The Canonization of Frank Randall: Do TPTB Have a Pathological Man-Crush on Tobias Menzies?

la-et-st-tobias-menzies-interview-20160516-snap First, let me say that I, and from what I read, most other Outlander fans are DONE with Frank Randall. I tried to be somewhat diplomatic about him in my last post (How Do You Solve a Problem Like Frank Randall?), but having watched the first five episodes of Season 3, the gloves are coming off about my feelings on the portrayal of “show” Frank. And a warning: my language may get a little “salty,” so if that offends you, stop reading now. Oh…and there are some spoilers for Episode 305, so if you haven’t seen it yet, and don’t want to know anything about it, go away until you’ve watched it.
I’ve tried to be patient; I knew, based on Season 1 and 2, that Frank would have a much greater role in the first half of Season 3 than he has in the books (and that he deserves, imho). I had prepared myself for it and accepted it. I had planned to say nothing more on the subject of Frank. But, then I watched episode 305, Freedom and Whisky, and it just pushed me over the edge.

What. The. Actual. F*ck., Ron Moore & Co?

That whole scene at Harvard to honor Frank with a fellowship was just ridiculous, a waste of time and completely unnecessary to the story (and I am sorry, but as much of a history nerd as I am, I don’t think there’s a ton of “groundbreaking work” done the field of European studies).   For non-book readers, this event did NOT happen in the story. Additionally, the part of the scene with “Sandy” and Claire also did not happen. The only purpose for including this scene was to bestow sainthood onto poor, long-suffering Frank, to make Claire look like a heartless bitch and to verty hamhandedly hit the viewer over the head with the message of not squandering an opporttunity to be witt the “love of your life.” But to do it this way?  What the hell?  Would our Claire honestly stand there and be berated about her choices, in public, by Frank’s MISTRESS?  The woman doesn’t exactly hold the high moral ground in this situation. And then to drag Bree into it? Oh, HELL no.  (And Candy…is that your name, honey? Clearly Frank did not share your feelings or he would have left Claire for you as soon as Bree was old enough to make her own choices about continuing to see him, but he didn’t, so…maybe you need to reevaluate the depth of his ‘love” for you).

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I honestly do not understand this obsession that TPTB have with Frank. This story is NOT ABOUT FRANK, people! It was NEVER about Frank. There was NO love triangle between Frank, Claire and Jamie. Let me say very plainly that, as a fan of the books and the show, I am sick and tired of having this notion shoved down my throat. Every time I hear one of the producers/directors/writers say during a podcast/interview/episode recap that we “have to see the relationship between Claire and Frank to truly understand the story,” (and by association, to understand Claire) I want to throw large projectiles at my television.  We do NOT, I repeat, do NOT need to know about Frank and his relationship to Claire in ordet to understand her, or her love for Jamie. We’re on to your message, and it reeks…

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I am fully aware, as are all fans, that this is an adaptation and that the show will not be exactly like the books. I have no problem with that. But as I have said in many of my previous blog posts (Yeah…It Kind of IS About the Sex , Looking for Mr. Fraser ) I very much take issue with changing the essential natures of the characters. The portrayal of Frank is the most glaring example.
I never really disliked Frank until Voyager. One can feel sympathy for him in Outlander (book 1 and the show). But the show runners have really gone off the rails where Frank is concerned, and are continuing to do so. In my opinion, they went way overboard (and wasted valuable screen time that would have been far better spent on the Jamie and Claire relationship) by focusing so much on Frank’s pain and his search for Claire. Why do I think this, you ask? Because THE STORY IS NOT ABOUT FRANK. While one could imagine these events occurring in the story, they did not, in fact, appear in the books. There was no mention of Frank’s search for Claire, or his anger, frustration and downright douchiness to the local Scottish police. Personally, I think it was omitted from the book for good reason: BECAUSE THE STORY IS NOT ABOUT FRANK.
And then there’s Voyager (the book). Frank knew he was incapable of siring children (he KNEW, and to my recollection, never mentioned it to Claire when she first came back). Consequently, he “claimed” Brianna as his own, and never failed to lord his self-righteous “benevolence” over Claire. There are so many examples of Frank’s being an utter dick to Claire in the book that I could fill pages and pages repeating them here (which I will not. I’m only going to include one passage a bit further down as an example. If you haven’t read the book, just take my word for it. It’s there). However, in the show, we see the exact opposite. Even in portraying Frank’s infidelity, he is made out to be the victim. Poor Frank, married to a woman who is still in love with Jamie and who ignores him because she is “married” more to her career than to him, so OF COURSE it’s completely reasonable that he would seek love outside the marriage (I’m rolling my eyes so hard right now that they may stay this way).

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I knew that we would have to endure scenes between Frank and Claire in Season 3. My question is, why spend so much valuably limited screen time on it? Jamie’s is the more compelling story during the twenty-year separation. Think about all that happens to him versus Claire; there are only three major events that happen to Claire during this period: the birth of Brianna, graduating from medical school and her discovery that Jamie was alive. That’s pretty much it. And the truly interesting part of her story during that time was the search for Jamie with Brianna and Roger after Frank’s death . Why not focus the first few episodes predominantly on the events in Jamie’s life? So much more was happening to him during that time: Culloden and its aftermath, his time in hiding as the Dunbonnet, Ardsmuir Prison and his developing relationship with Lord John Grey, his time at Helwater as MacKenzie the groom and all that occurs with Geneva and Willie, and finally his re-birth as Alexander Malcolm, printer and smuggler. Those passages in the book were so beautiful and fully fleshed-out in comparison to the chapters about Claire in the 1960’s. I’m glad they covered all of them in the show, but they were a bit rushed because we just “had” to watch Frank and Claire’s marriage disintegrate, too. Was that really necessary?
I am not saying that the show runners should have completely ignored what was happening with Claire in the 20th Century. Not at all. We needed that juxtaposition against Jamie’s life in the 18th century. But given the two parallel story lines, it would have been more faithful to the book to put more time and energy into portraying Jamie’s story in the past, and then focusing on Claire, Brianna and Roger’s search for Jamie in the present. What we did NOT need was the canonization of poor, pitiful, long-suffering Frank.  Want to know why we didn’t need that?  THE STORY ISN’T ABOUT FRANK.
Even in the scenes that should have been about Claire, the TPTB made them about Frank:  the scene with Millie was really about making Claire feel guilty about Frank, Claire’s graduation party was about…you guessed it…Frank (not about Claire’s amazing accomplishment of becoming a doctor in the 60’s, as it should have been), the fights between Claire and Frank made Claire out to be the “bad guy,” while Frank was the put-upon, martyred victim.  And speaking of “that fight” between Claire and Frank (where Frank finally tells Claire he wants a divorce and wants to move to England with Bree), I have a few comments:
In the book, this is how it went down, mostly in the chapter entitled “To Lay a Ghost”:
Frank announces that he wants to go on sabbatical in England and is taking Bree with him (the announcement, by the way, is made ONE SEMESTER BEFORE BREE’S GRADUATION FROM HIGH SCHOOL! This was incredibly selfish & Frank clearly did not giving one thought to Bree’s feelings.  It was all about him).
     “I’m going now. For good. Without you.”
     “Why now, all of a sudden? The latest one putting pressure on you, is she?”
     The look of alarm that flashed into his eyes was so pronounced as to be comical. I laughed, with a noticeable lack of humor.
     “You actually thought I didn’t know? God, Frank! You are the most…oblivious man!” (and then, instead of protesting or denying it (as one would do if one was innocent of the accusation), he says:
     “I thought I had been most discreet.”
     “You may have been at that,” I said sardonically. “I counted six over the last ten years—if there were really a dozen or so, then you were quite the model of discretion.”
Then we have a rather despicable passage that shines a light on Frank’s racism, in which he reveals his true motive for wanting to remove Bree from Boston: that he doesn’t want her around “those kinds of people,” i.e. African Americans, specifically Joe Abernathy and his son). What a great guy!
Claire finally explodes:
     “You have the absolute, unmitigated gall to tell me that you are leaving me to live with the latest of a succession of mistresses, and then imply that I have been having an affair with Joe Abernathy? That is what you mean, isn’t it?”
Frank then announces that he doesn’t need her permission to take Bree (there is also the strong implication that he is angrier about the possibility that Claire had an affair with a BLACK man, and not just that he thinks she had an affair in general). Claire counters that she CAN, indeed,  stop him (the following passage was very closely mirrored in the show, with a few notable omissions that made Frank look bad). She says:
     “You want to divorce me? Fine, use any grounds you like—with the exception of adultery, which you can’t prove, because it doesn’t exist. But if you try to take Bree away with you, I’ll have a thing or two to say about adultery. Do you want to know how many of your discarded mistresses have come to see me, to ask me to give you up?”
Frank responds a bit further on:
     “I shouldn’t have thought you minded. It’s not as if you ever made a move to stop me.”
     And then later, “You might have behaved as though it mattered to you,” he said quietly.
     “It mattered.” My voice sounded strangled.
     “Not enough.” OUCH.
You can see how this scene was subtly changed to make Frank seem like the victim and so much better than he was in the book. The directors/writers completely ignore his racism and his selfishness about pulling Bree out of school a few months before she would graduate high school. In fact, they turned this around, too. In the book, it was CLAIRE that pointed out that Bree wasn’t an irresponsible teenager; that she was a level-headed adult. In the show, they had Frank make that observation (because he was SUCH a better parent than Claire). In the book, it was Frank that was treating her like a child. Let’s face it, folks: book Frank is an asshole. Show Frank is practically a saint.
Finally, let’s talk about episode 305, Freedom and Whisky. Finally, we “non-Frank” people are thinking, “Great! We are done with Frank. He’s dead and gone. R.I.P. Hasta la vista, baby. Claire is free to follow her heart.” But Noooooooo. Frank is back from the grave, getting his posthumous adulation from the University, while Claire is accosted by his mistress, whining about how he was the “love of her life” and how she (Claire) is horrible person for not “letting him go” (as if she had kept him prisoner in a deep pit in their basement .

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Jesus H. Roosevelt Christ, people, LET IT GO! He’s dead! Get over it! Move on! (If I see a tramp stamp of Frank’s face above Claire’s ass when Jamie peels off her corset next week, my head will explode…truly).
Please don’t get me wrong. I am THRILLED that Droughtander is over and our favorite show is back. For the most part (except for the Frank stuff), I am loving this season.  The production value and the acting has been, as always, outstanding. Further, none of this critique has ANYTHING to do with Tobias Menzies. He is fine actor and probably a lovely person.

So, regarding Frank, is this it? No more Frank?  No Frank flashbacks, Frank hauntings, Zombie-white walker Franks?  Are we done with this, now? Yes? GOOD.

On a final note, I admit that I was squeeeeing like a teenager when Claire walked into that print shop at the end of Ep. 305. Judging by the sex scenes between Claire and Frank and Jamie and Geneva (which I had no problem with, as they are part of the story…although thank GOD they spared us the breast-feeding scene! That would have been way too “Game of Thrones/Lysa & Sweet Robin” for any of us to deal with! I think I would have had to bleach my eyeballs if I had been forced to witness THAT), I think TPTB got the message last year. We want to see the intimacy and physical love between Jamie and Claire that is integral to their characters and their relationship. Fortunately, it looks like we’re going to get it this season (and hopefully more than just next week). I am excited beyond belief to see our favorite power couple back in action, together, where they belong, going forward to live their crazy lives.

Oh, and did I mention that I’m glad that Frank is really most sincerely dead?  Let’s hope he stays that way.

 

 

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Looking for Mr. Fraser

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What is it that we love so much about the Outlander books?  Is it Claire and her bad-ass self? The history? The adventure? The steamy sex? The love story?  For me, it’s all of those things.  But above all else, it’s one James Alexander Malcolm MacKenzie Fraser.

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 Outlander:  1636 vs 199

Dragonfly in Amber: 1832 vs 133

Voyager: 2508 vs 121

What are those numbers, you ask?  Mentions.

One of the best features of e-books is that they let readers (ok, maybe just me) indulge my obsession to find information about my favorite books quickly and easily (i.e., gather data, take notes, and highlight and/or bookmark favorite passages).  After the finale of Season 2, and to support my hypothesis that the show runners were getting off track where Jamie Fraser is concerned, I did a little search of Outlander, Dragonfly in Amber and Voyager, the three books in the series where both Jamie and Frank appear.  The figures above show the number of times Jamie is mentioned versus the number of times Frank is mentioned.  The difference is pretty striking.  It’s also quite obvious who is the more important character.  Can’t dispute hard data, Ron.

Some fans (and apparently the showrunners) think that Outlander is strictly Claire’s story, and by extension, the story of her relationships with Frank and Jamie.  I don’t entirely agree with that.  In the wake of Season 2, I found myself in numerous discussions about this very topic with other “book people.”  I wasn’t surprised to discover how many of us see it quite differently; we see the Outlander series as more Jamie’s story than Claire’s. And even when we didn’t agree on that, two things about which we all did agree was that it is NOT Claire and Frank’s story, nor is it a “love triangle” between Jamie, Claire and Frank. The central character in the series is really Jamie.  The story may be told from Claire’s perspective, but her narrative is all about him: how he smells, the way he looks, his intelligence, his bravery, his sense of humor, the way he makes her feel…The few times she mentions Frank, it is usually to tell us that he was a good father to Bree and to let us know that in comparison to Jamie, as a man and a husband, he is woefully lacking (whether or not she had a hand in those failures is a topic for another post):

Jamie. Jamie was real, all right, more real than anything had ever been to me, even Frank and my life in 1945.  Jamie, tender lover and perfidious black-guard.

Perhaps that was part of the problem.  Jamie filled my senses so completely that his surroundings seemed almost irrelevant.  But I could no longer afford to ignore them.  My recklessness had almost killed him this afternoon, and my stomach turned over at the thought of losing him.

-Outlander

*Note: this passage is from right after she tried to get back to Frank, but was picked up by the Redcoats and taken to Fort William. Makes me wonder if her heart was really in it, or did she just feel guilty and obligated to try and return to Frank? Just something to consider.

As I mentioned, I realize that some people still see Claire as the main character-that the story is about Claire and what happens to her, and that Frank is just as important a part of her life as Jamie. I ask those people to please read the books again.  Once Jamie comes into her life, almost everything Claire does and says is relayed to the reader through the prism of Jamie: how events affect him as an individual, them as a couple, and the world they inhabit.  He is like the sun; a powerful, magnetic force to which everyone is drawn and around which everything revolves.  The difference in Outlander, though, is that the depth of feeling isn’t one-sided. For Jamie, Claire has the same overwhelming pull for him as he does for her

“I had thought I was well beyond that stage, had lost all trace of softness and was well set on my way to a middle age of stainless steel.  But now I thought that Frank’s death had cracked me in some way,  And the cracks were widening, so that I could no longer patch them with denial. I had brought my daughter back to Scotland, she with those bones strong as the ribs of Highland mountains, in the hope that her shell was strong enough to hold her together, while the center of her “I am” might still be reachable.

But my own core no longer held in the isolation of “I am,” and I had no protection to shield me from the softness from within.  I no longer knew what I was or what she would be; only what I must  do. (my emphasis)

For I had come back, and I dreamed once more, in the cool air of the Highlands.  And the voice of my dream still echoed through ears and heart, repeated with the sound of Brianna’s sleeping breath.

“You are mine,” it had said. “Mine! And I will not let you go.”

-Dragonfly In Amber

*Note:  these are Claire’s thoughts after 20 years apart from Jamie.  Her first instinct after Frank’s death is to run back to Scotland, in search of a ghost. Her grief is palpable-but it’s not for Frank.

……………………….

“It’s a lot too late to ask that,” I said, and reached to touch his cheek, where the rough beard was starting to show. It was soft under my fingers, like a stiff plush.  “Because I’ve already risked everything I had.  But whoever you are now, Jamie Fraser-yes.  Yes, I do want you.”

-Voyager

I don’t mean to say that Claire isn’t also a wonderful character, and Caitriona plays her brilliantly.  She embodies the characteristics that many of us, as women, possess ourselves (or wish we did!): strength, intelligence, resilience, compassion, resourcefulness, sensuality, and yes, a certain degree of recklessness and a “damn the consequences” attitude.  But for all of her great, and not-so-great, qualities, I would go so far as to suggest that Claire is at her most interesting when she is with Jamie (and before I get a lot of comments suggesting I’m being sexist, NO, I do not think a woman needs a man (not even Jamie Fraser) to be interesting, fulfilled or complete!).  I just happen to think there is a good case to be made for Jamie being the more fascinating character. (Side note: I’m not saying that he is perfect. If he were, he wouldn’t feel so “real” to the reader. However, I really wish the whole “King of Men” moniker could just be erased.  It’s silly and turns the very interesting character of Jamie Fraser into more of a caricature. Nobody wants to see that. Ron practically rolls his eyes whenever he says it, and Sam looks uncomfortable whenever someone mentions it.  Jamie Fraser is supposed to be a human being (granted, an exceptional one), not a comic book super hero).

Consider this:  would you be more interested in reading a story about Claire without Jamie, or one about Jamie without Claire? I know, I know, most of us would prefer them together as a couple, but indulge me.  I know which I would choose.  Even Diana Gabaldon finds Jamie the more interesting character:  beyond the core Outlander series, Virgins is about Jamie, The Exile is about Jamie, The Scottish Prisoner is about Jamie (even though it’s in the Lord John series).  Are there any additional books or novellas about Claire? No.  If I’m not mistaken, I believe Diana has even said that she relates more to Jamie than to Claire.  And why not?  Jamie is a much more compelling and nuanced character than Claire.  We know what Claire will do in almost every situation (usually something that ends up putting Jamie and/or herself in mortal danger…lol), but Jamie often surprises us.  In addition, it is Jamie that develops the most over the course of the series.  We see him as a young, slightly reckless warrior, a survivor of sexual assault, an outlaw, a prisoner, a merchant, a conspirator, a soldier, a laird, a printer, a smuggler, a pioneer… Most importantly, we see him grow and mature as man, a father, a grandfather and a husband to Claire.

So all of this begs the question: why are TPTB (the powers that be) changing the story and minimizing Jamie’s character in the show?  In Jamie they have a beautifully rich character in his own right, they have enough great prose and dialogue in the books for 50 episodes per season and they have the perfect actor to play him. It makes no sense to shift so much focus away from the most beloved character in the books. Here are some examples of what I mean.

For the most part, I loved Season 1, and after re-reading (again) Outlander, I realized why. THEY STUCK (MOSTLY) TO THE BOOK AND USED A LOT OF DIANA’S DIALOGUE.  Perhaps that’s less interesting for the screenwriters, but their job is to adapt an existing piece of work to film, not to re-write the characters. Wisely, that’s what they did in Season 1.  I will take exception to two, rather major, changes to the first season.  The first was in The Wedding. In the show, the focus was on Claire.  In fact, in the recap after the episode, both Ron and Terry said that it was “all about the dress, Claire’s entrance, the way Jamie reacts to her,”etc., etc. But if you re-read that passage in the book, you will see that they were wrong.  Diana wrote it from the completely opposite perspective. Diverging from societal norms, this wedding wasn’t all about the bride; it was about the groom:

It was a “warm” Scottish day, meaning that the mist wasn’t quite heavy enough to qualify as a drizzle, but not far off, either.  Suddenly the inn door opened, and the sun came out, in the person of James.  If I was a radiant bride, the groom was positively resplendent.  My mouth fell open and stayed that way.

A Highlander in full regalia is an impressive sight–any Highlander, no matter how old, ill-favored, or crabbed in appearance.  A tall, straight-bodied, and by no means ill-favored young Highlander at close range is breathtaking.

Well over six feet tall, broad in proportion and striking of feature, he was a far cry from the grubby horse-handler I was accustomed to–and he knew it. Making a leg in courtly fashion, he swept me a bow of impeccable grace murmuring “Your servant, Ma’am,” eyes glinting with mischief.

“Oh,” I said faintly.                                                                                                         

-Outlander

Don’t get me wrong. I loved that episode, and still think it was one the best hours of film that I have ever seen.  I loved the way they started after the ceremony and worked backward. I loved the sex scenes, going from awkward first encounter, to the passionate, lust-filled round 2, to the beginnings of falling in love at the end. I loved the scene between Jamie and Murtagh talking about Jamie’s mother and how Claire’s “smile was as sweet” as Ellen’s.  I loved the “bible smack-down” between Willie and the priest.  It was romantic, funny, emotional and sexy as hell!  In short, it was perfection, so I didn’t mind the change.

At the time, I also didn’t really think anything of shifting the focus from Jamie to Claire when, for example, the writers had Jamie thinking that it was the vision of Claire that was “like the sun coming out,” instead of the other way around. I appreciated that the reversal was made as Ron’s homage to his wife, Terry.  In fact, I thought it was quite a sweet gesture and didn’t think it took anything away from Jamie’s character to do it. However, in retrospect, having seen all of the other changes where the focus was moved from Jamie to Claire in Season 2, I’m beginning to think that maybe it was more deliberate, and less romantic, than I originally thought. Maybe I’m just cynical.

The other significant change to Season 1, which I mentioned in my previous post, was the failure to allow time for Jamie to heal and for he and Claire to reconnect after his assault at the hands of BJR. Sam Heughan and Caitriona Balfe were brilliant with what they were given.  But why was that entire section skipped when it was so hugely significant to the development of Jamie and Claire’s relationship? Those of you who have read the books know what I’m talking about (the length and intensity of the “exorcism,” the tentative first intimate encounter, the passion and re-connection in the hot spring, and yes, even the dark humor). There really was no excuse for it, given that they had three additional episodes in which to address it.  Both Maril and Terry are huge fans of the books; I find it difficult to believe that this subject never came up in private discussions,  in the writer’s room or when they were blocking out the episodes before filming. I mention it again here because it was a rare, but crucial, misstep by TPTB.  Not only did it fail to give both the characters and the audience a much-needed catharsis after the events in Wentworth Prison and to Ransom a Man’s Soul, it resulted in the writers having to alter the natures of the core characters and much of the flow of Season 2.  I suppose we’ll never know why they chose to eliminate those scenes from Season 1, but someday I’d really like an honest answer to that question.  I would much rather know it was a miscalculation rather than an intentional decision to prop up Frank’s character and undermine Jamie’s.

As for Season 2, I’ve already made my thoughts known on the altering of Claire & Frank’s characters, the diminishing of Jamie’s and on the nearly complete, and incomprehensible, lack of sex and intimacy between Jamie and Claire (see Yeah…It Kind of IS About the Sex). I won’t revisit them here.  In preparing to write this post, I re-read many different parts of the first three books, among them “the print shop scene.”  As always, it brought me to tears.  I so want the filmed version to do the same.  I mean, seriously, I want to be like this when I see it:

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As of this writing, the cast and crew have reconvened in Scotland and are ready to start filming Season 3, Voyager.  So here are my pleas to Ron, Maril, and all of the directors and writers:

  • Please DO NOT continue down the path you were on in Season 2.  Focus on Jamie – and on the relationship between Jamie and Claire.  A LOT happens in Voyager, but don’t get so lost in the “action” that you forget why millions of fans love these books.  If we want to watch a high-seas adventure in the Caribbean with lots of gratuitous and unnecessary sex, we’ll watch Black Sails.  There are many scenes you can skip or merge together for the sake of time. Some suggestions:  99% of Claire’s life with Frank, the serial killer in Edinburgh, Mr. Willoughby, some of the events in the ocean crossing, much of the voodoo in the Caribbean.  There are plenty of things you can skim over that won’t affect the story going forward to Drums of Autumn. Please do not skip over Jamie’s time without Claire (i.e., Ardsmuir, Lallybroch, Helwater) or any of the time with him when she returns. Those scenes are far too important not to include in all their glory.
  • PLEASE, do not make the mistake you made in Season 2 (and yes, I do think it was a mistake) by skimping on the love story (including the sex) that is the heart of Outlander. There is no shame in producing a top-quality love story. They are sorely lacking on television today. You have enough talented people working on this show that you can weave the romance between Jamie and Claire seamlessly into the history and adventure of the story.  You did it in Season 1 and it was adored by critics and fans alike.  I challenge you to do it again. Let us see more of this:

“Do ye know?” he said softly, somewhere in the black, small hours of the night. “Do ye know what it’s like to be with someone that way? To try all ye can, and seem never to have the secret of them?

“Yes,” I said, thinking of Frank. “Yes, I do know.”

“I thought perhaps ye did,” He was quiet for a moment, and then his hand touched my hair lightly, a shadowy blur in the firelight

“And then…” he whispered, “then to have it all back again, that knowing. To be free in all ye say or do, and know that it is right.”

“To say ‘I love you,’ and mean it with all your heart,” I said softly to the dark.

“Aye,” he answered, barely audible. “To say that.”

His hand rested on my hair, and without knowing quite how it happened, I found myself curled against him, my head just fitting in the hollow of his shoulder.

“For so many years,” he said, “for so long, I have been so many things, so many different men.” I felt him swallow, and he shifted slightly, the linen of his nightshirt rustling with starch.

“I was Uncle to Jenny’s children, and Brother to her and Ian. ‘Milord’ to Fergus, and ‘Sir’ to my tenants. ‘Mac Dubh’ to the men of Ardsmuir and ‘MacKenzie’ to the other servants at Helwater. ‘Malcolm the printer,’ then ‘Jamie Roy’ at the docks.” The hand stroked my hair, slowly, with a whispering sound like the wind outside. “But here in the dark, with you…I have no name.”

I lifted my face toward his, and took the warm breath of him between my own lips.

“I love you,” I said, and did not need to tell him how I meant it.

  • Please stop changing the story by focusing so much on Claire (and giving so many great lines written for Jamie to Claire).  Diana wrote them for Jamie for good reason. It doesn’t bolster Claire’s character to diminish Jamie’s.  Claire is not a character who would give up everything for a man who was not her equal.  And Jamie wouldn’t be with a woman that was angry and shrewish.  If he wanted that, he would have stayed with Laoghaire.  And therein lies the secret to what makes this story so popular with your key demographic, i.e., women.  Jamie and Claire are not only soul-mates; they are a match of equals.

“You are my courage, as I am your conscience,” he whispered. “You are my heart-and I your compassion. We are neither of us whole, alone. Do ye not know that, Sassenach?”

“I know that,” I said, and my voice shook. “That’s why I’m so afraid. I don’t want to be half a person again. I can’t bear it.”

-Drums of Autumn

  • Please, please, please stop with the Frank lovefest.  I have nothing against Tobias Menzies, but ENOUGH. This story is NOT about Frank. We don’t need to see every detail of Claire’s life with Frank.  Even the non-book readers can infer what those 20 years were like. Personally,  I don’t want to hear from RDM & Co. ever again about how we “need to include Frank so that we can understand Claire.” No…we don’t.  And we really don’t if you keep changing Frank’s nature.  “Book Frank” was kind of jerk; not the nice, understanding saint you changed him into.  If Frank were that wonderful, why would Claire want to go back to Jamie? Why would she have spent that entire 20 years in love with a ghost?  The story needs to make sense to the non-book readers.  If you truly want to understand Claire, you need to focus on JAMIE.

“All the time after ye left me, after Culloden-I was dead then, was I not?”

“I was dead, my Sassenach-and yet all that time, I loved you.”

I closed my eyes, feeling the tickle of the grass on my lips, light as the touch of sun and air.

“I loved you, too,” I whispered. “I still do.”

The grass fell away.  Eyes still closed, I felt him lean toward me, and his mouth on mine, warm as sun, light as air.

“So long as my body lives, and yours-we are one flesh,” he whispered. His fingers touched my, hair and chin and neck and breast, and I breathed his breath and felt him solid under my hand. Then I lay with my head on his shoulder, the strength of him supporting me, the words deep and soft in his chest.

“And when my body shall cease, my soul will still be yours.  Claire-I swear by my hope of heaven, I will not be parted from you.”

The wind stirred the leaves of the chestnut trees nearby, and the scents of late summer rose up rich around us; pine and grass and strawberries, sunwarmed stone and cool water, and the sharp musky smell of his body next to mine.

“Nothing is lost, Sassenach; only changed.”

“That’s the first law of thermodynamics,” I said, wiping my nose.

“No,” he said. “That’s faith.”

-Drums of Autumn

 

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(Not sure who made this .gif, but thank you!)

 

You have found the perfect actor to play Jamie Frasier in Sam Heughan.  Diana has created one of popular literature’s most beloved characters in Jamie Fraser.  Give Sam his due; let him run with it.  The fans will love you, and the show will be all the better for it.

“I Will Have Your Surrender Before You Leave This World”

“I felt an intolerable weight oppressing my breast, the smell of the damp earth, the unseen presence of victorious corruption, and the darkness of an impenetrable night…”

Joseph Conrad – Heart of Darkness

Och, lads and lasses, I dinna think I can be witty after watchin’ Episode 115. It’s way too dark in my wee coo heid. I suspect the finale will be just as devastating. I tried in my last post to use humor, not to make light of the subject matter, but to remind myself that these are fictional characters, and to try and prepare myself for the last two episodes.  I dinna think it worked. Most of us knew what was coming.  We thought we were prepared for it. We weren’t.  It was beyond harrowing and extremely hard to watch.  I’m sure I’m not the only person who turned her head away, covered her eyes and physically recoiled at Jamie’s agony, Claire’s anguish and the revolting display of BJR’s sadistic cruelty.  But, in my humble opinion, as a fan of these books, it was important, necessary even, for us to bear witness. We owed it to Jamie. To everyone involved with this episode, you created a Masterpiece.

From what I read out in “social media world”, the reaction of both the public and the critics was, for the most part, very positive. But there were some people that felt that the writers and director went too far in the depiction of the violence, to the point of describing the episode as exploitative “rape and torture porn.”  I disagree. Perhaps the problem was in the medium, not in the material.  In the books, what happened to Jamie is given to us second hand, from Claire’s POV.  On television, Ron Moore and company were faced with the task of giving it to us in real time.  In the books, we can “see” what we want to see, and what we don’t.  We can skim past (or skip altogether) those parts that make us uncomfortable; our minds protect us from what we don’t wish to confront.  On film, however, we can’t hide from the immediacy of the images.  The rape and torture are there for us to see, visceral and brutal, thanks to the skill of the actors, director, writers, make-up artists, special effects crew and cinematographers.  If we choose to watch, we are forced to see their vision of what we have read.  If that vision is even worse than what we imagined, we find it even more upsetting.  But I say to the critics of the episode: if you think it went too far, then you should direct your anger at Diana Gabaldon, not at director Anna Foerster and writer Ira Stephen Behr.  The episode was faithfully adapted from the source material; the rape and torture scenes were not gratuitously added or made more gruesome just to generate hype and controversy.   Re-read the book; that’s how it went down, people.  And don’t kid yourselves…when we get to the finale, if Ron and company stay true to form, things will get a whole lot worse before they get better. I understand what those who didn’t like it are saying. I get it. Really, I do.  So much so that I nearly didn’t read the rest of the series after reading Outlander the first time because of what happened at Wentworth Prison.  I was so angry at Gabaldon for “doing that to Jamie.”  Even now, after having read all of them (more than once), I still struggle with her choice to build up this wonderful character, only to utterly destroy him.  I know he recovers, but it’s clear that he suffers from PTSD for the rest of his life.  Don’t get me wrong, I don’t live in fantasyland.  I know life isn’t fair. I don’t expect everything to have a happy ending.  I’ve written things myself that are dark and ugly.  I just couldn’t understand why she felt it necessary to go there with Jamie and BJR.  Wasn’t the flogging enough?  So why?  WHY?

I guess we’ll never really know why she chose to write that into the book.  I know she’s said it has to do with plotting and structure and the “rule of 3,” but that’s really not the answer we want.  It’s a wonderful story that we all love, much as we might hate the scenes at Wentworth and the aftermath at the Abbey. But in the end, Diana Gabaldon made up these characters and it was her choice as to what trajectory their stories took. We can accept them or put the books aside and never read them again.  The more interesting question is why do we care so much? Would we have been as upset if BJR had chosen to torture and rape just some random character?  I doubt it.  We would have found his sadistic behavior upsetting, but we wouldn’t have cared in the same way. We’re invested in Jamie and Claire, so we care about what happens to them.  It seems to be human nature to care more about the pain of those we love, even when they are fictional, than about other people in general.  What does that say about us?

Another interesting question that comes up in discussions of these events is: “Why do we find it so much more disturbing when this happens to a man?”   Is it so unnerving to us because it happened to Jamie, or because the victim is male?  Let’s face it, we’re all kind of in love with him, so perhaps it is because it’s Jamie. But it’s not really that simple. Why is it that people seem to be much more appalled if a man is raped, than a woman? One reason, and Jamie does talk about this when he describes his ordeal to Claire, is that men cannot stop themselves from responding sexually, even though they are repelled by what is happening to them.

“… he hurt me -hurt me badly- while he did it, but it was an act of love to him. And he made me answer him- damn his soul! He made me rouse to him!”  The hand bunched into a fist and struck the bedframe with an impotent rage that made the whole bed tremble.”

If you stimulate a man, his body body will respond. The same is usually not true for a woman, not under those circumstances.  So, on top of the rage and pain and shame victims feel after being sexually assaulted, men have the added issue of feeling that they somehow “actively participated” in it, even though that was clearly not their intention. Consequently, it must make them question their own role in the assault with respect to “consent.” Their bodies betray them. That’s a pretty horrible burden to bear.  But does this mean that rape is worse for men?  I guess that depends on your perspective. I would posit that it is equally devastating for a man or a woman, just in different ways. And let’s face it, it’s women who constitute the majority of rape victims, both in the media and in the real world. Regarding people’s reaction, or lack thereof, to female rape, that, my friends, is more of a sociological discussion.   Hold on a sec…need to step up on my soapbox for a moment.

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We live in a rape culture. It’s everywhere: on television, in feature films, in literature, comic books, video games…and, worst of all, in reality.  To illustrate my point, Google the name Anita Sarkeesian.  For those of you unfamiliar with her, she is a media critic and blogger who has been repeatedly threatened with rape, torture and death just for having the audacity to speak out against violent and degrading images of females in video games.  Yes, really, you heard that correctly.  Over fucking, stupid, inconsequential video games. Or what about the Indian woman who was gang-raped, tortured and murdered on a public bus in Delhi?  The examples are too numerous to mention.  The pervasive depiction of violence in various media unfortunately only serves to “normalize” the sexual objectification and exploitation of women, to the point that we have become numb to it.  We barely even notice it on the screen anymore. Maybe that’s what we should really get upset about. Pretty scary that we don’t. I do have a pet theory about this episode and the upcoming finale:  maybe, just maybe, they decided not to pull any punches with the violence in these episodes as a way of reminding viewers just how damaging and horrendous rape really is. To remind us that it is not about sex, but about power and control. I have no way of knowing if that’s the case, but I like to think so.  Ok, rant over. Back to the episode…

How is it that you can love something as an amazing piece of film and still be totally creeped-out and repulsed by it? I’m not sure how they managed it, but to Anna Foerster and Ira Steven Behr: Bravo.  As for the actors, I am in awe. The performances blew me away. Fearless and absolutely raw.

“I have never met any really wicked person before. I feel rather frightened. I am so afraid he will look just like everyone else.”Oscar Wilde, The Importance of Being Earnest

Let’s start with Tobias Menzies. His portrayal of of BJR is riveting and so, so, SO disturbing in its oh-so-polite precision.  It was beyond uncomfortable to watch him smash Jamie’s hand, then hold him and shush him like a child, all the while putting his uninjured hand between his legs to arouse him. But no, he “won’t give in to coarse passion.” He wants Jamie to surrender to him…to “consent” to his own torture and sexual assault.  How does he achieve that?  By using the one weapon he knows will work:  Claire.  And when he kisses Jamie, after nailing his hand to the table…was there anyone not weeping for Jamie and Claire by then?.  Oh, and let’s not even talk about he back licking. Menzies’ performance made me want to: 1. shower, 2. shower again, 3. sit in a corner, curled in the fetal position, clutching a Costco-sized bottle of Laphroaig with a very long straw in it.  Thanks, Tobias.

Caitriona Balfe

“Come away, O human child! To the waters and the wild; With a faery, hand in hand; For the world’s more full of weeping than you can understand.” ― Willam Butler Yeats, Collected Poems

I have to admit, when I first saw Cat, she was not who I pictured as Claire at all, but it didn’t take long for her to turn me around. She is amazing.  She IS Claire: independent, strong, funny, intelligent, and beautiful inside and out. And the chemistry with Sam Heughan? Perfection.  Her performances have been wonderful since the very first episode, but in this one, she was exceptional. We were right there with her in Sir Fletcher’s office, barely keeping it together, and then losing it spectacularly as she stumbled out of the prison. The expression on her face as she looked into the box containing Jamie’s personal effects, the Je Suis Prest brooch, Sawny…all those small, personal things that summed up the life of the man she loved, broke all of our hearts. It was devastating.  Later, when she was in the cell with Jamie, we all experienced her anguish over what had happened to him, and what would happen to him and how helpless she felt, knowing she couldn’t save him from the horror of Jack Randall.

Sam Heughan

“Innocence eroded into nightmare. All because of very bad touch. Love, corrupted.” ― Ellen Hopkins, Fallout

Jesus, man, you could have prepared us! I did not see that coming.  Wow.  Just, wow. Mind blown. I’m not sure Sam always gets his due as an actor, with so much attention being focused on Tobias and how creepy his Jack Randall is.  But that time is over. Sam’s performance was stunning, especially considering that he was chained up and nailed to a table for a good portion of the episode. I’m certainly no expert on acting, but it seems to me that Sam had the harder job in this. All he had to work with, for the most part, was his face.  The range of emotion that he managed to convey with just his eyes was astonishing. In just that one scene, when BJR cuts open his shirt and is caressing and licking the scars on his back, we all saw, and experienced, Jamie’s realization of just how depraved Randall was. We felt his rage, agony, revulsion, fear and finally despair, all in the course of just a few minutes, just by watching his face.  If that performance wasn’t Emmy-worthy, I don’t know what is.

As much as I was dreading this episode (and most of the next one as well), I was thrilled for the actors. They were up against some horribly dark and difficult material and they did not flinch away from it, and they did not disappoint. I’m sure the finale will be just as amazing. Masterpiece, indeed.