web analytics

Share

Title: LaDame Blanche

Written by: Toni Graphia

Directed by: Douglas Mackinnon

It’s  Episode 204 of  OLA’s  continuing series of Recaps on Steroids (ROS) for Season 2.  These ROS will incorporate an OLA writers’ opinion on the episode woven in with information from both the official Starz podcasts hosted by Showrunner Ronald D. Moore along with comments from the official episode script including things changed or edited for television. OLA editorial comments in the ROS recognize and respect the experience of those associated with the show even though we may respectfully disagree at times with their thought process or assumptions.  We hope you enjoy these recaps!

dinner-wife-intro

 

If you want to see some very funny deleted scenes from this episode and others, then pre-order the Season 2 DVD or Blu Ray from our Shop Outlander Amazon page here.  It is targeted to be in-homes on November 1st.

The podcast for this episode was narrated by showrunner Ronald D. Moore (RDM) and executive producer Toni Graphia who also write the script.

The title card for the episode was a broken wagon wheel and the episode was referred to in the writer’s room as the dinner party episode.

The opening credits include shots of Versailles.  RDM noted that this was mostly done with visual effects that incorporated actual historical shots of Versailles.

The opening scene is of Jamie playing chess with Duvernay but this time, Claire is there.  She is distracting Jamie with baby names, causing him to lose a game.  Initially, the baby naming discussion took place in a more intimate setting but the writers wanted to underscore how little they have spoken about the baby given the logistical challenge of their quest and the emotional wall created by Jamie dealing with the Wentworth aftermath.

The Comte interrupts them and spoils the game.

chess-comte

Claire leaves the table to get a drink.  A sequence cut from this scene includes her overhearing many French women talking about how bored they are and then a few say

I shouldn’t mind making that tall red-headed Scot growl and show his teeth. 

Yes, he can castle my queenside any time.

How do you say I know the feeling in French?

Claire normally would be used to other women admiring Jamie but this time it cuts to the quick as  they have not been intimate in months.  She takes a drink and realizes something isn’t right.  Jamie notices that she is in distress and runs to her side.   They choreographed this scene to make you suspect the Comte St. Germaine but we don’t know for sure if he was the mastermind at this point. The sequence where the royal physician wants to bleed her is cut for time.

Jamie and Claire return to the house.  The interesting this is this scene was shot before the Prague chess room scenes.  Toni commented that they often shot out of sequence in Season 2, even months apart and she noted how the crew and especially the actors, were brilliant in keeping the continuity of the scene and especially the emotion.  RDM said shooting that way is called cross-boarding.

Claire is forced to tell Jamie that Black Jack is alive.  There were many discussions in the writers’ room about how and when she should tell him.  The reveal comes to a head when Jamie wants to throw a dinner party to show Sandringham how weak Charles is so that he will see him as a bad investment.  With Sandringham will come Alex Randall and Claire knows she has no choice to tell Jamie.  They also played around with Jamie’s reaction and decided he would be overjoyed.  Sam Heughan  played this well as the script simply says “this is wonderful news” but he read it as “this is…wonderful news” with a dramatic pause and a look to the heavens as if saying Thank GOD.

Side note:  RDM noted they were well into story boarding for Season 3 at the point of this episode airing.  The episode aired on April 30th in the US so that must mean they had known about Season 3 as early as March, if not before.

Murtagh observes that Jamie seems in a good mood and Claire admits that she was forced to tell Jamie that BJR is alive.  She takes a playful poke by saying “I don’t know what you were so worried about.”  RDM said he fought to keep this scene in.   Unfortunately, it required that the next sequence had to be cut where Claire comes upo Jamie and Fergus discussing which of the women at the brothel likes to talk.  Jamie wanted to know which one he could talk with but not have to partake.  I think it was a mistake to cut this because it would have put an important upcoming scene with Jamie and Claire in better context.  Many non-book readers were disappointed in Jamie for the later scene but if they had seen this exchange, they would have realized his motivation.

I think this is another editing decision that was chosen because of favorite scenes by a writer or producer without thought as to how the audience would interpret or prefer.  While I admire how they tackled a long, complicated book in only 13 episodes, the editing decisions were often head scratchers.  This will become extremely apparent  in episode 207 but you’ll have to wait a bit for that recap!

Claire returns to Master Raymond’s shop.  Both RDM and Toni noted this is their favorite set with so many details that the viewer barely has time to notice.  Toni pointed out something that I hadn’t noticed in the episode.  When Claire is holding up a prehistoric skull, Raymond tells her he is fascinated by things not of this time.  And he is looking at Claire, not the skull.  He knows or at least suspects.  They really wanted to create a sense of mystery about Raymond.

Claire is worried about Frank.  She loved him once and given that she now has met Mary Hawkins, she wants to understand what that means for Frank.  RDM had the idea of throwing the bones on an animal hide, something Claire would remember given her travels with her archeologist uncle.   When Raymond says “you will see him again”, Claire is perplexed but the audience knows this to be true from episode 201.  She receives her magic stone necklace.  This piece is important to later episodes and so they let Terry Dresbach select the stone.

Claire then visits Louise who shows off her new cuckoo clock.  The original script had Louise sitting for a portrait with her monkey and the monkey would escape.  But the production manager said “The monkey stays in the cage!” so the changed the script.  Louise confides in Claire that she is pregnant by her lover.  In a large piece of foreshadowing, Claire tells her that it is possible to raise a child with love even if her husband is not the father.  One version of the script had Louise reveal that Charles is her lover but they decided to have Jamie and Claire figure that out later.

Jamie returns home that evening very much in the mood.  He straddles Claire on the bed and as he lifts his shirt (even Toni gave an impressed woo! during the podcast at Sam’s, um,  assets), Claire notices bite marks on his thighs. Toni wanted to make sure that the audience knows that Jamie would never be untrue to Claire but this was more complicated than that.    The script note says it all “in the long, clueless tradition of husbands throughout time”,  Jamie begins to explain to Claire that nothing happened but he was trying to reconnect with himself so that he could reconnect with her.  Using a whore from the brothel who liked to talk a lot (see cut scene with Fergus), meant he could test that while being true to her.   This leads to a very vulnerable discussion on both their parts; Claire about how she’s tried so hard but this should be a happy time for them and Jamie finally revealing just how deeply Wentworth has impacted his psyche.  This included the infamous blade of grass speech originally from Book 1 that Maril Davis had remembered (thank you, Maril!)  RDM praised Diana Gabaldon’s writing of the speech and as Toni pointed out, words are only as good as the actors who deliver them.

Jamie leaves to sleep by himself in the daybed.  They always wanted to use this for a sex scene and it ended up being right that it be the first time for Jamie and Claire since arriving in Paris.  The blue lighting emphasized that it was just Jamie and Claire finding each other again in the darkness.  RDM ‘s line of Come find me fit perfectly.   Sam Heughan and Caitriona Balfe both commented in a number of interviews that they fought for a pregnant sex scene and they did it beautifully.  There is a brief moment of shock in Jamie’s eyes where BJR  may have started to creep his way back in but Claire grabs his face and secures her to him.  They are as one in every sense of the word once again.

Jamie tells Claire later that she has helped him start the healing process back to himself.  She has built him a roof with a lean to.    The sounds of banging on the roof brings him face to face with Charles in the window.  Andrew Gower did all his own stunts here from letting them pour water on him to show it had been raining, to jumping through the window and letting Sam tackle him.  An interesting point is that in the book, this is actually the first time the reader meets Prince Charles.  The book is told from Claire’s point of view so it was always her hearing Jamie describe his meetings with Charles.

Charles is injured and through conversation, Jamie and Claire put 2 and 2 together to realize that he is Louise’s lover and the father of her child.  They later plan how they will use this information at dinner.  A pang of conscience over hurting Louise for the greater good is part of it but they close the plan with a kiss as the scene fades to the setting of an elaborate dinner table.  The Jamie and Claire theme plays in the background as we are left to presume that the blade of grass is about to be a 3 room cottage.

Toni and RDM noted how very complicated this dinner party scene was for the director.  They had 16 seats but because the women’s clothing is so wide, they had to limit females.  They have to get Claire out of the house by sending her to Le H’opital to assist Mother Hildegarde.  Toni noted that this scene was almost cut a number of times but she really wanted to work with Frances De LaTour.  (Another time when a writer’s favorite scene takes up time that might have been better served elsewhere?)  A cut scene from here is when Mother Hildegarde tells Claire that she should be a doctor and that she could arrange for her to do an apprenticeship.  Production note: this scene was filmed on day 1.

A fun knife throwing scene takes place outside between Murtagh and Fergus where it seems brothel born and raised Fergus knows more about women than Murtagh.  I always love these two as it reminds me of gruff old uncle scenes.  fergus-and-murtaghToni noted that this scene didn’t move the plot forward as it was pure character and those scenes often suffered in the cutting room during season 2 but she was glad it made it.  (Note, this was the most common criticism of season 2 but part of that is due to the structure of book 2, in my opinion.)

Claire, Murtagh, Mary and Fergus leave to head back home when Murtagh discovers the carriage wheel is broken.  They decide to walk back with Fergus being instructed to go ahead to tell Jamie that they will be delayed.  RDM noted this was complicated with regards to timing of how long they were there, how long would it take to sabotage the carriage, how long of a walk is it, when is dinner served, etc.

Back at the ranch, Jamie beings to greet guests with the first to arrive being the Duke of Sleezingham and his secretary, Alex Randall.  Jamie is aware they were coming but still, as Toni notes, a great shiver runs through him when he sees the resemblance.   The actor who played Alex showed up to the first table read wearing the same glasses as Tobias Menzies.  Too bad they couldn’t have taken a picture of that.

Louise arrives with her husband and comes face to face with Charles who wears his heart on his sleeve.  Awkward!  Murtagh, Mary and Claire walk through the alley when Murtagh is knocked unconscious and a group of thugs attack and rape Mary.  This scene was shot many times and Toni noted it is difficult for the crew to watch.  (Note: If it is difficult to watch film, perhaps extrapolate that might be just as hard or harder for your audience?)  All of the attackers were stuntmen and not actors so they dubbed their lines.  Claire is recognized as LaDame Blanche (the title of the episode that is never explained until 205) and they run off.

When they return home, Mary is taken upstairs and Jamie wants to cancel the dinner party but Claire notes the show must go on, there is too much at stake.  She sedates Mary and leaves Alex to watch her, warning him that she may wake up disoriented.  Uh oh, you know that ain’t gonna be good.

The seating arrangements are strategic.  dinner-partyCharles must sit across from Louise, Duke sits across from Charles and the Comte next to Claire who suspects he is behind the attacks.  We do too as he seems surprised to see her there.

Jamie and Claire’s plan takes shape exactly as they had hoped in that Charles is upset with Jamie’s “accidental” announcement that Louise and her husband are expecting child.  Sandringham takes shots at the pope and Comte makes it quite clear he knows what kind of necklace Claire is wearing. (This is actually extremely important in another few episodes.)

Unfortunately, Mary wakes up and mistakes Alex for another attacker and runs into the parlor.  He tries to tackle her to quiet her and the men from the dinner party mistake it for an attempted rape.  A brawl ensues.  RDM noted that they wanted to make it a lighthearted brawl because a serious one would be over in seconds with Murtagh and Jamie killing everyone.  So, they tried to make it like the 3 Musketeers.  I felt it went on for too long and seemed out of character for them.  The humor is saved when the camera pans over to Fergus in the now empty dining room, enjoying the “spoils of war”.

Don’t forget!  Pre-order the Season 2 DVD or Blu Ray from our Shop Outlander Amazon page here.

 

All pictures sourced from Starz

 

 

 

 

Share
Read more

Share

‘Outlander’ a great fit for TV writer Anne Kenney

 

sam-heughan-anne-kenney-out-thumb-640x427-28882 Sam Heughan, who plays Jamie Fraser on “Outlander,” with writer Anne Kenney on location in Scotland. Courtesy of Anne Kenney.

“Outlander” writer Anne Kenney’s cozy home office on the Westside is a world away from the fan-intense Writers Bloc event (Inside the eye of the Outlander storm) where we first met last month. As part of the press tour for the show’s second season, Kenney joined her fellow writers and lead actors Caitriona Balfe, Tobias Menzies, and Sam Heughan for a panel to discuss the challenges of adapting for television Diana Gabaldon’s much loved and complex series of books about a World War II combat nurse who accidentally time travels back to 18th century Scotland. It was a rare on-stage appearance for the writers. The shows actors are usually the stars of such occasions, but on this night they seemed happy to let the writers have the spotlight. Members of the always passionate Outlander fandom filled the audience at the Writers Guild Theater in Beverly Hills, many possibly realizing, for the first time, just how vital a role the writers play in bringing their favorite piece of literature to the small screen.

I visited Kenney a couple of weeks later to find out what life has been like for her since starting on the Starz show in 2013. “I’ve never done anything like this,” the veteran writer/producer said of working on a project with such a huge built-in fan base. “I went from having four Twitter followers — my family — to almost 10,000 and it’s all about “Outlander.” I usually don’t tweet about anything else.” Kenney still finds it strange when fans come up to her at events and want to have their picture taken or have her sign things. “But actually,” she says, “that’s been kind of fun and mostly people have been positive.”

Known for her work on “L.A. Law”, “The Big Easy”, “Greek, and “Switched at Birth,” Kenney had read (and loved) Gabaldon’s books and jumped at the chance to write for a show that combines so many genres. There is historical fiction, adventure, fantasy, romance, and refreshingly, a strong female lead character in Claire Randall (played by Balfe.) “This show is great for women. It’s from a woman’s point of view,” says Kenney. She earned high praise from critics and fans last season for writing episode 7, “The Wedding,” in which Claire is forced to marry the young, virginal Highlander Jamie Fraser (the show’s other lead character played by Heughan) in order to protect her from the British army. Much was written (see How Many Women Does It Take to Make the Perfect Sex Scene?) about the episode’s groundbreaking female-centric depiction of intimacy between lovers who start off the night as awkward near-strangers.

Originally from Oregon and Ohio, Kenney always knew she wanted to be a writer. After earning a journalism degree from Ohio University, she worked on small newspapers until classes in playwriting and television writing led to a move to Los Angeles in 1987. She met her husband, writer/producer Fred Golan, the same year. A voracious reader, particularly of historical fiction, Kenney enjoys the process of adaptation but acknowledges that Outlander can be problematic. While the first season was fairly straightforward, with Claire mostly trying to find her way back home to the 20th century, the second season, now well under way, was far more complicated to adapt. I won’t spoil it for those who haven’t yet watched, but as Kenney says, “there was so much exposition, so much more explaining to do.” Things won’t get easier for the writers if the show continues on to season three. Gabaldon’s books are famous for their geographical reach and huge jumps in time.

The Outlander writers are based in Los Angeles (the writers’ room is in the Valley and Kenney crafts her scripts at home) but all are producers as well, which means periodic stints in Scotland to supervise production of episodes. The show is shot at a studio in Cumbernauld, just outside of Glasgow. The cast and crew also spend a huge amount of time on location. As a supervising producer “you’re there at the beginning and during prep when we’re deciding what the locations will be and what scenes stay or go for production reasons,” says Kenney. “We work with the actors and directors and there’s a give and take. Sometimes there’s something I’ve heard in my head and one of the actors will come up and say ‘this sounds really weird to me’. There’s a negotiation that goes on.”

For example, she points out that it’s “very interesting” working with Menzies, who plays a dual role: Claire’s twentieth century husband Frank and his 18th century ancestor, the villainous Black Jack Randall. “I think the assumption is that actors want more to say, rather than less,” she says. “I’ve found that’s generally not the case…especially with Tobias. He often feels he can tell the story more effectively with fewer words, and frequently he’s right.”

outlander-diana-gabaldon-an-thumb-360x270-28879

 

Kenney was in Scotland for two months last fall, overseeing one of her own episodes for season two as well as one written by Gabaldon. It was the Outlander author’s first attempt at adapting her work into a script. Kenney says working with Gabaldon was “really fun…we had a good time. My experience was she really put her student hat on. She was there to see how it goes and she was such a trooper. It rains a lot and we were out in the cold and wet. She was fun and funny and didn’t complain once. Like all of us, she got notes and certain things would get re-written and she was very cool about all of it.”

Outlander production has been a boon to the economy in the areas where the show shoots, as Kenney saw one day on location with Gabaldon. “Diana and I were in a coffee shop in a place called Culross. We had our headsets around our necks…our names were on the back. After picking out some stuff, the guy followed us out, went up to Diana and said, ‘oh my god, are you Diana Gabaldon? You’ve brought us so much business..everything’s on the house for you.’ After that the joke was that we all should write her name on our headsets to get free food.”

In addition to dealing with inclement weather, Kenney has found some differences in the way Scottish sets are run. The typical working day is 10 hours (unless the crew agrees to go over) unlike the usual 12-14 hour day in the U.S. There is also a “right to walk” rule that allows the public to legally access any location where the crew is shooting. But so far “people have been very respectful and the actors have been extremely gracious with fans who show up and want to talk and have pictures taken,” Kenney says. She admits that one of her (and fellow writer Toni Graphia’s) biggest problems is understanding some of the Scottish accents. The desk clerk at their hotel was one of the toughest to decipher. “He could have said ‘there’s a serial killer on the third floor’ and we’d be like, great!”

source

Share
Read more

Share

This was the first episode of the series that didn’t give us some great Jamie and Claire scenes.  In fact, we saw no Jamie and Claire the entire episode, and that was a tough pill to swallow.  However, some good things did happen.  Claire established and cemented some relationships independent of Jamie.

Claire and Jenny

Claire and Jenny got off to a rocky start in Episode 111, but when you deliver someone’s child and share a common purpose with that person, bonds will surely be made.  The bond seems tenuous, however, when tensions arise during their search for Jamie.  Jenny has a little inner warrior who doesn’t appreciate Claire’s seeming judgement and hesitation at killing the English soldier.  The issue seems resolved after Murtagh kills the soldier and Claire professes that she would have done it herself if Murtagh hadn’t shown up when he did.  Satisfied that Claire will do all she can to bring Jamie back to Lallybroch, Jenny leaves Claire and Murtagh to the task.

ol-s1-14-murtagh-kills-soldier ol-s1-14-claire-done-it-myself

Claire and Murtagh

Claire and Murtagh continue the search for Jamie and strengthen the bond they had through Jamie.  Together they build a mutual respect and friendship outside of their connection to Jamie.  This relationship isn’t without its challenges as well, and they don’t always agree on the best strategies to incorporate in their search.

One of our favorite scenes is when Murtagh encourages Claire to sing.  Her first on-stage attempt was funny.  Luckily the highlanders don’t know the word, but it may not have made a difference even if they had.

ol-s1-14-claire-oh-feck

Though some parts of the search dragged, we were given an opportunity to enjoy some of the beautiful Scottish Highlands scenery.

ol-s1-14-claire-murtagh1 ol-s1-14-claire-murtagh2 ol-s1-14-claire-murtagh3 ol-s1-14-claire-murtagh4 ol-s1-14-claire-murtagh5 ol-s1-14-claire-murtagh6 ol-s1-14-claire-murtagh8 ol-s1-14-claire-murtagh-horses-beach1 ol-s1-14-claire-murtagh-horses-beach2 ol-s1-14-claire-murtagh-horses-beach3

One of the most satisfying scenes in the episode occurred when Claire and Murtagh are camped in a cave.  Their search has yet to yield success and tempers run short.  When Claire says Murtagh had never lost anyone he loved, Murtagh shares the story of his unrequited love for Jamie’s mother and how he gave her the carved bracelets.  They share an embrace and Murtagh confesses that he loves Jamie like a son.

ol-s1-14-claire-murtagh-in-cave4 ol-s1-14-murtagh-claire-bracelets ol-s1-14-murtagh-a-son-to-me ol-s1-14-murtagh-claire-hug

The next morning, with renewed strength and determination, they set off to continue their search.  Murtagh tries to assures Claire that they will find a way to make more money to continue their search for Jamie.

ol-s1-14-claire-on-beach1 ol-s1-14-claire-on-beach2ol-s1-14-claire-on-beach-w-murtaghol-s1-14-claire-on-beach3

Claire and Dougal

Claire and Murtagh receive word they are to meet Jamie, but once they arrive they are devastated to learn that it is Dougal who sent the message.  He gives them the news that Jamie has been captured, tried, and sentenced to be hanged.  Dougal is such a rascal, and Claire learns that Dougal had wanted Lallybroch and the Fraser lands all along, and he intends to get it by marrying Claire and “protecting” her.  Obviously she sees it as an indecent proposal but agrees to marry him only if Jamie is already dead or she can’t rescue him.

ol-s1-14-claire-and-dougal1 ol-s1-14-claire-and-dougal2

Dougal refuses to order his men to help in the rescue mission but says he won’t stop them should they volunteer.  More determined than ever, Claire sets out to enlist the help of the highlanders.

Herself and the Highlanders

This is one of the best scenes in the episode.  Claire and Murtagh meet with a very reluctant group of Highlanders, except for Willie, who eventually shames the rest into agreeing to help rescue Jamie.  That they do ultimately agree to help indicates the level of respect they have for her.  Remember that this is eighteenth century Scotland, where a group of rowdy Highlanders are willing to follow the lead of not just a woman, but an English woman.  She has earned their respect as Lady Broch Tuarach, as Herself.

ol-s1-14-the-rescue1 ol-s1-14-rescue1ol-s1-14-rescue2 ol-s1-14-rescue4ol-s1-14-rescue5 ol-s1-14-rescue6ol-s1-14-rescue7 ol-s1-14-rescue-9ol-s1-14-rescue11-540-px

We love Badass Claire.

 

Share
Read more

Share

Episode 113 represents a turning point in Jamie and Claire’s lives.  For what seems like only a brief moment, they live in peace and happiness at Lallybroch until the Watch arrives.  When Jamie is coerced into riding with McQuarry and his men, it triggers a journey of which will impact him and Claire for a lifetime.

Never let them see you sweat.

One of the best things about this episode (aside from the wonderful Jamie and Claire moments) is the way Jamie stands up to the Watch.  He will not be intimidated by them, and it’s sexy as hell.  If there was ever a doubt about Sam Heughan’s ability to play a role like James Bond, then this episode should help settle the issue.  We see the beginnings of Jamie as leader and fearless protector of what and who are dear to him.

ol-s1-13-jamie-meets-watch1 ol-s1-13-jamie-meets-watch2 ol-s1-13-jamie-meets-watch3-540 ol-s1-13-jamie-meets-watch4 ol-s1-13-jamie-meets-watch5

“He needed killing.”

McQuarry was right.  After Harrocks set up The Watch, along with Jamie and Ian, to be ambushed by British soldiers and extorting money from Jamie, Harrocks had to die.

ol-s1-13-killing-harrocks1 ol-s1-13-killing-harrocks2ol-s1-13-killing-harrocks3 ol-s1-13-killing-harrocks4ol-s1-13-killing-harrocks5 ol-s1-13-killing-harrocks6ol-s1-13-killing-harrocks7 ol-s1-13-killing-harrocks8ol-s1-13-killing-harrocks9 ol-s1-13-killing-harrocks10

“I ran him through.”

After their initial meeting, McQuarry understands that Jamie is no coward and begins to appreciate him as a fellow warrior.  Still, tensions run high when Jamie tells McQuarry that he killed Harrocks when he threatened his family.  Even though McQuarry agrees that Harrocks needed killing, he forces Jamie to join the Watch in a raid, which leads to their capture.  Ian wants to join them and Jamie’s initial reaction is a stern, “No, yer not.”  Ian wins the debate and joins Jamie and the Watch.

ol-s1-13-jamie-revised ol-s1-13-jamie-4 ol-s1-13-jamie-5

“It would take more strength than I have.”

This is one of the iconic book scenes, and it is a real tear-jerker, not only for Jamie and Claire for but viewers as well.  Jamie is so sweet when Claire confesses that she may not be able to give him children.  Having lost his own mother in childbirth, the thought of losing Claire in that way truly scares him.  However, he can’t hide all of his disappointment at the news.

ol-s1-13-jc-children1 ol-s1-13-jc-children2ol-s1-13-jc-children3 ol-s1-13-jc-children4 ol-s1-13-jc-children5 ol-s1-13-jc-children6ol-s1-13-jc-children7 ol-s1-13-jc-children8ol-s1-13-jc-children10 ol-s1-13-jc-children9

“Haste ye back.”

This scene is another sad one.  Jamie won’t be hasting back to Claire, and soon his life (and hers) will be forever changed.  It is the last time Jamie and Claire will be together for some time.  Jamie leaves to fulfill his promise to McQuarry that he will go with the Watch on just one raid.  After their capture, Jamie ends up in the hands of Black Jack Randall.  To emphasize the importance of this goodbye, Jamie’s departure is filmed in slow motion.

ol-s1-13-jamie-claire-goodbye1 ol-s1-13-jamie-claire-goodbye2 ol-s1-13-jamie-claire-goodbye3

It will be a while before Jamie and Claire have some peace.

Share
Read more

Share

“Lallybroch” is another great episode for Jamie and Claire.  Finally, after many trials and tribulations they return to Lallybroch.  Their arrival is met with some challenges in the form of Jamie’s sister, Jenny, and Jamie’s somewhat difficult initial adjustment to his responsibilities as Laird of Lallybroch.

 

Ahead and behind.

The gifs below represent another favorite scene in this episode.  There isn’t much happening, just Jamie and Claire on their final approach to Lallybroch, but the beautiful scenery (ahem) warranted it’s inclusion in our favorite scenes.

ol-s1-12-jc-walking-to-lallybroch1 ol-s1-12-jc-walking-to-lallybroch2 ol-s1-12-jc-walking-to-lallybroch3a

We learn that Jamie has been intentionally misled by Dougal as to Jenny’s fate subsequent to their initial encounter with Black Jack Randall.  When Ian’s appearance confirms that Jenny’s son and her unborn child are fathered by him, Jamie tries to apologize to Jenny for his incorrect assessment of the immediate situation.

While we applaud Laura Donnelly’s performance as Jenny, the character does little to endear fans with her abrasive and sarcastic behavior towards Jamie and Claire.  She was rightfully angry at Jamie’s unjust accusations, but her attitude didn’t improve much until the saw Jamie’s scars.

Jenny is not an easy character to love, but we are glad that Jamie, Claire, and Jenny eventually resolve most of their issues and come to understand each other.  Ian Murray, played by the very talented Steven Cree, is an absolute joy.  Jenny is lucky to be married to such a patient and loving man.

“I have a much better throwing arm than the fair Latitia.”

Jamie isn’t the only one experiencing a learning curve.  Claire must navigate her way through her new role as well.  Unaware of the cultural expectations for a Laird’s wife, it doesn’t take her long to step on toes, Jamie’s in particular, and they confer in private to establish the boundaries for the appropriate behavior and demeanor for the Laird’s wife.  Once she understands what is expected of her, she reminds Jamie that she is not the meek and obedient type.  They reach an understanding, or should we say Jamie reaches the understanding that while Claire will not defy him publicly, those rules don’t apply behind closed doors.  We like this scene, and wouldn’t expect any less of Jamie and Claire.

Brian Fraser

ol-s1-12-jamie-brian-fathers-day

One of our favorite scenes of this episode occurs when Jamie and Claire are in the Laird’s bedroom for the first time.  Jamie talks about his father and about the last time he saw Brian Fraser alive.  It was heartbreaking to hear and see, but for the first time we get a glimpse of the handsome highlander, the first Lord Broch Tuaroch, in the form of a flashback.

I love you

The Laird’s quarters again gives us another great Jamie-Claire moment.  For the first time in what seems like an eternity we see the Lord and Lady happy, relaxed, and worry-free, at least for the night.

ol-s1-12-claire-frasers1 ol-s1-12-claire-frasers4ol-s1-12-claire-frasers2 ol-s1-12-claire-frasers3

Shortly after, in the same scene, we have another iconic Jamie/Claire scene.  He tells Claire that he has loved her since she wept in his arms that first day at Castle Leoch.  We aren’t too surprised about that, but Claire probably is, even though she doesn’t doubt his love now.  Then for the first time, Claire confesses her love to Jamie.  He shouldn’t be surprised to hear it.  After all, in the last episode she did choose to stay with him instead of going through the stones back to Frank.  Still, he is delighted with the confirmation, and so are we.

ol-s1-12-jc-i-loved-you1 ol-s1-12-jc-i-loved-you2 ol-s1-12-jc-i-loved-you3 ol-s1-12-jc-i-loved-you4ol-s1-12-jc-i-loved-you5 ol-s1-12-jc-i-loved-you6ol-s1-12-jc-i-loved-you7 ol-s1-12-jc-i-loved-you8ol-s1-12-jc-i-loved-you9 ol-s1-12-jc-i-loved-you10

If looks could kill…

We can’t help appreciating the looks on the faces of Jamie and Claire when, once again, Jenny reminds us why she isn’t yet one of our favorite characters.  Jamie tells Jenny and Ian that he and Claire plan to stay at Lallybroch.  Jenny is concerned that there is a price on Jamie’s head and what implications that might have for him and everyone at Lallybroch.  Jamie assures her that the Duke of Sandringham is having a pardon issued on his behalf.  Though no words are spoken, Jamie and Claire’s reaction is written all over their faces when Jenny replies in a snarky manner that she never thought Jamie would be so trusting of the English, referencing the Duke and Claire.  Her meaning isn’t lost on Jamie, Claire, and Ian.  Ian laughs in a combination of what might be seen as nervous tolerance or apology on Jenny’s behalf.  We assume Ian is accustomed to playing peacemaker when Jenny steps in it, which is likely often.  He must have the patience of Jobe.

ol-s1-12-jenny-jamie-claire1 ol-s1-12-jenny-jamie-claire2ol-s1-12-jenny-jamie-claire3 ol-s1-12-jenny-jamie-claire4

By the conclusion of the episode we find that all of the residents of Lallybroch are on their way to mending old relationships and bonds as well as forging new ones.

(Note:  We did not forget about the windy day and the cold water at the mill when Jamie intended to make repairs.  Please see our tumblr post for those gifs.)

 

 

 

 

 

 

 

 

 

Share
Read more

Share

The forgotten cave-dwellers of Scotland’s far North

Cave dwelling has stone age connotations for most people today , but in Scotland living in caves only ceased 100 years ago when it was outlawed in 1915. Alison Campsie looks back at the mysterious people who lived in Wick’s Tinker’s Cave at the end of the the 19th Century.

SEE FULL ARTICLE BELOW.

screen-shot-2016-09-29-at-3-54-12-am

The people of Tinker’s Cave in Wick, who were visited by Dr Arthur Mitchell, an expert in mental illness, in 1886.

ALISON CAMPSIE Email 14:28Tuesday 13 October 2015 16

Cave dwelling has stone age connotations for most people today , but in Scotland living in caves only ceased 100 years ago when it was outlawed in 1915. Alison Campsie looks back at the mysterious people who lived in Wick’s Tinker’s Cave at the end of the the 19th Century.

They were found resting in a cave, 24 men women and children, some naked and scarred, and all making the most of the dying embers of the fire.
These were the cave dwellers of Wick, documented by Dr Arthur Mitchell, a physician who studied mental illness and who led several commissions into “lunacy” in 19th Century Scotland.

screen-shot-2016-09-29-at-3-54-49-am

In August 1886, Dr Mitchell’s studies took him and a colleague to the “great cave” at the south side of Wick Bay at a time when caves were not uncommonly inhabited across the north and west of Scotland.

The two reached the cave in falling light, around nine o’clock at night, and found the cave in a cliff with its mouth close to the sea, with high tides encroaching on the rugged habitation.

Dr Mitchell, in his account of the visit, said: “They received us civilly, perhaps with more than mere civility, after a judicious distribution of pence and tobacco. To our great relief, the dogs, which were numerous and vicious, seemed to understand that we were welcome.”

The spot at Wick became known locally as Tinker’s Cave, due to the folk living there being involved in the tin trade.

screen-shot-2016-09-29-at-3-55-47-am

Broken noses and scars were a common disfigurement, and a revelation at the same time of the brutality of their lives Dr Arthur Mitchell, 1886. Dr Mitchell found the cave dwellers lying on “straw, grass and bracken” spread over the rocks and shingle, with each having “one or two dirty, ragged blankets.” Two of the beds were next to a peat fire, with more further back in the shelter of the cave.

His account added: “On the bed nearest the entrance lay a man and his wife, both absolutely naked, and two little children in the same state. “On the next bed lay another couple, an infant, and one or two elder children. Then came a bed with a bundle of children, whom I did not count. A youngish man and his wife, not quite naked, and some children, occupied the fourth bed, while the fifth from the mouth of the cave was in possession of the remaining couple and two of their children, one of whom was on the spot of its birth.

“Far back in the cave-upstairs in the garret, as they facetiously called it-were three or four biggish boys, who were undressed, but had not lain down. One of them, moving about with a flickering light in his hand, contributed greatly to the weirdness of the scene.”

screen-shot-2016-09-29-at-3-56-09-am

Sir Arthur Mitchell, the physician with an interest in mental illness who visited Tinker’s Cave near Wick in the 1800s Dr Mitchell was told of another birth and also of the recent death of a child from typhus.

The physician added: The Procurator-Fiscal saw this dead child lying naked on a large flat stone. Its father lay beside it in the delirium of typhus, when death paid this visit to an abode with no door to knock at.”

On his visit, and according to his account, men and women – “naked to their waists” – gathered to speak to Dr Mitchell and his colleague – and showed “no sense of shame.”

A boy brought a candle from the garret and a woman tended the fire, lit her pipe – and then “proceeded to suckle her child,” he wrote.

The following day, Dr Mitchell returned to find 18 “inmates” eating an early supper of porridge and treacle, which he noted as “well-cooked and clean.”

Three fires warmed the cave, each surrounded by women and “ragged” children. Stones were used as tables and chairs at the cave, which Dr Mitchell found was occupied during both summer and winter, depsite there being no cover at the cave mouth, to protect from the “fierce” winds.

In his account, Dr Mitchell wrote: “I believe I am correct in saying that there is no parallel illustration of modern cave life in Scotland.”

He added: “The Tinkers of the Wick caves are a mixed breed. There is no Gipsy blood in them. Some of them claim a West Island origin. Others say they are true Caithness men, and others again look for their ancestors among the Southern Scotch. They were not strongly built, nor had they a look of vigorous bodily health. Their heads and faces were usually bad in form.

“Broken noses and scars were a common disfigurement, and a revelation at the same time of the brutality of their lives. One girl might have been painted for a rustic beauty of the Norse type, and there was a boy among them with an excellent head.”

Despite his welcome reception to the cave, Dr Mitchell was unflinching in his conclusions. He noted them as illiterate and with no religious belief, and added: “These cave-dwellers of Wick were the offscourings of society, such as might be found in any town slum. Virtue and chastity exist feebly among them, and honour and truth more feebly still.”

Cave dwelling in Scotland formally came to an end in 1915 under the Defence of the Realm Act, possibly to keep coastlines free from fires during World War 1. However, research has found that 55 people were still listed as living in caves in the 1917 government census.

Read more at: http://www.scotsman.com/heritage/people-places/the-forgotten-cave-dwellers-of-scotland-s-far-north-1-3915730

Share
Read more

Share

Episode 111 is another great one for Jamie and Claire.  It has some major expositions, climaxes, and resolutions in the early plot structure.   These are a few of our favorite scenes from the episode.

The Confession

ol-s1-11-claires-confession-to-jamie1 ol-s1-11-claire-confesses-to-jamie2  ol-s1-11-claires-confession-to-jamie5 ol-s1-11-claires-confession-to-jamie6

In each episode we see reasons why Jamie is the King of Men.  Even though Claire’s story defies logic, Jamie believes her because he trusts her.  He trusts her to tell him the truth.  What is so heartwarming about this scene is that Jamie feels guilty for having beaten her for running when he told her to “stay put” because he understands she was trying to reach the stones and go back to Frank.  I think it was during the end of this scene that Jamie decided to take her back to the stones.  He always thinks of Claire’s feelings and is willing to put her feelings before his own.

A friend in need is a friend in deed.

ol-s1-11-ned-with-gun

Claire’s and Geillis’s lives are in jeopardy at the witch trial, but can we take just a moment to appreciate Ned Gowan?  He defied Colum’s wishes and tried to save both Claire and Geillis, but ultimately he realizes that Geillis is a lost cause.  Still, he’s willing to risk his life to save Claire.  Ned might be the last person one would think brave enough to take on a courtroom full of enemies, but here he is, brandishing a pistol to defend Claire.  He was willing to commit murder before dozens of witnesses, which is incongruent with what he had always told the highlanders.  He had encouraged them not to kill anyone when they went to rescue Claire from Black Jack, but now he appears ready to do whatever he can to protect Claire, regardless of the odds.  How cute is Ned Gowan here?

We hope Bill Patterson returns in Season 3, Voyager.  He has a few legal issues he needs to resolve for Jamie and Claire.  Like Mrs. Fitz, we believe Ned might be another Jamie/Claire shipper.

Ned, this is how it’s done.

ol-s1-11-jamie-in-courtroom1 ol-s1-11-jamie-courtroom2

At least Jamie brandishes two weapons, and if anyone can defy the odds in this courtroom, it is Jamie Fraser.

This isn’t the first time Jamie has shown up at the last minute to rescue Claire, and it won’t be the last.  He sees his beloved being whipped across her back, and he is so angry he practically spits… literally.  After issuing a warning that the first man forward would be the first man down, wisely no one doubts that he means exactly that.  With a sword in one hand and a dirk in the other, Jamie holds off the crowd until Geillis distracts them with a confession and declaration of Claire’s innocence.  Although Claire is willing to go down with Geillis, kudos to Geillis for saving Claire.

It is better to give than to receive. ol-s1-11-jamie-claire-camp-fire2

Jamie plans to take Claire to the stones the next morning, so rather than taking pleasure from what he believes is their last sexual encounter, he only wants to give it.  He just wants to look at her while he pleasures her so he can keep the memory of her face in his mind.  Again, the King of Men.

To the stones.

ol-s1-11-jamie-claire-at-stones1 ol-s1-11-jamie-claire-at-stones2 ol-s1-11-jamie-claire-at-stones3 ol-s1-11-jamie-claire-at-stones4 ol-s1-11-jamie-claire-at-stones5ol-s1-11-jamie-claire-at-stonesol-s1-11-jamie-claire-at-stones6ol-s1-11-jamie-claire-at-stones7

This is such a sad scene.  It breaks my heart the way Jamie watches Claire while she washes in the stream.  She is clueless about Jamie’s plan to take her to the stones and help her get back home to Frank.  Once at the stone circle, Claire is beckoned by the large stone and is pulled away at the last minute by Jamie.  He apologizes for the action, saying he just wasn’t ready yet.  He doesn’t beg her to stay, but instead encourages her to go back to a safe place, away from the danger and violence of his time.  He tells her he will remain at the camp below until dark and he is sure she has safely gone.

At the end of the scene, we see Jamie walk away and Claire in deep thought, staring at her hands where she wears the rings representing both marriages.  She approaches the stone and the screen goes black, leading viewers to believe that she has gone back… to Frank.

Take me to Lallybroch.

ol-s1-11-jamie-claire-on-your-feet1 ol-s1-11-jamie-claire-on-your-feet2 ol-s1-11-jamie-claire-on-your-feet3 ol-s1-11-jamie-claire-on-your-feet4 ol-s1-11-jamie-claire-on-your-feet5 ol-s1-11-jamie-claire-on-your-feet6 ol-s1-11-jamie-claire-on-your-feet7  ol-s1-11-jamie-claire-on-your-feet8 ol-s1-11-jamie-claire-on-your-feet9

The black screen transitions to night where Jamie is lying by the campfire, tears of sadness streaming down his cheeks.  This must have been a true shocker for non-readers, but suddenly we hear Claire’s voice say to Jamie, “On your feet, soldier.”  Jamie must have thought for a moment that he was dreaming when he rose to see Claire looking down at him.  “Take me home to Lallybroch” means Claire has chosen him over Frank, over her own time, and he realizes it.  His tears are no longer from sadness and loss, but tears of happiness, joy, and relief.

I’m embarrassed to share the number of times I’ve watched this episode, but I will say that I’ve never been able to watch the final two scenes with dry eyes.

 

Share
Read more

Share

Title: Useful Occupations and Deceptions

Written by: Anne Kenney

Directed by: Metin Huseyin

These season 2 Recaps on Steroids incorporate an OLA writer’s opinion on the episode woven in with information from both the official Starz podcasts hosted by Showrunner Ronald D. Moore along with comments from the official episode script including things changed or edited for television. OLA editorial comments in the ROS recognize and respect the experience of those associated with the show even though we may respectfully disagree at times with their thought process or assumptions.  We hope you enjoy these recaps!

ol-s2-3-jamie-meets-fergus4

The podcast was hosted by Ronald D. Moore (RDM) with guest Anne Kenney who is both an executive producer of the show and the writer of this episode.  RDM noted that unlike their typical episode shooting of blocks of 2, this episode was shot as part of a super block of the first three episodes.

The title card for this episode was a game of chess which takes place both literally and figuratively in the episode (as reflected by the title itself).  RDM noted that they added more French language to the Skye Boat song and to the imagery in the opening sequence.

Before I get into the recap, I will note that it was interesting to me that both RDM and Anne Kenney seemed to find this episode difficult to write and edit.  Both commented that there is so much background information (exposition) in both what was going in historically and the fact that the book is told from Claire’s point of view.  In the book you don’t get to see as much of what Jamie has to do during the day, but here they had to show it.  I got the sense that they were frustrated with so much plot in this season.

The opening scene shows Jamie coming home very early in the morning only to have to change and do his “day job” at Jared’s winery.  This has become the rhythm of their new life with Jamie rarely home and Claire being a bit bored.  But she supports it as the scheme was essentially her idea and Jamie is the primary person to carry it out.  Anne pointed out that although she is bored, they did not want to make her come across as whiney.

Anne misses Jamie in his kilt but notes he wears the French finery very well.  They sometimes pull bits and pieces from other books and so they brought back Sawny, the wooden snake carved for Jamie by his late brother William when they were children.

The scene of Louise, Mary, and Claire playing cards allows for both comic relief at Mary’s innocence and the necessary exposition for Claire to make the mental connection that when Frank showed her his family tree it showed Jack Randall marrying Mary Hawkins.  She can barely concentrate after that.

Anne wanted to show a Claire/Frank scene there, and RDM felt it was necessary to feel like a real love triangle.  This is where I strongly disagree with how RDM views the show.  Once Claire makes the decision to stay with Jamie in season 1, she never once has the desire to return to Frank.  She just always wants to make sure that Frank is never harmed in any way as she notes more than once that he is “innocent in all of this.”  I think RDM feeling this way explains some writing and editing choices.  It’s probably a debate that will continue into Season 3.

Magnus (butler) and Suzette (Lady’s maid) are shown more prominently in this episode (in more ways than one!).  I loved both characters and actors.  Magnus is so very French when he says zee search for zee little snake continues after Claire returns home.  You can tell that he thinks it is quite silly but is loyal to his household as well as his lord and lady.

Murtagh hooking up with Suzette was not initially the plan.  Anne thought it might be interesting to have him feel an unrequited love for Mary Hawkins, and although they didn’t play it that way, there is a bit of a reference to it in later episodes.  Having Murtagh be with Suzette also gives Claire an excuse to visit Master Raymond again to get birth control for her maid.

The writers discussed how to have Murtagh react when Claire tells him that BJR is alive but that she has not yet told Jamie.  They all felt that it was appropriate for him to agree that Jamie should not be told for fear of getting into more trouble.  RDM liked the chemistry that develops between Murtagh and Claire in this episode.  Originally he had edited the script for that scene to be done on a beautiful balcony that had been built by Jon Gary Steele’s team, but the director chose to keep them inside.  It is hard to tell in a podcast, but RDM seemed annoyed by this.

The title card takes center stage as Jamie is playing his afternoon chess game with Msr Duvorney.  The setting for these games was shot in a beautiful library in Prague.  RDM scouted that location in Prague, but was that there for the actual shoot.  (As an aside, I am surprised at how little the show runner is actually on set.)

chess

Anne doesn’t play chess, so the way writers create scripts in this case is she will write “Tech” in the areas where she doesn’t know the chess moves.  It is short hand for additions to be put in by those with technical expertise on any particular subject.    At work we called them SME or subject matter experts. RDM noted that when writing Battlestar Gallactica scenes, he had many scripts with Tech written everywhere.

Another interesting set notation is that the market outside of Master Raymond’s apothecary is actually the courtyard of the apartment set, just repurposed for these scenes.

Anne commented on Claire’s beautiful yellow dress.  She asked RDM where the clothes go after shooting, and he said Sony has an archive of the best or most iconic pieces.  Some of the secondary or extras clothing will get repurposed for season 3.

Master Raymond helps Claire and her daytime boredom by mentioning that they need volunteers at the L’Hopital.  RDM noted that the hospital exterior was Prague, but the interior is Glasgow Cathedral.  It just goes to show you how everyone has to work together to not let the viewer realize that walking into the hospital and actually being in the hospital are shot months apart in different cities. Kudos to the actors and crew.

I loved Claire’s plum suit in this scene; it reminded me almost of an 18th century business woman’s suit.   Here she meets Mother Hildegard, played to perfection by 3-time Olivier Award winner Frances de LaTour.  (For those of you who are Harry Potter fans, she played Madame Maxim.)  RDM noted they saw many French actresses before Frances was cast.  Really?  You made this icon audition?    Apparently they auditioned many pups for Bouton, the diagnosis dog, too.  I wonder if Frances had to do chemistry tests with them!

While Claire is emptying bed pans and tasting urine for diabetes diagnosis, Jamie is back at the brothel.  He is caught between a rock and a hard place as Msr Duverney and Bonnie Prince Charlie discuss financing the war, and Jamie learns that the prince has been working some side deals to get money.  Charles makes Duverney an offer he can’t refuse, and Jamie keeps a (barely) composed face as his plan falls apart before his eyes.

RDM noted that they spent a lot of time discussing the political process of the day because it was “wildly confusing.”  As I mentioned earlier, in the book from Claire’s POV all of this plot is exposed as Jamie tells her the story of his day, so they were creating this from nearly scratch.

The script had many, many revisions in this part.  In fact, when they were working in the next block of episodes 204 and 205, they had to go back to make more revisions in 203 so that everything lined up properly.  Anne noted that they struggled with how to tell enough without making it boring.  RDM said that it was like giving a history lesson without giving a history lesson.

(Side comment: Anne and RDM really conveyed the frustration and difficultly of adapting the Paris part of the book. I think we will find that Season 3 will feel more like Season 1 with the major exception that Jamie and Claire spend a lot of time apart in the first third of the book.)

Jamie returns to the house to tell Claire what he learned only to find her not there.  They wrote this scene a few ways.

First Cut: Claire discovers an annoyed Jamie. Anne felt it made Jamie look too much like a jerk.

Second Cut: They made sure to show the emotional journey Jamie went through as he waited for Claire so the audience would share Jamie’s stress.

The book version is more 18th century man/20th century woman (i.e. cut 1), but they wanted to show more of Jamie’s side.  They also had to get  more exposition in there of Mother Hildegard being a musical prodigy and the Goddaughter of the Sun King.

Anne noted that this scene was important because they had to come apart only to come back together.  They had extensive conversations with Sam Heughan and Caitriona Balfe as the two had concerns about how to move forward with the plot.  (An aside about Sam and the script, whenever the  word baby was written, he changed it to bairn.)

It is important to show that Jamie and Claire are a team but they need conflict and drama too.  There were a lot of writer’s room discussions about their “fight” as it gave Claire a sense of what a real 18th century wife would have to deal with.  Interestingly, RDM felt that Claire would have been unhappy as a 20th century wife after the war as she would have had to go back to a more traditional role.  (I think this is always one of the interesting things about Outlander in that the 18th century husband was often more progressive than the 20th century one.)

Jamie leaves angry after they have their disagreement, and Suzette clues Murtagh in on their problems in the bedroom.  Murtagh knows how these two usually are in that regard (he even comments about it when Claire finds him with Suzette) and he is concerned.

RDM made a comment here in that he didn’t want the show to be about when Jamie and Claire were going to have sex again.  But I kind of think they set it up that way by having two BlackJackus Interruptus scenes in the first two episodes.

Jamie returns to the brothel, tired and miserable in both his personal life and his political one.  There is a weird body painting scene of one of the prostitutes (which took up too much time, in my opinion) that was RDM’s idea.  The one good thing out of this scene is that Jamie notices what our friend young (soon to be) Fergus is up to as the boy deftly cleans tables and pockets.  Jamie is at first amused, and then a lightbulb goes off over his head about the value Fergus could bring to their cause.

The book scene of Jamie meeting Fergus is very different with Jamie followed to the dock by a bunch of men and Fergus helping him.  Anne felt it was too complicated.  I liked the revised scene better but it did mean we lost one of the more iconic lines about entering a brothel with a very big sausage.

The chase scene happened in Scotland.  I noticed Sam was slipping and sliding in this scene.  I think perhaps those very awesome boots were a little too slick on the bottom.

ol-s2-3-jamie-meets-fergus5

Romann Berrux as Fergus is perfection in casting.  RDM said they wanted someone who was French but could speak English.  He commented on the child labor laws that they must follow.  I think you have it easier than the showrunner of Stranger Things, Ron.

The funniest part of the podcast was when they said they refer to Jamie’s sporran as his Mary Poppins bag as he keeps so much in there it seems to be bottomless.

Jamie and Fergus make a deal and Jamie finds that Fergus had lifted Sawny in his nightly pick pocketing.  They both return to the house where Claire wakes up to the noise and finds Fergus munching away in the dining room.  An amusing set commentary here is that the bedroom and the dining room were the same set, so these were obviously filmed at different times.

The distance between Jamie and Claire is literal and figurative as they walk down the hallway, separated by walls in their apartment and in their relationship.  This scene was well directed and acted; it made me really feel for both of them.  They need each other but have so many things pulling them apart.  Jamie explains his plan for using young Fergus (formerly Claudel, which “wasna very manly”).

Fergus begins stealing letters for Jamie and Murtagh who copy them and try to decode them while Fergus returns them.  RDM really wanted to show some actual pickpocketing but production felt they couldn’t pull it off.  Jamie and Murtagh find some letters that are actually music, and Murtagh remembers that Mother Hildegard knows both German and music.

murtagh-jamie-decoding-letters

RDM noted that in the book this scene went on for a very long time (as some scenes do in this book series), and one scene was between Jamie and Claire talking about trust.  They were talking about the letters but were really talking about themselves. There was a hint of using it later, but that would be impossible given that it takes place in France.

 

Back at the hospital, Bouton is diagnosing an infection.  The actual pulling of the wood from the man’s leg was filmed later, and those aren’t even Cait’s hands in the scene.

The hospital scene is a turning point for Jamie and Claire.  Jamie makes the gesture to come to her this time. Claire backs him up when Mother Hildegard is a little suspicious of the motive for his request.  Both appreciate that in each other and once again they realize they are better together.

A little comic relief in the form of Claire knowing a little something about Mother Hildegard’s friend Johann Sebastian Bach.  Jamie looked quite proudly at Claire there, as he is reminded at how much more she knows.  That was not in the script, but a nice touch there by Sam Heughan.

mother-h-j-c-piano

RDM noted that it is rare for Diana Gabaldon to give a nod to the time travel within the regular plot, and so when she does it is effective.

The music helps Jamie decode the message and discover that the other snake in this episode, the Duke of Sandringham, is involved.  Jamie is happy for the progress and grateful for his wife’s support so, as with Episode 202, we end with Claire wondering if/when to tell Jamie that Black Jack is still alive.  I felt that for the entire hour, we barely moved forward with the exception of finding out that Sandringham is playing both sides and of course, meeting Fergus.  The majority of the episode seemed there for exposition, which we will see play out in the next two episodes.  Stay tuned in two weeks for the Recap on Steroids of episode 204.

THE OUTLANDER SEASON 2 DVD AND BLU RAY SETS HAVE BEEN CONFIRMED WITH A NOVEMBER 1ST DATE.  PLEASE USE OUR AMAZON SHOP HERE TO PRE-ORDER.  YOUR COSTS DO NOT CHANGE.  THERE ARE MANY DELETED SCENES PROMISED! 

If you can’t find the Season 2 DVD that you want, just click on the Powered by Amazon logo and it will take you to order.

 

 

Picture sources: Starz

 

 

 

 

Share
Read more