Tag Archives: maisie williams

Television Tuesday :: a week removed from Game of Thrones season seven, I muse.

5 Sep

Here are my thoughts, in no particular order.

  • Dudes, I am furious about the decimation of Dorne. I could write an entire essay just about my anger about Dorne, and someday I will, but right now I’ll keep it to this: the gratuitous, ruthless, and disgustingly personal slaughtering of an entire family of women of color, who are in turn our only real ties to the only part of the entire country in which the show is based that is also natively populated by people of color, is no less than an affront. Yes, it proves Euron (Pilou Asbaek) and Cersei (Lena Headey) are evil, but guys, we knew that already. How many people have those two either killed or threatened to kill? How brutal have they already been? Cersei’s role in it was at least part of a narrative arc, although undoubtedly a problematic one (that would have been 1000x less problematic if B&W hadn’t gotten their sadistic, sexist, racist mitts on it – because need I remind you that in the books, [Arianne Martell and her cousins] the Sand Snakes support Myrcella to put her on the throne and actively work to take King’s Landing down from the inside while supporting a potentially matriarchal societal view), but Euron’s hand in the senseless murder of Obara and Nymeria was no better than torture porn and fan service. Yes, fan service. I went online the night it happened and every Tweet I saw popping up immediately after was rejoicing that these characters had been brutalized and murdered, because most casual viewers of the show had nothing but antipathy for the Sand Snakes, the main reason for which was that B&W completely misunderstood, underwrote, and embarrassed them and their plotline from nearly the beginning. Any crime the Sand Snakes committed, even hypothetically, could also be attributed to other (male) characters on the show that people have never raged against. (And some that people still hated, but often even with less vitriol than they hated the Sand Snakes.) After their disastrous season five appearances, my girls were reduced to almost nothing in season six and murder in season seven, and sure, B&W claim that fan reaction had nothing to do with that, but I think we all know better. They couldn’t be arsed to do it right, so they gave into the other sadistic, sexist, racist voices clamoring for their ends. And I haven’t given up on the show yet, but you’d better believe I’m watching especially some parts of it out of the side of my eyes even more than before.
  • On a very different and much more positive note, the culmination of the Sansa (Sophie Turner) as the Lady of Winterfell arc of the season was one of the most beautiful and emotionally satisfying things I’ve ever seen. I have always hated Littlefinger (Aidan Gillen) just as much as I love Sansa and have been rooting for her to be instrumental in his end. She didn’t actually wield the weapon doing it, Arya (Maisie Williams) did, but it was after her ceremonious and brutal verbal undressing of him and deconstruction of every crime he’s committed and also her verbal reassurance that she and Arya are a team of awesome sisterhood. After watching him constantly trying to undermine and manipulate her for seasons on end but especially this last one, it was perfect.
  • Wow. My passion about these two subjects has exhausted me. The rest of this list is going to be short-form.
  • Con: underutilization of many characters. Most of this wasn’t to any criminal degree, but was still annoying. Where did Melisandre (Carice van Houten) go? Why did Brienne (Gwendoline Christie) not do as much as she could? Why was Yara (Gemma Whelan) captured and then ignored for episodes on end? (Okay, that one is kind of criminal, and I’m pretty cranky, but she’s not dead so there could still be hope. Bleh.) Etcetera.
  • Con: overutilization of some characters. Most of this was innocuous but annoying also. Jorah (Iain Glen) had so many opportunities to die and he hasn’t died yet and I’m getting really impatient and why did we have to cure him of greyscale again I hate him. Varys (Conleth Hill) is interesting but honestly the more we understand about his thought process and motivations the less I care and the more annoyed I sometimes get at him. The Hound (Rory McCann) is interesting, I guess, but not as interesting as a lot of characters who should have more screen time than they do and I’m still bitter at him because people ship him with Sansa and I am angered by people shipping any man with Sansa that’s not Willas Tyrell because Willas Tyrell, having never existed in the television show, is merely a polite cipher, the available heterosexual male Tyrell, and a bookish horse nerd so he’s probably fine.
  • Pro: what little we did get of Missandei (Nathalie Emmanuel) and Grey Worm (Jacob Anderson). Missandei is fabulous any time and could probably kill a man just with her cutting wit (a good thing, as the Tyrells have been also decimated and that art was primarily theirs to practice before). Missandei is also beautiful friends with Daenerys (Emilia Clarke). But mostly I’m talking about the scene between Missandei and Grey Worm, their shy but impassioned feelingsdump followed by largely implicit sexual activity. This scene was revolutionary. One, it’s beautiful that one of the only positive sex scenes this show has had in years was between two gorgeous black folks. Two, explicit consent is beautiful. Three, the fact remains that society at large has notions of what “conventional sex” entails (boy/girl p/v etc.) and while these two are a m/f couple it’s, for reasons of Grey’s past trauma and abuse, not p/v. Their intimacy took other (unseen but implicit) forms and the fact that Grey let Missandei in despite that past trauma and abuse and the fact that they found each other is really the most beautiful thing and I am comfortable amending their “best asexual couple” status to being “best demisexual couple” status. Okay, I actually had a lot to say about this too because it was the most gorgeous thing. Back to short-form, though.
  • Pro: Sansa is a good Lady of Winterfell, somewhat as mentioned.
  • Pro: Lyanna Mormont (Bella Ramsey) is perfect and a shining star.
  • Pro: Nymeria the person may have been victim of horrible, but Nymeria the direwolf is still alive and kicking, although existing parallel to the plot instead of inside of the plot.
  • Pro: we noticed a motif of men quite literally running/jumping away from problems in battle. Theon (Alfie Allen) just nosediving off the boat, Bronn (Jerome Flynn) pitching himself off the crossbow platform and then pitching himself and Jaime (Nicolaj Coster-Waldau) into the body of water to avoid dragon attack, etcetera. That’s pretty funny and we like it.
  • Con: Theon. I am tired. He does something redeemable every season, but after having done two or three unredeemable things before that probably. I understand trauma! But your flight mode endangered Yara and that is not cool and you better get her back (but also let her get herself back because she ain’t no damsel).
  • Pro/con: Dany and Jon (Kit Harington). They have really great chemistry onscreen but not necessarily in a sexy way just in an actors playing off of each other way but I’ve known it was getting sexy for ages but it’s not great that it only got sexy because it’s now official canon that they’re related and ooh shock and also…
  • Con: I’m actually pretty ticked that they did that bull with “Rhaegar annulled his marriage to Elia and secretly married Lyanna so now Jon is not a bastard he’s the legitimate heir to the Iron Throne”? Like, I don’t care that Rhaegar and Lyanna was consensual obviously I’m good with that. But the problem with Rhaegar is that he fucked Elia over and that is just not cool but it’s especially not cool that he just officially handwaved their marriage away without her consent because shit, girl deserved at least some agency in the destruction of her life, damn. And it’s also really annoying that they’re yanking this “Jon is the legitimate heir” stuff out of nowhere. For the unknowing, this is not (yet) book canon. R + L = J is book canon, but “the legitimate heir” is some doofy convenient bull that B&W made up to create conflict between Jon and Dany and/or set up for Dany taking on a more evil queen role in the last season because she fights for what she’s worked for and really wants and Jon doesn’t even want the Iron Throne but still I can smell the conflict and/or set up for if not that Dany at least being made to submit. I don’t like any of this. The only option I like is Jon pulling a queensmoot and going “no, no, I just want to be the Warden of the North, leave me alone I hate sunshine, Aunt Dany who I only boinked one time before we realized we were related because then we stopped actually wants to rule the Seven Kingdoms so I’m going to let her because I’m a progressive feminist and I trust her and stuff.” At this point that’s starting to feel like a pipe dream, and that just fucking sucks.

There’s probably more, I’m sure there’s more. But that’s the big stuff.

–your fangirl heroine.



Television Tuesday :: a devil’s bargain?

25 Jul

Spoilers for Game of Thrones weeks one and two ahead.

You guys, I really want to maintain my passion for this canon. I’m sure you know that. For the most part the first two episodes have been perfectly fine! Sure there’s been a fair bit of “yes, but…”

  • Jon (Kit Harington) and Sansa (Sophie Turner) coexist and have some modicum of mutual respect for each other, and he gave her leadership credentials while he was away on business, but also they disagree openly and at least once per episode and the potential conflict between them is a major talking point of what’s to come.
  • Sansa and Jon have both essentially told Littlefinger (Aidan Gillen) to bugger off, but he still hasn’t.
  • Brienne (Gwendoline Christie) is there, supporting the hell out of Sansa, but she hasn’t actually done all that much (nor have the circumstances of Brienne’s last scene in s6 been discussed, which isn’t that big of a deal but should probably happen at some point in some context).
  • Lyanna (Bella Ramsey) has been kicking everyone’s asses verbally, but I really want to see her take up arms dammit.
  • Arya (Maisie Williams) had a very nice moment with some Lannister-military randoms, but one of them was Ed Sheeran and I am opposed to that on principle.
  • Arya also ran into her direwolf Nymeria, but Nymeria is a damn wolf and wanted to stay in the Riverlands doing wolf stuff. Arya understood this, but it was still sad.
  • Daenerys (Emilia Clarke) has people around her and that’s really cool, but nobody seems to be 100% on the same page of how to handle things.
  • Grey Worm (Jacob Anderson) and Missandei (Nathalie Emmanuel) had an absolutely beautiful love scene that was honestly revolutionary and I’m kind of shocked it even happened because it was so beautiful and also given the particulars it was not really like love scenes on anything, but now I’m worried about both of them because of it.
  • Euron (Pilou Asbaek) is more like he is in the books, but that means he’s actually the worst terrible curse word and has already done things that rank him with being as heinous as Ramsey Bolton. Things that are so heinous I didn’t even watch them, just read about them because I am bloody furious. Expect, by season’s end, an essay on the mishandling of my Dornish babes. Because Anger is happening.
  • We’ve finally seen the alliance between Dany, Yara (Gemma Whelan), Ellaria (Indira Varma), and Olenna (Diana Rigg), and while contentious in part (as mentioned above) it’s a bunch of badass ladies being badass, but we’re only two episodes in and everything has already gone to hell for them.
  • Yara and Ellaria kissed, but now they are both at assface Euron’s mercy.
  • Obara (Keisha Castle-Hughes), Nymeria (Jessica Henwick), and Tyene (Rosabell Laurenti Sellers) had an actual scene with lines and conversation and sister banter and the actresses have such a good dynamic with each other even though I wish they’d get to show the non-banter aspect of their sisterhood too, but Obara and Nym are now dead and Tyene is also at assface’s mercy. Did I mention how mad I am?

It’s a devil’s bargain. You get some things and have to give up others. You’re so happy about beautiful things but then Euron exists. Etcetera.

–your fangirl heroine.


Fashion Friday :: you did good, sweetling.

16 Dec


I will say again that boy I’m so glad Arya (Maisie Williams) booked it out of the House of Black and White because I was legitimately bothered by that place. Have some clothes!


Which shade of brown is where is being moved around, but I’m working with it. Arranged Aesthetic Pants, ModCloth.


I don’t know. I wanted not just solid on top of solid. Sweet as Cider Plaid Sweater in Spice, ModCloth.


I love these so much. There were so many brown booties to choose from. Rise from the Asheville Bootie, ModCloth.


She would get this just because it’s for boys. Tick With the Plan Men’s Watch, ModCloth.

–your fangirl heroine.


Fashio Friday :: she’s where she needs to be.

1 Jan


And that’s the reason I’m least dissatisfied with Arya’s (Maisie Williams) arc this season.


This outfit is thankfully different from the one Arya has been wearing since s1e10, so I have something new to play with.  But I’m also changing it to a black and white color scheme to nod to her other stuff.  Deco in Delight Cardigan in Ebony, ModCloth.


She’s all chic this time.  Cloud Bank Top, ModCloth.


Look at the tier!!!!  Essential Elegance Skirt in Black, ModCloth.


Straightforward.  Know a Trick or Two Tights, ModCloth.


How lovely.  Front Rose Center, ModCloth.


This is just a nice detail. Whatever Floats your Haute Belt in Black, ModCloth.

–your fangirl heroine.


Television Tuesday :: I can’t quit Game of Thrones.

23 Jun

One, I can’t quit it because I watch it with other groups of people.  Two, because I care too damn much about my girls and foolishly pray that they’ll eventually be done right by.  Three, because at this point I’m thinking of it as being essentially a pinboard for aesthetic so I can cosplay/visualize the books.  Four, I care too much about seeing it through because of the books.  Five, because occasionally nice things still happen.


I have about fifty varieties of rage about the not-nice things that happened.  Upon repeat viewings with different groups of people, I actually just got up and left the room at the end of episode six (poor Sansa [Sophie Turner] who deserves so much better, who is still acting the hell out of it but shouldn’t have to be stuck in that shithole of a plot divergence); I spent my first viewing of episode nine repeatedly yelling the phrases “oh you evil douchebag” and “fuck you” in echo (poor Shireen [Kerry Ingram] who deserved so much better always); I cringed during the finale but understood sort of why that happened that way because of the plot divergence mess that entire line had devolved into (poor Myrcella [Nell Tiger Free, who is incidentally adorable]).  Etcetera.  The thing that made all of my people angry and/or befuddled I knew was coming, and I don’t know what its outcome will be because I’ve heard so damn many theories, but suffice to say: Kit Harington, you have consistently improved as an actor, good job buddy, Jon will forever be my boy in this series.

But in the grand tradition of this series, here is a list of 5 things that were pretty all right about this season.  Pretty much the only significant 5.

5. By the end of the finale episode, some things were actually sort of where they were supposed to be in reference to the book plotline, mostly.
Arya (Maisie Williams) had been made blind (it’ll go away, don’t worry show friends; I was about to write “it’s a learning experience” but if I do that I also have to qualify that holy shit watching the House of Black and White stuff made me so much more uncomfortable than reading it, and sorry ser who shares my roof who loves Jaqen H’ghar [Tom Wlaschiha], I kept mentally going “John Garrett?”) like she was supposed to be; Dany (Emilia Clarke) had been found by the Dothraki horde (and, book friends, can I just say how happy I am that we didn’t have to actually watch the events of the chapter preceding that in the book, which did make me physically uncomfortable to read); Sam (John Bradley) and Gilly (Hannah Murray) were finally on their way to Oldtown like they should have been oh, at the beginning of the season; Cersei (Lena Headey) had her walk of atonement and that, while horrible to watch, is as it was supposed to be; the Jon stuff resolved as it was supposed to, though it was unpleasant.  At this point the relief of things finally going back on-book almost feels like happiness.  And a different plotline was at an entirely different place than it was supposed to be and I was overjoyed, but I’m not going to talk any more about it because I don’t want to jinx it.

4.  Well, Tyene (Rosabell Laurenti Sellers) was crazy and did do poison.
When they announced that Tyene was going to be utilizing “double daggers” my initial reaction was to cringe.  I absolutely love book Tyene, as I’ve said before, and for y’all who don’t read the books let me just tell you why without spoiling plot points: book Tyene is Oberyn’s daughter not by Ellaria (Indira Varma) but by an unnamed septa, and she has inherited some of her mother’s devotion, at least outwardly, as well as inheriting her mother’s blonde hair and blue eyes.  She’s feminine and septaesque in demeanor and plays it up, but she’s also devious and prone to using poison as her weapon, her only weapon in contrast to her sisters.  All I needed for the Sand Snakes, really, was for Tyene to be crazy and do poison, but when they announced the double daggers I pretty well abandoned that hope. But!  Though she was Ellaria’s short-haired daughter fighting with double daggers, she coated those with poison and did injury with them, pretty much for the sole purpose of fucking with Bronn (Jerome Flynn) in a way that did have at least some of the crazy cadence that endeared Tyene to me in the first place.  This got carried too far, culminating in objectively one of the worst lines this season, but the initial moment of crazy and poison was perfect (and Obara [Keisha Castle-Hughes] and Nym [Jessica Henwick] sitting behind her rolling their eyes as if to say “come on, Tyene, everyone has seen your boobs, honestly” was perfect too).  This is a comfort, because the entire rest of the Dorne plotline was pretty much a giant mess.  Which sucks, because the Dorne chapters are the reason that A Feast for Crows is probably my favorite of the books, but honestly, deciding not to have Arianne in the show was a terrible decision for the plotline and they didn’t invest nearly any time in it like they should have, and that’s a whole other rant.  Suffice to say, at least Tyene was crazy and did poison.  That’s something, anyway.

3.  Missandei (Nathalie Emmanuel) is so freaking important.
Her relationship with Grey Worm (Jacob Anderson), as I said last year, is incredibly important because asexual relationship between characters of color.  And her relationship with Dany is incredibly important because when Dany is having a crap time of it, Missandei is the one she turns to for the truth.  Missandei and Dany spent that entire time in the pit clutching each other and trying to protect each other and yeah, this did make Dany leaving on Drogon’s back a little awkward but that happened in the book so whatever.  Daario (Michiel Huisman) describes Missandei as “the queen’s closest confidante” and says “who does she trust more than Missandei?  Certainly not me” and normally I don’t give a damn what Daario says but that’s lovely and important and I’m glad.  And what’s more, watching her face during virtually any scene where you can see her face is the most telling wonderful thing.

2. Easter eggs for book readers
The scene where Jon reads the letter to Stannis (Stephen Dillane) from Lyanna Mormont (“Bear Island knows no king except the King in the North, whose name is Stark) is a favorite; Sam’s line to Olly, along the lines of “I’ve been worrying about Jon for years… but he always comes back!” is another; certain gratuitous hints about a favorite fan theory that are still not obvious to people who don’t know to be looking for them are others.

As evidenced by my loud virulent swearing through episode nine, and as evidenced by everything I’ve ever said before, I also freaking love Shireen.  There were theories I had either heard or had that Shireen could be Important, possibly because of her greyscale, so her ultimate fate disappointed me at best and enraged me at worst. But, the scene early in the season, so early that it feels like it was last season emotionally, where she was teaching Gilly how to read brought me the absolute most joy of anything I could imagine.  So there’s that.

–your fangirl heronie.

silly goose

Fashion Friday :: burgeoning murder princess.

20 Feb

arya stark (maisie williams)

I don’t know.  Everyone’s a princess.  Arya (Maisie Williams) is the posh uptown society daughter who’s always like “fuck this noise.”

Best is Clarinet to Come Top

She keeps it simple, Arya does.  Best is Clarinet to Come Top, ModCloth.

Cross My Hearth Cardigan

With her many shades of brown and her oversized fancy “screw it” sweaters.  Cross My Hearth Cardigan, ModCloth.

Check Mini Shorts

And conveniently, she is a shorts over tights sort of girl.  Check Mini Shorts, Topshop.

Hosiery Semi-Sheer Tights

These tights, probably.  Semi-Sheer Tights, DKNY Hosiery.

Charm Beyond Compare Bootie in Brown

And of course with boots.  Charm Beyond Compare Boots, ModCloth.

–your fangirl heroine.


Television Tuesday :: 11+ examples of the “new kid” narrative device

20 May

By “new kid” stories, I mean shows that begin with a new character, who is usually the protagonist or one of the protagonists, physically moving to a new location (town, workplace, school, etcetera).  This obviously does not always apply to literal children, but like when a kid moves schools (or when anyone adjusts to a new sort of lifestyle) the character is either disoriented or disorienting.  I was going to do a post about the “logical outsider” narrative but then I was thinking about a very straightforward “new kid” story that I won’t be discussing here because it’s a movie, and that’s Mean Girls.  Yes, Cady represents the logical outsider in the story (observing what seems to her like a foreign culture through a very analytical framework) but she also turns into the catalyst, her presence setting off a chain of events that change everyone around her.

That’s what new kid narratives often do.  Either they help give the audience perspective (or provide the audience a self-insert character) or they spark a revolution that comprises the plot of the show or season.

For this list, I’m only dealing with new kid narratives that begin in season one (sometimes they start much later; Eric [Alexander Skarsgard] in season five of True Blood is a perfect example of the logical outsider, weirdly enough) but I’m covering both types.

11. American Horror Story
Actually, this has been true of every of the three seasons of this show, and since they’re all separate stories I will discuss them each separately.  Season one has the Harmon family moving into the murder house and Violet (Taissa Farmiga) has to move schools.  Her parents (Dylan McDermott and Connie Britton) both make adjustments, but it’s Violet who at least in my read shoulders most of the new kid narrative.  She meets a mysterious new boy (Evan Peters) and deals with a whole new set of rules, and then toward the end of the season the new kid narrative takes on another dimension as we find she’s also been thrown into a new (after)life.  Season two, Asylum, had Lana (Sarah Paulson) serving as the logical outsider in the world of the hospital, the logical outsider on a very basic level — she wasn’t crazy, and the others might not have been but she was very much not.  Season three, Coven, had Zoe (again, Taissa Farmiga) thrown into the world of the academy and also the world of being a witch and dealing with magic in the first place, and acting as the logical outsider by sometimes being confused by the traditions.

10. Elementary
I haven’t actually seen past season one of this yet, but any Holmes adaptation is a perfect example of the logical outsider narrative.  Whoever the Watson is (in this case, Lucy Liu) makes a physical and emotional transition and is thrown into the crazy world of mysteries and deduction that doesn’t really make that much sense by normal standards that Holmes (in this case, Jonny Lee Miller) inhabits and is left to translate what happens for us, the audience.  In this case, at least, Joan is also the catalyst, prompting Sherlock to work on himself and also prompting herself to make life changes.

9. Mad Men
Logical outsider situation in the extreme.  Through Peggy (Elisabeth Moss) we’re introduced to the office and the way it’s run, its context and its place in history; we’re introduced to the way that most of the characters behave.  Her role as logical outsider gradually lessens as we the audience become accustomed to the situation and as she becomes accustomed to the workplace she’s in, but given that the show’s first episode includes scenes of her being given a proper tour of the office by Joan (Christina Hendricks), it very much fits.

8. Dollhouse
This is only vaguely this, but it’s still an interesting point to make on this list: the literal new kid in the Dollhouse is Sierra (Dichen Lachman), who can’t herself be the logical outsider but whose presence asks the audience to be that for themselves, and the more direct logical outsider and fairly new kid, Boyd (Harry Lennix), is later revealed to be the Big Bad and have been faking his moral ambiguity and logic all along.  That’s a fairly rare twist.  And Echo (Eliza Dushku) often serves as the logical outsider, though she’s only a new kid in the sense of her slowly-developing independent consciousness.

7.  True Blood
Another less direct new kid narrative; Sookie (Anna Paquin) does not make any life changes at the start of the series, but life changes sort of find her.  She’s always known that she’s different and she’s been aware that the world is different for a while before the series begins, but the difference (vampires to begin with) crosses her path at the beginning and from them on, she’s being thrown into the world of the supernatural, learning about vampires (another purpose that the new kid narrative serves is that of providing the audience with a convenient excuse for a lot of exposition, which is especially useful when the story takes place in a world that’s different from our own, i.e. in a different time period or in a world that contains supernatural elements) and serving as the logical outsider in regards to vampire customs and vampire-human dealings as well.  By season’s end, we have the first creation of a baby vamp, that of Jessica (Deborah Ann Woll), and eh, it’s still season one and for a lot of the rest of the series Jessica serves as a semi-logical outsider in the show as well.

6. Buffy the Vampire Slayer
Buffy (Sarah Michelle Gellar) is pure catalyst (as rather deconstructed in the season three episode “The Wish,” with a comment by Cordelia [Charisma Carpenter] highlighting the fact that if Buffy had never arrived in Sunnydale everything and everyone would be different).  It’s one of those cases where the fact that she ushers in all sorts of weirdness when she arrives actually causes the people around her to be thrust into new situations, despite being surrounded by familiar people and places, and causes them to play the logical outsider at times.  The closest the show probably gets to the specific logical outsider is Oz (Seth Green), with his dry remarks that highlight how strange things are, but everyone serves that purpose at times.

5. Deadwood
But Seth (Timothy Olyphant) and Sol (John Hawkes) are pure logical outsiders.  Seth doesn’t intend to bring order to the camp, but we arrive in the camp when he does and so we can see how unruly it must look through his eyes.  Deadwood is a show where new kids arrive all the time, all of them bringing some new perspective, but Seth and Sol serve as the clearest logical outsiders, eventually but not immediately enacting change of various sorts based on what they observe.

4. Firefly
Simon (Sean Maher) is a fairly straightforward logical outsider especially as regards space travel and a life of crime, and River (Summer Glau) sometimes serves as one too, but by bringing River into the crew’s lives he/they serve as catalysts as well.  The life of crime continues but is simultaneously upended, leaving everyone to have to learn to make adjustments.  We also get glimpses of logical outsider from Book (Ron Glass) and Inara (Morena Baccarin), the other new (or newer) kids on the ship.

3. Justified
Closer to a catalyst than a logical outsider situation, certainly; the impression I’ve gotten from the way that Art (Nick Searcy) addresses Raylan (Timothy Olyphant) is that the marshals’ office used to be a straightforward workplace.  They handled cases, nothing horribly dramatic ever happened.  Then Raylan gets transferred back home and accidentally keeps dragging his coworkers into all sorts of criminal drama that’s loosely connected to his old acquaintances.

2. Agents of SHIELD
Another fun subversion, sort of.  All of the characters are new kids in a way: Coulson (Clark Gregg) is just forming the team.  He recruits May (Ming-Na Wen), we see Ward (Brett Dalton) being recruited as well (the fact that we see his recruitment and the sort of wry, flip comments he makes sort of make it seem like he’s going to be our logical outsider, or at least like he could be, which couldn’t be farther from the truth).  We don’t see it, but Fitz (Iain de Caestecker) and Simmons (Elizabeth Henstridge) have been recently recruited as well; they even talk in the second episode about how they’re new to missions, but while they learn many things over the course of missions and grow quite a lot (Jemma has a more distinct arc, but) they are neither the logical outsiders (logical certainly, but that’s just their scientific personalities) nor particular catalysts.  It’s really Skye (Chloe Bennet) who serves both purposes, though: at first she’s analyzing SHIELD, spying on it and from within it, and she’s questioning the way things are done.  Then she’s working within it and she’s still questioning the way things are done.  She’s saying the things that the audience might be thinking and asking the questions that the audience might have themselves.  Furthermore, she serves as the show’s catalyst, first by getting SHIELD wrapped up with Mike Peterson (J. August Richards) and then by involving the team in subsequent situations that would not have existed were it not for either her outside perspective or her mysterious self.  The outside perspective, her ability to approach things in a way that’s not the rest of the team’s, is actually highlighted in “The Magical Place,” when Victoria Hand (Saffron Burrows) banishes her from the Bus out of seeing that as unhelpful and May allows it because she knows it will be beneficial.  And she arguably has emotional effects on the greatest number of other characters.

1. Game of Thrones
Let’s see.  Well, there’s Ned (Sean Bean) playing the new kid in the courts of King’s Landing and it going horribly, horribly wrong; there’s Sansa (Sophie Turner) and Arya (Maisie Williams) both playing new kid, usually logical outsider in one way or another, in their own circles and it going horribly, horribly wrong (Sansa is made to stay in the increasingly horrible situation she tries to adapt to, while after season one Arya has been on a continual roadtrip and playing the new kid constantly); there’s Jon (Kit Harington) and his Hundred Acre buddies all serving as new kids at the Wall and varyingly serving both roles, which doesn’t go well but isn’t horrible necessarily; there’s Dany (Emilia Clarke) starting with being the new kid in a horribly, horribly wrong situation (i.e. being sold into marriage) and then spending the rest of the series so far on a continual roadtrip and playing both the logical outsider and the catalyst constantly; etcetera, etcetera.  (It occurred to me the other night that most if not all of the POV characters in this series have roadtripped at least a little bit, while some of them, like Arya and Dany, have been on perpetual roadtrips the majority of the time.)

bonus: My Little Pony: Friendship is Magic
Yes, laugh, here I am including my silly pony cartoon on a list of actual real grown-up television shows.  But it’s a perfect example of the new kid narrative, because here’s Twilight Sparkle coming to Ponyville and acting not only as a logical outsider (though more to the behavior of her new friends and the concept of friendship in general than to the local goings-on) but serving as a catalyst.  Without Twilight Sparkle, the show would not happen.  Period.  This is a narrative structure that crosses genres.  Clearly.

–your fangirl heroine.

goodness guys