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Yesterday and today see a strike action calling for fair pay in Higher Education, initiated by the University and College Union . As well as the dispute over the substantial decline in pay in real terms for staff while vice-chancellors' pay packets are soaring, this action challenges persisting gender inequality in earnings and the casualization of teaching labour. I happen to be one of the 75,000 or so individuals working on fixed-term contracts with limited prospects of more secure employment and little stability in any area of my life, who is expected to produce work of the highest REF-able/TEF-able quality. Something has to give, and increasingly that something is my physical and mental health. However, I am continuing to mark exams, read PhD work, do peer reviews, check emails, and think about how I can improve my job applications and interview skills instead of taking part in the action. My reason is that faced with at least three months without wages in just over a month I

ReFocus : The Films of Mary Harron Edited by Kyle Barrett and Paula Blair Edinburgh University Press Series Editors: Gary D. Rhodes and Robert Singer Canadian-born filmmaker and screenwriter Mary Harron has created a distinctive body of work over the past twenty years, largely working in the United States, examining feminism in I Shot Andy Warhol (1996) and The Notorious Bettie Page (2005), consumerist hyper-masculinity in American Psycho (2000) and teenage coming-of-age in The Moth Diaries (2011).   Harron has also directed episodes of network, cable and streaming television series, including Homicide: Life on the Street (1993-1999), Six Feet Under (2000-2005) and Constantine (2014-2015) as well as the television film Anna Nicole (2013).   This ReFocus volume seeks chapters that focus on Harron’s diverse career as an independent filmmaker and director-for-hire within television. Harron emerged during the “Indiewood” boom in the 1990s and has often been ove