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Despite the prevalence of generational labels like Boomers, Gen X, Millennials, and Gen Z in popular discourse, most studies of generationalism have been restricted to content analyses of generational rhetoric. This study investigates the prevalence of negative generationalism, or negative affective sentiment towards perceived generational out‐groups within the US public and considers how it may be linked with partisan political identities. Using a nationally representative survey of 1232 Americans, this research examines the association between generational self‐identity and partisan identity using feeling thermometer scores for four generational groups (Boomers, Gen Xers, Millennials, and Gen Z) and the two major political parties (Democrats and Republicans). I also report the findings of an experimental manipulation testing the extent to which generational priming exacerbates affective partisan polarization. The results reveal strong evidence of positive affect towards one's generational in‐group, but a less consistent pattern of negative generationalism. Neither the correlational nor the experimental outcomes support a strong and consistent link between generationalism and partisanship, though Republicans feel significantly warmer towards Baby Boomers and colder towards Gen Z than independents. Despite the largely null findings concerning partisanship, this study reveals that these generational labels do appear to bear some degree of social meaning as social identities for people, pointing to new directions for future sociological research on generationalism. [ABSTRACT FROM AUTHOR]

This study examines processes that contribute to the underrepresentation of women in film by linking the depiction of gender in film to its impact on domestic box office returns. Drawing on a sample of widely distributed movies from 2000 to 2009 ( n = 974), we test whether the box office under-performance of films with an independent female presence results primarily from 'downstream' public rejection or from an gendered 'upstream' division of resources that provides greater studio support to movies about men. Using a series of multivariate regression analyses and controlling for genre, critical appraisal, arthouse label, being a sequel, and including a popular star, films with a female presence earn less at the box office. This effect, however, appears to be largely the consequence of movies that feature women having smaller production budgets, suggesting that the underrepresentation of women in film stems from 'upstream' routines of film industry gatekeepers, not a lesser interest in stories about women in the minds of the public. [ABSTRACT FROM AUTHOR]