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The purpose of this chapter is to analyse the deviant behaviour of individuals in organisations. Deviants are those who depart from organisational norms. A typology of perceived deviant behaviour is developed from the deviance literature, and subsequently tested.

Star Trek: Into Darkness text is qualitatively analysed as a data source. Three different character arcs are analysed in relation to organisational deviance. Starfleet is the specific, fictional, organisational context.

We found that the typology of deviance is conceptually robust, and facilitates categorisation of different types of deviant behaviour, over time.

Deviance is socially ascribed; so better categorisation of such behaviour improves our understanding of how specific behaviour might deviate from organisational norms, and how different behaviours can mean individuals can be viewed positively or negatively over time.

Further research might determine management responses to the different forms of deviance, and unpack the processes where individuals eschew ‘averageness’ and become deviants.

The typology advanced has descriptive validity to describe deviant behaviour.

Social institutions such as organisations ascribe individual deviants, both negatively and positively.

This chapter extends our understanding of positive and negative deviance in organisations by developing a new typology of deviant behaviour. This typology has descriptive validity in understanding deviant behaviour. Our understanding of both positive and negative deviance in organisational contexts is enhanced, as well as the utility of science fiction literature in ethical analysis.

This chapter pays particular attention to the place of song introductions as an integral feature of public performance. Locating this analysis within the subculture of contemporary folk music, I demonstrate how song introductions can accomplish six important things: (1) provide an interpretive frame for understanding a performance, (2) cast performances in emotive terms, (3) situate performances in the larger context of marketing and sales, (4) contribute to moral entrepreneurial agendas, (5) align the performer's actions, and (6) offer a venue for making disclaimers. By demonstrating how performers accomplish these things, I locate song introductions within the larger context of situating public performances more generally.