In this article, I'll outline the phenomenon of 'cosmic wellness' which is now visible across on- and offline spaces that promote health and well-being products and practices to women. Cosmic wellness is a broad constellation of media, discourse, imagery, materials and foods (including crystals, dust and herbs) produced primarily by white, wealthy women. On the one hand, cosmic wellness can be read as a digital food culture that offers healthy and potentially necessary responses to fiercely neoliberal modes of working and living. But conversely, it is framed as the newest example of narcissistic self-absorption and, more seriously, as unhealthy and dangerous. Cosmic wellness is founded on various beliefs, including the moral necessity of pursuing the optimisation of self and the power of markets to provide the ingredients, tools and practices to achieve it. It is connected to histories that chart the incorporation of New Age health and well-being practices into 'mainstream' forms of lifestyle production and consumption and the simultaneous derision of these practices, especially when used and promoted by women. But there is also something new about cosmic wellness, especially as it is visible online on platforms such as Instagram. In the article, I outline the key features of cosmic wellness and analyse its contemporary cultural purchase, using theories of digital food cultures, spiritual production and consumption, postfeminism and critical whiteness studies. The article then conducts empirical analysis of a series of Instagram posts from one prominent space in which cosmic wellness currently circulates: Gwyneth Paltrow's lifestyle and wellness business Goop.

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Cultural work, also referred to as creative labour (McKinlay and Smith 2009), has recently received more attention in academic journals and literature. This is in clear contrast with economic and cultural policy interventions in the last two decades that, while increasingly highlighting the role of culture and creativity in the economy and society, have failed to consider the centrality of cultural work and its practices and specificity (Banks and Hesmondhalgh 2009; Oakley 2013). Taking further the argument of Banks and Hesmondhalgh (2009) that cultural work has been mostly invisible in cultural and social policy, this chapter argues that there have been critical moments in recent years where cultural work has become more visible, contextualised and contested. We use a selection of these moments to highlight the need for a more sustained engagement with what Banks (2007) calls the politics of cultural work. Using these moments, we illustrate that the politics of cultural work become visible when a specific critical point is reached in which questions of its value, sustainability or ethics are raised. Furthermore, we highlight the role of academic engagement and research in this area and its potential impact. This is at the centre of recent UK-based projects focused on key issues in the field of cultural work studies. For example, recent AHRCfunded projects on cultural value and ‘improving cultural work’ have contributed to an increasing focus on examining inequalities in cultural and creative industries, a hitherto unspoken but pervasive problem in this sector. This kind of research, which seeks to connect academics with policymakers, union representatives, external stakeholders and practitioners, highlights the need to reflect and reconnect research with policy and practice to enable cultural work to become consistently visible and understandable.

Through an extensive survey of the field, this article asks, what is script development? How is it defined in industry discourse and in screenwriting scholarship? While definitions of script development can be found across the spectrum of screenwriting and screen production resources, ranging from the instructional guidelines offered by funding bodies to references in the how-to market, the article posits that academic scholarship on the practice is still emerging. As such, this article seeks to establish a platform from which we can both define and conceive of further research into script development - however it might be named, practiced and studied - possibly as a sub-discipline of screenwriting studies and/or central to the study of screenwriting practice. The article brings together extant definitions and documented experiences of script development, to offer a basis from which to discuss both academic and practice-based approaches to the phenomenon. While not suggesting that the practice of script development should be standardized or limited by definition, the article does argue for the importance of investigating the available definitions and identifying the gaps in literature. By seeking out the various angles and overlaps of those researching in this field, the article proposes to begin a conversation and invite further research around what script development is and looks like in various international contexts.

The nature of work arrangements in the film industry and the professional characteristics of cultural workers involved in film production impact the legal qualification of these workers. They highlight the difficult task of classifying actual work arrangements in one specific legal category: either an “employment relationship” or a “contract for services relationship”. If adequate legal frameworks are not in place to capture the reality of those work arrangements properly, the legal qualification may lead to uncertainty detrimental to workers’ access to collective representation. This uncertainty opens the door to work conflicts and contestations of different types. This paper builds a dialogue between two disciplines, legal analysis and cultural labour analysis, by comparing two locally embedded case studies: the “ Hobbit Law ” in New Zealand and the “ Spiderwick Case” in Quebec (Canada). Firstly, we outline our theoretical and methodological approach, drawing on literature on cultural labour studies as well as legal analysis. Secondly, we compare the legal status of cultural workers and collective representation within each of our cases. Thirdly, we present full accounts of the chronology, conflicts and contestations within our two cases, as well as outlining the legislative outcomes in each. And finally, in comparing these cases, we illustrate the difficulty of legally qualifying these relations, the uncertainty this engenders and the differing impacts these difficulties have had on collective action in each industry. We emphasize that each case, with their vastly differing outcomes, provides evidence of both the inclusion of cultural workers within the boundaries of specific legislation fostering collective representation of artists (in the Spiderwick Case) and the exclusion of cultural workers from the boundaries of labour legislation enabling collective representation of employees (in the Hobbit Case). This is telling because these cases both took place in a location attracting Hollywood’s productions and, for both, this power of attraction remains crucial for the local industry. Understanding the impact of local cultural work regulation in the context of major global productions still lacks sustained attention and in this paper, we build a dialogue between our two cases to begin to remedy this.

In this paper, we examine screenwriting and higher education in terms of emergent, digital 'ecologies of screenwriting expertise'. Established forms of screenwriting guidance and instruction, such as 'how-to' guides and higher education academic-practitioners, now sit alongside new, digital and networked sites for screenwriting education such as Lynda. com and The Blacklist 3.0. Examining Lynda. com, the online learning platform, and The Blacklist, a fee-based professional script reader service, we argue for the need to address the teaching of screenwriting both inside and outside higher education. Bound into 'ecologies of screenwriting expertise' are complex and overlapping questions concerning how professional boundaries are policed, about who has or claims to have industry access, and about how and where efforts are made to ensure that aspiring writers are supported with relevant insights and advice. Across our examples, we argue that expert biographies and profiles are created and operationalised with varying levels of visibility which correspond with authority and legitimacy, especially from the perspective of those aspirants and amateurs who are paying to use these sites and spaces.

Inequalities within the cultural and creative industries (CCI) have been insufficiently explored. International research across a range of industries reveals gendered patterns of disadvantage and exclusion which are, unsurprisingly, further complicated by divisions of class, and also disability and race and ethnicity. These persistent inequalities are amplified by the precariousness, informality and requirements for flexibility which are widely noted features of contemporary creative employment. In addition, women in particular are disadvantaged by the boundary-crossing (for instance, between home and work, paid work and unpaid work) and new pressures around identity-making and self-presentation, as well as continuing difficulties related to sexism and the need to manage parenting responsibilities alongside earning. This article introduces a new collection which explores these issues, marking the significance of gender for an understanding of creative labour in the neoliberal economy.

This article offers a gendered reading of the screenwriter as creative worker in the context of the unequal socio-economy of screenwriting work. A number of ideal subject positions for the screenwriter are evoked in screenwriting manuals, pedagogies and representations of writers themselves, in particular, the egotist', the masochist' and the supplicant'. These subjects are masculine in orientation although rarely acknowledged in gendered terms. The article draws on findings from a three-year study of British screenwriters but for the purposes of this volume, focuses on on-screen portrayals of screenwriting work. In particular, the analysis looks at the film Adaptation (2002) and the ways in which the film and its characters embody these subject positions. Not only are these ideal types circulated and recirculated in discourse about screenwriting as creative work but they are constitutive of screenwriting as a profession and a representative sphere.

I. Tools of the Trade 1. Chris Peterson, "I Like My Bots Like I Like My People: Weird, Mixed, Always Acting" 2. Mary Desjardins, "Performance, Labor, and Stardom in the Era of the Synthespian" 3. Patrick Vonderau, "How Global is Hollywood? Division of Labor from a Prop-Making Perspective" II. Being the Brand 4. Nina Huntemann, "Working the Booth: Promotional Models and the Value of Affective Labor" 5. Catherine Johnson and Paul Grainge, "From Broadcast Design to 'On-Brand TV': Repositioning Expertise in the Promotional Screen Industries" 6. Kristin J. Lieb, "Pop Stars Perform 'Gay' for The Male Gaze: The Production of Fauxmosexuality in Female Popular Music Performances and Its Representational Implications" III. Production Pedagogies 7. Eva Novrup Redvall, "Craft, creativity, collaboration, and connections: Educating talent for Danish television drama series" 8. Jonathan Corpus Ong, "Charity Appeals as 'Poverty Porn'? Production Ethics in Representing Suffering Children and Typhoon Haiyan Beneficiaries in the Philippines" 9. Eva Pjajcikova and Petr Szczepanik, "Group Writing for Post-Socialist Television" IV. Putting the Public Back in Public Service 10. James Bennett, "Public Service as Production Cultures: A Contingent, Conjunctural Compact" 11. Tiziano Bonini and Alessandro Gandini, "Invisible workers in an Invisible Medium: An Ethnographic Approach to Italian Public and Private Freelance Radio Producers" 12. Anna Zoellner, "Detachment, Pride, Critique: Professional Identity in Independent Factual Television Production in Great Britain and Germany" 13. Mary Elizabeth Luka, "CBC ArtSpots and the Activation of Creative Citizenship" V. Transnational Circuits 14. Alessandro Jedlowski, "Avenues of Participation and Strategies of Control: Video Film Production and Social Mobility in Ethiopia and Southern Nigeria" 15. Dennis Lo, "From Experiencing Life to Life Experiences: Location Shooting Practices in Chinese and Taiwanese New Wave Cinemas" 16. John Vanderhoef and Michael Curtin, "The Crunch Heard Round the World: The Global Era of Digital Game Labor" VI. Redefining the Industry 17. Nicholas Boston and Brooke Erin Duffy, "What Actually Matters: Identity, Individualization, and Aspiration in the Work of Glossy Magazine Production" 18. Alisa Perren, "The Trick of the Trades: Media Industry Studies and the American Comic Book Industry" 19. Naomi Sakr and Jeanette Steemers, "Co-Producing Content for Pan-Arab Children's TV: State, Business and the Workplace" 20. Deborah L. Jaramillo, "Keep Big Government out of your Television Set: The Rhetoric of Self-Regulation Before the Television Code"

Introduction: Setting the 'scene' 1. Screenwriting histories and myths of the profession 2. Screenwriting as creative labor 3. Screenwriters' working lives 4. Screenwriting work and the how-to genre 5. Screenwriting work - who's in and who's out? Conclusion: Screenwriting as good work Appendix One: How-to titles and authors Appendix Two: Indicative publishing information for five 'guru' how-to texts Bibliography