Tag Archives: Outlander

Jamie’s Outlander Binge – Season 4, Eps 7 – 10

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Part 17: Let’s do the time warp again

Wherein the whole gang’s back in the past, and things don’t exactly go according to plan

I’m convinced that a harrowing fate awaits the Frasers in the fourth season finale. Perhaps not the immolation fated in the archived newspapers discovered in the 1960s – that would be too obvious, and rather hard for the show to bounce back from – but something equally painful and transformative. Until then, we’ve got a veritable banquet of quests, grudges and reunions to feast upon.

In this clutch of episodes Roger finds Brianna, Brianna finds Claire, and Jamie’s fist finds Roger’s face. Many times. As the Frasers are moved around the chess-board of life by the wicked hand of fate, we discover that it isn’t God, or the devil, or Lady Luck that owns that hand, but Stephen Bonnett.

To describe the amoral, psychopathic Irishman as the Fraser family’s arch nemesis is to undersell his evil and understate his omnipresence in their lives. He’s the demonic force that shapes their feelings, their decisions, their movements, their every waking moments. His ability to wreak destruction upon the Fraser family even when he’s not even trying to or even really thinking about them makes Black Jack Randall in comparison seem about as malevolent as a little kid taking a surreptitious poo in the next door neighbour’s koi carp pond.

Bonnett is much, much worse than Black Jack. There was at least a twisted symmetry to Black Jack, some semblance of a code, a hint that some part of his soul might once have been salvageable. Bonnett very rarely bothers to put a positive spin on his actions. He knows he’s utterly bereft of noble impulses, and throws himself into murderous debauchery all the more enthusiastically for it. Black Jack occasionally fooled himself that he was righteous or justified. I don’t know. Maybe that makes Bonnett ‘better’, relatively speaking. It definitely makes his evil purer, even if it does make his character seem a little less nuanced.

In ‘Down the Rabbit Hole’, Roger and Brianna briefly become the series leads, and we get to imagine what Outlander might look like sans Jamie and Claire. The verdict? Perfectly fine for an episode, but I’m in no rush to see a spin-off series.

During their solo adventures the two young lovers find themselves trapped in a web of fate and misfortune; their respective journeys to Wilmington putting them at the mercies of their parent’s greatest and most dangerous (living) adversaries: Bonnett and Laoghaire.

Roger’s path through the stones leads directly to Bonnett and his ship, the crew of which Roger blusters his way onto to secure passage to the new world. Both men are unaware that the tendrils connecting them to each other will soon reach out and grab Brianna, too.

Poor Roger. We’ve all had bad bosses in our time, but I’d wager that very few of them ever gave us pause to think that they might chuck a baby into the ocean . ‘Don’t worry,’ Bonnett’s fixed smile seemed to say to us, ‘I wouldn’t throw a fecking BABY overboard, and frankly I’m offended at the fecking suggestion.’ He would, however, throw a little girl with smallpox overboard without a moment’s hesitation, an act of brutal pragmatism that revolts us in direct inverse proportion to how very little it surprises us.

When Roger later encounters his direct ancestors, a woman and her tiny little baby, the latter carrying a rash that might very well be mistaken for smallpox by a certain sociopathic sea-captain, Roger knows he has no choice but to play hero and help hide them. By helping them, Roger knows that Bonnett might very well kill him for his insolence and insubordination, but if Bonnett were to find and kill the baby, then Roger would cease to exist. As options go, it’s a lot like the choice between Butlins, and, well, Butlins.

Upon discovering Roger’s treachery Bonnett inexplicably becomes Two-Face from Batman, recalling how he once avoided death by the mercy of a coin-toss, and resolving to decide Roger’s fate in exactly the same way. Roger lives to tell the tale, of course, although one thing becomes instantly and abundantly clear: there’s no human resources department on Bonnett’s ship. Or if there is it’s a particularly bad one.

Things don’t go too well for Brianna, either. Within seconds of arriving in ye olde Scotland, she’s rolled down a hill and sprained her ankle, leaving her half-dead and hobbling before she’s even left Inverness. While Brianna shares her mother’s impulsivity, it isn’t tempered by her mother’s hardiness and resourcefulness. Never mind 18th century Scotland: Brianna wouldn’t even survive a night-out in Glasgow in 2019. Mind you, who would.

Brianna eventually – and literally – falls into the clutches of Laoghaire, who actually seems like quite a nice person when she isn’t repeatedly trying to kill Claire. It isn’t long before the spurned banshee learns the identity of the wandering invalid in her care, which triggers a reassuringly chilling primal response. Thought you’d gone all human on us there, lassie. Welcome back, Laoghaire, you narcissistic nut-case.

It’s clear that the intervening years haven’t expanded her repertoire of vengeful acts: decrying someone as a witch is still very much her cold dish of choice. Luckily for Brianna, Laoghaire’s daughter, Joan, isn’t an absolute fucking maniac, and helps Bri escape to Lallybroch, where her Old Uncle Ian secures her passage to the new world. Before she leaves, Bri redeems her earlier near-death prat-falling by doing something so utterly Claire-like that she almost out-Claires Claire. She rescues a young lassie called Lizzie from sexual servitude, and takes her with her to America as her paid assistant. Way to go, sister.

Far across the ocean, Claire is enjoying a rather warmer relationship with Laoghaire’s eldest daughter. Mind you, it’s not that hard to go warmer than ‘I’m going to have you burned alive as a witch’. Claire and Marsali’s mama talk is sweet, but demonstrates great delusion on Claire’s part, especially when she says: ‘Ah, your kids. You’d do anything for them. Anything.’

Em, except, you know, resist the urge to jump through a time-portal and abandon them for the rest of their adult lives.

Now that Jamie and Claire are landowners, they get to do things like swank around at big social functions and meet all of the big celebrities of the day, like George Washington, and a young Keith Richards. It isn’t all hob-nobbing and networking, though. While attending a play in Wilmington, Claire’s called upon to use her surgical skills, and Jamie has to play fifth columnist.

The two plot points weave into and around each like vines up a tree. Governor Tryon’s guest, and fellow robber of the people, Mr Edward Fanning, experiences insufferable pain from a particularly vicious hernia (HER-nia? Should be a HIM-nia, am I right, ladies???). When Claire mentions that he might require surgery, Fanning bats away the suggestion like it was a poo-footed blue-bottle, certain that Claire’s vagina disqualifies her from saying anything to him with any deeper resonance than, ‘Oooh, would you like some biscuits?’

When Jamie learns, half-way through watching the play, that his old pal Murtagh and his band of Regulators are about to be rumbled as they rob a carriage filled with tax money, on account of a government spy in their midst, he knows he needs a distraction to get the word out. This he finds in Fanning’s hernia, which he wallops with all of his might. ‘Accidentally’, of course. In steps Claire the surgeon, ready to rifle through Fanning’s guts for as long as necessary to make sure Murtagh doesn’t end up leaving this world swinging on a rope, his skin as blue as a sunbathing Scotsman.

It’s hard not to sympathise with Murtagh’s aims, and Jamie’s sympathy with them, when Governor Tryon is such a cartoonishly wicked elitist bastard, and the kind of man who says things like: ‘Those wretches don’t want their taxes to go towards my palace,’ stopping just short of adding ‘Muhahahahaha!’ after it. Murtagh’s moltenly socialists schemes, however violent in execution, can’t fail to seem noble when weighed against the extravagant and thoroughly corrupt spending plans of a cossetted, wig-wearing, arrogant buffoon like Tryon.

Eric Joyce

I’m reminded of a real-world, close-to-home example of a political figure abusing the public purse, if you’ll indulge the brief diversion. Our town once elected an MP called Eric Joyce. Eric was one of the most prolific expense fiddlers and spender-of-money-that-wasn-t-his that Westminster has ever seen. Seriously, he almost topped the expense scandal league table. He eventually appeared on BBC’s Newsnight to defend his place at the top of the list, hilariously claiming that he spent tens of thousands of pounds on framed paintings for his constituency office, because his constituents ‘wanted to see nice paintings’ when they attended his surgery. Not if they’re at your surgery to complain about their MP spending tens of thousands of pounds on paintings with tax-payers money, Eric, you glutton.

Google Eric Joyce’s name and you’ll find reports of reckless spending, lewd and lascivious behaviour, drunkenness and brawling, a cocktail of behaviours that his opponents claimed made him no longer fit to represent the people of Falkirk. Of course, if you’ve ever been to Falkirk you’ll know that he’s probably the most representative politician the town has ever had. Eric being a Falkirk MP was like making Charlie Sheen the mayor of Sodom and Gomarrah. Namely, absolutely perfect. Anyway, I digress. Eric’s boorish behaviour does, however, lead us quite neatly into talking about throwbacks to another time and place…

Let’s talk about Claire, and the attitudes poured on her by the pompous pricks of the day, whether that day is in the 20th or the 18th century. Claire continually has to prove her skills, intelligence and worth in the deeply patriarchal societies she’s cursed to flit between, with the added worry that if she ever fails she’ll probably be thrown in jail or burned as a witch or something. When an old male surgeon arrives at Wilmington and sees Claire operating on Edward Fanning, he splutters: ‘What hath hell wrought? You’ve butchered him. All he needed was tobacco smoke up the rear.’

All he needed was… em, all he needed was what? Was tobacco smoke up the rear a real thing? Is that where the phrase ‘blowing smoke up your arse’ comes from? Being a doctor in the 18th century sounds like it was quite easy, doesn’t it? Seems all you had to do was sit back in your chair nonchalantly chain-smoking cigarettes, remembering occasionally to puff one up a patient’s arse. And if anyone came in with a mental health problem or a neurological disorder, you’d simply burn them as a witch. Then off to the course for a few rounds of golf, whether it had been invented yet or not!

Imagine going to the doctors with a stiff knee and the doctor smoking a pipe through your bum-hole. What remedies did they offer for people who attended surgery with sore arses? The mind boggles. Along with various other body parts. Did a tender butt-hole call for a different treatment, or just a bigger fire? ‘Nurse, this man is about to prolapse. Fetch the wicker man and a hundred gallons of kerosene. And be quick about it, by God, his star’s already starting to collapse!’

Anyway, this episode handled the tension, sense of mounting dread, rising stakes and intersecting plot lines very well. Mercifully, Fanning’s operation was a success, and Murtagh was able to escape the trap that had been set for him by Tryon, all of which allowed Claire and Jamie to retain their place unscathed at the top of the high-society power-couple league table.

Some time not long after after maw and paw’s close shaves at the theatre, Brianna reaches ye olde America. So does her dutiful, but also rather dastardly, beau, Roger, who surprises her with a make-shift marriage ceremony and the altogether less welcome revelation that he’d known about the prophecy of her parents’ deaths all along and deliberately chosen not to tell her. No sooner are they (sort-of) married with a bit of hand-fasting than the whole thing looks set to collapse quicker than a Mackenzie clansman at an all-you-can-drink whisky festival.

I’m sure I’m not alone in seeing the seeds of serial abuse in Roger. He’s an emotional rapist, a passive-aggressive man-child who uses guilt to get what he wants, reacting to any slight – perceived or real – with the whiny, self-regard of a spoiled toddler. I don’t know if this is because he’s a typical man of the 1960s, or if he’s just an asshole for the ages. In any case, you can’t argue with his love and affection for Brianna. It’s not every man who’ll literally jump through time, risking life and limb, to track down his lover. Mind you, it’s also not every man who’ll conceal the truth of said lover’s parents’ fiery death so he can get his leg over. Swings and roundabouts, I suppose.

Roger and Brianna’s subsequent fight feels rather stagey and hollow, hitting a note of theatrical melodrama where a more naturalistic tone would’ve better served the mood and the material. It’s perhaps not the fight we wanted, but it’s the fight that we needed, setting the narrative on a collision course with a most unpalatable, status quo-shattering event that will leave ripples in the timeline for seasons to come.

(sigh) Yep. Another rape.

This time it’s poor Brianna’s turn to bear the horror, running fresh from her fight with Roger straight into the lair of that dastardly fiend Steven Bonnett.

At this stage I think the only member of Jamie’s immediate and extended family who hasn’t been seriously sexually assaulted is his brother-in-law, Ian, and with that limp of his he’d best start taking some precautions.

Brianna’s rape is particularly ugly and vicious, and that’s saying a lot in a series that specialises in vicious and ugly rapes. Bonnett’s brutality and callousness is magnified by the insouciance of his equally callous henchmen, who sit around laughing and playing cards as Brianna screams and cries for help in the room next door.

I can’t see Bonnet making it out of this season’s finale alive once Jamie finds out about his attack on his daughter. I imagine Jamie will hang, draw and quarter Bonnett, sending each of his chopped, stretched and lacerated body parts through the stones to a different time zone. One to the age of the dinosaurs, one to the Mongol hordes, one to the battle of Ypres, and one, finally, and most devastatingly of all, to present-day Greenock.

Roger eventually makes it to Fraser’s Ridge – or near it, in any case – but unfortunately for him the first person to spot him is Lizzie, who saw him quarreling with Brianna before the attack, and in the intervening weeks arrived at the conclusion that Roger was the assailant. She reports the sighting and its significance to Jamie, who intercepts Roger on the fringes of his land, denying him the chance to communicate by repeatedly smashing him in the face until Roger’s eye-lids are like two boiled eggs sprouting from his brow, and his face is slick with blood. I genuinely thought Jamie had killed him.

Now THAT’S an awkward first-meeting with your father-in-law. Greg Focker might’ve regretted his evening of smashed urns and milking cats over at Robert de Niro’s house, but it’s certainly better than being beaten to death before you can so much as say ‘I’ve got nipples too, Greg. Could you milk me?’

Jamie and Bri’s first encounter is a little sweeter and more sanguine than the attempted murder that befalls Roger. In-keeping with Outlander’s signature style of marrying the sacred with the profane, Bri meets her father for the first time as he’s standing in an alleyway taking a piss. The scene quickly segues from slap-stick into real, intense emotion, the musical score and the performances combining to make this Jamie – the one who’s writing this rundown – leak almost as much as screen-Jamie did in that alley-way. But, you know, from my eyes. I realise I’ve made it sound like I’m saying the scene made me wet myself.

I didn’t wet myself! [OK, Jamie, don’t protest too much, son]

Outlander is good at the special moments; the big pay-offs: Jamie reuniting with Murtagh, Brianna meeting her father for the first time. It’s not always so good at following through. The longer Brianna spent in her father’s company, the more they seemed to settle into a ping-pong of hoary and expository dialogue. You could feel nothing of the weight of their shared but separate history.

For the reasons of rape and Roger already outlined, the happy family reunion doesn’t stay happy for long, and a very contrite Jamie has to help retrieve the hapless, half-dead Roger from the native Americans who bought him as a slave. Except Roger doesn’t need their help. He found his own way to escape their clutches. He may also have found another, less-traceable route of escape: another set of stones.

Should he stay or should he go now?

You probably already know what decision he makes. I’ve yet to find out.

Three episodes to go and then I’m in-step with transmission. Soon there’ll be no more bingeing for this late convert to the show.

A few final, disjointed thoughts

  • Wee Ian looked a little crestfallen when Brianna was introduced as his cousin, the wee perv. Don’t worry, Ian, just head south and take her with you.
  • Claire’s go-to face seems to involve her eyes shifting back and forth in her head like a haunted painting, or a ventriloquist’s bear.

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READ THE REST – Click below

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Jamie’s Outlander Binge – Season 1, Eps 1 – 4

Jamie’s Outlander Binge – Season 1, Eps 5 – 8

Jamie’s Outlander Binge – Season 1, Eps 9 – 12

Jamie’s Outlander Binge – Season 1, Eps 13 – 16

Jamie’s Outlander Binge – Season 2, Eps 1 – 4

Jamie’s Outlander Binge – Season 2, Eps 5 – 7

Jamie’s Outlander Binge – Season 2, Eps 8 – 10

Jamie’s Outlander Binge – Season 2, Eps 11 – 12

Jamie’s Outlander Binge – Season 2, Ep 13

Jamie’s Outlander Binge – Season 3, Eps 1 – 3

Jamie’s Outlander Binge – Season 3, Eps 4 – 5

Jamie’s Outlander Binge – Season 3, Eps 6 – 7

Jamie’s Outlander Binge – Season 3, Eps 8 – 10

Jamie’s Outlander Binge – Season 3, Eps 11 – 13

Jamie’s Outlander Binge – Season 4, Eps 1 – 3

Jamie’s Outlander Binge – Season 4, Eps 4 – 6

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Jamie’s Outlander Binge – Season 4, Eps 4 – 6

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Part 16: Tryons, and fighters, and bears, oh my!

Wherein old friendships are rekindled and new enemies are made

Race, culture and tribal identity have been major talking – as well as flash – points thus far in season four. Hardly surprising, given that Outlander began its first season with indigenous peoples being subjugated by an aggressive neighbouring nation, and now finds itself relocated to a country where the indigenous peoples are in the process of being displaced and decimated by white European settlers (not to mention the infrastructure of this brave new world being erected upon the backs of countless thousands of African slaves).

Literature from the early days of white colonisation, and of course books and movies from our own recent past, could avoid tackling the more uncomfortable and unpalatable aspects of America’s birth and ascendance, but Outlander and its contemporaries cannot, and should not (and Outlander certainly doesn’t). We can no longer ignore history’s competing perspectives, and the winners, losers, villains and victims left in its wake.

In the opening moments of episode four, then, we revisit the racial tensions of Outlander’s first three seasons. It seems churlish to describe an incidence of racial tension as ‘classic’, but I suppose it is within the context of the series so far. Real venom simmers between Jamie and governor Tryon; a partial re-kindling of the conflict that reached its apex with the battle of Culloden.

Ostensibly, Jamie and the governor are discussing a land deal, one that will see Jamie becoming a laird-of-sorts once more, and the closest thing this new world has to a nobleman. The conversation between them is cordial on the surface, but unfolds in a very mafia-like way, everything they say to each other carefully guarded behind a fortress of plausible deniability (lest ye olde wire-taps be listening). They bury their threats and insults behind smiles, which flex across their faces like muscles. The governor keeps making disapproving remarks about the Highlanders, even going so far as to call them savages. Jamie won’t take the bait, but he won’t back down either.

Jamie’s new status as a landowner, for all its excitement and opportunity, is at times an uncomfortable burden for him to bear. He’s used to being the rebel, the fighter, the righteous man. Now he’s one of ‘them’. Not just a nobleman but, in the eyes of the Cherokee, an invader; a stealer of ancestral land to which he has no legitimate claim.

The Cherokee don’t waste time in showing up for a couple of grizzly stand-offs on the Frasers’ new turf. They behave menacingly, shout indecipherable threats, and hurl chibs and knives around. If nothing else, I’m sure it cures Jamie’s homesickness somewhat. Throw in some whiskey and bagpipes, and the Laird of Lallybroch could’ve made a proper night of it.

I don’t know if it’s culturally insensitive to say this – which, if I have to ask, probably means that it is – but the Cherokee look more like Chinese drag queens than bona fide Native Americans. I guess that’s what happens to your world-view and perspective on other peoples when you get all your lessons on aboriginal North American cultures from the Hollywood westerns you used to watch with your grandpa as a child.

I’d like to balance out any offence I may have caused to readers with Cherokee ancestry by pointing out that my own ancestral people did, and still do: a) wear itchy skirts, b) eat deep-fried chocolate for breakfast, washed down with a cup of hot lard, c) drink so much alcohol that our livers have the consistency of vinegarised paper, d) exalt a musical instrument that when played properly sounds like a dying cat trapped inside of a Whoopee cushion, and e) have to take language courses in order to understand even other Scottish people the next town over.

Oh, and f) we all have vast ginger beards. Even the women.

There. An eye for an eye… makes the whole world laugh. Or else it should.

So how did Jamie manage to avoid hostilities with the Cherokee? Well, in the usual, boring, predictable way, of course: by hunting down and killing a mentally-ill old warrior who, in response to being banished from the Cherokee settlement, had taken to masquerading as a bear, stalking the forests and killing anything that crossed his path. Oh come on, Outlander. I think we’re all getting a bit tired of that old chestnut.

How satisfying it is to see an incidence of sexual assault being suitably and swiftly punished for a change. How laudably sage and just of the 18th century Cherokee to have banished Bear-man-to-be for the crime of raping his wife, when sexual assault in our own time seldom attracts the punishment it deserves. That being said, though, they really should invent social workers and probation officers, in case their next sex-criminal turns into a leopard or something.

Claire and Jamie quickly forge a friendship and an alliance with the Cherokee, but their community outreach program isn’t limited to the natives. Claire also befriends the Muellers, a nearby family of German emigrants, and finds herself assisting in the delivery of the family’s first grandchild. So far, so beatific. Unfortunately, the first meeting between the Muellers and the Cherokee doesn’t exactly hint at a friendly future. When Mueller sees a group of Cherokee drinking some water from the river that runs past his property, he demonstrates an early Teutonic talent for neighbourly love by threatening to shoot them all.

Jamie’s out of town trying to round up prospective tenants, so it’s down to Claire to mediate peace between the opposing groups. Maybe she would’ve managed it, too, were it not for the heady mixture of illness, misfortune, superstition and mistrust swirling around the Mueller home.

When Herr Mueller’s daughter and new grand-child are killed by an outbreak of measles, his racism, grief, and ignorance of all things epidemiological combine to make him a crazed savage. He attacks the Cherokee in the dead of night, believing them to have cursed the river-water. He scalps their healer – a gentle woman, who had become Claire’s mentor and friend – proclaiming her a witch, and the architect of the curse.

Instead of turfing Mueller out into the wilderness dressed as a buffalo, or something equally absurd, the Cherokee decide to burn down the Mueller house with flaming arrows, and kill both husband and wife. As the flames lick at the bones of the house, and the flesh of its inhabitants, a little girl’s doll sits in the foreground, silently watching as the family to which she almost belonged is purged from the earth. I remember thinking to myself at that point, with a mixture of sympathy and sadness: at least that’s one less trip on the Christmas-card run for the Frasers this year.

There’s a moment just before the fire where we’re tricked into thinking that Claire might be the Cherokee’s target. We’re ready to embrace that possibility because of an earlier scene in which Roger learns that Claire and Jamie died in a fire at Fraser’s Ridge at some point during the 1770s.

The discovery of the newspaper article that announces the Frasers’ fiery demise (which Roger and Brianna come across independently of each other) propels Roger and Brianna back to the stones: Brianna first; Roger hot on her heels. It’s going to be interesting once Brianna finds out that Roger tried to keep her parents’ immolation a secret from her. It’s not really something you could credibly claim to have slipped your mind, is it?

“There was something I had to tell you… em… nope, it’s gone.”

“Was it about dinner tonight?”

“Nope.”

“Em, did you make plans to go out somewhere, with your friends or something?”

“No. No, I don’t think so.”

[silence]

“That’s really going to bug me.”

“Don’t worry about it. It can’t have been that important.”

“That’s it! [smiles and snaps fingers] That’s it, I’ve got it… Your mother burned to death!… I knew it would come back to me.”

[stony silence]

“What do you fancy for dessert?”

Roger and Brianna’s reunion is one for the future (or the past, I suppose), but there are quite enough reunions in this trio of episodes to be getting on with.

Jamie is in the nearby town trying to drum up support for his big land giveaway among a clutch of ex-pat Scottish farmers and emigres. It seems like a generous deal indeed, but the fish ‘aint biting. Maybe Jamie needs his own advert on public access TV, and one of those big wibbly things that dances outside used-car lots.

“I’m Crazy Jamie Fraser, and I’m so crazy I’m about to give away 100 acres of land, THAT’S RIGHT, you heard me, 100 acres of land, to YOU, with no rent to pay! That’s right, NO rent to pay! Didn’t I tell you I was crazy? They don’t call me Only Mildly Mentally-Compromised Jamie Fraser, by God! You’ll pay NO rent, that’s zero pounds, until God himself serves up the first good harvest. Boy, if I was any crazier, I’d be disembowelling people in the forest whilst dressed as a fucking bear.”

No-one will take any land, though, because they see governor Tryon, to whom they will ultimately be in thrall, as yet another in a long line of English oppressors, taxing the farmers and their land to oblivion while growing fat and decadent on the ill-apportioned proceeds. Another rebellion is brewing, and this time Jamie won’t find himself on the side of people like Bryan from Banfshire, or Murtagh… Wait a minute, IT’S MURTAGH!!!

HOORAY!

Old grumpy-pants is alive and well, and living in Carolina as a blacksmith. He looks a lot older, like a Medicine Man-era Sean Connery, but he hasn’t lost any of his grit and fire. Murtagh’s the leader of the regulators, now: a tax-rebel; a righteous Robin Hood, still socking it to the man. Jamie won’t join Murtagh’s uprising against the unscrupulous tax collectors – he’s establishment now, after all. But neither will he stand in the way of the regulators’ efforts, because he’s still James bloody Fraser, ye ken.

I found Jamie and Murtagh’s reunion to be a lot more affecting than Jamie and Claire’s the previous season. Even Murtagh and Claire’s reunion was at least on a par. It’s all very lovely, which makes me worried, because if something’s lovely on Outlander that usually means that death, or rape – or someone being raped to death – is just around the corner.

Anyway, we’ll see. Back to happy. Before long, the whole gang’s kicking back in Fraser’s Ridge: Claire, Jamie, young Ian, Murtagh, John Grey, and Willie – Jamie’s little bastard (in more ways than one). John Grey has been raising Willie as his own, as he promised Jamie he would, the noble son-of-a-bitch.

I don’t understand the weight of suspicion and hostility that Claire directs at John Grey. Or why the show paints John, first and foremost, as some sort of love-sick stalker, ready to risk his adopted son’s happiness and sense of self for another shot at capturing Jamie’s affections. It devalues the character, and generates conflict where none exists. Sure, John obviously loves and admires Jamie, but can’t the writers simply let that be a facet of John Grey’s feelings and character, rather than the thing that dictates and defines them both? His motivations are surely a lot more complex than: ‘I wonder if this’ll be the thing to get my cock in Jamie’s gob.’

There’s hostility, too, between Murtagh and John as they tussle over the subject of the regulators, although John has no idea that the man he’s dining and debating with is the leader of the agitators. Jamie, as a new member of the landing gentry, finds his loyalties divided along lines of class, status and friendship. Murtagh wants him to use his influence with John Grey to get useful information from about Governor Tryon, but Jamie doesn’t want to betray his friend, especially in light of John’s role as father to his young son. Between John and Claire, and Jamie and Claire, and John, Jamie and Murtagh, it’s all a big chess game, and HEY, THEY’RE PLAYING ACTUAL CHESS, WHAT A GREAT METAPHOR!

Jamie gets a chance to bond with his son when John’s struck down with the measles. He takes Willie out into the forest to participate in stereotypically male pursuits like suffocating fish and shooting defenceless animals through the heart. Jamie systematically strips away William’s rank and privilege by forcing him to get his hands dirty by doing things like gutting and dressing the deer. It’s a very paternal urge, to reach out, to teach, to instill a little of himself in the boy’s character.

Jamie needn’t have concerned himself too much. There’s already plenty of him in there. When William sneaks off by himself to snag a fish he incurs the wrath of the Cherokee, who demand his blood as penance for the theft (that river’s a dangerous bloody thing – stay away from it in future!) William is only saved by a combination of Jamie blurting out the truth of the boy’s paternity, and his own honour and fortitude. Instead of walking away from the incident with his throat slit from ear to ear, he leaves with nothing more than a cut hand, a symbolic warning.

This traumatic event jogs William’s memories of his childhood, and Helwater. When William asks why Jamie didn’t look back at him when he was shouting and running after him on the day he left Helwater, Jamie says it was because he didn’t want to give false hope that they’d ever see each other again. It’s nice, then, that the episode ends with William leaving with John Grey, and turning to look straight into his father’s eyes.

That represents hope.

Which means you’re dead, William. Dead, dead, dead.

Sorry, mate. You’re in Outlander, not Downton Abbey.

A few final, disjointed thoughts

  • I was a little disappointed in Myers, the forest’s resident wilderness expert, during the bear saga. His knowledge of the natives, local wildlife and survival techniques didn’t count for much when he was dripping with blood and trying to squeeze his innards back into his ample belly. You failed, Fake News Bear Grylls, so move aside and make way for the real survivalist hero, Jamie Fraser: the mighty Bear-Batterer of Lallybroch.
  • Ah, you Americans and your famous ‘delicacies’. ‘Jerked meat’ means something a lot different in modern-day Scotland. As does ‘meat shed’. I think it’s a gay bar on Byres Road.
  • They made rifles bigger in the olden days, didn’t they? Mighty me, they were like bloody javelins.
  • I laughed when the subtitles popped up on screen when Murtagh was talking. He said, ‘Haud yer wheesht!’, and the subtitles said, (speaking in Gaelic). That’s not Gaelic, you silly sausage of a subtitler. That’s just slang. Póg mo thóin… now THAT’S Gaelic.
  • When Graham McNeil’s wife answered the door to Jamie in town, she gave him a look that suggested she was hankering after his little Greyfriar’s Boaby. I’m sure we haven’t seen the last of her.
  • Young William, with his long hair and half-confused pout, looks like Boaby, the man who works behind the bar of The Clansman in the Scottish comedy series ‘Still Game’. As a Scotsman, it gives me immeasurable pleasure to say that Willy looks like Boaby.
  • Jamie and Claire’s bawdy banter in the bath at the close of episode six was excruciating. Is it my imagination, or is there no longer any chemistry or passion between the two leads? It all seems so rote, so forced. Maybe that’s just a realistic portrayal of a marriage, I don’t know. What I do know is that young William looking back should’ve been the image to end that episode.
  • I’m looking forward to Brianna and Roger’s escapades in the past, which I’m sure must be coming in the next episode.

If you’ve got kids, grandkids or little people in your lives, read them this funny little story I wrote, Roy, Boy of Earth, and consider making a small donation to charity.

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Why I want to binge-watch Outlander

Jamie’s Outlander Binge – Season 1, Eps 1 – 4

Jamie’s Outlander Binge – Season 1, Eps 5 – 8

Jamie’s Outlander Binge – Season 1, Eps 9 – 12

Jamie’s Outlander Binge – Season 1, Eps 13 – 16

Jamie’s Outlander Binge – Season 2, Eps 1 – 4

Jamie’s Outlander Binge – Season 2, Eps 5 – 7

Jamie’s Outlander Binge – Season 2, Eps 8 – 10

Jamie’s Outlander Binge – Season 2, Eps 11 – 12

Jamie’s Outlander Binge – Season 2, Ep 13

Jamie’s Outlander Binge – Season 3, Eps 1 – 3

Jamie’s Outlander Binge – Season 3, Eps 4 – 5

Jamie’s Outlander Binge – Season 3, Eps 6 – 7

Jamie’s Outlander Binge – Season 3, Eps 8 – 10

Jamie’s Outlander Binge – Season 3, Eps 11 – 13

Jamie’s Outlander Binge – Season 4, Eps 1 – 3

Jamie’s Outlander Binge – Season 4, Eps 7 – 10

30 Things You Didn’t Know About Scotland

Jamie’s Outlander Binge – Season 4, Eps 1 – 3

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Part 15: The Unicorn Meets the Eagle (or ‘America… f*** yeah!’)

Wherein Claire and Jamie are slaves to fortune, and others are just slaves

The shape and boundaries of Outlander’s story changed in steady increments throughout its third season, building to a wave (a literal one) that swept the show off its axis and into the raw, thumping heart of America’s pioneering past.

Drawing purely on internet chatter from the many Outlander fan groups I follow, season four’s new direction seems to be the site of the greatest schism yet between fans. Some consider the season to be an evolution, others a metamorphosis (from a butterfly back into a caterpillar). Some see it as a revelation, others an abomination. The fans have split into factions as surely as the two warring sides at Prestonpans or Culloden, a fierce, head-on battle for Outlander’s heart and soul. The question keeps coming up: is season four a blossoming, or a blooming disgrace?

So far, I can’t see what all the fussing and fighting is about. Sure, the show looks and feels very different in many ways, but it’s still solidly and undeniably Outlander. As a litmus test I spent the duration of ‘America the Beautiful’ playing a game of Outlander bingo: pointless Claire monologue? CHECK! Soft-core pornography? CHECK! Occasional bouts of yukky, stilted, over-literary dialogue? CHECK! An irredeemably psychopathic bad guy? CHECK! Hanging; misery; betrayal; death; wonky accents… BINGO!

Characters may live, characters may die; characters may come, characters may go; here, there, back, forth, but there’s one absolute constant in the world of Outlander.

Rape.

We’ve already established that the old world was a minefield of sexual assault (plus ça change) with defilements and debasements round every corner, so kudos to Diana Gabaldon and the writing team for always finding new and inventive ways of putting a fresh spin on the horror. I swear that Diana’s rolodex must be a veritable encyclopedia of assault-based flights of fancy. I wonder what ideas lurk in there yet to be employed? Hot-air balloon rape? Man serially abused by evil trees? Elks held in sexual captivity?”

This time around the horror belongs to young Ian, who admits to Jamie he’s still traumatised by the Bakra’s blood-soaked predations. The knife to his neck was but the final straw in a campaign of bodily terror that saw his spirit broken, his pride punctured and his memories hijacked, all of it garnished with a liberal sprinkling of shame.

Is it really any wonder that the Outlander fandom idolises Jamie? He’s a thoroughly good egg, isn’t he? Jamie is more progressive, patient and understanding than many social-justice-seeking millenials I’ve met. “Some ghosts can only be banished by naming them and their misdeeds aloud,” he tells Ian, shooting for spiritual guidance and in the process stumbling across modern psychology and the healing science of talk therapy. Jamie’s own experience with sexual violence has given him greater empathy for people in general, and victims of sexual assault in particular, but more than that: he’s a man who’s always been several hundred years ahead of his time (give or take a few ill-judged slaps).

Black Jack Randall may be dead, but his spiritual successor is alive and well in pre-revolutionary North Carolina. Step forward Stephen Bonnet, Outlander’s latest dastardly villain. Bonnet’s a mad, bad Irishman with the nervous, twitchy energy of a thousand Rik Mayalls, but none of his zany, humanising humour. There’s something more shark than man about this greedy, thankless scoundrel, who repays vulnerability with attack, and kindness with death.

After Hayes hangs for a crime of passion, Bonnet – next in line to swing – takes advantage of a diversion caused by Hayes’ angry, grief-stricken pal to flee his own pendulum-based destiny. Claire and Jamie later discover that Bonnet has hitched a ride in the back of their wagon, and against their better judgement agree to hide and harbour him, smuggling him past squads of redcoats.

When they next encounter Bonnett, he’s a robber, rascal and all-round rotter. He boards Jamie and Claire’s riverboat with his crew of criminals and proceeds to beat, terrify and humiliate his saviours, taking Jamie’s gems and Claire’s wedding rings, and even slitting the throat of the aforementioned grief-stricken pal to whom Bonnett indirectly owes his life. He’s… well. How shall we put this?

He’s a bit of a c***, isn’t he?

I wasn’t entirely sold on the use of Ray Charles’ ‘America the Beautiful’ over the scene of the boat rampage. While I understand that the juxtaposition of the song’s cheery melody with the visceral horror unfolding to its accompaniment serves to amplify the senseless horror of the attack, I really needed and wanted to hear the angst, the screams, the threats, the slits, thuds and cracks. Not because I’m an irredeemable sicko, you understand (although in many ways I am). I just felt that the music both dulled the magnitude of Bonnet’s betrayal and softened the impact of the violence. I wanted to see, hear and feel it the way Jamie and Claire did, no holds barred. I wanted to share the totality of their pain, anger and thirst for retribution.

[Granted, though, there was something irresistible in hearing a song about America, performed by a black man in segregation-era America, playing over a scene that typifies the violence upon which modern American was built.]

It’s clear that Bonnet has much in common with the fabled scorpion who hitches a ride on the back of a too-trusting frog, but team Fraser’s not exactly lacking for stings. I’m sure there’ll be a reckoning, and soon. But I fear that before that day comes, Bonnett will do much worse to the Frasers and those close to them. Much, much worse.

So far, barring the obvious robbery-homicide, the very worst thing that Stephen Bonnet has done is… speak. What is it with this show and accents? If they aren’t always going to hire Scottish or Irish actors to play Scottish or Irish parts, they should at least seek to hire actors who can turn their tongues to multiple dialects with ease. Ed Speleers is a good actor, but his Irish accent is a little… off. It isn’t in the same league of aural atrocities as Geillis Duncan’s ear-murdering lilts, but it’s just out of alignment enough to hamper the suspension of my disbelief. I’m sure the people of Minnesota, Rhode Island, Durban and Tokyo aren’t all that bothered about a few stray Oirish (sic) intonations, but I know one picky, prickly Celt that sure as shit is.

Ditto Aunt Jocasta. Now, Maria Doyle Kennedy is a talented actress, still in the midst of a long, varied and successful career – and I adored her in Orphan Black as the world-weary, murky, but deeply maternalistic Mrs S – but her Scottish accent is too clipped and staccato to scan as wholly authentic. Again, it’s just… just… a little off. Ever so slightly. But enough for each syllable to boom in my ears like a bomb.

Anyway, enough nit-picking. It’s time to… well, whatever the opposite of nit-picking is. Putting nits back? Making nits great again? Establishing a comprehensive nit-breeding program? WELL, RELEASE THE NITS, because I think that the fourth season’s second episode ‘Do No Harm’ is among the best the show has ever done.

It’s exquisite: a harrowing tale of conflict, prejudice, hatred, hope, despair, tragedy, ignorance and helplessness, for which there are no easy answers and from which there is no method of escape for Jamie or Claire that won’t leave them drenched in the blood of innocents.

Jamie’s experiences suffering under the jackboots of the English forces in Scotland has given him an affinity with subjugated and dispossessed peoples the world over, which predisposes him to stand up for the slaves’ humanity and freedom. Claire cannot abide injustice, and seeks to overthrow it wherever she encounters it, by any means necessary, and no matter the cost or the futility of the act. But here their noble impulses are prostrate in the face of a system that won’t budge, no matter how firmly they press their pasty-white shoulders against it. Jamie knows that even if he could rally the slaves to overthrow their masters, he’d most likely get them all killed in the process – maybe even his beloved aunty, too. Claire, from her vantage point in the future, knows in which direction this particular path of history is winding, and if Culloden couldn’t be stopped… then neither can this.

With each fresh attempt to do the right thing, Claire and Jamie only succeed in making themselves more complicit in the unfolding horror. Their impotence in the face of systemic racism and cruelty is grueling and horrible, though as a narrative choice it’s delicious: a rich seam of conflict and tension.

What does justice mean, who does it really serve, if its points are calibrated so crookedly? When blind white hatred outweighs black lives and freedom? Slavery is a system and a way of thinking that’s a danger and a detriment to the bodies and souls of all men, women and children, irrespective of colour; although the heavier burden rests, of course, upon the shoulders of those with darker skin tones. Sometimes that burden rests upon them literally, forcing them to exist as human cart-horses.

Jamie can’t abide the sight of Rufus hanging from a hook, awaiting excruciating torture and death at the hands of his hate-filled ‘masters’. It sickens and angers him. Hayes being hanged was one thing, this is quite another. He saves him… or so he hopes.

Claire takes an equally bold stance – placing the Hippocratic oath before the hypocritical oath of hatred – by using her surgical skills to heal the wounded man. I thought Ulysses – Aunt Jocasta’s slave of slaves – was going to thank Claire for her efforts, but he instead rebukes her for having intervened. He tells her with some anguish that when the angry crowd gets its hands on Rufus now, which it will, the boy’s fate will be much worse… that they’ll make an example of him to put all of the slaves in their place

It reminded me of the time I stood up for a homeless person who was being verbally abused and threatened on a cold, Aberdeen street. ‘Thanks,’ the homeless man said to me, once I’d warned his would-be attackers off, ‘They’ll probably come back later and kick the living shit out of me now.’

The only choice open to Claire if she wants to safeguard the rest of the slaves, preserve the time-line and ensure a less harrowing death for Rufus is to kill her himself. Jesus, that’s dark, Outlander. Commendably dark. A different show might have seen Claire and Jamie fake Rufus’ death and smuggle him out of town to safety, but this show likes to revel in its impossible choices.

On that note: Claire’s turning into quite the little serial killer, isn’t she? A real Harriet Shipman. They’ll soon have to rename the show ‘Take Me Out-lander’. Who’s she going to poison next?

‘Claire, young Ian’s got a bit of a sore leg. I think he’s grazed it.’

[Claire nods] ‘You get the kettle on, Jamie, I’ll go fetch the [wink, wink] special ingredient.’

‘NO, CLAIRE!!! JESUS CHRIST!’

Claire’s send-off for Rufus was agonising but tender. In death, she handed him freedom, and returned him to his family – even if it was only in his mind’s eye in the brief moments before it winked shut forever.

Then the lynch mob are handed Rufus’s body. Nothing sums up the insanity of racism more than a bunch of angry, mad bastards hanging a corpse. What awful, terrible bastards we’re capable of becoming given the right (or wrong) circumstances. It’s no great surprise that Jamie and Claire decline Aunt Jocasta’s offer to join them on her estate.

I always start these diaries worrying that I won’t be able to write enough and then, once I hit my stride, I always worry that I’ve written too much. Outlander lends itself well to analysis, and because of my closeness to the country that started it all, and my love of TV and pop culture, there are always multiple routes to journey down off the main avenues laid down by the episodes. And, as you’re by now well aware, I do so love a good segue.

However, whenever Roger and Brianna dominate an episode my anxiety about writing too much vanishes. I’ve never found their arc especially compelling, a lack of enthusiasm that’s only been compounded by my indifference to Brianna – both the character and the actress who portrays her. I feel like I could get away with writing, ‘Roger and Brianna did stuff, and then they did some more stuff, and then all the stuff was done, the end.’

Well, blow me down. What a difference a year makes. Brianna and Roger seem really good together here. And I like Brianna now, both the character and the actress. Sophie Alexandra Skelton has really settled into the role, and the character seems at once more relaxed, and significantly wilder. Brianna definitely has Claire’s tunnel-visioned, devil-may-care-ness, but it’s untempered by the anguish of wars and death. I’m sure her impulsivity will spell trouble for Roger in the long-run.

He’s a real love-sick little puppy, isn’t he? That’s when he isn’t being all whiny, passive-aggressive and entitled. I thought their burgeoning romance, with all its confusion, angst and heartache, was handled very well. And Brianna’s blouse landing on the deer’s antlers like some sexy parachute made ma laugh. Still, say what you like about Roger, there aren’t many men who would travel all the way to North Carolina to attend what appears to be a Scottish-themed church bazaar.

The song that Roger sang on stage for Brianna made me cringe. The lyrics were horrible, the tune was crud, an assessment obviously not shared by Roger’s audience, who sat enraptured; smiling, nodding, and staring ahead with unblinking zeal. I’ve been at concerts, recitals and karaoke nights. At least fifty per cent of the people in any given audience are chatting among themselves; twenty per cent or more are off at the bar; fifteen per cent are asleep; and the other fifteen per cent are staring down at their shoes like they’re trying to figure out how to use them to kill themselves.

Anyway, Roger and Brianna did stuff, and then they did some more stuff, and then all the stuff was done. The end.

A few final, disjointed thoughts

  • As Claire and Jamie’s first big bonk of the season got underway, my partner shook her head and said, ‘Why is Claire always just wet? No preamble, no foreplay: plop – in he goes.’ ‘Maybe because they’re constantly surrounded by the aphrodisiac of death and danger, and he’s got big muscles?’ She was still incredulous. ‘That’s not how vaginas work.’ It was my turn to shake my head. ‘Maybe this says more about me, than it does about Claire and Jamie.’
  • When the Scots were all gathered together drinking booze and singing Gaelic songs in a phlegmy warble, it reminded me again of how many similarities there are between Scots and that other long-haired, often-indecipherable warrior race, the Klingons.
  • So, the historical genesis of the drum-roll is as an accompaniment to hangings, is it? Thank you in advance, Outlander, for helping me to win a pub-quiz at some point in the future. What a wonderful, though slightly disconcerting, sprinkling of detail. I’m more used to hearing drum-rolls during a magician’s act. It’s a bit jarring to hear it accompanying a horrid, neck-snapping death, although what is hanging if not a magic trick without the ‘ta-da’ bit?
  • I hope we see more of John Quincy Myers – Hagrid’s little brother meets the bearded music teacher from the Walking Dead.
  • Ditto Phaedre. Good actress, good character. Wise and spirited beyond her years. I hope we see a lot more of her.
  • I wish Lt Wolff had been this season’s baddy. You can just tell he’s going to be a complete, unbridled arsehole.
  • What a big man-child I am. I found myself snickering away at the subtitles when they were describing animal noises. My partner shook her head in despair. Come on, though, ‘horse nickers’? A horse wearing a big pair of ladies pants? Who can blame a man for chuckling like a child? And the less said about the ‘gobbling softly’ the better.
  • Claire see the ghost of an Indian, and it leads her to Jamie. I’m sure that presages the appearance of some real-life native Americans in the show.
  • Frasers’ Ridge! Now I understand why that Facebook fan group calls itself that!

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READ THE REST – Click below

Why I want to binge-watch Outlander

Jamie’s Outlander Binge – Season 1, Eps 1 – 4

Jamie’s Outlander Binge – Season 1, Eps 5 – 8

Jamie’s Outlander Binge – Season 1, Eps 9 – 12

Jamie’s Outlander Binge – Season 1, Eps 13 – 16

Jamie’s Outlander Binge – Season 2, Eps 1 – 4

Jamie’s Outlander Binge – Season 2, Eps 5 – 7

Jamie’s Outlander Binge – Season 2, Eps 8 – 10

Jamie’s Outlander Binge – Season 2, Eps 11 – 12

Jamie’s Outlander Binge – Season 2, Ep 13

Jamie’s Outlander Binge – Season 3, Eps 1 – 3

Jamie’s Outlander Binge – Season 3, Eps 4 – 5

Jamie’s Outlander Binge – Season 3, Eps 6 – 7

Jamie’s Outlander Binge – Season 3, Eps 8 – 10

Jamie’s Outlander Binge – Season 3, Eps 11 – 13

30 Things You Didn’t Know About Scotland

 

Jamie’s Outlander Binge – Season 3, Eps 11 – 13

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Part 14: Return of the Aye-eeee

Wherein some people are nuts, and some people talk to nuts, and they’re the less nutty ones

These days, it seems there aren’t any American actors in lead roles on US TV. Even the characters that are supposed to be American are played by British or Australian actors.

Before Idris Elba hit stratospheric levels of fame, he teamed up with Dominic West to fool The Wire-watching world into believing both were natives of the Baltimorean landscapes over which they battled and hustled; Hugh Laurie expertly masked his middle-Englishness to play the embittered, brilliant, ebullient and quintessentially American Gregory House MD; and two Australians, Aden Young and Adelaide Clemens, convinced absolutely as a pair of tragic, star-crossed souls from the deep-south in Showtime’s exquisite crime-and-redemption series Rectify. These actors and actresses are all exemplars of the craft of transatlantic (or transpacific) tongue twisting.

There is, however, an ever-growing roster of Brits and Antipodeans who’ve less than impressed the great American public with their efforts: Rick in The Walking Dead (especially in the first season, where he sounded like Forrest Gump’s even dippier cousin); Ewan McGregor in the third season of Fargo; Charlie Hunnam in Sons of Anarchy; and Gerard Butler in… well, in just about anything in which he isn’t supposed to be Scottish.

Except in the most heinous of cases, my untrained ears can’t seem to discriminate between good and bad attempts at the various dialects of the US. It got me wondering if people outside of the UK accept on the same unconditional terms the attempts of non-British actors to mimic our native accents. Did people in Rhode Island detect anything amiss in Dick van Dyke’s famously shite attempt at Cockney? Did the people of Florida notice that the Northern Irish accents in season 3 of Sons of Anarchy were so bad they almost constituted a war crime? And what do the people of New York, Nevada and Hawaii think of the Scottish accent issuing from the mouth of Outlander’s resident death-defying witch, Geillis Duncan?

I’ve no way of knowing. I can, however, tell you what the people of Thisguy, Scotland think of it. How can I put this? Hmmmm. Well, em… Lotte Verbeek has a good stab at the Scottish accent. The trouble is that she doesn’t stop stabbing. She stabs it again and again and again and again. Until it’s dead.

That may sound uncharitable of me, and that’s because it is, but in my defence it’s impossible not to feel a little combative considering that the character of Geillis contributes to how my kin and culture are conveyed to the world. Outlander is, after all, one of the most widely popular Celto-centric TV series of all time.

Don’t get me wrong, Verbek is a good actress, and she makes a commendable attempt at a Scottish accent considering that she hails from mainland Europe, but Geillis’s dulcet tones are so off-centre that, as a Scot, it takes me out of the performance entirely. It’s like listening to a symphony being played off-key on un-tuned instruments by a drunk orchestra.

Of dogs.

There’s one way you can judge the quality of a Scottish accent, and it’s this: the more syllables an actor adds to the one-syllable word ‘Aye’, and the longer those syllables are drawn out, the worse the attempt. Case in point: if Geillis’ ‘ayes’ were elongated any further they’d basically be the death throes of a Japanese Anime character.

Anyway, we’ll return to Geillis later in the run-down. For now, let’s kick things off with a ship-wrecked Claire, who wakes up shaken and stirred on a strange island; singular in her purpose, alone in her terror. The island Claire finds herself on is a mish-mash of Biblical tropes: it’s Eden after the fall; it’s the wilderness through which Jesus wandered for forty days and forty nights, warding off the temptations of the Devil himself. There are indeed snakes here with Claire, but they aren’t much interested in tempting or talking: just in throttling and biting.

For the first 16 minutes of Uncharted, Claire is on her own. There are no people in this strange environment, only hunger, and a landscape littered with prickly plants and biting ants. Basically, she’s Mowgli, but without the singing animals.

I’m a sucker for the Robin Crusoe narrative, especially when it’s riven with religious symbolism. I love to see snapshots of our primal past and renderings of our post-apocalyptic future: the isolation; the struggle. HBO’s The Leftovers delivered this brilliantly, twice: once, when it showed the plight of an early human female navigating a deadly, antediluvian landscape with her newborn child, all the while surrounded by threats and augurs, and again when it showed us Kevin Garvey Snr wandering the Australian outback in the third season episode Crazy Whitefella Thinking. Even the Discovery Channel’s Game-of-Thrones-But-A-Wee-Bit-True series Vikings got in on the game when Floki first discovered the empty, roaring majesty of pre-colonisation Iceland, a rugged landscape he first mistook for Valhalla.

Scott Glenn as Kevin Garvey Snr in season 3 of The Leftovers

Silence, and paucity of speech, if used sparingly, can lift and liberate a piece of television. Silence has a great transformative power; it can sharpen our senses; open our minds; direct our focus to all that’s profound and terrible at the heart of the human condition.

Outlander couldn’t get Claire to stop talking long enough to give that a try.

I know Claire’s narration is a device that creates a bridge between the book and the TV series, but in this case… to whom is she narrating? And what does her narration add in way of shade or nuance to what we can already see and intuit with our own brains and senses? Surely one of the main benefits of Claire having no-one to talk to is that we don’t have to hear her moan or state the obvious for a while. But no. We’re shoved inside her head, like it or not.

“I was hungry. That means I needed food. I needed to find some food. So what else could I do? I decided to find some food. I had to try. But it wasn’t easy. The longer I went without food, the hungrier I got, and the harder it was to find the food. And the more I missed Jamie. Ow, an ant just bit me. That was sore. Still, at least it took my mind off how hungry I was for a moment there. I really need a shit now. I wonder if I can risk wiping my arse with any of these strange leaves? Goodness, I’m hungry. Did I mention that?”

Next we meet Father Fogden, the foppish Englishman of aristocratic stock who has a close, personal relationship with a coconut we pray isn’t sexual. He’s eccentric, he’s adorable, he’s sinister (the man, that is, not the coconut): he’s a Richard Curtis character who’s been inexplicably written into The Shining; he’s the newest owner of the Caribbean Bates Motel, but instead of his mother being dead, she’s an angry fat Cuban lady, who isn’t really his mother, but his almost-mother-in-law. Imagine losing your wife and being trapped forever with your mother-in-law. No wonder he’s on the yupa.

Mamacita – the mother of Father Fogden’s lost love Ermenegilda – wastes no time in cursing Claire to Hell and back, switching it up between English and Spanish so as to inject a bit of variety into her scorn. It becomes clear why Father Fodgen is so fond of fraternising with coconuts (although the hallucinogens might have something to do with that as well). As Claire heals, Mamacita cooks for her, serving up stank with a side-plate of sass for every meal.

Thankfully, Mr Willoughby’s goat-killing proficiency alerts Claire to the presence of Jamie’s ship. Claire’s dash through the jungle to catch Jamie’s ship before it ups anchor and sails away is commendably tense. Thanks to Outlander’s historic cruelty towards its central lovers I really wasn’t expecting a happy re-union. As the action cut between Claire’s panic and Jamie’s preparations, I prepared myself for the old time-delay trick (making it look like Claire was about to catch the boat with seconds to spare, when in reality she’s missed it by a whole day) or the different-place trick (they’re in the same time-frame, but on completely different islands).

Claire is a lot of things – stubborn, haughty, sometimes dangerously myopic – but she’s no damsel in distress. She’s brave, cunning and, above all, resourceful, the latter quality proving the difference between Claire being marooned with Lord Coconut and Mama Sass for all eternity, or sailing off into the sunset with Jamie once more. All it took was a wee waggle of a mirror through a sunbeam, and Jamie was rousing the troops to rescue her.

‘MacDuhb’s wife turns up in the most unlikely of places, does she no?’ says this season’s Angus to this season’s Rupert. Outlander knows fine well that we know that they know that we know how delightfully preposterous the show can be sometimes.

Father Fogden – my very favourite Caribbean-crack-smoking, coconut-nattering nincompoop – again gets to a shine when he presides over the union of Fergus and Marsali. I love Fogden, and I sincerely hope two things: a) that he returns next season, and b) that he’s free to officiate my real-life wedding later on this year. What a unique occasion it would be. I don’t know many people who have been joined in holy matrimony by a man who’s off his tits on gin and yupa.

I laughed heartily when Father Fogden tried to marry Marsali to a different guy on account of Fergus’s missing hand, and then laughed again when, his mistake having been corrected, he shrugged and said, ‘Not as though he’s lost his cock… you haven’t, have you?’

While I saw it coming – and it was a long time coming – it was still hellishly sweet when Jamie asserted kinship over Fergus by handing him the Fraser name.

Uncharted, then, was like the Fall of Eden in reverse: beginning with a silent, lonely journey through deadly and inhospitable terrain, haunted by the specter of a serpent, and ending with two characters joined together in hope, innocence and love, but also – you know, haunted by the specter of a serpent… if you know what I mean (nudge, nudge, wink, wink).

The state of Eden is a distant memory for the poor Africans caged and enslaved in the sweltering heat of the Jamaican sun. The very best life they can hope for, at least for the next few centuries, is one serving drinks to snooty, cruel or indifferent aristocrats. It goes without saying that slavery is a repulsive practice. That human beings treated other human beings like that is disgusting, that it happened not so long ago in human history is chilling. For once, Claire’s inability to tolerate any act of injustice irrespective of the times and irregardless of the consequences is worth championing – even if it will almost certainly draw unwelcome attention to Jamie’s visibility and presence on the island.

Deliciously, though, history might think differently. In order to free a slave called Temeraire, Claire had to buy him, which means there’s a physical record of the vehemently anti-slavery, time-travelling firebrand buying a slave and therefore, on the surface of it, actually contributing to slavery.

So, Geillis then. She was never a particularly nuanced character to begin with – Lady Macbeth with a touch of murderous New Age Earth Mother – but in her latest (and last) incarnation as a blood-bathing black widow and purveyor of black magic, she’s positively ridiculous. When she isn’t chasing after the shiny MacGuffin fastened to John Grey’s coat, she’s waving her hand in the air in a dismissive manner and storming through a crowd of party-goers in her big flouncy dress to a chorus of giggles and gasps, like some cartoonishly wicked pantomime dame.

Let’s talk John Grey here. Until now we’ve seen him as a noble but dopey, love-sick little puppy, holding a candle (or indeed a sapphire) for Jamie across time and across continents. The moment where Claire works this out is incredibly sweet.

But the man also has a steely side, shown here when he delivers a rousing, stinging, brutal dressing down to the status-hungry Captain Leonard, saving Jamie’s skin into the bargain. I was almost out of my seat cheering.

Once Geillis’s three-stage-plan to immolate Ian, infiltrate the future and bump off Brianna was foiled, I half-expected her to turn to the Frasers and snarl, ‘And I would’ve gotten away with it, too, if it wasn’t for you pesky kids!’ But she was far too busy being decapitated for any of that malarkey.

Well, almost decapitated. In the books I gather Claire sees the job through with the business-end of a blunted axe, but in the TV show she only manages a partial chop. That’s not a criticism. I know how hard it is to cut a cantaloupe under ideal conditions, so kudos to TV Claire for trying. There are thin religious parallels here that are probably more explicit in the book on account of Claire’s more successful stab at decapitation.

In the Bible, John the Baptist – who as his name suggested loved a good baptism – prophesies the coming of the Messiah; a great ruler of legend for whom he is the fore-runner. A little later, he’s beheaded. In Outlander, Geillis – who performs baptisms of sorts upon herself, and always in goat’s blood – prophesies the coming of a great ruler. A little later, she’s beheaded. Did I mention the parallels were thin?

I guess it’s easy to see God-shaped shadows everywhere in a season that’s been so awash with Biblical imagery, from Jamie’s hellish print-shop fire to goats to prophecy.

Outlander is usually pretty good at making its sex scenes tell a story, but here – in their last bout of bump n’ grind before their boat is engulfed by waves; the ‘clam before the storm’, if you like – it felt gratuitous. Yes, I know I can’t grudge them some tenderness after all the many hardships they’ve just endured, but it didn’t feel like their passion was informed or fuelled by the cocktail of emotions that undoubtedly would have been swirling around in their hearts and bellies, particularly since Claire had just killed a woman. Oh, and FYI, the use of the word ‘breeks’ is never sexy. Never. In Scotland you’ll most often hear it in this sentence: ‘Whit’s wrang, have ye shat yer breeks?’

That storm was breath-takingly realised, though. It looked and felt dangerous, deadly and horrifying. I got a real sense of the dizzying, frenetic, claustrophobic terror the crew must have felt. Really made me feel on edge: the raging power of the waves, the hopelessness and helplessness, the shrill whistling of the wind, a deadly world drained of colour, and alive with life-smothering danger. Bravo. Spectacularly well done.

Oh, hi, cliched-kiss-of-life-under-the-water, we’ve been expecting you!  And then, later, on the shore, Jamie manages to bring Claire back from the brink again with his very own patented brand of CPR – a very gentle kiss on the cheek.

At least Outlander has kept its two lovers together this time, first at the eye of the storm, and then in bewildered exile, where they always seem to find themselves. Where are Fergus and Ian? What are they going to do? Is Jamie safe from the King’s men?

God Bless America.

See you soon for season four.

A few final, disjointed thoughts

  • I mentioned the TV show Rectify way back at the start of this article. Please, please watch it, I beg you. It’s haunting, raw, poetic, visceral, and agonisingly beautiful; in this scribe’s humble opinion one of the best TV series of all time (if that isn’t too blasphemous a thing to say out here in Outlander-land).
  • I could tell pretty early on that Mark Hadfield wasn’t Scottish (the actor who played Mr Campbell, Margaret the seer’s brother) but never-the-less Mark does a very good job, never letting the accent drift into the realms of parody or exaggerated stereotype. English fans: is Claire’s accent good? It sounds pretty spot on to this set of Scottish lugs, but let me know in the comments below or on Facebook.
  • The bit where Jamie has to deliver penicillin to a poisoned Claire is nicely done. His reluctance to pierce Claire’s skin with the needle coupled with his baffled astonishment at the whole realm of modern medicine I’m sure made the Outlander-watching world erupt in a sonic-boom of ‘Awwwwws’.
  • On the subject of Geillis: if I can just let my carnality shine through for a moment, I found it particularly pleasant when she rose naked from her pool dripping with blood like some sexy mash-up of Hellraiser 2 and Cleopatra. I wasn’t a big fan of her feet, though. Not a foot man in general, I’m afraid. The moment Geillis started stretching and rubbing those veiny numbers in Ian’s face, allegedly in a bid to seduce him, I began hurling pairs of socks at the TV screen.
  • “Your nipples staring me in the eye, the size of cherries…” Em, smooth line there, Jamie. You should somehow try to work the word ‘breeks’ into there. It’s a good job you’re handsome, son, because your patter is awful.
  • I keep forgetting about Jamie’s disfigurement at the hands of the horrible Black Jack. Every time Jamie and Claire bonk it must cost the make-up department a small fortune. “Hey, we’ve got a big sea-battle coming up… maybe Jamie could keep his dressing gown on for this fuck?”
  • “Where did you find him? I must know, is he genuine?” – the look on Mr Willoughby’s face here was charming and funny.
  • I liked the closed circle of discovering that Claire had already investigated the murder she’d just committed.
  • Margaret tells Mr Willoughby: ‘You’re a rare soul’, which makes him smile. Be careful though, Wlloughby. You’re still not adept at decoding the Scottish accent. She might have just called you ‘an airsehole’.I hope Willoughby and Margaret are very happy together. In years to come I’m sure they’ll delight in telling their kids all about that time Daddy murdered their uncle.
  • I’m not sure about WIlloughby’s or Margaret’s arcs. Seems like it was all a bit too convenient. Ultimately, I don’t think either of them, separately or together, were handled particularly well.
  • When Margaret goes into full prophecy mode, I always burst out laughing.

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Why I want to binge-watch Outlander

Jamie’s Outlander Binge – Season 1, Eps 1 – 4

Jamie’s Outlander Binge – Season 1, Eps 5 – 8

Jamie’s Outlander Binge – Season 1, Eps 9 – 12

Jamie’s Outlander Binge – Season 1, Eps 13 – 16

Jamie’s Outlander Binge – Season 2, Eps 1 – 4

Jamie’s Outlander Binge – Season 2, Eps 5 – 7

Jamie’s Outlander Binge – Season 2, Eps 8 – 10

Jamie’s Outlander Binge – Season 2, Eps 11 – 12

Jamie’s Outlander Binge – Season 2, Ep 13

Jamie’s Outlander Binge – Season 3, Eps 1 – 3

Jamie’s Outlander Binge – Season 3, Eps 4 – 5

Jamie’s Outlander Binge – Season 3, Eps 6 – 7

Jamie’s Outlander Binge – Season 3, Eps 8 – 10

30 Things You Didn’t Know About Scotland

Jamie’s Outlander Binge – Season 3, Eps 6 – 7

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Part 12: Publish and be damned

Wherein Jamie and Claire’s reunion is interrupted by the usual broth of death and nonsense

We change a lot over the course of our lives.

The early 20s version of me wouldn’t recognise the late 30s version of me. Well, he would recognise him… he’d just think he was a terminal bore; an old sell-out; a mythical beast that’s half-man, half-box-set.

My twenties were a riot of burning bridges (metaphorically, not literally – I wasn’t quite that bad), broken promises, drunken debauchery, bizarre experimentation, lost jobs, failed relationships, panic attacks, doom, despair, suicidal ideation and abject misery. In short, they were fucking brilliant.

By contrast, my mid-to-late 30s have been something of a peaceful triumvirate of book reading, trips to the park and early nights. I’ve long since quit smoking, and I’m essentially tee-total. Some of that’s down to becoming a dad; some of it’s down to the steady venting of testosterone as I get ready to run the final half-lap to death. (I say run…)

And do you know what?

My two bonnie boys – Jamie

My thirties have been brilliant, too. Settling down, becoming a dad. Awesome. While I can’t deny that life occasionally makes me want to reach for the vodka and the anxiety meds, I wouldn’t change any of it. You grow into the different stages of your life. Your wants, needs, aims and body all change, and you change to accommodate them, most of the time without even realising it.

Of course it always helps to have a fair wind at your back. Luck’s a big part of life, quite possibly the biggest. For instance, if you happen to be a rebellious hero with a big mouth who’s born into a land-owning family in a Scotland that’s under English ‘occupation’, you’re probably not going to have an easy time of it. And that’s before you factor in the possibility of falling in love with a woman not fated to be born until at least a hundred years after your death.

Even still, time changes people. And no-one knows that better than Jamie and Claire.

When we first caught sight of 20-years-older Jamie at the end of the previous episode he appeared to have grown old gracefully: forsaken the fighting, warring, drinking, boiling passions and general tumult of youth in favour of a safe and steady life in a safe and steady profession. His days seemed to be spent patiently poring over paper and ink, a dinky wee pair of professorial spectacles perched upon his nose. No quarrels. No rebellions. No trouble. Just routine: dull, faithful routine. As one Jamie to another: welcome to the club, brother.

But Jamie Fraser hasn’t calmed down one iota. If anything he’s veered top speed into the stereotype of the male mid-life crisis. Even in the cosy, middle-class world of the Edinburgh print scene, he can’t seem to resist wedding himself to dirt and danger. Though he sports the look of some kindly Geppetto-style character, he’s a bad boy, through and through: a printer and distributor of seditious pamphlets; a booze smuggler in thrall to a corrupt customs officer; and to top it all off he’s living in a brothel. Jesus Christ, Fraser, all that’s missing is the Ferrari and the ear-ring.

One thing 20-years-older Jamie doesn’t look is… well, 20-years-older. ‘I don’t look like an old man?’ he asks Claire, once he’s picked himself up off the floor. Em, no. No, you don’t. In fact you literally don’t look a single day older. All that’s changed is that you’re now wearing glasses. And glasses don’t magically transform a 24 year-old’s face into a middle-aged man’s face. If only it did then Lois Lane wouldn’t have reason to feel quite so stupid around Superman and Clark Kent.

Claire doesn’t look any older, either, beyond the odd fleck of grey in her hair. This was something of a red rag to my partner’s bullish conceptions about the relationship between the passage of time and the advancement of female physiology (especially post-partum). Or as she put it, rather more expressively: ‘Twenty years and two pregnancies and her tits haven’t even moved a fucking centimetre!’

Quite.

That got me thinking. How important is Jamie and Claire’s physical attractiveness to the narrative and indeed the whole conceit of the show? I’m guessing ‘very’, else they wouldn’t have cast good-looking people like Sam and Caitriona, and they wouldn’t have shied away from showing the ravages of time upon their bodies as the years whizzed by. Are we that shallow? Is love itself that shallow? Do we only buy into Outlander’s romantic fantasy because the principal leads are both young and aesthetically pleasing? What would have happened if Claire had gone back in time to find Jamie a fat, wheezing lump of a man with a goutish limp, one eye missing and a huge scar down his cheek? We would’ve seen the true measure of the purity of Claire’s love, that’s for sure.

JAMIE: Claire! Claire, my love! After all of these years, lassie!

CLAIRE: (stares blankly at Jamie)

JAMIE: Claire? It’s me Sassenach, it’s your darling Jamie.

CLAIRE: (stares a little longer) Me no speaka de English mista.

JAMIE: Claire? CLAIRE?

CLAIRE: (already half-way down the street, shouting “TAXI!”)

It’s not just Claire who might run a mile. I’ve seen too many memes of a half-naked Sam Heughan being shared by Outlander’s legions of female fans (often with an accompanying caption like ‘YE CAN THATCH MA COTTAGE ANY TIME, LADDIE’) for the writers to have dared taking Jamie on the average Scotsman’s typical journey from adolescence into middle-age. Sex sells. And Sam Heughan’s a one-man sexual stock-exchange as far as his many admirers are concerned (check out the Facebook group Heughan’s Heughligans if you don’t believe me). It’s hard to imagine hearts-a-beating and hips-a-snaking on quite the same scale if they’d cast James Corden or Piers Morgan instead of Sam Heughan – although it would have made Jamie’s whipping a hell of a lot more fun to watch.

Claire and Jamie’s eventual and inevitable sexual reunion was incredibly powerful, saying and suggesting much more beyond the purely physical; beyond the twenty years of pent-up desire and longing that was begging for release from their quivering, love-sick bodies. The lovers carefully removed each other’s scarves with the delicate gratitude of two people loosening the ribbon on two decades’ worth of Christmas presents. There were darker undertones, too. The director lingered on their necks and scarves long enough to suggest a connection with the couple’s treasonous past, reminding us of just how easily the hangman’s noose might have slipped around their necks had things turned out differently. Given Jamie’s new vocation, there are plenty of opportunities for the noose to come swinging back into play.

As the scarves came off, the weight that Claire and Jamie had carried around their necks and upon their shoulders started to loosen, lessen and ease. In a neat turn, the pace and fluidity of their encounter is interrupted by Claire’s zipper, a note of awkwardness that adds a welcome touch of realism to their cinematic heavings. The zipper also reminds us of the very different times they hail from, and how their two worlds – although the gap between them is ever-present – can always be re-joined through flesh.

Jamie’s new status as the Tony McSoprano of Edinburgh appears to have corrupted both his surrogate son Fergus and his nephew Ian. Nevertheless, they seem to be quite enjoying their status as smugglers and men about town, even if Ian is a little wet behind the ears compared to his friend, the fabulous fornicating Frenchman. You’ve got to love Fergus’s winsome, woman-themed wisdom: Tell them they’re beautiful, buy them a drink, and repeat one and two until it works. It’s reassuring to see just how little alcohol-fuelled adolescence has changed in the last two hundred years.

It isn’t long before the dark fingers flexing at the edges of Jamie’s new life reach out to grasp Claire. A boorish exciseman comes to rifle through Jamie’s brothel HQ and instead of finding the room empty finds a frightened Claire. Assuming her to be a cheap harlot – and being something of a sexual psychopath – he decides to buy her silence by taking her body and her life.

I suppose the numerous incidents of rape and attempted rape in the show lend it an air of historical verisimilitude. Hell, given what we know about the behaviour of men in modern times, particularly in Hollywood and the high seats of power, it isn’t a habit we’ve grown out of as a species. That being said, I sometimes picture Diana Gaboldon sitting at her writing desk, stuck in a narrative rut, a pen clenched between her teeth, scratching her head and staring out the window, before letting her eyes fall on a framed piece of paper on her desk that simply reads ‘RAPE?’ After which she smiles, nods and starts scribbling away furiously.

Definitely scribbling. For some reason I have a hard time imagining Diana Gabaldon using a computer, a modern word processor, or even a type-writer. In my imagination, she always writes with a quill, and invariably wears a bonnet.

Claire fights back, as she always does. A scuffle ensues, at the climax of which the exciseman falls and smashes his skull against the hard stone floor, a knife implanted in his body to boot. Stubborn and ethical to a fault, Claire vows to keep him alive by any means necessary, even if it means her own arrest, and Jamie’s certain doom. That… makes sense? Claire seems incredibly haughty and bitchy in this episode, but then I guess if you’d been looking forward to reuniting with your lover across time, space and reality after twenty-years-apart, and he almost got you raped and killed in a brothel because of his criminal activity, you’d probably be a bit pissed off, too.

Anyway, the exciseman dies (Murtagh didn’t have to pop up to solve their problems with the business end of a dagger this time), and the now very suspicious customs officer Sir Percival sends another of his dodgy lieutenants to carry out additional surveillance on Jamie and his crew. This time it’s the turn of Harry Tompkins (played by Eastenders’ very own Tricky Dicky), who with his rasping voice, cloudy white eye, and slight hunch is only a single bolt of lightning away from loping down the street with a surgical saw shouting ‘BRAINS, BRAINS!’.

Tomkins scopes out the print-shop, and discovers Jamie’s sedition. Ian, who has turned the printing shop into his own private knocking shop for the purposes of losing his virginity, discovers Tomkins and tries to shoo him away. A tussle ensues, then a fire breaks out, which Ian tries to vanquish by bravely tap-dancing on top of it. The fruits of Jamie’s sedition and smuggling only make the fire burn hotter and fiercer.

Jamie has been living in a brothel, selling booze and lying to his family. Now it’s time for him to taste the fires of Hell, which burn away his livelihood and threaten to engulf his own flesh and blood. As Claire remarked of Jamie’s predicament earlier in the episode, ‘God has nothing to do with this.’ The wages of sin, after all, is death.

Jamie quickly proves himself fit for redemption. He may have been responsible for leading Ian to sin, but he’s also the man who risks his life to save him from Hell.

What’s going to burn next? 

A few final, disjointed thoughts

  • “What an awful name for a wee lass…” Jamie’s reaction to his child’s life in the future was very funny. Especially when he was introduced to the swingin’ sixties through the photo of Bree in a bikini.
  • I didn’t realise that the character of Yi Tien Cho had courted such controversy. I’ve never read the books, so I’ve no idea if the criticisms levelled against Diana G for her handling of the character are justified. I can say, though, that I enjoyed Yi Tien Cho/Mr Willoughby on screen, and hope he’s allowed to blossom into a deep and interesting secondary character.
  • I’ve scoured the internet trying to find the rude Gaelic phrase that sounds a little like a mispronunciation of Yi Tien Cho, but to no avail. Any help?
  • See, this is what I mean about Claire being a bad mum. Wouldn’t she have at least tried to take advantage of Jamie’s printing press to leave a note for Brianna somewhere in history to let her know she’d made it back to the past safely? You know, like Doc did for Marty at the end of Back to the Future 2?
  • I used to watch an Australian soap opera called Neighbours. One of the characters, Karl Kennedy, is a doctor. For reasons of plot (and keeping the cast manageable), he’s required to be a doctor of everything: GP, ophthalmologist, psychiatrist, brain-surgeon. I sometimes feel the same way about Claire. ‘Bizarre eighteenth century equipment to drill holes in people’s skulls and ancient herbs? No fucking problem, I’ve got this.’
  • Crème de Menth is a drink that’s beloved of posh old ladies, and men with £2000 designed spectacle frames and a tea-cup Chihuahua called Phillip. It’s a bizarre drink to risk being hanged over.
  • When the mentally-ill/seerish sister of Mr Campbell was chanting ‘Abandawe, Abandawe, Abandawe’ I was willing Claire to start singing ‘Oooooooo, oooooh ooooh ooooh ooooo, oooo, ah, ooo weem-a-way.’ Although that might have been a bit insensitive.

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Why I want to binge-watch Outlander

Jamie’s Outlander Binge – Season 1, Eps 1 – 4

Jamie’s Outlander Binge – Season 1, Eps 5 – 8

Jamie’s Outlander Binge – Season 1, Eps 9 – 12

Jamie’s Outlander Binge – Season 1, Eps 13 – 16

Jamie’s Outlander Binge – Season 2, Eps 1 – 4

Jamie’s Outlander Binge – Season 2, Eps 5 – 7

Jamie’s Outlander Binge – Season 2, Eps 8 – 10

Jamie’s Outlander Binge – Season 2, Eps 11 – 12

Jamie’s Outlander Binge – Season 2, Ep 13

Jamie’s Outlander Binge – Season 3, Eps 1 – 3

Jamie’s Outlander Binge – Season 3, Eps 4 – 5

30 Things You Didn’t Know About Scotland

Jamie’s Outlander Binge: Season 2, Eps 11 – 12

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Part 7: Death Becomes Them

Wherein we say, ‘Adios, Dukey’, and consider the twin titans of love and death

I still encounter people, mostly men, who sniffily dismiss Outlander as a sort-of slightly more risque Downton Abbey: all frilly collars, bloodless duels, breathless embraces, passionate kisses, romantic outpourings and impenetrable ye olde speak. I can’t blame them. I counted myself among their number until very recently. Perhaps they’ll take the plunge, as I did, and find to their surprise and delight that Outlander is a fast-paced, funny, well-written, visceral and occasionally very, very gory show; a rollicking roller-coaster of pure entertainment that’s got more in common with Vikings than it does Howard’s End.

Help is at hand. Well… head. Every time I find myself slipping back into old habits and buying into the lie that Outlander is first-and-foremost a piece of soppy romantic fiction, I’m going to remember Murtagh hacking off the Duke of Sandringham’s head and kicking it across the kitchen floor like some horrifying football with eyes. It doesn’t get much less bosoms and bodices than that.

When the camera panned to Murtagh’s bloodied face I was a little disappointed not to hear him issue a classic action-movie quip, something along the lines of: “I guess he finally stuck his neck oot for someone,” or “This isnae the time tae be losin’ yer heid, duke.” Some things are better left unsaid, I suppose, and I’m sure I would’ve been disappointed had Outlander suddenly and inexplicably turned into an Arnold Schwarzenegger movie. I did thoroughly enjoy Mary Hawkins’ parting line, though, which must surely qualify as one the greatest understatements of the century (indeed, of two centuries), not to mention one of the most blindingly obvious: “I think we’d better go.”

Yes, Mary. I think you might just better had. Mind how you go. Watch you don’t trip over all those bears shitting in the woods, and Catholic popes.

And, so, another baddie bites the dust. Farewell, then, Duke of S, you slippery, slithering, sociopathic little socialite. I’ll miss you – although in the hours leading up to your death your villainy lost a little of the nuance that had made me love it, and you, so much. I preferred you with your mask half-on, when your charm was the loudest instrument in that cross between an orchestra and an arsenal you always kept holstered in that sallow old soul of yours.

The Duke and Randall were certainly well-matched companions as they marched together along the merry road to complete-and-total bastardom, both wearing their narcissism on their sleeves, but with the Duke’s cold anger resting a little deeper beneath the surface than Black Jack’s. There was something cartoonish about the Duke’s savageness when he finally unleashed it, but I suppose as he entered his final gambit he had little need of charm or pretence, preferring instead to cast them aside and growl out the details of his fiendish scheme like some low-tier Scooby Doo villain. “And I would’ve gotten away with it, too, if it wasn’t for that pesky, propulsive, all-consuming love between Jamie and Claire!” You silly man. Never bet against Jamie and Claire’s love. NEVER.

While the show doesn’t always have the outward appearance or traditional structure of romantic fiction, that molten kernel of Anglo-Scottish passion and devotion that sits at its core is hard as a thousand diamonds, and turns the very world of Outlander around it. Claire and Jamie are like a reverse Romeo and Juliet, whose tragedy is radiated on to the people around them, causing them to die instead.

Ultimately, the very thing that made the Duke’s plan ‘work’ – Jamie’s love for Claire – was also the very thing that guaranteed its failure. But we’ll let the Duke off the hook for that, because the poor love had no idea he was a character in a TV show.

While Sandringham’s mask was off (before his very head was off, too) he revealed to Claire his fiendish plot to hand over Jamie and her, his traitorous wife, to the King, so as to remove all suspicion from the Royal Court that he was, or ever had been, a Jacobite sympathiser. Which of course he was/had been, whenever it seemed to suit him. He seemed to be perpetually hedging his bets like some covetous, duplicitous cross between a Ferengi and a Vorta (dropping in some hard-core Deep Space Nine references, y’all). There were innumerable signals throughout the series that old Dukey Boy wasn’t exactly the world’s most committed Jacobite, but even if you didn’t know his history of self-serving treachery, his line to Claire “Gaelic – do you speak that barbarous tongue?” gives the game away somewhat. Claire has always had his number in any case.

Duke: “You know in my heart I’ve always been a Jacobite.”

Claire: “I’m reasonably sure you don’t have a heart.”

Hey, guys! Black Jack Randall’s back in town, too! But more on him later… The Duke also revealed that it was he who had hired the rape gang back in Paris, of which Claire had been the intended target, with poor Mary becoming the worst kind of collateral damage. It was for this heinous crime in particular that Mary Hawkins and Murtagh had vowed bloody revenge on the Duke (though they hadn’t known he was the guilty party when they’d made their vow), and it was revenge – foul and bloody – that they got. In the kitchens of Callendar House, no less. Callendar Park and House is situated across the road from my old high school. And my two kids were running around like possessed Tasmanian devils in that very kitchen during an open day last year. As much as I’d like to see their flash of recognition, I think I’ll wait until they’re at least… five before showing them that scene. I don’t want them to be scarred.

It was a nice touch to see the Duke desperately trying to re-fasten his mask of civility when Jamie burst into the kitchen; even nicer to see the vain old sod clamouring to put his wig back on. Even when facing certain death, appearances were still the most important thing to the Duke.

While appearances are certainly important, they’re never that important, and they can be incredibly deceptive. Take Dougal, for instance. He’s a son of a bitch, to be sure, but yet he keeps committing genuinely selfless acts that confound my impression of him: like testing how far the English soldiers’ bullets can reach across a battlefield by proffering his bald head to the enemy, or daringly dashing to Rupert’s rescue after he’s been shot by a band of Redcoats.

Let’s talk Rupert. I’d like to submit old Rupes into the running for the ‘Unluckiest Man in the Universe’ award. First, he almost dies in battle; then his best (perhaps only) friend in the world dies violently in a froth of his own blood having risked his life to save him; then he gets his eye shot out; then he gets captured … I’m sensing a pattern emerging. What next? A giant piano crashing down on his head? An anvil? A massive stick of ACME dynamite? Rupert’s recent hardships bring to mind Chef’s ludicrously drawn-out death sequence in South Park. Worse still, even if poor Rupert recovers, the only future open to him is an unspeakably violent death on the battlefield at Culloden, which he’ll meet while wearing an eye-patch that I hope earns him the nickname ‘Nick McFury’. Maybe in another life Rupert will come back as a lucky white heather salesman.

Death is everywhere in these two episodes. It’s so ever-present it’s almost a character. Claire, especially, is submerged in it, giving palliative care to her greatest enemy’s kin, and euthanising her old boss cum gaoler. Everyone has come to Culloden to die, it seems: the soldiers; Colum; Alex Randall; Black Jack Randall (although he doesn’t yet know it). It’s the bloody Switzerland of the north.

Death has the power to transform, to soften, to redeem, and that’s as true in Outlander as it is in life. Death is both transformative in a literal sense and transformative in a retrospective, metaphorical sense. Literally, because… well. You’re dead. It doesn’t really get much more transformative than that; even a caterpillar would have to agree. And retrospectively, because at the very moment when someone’s light is extinguished we tend to remember the light of their life shining brighter than perhaps it ever really did. We remember the departed as being better and bolder; cooler and kinder. Our love and mercy are amplified.

Much of our wistfulness springs from our own feelings about death: we fear it almost as much as we revere it, so we tend to become awestruck in its presence. We sit and we ponder, and we think to ourselves, ‘One human being fewer in the great infinite canvas of the cosmos, and yet what an incalculable loss to the universe,’ and perhaps – depending upon who we’ve lost – we cry, our grief temporarily blinding us to the world.

This whole, sad process can sometimes make it easy to forget that the person we mourn was – if you’ll allow me to fall back on reasonably esoteric philosophical language for a moment – an absolute fucking dickhead.

Death’s looming spectre is the only thing that makes half of the characters in this show palatable. Not only did I almost shed a tear for the immensely irritating Angus during my last binge-watch, but this time I found myself bubbling up as crotchety old Colum breathed his last.

I never really liked Colum – the character, not the actor – and I’m positive I wasn’t supposed to, but the combination of Dougal’s goodbye, and the revelation of just how pragmatic, insightful, forward-thinking and measured a leader Colum could be (and undoubtedly was, though I was perhaps too blinded by distaste to see it) made me realise that I’d miss him. Although I won’t miss his dress-style. In many ways he deserved his death simply for turning up wearing that brown fur coat, looking more like a horse-racing pundit, or a 1st-division football manager from the 1970s, than a laird.

To be fair, Graham McTavish absolutely knocks it out of the park during Colum’s death scene, no doubt reveling in the opportunity to show some of the nuance behind the gruff and growling Dougal. It’s all there in the complex carousel of emotions swirling and spinning on McTavish’s face: the haughtiness, the hatred, the love, the guilt, the spite, the remorse. Despite all that’s passed between them, love prevails. That’s what stays with Dougal, and that’s what stays with us. Christ, it was moving. When Dougal hugged Colum and blubbed, ‘All this cause you couldnae stay on a bloody horse,’ I absolutely lost it. I’m not allowed to say I cried like a big girl anymore in 2018, so I suppose I should say that I cried like a big man, and that’s okay, because men can cry too. BUT ONLY AT TV AND FOOTBALL.

Black Jack was in town, too, so it was time for us to dust off the DSM and have another game of ‘Psycho Bingo’. Except, initially at least, this was a different Black Jack. A more rounded, human version; one who seemed to show tenderness and compassion. He was in town to tend to his brother, Alex Randall, who was succumbing to the illness that had plagued him since Paris. Turns out old Black Jack had also been paying the bills for both his brother and his newly pregnant wife, Mary Hawkins. What a… nice… thing to do. It is nice, isn’t it? Is this still earth? Am I still me? Is up still ‘up’? Why is Captain Randall being nice?!

When Black Jack encounters Claire at his brother’s bedside he begs – begs?! – her to nurse him back to health, or out of suffering, but she refuses unless Black Jack agrees to reveal the location of the British troops.

“You would barter over an innocent man’s suffering?” he asks her.

This was delicious: the indignant nature of the sociopath, railing against injustice with zero sense of perspective or irony. It brought to mind Tony Soprano scolding his psychiatrist for ‘acting unethically’, or Ted Bundy complaining that it was inhumane not to have access to his prison library.

But Tony Soprano and Ted Bundy both, in their own way, helped people, too. Tony was capable of great generosity and gregariousness, and Ted Bundy volunteered at a crisis hot-line, often talking people out of self-harm and suicide. In both fiction and real-life there are plenty of examples of sociopaths doing good deeds, even if they could never be described as good people.

Black Jack ends up doing something else ‘nice’ for his brother: agreeing to marry Mary Hawkins so that she and her baby will have his protection. I must admit, Mary’s pregnancy brought me great relief. I’d feared that she was going to have to suffer savage treatment at Black Jack’s hands in order for the integrity of the time-line to be preserved, but this was a nice swap-out, and one that means two wonderful things: Frank isn’t directly descended from his evil doppelganger, and Mary Hawkins will only have to be joined to this monster for a couple of days before death officiates their divorce.

The road to Black Jack’s agreement to this union was an interesting if deeply uncomfortable one. At first, it seemed like Randall was using his discussion with Claire to indulge his sadism – revisiting his crimes upon Jamie just so that he could watch the pain and anger on Claire’s face – but he was essentially, in some weird and deeply warped way, trying to save his brother’s wife from his darker nature. Was that… noble? I’ve no idea.

Then Black Jack watches his brother pass, and the contrast between him and Dougal couldn’t be more stark. Claire once called Dougal a narcissist, and I disagreed. This episode carried the proof. Dougal is a complex, vain, bottled-up, angry muddle of a man, but there’s nothing pathological about him. He grieves, he feels, he loves.

Black Jack, on the other hand, rather re-affirms his narcissistic status here when he explodes in rage at the point of his brother’s death and starts punching his newly dead brother in the face. I laughed, very loudly, mostly at the shock and surprise of it.

When it comes down to it, there’s no changing Captain Jonathan Randall.

And there’s no changing Culloden.

See you for the finale.

A few final disjointed thoughts

  • Let’s have one final nugget of appreciation for Simon Callow’s turn as The Duke. What a character: so deliberate, so poised, so deliciously wicked. “The last thing I’d do would be to blurt.”
  • In episode 11, we see Claire extracting a woman’s tooth – now THAT’s a rational fear of the dentist. Us lilly-livered, pink-drink-drinking sissies don’t know we’re born.
  • Pity poor Rupert as he sits lamenting the death of his friend, Angus, through the re-telling of bawdy stories about the hairy-faced little rat. Drunk and dead-eyed, Rupert turns to a young lad who’s waiting in line (understandably very reluctantly) for some 18th century dentistry, and adds to his trauma with the story of the time Angus swallowed some teeth. “Said he didnae shite for a week for fear of being bitten.” That made me laugh.
  • I wonder how they made that horrible squishy-cracky sound when Claire retrieved the musket bullet from Rupert’s eye? That was appropriately revolting.
  • The awful spectre of rape hangs over just about every episode of this show. Remember when Claire offered herself up to the English soldiers, claiming to be a hostage, to ensure the freedom of Jamie and Dougal et al? No sooner had I written in my notepad ‘I do hope she isn’t threatened with rape again’ than a sleazy English soldier cocked a leg and said, ‘You look like you need warming up.’ Talk about #McMeToo
  • Jamie tried to convince the Bonnie Prince that the men were weary, and should be allowed to rest, replenish and regroup, to which the daring dandy replied: “I am not some frightened hare to be chased down by a pack of English dogs. I am a man. I am a soldier. And I shall comport myself as one.” At which point I offered an incisive critique of his tactics by shouting at the TV, “Fuck off, you wee wank.”
  • Murtagh on Frank Randall: “Hasn’t enough suffering been had in the name of saving that mythical prick?” Murtagh, I bloody love you.

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Why I want to binge-watch Outlander

Jamie’s Outlander Binge – Season 1, Eps 1 – 4

Jamie’s Outlander Binge – Season 1, Eps 5 – 8

Jamie’s Outlander Binge – Season 1, Eps 9 – 12

Jamie’s Outlander Binge – Season 1, Eps 13 – 16

Jamie’s Outlander Binge – Season 2, Eps 1 – 4

Jamie’s Outlander Binge – Season 2, Eps 5 – 7

Jamie’s Outlander Binge – Season 2, Eps 8 – 10

Jamie’s Outlander Binge – Season 2, Ep 13

30 Things You Didn’t Know About Scotland

Jamie’s Outlander Binge: Season 2, Eps 5 – 7

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Part 6: Sometimes… they come back

Wherein of course he comes back.

Episode seven brings to a close the first phase of the Fraser’s failed time-travel experiment, a project I’m content to call ‘Cullodegeddon’. Despite Claire’s and Jamie’s best and most unscrupulous efforts, history is still drawing them inexorably towards the doomed battle. We know how this story ends, not just because history demands that it ends this way, but because we’ve already seen a distraught and defeated Claire lament her fate – and all their fates – in post-disappearance Inverness.

Now, however, having failed to stop the Jacobite rebellion by cutting off its funding, Claire and Jamie intend to defeat the curse of Culloden by winning the bloody thing – or at least trying their damnedest.

I’m watching the show along with my partner now, having caught up with her at the fifth episode of this season. Long-term relationships are amazing things, aren’t they? A good union never loses the capacity to surprise you. For instance, after all these years of near Olympic-level arguing, this week Outlander allowed us to add ‘the mechanics of time travel’ to the long list of things we’ve almost killed each other over.

“Don’t they realise that time is a closed loop and any effort to change the future is essentially futile?” I asked, though perhaps not as eloquently as I’m phrasing it now.

“Are you stupid?” raged my partner. “The future – i.e. 1940s Inverness – is already in Claire’s past, so whatever they do in their current present can’t change it, although that’s not to say that they won’t create an entirely different future.”

“You mean an alternate time-line, like in Back to the Future 2 when Biff stole the Almanac as an old man and gave it to his younger self in 1955, who used it to get super rich and transform himself into a somehow slightly-less unpalatable version of Donald Trump?”

“Yeah, like that.”

“Preposterous.”

“Is not!”

“Is!”

“Is not!”

“Star Trek rules apply.”

“DO NOT!”

“DO TOO!”

“DON’T!”

“DO!”

“YOU’RE JUST LIKE YOUR MOTHER!”

“…YOU BLOODY WELL TAKE THAT BACK!”

Ronald D Moore

Although Outlander is based upon the books of Diana Gabaldon, conversations like this one remind me that sci-fi supremo Ronald D Moore is the man in the captain’s chair. Having cut his teeth on Star Treks The Next Generation and Deep Space 9, and the modern-day reboot of Battlestar Galactica, he’s the perfect choice to helm a show as otherworldly and ceaselessly peripatetic as Outlander.

Ron’s resume speaks for itself. He’s spent a career exploring the ins and outs of time travel; juggling large casts; telling grounded stories in fantastical settings; chronicling the sagas of weary protagonists who just want to go home (or find a new home), and pinging, plucking and unpicking the intricately inter-woven web of science and spirituality. He’s dealt with the perils of power and command, the interlocking of politics and religiosity, factional in-fighting, uprisings, rebellions, stretched loyalties, and infinitely more shades of grey than fifty.

Deep Space 9

Tonally, Outlander shares Deep Space Nine’s sense of humour, its belief in the strength and sanctity of the family unit (especially those families we construct from the friends and misfits around us) and a cautious optimism about the future. With Battlestar Galactica, it shares a grim and weary aura of danger and foreboding, a nihilistic streak a mile wide, and a sense that one must surrender to the journey, the chase, the pilgrimage, even if the destination isn’t always known (and sometimes especially when it is). With both shows it shares a sense of paranoia. Whom can we trust? Are the people around us who they say they are? Are we who we say we are? And, most strikingly, it shares a sense of prophecy and Godhood.

(Plus, is it just me who thinks of Klingons every time somebody says Lady Broch Tuarach? I keep expecting Claire to violently head-butt everyone to whom she’s introduced.)

In Deep Space Nine, Captain Benjamin Sisko was occasionally forced to lean into his (unasked for and unwanted) role as prophet/Emissary of the Bajoran people. He’d don the spiritual guise for utilitarian reasons or to dodge danger, and only when he felt there was no other option open to him. In a similar fashion, Claire occasionally throws on the invisible outer-wear of the white witch, mostly to save her life or the lives of those around her, but sometimes just to put the shits up someone for a laugh.

The scene in which the King of France compels Claire to embrace her role as La Dame Blanche and preside over the fates of diminutive dispenser Monsieur Raymond and wig-wearing bad-boy the Comte (or Diet Randall, as I like to call him) is tense and thrilling to watch. Catriona does sterling work here, in what comes over like a successful audition for Game of Thrones (hey, they’re casting the prequel soon: you never know).

The King wants Claire to use her witchy powers to divine whether or not the two gentlemen have been dabbling in outlawed black magic, with the guilty party, or parties, doomed to be dragged off by the resident executioner, who is literally standing next to them. I have absolutely no doubt that ITV will turn this into a game show at some point after Brexit.

This is a great test of Claire’s moral character, and it’s fitting that, despite both her occasional impulsivity and entirely warranted hatred of the Comte, she comes up with a plan intended to save all of their lives. Her plan is to make both men sick with a doctored drink, hoping to prove their essential purity and thus innocence, and at the same time satisfy the King’s love of theatrics.

Unfortunately, Claire yet again finds herself deceived by a mystical apothecary with whom she’s struck up a friendship. Monsieur Raymond sneaks some fatal poison into the Comte’s drink (beautiful touch and brilliant call-back with the whole necklace thing there, I’ve got to say) and it’s bye-bye for this season’s big bad. For any of you who do watch Game of Thrones, this won’t be the first time you’ve witnessed a man of noble birth choking to death on a drink that’s been poisoned by an angry little guy.

Sorry, Comte, my fiendish friend. You had to go. You were getting too close to the truth of Jamie’s highway-man high-jinks, and sooner or later – after losing most if not all of your money to yet another small-pox scandal – you were bound to snap and kill the Frasers, and we couldn’t have that. Plus, there’s only room for one irredeemable rogue in this show.

That’s right.

Black Jack’s back, baby.

The last time Claire and Jamie encountered Captain Randall was in a dark, dingy prison cell. This time around they meet him in the vast, immaculately-kept gardens of Versaille, surrounded by opulent explosions of bloom and colour under an endless blue sky. The contrast couldn’t be any starker. Black Jack is here both to convince his old pal the Duke of Sandringham to go easy on his brother (whom I was amazed to discover wasn’t Tobias Menzies’ actual, real-life brother) and to fulfil his destiny as impregnator of Mary Hawkins (though he doesn’t know it yet and, mercifully, neither does she, the poor lamb).

It’s always nice to see the Duke of Sandringham, a sort of Boris Johnson for the 18th Century. On the surface he’s a foppish, bumbling buffoon, full of praise, puffery and pointed remarks, an ideal choice to guest present Have I Got News For You, but there… just below the surface, just behind the mask, stands a cold and calculating figure, more ruthless and cunning than those who dismiss him with a snarky chuckle give him proper credit for. It’s also nice to see Captain Randall, if only because his presence means a whole bag of spanners in the works.

Jamie can’t kill him. Not yet. Not out in the open, in any case, as it’s a capital offence to draw your weapon in the presence of the King (something that probably applies in a euphemistic sense, too). It’s also an offence to duel someone to the death, but that’s exactly the gauntlet that Jamie throws down to Black Jack. He accepts, but Claire certainly doesn’t.

I don’t know why Jamie doesn’t get this basic principle: keeping Black Jack alive long enough to sire a child with Mary Hawkins isn’t just about showing deference to Frank. It’s about preserving the time-line so that Claire will be in Inverness to touch the standing stones of Craigh na Dun in the first place. Quite simply, if there’s no Frank, then there’s no Claire and Jamie.

“For Christ’s sake, Jamie Andrew, Claire has already touched the stones, so the decision to save Frank isn’t predicated upon any regard for their own future or present as a…”

“ARE YOU STILL GOING ON ABOUT THIS?”

“I’LL GO ON ABOUT IT UNTIL IT SINKS IN!”

“WHY DON’T YOU PULL YOUR HAIR OUT OF THE PLUGHOLES?”

“WHY DON’T YOU PUT THE BUTTER BACK IN THE FRIDGE, YOU WASTEFUL IMBECILE?”

“I WAS LYING WHEN I SAID I LIKED THAT DRESS!!”

Just when you think that Black Jack Randall has scraped the very bottom of the barrel, he turns up with the drill machine from some 1960s sci-fi movie, punctures the bottom of the barrel and then proceeds to tunnel his way into the molten core of the earth, through to the other side of the planet, and on, out into the infinite void of space, drilling through suns and planets by the million-load on his merciless voyage through a suddenly helpless universe. Yes, that’s right. This run of episodes reveals that Black Jack has a predilection for raping children.

Tobias Menzies must have opened his scripts for this run of episodes and said, ‘Oh thank you VERY much. What are you going to have me doing in next week’s script? Raping an entire family and then forcing their children to execute the family dog? And then raping it, too?’

How cruel of Outlander to introduce a quirky, cheeky, winsome little character like Fergus, an adorable slice of comic relief, and then within the space of four episodes subject him to life-long psycho-sexual trauma. What is this, Eastenders? A Mike Leigh film?

In any case, Fergus could never be as unlucky as our time-crossed lovers. The pairings of Romeo and Juliet, Heloise and Abelard, and Laurel and Hardy combined have got nothing on Claire and Jamie in the disaster-stakes. Rape, murder, peril, pursuit, miscarriage, death, loss, and that’s only within the first fragile year of their union.

I suppose, though, that a life lived without incident is a privilege that’s always been extended to the richer and more powerful among us, whatever the era. The heartache and misery at the core of Jamie’s and Claire’s relationship is perhaps something of a daily occurrence for people in poverty the world over, even now in 2018. Outlander, then, is at root a story about what happens when two relatively privileged people – one a well-to-do lady of good breeding, the other an estate-owning Lord – are forced through cruel circumstance to live the lives of fugitives, peasants and vagabonds.

To be fair, the bulk of their misfortunes spring directly from the evil agency of Black Jack Randall, whose rape of young Fergus in this clutch of episodes leads Jamie to break his vow to Claire, duel with Black Jack (he stabs him in the cock! What hope for Frank now?), and land himself in prison. And, of course, Black Jack’s behaviour indirectly brings about the loss of the couple’s unborn child.

Whatever your station in life, losing a baby is among the most wretched and harrowing things you can experience as a human being, magnified a million-fold for the mother who’s carried that incipient life in her belly: felt it wriggle and tickle and grow. If Sam Heughan deserved plaudits for his brave and visceral performance in the previous year’s ‘To Ransom a Man’s Soul’ then Caitriona Balfe deserves equal credit here for her unflinching, haunting, honest and heart-breaking evocation of a woman locked in the grief, anguish and turmoil of miscarriage. I welled up when Claire was cradling her still-born child. And, irreligious though I am, Mother Hildegarde’s defiance of protocol to baptise Claire’s baby so the little one could have a proper burial, was incredibly touching. The aftermath: her discovery of Jamie’s real reasons for breaking his vow, how she deals with Fergus’s guilt and shame, and how she expresses the full gamut of her feelings to Jamie, including her hatred, is all deliciously (if uncomfortably) rich, and earnest, and raw.

Though the ordeal clearly destroyed pieces of Claire’s soul, some of which might never grow back, she’s too strong a woman to be felled by even this most unspeakable of tragedies. She allows herself to submit to the King’s sexual advances in order to secure Jamie’s freedom from the Bastille. The King’s performance might very well be what we Scots would term ‘two pumps and a squirt’, but it’s a horrible liberty for any man to take, regardless of how big his wig or his wallet is. I think, though, that after losing Faith (they probably shouldn’t call their next kid ‘Hope’), Claire was numb to the King’s fumbles. Her body was a husk, an empty vessel. What more damage could one lousy little prick possibly inflict on the site of such sorrow and horror?

Kudos for the ‘lie back and think of England’ line.

And so it’s farewell France, toodle-pip Paris, au revoir you randy raconteurs and rapacious rapists, but dinnae fash, cause we’re awa’ back tay the faitherland, ken? Back to Bonnie Scotland and its limping lairds, sleekit soldiers and bekilted cu… cu… stodians… of… honour. Alliteration can sure be dangerous sometimes.

I shall miss the pomp and ceremony of the French court, and the many flouncing ponces of Paris. I’ll miss how all the tough guys talk like Niles Crane from Frasier. I’ll miss seeing Claire dressed like a cross between Mary Poppins and Missy from Doctor Who, with big, poofed out dresses that look like they were designed to smuggle dwarves across enemy lines. And I’ll miss Jamie’s trademark Wee Wullie Winkie dressing gown.

Look out, heelands, here we come.

A few final disjointed thoughts:

  • I think the Duke of Sandringham speaks for us all when he sums him up Bonnie Prince Charlie thusly: “He’s an utter arse.” Also, I’ve finally worked out who BPC sounds like: the aliens from Galaxy Quest.
  • I really enjoyed how Murtagh responded to learning the full truth of Claire’s origins: by punching Jamie in the face. Not because he didn’t believe the story, because he did, but because Jamie hadn’t trusted him or loved him enough to be honest with him from the start. How classically masculine. No festering grudges, no enduring rancour, just THWACK. Now, let’s go get breakfast.
  • Future-child, eh? Interesting.

READ THE REST – Click below

Why I want to binge-watch Outlander

Jamie’s Outlander Binge – Season 1, Eps 1 – 4

Jamie’s Outlander Binge – Season 1, Eps 5 – 8

Jamie’s Outlander Binge – Season 1, Eps 9 – 12

Jamie’s Outlander Binge – Season 1, Eps 13 – 16

Jamie’s Outlander Binge – Season 2, Eps 1 – 4

30 Things You Didn’t Know About Scotland

30 Things You Didn’t Know About Scotland (and still won’t)

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Three thousand years ago two brothers, Scott and Brian, had a bloody battle across the entirety of what is now modern Scotland to decide who would be ruler. We were one thigh-bone-across-the-head away from being called Brianland.

History often records that the Highland Clearances were awful, but they were actually pretty great. Where else would you get a 3-for-2 on wolf-skin merkins and 75-per-cent off tartan bumbags?

Scotsmen invented the telephone and the television, but there was no-one to talk to and nothing on, so they invented alcoholism.

The Broons is loosely based on the Iliad of Homer.

The Scottish diet: lentils, quinoa, radishes, cress, aubergines, pumpkin seeds. There is NOTHING we won’t deep fry.

Scottish people are in danger of trivialising their heritage by always being too eager to mock themselves, said Professor Hamish Haggis McTartan Och Aye the Noo Nessie McWhiskey McTrainspotting.

Scots in general have such a poor sense of their own history, that most of them couldn’t even tell you what Jacobites were, which is a travesty, considering that they were the most delicious crisps ever made.

The dreaded Redcoats waged a campaign of terror upon Scotland’s west coast for many long decades, filling the countryside around Ayr with blood-curdling screams and hellish wails that carried through the black night, a campaign that was only brought to an end when Butlin’s Wonderwest World was shut down in 1998.

Golf was invented by a Scotsman who found his drunk friend sleeping in the grass, and decided to take a swing at one of his testicles with a human femur bone. Darts was invented as soon as that friend got to his feet.

If you took all of the ginger people in Scotland, and stood them one on top of the other, so they were stacked foot to shoulder in a gargantuan human tower, then most of them would probably die, so you probably shouldn’t do that you fucking monster.

In some parts of inner-city Glasgow, if you haven’t had your first heart attack by the time you’re 10, you’re considered gay.

A spider once played an important part in Scottish history. Crestfallen and weary after suffering defeat after defeat, and ready to throw in the tartan tea-towel, King Robert the Bruce retreated into a cave to lick his wounds and ponder his future. As he sat brooding, he chanced to see a spider trying again and again to build its web. It failed the first time, and the second, and the third, and even the sixth, but it never gave up, never stopped spinning and building until, finally, on its seventh attempt it had build the perfect web. This had such a profound effect upon Robert that at his next battle he took the English completely unawares by running out on to the battlefield, wrapping them all in silk and devouring them.

Global warming is causing the seas to rise, which may eventually cause England to be swallowed up by the ocean. By sheer coincidence, Scotland is set to hold its first Annual ‘get 5 million people to spray aerosol cans into the sky at the same time’ Day.

The people of Aberdeen have a reputation for being parsimonious, something that isn’t helped by their ‘Welcome to Aberdeen’ sign being made of tracing paper with stolen Scrabble tiles selotaped to it.

The people of Airdrie don’t know what parsimonious means. They think it’s got something to do with grouchy vicars.

The people of Airdrie do, however, know what pretentious means, and they think I’m a bit of a pretentious wanker for the previous jibe.

Only joking, of course they don’t know what pretentious means. They think it’s footwear for nine-year-olds.

It’s long been known that haggis is made from churned up bits of sheep guts and flabby piss-balloons, but less well known is that shortbread is made from the hardened effluent of Alex Salmond.

Archaeologists digging at a site in the Highlands recently found the remains of a settler from the end of the last Ice Age, around 30,000 years ago. He’d died of sunburn.

Scottish country dancing was invented the first time a Scotsman forgot to put on underwear beneath his kilt and grazed his balls on the coarse material.

Legally, when one Proclaimer dies, the other one is obligated to be buried alongside him, whether he’s dead or not.

Things happen IN most Scottish towns and cities, i.e. ‘There was a flood in Falkirk’, ‘There was a fire in Blairgowrie’, ‘Everyone died of abject misery in Bathgate.’ But things happen TO Glasgow. There’s clearly some kind of conspiracy or angry deity afoot. For example, if there is a simple road traffic accident anywhere in Glasgow, even if no-one is actually injured, hundreds of angry women will take to the streets, shaking their fists at the heavens, and proclaiming that ‘Glesga will rise again!’, and emphasising how funny they all are.

Unicorns used to roam free in Scotland, but died out shortly after someone came up with the idea of a deep-fried unicorn supper.

In the popular book and TV series Outlander, an English woman touches some stones that magically transport her back in time two hundred years. You can achieve the same effect by simply visiting Alloa.

William Wallace escaped from the English by merging into a crowd of hundreds of other people who were dressed a little bit like him. King Edward turned up on his horse, shouted ‘Where’s Wallace?’, stared at the crowd for a bit, and then said, ‘Fuck it, I hate these things,’ and rode off again.

A recent long-term study, drawing on the disciplines of geography, economics, philosophy and sociology, has confirmed Renton’s Law: it really is shite being Scottish. But, interestingly, not as shite as it is being Welsh.

If you say ‘Maggie Thatcher’ into a Scottish mirror five times, your fridge will start shouting ‘ZOOL’ and all of your milk will explode.

Scottish inventors and innovators are the envy of the world. Today, for instance, is the anniversary of the birth of Shuggie McGilchrist, the genius from Peterhead who first discovered that you could inject heroin into your eyeball if all your veins had collapsed.

The secret recipe for famous fizzy drink Irn Bru has finally been revealed as the delicious tears of ginger children.

Donald Trump’s mother came from Scotland. Why doesn’t Claire from Outlander travel back in time and sort THAT shit out?

Jamie’s Outlander Binge: Season 2, Eps 1 – 4

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Part 5: The Ooh-La-Last Days of Sodom

Wherein Claire trots the globe, and the French King longs for the trots

Season two finds Claire and Jamie living a life of opulence and luxury in18th century Paris. Captain Randall is far behind them, at least geographically, but he’s still very much inside Jamie’s head. There’s no need to worry about the lack of a proper antagonist, though, because Claire and Jamie can’t seem to go anywhere without attracting the ire of at least one angry prick in a wig.

With that in mind, step forward the man who I presume is this season’s big bad (or Le Grande Mechant, if you please), The Comte St Germain. He’s arrogant, unscrupulous, petty, vengeful and hateful; in other words, a complete and total Comte. In the first four episodes alone he almost lets his avarice unleash an outbreak of smallpox on the unsuspecting Parisian populace; tries to poison Claire and her unborn baby; and is almost certainly the shadowy figure behind a street attack that leaves Murtagh unconscious, Claire shaken, and Mary Hawkins – Claire’s new friend – violently raped.

But somehow, strangely, even with all of that to his ‘credit’, the Comte still can’t hold a candle to Captain Black Jack Randall, one of the most unconscionably evil characters ever to have appeared on screen (with the possible exception of Janice from Friends).

My general impression of the second season so far is that it’s much funnier than the first. The presence of the young thief Fergus alone ramps up the chuckle quotient by around six hundred per cent (or should I say Claudel – which they agreed wisnae very manly). From laughsome lines like “You have beautiful breasts, madame” to “That’s ma snake, ye wee bastard!”, I’m pretty glad the pint-sized Parisian pick-pocket’s here to inspire so much mirth.

The ghastly aristocrats in their garish clothes, flouncing around the outlandish and ostentatious landscape of 18th century Paris, provide more than enough snickers on their own terms, but the contrast of their behaviour with the no-nonsense, almost austere wordly outlook of Clan Fraser multiplies the laughs ten-fold. Murtagh, in particular, is a man far out of time, despite still standing firmly in his own. There’s such a gulf between his taciturnity and gruff humbleness on the one hand, and the corrupt and foppish indulgence of the French upper-classes on the other that he might as well hail from hundreds of years in the past (or future, given how frequently Murtagh’s incredulity and horror seems to mirror our own).

If season one doesn’t exactly display the English at their best – and it’s probably fair to say that, with the exception of Claire, all of the English characters in the maiden season were either plotters, rotters, cowards, cuckolds, brigands, bell-ends, knaves or nincompoops – then the English can at least take some consolation from the fact that in season two it’s the turn of the French to be roasted. And, boy, what a roasting.

It’s almost as though the French heard the global audience saying to itself, “Wow. The English sure seem to be the most objectionable race on the entire planet,” and haughtily replied, “Huh! Hold my drink!”

Paris is awash with decadent dandies, randy rooters and potion-mixing miscreants. Would-be Kings hold their historic meetings in kinky cabaret rooms, and actual Kings take noisy, nasty shits in full view of their esteemed guests (or, as Murtagh more pleasingly puts it: “Only in France does a King need an audience to shite.”). Most of the French nobility appear to believe that rape and sexual assault are positively charming character quirks; minister of finance Duverney in particular proving that 18th Century France was in dire need of a #moi-aussi movement. After Duverney corners Claire and treats her like a cuttlefish at a budgie party, Jamie sends him toppling and splashing into the water. They later become friends, mostly for reasons of convenience, but what a strange bedrock indeed for a lasting friendship. Maybe they’ll all look back and laugh on that horrendous sexual assault in the years to come, possibly even as they’re escorting Duverney on a ship to America to take up his new position on the US Supreme Court.

Sex is everywhere so far this season. At one point I thought Carrie Bradshaw was going to start narrating. Murtagh romps with the maid; Bonnie Prince Charlie romps with Claire’s new sophisticated French friend, Louise; and Louise defies the crotch-based French stereotype by waxing her woo-woo, and offering the same treatment to Claire’s eclair. [On a side-note, I’ve never heard a lady’s bits being called a honey-pot before. That must be where the term ‘honey-trap’ comes from. One thing’s for sure: I’ll never look at Winnie the Pooh the same way again. DIRTY bear.] Elsewhere in Paris, bold female pioneers hold what looks very much like the world’s first Anne Summers’ party, cleaving dildos through the air like broadswords.

I suppose it makes sense that there’s so much carnality in the show. There probably wasn’t that much to do before the advent of television except rutting, reading and killing, and there can’t have been that many good books around.

If the show is funnier, flashier and brighter so far this season, then it’s also bleaker and darker, at least in terms of Jamie and Claire’s relationship, and the things they have to do to keep it alive. If season one was the honeymoon, then it’s clear that the honeymoon is now well and truly over. Claire and Jamie bicker and quarrel, rant and rage, doubtless wondering how it all ever came to this: so far from home; so far off the beaten-track of their lives. After all, falling in love is easy: it’s the next bit that’s hard.

The price of Jamie’s love for Claire is to be cast in the role of traitor to his country, and silent assassin to his country-men’s cause. On the surface, at least. Though the reason that Claire and Jamie seek to thwart the restoration of the Stuart blood-line is to save the denizens of Castle Leoch from slaughter (and Scotland from ruin), the mission weighs hell-of-a-heavy upon Jamie’s soul, going as it does against the grain of everything in which he’s ever believed.

Claire, too, is having something of a frustrating time. She’s bored. Unfulfilled. She craves purpose, and an outlet for her considerable intellect and imagination. She’s not happy slipping into the role of Real Housewife of Paris, sitting at home like her honey-pot-plucking friend, Louise, sewing doilies and talking about vol-au-vents (both of which are probably euphemisms for vaginas, anyway), while the men go out talking, drinking, thinking and fighting, with the emphasis on everything there except ‘thinking’. What a waste of a tenacious woman who was once – or who will one day be, if you want to get all time-travelly about it – a nurse in a twentieth-century combat zone.

To stave off her ennui she sets to work wowing Mother Hildegarde at the L’Hopital des Anges with her medical knowledge, quickly earning a spot (or a Bouton, if you like) in her volunteer force. Jamie expresses anger over this development, accusing Claire of being out indulging herself ‘with poultices and potions’. I don’t know how many spa-days Jamie’s been on, but very few of them involve tasting piss and watching people die, even through Groupon. Jamie might simply be expressing the prevailing patriarchal, nay misogynist attitudes of his time in relation to women and work, and perhaps that’s exactly what he’s doing, but I can’t help but feel that somewhere in his psyche there’s a lot of unexpressed anger about his being made to betray the Jacobite cause, not to mention his lingering PTSD.

In any case, the mission, their comfortable life-style, the cunning Comte and Jamie’s fraught mental state all seem to be conspiring to squeeze the tenderness and vitality out of Claire’s and Jamie’s relationship. Their maid, and Murtagh’s mistress, though, traces the entirety of the couple’s tension to just one element: not enough fucking.

Are we really so shallow and venal as a species that our greatest hardships and stresses can be soothed away and rubbed from existence by the simple recourse to rutting? As a Dad of two young boys, and the almost-husband of the buxom lady who helped me spawn them, I can confidently say: ‘Yes. Yes we are.’ Sex isn’t perhaps the be-all and end-all, but you certainly realise just how important it is once you’re prevented from doing it. In this Jamie’s case (me, your humble binge-guide) it’s because every time I even brush against my partner’s arm a child pops up to form a human barrier between us. At all other times we’re either too tired, or want to kill each other too much. In the other Jamie’s case, it’s because every time he becomes intimate with Claire, Black Jack Randall’s ugly mug protrudes through the cracks in his damaged psyche and stops him in his tracks.

Black Jack’s still alive! He’s still alive, dammit! I knew it, I’m sure I called it, but nonetheless, I still felt a frisson of excitement as the news was delivered by his younger brother, Alex, who is currently in the employ of none other than the Duke of Sandringham, another welcome villainous return. The baddies are back! Hooray! I can hate what they do while still loving that they do it, right? Right?

Black Jack’s survival presents Claire with a duo of horrific moral dilemmas. She comes to realise that her new friend Mary Hawkins is her husband Frank’s ancestor, and the girl fated to carry Black Jack’s baby. This means that in order to preserve the time-line she’s going to have to turn a blind-eye to the horrendous treatment the poor young girl will almost certainly receive at the hands of one of history’s most accomplished sadists. She also comes to realise that while Jamie got his mojo back immediately upon learning he’d been granted a second chance to end the life of his narcissistic nemesis, she’d have to frustrate his murderous resolve if Frank was ever to stand a chance of existing in the first place [and, you could argue, without Frank, she would never have been in Inverness to touch the stone to travel back in time to meet Jamie].

And so the trickery and double-dealing continues: following the money; trying to stay one step ahead of the Comte; trying to expose Bonnie Prince Charlie as a nugget to the potential investors in his rebellion; another uncomfortable dinner party, riven with adultery and murderous intent, and all the while the clock is ticking until Black Jack surely shows his face once again.

Of course, Captain Randall hasn’t just polluted Jamie’s love; he’s polluted the love in his own lineage. Back in McBlighty, in the premiere episode’s flash forward, Claire now can’t look at Frank’s face without seeing Black Jack’s dead-eyed sneer. How could Claire ever again let Frank touch her; have his face pressed against hers in the throes of passion; feel his hot breath on her neck, or look upon him with anything other than disgust, after what his ancestral face-sake put her through, both directly and indirectly?

It’s not fair that Frank should be punished for the sins of the father – Frank really is the victim here, at least as much of a victim as Claire was when she first pressed her hand against the stones – but on a human level it’s entirely understandable. It doesn’t take much to sour our perceptions. Sometimes we can take a dislike to someone because they share a mere name with someone who wronged us, never mind an entire body and face.

I hope, though, that the fist Frank raised in anger at Claire isn’t a foreshadowing of his eventual transformation into Black Jack’s spiritual successor. I don’t think there was anything deviant or devilish in Frank’s rage and frustration. I felt rather sorry for him, actually. When Claire disappeared – literally vanished into thin air – he was left broken and anguished, but for all the years of strain, sadness and pity he never once stopped clinging to the hope that his wife would one day return to him, and when she did he was willing to accept whatever story she sold him, even if he couldn’t quite bring himself to believe it (in stark contrast to Jamie’s instant acceptance of her time-travelling tale).

I fear this whole sequence is intended to be the origin story of Frank Randall the villain: a Two-Face for his times. That maybe it wasn’t love that kept Frank close at heel to the site of Claire’s vanishing, but an obsession with the mysterious highlander thought to be connected to her disappearance: Jamie, in other words. Black Jack was already broken long before he encountered Jamie, but Jamie may very well form a bridge across the centuries, uniting Frank and Jonathan in hatred, anger and jealousy.

For now, Claire is with Frank, and in America to boot. She may not love him, but her alternative is to brave the attitudes of 1940s Britain to a divorced single-mother carrying another man’s child.

And, yes, I realise that Claire was pregnant at the end of season one, and is still pregnant in Paris in the episodes I’ve just watched, yet she isn’t in the flash-forward… well, she is, but it’s not possible that it could be the same pregnancy. Which means…

Well, it means something horrible is about to happen.

I hate being right sometimes.

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Why I want to binge-watch Outlander

Jamie’s Outlander Binge – Season 1, Eps 1 – 4

Jamie’s Outlander Binge – Season 1, Eps 5 – 8

Jamie’s Outlander Binge – Season 1, Eps 9 – 12

Jamie’s Outlander Binge – Season 1, Eps 13 – 16

Jamie’s Outlander Binge – Season 2, Eps 5 – 7

30 Things You Didn’t Know About Scotland

Jamie’s Outlander Binge: Season 1, Eps 9 – 12

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Part 3: Burn, baby burn

Wherein things get a bit too hot for Geillis to handle, and Jamie gets addicted to smack

Non-Scottish Outlander fans: “It must be great being Scottish and watching Outlander. It must enrich the story for you, knowing the history inside-out, especially all the stuff that happened with the Jacobites.”

Me: “Och, aye. Teach a class in the bloody Jacobites, I could. I know more about the Jacobites than Bonny Prince Charlie and, erm… that other guy, eh… what’s his name… Jack… Jack O’ Bite?…” [nods]

[opens Google and frantically types in ‘Was Jack O’Bite an Irish King?’]

My friends, I know absolutely nothing about the Jacobites, save for the broadstrokes. And when I say broad, I mean broad. If I were painting my knowledge of the Jacobites instead of writing it down, I’d be using the Jolly Green Giant’s sweeping brush to paint a portrait of Bonnie Prince Charlie onto the head of an atom.

My knowledge of the subject largely stems from these two things:

  1. When I was eight, my primary school class did a project on the Jacobites. I can distinctly remember drawing some wee ginger people in kilts. I can’t remember anything else.
  2. Scottish comedian Ricky Fulton once played Bonnie Prince Charlie in a comedy sketch on TV at New Year’s, circa 1988. I didn’t think that it was very funny.

And that’s it. Class dismissed.

Of course I know that my ancestors were beaten and bowed by the English state, and eventually decided to kick back against it, only to get their arses kicked, but the political and dynastic intricacies of the era escape me. Well, maybe ‘escape’ is the wrong word, because that would imply that I ever had the facts imprisoned in my skull to begin with.

Most of us here in Scotland are at the mercy of whatever liberties American writers and film-makers wish to take with our history. I was 14 when Braveheart hit cinemas. The Australian Mel Gibson and the American Randall Wallace (no relation) became, in effect, my history teachers. It was only in retrospect that I learned about the glaring historical inaccuracies present in the movie. Really, though, Gibson and Wallace had enormous power: they could’ve shown me the Scottish front-line propelling towards the English archers on unicycles as they juggled carrots, while William Wallace led the rest of his army in a rousing rendition of Rick Astley’s ‘Never Gonna Give You Up’, and my teenage brain would’ve entered those ‘facts’ into the permanent record, no questions asked.

I sometimes hear people say things like, ‘Who cares about the historical accuracy if it’s an exciting story?’ It’s mostly American people who say things like that, but I’d like to see their reaction to a movie about the Civil War that featured Robert E Lee charging down the battlefield on the back of a rhino as Ulysses S. Grant prepared to take him out with a rocket launcher.

I know more about the American Revolution, The American Civil War, the French Revolution and medieval Europe than I do about Scotland’s past. Outlander, then, is teaching me bits and pieces about Scottish history as its story bobs and weaves and cuts and thrusts along, which is something I really shouldn’t be relying upon it to do. I should be immersing myself in books and educational films about my nation’s fraught and fascinating history, but I can’t. Not yet. Because, get this: I don’t want any spoilers. Not even from history itself.

That’s pretty messed up.

Anyway, a poor student of history I may very well be, but I’m reasonably confident that Scottish soldiers didn’t make a habit of carrying out daring raids on English forts to rescue kidnapped ‘princesses’. And if they ever did, they probably didn’t find themselves leaping from incredibly tall towers into the freezing water below as massive explosions rocked the fort behind them. It must be pretty hard to keep trumpeting historical realism when your 18th Century Scottish swash-buckler suddenly turns into a cross between Robin Hood Prince of Thieves and The A-Team.

“This is Mr McT. He’s absolutely terrified of horses.”

“I ‘aint getting’ on no mane, fool.”

Do you know what, though? To paraphrase that mish-mash of Americans I’ve encountered over the years, I didn’t really care about the improbability of it all, because it was pretty damn exciting. After all, this is a show about a woman who travelled through time by touching a rock, so let’s not cleave too hard to history, here.

If Claire’s rescue from a thoroughly rapey Black Jack seemed just a little too improbable for my tastes, then I was happier to embrace the realism – or what I supposed was realism – of the event’s aftershocks, namely the consequences to Claire of ‘running off and getting herself kidnapped’.

Now, I know very little about the specifics of gender relations in the 18th century, beyond the supposition that they must have been fraught and unfairly weighted in the penis-weilding sex’s favour, but a husband feeling entitled to spank his wife for ‘stepping out of line’ seems to fit with my impressions of the era. I guess it would’ve been unrealistic for Jamie always to have acted like an enlightened 20th century man, immune to the influence of the culture and country around him, especially since most of his pals are sweary brutes who always act like they’re on a stag do in Malaga.

As the show worked up to its possible spanking I stared at the screen in disbelief. ‘If Jamie puts Claire over his knee and belts her bum like she’s some naughty schoolgirl,’ I thought to myself, ‘then that’s him finished as fuel for female fantasies the world over. I know some like it rough, some like a dominant man, but not Claire, and not like this; never like this. This is domestic abuse, 18th century or no 18th century, and that sort of thing’s only sexy if you’re a fucking mental case. What’s this show turned into now, 50 Shades of Tartan?’

But he did it. Christ, he did it. I have to give the show credit for that, and extra credit for conveying Jamie’s change of heart, mounting guilt and eventual redemption in a plausible and relatable way. That’s no easy feat. Jamie realised that if he could pledge peace, respect and fealty to a miserable, duplicitous old bastard like Colum, then he should be able to pledge those same things a billion times over to the woman he proclaims to love above all else.

We can now safely file Jamie’s transgression under ‘I’ for [put on your best Basil Fawlty voice here] ‘I’m terribly sorry, he’s from 18th Century Scotland.’ [and now prepare to put on your best Manuel voice] ‘Ken?’

So rest easy, my adoring Heughanites (or are you Heughanistas?). Jamie was pretty much back to being an ardent feminist again by the end of the episode, so you can now safely resume the heaving of your bosoms. You must be relieved to discover that you aren’t in thrall to an ancestor of Trevor from Eastenders [Hi North Americans – Eastenders is an English soap-opera, where nobody has ever smiled, and everybody dies. Trevor was an evil Scottish character who mercilessly beat his wife – it’s nice that our neighbours across the border don’t like to stereotype us].

Aptly enough, all that was missing from the closing moments of episode 9 was Eastender’s trademark dirge; that quickening drum-beat to signify that a cliffhanger was in progress: dum dum dum DUM DUM du du du du. And what was Outlander’s shocking cliffhanger that would’ve lent itself so well to this particular drum-beat?

Had the English stormed Castle Leoch? Had Dougal barged into their room with his cock in one hand and his sword in the other to challenge Jamie to a duel to the death? Erm… no. No, Eh… Claire and Jamie… had found…they’d found… you see they’d found some flowers under their bed.

But they were nasty flowers, right? A wee girl had put them there. She was jealous of Claire.

I scoffed as the credits rolled, and probably said something like, ‘Ooooh, shit’s about to go down,’ in a really sarcastic tone of voice, possibly while pulling a face. But lo and behold, a couple of episodes later, shit did go down. Bad shit. Sorry for laughing, cliffhanger. I should never have questioned your cliff-hanging prowess.

Episode ten began with some slo-mo writhing and ye olde cunnilingus (Jamie got a tongue-lashing in the previous episode, so it’s only fair that he starts the next episode administering one), which was mercifully interrupted by Murtagh banging on the door with news of the Duke of Sandringham’s impending arrival. A lot happens in episode 10: Dougal’s wife dies; Dougal and Geillis are revealed to be lovers; Geillis is revealed to be pregnant with Dougal’s baby; Geillis’s big, farty husband dies; said big, farty husband is revealed to have been murdered by Geillis (and oh my God, it’s John Sessions – I didn’t recognise him when he first appeared earlier in the season); Colum sends Dougal and Jamie into temporary exile, and somebody puts a dead baby in a tree. Just another day at Castle Leoch. But it’s a testament to Simon Callow’s absolutely note-perfect performance as the Duke that he’s by far the most memorable element of the episode.

I love his vanity, his pomposity, his casual but polite disregard for everything but his own sense of aesthetics. He’d stab your back or cut your heart out, but he’d do it with a shrug, and send you on your way dripping with his false, honeyed charm. The Duke promised Jamie he’d deliver his letter concerning Captain Randall’s scurrilous behaviour to the appropriate persons in the King’s court in order to secure him a pardon, which of course means that he won’t, and Jamie is, in fact, doomed. Villains are always the most fun to watch (and I’m sure to play), even more so when they’re handled by someone with Callow’s range and skill.

Jamie’s legal problems take something of a back seat to Claire’s when she and Geillis find themselves arrested for witch-craft. This is the point at which young Laoghaire reveals that the bundle of flowers she left under Jamie’s marital bed augured much more than mean thoughts.

The subsequent trial is gripping and engaging. I love the big bag of quips Ned brings with him to the courtroom, and of course the return of Father Bain, who at first presents himself as a broken and contrite figure weeping in Claire’s defence, but swiftly – and slyly – reveals himself to be the final nail in her coffin, the twisted, cunning old rat.

I sat there throughout most of that episode, shaking my head and thinking, ‘How could those poor, daft, ignorant peasants have believed in such outlandish horse-droppings? I’m glad we’ve moved past all that nonsense.’ At that exact moment my brain smiled a smug little smile, said to me, ‘You’d better take a seat, son’ and then pressed play on the cinema screen inside my mind. On that screen I saw slack-jawed men with side-burns and side-arms wearing MAGA hats and shouting about locking people up; people flopping and gyrating on the floors of evangelical mega-churches like they’d just been strapped to invisible pneumatic drills; Flat Earth shops opening the length and breadth of the country, with angry little people walking out of them, handing out pamphlets proclaiming that Gallileo, Copernicus and NASA had just been having a bit of a laugh these past 600 years; and I saw people enjoying Mrs Brown’s Boys. ‘OK,’ I said to my brain. ‘Point taken. We’re all still mental. We’re just mental about different things.’

Most people back then probably didn’t believe in witches anyway. Not really. Not in their heart of hearts. I’ll wager that the biggest barrier to people embracing the truth about witches was the ease with which the powerless populace could use the bat-shit crazy belief system to settle scores with those they hated (the flip-side of that was the state being able to use it against you for whatever spurious reasons best suited their agenda).

Can you imagine if that belief system made a come-back today? Half of the population of our housing estates would be wiped out. People would look out of their windows, see their neighbours coming home with a new car or a 50-inch TV, and snatch up their phones in a jealous rage:

‘Hello, is that the WitchBusters Confidential Hot-Line? Yeah, I just saw my neighbour doing some spooky shit with the Provident Loan guy, I swear she had him levitating six feet above her doorstep. How soon can you get here? Great news. See you soon. Oh, and she stole my 50-inch TV, so I’ll be needing that back.’

Even though I never really found myself taking to Geillis as a character, she got to shine in this episode. Her sacrifice was brave and poignant, and of course the revelation that she was a fellow stone-touching time-traveller, from 1968 no-less, was an unexpected and very welcome surprise. I wonder who else is from the future? What if they’re ALL from the future?

“Dougal, you’re from this period of time, right?”

Dougal shakes his head. “I’m a bank manager from 1988.”

“Colum??”

“I played Trevor in Eastenders.”

“Are you kidding me? Murtagh? Murtagh, come on, you’re definitely from this era, right?”

Murtagh bows his head in shame, and mutters: “Space pilot.”

“For fuck sake, is there anybody here from 18th century Scotland? Anybody? Raise your hands! …. Jesus Christ!”

Any show that features a main character who exists out of time must inevitably deal with the moment when they’re either discovered or choose to explain their origins. Claire’s explanation was always going to be a tricky one. Without any evidence to back up her claims – no VE-Day edition of the Inverness Courier sealed inside a Tupperware tub and tucked inside a leather jacket with ‘I Love 1945’ stitched into the lapel, for instance – and lacking any detailed historical knowledge of any specific events set to befall her friends and patrons (barring the broad-strokes of the Jacobites’ slaughter at Culloden), she risked sounding like the sort of person who in later years would be wrapping their head in tinfoil and having a bath in jelly while screaming about aliens.

In the end, faith was on her side. Or at least its bedfellow, love. Jamie believed the message because he trusted its source. Implicitly. Aw, that’s lovely, isn’t it? Mind you, he does live in a village where everyone believes in fairies and witches, so admittedly getting on-board with a story about a nurse who uses rocks to travel through time isn’t that much of a stretch. Nicely done, though. And as much as every fibre of my being tries to resist and fight against Outlander’s romantic side, the scene where Claire forsook the journey home in favour of her Scottish husband left a little lump in my throat, predictable as it was. Claire now belongs in Scotland, and at Jamie’s side. That’s sure to end well.

Jamie and Claire, then, go on to assume the mantles of Laird and Lady of Lallybroch, an interesting new direction and dynamic. I thought the way in which Jamie and his sister worked through their guilt about their father’s death, and their feelings towards each other, was satisfying, earnest and emotionally resonant. One thing’s for sure: there’s no way Jack Randall can survive beyond the end of this season. The story’s building towards too neat a conclusion. His presence beyond the end of the inevitable final confrontation between Jamie and Jack would be superfluous, and risk tipping over into cliche-ridden moo-hah-hah territory.

On the other hand, Jack’s such a good villain, how can they kill him? I guess I’m going to find out. But only once Claire and Jamie manage to extricate themselves from The Watch. Oooh, that’s a good cliff-hanger.

Dum Dum Dum DUM DUM du du du du.

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Why I want to binge-watch Outlander

Jamie’s Outlander Binge – Season 1, Eps 1 – 4

Jamie’s Outlander Binge – Season 1, Eps 5 – 8

Jamie’s Outlander Binge – Season 1, Eps 13 – 16

Jamie’s Outlander Binge: Season 1, Eps 5 – 8

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Part 2: In and Out-lander

Wherein change is a constant, truths are revealed and Claire gets her hands aw covered in pish

My partner Chelsea is something of an Outlander veteran, having watched the first season-and-a-bit without me last year. She wasn’t being mean by leaving me out, you understand. She asked me at the time if I wanted a piece of the tartan action, and I said, well… I believe my exact words were ‘Fuck that.’ I didn’t think it would be for me. I loved porn, I loved Scottish scenery, I loved time travel, but I didn’t necessarily feel that I needed them all together in the one package, especially with the added threat of romance.

Five episodes into my binge she asked me if I was enjoying the show so far. Well, I know better now, don’t I, having dipped my toe in the heeland loch. I told her I was enjoying it greatly. How could I not be? It was well-acted, fast-paced, intriguing, and looked vibrant and beautiful to boot. What pleased me most, though, I told her, was that the heavily-promoted romance element of the show had remained somewhat in the background, or at least wasn’t as strongly emphasised as I’d feared it would be.

She gave me a puzzled little look, like I’d just announced that robots were great because they were almost exactly the same as bananas.

“No, really,” I continued, doubling down on my rave review, “I thought Outlander was going to be this quirky, 17th-century rom-com, where the main characters would get married really quickly, and there would be endless soft porn scenes, but, you know, mercifully, it doesn’t appear to be that kind of show at all.”

She looked at me with eyes full of sorrow and pity, as if a doctor had just told her I had weeks to live, and she didn’t yet know how to break the news to me.

At that exact moment, she must have been thinking about episode 7, The Wedding. I was soon to discover that said episode was essentially a quirky, 17th-century rom-com, where Claire and Jamie got married really quickly, and which featured endless soft porn scenes. What’s the Gaelic for bow-chick-a-wow-wow? Honestly, ten solid minutes of that episode were just the newly-weds checking out each other’s arses, followed by another ten minutes of them rutting like dogs.

I’m not entirely sure that what I just made there was a complaint.

Anyway, while it was a nice touch to see the typical male/female dynamics of the era (and of the genre) subverted, by having Jamie play the wet-behind-the-ears virgin to Claire’s experienced and in-control woman, it seemed ever-so-slightly gratuitous to focus on Jamie’s first ever blow-job, and even dwell on his delighted gasp and cheeky wee grin. ‘What’s this bloody show turning into now?’ I cursed at the TV. ‘Scotch Pie? Are McStiffler and McFinch about to burst in wearing lederhosen and trailing a shaved goat behind them?’

I thought about the hygiene aspect again, not to mention the lack of contraception (not even a stab at the rhythm method!). If this was real 18th-century sex, and not a fantasy-rich, heaving-bosomed, skin-bathed-in-candle-light sort of a romp, then Claire would almost certainly have emerged from her marital bed riddled with everything from ringworm to the bubonic plague. And very probably pregnant. A man and a woman only had to shake hands, sneeze or play catch with a turnip in order to fall pregnant in the 18th century. An enlightened 19th-century nurse surely would have known better than to doff her daisy at a wrangler’s dangler like that.

Sex is a funny little devil, though, isn’t it? It’s not just love, lust and longing that joins our sweating bodies together like sexual Tetris pieces. Death, despair, anguish, fear, and anger – and alcohol, too, on its own or in conjunction with one or more of the aforementioned – can make us rub our bits in places and at times and with people we might not otherwise have considered to be sensible choices.

Even though poor haunted, hunted, homesick Claire had at that point been six weeks without a ride (Hi Americans – I’m using the crude Scottish vernacular to describe a bodily act again) I’m still not fully convinced by how quickly she abandoned her scruples and plunged into a carnival of carnal abandon with Jamie.

I was expecting, and hoping for, a bit more in the way of moral posturing and feminist fury, given how headstrong Claire had been up until then. I was, however, pleased that their wedded union was brought about in an interesting and unexpected way, in a bid to frustrate, through legal means, Black Jack Randall’s move to imprison and interrogate Claire. The flashback-framed farce that told the story of the hoops the Mackenzie men had to jump through in order to facilitate the couple’s wedding at record speed was undeniably fun and funny in equal measure.

Still, can’t really grumble about the romance element kicking into gear. It’s pretty much stitched into the show’s DNA. It’d be like watching Sherlock and moaning because he kept solving crimes. At least Outlander embraces blood and brutality to balance out the Mills and Boone-esque schmaltz. The world around Claire and Jamie, with its corruption, thieving, lying and killing, does a fine job of disabusing any notions of Scotland’s romantic past that even the most swooning of viewers may have brought to the show with them. In almost every episode someone is left with a big bleeding, spurting gash cut into their body, absent an ear or an arm, or almost raped. It’s a lot like present-day Airdrie.

Ned’s great, isn’t he? It was nice to see Claire interacting with someone who was her intellectual equal, someone a bit more ‘1945’ than the rest of the rabble; a man who had loftier ambitions than to spend his days farting and fucking. And I bloody love Bill Paterson, the actor who plays him. The last time I saw Bill Paterson in something about time travel (excluding Doctor Who) he ended up bludgeoned to death by cavemen, so maybe things don’t augur too well for old Ned.

Change was the over-riding constant across these four episodes. Most of the major players went through significant changes, both in the way they saw each other, and in the way they saw themselves. The Mackenzie men moved from regarding Claire as a potential traitor or a bothersome sassenach to someone they’d happily fight, lie and die for. Claire, in turn, finally seemed to be finding a place for herself among the Mackenzies, and didn’t seem to view her time with them merely as a prelude to her next daring escape attempt. She also demonstrated that she could mulch piss with the best of them.

Ever since Claire was rescued from Randall’s rapey clutches at the end of episode one she’d viewed Dougal very much as a scary, starey, glarey bruiser of a man (good job she hasn’t seen him in AMC’s Preacher); an image he’d done little to soften by his habit of continually scowling, drinking, and talking about tits and dicks all the time. Her road-trip around the Highlands with the men as they collected rent from their tenants – coins here, a goat there – really seemed to open Claire’s eyes, both to the wider world and to Dougal’s true nature.

At first, though, she believed Dougal was even worse than she’d first imagined. She thought that he was supplementing his private income through skullduggery; using Jamie’s tale of harsh treatment and disfigurement at the hands of the English as a way to extort extra gold from the village-folks – to line his own pockets. Claire being Claire, she wasn’t content simply to think of Dougal as the 18th-century Highland equivalent of Negan from The Walking Dead, she pretty much accuses him of being a knave, an usurper and a rustler, right to his big hairy face, a move that struck me as either evidence of Claire’s skewed sense of privilege and entitlement, or an incidence of iffy writing. Given how much almost every single one of the men barring Jamie hated and mistrusted her at that point, it was nothing short of lunacy for her to take an angry, spiteful stand against Dougal.

Still, if she’d kept schtum she would never have worked out that Dougal was actually a secret freedom-fighter, raising funds to mobilise a Jacobite army to send the English homewards to think again, and to put the ‘rightful King’ back on the throne.

The following episode, ‘The Garrison Commander’, was a great episode of Outlander, but an absoutely peerless episode of ‘Come Dine With Me’. Jesus, that was tense. I think the dinner party at the end of the Texas Chainsaw Massacre was possibly a little less fraught.

I wonder if the English gentry and middle-classes ever get tired of being portrayed on screen as the world’s biggest fops and arseholes. Claire flies the flag well for England, but every other English character we meet – or have met thus far – is a blustering, vain, arrogant, unscrupulous little toad. It makes me glad to be on Team Itchy-Skirt. The world loves us, man, even if they can’t always understand us (and even if we don’t always deserve it). I liked how Dougal got a little taste of what it was to be an outlander, a stranger in a strange land, as he stood at the foot of that English dinner-table being cursed and condescended to. He took it well, for his pride’s sake, and for Claire’s.

I’d like to talk directly to Claire now. Claire? I’ve got some good news and some bad news, sweetheart. The good news is, Dougal’s now your protector and chaperone; your very own little Greyfriars Bobby. The bad news? He wants to give you his little grey bobby. (Hi Americans, I’ll pause this sentence to give you time to get back from the Urban Dictionary). This surely won’t end well.

Black Jack Randall, of course, was a surprise – and deeply unwelcome – addition to the dinner party. He too showed that he was capable of change: capable of changing into something even more monstrous than our first impressions had allowed for.

Tension and terror flood from Tobias Menzies whenever he appears on-screen as the reprehensible redcoat. He plays it just the right side of cartoonishly evil, yet still somehow manages to make Black Jack feel feel blood-curdingly authentic. It’s a pitch-perfect study in cruelty and madness. The scene where Claire sits tear-stricken at the dinner table as she listens with mounting horror to Jack’s tale of how much he enjoyed brutalising Jamie is deliciously uncomfortable to watch. I, like Claire, allowed myself to believe, just for a fleeting second, that Jack was reaching out to her in his turmoil, that he was redeemable. Like all psychopaths, though, Jack mined hope as a means to further and better torture his victims, reveling in the quiet savagery of his deception. All the more agonising and impactful when he rips the mask from his face a second time. What a fucking bastard he is.

I’m glad he’s in the show.

And poor, poor Frank (Black Jack’s great-great-great-great-erm-great-don’t-know-how-many-greats-I-should-have-here-grandson), marooned and alone back in the 1945 version of Inverness. The mid-season finale taught Frank that time, anger and desperation can send even the most civilised of men running head-long into superstition and violence. Grief, and the shadows of his ancestral self, threatened to turn him into a monster, a theme I’m sure the writers will pick up again should he ever return to the story – which of course he must. He must, right?

I’m convinced that some sort of evil twin/sci-fi swapsie scenario is going to unfold, with Black Jack escaping to 1946 Inverness and becoming a serial-killer, or Frank accidentally landing in the past and having to convince any would-be murderers that he isn’t the infamous Captain Randall.

Anyway, because it’s the mid-season finale, something suitably seismic had to happen. And thus, Claire finally reaches the stones in 1743, at the same time as Frank does in 1945. Unfortunately (or fortunately depending upon your viewpoint) instead of running into her (first) husband’s arms, she runs straight into Black Jack’s clutches.

One minor quibble. Did the closing moments of the mid-season finale really have to lean into the cliché of the damsel in distress being saved from death and indignity at the last possible moment by her muckle, gun-toting man? Ach, that’s such a 2018 thing to say. It was exciting, ye ken?

I’m all in now.

Here’s to the next four episodes. Bring on the nakedness, Outlander. Just as long as you bathe it in blood from time to time.

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Why I wanted to binge-watch Outlander

Part 1: Season 1, Eps 1 -4

Part 3: Season 1, Eps 9 – 12

Jamie’s Outlander Binge: Season 1, Eps 1 – 4

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Part 1: Teaching your Grandfather How to Suck… Something

Wherein Claire loses her love and freedom at the touch of a stone, and people do lots of unhygienic things to each other

And so it begins.

Four episodes down, thirty-eight to go (that’s the total count at least until the fourth season begins in less than two weeks’ time).

By the time Christmas comes around I’ll either be Outlander’s biggest fan or its greatest enemy: I’ll either be leaning into my nation’s past and whomping around in a kilt asking people if they ken how wet my thrapple is, or I’ll be dressing up as a redcoat and smashing myself in my own Scottish face with a framed picture of Mel Gibson.

OK, first impressions: I can definitely tell that the show’s been made with an international audience in mind. How so? Simple. You can actually understand what the Scottish people are saying. I’m a Scotsman from the central belt of Scotland, and even I’ve wandered around places like Aberdeen, Inverness and Glasgow, thinking to myself, ‘What language are these bloody people even talking? Are they German people with severe adenoid problems? Welsh vikings? Klingons?’

Second impressions, aka Let’s talk about Jamie. I’ve spent the last few years hearing you ladies mooning, swooning, oo-ing, aah-ing, gushing and positively purring over the young lash-backed Scotsman, not to mention making some really quite worrying, and border-line criminal, sexual proclamations about him. I’m sick to death of hearing about it, and him. So, I’m here to tell you, right here and right now, ladies, that Jamie Fraser, aka your beloved Sam Heughan, aka is a… he’s a… well he’s… he’s a…

He’s a bloody dreamboat, isn’t he??

Fuck you, Sam Heughan. Fuck you! What’s worse is that, thus far, his character has proved almost impossible to dislike (the noble little whippersnapper that he is) which just makes me dislike him all the more. But of course I can’t dislike him, because he’s far too bloody likeable! I hate it when my jealousy creates a feedback-loop paradox in the space-time continuum. IT’S LEONARDO DI CAPRIO ALL OVER AGAIN!

Anyway, let’s do this.

Outlander’s opening episode, set in late 1940s Scotland, definitely did a good job of establishing character, tone and premise, although with its heavy emphasis on post-war middle-class angst, quaint drawing rooms, pantries, pastries, cups of tea, old castles and cobbled streets, I’m pretty sure that had the carrot of time-travel not been dangling in front of my face I would’ve been waving Claire and her husband Frank a fond farewell before the end credits had even finished rolling – unexpected castle-based cunnilingus scene notwithstanding.

That scene was certainly food for thought. Was the act as widely practised in the 1940s as it is today? And if it was, was it talked about openly, or did people, erm, keep their mouths shut? Was cunnilingus seen as a pleasurable part of the sexual process, or nothing more than a desecrating dose of dental deviancy? Was it perhaps even seen as a sign of male weakness?

The Sopranos’ Uncle Junior, played by Dominic Chianese

I’m reminded of a scene from the first season of The Sopranos, where elderly mafioso Uncle Junior has a strong negative reaction to the possibility of being outed as an aficionado of the fanny (Hi Americans – over here in Scotland, we refer to ladies’ bits as ‘fannies’, so just mind your Pees and Poos if you ever visit us). Junior had a very specific, and very off-kilter, reason for wanting his gift of the gab to remain a secret from his cronies. As he put it: “Because they think if you suck pussy, you’ll suck anything. It’s a sign of weakness, and possibly a sign that you’re a fanook.” That was late 1990s New Jersey, never mind 1945 Britain.

Knowing the ancient Greeks, Romans and Indians, they probably had their own cunnilingus championships, or Oral Olympics, where mighty Glad-he-ate-hers (forgive me) battled it out to determine the world’s most technically-gifted tongue-twisters, but early 20th Century Britain wasn’t exactly a bastion of sexual liberation. That stiff-upper lip would’ve been something of an impediment to, erm… I’m running out of euphemisms here… em… teaching a class in… labial linguistics? Or ‘whistling to the wheat-field’ as Tony Soprano once put it.

It’s probably fair to say that most things associated with female pleasure have been frowned upon until only very recently in human history, at least as far as ‘western’ culture goes (in some parts of the world, women can’t even show their faces, much less enjoy their own bodies, without fear of punishment). Granted, I’ve formed that opinion mainly through watching the Showtime series ‘Masters of Sex’… but I’ve little doubt that it’s accurate.

I don’t know who I could ask to clarify the matter for me in any case. My grandparents are all dead, but even if they were still alive I couldn’t imagine myself sitting down with them for a cup of tea and a Bourbon biscuit to have a frank chat about post-war fucking. “So, papa, bit of a muncher in your day, were you? Your thrapple must have been absolutely soaking in the years after the war. Oh, don’t blush, gran, I’m sure he’s even better at it now that he can take his teeth out.”

Are there any sex historians out there who could provide context to and confirmation of Outlander’s depictions of sex and sexuality? More than 1945, I’d be interested to read about the real-life sex habits of the hairy highlanders and strawberry-blonde bomb-shells of the 18th century.

I always flinch when I see characters from the olden times going at it, especially when their romps are set before the advent of modern medicine, antibiotics and Colgate. The farther back you go, the worse it gets. The breaths, boabies, boobies and foo-foos of your average Jacobite-era Scot must have smelt like a bag of dead cats decaying in a big pile of rotten hamburgers, all lovingly garnished by the boozy shits of a thousand alcoholic tramps. Which is a thought that’s going to spoil all of the many Ye Olde sex scenes I’ve doubtless got ahead of me on my long journey through time and space.

Anyway, I digress. Just ever so slightly.

The mood of the pilot episode was commendably melancholic, conveying a real sense of sadness, loss and otherworldliness. I really got the sense that Claire and Frank were a couple whose future was stuck in the past. As they drove through the highlands on their hope and history tour, the landscape around them felt empty and oppressive, a reflection of their strained relationship thrown upon a wider canvas.

The couple had come to Scotland ostensibly so that Frank could make both a personal and an academic connection with his Scottish ancestry, but this was also a desperate attempt for the couple to reconnect with each other following their separation through the war years, during which he’d served as an officer, and she as a front-line field-nurse.

There was a lot of blah blah blah, cups of tea. Blah blah blah, coy banter. And some blah blah blah, mystic mumbo jumbo. The episode had an awful lot of exposition and foreshadowing to unload, resulting in a lot of the dialogue coming across like: “My darling, I’m going to give you an incredibly detailed summary of everything that happened at this location around two hundred years ago, some of which could prove strategically important, some of which might even save your life, you know, if something were to happen like, oh I dunno – just plucking something out of the air here – say you suddenly found yourself catapulted back through time to the precise era I’m describing immediately after touching a big magical stone or something…”

And so, Claire touches the big magical stone at Craigh na dun and finds herself catapulted back through time to 1743, where she’s almost immediately raped by her husband Frank’s evil identical-ancestor, Jonathan. She then escapes into the benign-ish clutches of a gang of feral, fighting Scots, among them her star-crossed Caledonian catch-of-the-day, Jamie Fraser: the Romeo to her Juliet; the Sam to her Diane; the guy from The Only Way is Essex to her girl from Geordie Shore.

Outlander 2014

Claire exploits her husband’s knowledge of the area’s history to save her newfound hairy-arsed-friends from ambush at the hands of some English soldiers, and her own medical expertise to nurse Jamie’s wounds, which buys her some begrudged trust, and probably helps to keep her alive and un-raped. The Scotsmen take Claire back to their home and stronghold, Castle Leoch, where she’s received with as warm a welcome as a mysterious English woman who’s generally suspected to be an English spy might expect in that place and time. She isn’t imprisoned in the traditional sense of the word, but she’s the sort of guest who isn’t allowed to leave the castle or its grounds under pain of death. This makes it all a bit difficult for Claire to get back to Inverness in order to rub the mystical stone that might send her back… to the future! The narrative foundations are certainly strong and sound. Claire wants something, but there are always interesting, amusing or potentially fatal obstacles in her path.

Episodes two, three and four, then, are about Claire trying to find a place in this new world, all the while searching for an escape from it.

Enter Jamie, stage (Mr) Right. Both Claire and Jamie instantly recognise in each other qualities that make them distinct from their stations in life, and from the people around them. In a sense, they’re both people out of time, Claire in a literal sense, Jamie by virtue of his character having to hew to modern sensibilities so as not to repel and repulse the modern viewer. Even at this early stage in the story, Jamie Fraser is more progressive and feminist in his outlook than a lot of people I’ve met in real-life, modern-day Scotland.

The romance between Claire and Jamie – although it hadn’t by the end of episode four evolved beyond a bit of basic soul-allignment – is very obviously going to become integral to the story, but I’m glad that it hasn’t thus far dominated the narrative. I like that the spotlight has stayed on Claire. She’s a strong, cunning, clever and resourceful character, and I’ve enjoyed watching her use her wits, bravery and knowledge to make herself indispensable to the gang at Castle Leoch. I also admire her integrity; her unwillingness to sacrifice Jamie’s safety in pursuit of her goal, and her willingness to place herself in harm’s way to stand up for her ethics, especially in the case of the sick little boy whom she discovered had been poisoned.

That episode’s hellfire-spouting priest, Father Bain, played by the always brilliant Tim McInnerny, was a stand-out favourite character of mine. I hope I haven’t seen the last of him. Bain doesn’t seem like the kind of man to weather humiliation lightly. He’s had his power tested and bested by a science-applying English woman, and if I know my half-mad zealots, he’ll be back for some holy vengeance.

Final thoughts? I think it’s safe to say that I’ve emerged from Outlander’s first four episodes entertained, intrigued and genuinely invested in Claire’s journey. I look forward to her continued attempts to manipulate and exasperate the Laird with the Limp, and his scowling brother, McTavish (I’m guessing that Claire and big McTavish are going to become besties before long).

Here’s to the future. Well, the past I suppose.

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Part 2: Season 1, Eps 5 -8

Part 3: Season 1, Eps 9 – 12

Why I wanted to binge Outlander

Bingeing Outlander: Back to the Bygones

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I’ve resisted the call to watch Outlander for a very long time, mainly, I guess, because I assumed it would be the kind of lovey-dovey, over-enunciated, hammily-acted, costumed codswallop that’s had me almost breaking my thumb off against the buttons on TV remotes since I was a child. Upstairs Downstairs? Neither, thanks. Pride and Prejudice? Well, I take great pride in my prejudice against Jane Austen adaptations, if that’s what you mean. Downton Abbey? I’ll tell you what would make me ‘abbey’: chucking the TV out of the window before this horse-shit starts.

Still, I swithered. And kept swithering. I was intrigued. Yes, I strongly suspected that the greater part of Outlander would be a sickening, will-they-won’t-they, come-on-of-course-they-bloody-will, swash-buckling romance with a heavy emphasis on deep sighs of longing and forlorn staring that would have me rolling my eyes like a faulty fruit-machine, but there was also the promise of time travel, and if there’s any type of movie or TV show for which I’m a sucker it’s a fish-out-of-water time-travel story. That’s the element that wore me down and won me over.

It’s a long list, but my all-time time-travelling favourites are Bill and Ted, the story of two men – I forget their names – who travel through history kidnapping the great, the good and the ghastly to help them pass a high-school history exam; The Time Bandits, the story of a gang of dwarves on the run from God who kidnap a little boy and take him on time-trotting adventures through fissures in the fabric of reality; Doctor Who, the story of a time-travelling alien who, em… kidnaps… a series of men and women from throughout history and takes them on insanely dangerous adventures across time-and-space; and Army of Darkness, the story of Ash Williams, a former S-Mart employee, who is kind-of… well, em… kidnapped, I suppose… (Wait a minute… is it time travelling I love…or kidnapping?? Probably best not to look too deeply into that one) by Deadites, and hurtled through a portal in time that drops him into the magic-and-evil-infested Middle Ages. Hell, if we’re talking time-travelling adventures, I even loved Goodnight Sweetheart, even though in retrospect it was about as funny as having your teeth kicked out by a donkey.

And, of course, the Back to the Future trilogy goes without saying.

But it wasn’t just the time travel that tempted me. There was also the promise of the familiar; the local gone global. I live quite close to most of the locations in which they’ve filmed – and continue to film – significant chunks of the show, and it’s nice to see your part of the country being the centre of attention for a change. The vast majority of the movies and TV shows I’ve watched throughout my life have been filmed in either the US or Canada, two places I’ve never visited, a fact that has denied me the opportunity to turn excitedly to my family half-way through a 90s action movie and say: ‘Ooooh, see that shop they’re fighting outside in that scene? I bought a fanny-pack in there when I was on holiday with your Aunty Jean’. Thanks to the bulk of Outlander being filmed within a fifty-mile-radius of my home, I recognised my chance finally to join in.

I’m not just familiar with many of Outlander’s filming locations; I’m intimately familiar with them. They’re a part of my life and history: Culross Palace and its gardens; Muiravonside Country Park; Callendar Park; Linlithgow Palace – they’ve even filmed scenes in the park in Polmont, just a few minutes’ drive up the road from me, where we still take our sons to run, explore and play.

So screw you, New York, New York, I thought to myself. It was Scotland’s turn: my turn. I looked forward to pointing at the screen and saying things like: ‘Oooh, I stood on some dog-shit there last week, right there, where that man’s having his head chopped off by an axe,’ and ‘Oooooh, I had my first date there, right next to that tree where that man’s being raped.’

I guess – being Scottish myself – that the production’s Scottishness was also a powerful draw. When you learn that an American authoress and an American production company have teamed up to create something they claim is a plausible swords-and-shagging epic set in the murky, murderous past of your own ancestral culture, you want to check up on its quality and authenticity. You want to know if it’s going to be stirring and emotionally affecting, like Braveheart, or full of screamingly ridiculous historical impossibilities and utter bullshit, also like Braveheart.

And you want to make sure that you and your people aren’t being unceremoniously ‘Groundskeeper Willied’. Scottish people have a long history of being portrayed on screen as any number of condescending or insulting stereotypes, from noble savages, to quirky old mystics brimming over with folk-tales and old-wifey-wisdom, to drunks, druggies, madmen and wash-women. It’s heart-breaking that some of the most authentically Scottish characters ever committed to the big screen are in Trainspotting. Was Outlander going to do us Scots proud, or was it going to offer up yet another round of tartan-box kitsch, craven historical inaccuracies or poverty-porn pish?

Well, folks, it’s time to find out for myself.

Over the next few weeks – up until the soon-to-be-aired fourth season’s mid-season finale on December the 9th – I’m going to be bingeing my way through the series to date, and giving my thoughts on the drama as it unfolds, in little easy-to-digest 3-5 episode chunks. Who knows? Some of these thoughts might even be insightful and provocative, but I wouldn’t hold out too much hope for that.

In any case, I hope you’ll join me on my binge. Whether I end up loving or loathing Outlander, you can be sure of one thing: we’re going to have fun together.

I hope we will anyway…

Maybe.

Binge Diary 1 coming on Wednesday the 24th.

BEGIN THE BINGE HERE