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This paper presents a case study concerning the recovery of a young woman's wellbeing after a personal crisis in the summer of 2019. The analytical approach used draws on a conceptual model where wellbeing is a balance point between an individual's resources and the challenges they face. Therefore, stable wellbeing is when individuals have the physical, psychological and social resources they need to meet the physical, psychological and or social challenges they face. When individuals have more challenges than resources, the balance dips, along with their wellbeing, and vice versa. After outlining the theoretical base of the model, this paper presents a highly subjective analysis of the challenges faced by and resources available to the young woman in the case study. The daughter of a pig man and a Horrobin, she had worked three jobs in order to purchase a house for her young family. Her plans were precipitously destroyed leading to a breakdown in her marriage. This paper considers her path to recuperation in the aftermath of the crisis with a reference to her notion that ‘security is everything.’

Purposes – The overall aim of the chapter is to explore children's acting and disputing within a family role-play and highlight how different roles are argued upon and negotiated by the participants, both verbally and nonverbally.

Methodology – The chapter is drawn from a single play episode between five 6-year-old girls at a Swedish preschool. The analytical framework of the study is influenced by ethnomethodological work on social action focusing in particular on participants’ methodical ways of accomplishing and making sense of social activities.

Findings – The analyses show that the girls use a range of verbal and nonverbal resources to argue and accomplish the social order of the play (i) using past tense to display the factual past event status, and present tense to bid for upcoming events, (ii) building a mutual pretend understanding of places and objects that were used to configure nearness as well as distance in the girls’ interaction and relationship. Finally, the analyses clearly show that the significance of a pretend role is situated and depends on the social context in which it is negotiated.

Practical implications – To get acquainted with detailed analyses of children's pretend play can be useful for preschool teachers’ understanding of how children build relationships within the play, and hopefully awaken their interest to study children's play in depth in everyday practice.

Value of chapter – The present chapter contributes to a wider understanding of how social relationships are argued and negotiated by preschool girls within pretend family role-play.

Finding a suitable home can be difficult in a constrained housing market such as small rural village. Within Ambridge, only a small proportion of the homes in the village is known about, and it is rare for additional homes to be added to those where named characters live. This chapter takes a generational view of housing pathways and options, showing how Generation X, Millennial and Generation Z populations in Ambridge are housed. The chapter examines the extent to which characters rely on friends or family for solving their housing problems and considers the role of family wealth and wider dependence in determining housing pathways. The research shows that dependence on others' access to property is by far the most pronounced feature of housing options for these households. These pathways and housing choices are compared to the wider context in rural England, to consider the extent to which luck, in the form of the mythical ‘Ambridge Fairy’, plays a role in helping people to find housing. The ways in which the Ambridge Fairy manifests are also considered – showing that financial windfalls, unexpectedly available properties and convenient patrons are more likely to be available to people with social capital and established (and wealthy) family networks. The specific housing pathway of Emma Grundy is reviewed to reflect on the way in which her housing journey is typical of the rural working-class experience of her generation, within the wider housing policy context.

Who will lead Ambridge in the years to come? Theories rooted in psychology and political science, when applied to family dynamics in The Archers, allow for some educated guesses. Social learning theory suggests that children who see their parents vote, run for office and participate in other civic activities are more likely to do the same in adulthood. Emma Grundy did just that when she followed in the footsteps of her father, Neil Carter, in winning a seat on the parish council. Previous research has found that birth order also can shape future leaders, with the eldest child more likely to benefit developmentally from parents' undivided attention in the early years, and also more likely to establish a hierarchy of power over younger siblings. With these factors in mind, who are the most probable contenders to lead Ambridge in the spheres of politics, business and civic affairs? The extant research points to Pip Archer, Lily Pargetter, Phoebe Aldridge and George Grundy. The unique circumstances of Ruairi Donovan's childhood suggest he may also be a formidable candidate. And, as is the case in so many contexts, one would be wise not to overlook Molly Button.

Most fairy tale narratives have a hero, a damsel in distress and the ever-present opposing villain. The villains, or antagonists, share several commonalities across the various narratives as well as one over-arching trait of evil. However, as television viewers have become more intuitive, and demand for more sophisticated narratives have increased, contemporary portrayals of villains, as in the television series Once Upon a Time (Horowitz & Kitsis, 2011–2018), have shifted away from presenting villains as one-dimensional and restricted characters.

Instead, the construct of evil is depicted as a multifaceted and evolutionary trait of the character. Whereas previously evil was the fundamental core of the character it is now presented as a fluid concept. This chapter investigates how the construct of evil, and therefore the villain, has been redefined through a contemporary television narrative.

This chapter explores middle leadership identity through the real-world accounts of how two middle leaders construct and develop their leadership identity and how this impacts the way their middle leadership is practiced. Leadership identity, an internal narrative of oneself as a leader which is practised professionally in context, represents a concept that is best understood as being unique to an individual, enduring over time, and a consequence of human experiences. Middle leadership is often the first promotion for teachers from teacher to leader and, as such, how middle leaders perceive themselves as a leader and how this formative process of leadership identity underpins middle leaders’ practices can make a significant impact on a leader’s decision making, professional relationships, behaviours, and actions. This chapter is co-authored by two researchers and two middle leaders with the intention of understanding middle leader identity development and its influence on middle leadership practices. Using interviews, middle leaders’ stories of identity were co-composed and re-storied to construct each middle leader’s narrative. This chapter concludes with a discussion on the influences of identity for middle leaders and considerations for leadership development.

To identify features of teacher support associated with children who made accelerated progress in writing in an early literacy intervention.

Mixed methods were used to describe the paths, rates, variability, and potential sources of change in the writing development of 24 first grade students who participated in an early literacy intervention for 20 weeks. To describe the breadth and variability of change in children’s writing within a co-constructed setting, two groups who made high and low progress were identified.

We focus on one child, Paul, who made high progress (became more independent in the writing of linguistically complex messages) and the features of teacher support that this child received compared to those who made lower progress. We compare him to another child, Emma, who made low progress. Teacher support associated with high progress included a conversational style and flexibility to adapt to the child’s message intent as the student composed, supporting students to write linguistically more complex and legible messages, and supporting students to orchestrate a broad range of problem-solving behaviors while writing.

We describe how teachers can support children to gradually take control of the composition process, how they can recognize complexity in early written messages and we provide suggestions as to how teachers can systematically assess, observe, and support children’s self-regulation of the writing process.

In this chapter, I explore how the queer-coding, gendering and policing of the monstrous female villain figure of twenty-first-century fairy tale media is interrogated and renegotiated in the transformative narrative tradition of femslash fan-fiction. With fan studies often focusing on the most popular, vocal fandom spaces and cultures, femslash (female-female) fan-fiction has been undertheorized in academic scholarship, just as queer female desire is routinely invalidated by the mainstream media properties that inspire femslash fans (Cranz, 2016; Gonzalez, 2016; Ng & Russo, 2017; Stanfill, 2017). By romantically and sexually pairing female villains with the heroines against whom they are canonically cast as antagonists, femslash fans of Once Upon a Time and The Devil Wears Prada subvert the heteronormative and anti-feminist plot machinery that pits women against each other. The engagement of femslash fan authors with the depiction of the characters Regina Mills and Miranda Priestly as literal and figurative ‘Evil Queens’ in their source texts highlights the extent to which both women are situated as ‘villains’ because of their position as ‘unhappy queers’ who obstruct heteronormative happy endings (Ahmed, 2010; Pande & Moitra, 2017; Strauch, 2017). While in the Swan Queen fiction somewhere, someone must know the ending (maleficently, 2012), Regina is only the Evil Queen in her son's imagination, as he tries to make sense of her infidelity, The Lily and the Crown (Telanu, 2013) recasts Miranda Priestly as Pirate Queen Mír, guilty of mass-murder, rather than merely acerbic barbs (as in the film). Through close readings, I argue that the way these texts ask their readers to consider the limits of both villains' desirability, by playing with the terms of their respective criminality, shows the extent to which nuancing and negotiating the ‘evil’ of these ‘queens’ is structurally embedded in these femslash fandoms. The femslash fannish investment these texts reflect, in both the figure of the queer female villain and those who desire her, proposes an alternative version of happiness to the heteronormative happy ending, one that does not attenuate the queer codes that position these ‘Evil Queens’ as monster-outsiders to it, but embraces that monstrosity as a site of power, progress and futurity.

The popularization of slasher as subgenre begins with the release of The Texas Chainsaw Massacre (Hooper, 1974) and Halloween (Carpenter, 1978). Both films serve to define the topic of the subgenre: a serial killer that often slaughters groups of teenagers, especially attractive young women, using bladed weapons (Linz & Donnerstein, 1994; Molitor & Sapolski, 1993, 1994). Thus, although the definition of the slasher is not really fixed in terms of gender, the killers have been traditionally interpreted by men, while the victims have been usually interpreted by women (Clover, 2015; Trencansky, 2001; Weaver et al., 2015). Not for nothing, another important character is the final girl, who uncovers the monster´s motivations and finishes the killer off in the final scene; an important role that is actually a form of female subjugation. However, some exceptions can be found such as Pamela Voorhees (Friday the 13th, Cunningham, 1980), but she is simply defined as Jason´s mother. More interesting is the case of the Scream saga, in particular Scream 4 (Craven, 2011) where a teenage girl, portrayed by Emma Roberts, tries to play the role of the killer and the final girl at the same time.

In recent years, the slasher has gained importance in television. After Harper’s Island (CBS, 2009), an homage to the subgenre rather than a real slasher TV show, in 2015, MTV launched Scream, based on the film series and which continues exploring the gender roles anticipated by the last movie of the saga. In the same year, Fox launched Ryan Murphy’s Scream Queens (2015–2016) starred by Jamie Lee Curtis, the final girl of Prom night (Lynch, 1980) and Halloween saga, and Emma Roberts. In this regard, current television tries to renew the slasher, but starting from the clichés and even some familiar faces of the subgenre.

The purpose of this chapter is to evaluate the representation and evolution of female characters in slasher television series, exploring the relationship among the killer, the final girl and the rest of the victims. In this way, television series like Scream, Scream Queens (Fox, 2015–2016) or Slasher (Super Channel, 2016–) are analysed.