While therapy culture has long been a part of the repertoires through which people think about and practice their romantic relationships, it has been less prominent in how they envision friendship. However, based on our interviews on experiences of friendlessness in an Atlantic Canadian city, we show that therapeutic styles increasingly shape how people orient to friendship, even as friends rarely seek formal therapy to manage their conflicts. This article focuses on how modern therapy culture, with its emphasis on individual wellbeing, self-knowledge, and 'healthy' rather than 'toxic' relationships, presents people with conflicting cultural imperatives for how to practice their friendships. On the one hand, therapy culture encourages people to seek out friends to whom they can disclose their most intimate feelings and experiences - friends who will offer support, understanding, and validation. On the other hand, therapy culture equally cautions that one must maintain 'boundaries' to protect oneself from friends' personal revelations or 'traumas.' We ask what these dual imperatives mean for modern friendship and how people experience the tension between them. We argue that one reason modern friendship can be difficult is that divulging one's intimate feelings or experiences to a friend can be interpreted as either building intimacy or burdening others with one's problems, or crucially, both at the same time. Our findings lead us to ask how therapy culture might increasingly turn friendship into a reflexive object or something else to 'optimize' rather than providing an escape from relationships that demand 'work.'

Culture scholars have shown that cultural intermediaries play a crucial role in the reproduction of inequalities in consecration (Corse and Westervelt, 2002; Maguire Smith and Matthews, 2012; Miller, 2014; Ridgeway, 2011; Steinberg, 1990 cited in Bourdieu, 2010). However, the analysis of gender inequalities in reception and canonization has focused on individual bias, neglecting the contribution of scholars of hegemonic masculinity about the importance of patterned practices in the reproduction of men's dominance over women (Connell and Messerschmidt, 2005). Given that art worlds are not settings where typical markers of hegemonic masculinity are valued, such as money and physical prowess, what are the tools of hegemonic masculinity in art worlds? I answer this question through a comparative analysis of the reception of two iconic Canadian feminist novels: (2012 [1976]) by Louky Bersianik and (1985) by Margaret Atwood. Building on feminist scholarship, I find that the discursive apparatus of hegemonic masculinity in art worlds consists of a derogatory method of reading employed by critics in newspapers. This method of reading is founded on three discursive components: (i) a reductive reading of feminist politics; (ii) a man-centred assessment of feminism and (iii) a questioning of women's creative credibility which belittles the contribution of feminist authors. By translating the concept of boys' club (Delvaux, 2019) and identifying its derogatory method of reading, I propose a framework that illuminates how critical appraisal shapes discursive resources available for both professional and non-professional readers to draw upon for evaluation and classification of women's cultural productions and feminist engagements.

Recent research has extended the concept of moral entrepreneurialism to corporate actors. We build on this research to investigate how corporations succeed in this effort by uncovering the strategies and tools they employ as moral entrepreneurs. To do so, we examine the corporate discourse of three prominent fast-food firms to identify how they present hamburgers as good food, in a context where beef is increasingly criticized as morally suspect. Based on a discourse analysis of corporate communications and marketing campaigns, we identify three distinct discursive strategies for managing meat criticisms: (1) global managerialism (McDonald's); (2) aestheticized simplicity (A&W); and (3) nostalgic, personalized appeals (Wendy's). These strategies are realized through the use of informational tools to shape what customers think and know about beef, and affective tools to influence how customers feel about beef. Together, these corporate strategies speak to the skilful ability of corporate actors to respond to socio-environmental criticisms. Our case shows how fast-food market actors are able to incorporate critique and offer messages that seek to allow people to feel good about eating beef. This case is relevant to understanding the tools that corporations use to be effective moral entrepreneurs. It also provides a deeper understanding of marketing discourse at the nexus of social problems and consumption choices.

In Hungary, the decline of traditional peasant culture and its heritage has prompted urban revivals, leading to the acceptance of traditional Hungarian folk singing as a performing arts genre. Drawing from a series of in-depth interviews, this study shows how contemporary Hungarian folk singers navigate (define, learn, police) different forms of authenticity within the field of folk music. While we find that objectified authenticity - heritagized classification systems - is the dominant form of symbolic capital, the broader symbolic economy of authenticity is complicated by competing definitions of folk singing as, variously, culture, heritage, and art. Third-person authenticity is more highly regarded, but it is more difficult for contemporary urban folk singers to achieve because they were not socialized in peasant communities. Therefore, they use objectified authenticity such as 'original recordings' as a proxy for learning about living folk culture. Although objectified authenticity constrains the agency of artistic expression, it affords discriminatory creativity (choosing one's own repertoire) and rationalized creativity (adapting traditional material to external values and contexts).