Universal Basic Income is a proposed policy where the government would regularly pay all citizens in cash. The idea of a Universal Basic Income (UBI) has had a resurgence in recent years because of popular figures like Andrew Yang and Elon Musk, but its history and potential implications go deep into the structure of human society. This thesis delves into how a basic income would transform social concepts of work and disrupt the personal economic model. With the bargaining power and freedom granted by a basic income, workers would find themselves in a position of work freedom and choice that has never existed in human history. With new freedom to do as they wish, the place of work in people’s lives needs to be reimagined as a source of fulfillment instead of an unlikeable but necessary part of everyday life. Workers will be given the choice to leave unfair or unfulfilling work and decide for themselves how they want to contribute within society. From increasing mental and economic well-being for most Americans to serving as a response to unemployment trends in the automated future, to encouraging greater business innovation, there are myriad ways in which basic incomes have the potential to benefit society. Framed by Martin Luther King Jr. and Franklin Delano Roosevelt as the only policy capable of abolishing poverty forever, Universal Basic income will be an important feature of transformative innovative policy advocacy until it is adopted by a major world government at which point the effects in practice will become clear.

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.

With this research and creative project, I aim to accomplish the following: first, I narrate my own experience as a victim of cyberbullying and the jumbled, inadequate response from my university; second, I assemble a literature review of best practices for university responses to student reports of cyberbullying and cyber assault; third, I offer a call to action for universities to adopt the best practices to deter cyber assaults and learn how to listen and respond to victims

With the passage of the Affordable Care Act, the health system in the United States is now being further challenged. There is bipartisan debate on how it can be reconstructed: one party states that the government plays too big of a role, while the other believes it plays too little. Regardless, Americans want change. Reconstruction is not a new topic by any means, and other countries have been forced to do so due to political violence. This paper explores the history and current healthcare organizations of Japan, Iraq, and Afghanistan. These countries have all encountered major political turmoil, which has led to the rebuilding of their respective healthcare systems. Though the United States is not facing political violence that will necessitate reorganization, the examination of nations that have been forced to do so offers lessons applicable to the healthcare system in the US.