Over the last few decades, sustainability has become a great focus for individuals as well as businesses globally. The focus of this study was to understand why businesses purchase certain office supplies and why they may not be choosing to purchase the most sustainable options. The research question asked, “why are certain businesses reluctant to make positive, sustainable changes to their usage of office materials in their workplace environments?” Most companies do not look for alternatives that would benefit the environment when purchasing products for their office space. The reasons behind this hesitancy to change was studied through current literature on the topic as well as interviews conducted with Office Managers of several different businesses. Comparisons were made between each businesses’ decision patterns in order to find the root cause or causes of why companies do not choose more sustainable options when purchasing products for their workspaces. The interviews revealed that cost and quality are the most important factors these businesses take into consideration when purchasing office supplies. While some companies have looked into alternative products for their supplies, they ultimately choose to still purchase the less sustainable option. This is because the less sustainable option is often cheaper, and the company knows what quality to expect for the item. Overall, all of the Office Managers who were interviewed acknowledged some sort of sustainable practice that their company was taking part in, even if it did not directly relate to the types of office supplies that they purchase. This inclusion of general sustainable practices demonstrates how businesses are making efforts one way or another towards a more sustainable future. Therefore, this awareness to sustainability suggests that most, if not all businesses will eventually end up purchasing sustainable alternatives for their office supplies. However, the timeframe for which this occurs for each company will likely vary.

Female celebrities are commodified by the entertainment industry at every stage of their lives. The industry's expectations of female celebrities reflect society's expectations for women. From girlhood to adulthood, women are expected to follow particular scripts of femininity. These scripts are promoted and perpetuated by the entertainment industry. Women are used as commodities for consumerism by both the industry and the media alike. Female celebrities have higher expectations today than ever. With the modern phenomena of reality television and social media, the public demands a new level of authenticity and transparency from celebrities. In this thesis, I explore three womens' lives and careers: Britney Spears, Jessica Simpson, and Demi Lovato. I discuss the ways in which these three women have been commodified by the industry at each stage of their lives, as well as how they have, over the course of their careers, attempted to regain control of their images.

Brundtland’s definition of sustainability is the ability to “meet the needs of the present without compromising the ability of future generations to meet their needs” (IISD, 2021). But what if there are no future generations? Social sustainability, the sector of sustainability that foregrounds the well-being and livelihoods of people (and thereby continuation of humanity), is included in definitions within the sustainability field, but less developed in sustainability practice. In an effort to bridge this gap of knowledge, 14 U.S. cities and over 100 sustainability policies were analyzed for their social sustainability performance. An eight-item analytical framework that deals with differing areas of social equity guided the analysis. Results found that most cities’ sustainability departments fell short of truly addressing social sustainability concerns. Out of the eight items, the most frequently addressed were housing security and racial and gender equality whereas few, if any, cities addressed the more specific social concerns of immigration, technology and media, or arts/cultural preservation. Future research is recommended to gain a better understanding of the ways existing cities can improve in this area.

What if I told you that a few photos of a sweatshirt, delivered at the perfect time, cracked a case that had stumped some of the world’s greatest marketing minds for more than twenty years? What if I told you that a dismissed lawsuit played an integral part in this? One made possible by a rainy night in Couva, Trinidad? Or that all of this, hundreds of years in the making, could aid a wrongfully incarcerated man in being freed after spending twenty two years in prison, and pioneer one of the largest-scale social justice movements of the 21st century? All catalyzed by the effects of a global pandemic? If I told you, would you believe me? But let’s get back to that sweatshirt for now.<br/>In January 2020, the Coronavirus was a seemingly distant issue for another part of the world to most Americans. A generation that had seen the likes of H1N1 and Ebola come, cause irrational panic, and subsequently disappear had grown complacent with regard to unknown diseases. On March 9th, Utah Jazz center Rudy Gobert took a defiant step in dispelling fears of COVID-19 by touching every microphone in the room at the end of an interview. Two days later, a test revealed that he had contracted the virus, the first professional athlete to do so. The NBA suspended all activities, and thus began the succession of sports leagues across the nation suspending their seasons as global infection numbers rose. But we humans are resilient. As weeks became months, the NBA and WNBA were able to engineer “bubbles” to play in: isolated areas with only the players and essential personnel to play the games, equipped with safety precautions and persistent testing. With no fans allowed inside, social media and media members provided the only glimpse into the “bubble” that ordairy fans would get.<br/>The mornings of July 25th and 26th, as the players arrived for the first games of the day and were snapped by photographers, many sported orange hoodies with the trademark white WNBA logo in the center, to promote the start of the WNBA’s “bubble” season that summer. This sent the internet into a frenzy. “#OrangeHoodie” was trending across all social media platforms, the item sold out on many websites, and more people than ever were talking about the WNBA online. That season, WNBA viewership spiked. More people watched the WNBA than ever before, even with the NBA’s playoffs taking place at the same time. How, then, did a single orange hoodie change the future of marketing the WNBA? What does that tell us about other women’s sports that have similarly struggled with attention and viewership? What role does media exposure play in all of this; do we perceive women differently in the media than we do men? Are these issues rooted in deeper societal prejudices, or are women’s sports simply quantifiably less entertaining?<br/>On a journey to find the answers to these questions, I learned a lot about the relationship of media and culture, about sport, and about the outstanding untold stories of American sportswomen. However, the most important thing I found was that women are marketable. After long being denied the opportunities and exposure they deserve, American culture has as a result pushed women to the background under the guise of them not being demanded or marketable. This could not be further from the truth. They are not demanded because they are not seen. Investing in sportswomen would not only create a better future for all women, but for all people. How, then, is this achievable? How will the powers that be allow for changes to be made? How can we as individuals be receptive to this change? In this thesis, I will take you on a journey where media is fun and fair, and where the future is female.