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This chapter investigates the account in the Rolling Stone article of the alleged gang rape of “Jackie” at a University of Virginia (UVA) fraternity. It describes how the Rolling Stone story began to unravel as other news organizations began their own investigations of the alleged events and could not replicate Rolling Stone's findings. It also looks into the claims of Rolling Stone's reporter, Sabrina Erdely about Jackie's inconsistent account of the incident, stating that it was common among rape victims. The chapter talks about the missing identities of the alleged nine rapists and inexistent record of any social event on the night of the rape incident at the Phi Psi fraternity house. It highlights the Charlottesville Police Department's investigation that concluded that the events described in the Rolling Stone article was fabricated.

The themes and arguments of this book are introduced in this chapter through a consideration of a contemporary artist and video-maker’s engagement with the archive through a practice of “full-body quotation.” The concept of fabulation—drawn from the process philosophy of Gilles Deleuze and Henri Bergson—is introduced, and related to black feminist theories of “critical fabulation.” Feminist and queer theories of embodied memory are introduced in relation to the critique of post-humanism.

Samuel Taylor's play Sabrina Fair: A Woman of the World had been submitted to Paramount in typescript months before the New York premiere in November 1953. A reader in the story department turned in an enthusiastic report on the play, and this prompted Billy Wilder to get Paramount to purchase the film rights immediately. Wilder's decision turned out to be a wise one. An overview of the story of this play is presented. Sabrina was hailed by the critics as a charming and hugely entertaining love story; Frederick Hollander's dreamy score and Charles Lang's slick visuals were the icing on the cake. It was also Wilder's last picture with Paramount. Thus, his first project outside Paramount was The Seven Year Itch. There was little risk in choosing this film because it seemed almost guaranteed to be a blockbuster movie. The story is set in New York City during a boiling hot summer. This picture also helped to pave the way for more artistic freedom in the making of Hollywood movies. In addition, it was enthusiastically received by reviewers as a sizzling sex farce beautifully mounted in CinemaScope.

Since the nineteenth century the Parisienne has been the figure of universal femininity: her national particularity was always already international or global at its conception. As part of the Parisienne mythology, cosmopolitanism has the sense of anyone and anywhere. The potential for any woman anywhere to become la Parisienne is not, however, absolute: a stay in Paris is generally considered necessary to complete the transformation, but even this is not sufficient guarantee. This chapter examines the treatment of the cosmopolitan Parisienne in films set outside Paris: Julien Duvivier’sPépé le Moko (1937), Jacques Demy’s Model Shop (1969) and Billy Wilder’s Sabrina (1954). As cosmopolitan Parisiennes, the female protagonists of these films share mobility (both geographically and socially) and a metonymic function – that is, they each in some way stand in for Paris.

Beginning with the theme of increasing federal jurisdiction of law enforcement, the chapter deals with the recurring theme of overcrowded dockets and the frustrations of some judges. A number of Middle Florida district judges and chief justice of the Supreme Court William Rehnquist were among those to speak out against the increasing federalization of crime. Drug prosecutions continued to consume much docket space and some of the most high-profile cases of the 1990s are documented. The federal forfeiture program and how it operated in the Middle District is discussed. Next the chapter turns to the use of the RICO statue to prosecute drug dealers and an extensive coverage of the Outlaw Motorcycle Gang’s prosecution is included. Next the chapter turns to fraud prosecutions in the federal courts, including the Columbia/HCA Medicare Fraud, William and Chantal McCorkle, and Pastor Henry Lyons of the National Baptist Convention U.S.A. Next the chapter turns to prosecuting polluters and protecting endangered species under federal law. A number of important polluter cases and an important case to protect nesting sea turtles are discussed. Finally the chapter turns to the kidnapping case of baby Sabrina Aisenberg, and the prosecution and subsequent acquittal of her parents.

Recent scholarship has devoted increasing critical attention to the complexities of Milton’s expressions of nationalism and England’s exceptionalism, although with less attention to his early works. This chapter examines Milton’s Ludlow Maske (1634) in order to address the young writer’s efforts to assert himself as an author engaged in debates about remaking English nationhood. Milton treats significant national issues uniquely at a moment when the Caroline masque, including Thomas Carew’s lavish Coelum Britannicum (1634), was giving national exceptionalism spectacular representation. In A Maske Presented at Ludlow Castle the notion of refashioned English nationhood remains an ideal not yet realized in ‘this dim spot / Which men call Earth’; English nationhood requires continual and strenuous testing. A Maske looks forward to the arduous remaking of godly English nationhood that would characterize Milton’s controversial writings during the crises of the revolutionary decades and their aftermath.