Over the course of 2020, individuals and organizations were thrown various unprecedented obstacles that necessitated flexibility, empathy, and understanding. Many organizations were forced to reevaluate their financial status, their purpose, and how they could provide for their employees. The COVID-19 pandemic meant that most companies had to introduce a ‘work from home’ policy, drastically decreasing the face-to-face contact that employees had with each other and leadership. The virus, coupled with the social and political unrest in the U.S. in the wake of the Black Lives Matter movement and the 2020 presidential election, inspired many companies to reframe their organization and redefine their goals.<br/> The B2B (business-to-business) Marketing Agency, The Mx Group, is preparing for a change in leadership, with the current Chief Executive Officer and Founder stepping down, being replaced by the President of the company. The company plans to execute the transition in the spring of 2022, allowing them the rest of 2021 to plan for the change, catering to employees’ individual and the company’s collective needs. It was also prompted by factors such as the COVID-19 pandemic to reevaluate the values that it upholds as an organization, coinciding with the change in leadership. Leaders of the company are actively encouraging employees to engage with these values by recognizing when a colleague performs in alignment with a value.<br/> In reframing their organization, The Mx Group has a significant opportunity to uniquely position itself in the industry. Lee G. Bolman and Terrence E. Deal (2017) introduced four frames: human resources, symbolic, structural, and political, as a way to guide a transformative application of leadership and management in business. Analyzed from these perspectives, The Mx Group can utilize contemporary ideas to efficiently and effectively seize its opportunity of embedding new values and a change in leadership.

Human beings have long sought to conquer the unconquerable and to push the boundaries of human endurance. There are few such endeavors more challenging than venturing into the coldest and harshest environments on the planet. The challenges these adventurers face are nearly countless, but one that is often underestimated is the massive risk of dehydration in high mountains and the lack of sufficient technology to meet this important need. Astronauts and mountaineers of NASA's Johnson Space Center have created a technology that solves this problem: a freeze-resistant hydration system that helps stop water from freezing at sub-zero temperatures by using cutting-edge technology and materials science to insulate and heat enough water to prevent dehydration over the course of the day, so that adventurers no longer need to worry about their equipment stopping them. This patented technology is the basis of the founding of Aeropak, an advanced outdoor hydration brand developed by three ASU students (Kendall Robinson, Derek Stein, and Thomas Goers) in collaboration with W.P. Carey’s Founder’s Lab. The primary goal was to develop traction among winter sport enthusiasts to create a robust customer base and evaluate the potential for partnership with hydration solution companies as well as direct sales through online and brick-and-mortar retail avenues. To this end, the Aeropak team performed market research to determine the usefulness and need for the product through a survey sent out to a number of outdoor sporting clubs on Arizona State University’s campus. After determining an interest in a potential product, the team developed a marketing strategy and business model which was executed through Instagram as well as a standalone website, with the goal of garnering interest and traction for a future product. Future goals of the project will be to bring a product to market and expand Aeropak’s reach into a variety of winter sport subcommunities, as well as evaluate the potential for further expansion into large-scale retailers and collaboration with established companies.

In the current age of global climate crisis, corporations must confront the rising pressure to mitigate their environmental impacts. The goal of this research paper is to provide corporations with a resource to manage waste through the implementation of a circular economy and by increasing Corporate Social Responsibility (CSR). Navigating this large and complex system required the use of various methodologies including: the investigation of the relationships between waste management systems and sustainable development across major companies; literature reviews of scholarly articles about CSR, circular economies, recycling, and releases of company reports on sustainable development and financials. Lastly, interviews and a survey were conducted to gain deeper insight into the problems that make circular economies so difficult to achieve at scale.

Human beings have long sought to conquer the unconquerable and to push the boundaries of human endurance. There are few such endeavors more challenging than venturing into the coldest and harshest environments on the planet. The challenges these adventurers face are nearly countless, but one that is often underestimated is the massive risk of dehydration in high mountains and the lack of sufficient technology to meet this important need. Astronauts and mountaineers of NASA's Johnson Space Center have created a technology that solves this problem: a freeze-resistant hydration system that helps stop water from freezing at sub-zero temperatures by using cutting-edge technology and materials science to insulate and heat enough water to prevent dehydration over the course of the day, so that adventurers no longer need to worry about their equipment stopping them. This patented technology is the basis of the founding of Aeropak, an advanced outdoor hydration brand developed by three ASU students (Kendall Robinson, Derek Stein, and Thomas Goers) in collaboration with W.P. Carey’s Founder’s Lab. The primary goal was to develop traction among winter sport enthusiasts to create a robust customer base and evaluate the potential for partnership with hydration solution companies as well as direct sales through online and brick-and-mortar retail avenues. To this end, the Aeropak team performed market research to determine the usefulness and need for the product through a survey sent out to a number of outdoor sporting clubs on Arizona State University’s campus. After determining an interest in a potential product, the team developed a marketing strategy and business model which was executed through Instagram as well as a standalone website, with the goal of garnering interest and traction for a future product. Future goals of the project will be to bring a product to market and expand Aeropak’s reach into a variety of winter sport subcommunities, as well as evaluate the potential for further expansion into large-scale retailers and collaboration with established companies.

The depiction of female action heroes in modern blockbuster films has become more accurate throughout the years; however, the representation of women is still not as progressive as feminist scholars, actors, and viewers would like. This thesis explores two recent blockbuster films, Wonder Woman (2017) and Mad Max: Fury Road (2015), and how each film deals with the representation of women. While one could look to many cultural forms to explore such issues, films, “the most accessible representations of the past, present, and future of our society,” are particularly fertile ground for exploring gendered representations and stereotyping (Haskell, 1974). For much of Hollywood history, action films have used female protagonists as either passive, venerated symbols of perfect femininity, or objects of fascination and sexual pleasure for their male viewers. Or, if the female hero does have a degree of agency that allows her to push the plot forward, she is subject to moral scrutiny and frequently masculinized. In fact, the representation of women often falls into binary categories: the angelic damsel in distress, or the morally reprehensible, often masculinized, female villain. While the history of women’s representation in film more generally and action films more specifically is a long and complicated one that is beyond the scope of this project, recent action productions have exhibited notable shifts, both in terms of female characters’ box-office and narrative strength. However, both Wonder Woman and Mad Max: Fury Road, present viewers with examples of female representation that break through many of the misogynistic tropes that have dominated the genre for far too long. The key distinction between how both films destroy gendered stereotypes lies in the degrees to which the films allow their central female protagonists, and more minor female characters, to dominate the narrative and inhabit the composition of the screen. Wonder Woman tells the story of one powerful woman, whereas Fury Road utilizes a multitude of women in its story to defy gender stereotypes. While both films can be interpreted as empowering for female viewers, Wonder Woman gives its audience an easily digestible example of female agency; this is due to Wonder Woman allowing its famous comic book hero to comment and reject traditional women’s clothing, but also insists Diana be limited to hypersexualized battle armour and implicates that women cannot have love, power, and family. On the other hand, Fury Road presents viewers with a more radicalized gynocentric world in which, after considerable struggle and not without compromise, female characters not only have power, but wrest it away from the men who have abusively held onto control in the past. These two films also paved new ground for women in Hollywood production terms: giving women more power at the box-office and destroying the old-aged notion that female-centric films do not sell and make money at the same rate as male-centered ones do. Both Wonder Woman and Mad Max: Fury Road, in their own ways, depict that there is space for female action heroes to be more progressive and feminist in future blockbuster action films.

As part of the Founders’ lab program, this thesis explores a social venture idea whose concept is to connect the philanthropic community with individuals and organizations in need of funding a project relating to (Sustainable Development Goals) SDG indicators through a peer to peer donation platform. Through this platform, the philanthropic community will have the possibility to easily access a wide range of projects to support as well as underserved individuals and communities seeking for help, track their impact, donate in a complete transparent donation process, and automate donations through bank card rounds-up. This social venture idea has been named PhilanthroGo.

For our project, we explored the growth of the ASU BioDesign Clinical Testing Laboratory (ABCTL) from a standard university research lab to a COVID-19 testing facility through a business lens. The lab has pioneered the saliva-test in the Western United States. This thesis analyzes the laboratory from various business concepts and aspects. The business agility of the lab and it’s quickness to innovation has allowed the lab to enjoy great success. Looking into the future, the laboratory has a promising future and will need to answer many questions to remain the premier COVID-19 testing institution in Arizona.

For our project, we explored the growth of the ASU BioDesign Clinical Testing Laboratory (ABCTL) from a standard university research lab to a COVID-19 testing facility through a business lens. The lab has pioneered the saliva-test in the Western United States. This thesis analyzes the laboratory from various business concepts and aspects. The business agility of the lab and it’s quickness to innovation has allowed the lab to enjoy great success. Looking into the future, the laboratory has a promising future and will need to answer many questions to remain the premier COVID-19 testing institution in Arizona.

Filmmakers seek to create story pieces that are visually beautiful and engage the full attention of their audience. They typically abide by a 3-step process moving through pre-production, production, and post-production. Within each step, there are a series of tasks that need to be accomplished in order to reach the completed film. A successful film requires careful planning and strategy in pre-production, timely and decisive execution in production, and minimal unforeseen retouching in post-production.<br/><br/>Even though filmmakers have continued to follow the same formula throughout the decades, the filmmaking process has remained largely inefficient. It is extremely common for pre-production planning to be undercut, for production filming to run far too long, and for post-production VFX and editing to send the project over budget. These instances can cause major issues as the project is being finalized. In many scenarios portions of the project need to be reshot, the box office revenue isn’t enough to make up for extensive VFX retouching, or the project may never even come to fruition. <br/><br/>The reason for this recurring theme of films being over budget and out of time is quite simply that technology has made filmmakers lazy. “Fix it in post” is a disgustingly common phrase used in the film industry. It describes the utter abuse of computer retouching in the post-production phase of filmmaking. Despite working in an industry that seeks to entertain the human eye, filmmakers have become blind to all of the small mistakes that could cost them hundreds of hours and millions of dollars in the long run.

Through this creative project, I analyzed how COVID-19 has affected the theatre industry. I created a mini-documentary following ASU’s production of Runaways, which was performed without an audience. The final product was a combination of pre-filmed and self-taped scenes. I documented how students were still able to learn and cultivate their skills during a time where most things are virtual. In addition, I analyzed how the shift to filmed theatre has changed the definition of live theatre, including increased accessibility. I also explored the importance of theatre through analyzing the themes of musical theatre performances such as Rent and Runaways. During a time where people cannot gather, artists are still finding a way to create and tell stories.