This has been more than a tumultuous season for Jamie and Claire on Outlander, and Saturday’s episode, promises to deliver another blow.
In the following sneak peek, which you’re seeing first on Mashable, Dougal gives Jamie a letter that informs the Jacobite leader that the prince wants them gone.
“Exile — that’s what it is. They want rid of us — of you,” Dougal says. “They want you and me gone and gone now.”
Jamie reacts about how you’d expect to the news — with fire in his eyes and determined to work this out with the prince. But even that plan hits a snag, as Dougal informs him the royal has left — and taken his horse.
So where does that leave them? We’ll have to find out Saturday when the new episode, titled “Vengeance is Mine,” airs at 9 p.m. ET/PT on Starz.
Outlander Secrets, Part 10: The Big, Big Problem With Jamie’s Kilt
In the latest installment of Outlander Secrets, costume designer Terry Dresbach talks the most controversial element of the Scotland wardrobe.
JUN 10, 2016
Much has been written about the head-turning, high-wattage costumes from Outlander’s Paris scenes this season: the saturated colors, the meticulous embroidery, the jaw-dropping accessories (er, nipple jewelry). At this point in the Starz hit’s second season, Outlander protagonists Claire and Jamie have returned to Scotland, ditching Paris’ jewel-tone silks for Scotland’s utilitarian gray wools—but the chatter about the show’s costumes hasn’t slowed a bit. How could it, with Emmy-winning costume designer Terry Dresbach at the helm? Here, we chat with Dresbach about Outlander’s wardrobe now that we’ve returned to the Highlands, and the mind-boggling challenges the Scottish wardrobe presents.
The catch-22 with tartans:
“You know, it’s really interesting because the tartans are a very, very difficult issue. Because unless you have subtitles going across the bottom of the screen that explain history, you’re really having to deal with audience misconceptions that go back for decades. There’s a lot of scholarly debate about tartans, and I try to ride the line very, very carefully. I won’t say which group I believe, because then I’ll get 9 million angry letters, but…
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“THE RESEARCH DOESN’T SUPPORT IT.”
There’s certainly a school of thought that says that tartans are actually something that was invented by the Victorians as sort of a romanticism of Scotland, that the clan tartans—and all those crazy colors—really isn’t accurate to the 18th century. But we do have a romantic association with, ‘Oh, I’m clan MacKenzie’ or ‘I’m clan Fraser.’ And certainly our book fans have that, but the research doesn’t support it. So my job is to figure out: How do I handle with care people’s love of a piece of the story and be accurate? Because either way I’m getting angry letters.
I still get letters from people going, ‘Why isn’t he wearing the Fraser tartan that I bought when I went to visit Edinburgh and went to that gift shop?'”
How she handled it:
“What I did was I tried to put myself in the head of somebody in the 18th century. So if I’m a weaver or a dyer or a fabric maker and I’m living in a little smoky hovel with three generations and maybe cow and pig in the corner, and it’s pouring rain outside all the time, how much time am I spending with that giant pot over the fireplace [dyeing fabric] getting the exact correct shade of lavender? Probably not a lot. But then enters Prince Charlie wearing his insane red plaid:
But that’s an actual reproduction of a painting that he had commissioned that he actually was out on the battlefield wearing that brilliant red plaid. It’s just something, isn’t it? [But that makes sense for the Prince to wear that because] dyes were incredibly, incredibly expensive!
But it just seemed to me like, historically, fabrics are created from the environment people live in. So what we did was research all the plant life in the area of our story and basically came up with: What colors would we be able to produce living where they lived? And then as we filmed we went, ‘Okay, the people in this village like this pattern, and the people in that village like this one.’ But they’re all in the same general geographic vicinity, which is why you see the colors being so similar but the patterns different. Claire will be wearing a different plaid than Jamie’s wearing and it’s different than what Dougal MacKenzie’s wearing, but gosh they look awfully similar.
…But unfortunately, you can’t send that letter out to every fan before they watch the show that this is what we’re doing.”
This interview had been edited and condensed for clarity.
Claire herself called in to ‘Outlander LIVE!’ to chat about last Saturday’s episode ‘Prestonpans’ and what to expect much more! Outlander Live! With Lynette Rice & Amy Wilkinson is on every Monday at 2 PM east on Entertainment Weekly Radio, SiriusXM 105!
THE Hollywood mogul behind the Scottish filmed historical science fiction series Outlander has revealed plans to turn it into a TV series for at least the next decade. Outlander, which is shot in Cumbernauld, Fife, Perthshire and South Queensferry, is based on Diana Gabaldan’s novels, is already returning to the small screen for a third season.
Full spoilers for Outlander continue below. There was never any doubt in my mind that Outlander would show the shades of grey to fighting a battle like Prestonpans. This is a show that has impressed upon us time and again that nothing in life is without complexity, be it sex, love or violence.
Wee Caps are written at 1 AM after the midnight release and are my immediate reactions/feelings about the episode.
History tells us this was a 15 minute victory for the Scots. And to win in 15 minutes, you kill and wound a lot of people. So the one thing I will tell people is that this episode is graphic and violent, from the first minute. If that sort of thing bothers you, this episode will be harder to watch. I did grimace a few times.
The title card shows the juxtaposition of the Highlander music and the British army music. One that wails in the night, the other that is rigid yet direct. It is a symbol of things to come over the next few episodes.
I can see why Sam was proud of this episode. He was in and out of it for the whole hour but it was really the rest of the expanded cast that had the spotlight. But whenever Jamie is on screen, the camera just finds him. This episode explored his relationship with everyone in his life who is at the camp with him.
I thought it started a bit slow. We got 2 of the 3 MarkMe early on. You can see that even when other men/generals are arguing, Jamie is always thinking. One of the most accurate lines of the night about Jamie is when Dougal tells him that something he just engineered (on his feet) was smart and cunning and that he reminded him of Colum. I wondered if Dougal recognized at that moment why Colum wanted Jamie to succeed him and not Dougal.
The actor that most impressed me tonight besides our two leads? Young Romann. He was good, I mean really really good. I love the relationship that has developed between Claire and Fergus as well.
The scene that was in the preview where Fergus interrupts a kiss? I could tell they weren’t going to kiss because Jamie didn’t lick his lips. But don’t worry, there was some great kisses in this episode. Jamie had what can only be described as battle lust in his eyes both before and after the skirmish.
There is a scene with the specimen bottle that shows boys will be boys no matter what the circumstances.
The parallel stories between the two soldier friends Rupert and Angus and the two farmer friends Ross and Kinkaid were nice but not exactly original writing by Ira.
The set production/cinematography was really good, I actually would love to see that on a big screen. The use of the morning fog was excellent.
The scene with Claire and the women at the hospital while the battle sounds began shows that sometimes waiting and wondering can be just as hard as swinging a sword. Claire was back in field hospital taking charge mode. I wonder if she hadn’t worked through her PTSD with Jamie last week if she would have had a hard time at the hospital.
The music was superb and the heartbeat type sound before the battle was unique sounding and really captured the adrenaline of both nerves and excitement that I would imagine precedes a battle.
With war comes loss. Loss of life, loss of innocence, loss of stability. And PrestonPans is no different.
I wonder how many times they had to film those scenes, it must have been exhausting. I also wonder if those were the scenes that Sam filmed while Cait was doing Faith.
I look forward to watching it again on my HDTV tomorrow to catch the little things that one misses on first watch. It certainly isn’t the kind of episode that you watch over and over like last week but it was very important in many ways.
Even though this was Sam’s favorite, I’m glad it was not submitted for Emmy. He had deeper performances in other episodes in terms of meaty scenes that voters like. But I loved watching his eyes in this episode. I’m glad they are continuing to show how intelligent Jamie is.
Return to original blog
Book readers and history buffs know the outcome of the Battle of Prestonpans, which is the focus on Outlander, Episode 210. If you don’t know, then there may be a little spoiler here.
Initially known as the Battle of Gladsmuir, the Battle of Prestonpans, fought on September 21, 1745, was the first battle of the second Jacobite Rising. The Jacobite army, consisting of loyal followers of James Francis Edward Stuart and led by his son, Charles Edward Stuart (aka Bonnie Prince Charlie), met and defeated England’s King George’s forces led by Sir John Cope. The victory was a huge morale boost for the Jacobite army.
How did the Jacobites win the Battle of Prestonpans?
“On September 20, Cope’s forces encountered Charles’ advance guard. Cope decided to stand his ground and engage the Jacobite army. He drew up his army facing south with a marshy ditch to their front and the park walls around Preston House protecting their right flank. A Highlander supporter, Robert Anderson, was a local farmer’s son who knew the area well and convinced Charles’ Lieutenant General, Lord George Murray, of an excellent narrow route through the marshlands. Commencing at 4:00 a.m., he moved the entire Jacobite force, walking three abreast along that route, known as the Riggonhead Defile, in silence, arriving to the east of Cope’s army at Seton West Mains. Although Cope kept fires burning and posted picket during the night as the Highlanders were making their move, they were not spotted by the pickets until around 5:00 a.m.
“At 6:00 a.m., as dawn broke on September 21, 1745, Cope’s foot soldiers and dragoons beheld the spectacle of some 2000 Highlanders charging through the early mist, making ‘wild war cries and with the blood-curdling skirl of the pipes.’
“Cope’s inexperienced army had just wheeled round from facing south to facing east in great haste but could only fire their cannons and muskets just once before the Highlanders were upon them. They they fled, despite Cope and his officers’ attempts to force them at pistol point to make a stand. Cope’s army, facing east to confront the Jacobites, now had the ditch to their south and the walls of Preston House to the west behind them, blocking their panicked retreat.
“The ‘battle engagement’ was all over in less than fifteen minutes with hundreds of government troops killed or wounded and 1500 taken prisoner as the redcoats fled the field. The Hanoverian baggage train at Cockenzie was captured with only a single shot fired, and it contained £5000, many muskets, and ammunition. The Highlanders suffered less than 100 troops killed or wounded. The wounded and prisoners were given the best care possible at Prince Charles’ insistence.”
Their good fortune would not hold when the Jacobite army met British troops, led by William Augustus, Duke of Cumberland, in their final confrontation at Culloden Moor on April 16, 1746.