Official Twitter and Instagram Accounts and Facebook Pages of ‘Outlander’ Cast and Crew

This is merely a list of the official Twitter accounts, Facebook Pages, and Instagram accounts of those involved in Outlander.  This post will be updated as we get new information.  If we are missing something, please let us know.

[Last updated: 1/12/2017]

Outlander (Official) TV Series: Twitter, Facebook Page, Instagram

Diana Gabaldon (author): Twitter , Facebook Page

Ronald D. Moore (producer/writer): Twitter, Facebook Page

Sam Heughan (Jamie): Twitter, Instagram, Facebook Page

Caitriona Balfe (Claire): Twitter, Instagram

Sophie Skelton (Brianna): Twitter, Instagram, Facebook Page

Richard Rankin (Roger MacKenzie): Twitter

Tobias Menzies (Frank/Jack): Twitter

Graham McTavish (Dougal): Twitter, Facebook

Lotte Verbeek (Geillis) Twitter, Instagram, Facebook

Laura Donnelly (Jenny): Twitter

Nell Hudson (Laoghaire): Twitter,

Grant O’Rourke (Rupert): Twitter

James Fleet (Rev. Wakefield): Twitter

Stephen Walters (Angus): Twitter

Simon Meacock (Hugh Munro): Twitter

Duncan Lacroix (Murtagh) – Twitter

Frances De La Tour (Mother Hildegard – season two) – Twitter

Gaia Weiss (Comte St. Germaine’s wife – season two) – Twitter, Instagram

Claire Sermonne (Louise de Rohan – season two) – Twitter, Instagram

Laurence Dobiesz (Alex Randall – season two) – Twitter

Andrew Gower (Bonnie Prince Charlie) – Twitter

Rosie Day (Mary Hawkins – season two) – Twitter

Robert Cavanah (Jared Fraser – season two) – Twitter

Stanley Weber (Comte St. Germain – season two) – Twitter, Instagram, Facebook

John Heffernan (Brigadier General Lord Oliver Thomas – season one): Twitter

Tom Brittney (Lieutenant Jeremy Foster – season one): Twitter

Finn den Hertog (Willie – season one): Twitter

Frazer Hines (Sir Fletcher Gordon – season one): Twitter

Gillebride MacMillan (Gwyllyn the Bard – season one): Twitter

Simon Callow (Duke of Sandringham – season one and two): Twitter

Ronnie B. Goodwin (horseman in Clan MacKenzie – season one): Twitter

Brian McCardie (MacRannoch – season one): Twitter

Tall Ship Productions/Maril Davis (executive producer): Twitter

Outlander Writers Room: Twitter

Richard Kahan (writer): Twitter

Matt Roberts (writer/producer): Twitter, Instagram

Anne Kenney (writer/producer): Twitter

Metin Hüseyin (director): Twitter

Richard Clark (director): Twitter

Anna Foerster (director): Twitter

Douglas MacKinnon (director) – Twitter

Philip John (director) – Twitter

Neville Kidd (director of photography): Twitter

Lisa Heathcote (food stylist): Twitter

Mark Slaughter (stunts – season one): Twitter

Olly Rowland (stunts – season one): Twitter

Combat International (extras/stunts): Twitter, Facebook

John Maskell (crew): Twitter

Sean Boyle (crew – season one): Twitter

Daniel Hill (crew): Twitter

Jordan Milliken (crew): Twitter

Suzanne Smith (casting director): Twitter

Simone Pereira Hind (casting) – Twitter

Àdhamh Ó Broin (Gaelic advisor/tutor): Twitter, Facebook

Raya Yarbrough (singer of the Outlander theme): Twitter

Bear McCreary (composer): Twitter, Facebook

Terry Dresbach (costume designer, Mrs. Ron Moore): Twitter, Twitter

Liz Boulton (costumes): Twitter

Emily Watson (costumes): Twitter

Helen Gallogly (costumes) – Twitter

Jon Gary Steele (production designer): Twitter, Instagram

Gina Cromwell (set designer): Instagram

Michael O’Halloran (editor) – Twitter

Real SFX (special effects) – Twitter

Jessica Bergeault (base runner) – Twitter

  • Lainiejay

    You must convince Tobias Menzies to get a Twitter account ASAP! Don’t be shy, Tobias.

  • gotrr

    Very useful list. Thanx for posting it.

  • Heather M

    So Terriffic!! Sad to admit that I know these, but here are more: Elizabeth Boulton (one of the costume embroiderers) @lizcostume; Robyn Harney (who does something with publicity for the cast) @IAmRobynNicole; Chris Parnell (SVP at Sony sometimes posts about outlander) @chrisfparnell ; Ronnie Goodwin (directing episodes??) @ronniebgoodwin; Anna Halligan (who works with/on the writing team) @annamalHalligan; Jasper the Dog (who is the official dog of the production team) @ginger_jasper

    • KittensRule

      Ginger is Tobias’ dog. I am almost embarassed that I know this.

      • alphadawg7

        Nope, it is not his dog. It is the dog of one of the members of the production team.

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  • sigrid28

    Most of the other Outlander fans who post on comment threads like this one richly
    enjoyed the panel discussion at Paley Fest, but it made me kind of grumpy and
    very nervous. After reflection, here are the reasons why it made me anxious, in no particular order:

    ON SOCIAL DRINKING : Cait, do you ever tire of it when your co-stars insist on characterizing you as somewhat of a lush? This is supposedly all in fun, but sometimes it comes off as disrespectful and perhaps even a little misogynistic. I might add xenophobic, because you are Irish, and heavy drinking is an Irish
    stereotype. I sense that you are just being a good sport about it. However, if
    you do have a compulsive or addictive disorder of any kind, you deserve privacy, support, and therapy, not the encouragement of cavalier enablers, however well-intentioned—even ones who are only joking to appease the shallow interests of members of the Hollywood media. (As far as the Hollywood media are concerned, you could drop this topic altogether, because it has been mentioned in just one article out of hundreds.) It defies belief to suppose that you could have had such a successful career in modeling, and then have transitioned so brilliantly (and very quickly) into an acting career, while sustaining the kind of drinking habit that has been attributed to you. (Also, this poses a troublesome role model for younger fans; I do think you care about them.) I just think your interpretation of Claire in
    Outlander has been a tour de force for which you should be extremely proud, and
    for which you should be able to take full credit without any apologies or
    self-deprecating excuses, whatsoever.

    ON INSOUCIANCE: Tobias, tiresome as it may seem to a carefree spirit such as yourself, long story arcs like those in Diana Gabaldon’s interlocking novels involve a complicated process to bring them to the screen. Trust me on this: reading the Outlander novels (if you have not yet done so) will only improve what is already a stellar performance. Such reading should be a minimal requirement for researching one part in Outlander, let alone two: Frank Randall turns up in every one of the
    novels in this series—so far. To keep up your image as a charming ne’er-do-well, you don’t have to admit to anyone (except Diana) that you’ve read them.

    ON THESPIAN ACROBATICS: Sam, why isn’t it enough to establish your bona fides as an actor by speaking a dying language with native fluency and fully transforming yourself into Jamie Fraser on the big screen? Why not leave stunts to the daredevils who (probably) do them more efficiently than you do, who know what they’re doing, and who thrive on the thrill of risk-taking? As for proving your willingness to do whatever it takes, when it comes to that sort of thing, given your work on the Batman franchise, you can already say: been there, done that, have the T-shirt. Just because you’ve finally become a movie star, after doing all it takes to establish a career in acting, you don’t have to suddenly become all things to all people. It is enough to be a dramatic artist. How will you ever be able to act in another Shakespeare play some day, or write a play—or direct one—or teach at your alma mater, when you’re old and gray, if you break you neck tomorrow on the set of Outlander?

  • sigrid28


    From Libby Hill’s review of Episode 9 of“Outlander” in the New York Times “ArtsBeat” section, April 4, 2015: “Intoxicating though it may be, the series, like the book it’s adapted from, is at constant war with itself. ‘Outlander’ wants to be an escapist, feminist romance novel, and while that’s not an impossible goal to attain, it means that more often than not the series finds itself working at cross-purposes, not unlike its protagonist, Claire Randall. The problem is not that ‘Outlander’ wants to have its cake and eat it, too; it’s that it wants the entire blessed bakery.”

    There is another way to look at this:

    Artists are never content unless they are stretching the envelope. In the
    Middle Ages, the equivalent of a school Christmas pageant grew into a full-length
    drama depicting the entire life of Jesus Christ and many other parts of the
    Bible. These early plays have come down to us as the medieval mystery cycles.
    Shakespeare’s Romances, later works like “The Tempest” and “A Winter’s Tale,” have puzzled critics for centuries because they infuse tragedy with the improbability of better outcomes: a wife reappears miraculously after a twenty-year absence, lovers are reunited after the husband is lost at sea. The same things happen in “Outlander,” which just goes to show that genres can be bent and to great effect.

    Stories like these please because in the imagination, the “entire blessed bakery” is always open. Our lives are mediated so completely by television and the Internet that we are hardly even aware of it. No wonder it is so easy to forget that the “Outlander” television series takes place entirely in the minds of viewers, just like Diana Gabaldon’s novels, whether you read them the old-fashioned way or listen to the audiobooks (which are, incidentally, terrific).

  • sigrid28

    [I did not post this in the comment thread attached to Hill’s review, because there was no way to do so and still remain anonymous. In addition, I plan to include spoilers, from which some card-carrying television reviewers think readers must be protected. So once again this post is meant mainly for those involved in producing the television series. I plan to take it down tomorrow.]

    Re: Libby Hill’s review of Episode 10 of “Outlander” in the New York Times “ArtsBeat” section, April 11, 2015

    Hill deserves credit for tackling a difficult subject: the way homosexuality is treated in the “Outlander” television series. That said, the review is a fail.

    Though reviewers routinely receive advance copies of episodes, this reviewer has not done the necessary homework. No ambiguity surrounds Diana Gabaldon’s
    thorough scientific understanding of human sexuality, including homosexuality.
    She has explained ad infinitum that sexuality within her novels is not meant to
    be gratuitous, in amorous scenes, for example, but is instead designed to serve
    the needs of both characterization and plot.

    So for the purposes of argument, let us assume that Gabaldon’s approach to homosexuality in her novels is at least as nuanced as the Kinsey scale, copied here from Wikipedia:

    “The Kinsey scale is used to measure a person’s overall balance of heterosexuality and homosexuality, and takes into account both sexual experience and psychosexual reactions. The scale ranges from 0 to 6, with 0 being completely heterosexual and 6 completely homosexual. An additional category, X, was mentioned to describe those who had “no socio-sexual contacts or reactions,” which has been cited by scholars to mean asexuality. The scale was first published in Sexual Behavior in the Human Male (1948) by [Alfred] Kinsey, Wardell Pomeroy, and others, and was also prominent in the complementary work Sexual Behavior in the Human Female (1953). Introducing the scale, Kinsey wrote:

    Males do not represent two discrete populations, heterosexual and homosexual. The world is not to be divided into sheep and goats. It is a fundamental of taxonomy that nature rarely deals with discrete categories […] The living world is a
    continuum in each and every one of its aspects.

    While emphasizing the continuity of the gradations between exclusively heterosexual
    and exclusively homosexual histories, it has seemed desirable to develop some
    sort of classification which could be based on the relative amounts of heterosexual and homosexual experience or response in each history… An individual may be assigned a position on this scale, for each period in his life. […] A seven-point scale comes nearer to showing the many gradations that actually exist.

    0 Exclusively heterosexual

    1 Predominantly heterosexual, only incidentally homosexual

    2 Predominantly heterosexual, but more than incidentally homosexual

    3 Equally heterosexual and homosexual

    4 Predominantly homosexual, but more than incidentally heterosexual

    5 Predominantly homosexual only incidentally heterosexual

    6 Exclusively homosexual

    X No socio-sexual contacts or reactions

    Men: 11.6% of white males aged 20–35 were given a rating of 3 for this period of
    their lives.

    Women: 7% of single females aged 20–35 and 4% of previously married females aged 20–3 were given a rating of 3 for this period of their lives. 2 to 6% of females, aged 20–35, were given a rating of 5 and 1 to 3% of unmarried females aged 20–35 were rated as 6.”

    Reviewers who take the trouble to read Gabaldon’s whole series before venturing to offer opinions about it, will recognize characters who, at one time or another, fall into the Kinsey categories that include episodes of homosexual along with heterosexual experience: the Duke (Randall’s rumor that he is married); the early homosexual bond between Black Jack Randall and his brother Alexander, both of whom later marry; Jamie himself (who horrified but nevertheless aroused when raped by Jack Randall); Murtagh (who is singularly devoted to Jamie); Rupert, the widower (who on his deathbed acknowledges his platonic love for Dougal); the lovers Lord John Grey and his step-brother; Lord John Grey’s other lovers (he’s marries women twice, and one is Claire!); the early homosexual experiences of Jamie’s adopted son, Fergus (born and raised in a Paris brothel), who eventually marries; and the whole clan structure of the Highlands, rife with the type of idealized homosexuality that characterizes accepted forms of male-bonding worldwide.

    That said, I found myself impatient with how the director of Episode 10 made the Duke appear cartoonish, by allowing the actor to overplay his part and making the Duke look directly into the camera at one point (!). These hackneyed techniques, artifacts of Batman and other popular film franchises based on graphic novels, are designed to appeal to the interests of a juvenile following. I thought the “Outlander” television series was designed to appeal to an entirely different audience altogether.

    Likewise, I found myself resenting this director’s resort to what I call “moron music,” background music meant to tell the audience what it is supposed to be feeling, which turns up in Episode 9 in the spanking sequence. In Episode 10, the interminably long scene in the forest with Geillis turns the theme music itself
    into “moron music,” inserted, I suppose, to alert slow-witted members of the audience to the fact that some kind of magic is about to take place.

    The Hollywood media may wish to sound dumb as a bucket of rocks, for whatever reason. But their stylings touch only a very small percentage of the intended audience for the “Outlander” television series. However, if the producers of the “Outlander” television series continue to allow their writers and directors to underestimate not only Gabaldon’s material but the sophistication of these viewers, they take unnecessary risks with a project that seems bound for success.

  • sigrid28

    SPOILER ALERT: I saw the Variety article before it was taken down. I hope it wasn’t taken down because of some sort of personal problem affecting the “Outlander” production team et al. I’m praying it was taken down to fix it. The content is a hot mess, and the photo with the daring-do sword makes Ron Moore look like the poster-boy for Hollywood High School. Why not treat this like a moment of triumph rather than the time for the coach to go to the media and make excuses?

  • sigrid28

    You were generous, and that’s always a good thing.

  • sigrid28

    Writers and editor “Outlander TV News”: You’ve done a bang-up job for Season 1: some of the best recaps and round-ups that cover good material. If the series gets beyond Season 2, you will have something to do with it. Congratulations.

  • Donna Douglas

    Does anyone know of a contact address and name for someone who would deal with a charity donation for an auction we are having in aid of Crohns & Colitis Research? I’m struggling to find an actual address as opposed to a Facebook page etc 🙁

    Thanks in advance

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  • Juda Jolie

    Why doesn’t Outlander have a GPLUS page… please make one:)