecture‐on‐demand annotation and discussion system that allows learners to use spoken notes. Our main focus is on the development of a suitable user interface that facilitates the retrieval of speech data employing signal‐processing algorithms while at the same time being simple and easy to use.

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.