Outlander STARZ: “Faith” and Patience

As anticipation of Season 3 of Outlander STARZ intensifies, allow me to quote myself from my last reblog of eps 201 and 202 review, published last month to coincide with the start of Season 2’s re-runs this summer:

The ensemble acting, Murtagh’s continued character development and greater centrality than in the books, the Battle of Prestonpans, the use of WWII flashbacks for Claire in “Je Suis Prest” (a great episode), and Rosie Day’s delightfully funny portrayal of Mary Hawkins are just a few of the many treasures to uncover. Then there’s Caitriona Balfe’s performance in ep207 . . . nothing short of phenomenal.

Keep watching Outlander, season 2, Fridays, 9pm EST, on STARZ. But I definitely recommend reading the books, too. 😉

In recent episodes, we’ve met “La Dame Blanche” and a resurrected ghost while “gang a-gley” the “Best-Laid Schemes” of our heroes. It’s time for the second half of Season 2 and some of the best episodes of the season: ep207 “Faith,” ep209 “Je Suis Prest,” ep210 “Prestonpans,” ep211 “Vengeance Is Mine,” ep212 “The Hail Mary,” and the season finale, ep213 “Dragonfly in Amber,” named for the second book on which Season 2 is based.

In ep208 “The Fox’s Lair,” Clive Russell brought excellence as Simon Fraser (“the Old Fox”), Lord Lovat, and Gary Lewis his usual nuance in reprising Colum Mackenzie. However, pacing, structure, and the Laoghaire element dragged it down just enough to remove the episode from top-tier classification. 

But there is plenty more to look forward to in the second half. Simon Callow’s return as the Duke of Sandringham and Lawrence Dobiesz’s performance as Alex Randall prove to be true highlights. Then, there are the intrigues of the war effort led by Bonnie Prince Charlie as Jamie tries to influence its course, some gruesome surgeries Claire must perform, a generally more resolute and strong leader in Jamie Fraser, the introduction of a young Lord John Gray (important to season 3), and several dramatic deaths that shake our main characters to their cores. A little “Faith” truly changes everything.

The season culminates in a 90-minute finale that introduces adult versions of Roger Mackenzie and Brianna Randall while interlacing 1968 scenes with those from 1746, on the morning of the Battle of Culloden.

In case you missed the announcement (what planet are you on, anyway?), Season 3 of Outlander, based on Voyager, Diana Gabaldon’s third and longest book in the series, premieres Sunday, September 10, 2017, on STARZ.

What better way, besides reading the books, to prepare for the return of the show this fall than to re-watch Season 2’s remaining episodes? See them all again through the Outlander STARZ episodes page, if you happened not to purchase the Season 2 DVD set or save the series on your DVR (tsk tsk).

Happy August, Sassenachs. The Droughtlander ends next month!

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Claire and Frank Randall, Boston, 1948. Season 3 image by STARZ/Sony Pictures Television

 

An Outlander Tourist in Scotland, Part 3

In Part 2, we explored the western central and southern sites of Outlander TV series filming, focusing on the Glasgow area and Ayrshire. This time, we head north into the Highlands, starting with Perthshire, also a central region. In an upcoming post, I’ll present our particular trip itinerary for your consideration and discuss existing Outlander-dedicated tours you can book and enjoy in your Scotland travels. To start our journey from the beginning, see An Outlander Tourist in Scotland, Part 1.

As for the Outlander sites, this post will take us full circle so to speak from one version of the story’s central plot mechanism—the fictional standing stone circle of Craigh na Dun—to another, with several essential stops in between. We start north of the main cities Glasgow and Edinburgh and take a gradual north-westerly path from there. The climb begins with a tantalizing mystery of the TV show and ends with a point of resonance for Diana Gabaldon’s creation of the books. You may also learn some history along the way.

Dividing a Nation

One thing I noticed in my tourism research was how inconsistently the areas of Scotland are named from one resource to another and over time. To distinguish areas of north central and northern Scotland for this post, and find current, accurate names for them, I finally found a resource that clarifies how Scottish lands are sliced and how they overlap: UndiscoveredScotland.co.uk.

Fully orient yourself to where’s where on their Councils, Regions, and Counties page, which links to breakdowns of those three different types of division. Or, for the simplified tourism approach, see the official Scottish Tourist Board website mentioned previously, VisitScotland.com. Find out more about how the tourism industry, as well as British and Scottish governments, have labeled things; see the first footnote under the heading “Notes on Area Names.” *

In short, it can be confusing, but with quick look-ups, ready resources, and having precise addresses, you’ll find your tailored trip less daunting to plan. If you’re going far less DIY, it shouldn’t matter. I can nearly guarantee you’ll be well taken care of, at least in country. Choice of travel agent or airline in your home country–and now, perhaps, getting home again–is another matter.

From Here on Up

The Highlands, broadly considered, are sort of a mythical, amorphous landscape in some respects, for a few reasons. For a discussion of this issue, see my second footnote section under “Notes on Area Names.” **

Whatever names the land acquires, one of its most distinguishing features are its diverse, ubiquitous configurations of rock and stone, both geologic—hills, caves, coast lines, mountains, tors, volcanic plugs—and man made—standing stones, stone circles, cairns, brochs, crofts, stone fences, houses, streets, castles, and so on. Stone, loch, and green together mean “Scotland.”

The “Highlands” Sites:

Outlander Show Filming, Book Story, and Scottish History by Region or County

My heart is in the Highlands, wherever I go” – Robert Burns

Perthshire, Perth & Kinross council area     →      Outlander film setting

From roughly east to west toward the Great Glen, the areas of general attraction in the glen of Rannoch include Schiehallion, Dunalastair Estate, Kinloch Rannoch village, Loch Rannoch, and Rannoch Moor.

Rannoch. → On a line east of Glencoe and Fort William in the Central Highlands, somewhere on the Dunalastair Estate, they “can’t tell you where,” the Outlander TV production erected their set of Diana Gabaldon’s fictional circle of standing stones called Craigh na Dun. Shown in eps 101, 103, 108, 111, 201, and 213, this set of Claire’s time-travel scenes includes its backdrop—the very real Loch Rannoch and surrounding mountains, including Schiehallion to the southeast.

Lying on a National Scenic Area between the Cairngorms National Park to the north and Loch Lomond and Trossachs National Park to the south, Dunalastair Estate sits on 17,000 acres. The village, loch, hills, and moor are accessible to the general public, as are the holiday cottages for booking on estate land. Caitriona Balfe (Claire Randall Fraser) once called this filming location her favorite and noted the magic that seemed to meet the crew each time, and she’s not the only one. Source: Travel+Leisure magazine’s article “The Cast and Crew of ‘Outlander’ Reveal Their Favorite Filming Locations.”

The Dunalastair Estate website features comprehensive details for tourists. It covers area clan history, the estate family, farm, village, wildlife, rare plants, hiking, horse riding, railway, and other recreational options, plus links to websites like that of the Rannoch and Tummel Tourism Association. Source: http://www.dunalastair.com/Dunalastair-Estate

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Rannoch Moor looking west to Glen Coe. Creative Commons image by cosmicherb70, via Buzzfeed.com & Flickr

* * *

Argyll (county), Highland council area      →      Outlander film settings

Glen Coe. This mountain range is in long shots of Scotland. It was all about showcasing Scotland itself. If you’ve seen representative landscape views of Scotland in any form, chances are you’ve seen Glen Coe. One such view has been my blog’s header image in early 2017. The glen is the result of glaciers cutting into extinct volcanoes, creating a broad, sweeping valley of pleasing symmetry from key vantage points.

Glencoe is the name of the village in Lochaber to the west of the picturesque glen, and the two are connected by the umbilicus of the River Coe. Coming from the south, follow the A82 westward from Loch Lomond toward Glencoe Village, Loch Leven, and the Great Glen. There are dedicated viewpoints along the way where you can park and take it all in.

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The Three Sisters of Glen Coe, Season 1, Episode 1, opening shot during Claire’s voice-over. Image by STARZ & Sony Pictures Television, via Outlander-Online.com

* * *

Cairngorms National Park, Highland       →       Outlander film settings

“Cairngorms” rather loosely translated means “pile of blue rocks,” or “blue stone heap.” The Gaelic for this mountain range sounds much better, and Gaelic is often helpfully descriptive. There is also a single mountain called Cairngorm. Covering a vast area of natural beauty, rare wildlife (wildcats, capercaillies, and mountain hares in winter, red squirrels, red deer, and others), scenic vistas, castle ruins, pine forests, lochs, burns, and waterfalls, nature-loving visitors can spend substantial time in the Cairngorms National Park year round and not be disappointed.

If you were traveling from Rannoch, you would enter the park from the south, taking the A9 which starts in Stirling and flows through Inverness all the way to the far northwest Highland ferry port of Scrabster. The River Spey chases the A9 along the western boundary of the Cairngorms, and soon both find the small town of Newtonmore, just north of which is the Highland Folk Museum.

Highland Folk Museum, Newtonmore, Cairngorms National Park, Highland. Almost due north of the village of Kinloch Rannoch, this historical outdoor museum recreates 18th-century Highland life every day and aids in Outlander storytelling in a few ways  → in ep101 for the shelter where Murtagh first takes Claire to meet the other Highlanders, the scenes of village folk around the Castle Leoch area in season 1, and during ep105 for rent collections and wool waulking when the ladies sing “Mo Nighean Donn.”

From their website under the auspices of stewards Highlife Highland, “The Highland Folk Museum sits at the east edge of the village of Newtonmore less than two miles from the town of Kingussie. It lies just off the A9 at the west side of the Cairngorms National Park.”

As a preserved 18th-century village, the attraction has a total of 30 time-period furnished buildings, including a 1700s township of six buildings and a section featured as a working 1930s croft. The whole property, fully active up until the 1960s, spans one mile in length and also contains the Shelter, “Am Fasgadh,” housing 10,000 artifacts, plus a research library, conservation lab, offices, meeting rooms, and more.

Source: https://www.highlifehighland.com/highlandfolkmuseum/

The address is , Kingussie Road, Newtonmore, Inverness-shire, PH20 1AY. Currently in winter closure, the site will reopen in April 2017. Visit the official website for more pictures and information.

Tulloch Ghru, Rothiemurchus Forest, near Aviemore and Inverdruie, Cairngorms National Park, Highland, is an area of hilly woodlands spreading north of, but not far from, the Highland Folk Museum. → Featured in the opening credits of each episode and in scenes where Claire and the Highlanders travel from Craigh na Dun to Castle Leoch in ep101, “Sassenach,” it is peppered like Rannoch with ancient Caledonian pines along a western stretch of Cairngorms National Park.

Tulloch Ghru may also serve in parts of ep108, “Both Sides Now,” such as the woods where Claire and Willie wait while Jamie and the others meet Horrocks. (Not sure about this; I cannot find my original source for that idea.) But you won’t find it mentioned on standard tourist websites.

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Tulloch Ghru, maybe –> Claire, Jamie & Dougal talk British ambush risk. Image by STARZ & Sony Pictures Television, via Outlander-Online.com

The Outlander filming sweet spot is somewhere between Aviemore and Inverdruie, southeast of both and not far south of the Cairngorms Reindeer Centre. To start the hunt, follow the sleuthing, with information distinguishing place names in the area (Tulloch to the north vs. “Tullochghru” to the south), diligently pursued and shared at Wizzley.com. An old map of the area appears on that site.

Anyway, such pine forests in Scotland, though few compared to their ubiquity in times past, provide similar atmosphere as each other, and wee Tulloch Ghru may not stand out visually to the Outlander tourist. Generally, woodland film locations are notoriously difficult for the mere mortal to pinpoint once the crew cleans up, though some visitors may prevail. Interested in plant succession and vegetation change in the park since the last Ice Age? Knock yourself out at Cairngorms Learning Zone.

Note: Cocknammon Rock, also featured in this portion of ep101, is a fictional rock formation invented by Diana Gabaldon and created by the show with special effects.

The Cairngorms National Park itself boasts several helpful tourist resources at visitcairngorms.com (supported by VisitScotland.com, the official tourist board of Scotland) and cairngorms.co.uk, among other sites. For an outline map of the Rothiemurchus Forest of the filming site, go to the latter website’s Landscape Areas page and select “Rothiemurchus Forest.” Rothiemurchus is also a woodland estate with an island castle. For a beautiful map of the whole park, see the Cairngorms National Park Map.

* * *

Ross and Cromarty      →      Outlander book and historical settings

To start farther north and work your way southward back to Inverness for the train to Edinburgh or Glasgow and a flight back home, head for Ross & Cromarty. There you’ll encounter the real Mackenzie lands and their seat of power, Castle Leod. 

Castle Leod, near Strathpeffer–Easter Ross or “in the east of Ross-shire” (county of Ross) or in the regional district of Ross & Cromarty, i.e., something to do with “Ross”–seat of Clan Mackenzie.  →  Inspiration for Castle Leoch in the book. The name from the book was then continued by the show. However, shared in Part 1 of my Outlander tourism series, the historical castle itself is played by Doune Castle in Stirling. Castle Leod is a private estate accessed only by prior permission. However, it has been a stop on at least one Outlander tour out of Inverness.

For pictures and official information, see the gallery page at Castleleod.org.uk. This well-preserved Highland castle, billed as one of the most picturesque and romantic by its stewards, can be booked for special events including weddings. The Clan Mackenzie Society of Scotland and the UK was very helpful with information about access and tours involving Castle Leod. The associated Clan Mackenzie Routes also offers tour package options.

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Castle Leod. Image credit: Clan Mackenzie Society at clanmackenziesociety.co.uk/castles

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Castle Leod, “east view.” Image by coltarbt at Tripadvisor.com

Castle Leod will have select open summer days in 2017 in May, June, July, and August, and the grounds also open to the public on August 12th for the Strathpeffer Highland Games, held annually.

In a valley alongside the Peffery Burn, the castle property is NNE of Strathpeffer off the A834, and the closest town immediately northeast is Auchterneed. Bottacks is also nearby. The address of Castle Leod is .

Loch Garve, west of Castle Leod, Strathpeffer, Easter Ross → The loch mentioned as the home of the water kelpie (water horse; no, not the same species as Nessie) in the fireside tale Rupert tells before the rent party is attacked by members of Clan Grant in ep 108, “Both Sides Now.”

My online search for “Loch Garve” one day brought up the legend of the water kelpie; the story is indeed a long-held Scottish fixture.

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Falls of Rogie. Image by EvaMarina2015 at Tripadvisor.com

Between Loch Garve and Castle Leod are the Falls of Rogie, a series of sought-after waterfalls on the Black Water River, where salmon can be seen jumping the “ladder” and where you can walk across the river on a suspended bridge. Also within this area is the Strathpeffer Heritage Village and Victorian spa resort.

Down from the Northwest, we reach the Great Glen and Scotland’s most famous loch.

* * *

Inverness-shire    →     Outlander book, film, historical, and inspirational settings

Inverness is an interesting case for its lack of interest, perhaps. At least that’s what my friend who recommended I read Outlander said about their Outlander tour with Inverness Tours. I’m not sure if it was the pedestrian passerby on the highway shouting up to their double-decker tour bus “Inverness is sh*te!” that influenced her thoughts on this, but she basically told me there isn’t much besides the river views worth seeing in Inverness itself.

To say Inverness has little tourist value is not strictly true, but as a fellow Outlander fan with other priorities, I decided to follow my friend’s lead on this one. As a result, my personal experience of Inverness is limited to navigating traffic, scenes of the River Ness (mainly in pouring rain) and Moray Firth, parking beneath the Inverness Castle hilltop, and eating at two fine city restaurants.

Known as the capital of the Highlands, there are indeed attractions worth visiting in the city. I’ll tell you about a less beaten path we took for ourselves, along with other charms Inverness afforded us, when I share our full itinerary in a future post. Incidentally, my first pick of an Outlander tour was through Inverness Tours, but they were booked for our time frame when I finally made my decision, so plan many, many months ahead! We took instead Slainte Scotland‘s Firth of Forth and Fife area Outlander day tour, which was wonderful.

When you focus on the book and TV show, it is equally true that nothing in particular makes Inverness an Outlander tourism city. Rather, its proximity to sites of story interest is what really recommends it. You may decide it’s a nice central location for lodging. Below are some of those story-related sites around Inverness that complement those in Ross & Cromarty.

Loch Ness (and Urquhart Castle), south of Inverness, connected by the River Ness, extends on a roughly north-south line for more than 20 miles. Featured in the book but not in the STARZ series, Gabaldon uses Loch Ness to bolster the mysterious, supernatural element of encountering a mythic beast, presumably either “Nessie” or one of her ancestors, collectively known as the Loch Ness Monster.

North of Loch Ness and Urquhart Castle and west of Inverness is the town of Beauly, seat of the Fraser clan of Lovat, kin of our story’s hero Jamie Fraser. A distinctive treasure awaits in the heart of town.

Beauly Priory, a truly “beau lieu” (French) or “beautiful place,” presents its ruined self in full splendor and grace. The names Fraser and Mackenzie appear frequently on the tombstones within and around the priory.    In the book, this holy place is where Claire meets Maisri, the seer who works for Simon Fraser, Lord Lovat, infamously known as “the Old Fox.” Both the clan chief and his wise woman appear in ep208, “The Fox’s Lair.”

Technically not in Inverness-shire but also not far from Inverness to the west, Beauly Priory is free to enter and open 1 April – 30 September. Check for closures at all Historic Environment Scotland sites: https://www.historicenvironment.scot/visit-a-place/check-for-closures/. The address is .

After Beauly Priory’s enchantment (all above images by C. L. Tangenberg), last and perhaps best are two very important sites just a short trip east of Inverness.

Culloden Battlefield, aka Culloden Moor, Inverness-shire.  →  “The Outlander action is all leading up to the bloody Battle of Culloden in 1746. More than 1,200 men were killed in the defeat of the Jacobite clans.” Source: photo caption excerpt http://www.travelchannel.com/interests/arts-and-culture/photos/get-inside-outlander-on-a-tour-through-scotland/page/14. This final battle, while not depicted in the book, will be portrayed in the STARZ show during series 3, which is based on the third book Voyager. Culloden visitor centre stewards, battle and Jacobite scholars, descendants of Scotch soldiers and their families, British historians, Outlander fans, Outlander STARZ cast and crew, and Scots citizens–in short, many, many people no doubt all eagerly anticipate this unique project coming to fruition.

I know it will be unforgettable, and I hope it will bring even more people to this historic site that has long been at the center of Scottish cultural identity and its dramatic transformation.

The most prominent inclusion of Jacobite Rising history in the Outlander series comes in the form of weaving its facts throughout the story. To her fans, Diana Gabaldon’s research prowess is legendary, and the show has followed her lead with excellent historical accuracy and detail, in everything from herbs to weapons to period architecture to literal embroidery on costumes (with a few intentional nods to the 1940s in Claire’s 1740s French dresses) and furnishings.

Plot elements such as an inside look at the rebel cause in series 1, discussions and decisions by Clans Mackenzie and Fraser in both series about political loyalties, mention and depiction of the battles of Prestonpans and Falkirk, and Claire and Frank’s talk of Jacobite history both on and off the battlefield in the 1940s all merge into that complex tapestry.

In 1743, smiling after Claire’s joke, Jamie casually mentions the Mackenzie rent party’s approach to Culloden Moor. Triggered by this, Claire suddenly recalls her sad visit there with Frank, circa 1945. “What of these Mackenzie men? How many [would] die on that bloody moor?” Having begun to bond with them over the past few weeks, she now fears for their lives, with a growing sense of helplessness.

The must-see visitor centre combines access to the field with a state-of-the-art, immersion museum experience, complete with dozens upon dozens of primary accounts conveyed in both textual and audio commentary and a four-wall motion picture re-enactment of the battle itself. The museum is designed for the visitor to receive and absorb a robust before, during, and after depiction of Scotland’s last war for freedom, before stepping outside for the most fundamental evidence of its high costs.

Inside, you learn about the Jacobite Rising of 1745 from its inception, with dual-corridor pathways providing both the government and Jacobite perspectives leading up to the war, along with intricate Battle of Culloden statistical and social details, and a comprehensive portrayal of the prolonged aftermath. This is one of the best places to learn a substantial amount about Bonnie Prince Charlie in particular. The centre has also taken pains to ensure Gaelic language representation throughout the museum and on field kiosks.

A dark hallway allows you to hear what each side had to say about the failed Night March before the battle. After viewing the graphic re-enactment film complete with sound effects (think 3D Saving Private Ryan cinematography), don’t miss the excellent aerial-view digital model of troop movements with audio narration. The same room displays artifacts that were found on the battlefield and examples of swords, pistols, rifles, dirks, mortars, and cannons used in the fight.

Next, you can walk the moor, view the memorial cairn, grave stones, flags, and other battlefield features, and better imagine what it must really have been like. Pay your respects at the Clan Fraser memorial stone, which resides directly opposite the memorial cairn, among a series of clan memorial stones. More often than not, many of these will be graced with flowers and other tokens of remembrance.

The land is relatively flat but expansive, so budget your time for the trek. Go early if you intend to add another attraction on the same day, but I recommend light, short, and upbeat follow-up–something purely entertaining and relaxing or mostly physical, such as a beach picnic, river cruise, whisky tasting, tea time, train ride, horseback ride, or bagpipe show.

Actually, you might want to make a firm plan for the whisky. The Culloden historical experience, though fascinating and engaging, is a top-notch example of the ultimate sobering agent. However, despite one myth, birds do indeed sing on the moor–I made a point of listening for them after reading that somewhere. Our visit also featured two beautiful horses grazing the moor and watching over the fallen.

In getting there, keep in mind that several places in the area bear the name “Culloden”: the town of Culloden, Culloden Moor, and Culloden Battlefield, which is technically on Drumossie Moor, as well as the Culloden Inn. The town named Culloden is a bit removed to the northwest, and the namesake moor is immediately northeast of the battlefield. Culloden Inn restaurant is very close to the visitor centre, between Drumossie and Culloden Moors.

Murtagh mentions Kildrummie Moss in ep212, “The Hail Mary,” as well. This is actually farther northeast in Nairn-shire, closer to Nairn, where the British General Cumberland’s camp celebrated his birthday on the eve of their march to Culloden.

Regardless of your degree of interest in Outlander, war, or formal museums, no first visit to Scotland would be complete without at least half a day at Culloden. Be sure to include it.

Address: Culloden Battlefield visitor centre, Culloden Moor, Inverness, Highland IV2 5EU. Tel: 0844 493 2159. Visitor Centre, Restaurant, Shop: open 1 Sept – 31 Oct, daily 9 – 5.30. Battlefield open daily, all year. Price: Adult £11.00. Hire of battlefield tour PDA is included in admission price. NTS members in free.

Clava Cairns, Inverness-shire, is a set of circular piles of stones (chambered and kerb cairns), and standing stone circles (monoliths) around those cairns, along the River Nairn, near Inverness. Perhaps sharing features of the stone circle Gabaldon pictured as Craigh na Dun for her story, “the 3 cairns were burial sites about 4,000 years ago, although the remains have long since been removed. Standing stones surround the cairns, but they haven’t seen any mysterious disappearances or reappearances lately—that we know of, anyway.” Source: photo caption http://www.travelchannel.com/interests/arts-and-culture/photos/get-inside-outlander-on-a-tour-through-scotland/page/5

As part of her answer to the question “Are all the locations used in the books real?”, Diana notes in her website’s FAQs section that she had not been to Scotland when she wrote Outlander but would not be surprised if a place like the one she describes for Craigh na Dun actually existed. She found the standing stones at Castlerigg, Lake District, England, to be “very like” her imagined site once she finally did travel to Britain.

She mentions Clava Cairns and Tomnahurich Cemetery Hill as possibly being similar, but she states she had not been to Tomnahurich, which is supposed to be a “fairy’s hill.” It was not clear whether she had visited Clava Cairns by the time of her answer’s posting on that particular page, but I am fairly certain she has been there since, and I know she has visited Culloden as well.

Source: http://www.dianagabaldon.com/resources/faq/faq-about-the-books/#locations

Remember: Numerous examples of cairns, standing stones, stone circles, brochs, volcanic plugs, glacier-carved valleys, caves, and other spectacular rock formations define the landscape of Scotland’s mainland and islands. You’re likely to find one example to be as interesting as the next. This one is special in part for its very close proximity to Culloden Moor and its being part of Inverness-shire.

Just across the River Nairn to the southeast of Culloden Battlefield and visitor centre, the address of Balnuaran of Clava, or the Clava Cairns, is . It is free and open to the public.

* * *

As you have seen through descriptive detail and vivid images, Outlander highlights abound in the Highlands as much as in central and southern Scotland. As I hope you have also seen, Scotland deserves exploring in its own right. Its beauty, culture, history, and adventure are matched by impressive hospitality.

Now that I have oriented you–in part 1, part 2, and part 3 of this series–to the places throughout the land of Scots that can fascinate and delight the Outlander tourist, part 4 will present my specific model for putting it all together. I’ll show you how I approached planning our trip as a do-it-yourself traveler, our full bespoke (that is, “custom-made” for you non-UK folks) itinerary, and how we adjusted it along the way. I’ll also provide further guidance about dedicated Outlander tour options, more filming locations and book story sites, as well as general travel tips and recommended resources.

Footnotes and a list of sources mentioned in this post can be found in the sections below. While I’m on that subject, remember: The information presented in these posts is not exhaustive, errors are possible, and facts change, so be sure to do your own checking when you’re ready to set a Scottish excursion in stone.

I am delighted that you’ve followed me on the journey thus far. Return next time, when I’ll help with some tough choices and prepare you to book transport and more for that Scotland trip you’ve been dreaming about. . . .

Tìoraidh an-dràsta! (CHEER-ee ehn DRAH-steh) Ta-ta for now!


Notes on Area Names

* Go to Council Areas Since 1996 for a numbered map and linked list of all 30 council areas, such as Clackmannanshire, Renfrewshire, East Ayrshire, and Perth and Kinross. The island chains of Orkney and Shetland are listed and linked separately as not shown on the map. Subdivisions into registration counties, used for land registration in Scotland, have persisted since the 1990s.

Regional divisions are a little more complicated and involve subdivision into districts between 1975 and 1996. For that fascinating history, see Regions and Districts of Scotland from 1975 to 1996, the names of which are relevant for the tourist mainly because areas are often still described in these terms.

Finally, counties go back even farther in time and were replaced by the two-tier region-district system. Scottish Counties from 1890 to 1975, like much of Scottish history, retain their footprint on the land.

Beyond these official, politico-historical categories, there appears to be a common understanding among UK and Scottish tourist service organizations and tour guidebook publishers as to which labels are most helpful to tourists. VisitScotland.com, Fodors, DK, Scotland.com, and Scotland.org are among those that blend variations of regions, council areas, and descriptive phrasing to focus tourists on optimal zones for their adventures. Examples include “Aberdeen and Grampian,” “Hebrides” (islands), and “Glasgow and the Clyde Valley.”

** The Highlands, broadly considered, are perhaps a mythical, amorphous landscape in some respects, for a few reasons. For one, this northerly expanse hardly has a monopoly on height and also seems to be synonymous with “the North.” Even the Lowlands are bordered to the south by “Southern Uplands” (Dumfries & Galloway area), and Europe and other continents boast far larger mountains.

Second, culturally and politically, the Highlands were long considered a region of backwardness, even barbarity, by their southern neighbors the English, and sometimes by Lowland or city Scots. The region could in that way be thought of as anything north, island or inland, a certain distance from Edinburgh.

Third, the geological Highland Boundary Fault line has set in stone (sorry) that once vague sense of division, officially distinguishing “up there” from “down here.” This fault zone runs from the isle of Arran and Helensburgh on the west coast, west-northwest of Glasgow, through Loch Lomond and Crieff to the northeast, parallel to the east coast on the North Sea, terminating immediately north of Stonehaven, at Garron Point, just south of Aberdeen. Visual learners, consult the map. 😉

As the line climbs to the northeast, it traverses Stirlingshire, Perthshire, and Angus, southeast of the Cairngorms. To see the topography and current place names, visit Gazetteer for Scotland and zoom out on the map. For geology lovers, here’s George Barrow’s sketch map from 1912.

Scottish Natural Heritage further explores “the five distinct foundation blocks which make up Scotland” geology; examples are Southern Uplands, Northwest sea-board, and Northern Highlands.


Key Sources (in order of presentation in this post)

Highland Boundary Fault information was drawn from Wikipedia and Gazetteer for Scotland.

Gazetteer: http://www.scottish-places.info/features/featurefirst7728.html

Wikipedia: https://en.wikipedia.org/wiki/Highland_Boundary_Fault

Travel+Leisure magazine’s article about Outlander cast/crew’s favorite filming locations: http://www.travelandleisure.com/culture-design/tv-movies/outlander-cast-and-crew-favorite-locations

Dunalastair Estate: http://www.dunalastair.com/Dunalastair-Estate

VisitCairngorms.com: http://visitcairngorms.com/

Highland Folk Museum: https://www.highlifehighland.com/highlandfolkmuseum/

About Tulloch Ghru at Wizzley.com: STARZ Outlander Scottish Filming Locations

Castle Leod: Castleleod.org.uk

WelcometoScotland.com provided information about Loch Garve and the Falls of Rogie in Ross & Cromarty:

Loch Garve: http://www.welcometoscotland.com/things-to-do/activities/fishing/north-highland/loch-garve

Falls of Rogie: http://www.welcometoscotland.com/things-to-do/attractions/nature-reserves/north-highland/rogie-falls

Learn more about Historic Environment Scotland sites including Beauly Priory: https://www.historicenvironment.scot/visit-a-place/check-for-closures/.

TravelChannel.com‘s Outlander sites photo gallery

Culloden Battlefield: Source: photo caption excerpt http://www.travelchannel.com/interests/arts-and-culture/photos/get-inside-outlander-on-a-tour-through-scotland/page/14.

Clava Cairns: Source: photo caption http://www.travelchannel.com/interests/arts-and-culture/photos/get-inside-outlander-on-a-tour-through-scotland/page/5

Diana Gabaldon’s website FAQs: http://www.dianagabaldon.com/resources/faq/faq-about-the-books/#locations

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Poetry Spotlight: Contributor Matthew Thorburn. A pressed post.

A post linked at bottom from the blog http://memoriousmag.wordpress.com, companion to Memorious: A Journal of New Verse and Fiction, has moved and intrigued me. It also intersects with my own blog’s areas of poetry, nature, travel, art, and reviews.

Sara A. Lewis reviews Matthew Thorburn’s book-length poem Dear Almost and presents Leslie Harrison’s interview with the poet. An epistle in four parts parallel to the four seasons, the book is about the loss of Thorburn’s unborn daughter to miscarriage.

Some of the review and discussion’s elements that caught my especial attention and urged me today to pursue the book:

  • a cultural tradition unfamiliar to me – classical Chinese poetry and Chinese language (Mandarin) through wife Lillian’s family and their 3-year-old son learning Chinese
  • the notion of the “season suite” – A book-length poetic form brewing for Thorburn (though not consciously as a form) found its subject, and the book was born.
  • the raw, peculiar experience of loss and grief for a forming but unborn child her father will never meet – This recalls for me actor Caitriona Balfe’s deeply affecting performance as Claire Fraser in episode 207, “Faith,” of the Outlander STARZ TV series (series 2 based on Gabaldon’s 2nd book Dragonfly in Amber), when Claire learns her first child, a daughter, was stillborn.
  • Thorburn’s relationship with Elizabeth Bishop’s poetry, a favorite poet of mine – a coupling of attentiveness with deep, restrained emotion
  • using haiku as bookends to a longer poetic passage
  • the interviewer’s incisive sophistication and the poet’s elegant thoughts

The interview is a bit of subtle theater emulating the kind they finish it discussing–how epistolary works hold readers at bay as the audience overhears a conversation between others.

Matthew Thorburn’s fourth full-length collection, Dear Almost, has recently been released by Louisiana State University Press. A book-length poem broken into sections that correspond to the four se…

Source: Poetry Spotlight: Contributor Matthew Thorburn |

Live Event Review: Diana Gabaldon Skype Session

Barring some spotty transmission of sound, tonight’s Skype session with Outlander author Diana Gabaldon was a treat–and free! Connecting from her Santa Fe, NM, getaway house (lives in Scottsdale, AZ) to our own Lake High School Performing Arts Hall in Uniontown, Ohio, the Goddess of Jamie and Claire Fraser chatted to upwards of 200 people.

To start the presentation, Diana skipped the most common questions avid fans know the answers to, such as how she started writing the first book. Instead, she shared highlights about book 9’s progress (Go Tell the Bees That I Am Gone–finish date still unknown), her writing, research, and editing processes, her three main types of characters (“mushrooms, onions, and hard nuts”–see Part 2 of her reference book The Outlandish Companion for full details), and impressions from consulting on the STARZ TV show adaptation.

In her explanation of character types, she used the case of Mr. Willoughby in Voyager to illustrate how a character springs up like a mushroom. Jamie and Claire are onion characters, with layers that keep revealing more depth. Then, some characters she is “stuck with,” hard nuts such as history’s George Washington, as she writes her current book during the American Revolutionary War, and Brianna Randall, Claire and Jamie’s daughter who had to be born for the long-haul story to work.

Diana has to get to know such characters gradually as they reveal themselves to her. She also noted that she doesn’t “kill” characters; they just die and she, too, finds those events “distressing.” She depicts her role as more of a conduit or vessel through which her stories create themselves. While it is not a passive, or by any means easy, process, she works intuitively and must remain receptive. She uses the senses to pose questions that her imagination then helps her answer.

True to her science background, (former) Professor Gabaldon described her writing in terms of natural processes. She revealed how her scenes start from “kernels” (a vivid image, a line of dialogue, a certain ambiance, a physical object) and proceed by an organic process that she compared to both “growing crystals in the basement” and “a slow game of Tetris.” She “fiddles” until the pieces fit together just right.

Perhaps unusual for a novelist, Diana doesn’t write in a straight line or plan her books in advance; she works wherever the images come from and cobbles or, as some have said, “quilts” scenes together. From the beginning of her book making, she has combined the research and writing processes, toggling back and forth to learn more and make corrections as needed. Her research prowess has become legendary among fans. She also shared how each book ultimately forms a geometric shape. Dragonfly in Amber is like a barbell, anchored by a framing story on both ends, and Outlander has a series of three pyramids or triangles where tensions rise and fall.

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Diana Gabaldon, San Diego Comicon 2015

During the Q&A, I was blessed enough to be able to ask Diana a direct question about how the show is adapting the Jamie-Claire relationship. I talked to HERSELF face to face sort of! Whoa. Happy Birthday (week) to me indeed. She agreed with my view that the core bond of these central characters needs some attention and further development on screen, and she indicated the producers think so, too. Diana assured us that the first six episodes she has seen of season 3 are “great,” which brought cheers from several attendees including me.

Just turned 65 last week, Diana Gabaldon is an endearing blend of erudite, friendly, and oddball. This was my second experience of a live Diana Gabaldon video session. She’s very generous and engaged with her fans, a wonderful writer and natural speaker.

Our hosts ran a solid event, the lights and audience mics worked well, and, though we were dram-dry, there was ample, delicious homemade Scottish shortbread laid out near the exit. Mmm . . . buttery, flaky goodness.

In sum, read these awesome Outlander books, people, and if you can, catch a video chat session with Herself. (Preaching to the choir?) The STARZ show really is pretty great, and season 3’s coming up. Even more impressive, though, the books are an endless fount of riches with an essence that even the very talented team of show producers and writers is hard pressed to capture in a visual medium. Books and TV are distinctly different species of animal, but in the case of this timeless, time-driven story, each is fierce and beautiful in its own way, with something for just about everyone.

Sláinte mhath from this balmy winter’s night in northeast Ohio’s Outlander fan land.

The event was hosted by the Stark County District Library, sponsored by Lake Community Friends of the Library, and buoyed by Diana’s two signed book copies for two lucky trivia game winners (not me which was a-okay).

An Outlander Tourist in Scotland, Part 2

Last time, I showed you Outlander-related tourism destinations in Central Scotland, specifically the Edinburgh and Firth of Forth areas. In that post, I also laid out my plan for this series: (1) introduce the site options, (2) share my husband’s and my Outlander tourism goals and results, and (3) lend some advice and resources for planning your own Scottish Outlander tour. The process continues with (1) site options in Central Scotland.

For Part 2 of this series, we travel to Glasgow and environs, home of the Outlander Studios, and then we’ll dip southward to Ayrshire and then Dumfries and Galloway, birthplace of actor Sam Heughan, our beloved Jamie Fraser. Remember you can go on VisitScotland.com for regional maps to follow for context, including the one for Greater Glasgow & The Clyde Valley.

This collection mixes the easily accessible with the off limits and forbidding. Glasgow is a tourist city, Troon a resort town, the country estate of Drumlanrig Castle visitor friendly, and Dumbarton Castle an underrated attraction. By contrast, Hunterston House is closed to the public, Torbrex Farm is private property, Outlander studios are tightly secured, and the treasures of Finnich Glen are guarded by dangerous pathways.

Tourism can take many forms, however, including the virtual. Therefore, I do not exclude the beautiful and interesting just because they shy before visitors.

The Central Sites (Continued):
Show Filming and Book Story by Region or County

City of Glasgow, West Dunbartonshire, Stirling, and North Lanarkshire

City of Glasgow      →      Outlander Settings

George Square, in the city centre of Glasgow, saw the filming of Frank’s surprise proposal to Claire → the Westminster Register office, a flash back to the future at the start of ep107, “The Wedding.”

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Claire and Frank in “Westminster.” Image by STARZ/Sony Pictures Television, courtesy Outlander-Online.com

Glasgow Cathedral, on the east side of town, accompanied by its Necropolis, a vast cemetery on a hill. → Interiors served in the scenes at l’Hopital des Anges, the hospital where Claire volunteers her nursing skills in 1740s Paris, eps 203, 204, 206, 207. This beautiful church is a magnificent tourist attraction in its own right.

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Claire nurses at l’Hopital des Anges. Image by STARZ/Sony Pictures Television, via Outlander-Online.com

Pollok Country Park, south of Glasgow’s city centre → The park doubled as the grounds of Castle Leoch and the area where Claire harvested mushrooms when she met Geillis Duncan, ep102, aptly titled “Castle Leoch.” Later, the show used it to stage the duel between Black Jack and Jamie in ep206, “Best Laid Schemes” (an homage to Robert Burns’ poem “To a Mouse,” which I analyzed in another post). The setting for that was the Bois du Boulogne of Paris. Pollok Country Park was used in episodes 101, 102, 103, 104, 105, 107, 109, and 206.

Pollok House and the Burrell Collection are popular tourist attractions on the grounds. There’s a playground, a lake, some sculpted gardens (also used in filming), a golf course, and pasture of Highland cows as well. Several bicyclists roamed the park on the rainy day we went there.

* * *

Stirling (SW)     →     Outlander Settings

Finnich Glen, a.k.a. the Devil’s Pulpit, near Drymen (pron. DRIM in) just south of the Trossachs National Park in southwest Stirlingshire → St. Ninian’s Spring, a.k.a. the Liar’s Spring, where Dougal takes Claire in ep106 after he stops Black Jack’s brutal interrogation of her. Visitors to the site note that it is difficult to access but worth the effort. For important safety notes about the area as well as directions, see this TravelChannel.com page. For precise location details and map coordinates, go to the Finnich Glen profile at Gazetteer for Scotland.

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Claire and Dougal, at “the Liar’s Spring,” discussing her fate, ep106. Image by STARZ/Sony Pictures Television, via Outlander-Online.com.

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Finnich Glen. Image 10 of 15 in the Outlander tourism gallery at TravelChannel.com.

Torbrex Farm, Stirlingshire. Domick Hill, Stunt Coordinator,
 says of it, “Being the Stunt Coordinator, my favorite location was a large tent in a very wet field, near Torbrex Farm, which is a few miles from the studio. The reason being that it’s where we filmed the majority of the Battle of Prestonpans—not very glamorous, but we had a lot of fun in that smoke filled, muddy marquee!”

Source: http://www.travelandleisure.com/culture-design/tv-movies/outlander-cast-and-crew-favorite-locations 

Dunmore Park  Falkirk, Stirlingshire →  The bombed-out hospital in ep101 where Claire, in flashback, treats the wounded on V-E Day, the end of World War II. Source: http://www.travelchannel.com/interests/arts-and-culture/photos/get-inside-outlander-on-a-tour-through-scotland

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Claire, Allied hospital, post surgery, V-E Day, May 1945. Image: STARZ/Sony Pictures Television, via Outlander-Online.com

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UK cheers V-E Day, 1945. Image: STARZ/Sony Pictures Television, via Outlander-Online.com

* * *

West Dunbartonshire     →     Outlander Setting

Dumbarton Castle in West Dunbartonshire, overlooking the Clyde River just west-northwest of Glasgow, is a medieval stronghold and center of the ancient Strathclyde kingdom. “Sam [Heughan] was photographed there on set by Just Jared magazine, published on August 5th 2014.” Source: https://wizzley.com/starz-outlander-scottish-filming-locations/. West Dunbartonshire, a local council area of its own, also “borders onto Argyll and Bute, East Dunbartonshire, Renfrewshire, and Stirling.” Source: Wikipedia

The Dumbarton Castle address is Castle Road, Dumbarton, Dunbartonshire, G82 1JJ.

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Dumbarton Castle. Image by Historic Environment Scotland

See the rest of the gallery on the Historic Environment Scotland site of Dumbarton Castle. Learn more at VisitScotland.

* * *

 North Lanarkshire          Outlander Settings

The Outlander studios are situated in the area of Cumbernauld (5th largest town in Scotland) & Kilsyth, North Lanarkshire, to the northeast of Glasgow. The sound studios reside in a warehouse complex where most of the indoor settings and scenes in Outlander are constructed and filmed. The official address of the studios is LBP Outlander Ltd. (Left Bank Pictures), 2 Wyndford Rd, Cumbernauld, Wardpark North, Glasgow G68 0BA, UK. It is the site of the former Isola-Werke factory. Security is tight, but you can drive by and stop briefly at the labeled gate.

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Signed gate at Outlander studios. Image by C. L. Tangenberg

* * *

The Southern Sites: Show Filming by Region or County

North Ayrshire, South Ayrshire, Dumfries and Galloway

North Ayrshire      →      Outlander Settings

The Hunterston House interiors  the Reverend Wakefield’s Inverness rectory in eps 101, 108, 201, and 213. This is where, in 1945, Frank Randall and Reverend Wakefield talk genealogy; Claire has her tea-leaves and palm read by Mrs. Graham; the Reverend Wakefield, Graham, and Randall convene along with wee Roger to search for the missing Claire; and where Frank and the Reverend discuss matters upon Claire’s return in 1948, including the shot of Frank running down the stairs after hearing her biggest news.

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Frank and Claire at the Reverend’s, 1948. Image by STARZ/Sony Pictures Television, via Outlander-Online.com

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Frank and Reverend Wakefield, his study, 1948. Image by STARZ/Sony Pictures Television, via Outlander-Online.com

It is, of course, also where we meet adult Roger Wakefield and Brianna Randall at the end of season 2. The site is closed to the public, but they have an ample gallery on their website. Exteriors were filmed elsewhere. Go to the Hunterston House website for more information. Their address is Castle Avenue, Hunterston, West Kilbride, KA23 9QG, Ayrshire.

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Roger, Reverend’s funeral, in his study, 1968, start of ep213. Image by STARZ/Sony Pictures Television, via Outlander-Online.com

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Roger Wakefield, Claire, Brianna, foyer, Reverend’s house, 1968, ep213. Image by STARZ/Sony Pictures Television, via Outlander-Online.com

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Roger and Claire talk living through loss, ep213. Image by STARZ/Sony Pictures Television, via Outlander-Online.com

* * *

South Ayrshire     →     Outlander Setting

Troon, coast of Kyle, South Ayrshire. Troon is a resort town on a headland at the north end of this council area and of Ayr Bay, about 35 miles southwest of Glasgow. Coastal shots where Claire, Jamie, and Murtagh depart for France, ep116. You can learn more at VisitScotland.com and Gazetteer for Scotland.

* * *

Dumfries and Galloway     →      Outlander Setting

Drumlanrig Castle, Thornhill, Upper Nithsdale, Dumfriesshire Season 2 filming location for the estate at Bellmont, England, the Duke of Sandringham’s last residence. Ep211, “Vengeance is Mine,” script written by Diana Gabaldon.

Contact address: Thornhill, Dumfries & Galloway, DG3 4AQ, Scotland

Come back for Part 3‘s review of Highland tourism sites for Outlander filming, book story, and Scotland fans.

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Review: Sandringham in Outlander STARZ – Beyond Adaptation

Previewed in my post Five-Phrase Friday (37): No “Callow” Craft, this review takes an in-depth look at the final scene of Episode 202, “Not in Scotland Anymore,” in the second series of Outlander STARZ, based on Diana Gabaldon’s second Outlander book Dragonfly in Amber. It is an episode that manages to capture practically everything our heroes grapple with for the rest of the first half of the season. Spoilers imminent.

Paris, 1744. Escape, recovery, new purpose, new digs. Specters of a horrid past in Scotland and its bloody future. Mysticism and superstition in France as in the Scottish Highlands. Duels and fighting practiced, threatened, and restrained. War and religion married in royal ambition. Wine and money mixing with political lies and secret agendas.

Sex, sex, and more sex in anticipation, pursuit, dark corners, and gossip. The irony of an extremely sexy early marriage in Scotland for Claire and Jamie Fraser juxtaposed against their sex-deprived Paris in the aftermath of Jamie’s severe psycho-sexual trauma–at the hands of a real psycho. Old flames re-surfacing. A lowest-cut, billowing blood-red dress. A constipated King Louis XV and his nipple-pierced mistress. A new aristocratic friend forged through sexual misunderstanding.

And finally, an utter change of tone–in the forms of a truly nauseating reunion and a devastating revelation–occurs amidst inner and outer fires and explosions.

Overview

This final scene featuring the Duke of Sandringham’s reappearance begins about seven minutes from episode’s end. For that duration, British actor Simon Callow commands both light and darkness with the aplomb his fans have come to expect and relish.

In this single performance, Callow encapsulates the intriguing essence of the character he and the show’s writers have adapted from Diana Gabaldon’s Outlander book series. Sandringham delivers the final blow to Claire that brings her full circle back to Jamie’s nightmare at the episode’s opening:

Sexual sadist and pervert (Gabaldon’s description) “Black Jack Randall is dead” but “alive in [Jamie’s] head” at the start, and by the end, between them, only Claire learns that Randall is in fact very much alive.

And who should deliver the news? Not even Sandringham, but his secretary Alexander Randall, diminutive, sickly younger brother to the infamously brutish captain. Sandringham’s superior skill in verbal dueling with Claire takes center stage until Alex’s arrival, which, unaided by Sandringham’s intent, perpetrates the final stab for him.

The journey from Murtagh’s spotting of the Duke in the room at Versailles to that painful revelatory moment is intricately layered, extremely tense, and fascinating to watch.

Every single thing the Duke of Sandringham says to Claire and Jamie in this scene represents a provoking, passive-aggressive lunge at them even as he attempts to weasel himself into the position of pitiable victim. His Grace is a walking, talking contradiction, playing his opposing motives, impulses, and meanings off each other to perfection.

Gentlemanly pleasantries interlace with dark, survivalist intentions, and pretenses of buffoonery with calculated and carefully selected barbs. Although not neatly archetypal, Sandringham proves to be the ultimate gentleman jester who only lightly masks his malevolent master mind. The Duke by turns hints at and blatantly flashes his many sides, remaining unnervingly difficult to parse.

Both the more direct, baritoned Sandringham, in conversation with Claire alone, and the falsely polite tenor one, in the presence of Jamie, communicate things that are observable as well as implied or waiting to be revealed.

Beat by Beat: The Lines–and Spaces in Between

A breakdown of character interactions and of the Duke of Sandringham’s comments to Claire and Jamie in this one scene alone makes plain the existence of these layers. Only in the context of known back story, established in the latter half of season one, can the nature of the immediate Fraser-Sandringham conflict and its significance be fully appreciated.

I break the scene down roughly into beats. A beat in story performance can be thought of as “a bubble of action, of dialogue, of thought, or of mood” (source) that represents a shift within a scene.

This final scene makes excellent use of sound and silence (another kind of beat) to convey emotion and drama. Note that the screenwriters may think of these divisions differently; this is my interpretation, with beats labeled by purpose or nature of shift.

Beat 1: Disaster Averted. To open the scene, Jamie thwarts Murtagh’s attempt to exact revenge for the Duke’s treachery, which Black Jack Randall had revealed to Jamie at Wentworth Prison when he burned the intercepted petition of complaint against himself.

The Frasers had entrusted the document to Sandringham for conveyance to London’s Court of Sessions, hoping the accusations of gross sexual impropriety and violence committed by Randall against Claire would countermand Randall’s false accusation of murder against Jamie.

Beat 2: Overture of Good Will. Turning around, a visibly uncomfortable Jamie, shoulders elevated, receives the Duke’s greeting:

“Jamie, dear boy, upon my word. I’m delighted to see you looking so healthy.” The last two words stretch in special emphasis.

While not necessarily insincere, this sentiment, finishing with a broad smile and a glint in the Duke’s eye, could imply he must have some degree of knowledge about what Jamie suffered in the prison dungeon with Randall. Jamie may wonder about this while recalling that time when he was definitely not so healthy. Coming from a known associate of Randall’s and a proven betrayer to Jamie and Claire, reference to Jamie’s health undoubtedly makes him feel ill, but Claire soon catches up, which gives him a moment to recover.

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So touched by your concern . . .

Whatever secrets Sandringham may be privy to, the opening comment need be about nothing more than the fact that Jamie recently had been on the verge of death at the hangman’s noose, a matter of public knowledge. He was caught by redcoats in Scotland, tried for murder (Randall had, according to one witness, shot his own sergeant dead before pinning it on Jamie), convicted, and sentenced within a few days while Murtagh and Claire searched the Highlands countryside for him.

The pardon for which Sandringham’s assistance was supposed to pave the way not only did not come in time but was prevented altogether when Randall wrested from Sandringham’s hands their petition document.

More than our shared knowledge of Jamie’s traumatic past, it is the uncertainty in the audience about what exactly Sandringham knows of this not-so-distant history that heightens the suspense and makes his remark to Jamie about his health so unsettling.

Beat 3: Full Reunion. Before Jamie has a chance to respond, the Duke has spotted Claire and begins addressing her with a higher pitch, volume, and degree of intensity. Again in a stretched cadence, he emphasizes her name. “Mrs. Fraser, what a joyful reunion!” he says while reaching slowly for her hands in greeting. Frowning, she withdraws them and notes coldly that she wishes she could share his appraisal of the situation.

Beat 4: Deeply Cut. “You cut me to the quick!” the Duke reacts, straightening in mock offense.

Beat 5: The Wriggling Begins. Then, relaxing, he concedes, “Well, I suppose I deserve it. Let me assure you, I had every intention of delivering that petition of complaint to the Court of Sessions, as I had pledged to do. It was that damned Randall! The brute insisted I give it to him, instead. I had no choice, whatsoever. Will you ever forgive me?”

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Sure, and I’m Queen of France.

As the Duke professes coercion by Randall, Jamie has joined Claire’s side and gives him a sidelong look of severe doubt. Unflappable as always, ironically, it is Sandringham whose daggers most penetrate, though he says he’s been “cut.”

 

Beat 6: “Forgiveness.” Considering the Duke’s apology, Jamie then looks at Claire and Murtagh, who is pacing like a caged animal behind them, before he exhales and declares bygones: “What’s done is done.” Jamie knows the importance of smoothing things over with the influential aristocrat (an invented character rather than a historical one).

Sandringham replies, “How true. What’s passed is passed.” The opening and closing of the line drag out here.

Beat 7: Catching Up. He immediately asks, “What are you both doing here in France?”

Such a casual question under most circumstances, again, this one is loaded. As if he didn’t know Britain is no longer safe for them. As if they could have gone anywhere else after fleeing Britain. As if he didn’t know that simply by asking such a question, he is again putting them in an uncomfortable position. Whatever else he may know, the Duke must know that their going to France was no idle decision, as his impertinent question implies.

When Claire responds by explaining Jamie’s been employed by his cousin Jared, she has interjected for Jamie, whose face becomes clouded with consternation, alarmed at the Duke’s question and likely wondering what answer to make.

Beat 8: Capitalizing. Sandringham wastes no time in snapping up the opportunity to buy them off. “The wine merchant? What a serendipitous surprise. Tomorrow I go back to England, but I shall return shortly, and when I do, I should be very interested to sample some of that rare Belle Rouge port I understand he’s stocking. I must have a case.”

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surprised serendipity

How surprising he truly finds their new status is anyone’s guess, but we’re fairly certain serendipity is not involved. He has fabricated it to meet the demands of the moment.

“How much?” Jamie asks, drawing Claire’s incredulous face to him.

“I’d be willing to pay twenty percent over the asking price,” Sandringham offers.

“Sold,” Jamie says with a brief smile while Claire looks indignant on his behalf.

Beat 9: Apology Not Accepted. After Murtagh surmises the Duke’s purchase method (credit) as a way of implying payment may never come, Claire suggests that Jamie and Murtagh go and have a drink with “our new friend, the Minister of Finance,” and on this last phrase she speaks directly to the Duke, as if to pre-empt Sandringham’s next anticipated attack by emphasizing their powerful friends.

Beat 10: A Woman Scorned. The two Highlanders take their leave after a few moments of tense silence during which the smile has faded from the Duke’s face. Perhaps he dreads being alone with Mrs. Fraser? Jamie forces a smile and bows slightly as he departs with a glance at Claire.

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Oh, crap. The pleasant spouse is leaving.

Head lowered, eyes following Claire, Sandringham’s stare never leaves her as she turns her back, ostensibly to watch her husband leave, and then slowly moves to face the fireplace, not speaking.

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You won’t catch me napping.

Almost 20 seconds of silence pass after Claire sends Jamie and Murtagh away.

Beat 11: The First Mask Falls. The first to speak, Sandringham’s next line arrives in a lower, more ominous tone:

“I see you’re already cultivating important people in high places. How very in keeping with your character.” His remarks and the fact that he speaks first assure us the Duke does not fear her. She says nothing, brooding in the firelight. His accusation betrays his hypocrisy.

Beat 12: A Thinner Mask Applies. Has personal insult not sufficed? Approaching her side, Sandringham pokes Claire again: “Poor Jamie. He must be missing Scotland terribly, but I suppose it’s no longer a safe haven for either of you.” Another broad grin accompanies the last line’s inflection and matching look up at her.

Beat 13: She Speaks. She does not look at him but has fully felt the jab. “Hmph,” and she smiles, entering the game. “Yes, and so here we all are.” She raises her gaze to the mantel and above.

Beat 14: She Aims. A new thought then seems to occur to her as she finally looks at the Duke: “On the same side, no less. All supporters of the Jacobite cause.” The tone in the second line is questioning, but Claire remains fairly certain of Sandringham’s allegiance.

The camera shifts to the Duke’s face, which betrays nothing either way.

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Ah, the question of sides . . .

Beat 15: She Lunges. Claire then turns fully to face him and deliver her best possible thrust: “Of course, you being an English aristocrat, that position makes you a traitor to the crown.” Again, a questioning inflection, but more out of provocation as she stares down into his face from her superior height.

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J’accuse!

Beat 16: The Veil Drops, Another Remains. “I see time has done nothing to dull the sharpness of your tongue, Madame.” Unprovoked, the Duke has chosen to down-shift into a personal response to the trivia of Claire’s impoliteness. He has not answered her accusation, just as she did not answer his earlier one. His secrets remain safely his.

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At least her tongue isn’t forked, Sandy!

Claire slowly smiles in feigned politeness, a smirk the Duke returns. Five seconds tick away as they hold each other’s gaze, neither daring to flinch.

Beat 17: Distraction. Alex then enters, gaining the Duke’s attention, announces the impending fireworks, and proceeds to cough, breaking the spell.

“If you must cough on someone, find a servant.”

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Don’t cough on me, dammit!

Reconsidering his scornful snap, the Duke glances at Claire and asks, “Was that a bit harsh?” Pettiness and irritation at a servant echo His Grace’s behavior during his first meeting with Claire in episode 109, “By the Pricking of My Thumbs.” It almost seems like a coping mechanism, his way of deflecting Claire’s unfamiliar female aggression, taking his discomfort out on a bystander.

She replies, “Oh, just a little,” and turns her attention to her healing function.

Beat 18: Reprieve: A Pleasant Exchange. Alex and Claire discuss the cough and Mary Hawkins, to whom he had been speaking earlier, while Sandringham listens in silence.

Beat 19: Return to the Game. Then, no doubt sensing a chance to continue the verbal duel, he perks up: “Where are my manners? Mrs. Claire Fraser, may I introduce my new secretary, Alexander Randall.”

Beat 20: Messenger of Menace.Yes, the name is not a coincidence. Alex is the younger brother of Captain Jonathan Randall, Esquire.”

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Another Randall? Jesus H. Roosevelt Christ! Is anyone not related to Frank?

To Alex he adds in a more subdued volume and pitch what seems like a casual afterthought, but to Claire, it’s another jab: “Mrs. Fraser and your brother are very well acquainted.” Well acquainted but not acquainted well, which Sandringham knows very well. His satisfaction in this otherwise trivial note is palpable.

Beat 21: Unwitting Accomplice. Alex, oblivious to all that has been happening, innocently says he’ll tell “Jonathan” that he has met Mrs. Fraser. My first reaction, as a book fan, was, “Oh, no, no! Don’t tell him!” forgetting that the show prior to this moment had yet to reveal Randall’s still being alive. The idea of addressing a dead man puzzles Claire.

Beat 22: Utter Confusion, in Micro-Beats. “Tell him? I don’t understand.” With pauses between her sentences, she looks from man to man, searching for the clarity they can only guess at. “Your brother, he isn’t . . . dead?”

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What, is this kid crazy?

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The Duke waits patiently for light to dawn

Beat 23: Final Blow: A Virtual Stomach Punch. Alex scoffs and explains he’s heard from his brother by post quite recently. In shock, Claire visibly weakens at the knees, as if Alex were again delivering to her mid-section the fist she received there from Black Jack in episode 106, “The Garrison Commander.”

The Duke and Alex both step forward instinctively in response to a damsel’s distress. Sandringham asks, “Can I be of assistance?” but Claire, clearly shaken, professes to be fine. The Duke slowly and slightly smiles as he backs off. The wrinkle? What must Alex be thinking? How confusing must it be to see someone react so negatively to hearing his brother is alive!

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The Deepest Cut

Beat 24: Reeling in Recovery. Claire recovers her self-possession, declines assistance, and says she must have been mistaken.

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I don’t believe this. I don’t believe it. I don’t.

Beat 25: Revelation and Mockery. Alex concedes Randall was wounded. Then, the camera shifts to Sandringham as Alex mentions the wounds being “not insignificant.” The man is nodding sloppily in glee, a moment of relish for him–now a delighted spectator of Claire’s suffering–and a moment of audience appreciation for Callow’s devilish though humorous head jiggle. It was the first moment when I really started loving to hate the Duke. Alex concludes by remarking on Jonathan’s “stronger constitution than my own” and proceeds to cough again.

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I’ll just let trusty little Al finish you off, maybe join the lads for a wee nip.

Beat 26: Height of Festivity Meets Pit of Anguish. The fireworks quickly take over with a first boom, at which Claire startles. In the ultimate irony of the scene, the men turn to the show while Claire is left to cope with a vastly changed reality. The implications are profound and stand to jeopardize everything, as Claire’s voiceover explains at the end.

“Oh! How lovely!” Sandringham says with a chuckle.

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Why can’t the bastard just die already?

Beat 27: Victorious Withdrawal, Gloating. After a pause, the Duke asks Alex between gritting teeth, “But must they be so thunderous?” Clearly bored already, he says to Alex, “Go and fetch my carriage.”

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Aw, yeah. Boom! Touche, Lady Biotch Tuarach.

After Alex leaves, a swagger, a gradual turn back to see Claire’s face, and the Duke of Sandringham backs toward the doorway with a smug smile, knowing he’s won this round, and a groaning, mouth-wide half laugh as he turns away to exit. Viewer hatred of the Duke resurges. This is that “what an asshole” moment.

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Hee, hee. Yeah, that’s gotta hurt. . .

Sandringham’s dueling opponent is wounded and down, inert and weapon-less. In a stroke of good fortune, his superior knowledge and, thus, readiness have given him the upper hand and assured satisfaction. The Duke exits.

Beat 28: Oh, God. What Now? The scene and episode end with Claire processing the horrible news via voiced-over thoughts and questions, with ominous strings rising. Telling Jamie that Black Jack is alive means risking their efforts to stop the Jacobite rebellion if Jamie insists on revenge. The blue lights of the fireworks flash against the indoor walls and crowd of the French Court, mimicking a thunderstorm.

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Good, he’s gone. I can panic in peace. . .

The camera follows Claire’s worried search to where Jamie and Murtagh chat with Duverney, the Minister of Finance. The fear and uncertainty of what will happen next envelop her.

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. . . cuz here comes my husband, the Viking berserker.

Then, the camera shifts to the outdoor explosions through the windows as the music surges, contrasting luxurious entertainment and Baroque splendor with Claire’s high anxiety and despair, that the Frasers’ Captain Randall nightmare is in fact as alive as he is.


Summary

The expansion of the Duke of Sandringham character’s role in the story from the book version allows Simon Callow this spotlight. Although events transpire differently in the book, the show’s Sandringham experiences the thrill of being the one to help deliver this nasty surprise to Claire.

All of this happens in seven on-screen minutes, and the scene does not feel rushed at all. Nor does it drag, for all the extended silences, stretched syllables, and wordless daggers.

The layers are what make this possible–the indirect allusions, veiled and overt threats, hidden agendas, ironic intentions, secret knowledge, emotional baggage, Sandringham’s two-faced persona, and a complicated lead-up story.

Exposing the layers and what lies beneath them enables the viewer to experience the scene anew, watch it again with added richness, and continue to follow the story with greater edification, entertainment, and intrigue.

Central to this wonderful impact is Simon Callow’s keen invigoration of the material.

Great Elements of Callow’s Craft: Constructing Sandringham

Delivery:

  • Deep voice, gaspy bellowing, snide snapping
  • Slow, drawn-out phrases that make him sound out of breath but mainly old and demanding of patience, especially as he wheedles and whines for absolution
  • Rise and fall of pitch and timbre, a meandering vocalization the highs and lows of which he is able to travel with ease and nonchalance, like a snake slithering
  • Body movement, gesture, posture, tilt, bounce, smile, hand flap, eyebrow action–all inform the flighty persona belying darker motives.

Writing Made Flesh:

  • Long on compliments and flattery, short on sincerity but unapologetic for pettiness born of privilege and its indulgence, he assuages, persuades, puts out fires, stokes them too, and grins and bears it all with grace.
  • Fickle and flippant on the surface but methodical and discerning beneath, he is a flamboyant, self-assured puppeteer who enjoys the game of manipulation.
  • He’s such a presence and a multi-faceted character, he makes you forget he’s gay, a skill which is part and parcel of the character’s wiles.
  • By turns playful and grave, the Duke of Callow’s creation communicates that both states are only ever a mask hiding a more complex inner truth.

As the malevolent jester mastermind, Sandringham mimics Twelfth Night‘s Feste without the truthfulness, or true benevolence. A grand chess master masquerading as a colorful fool, the Duke’s power lies in the convergence of his noble status, self-possession, shrewd calculus, and mercurial behavior. Callow has added distinctive dimensions to the character that are sheer joy to watch.

A Final Note: Shooting of the Scene

Along with Simon Callow’s presence and performance as the Duke of Sandringham, the success of the Outlander series comes down to consistent leadership and dedication that ensure all the right elements fall into place in scenes like this last one of “Not in Scotland Anymore.” The world building alone has been impressive in season one and season two.

The microcosm of ep202’s final scene echoes and augments the larger-scale excellence. Storytelling and screen techniques combine to create a space and context befitting such forces of nature as we find in actors Simon Callow and Caitriona Balfe. The sparks of verbal dueling fly, and the actors utterly fill that space. Here are some (literal and figurative) highlights of those key motifs of scene.

Lighting plays a massive role in this scene’s juxtapositions and ironic effects. Flickering light in two basic forms provides the bulk of the scene’s visual symbolism as both allusion and foreshadowing. The yellow fireplace light dapples up and across the characters’ grim faces, recalling the dungeon lantern at Wentworth that burned the petition of complaint.

Later, the blue flashes of fireworks suggest a lightning storm, an adapted trope of the horror and mystery genres, portending the personal and political conflicts to come. Overall, the wavering light and partnering shadows convey the instability and changing visibility of characters’ circumstances and footing. Danger and fear dominate the emotional landscape.

Fire, both literal and figurative, shares lighting’s importance in the scene’s multiple meanings. The hearth and fireworks displays mirror the heat in these characters’ lives—past, present, and future. Burning anger (Claire, Murtagh), documents (Petition of Complaint), tongues (Claire, Murtagh), lungs (Alex), and a past of burned-out body and soul (Jamie) all clash with the Duke’s arrogant coolness.

Sandringham’s appearance lights the fuse that burns for nearly seven minutes until the literal, external explosions of the festivities and the figurative, internal explosion of Claire’s sense of security. All the bottled anger and restraint leading up to that moment find release not in revenge against the Duke for his treachery but in Claire’s loss of composure and vanquished silence.

The uses of light and fire all culminate in the threat of destruction to our protagonists, and the last shot focusing on the fireworks drives the point home as the music rises in ironic Baroque playfulness.

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One could go so far as to say that the light, the fireworks, and the music all belong to the triumphant villains of the scene—the wily chameleon in the Duke of Sandringham and the specter of a living devil, Captain Jonathan Wolverton “Black Jack” Randall. They emerge untouchable, the Duke with the psychological victory over Claire Fraser and the captain with his affirmed existence yet absence from the scene.

The resulting cliffhanger suspense at the terminus of such a complex, neatly packed, visually delicious, and dramatic episode brings the viewer back for more without hesitation.

Photo credits: All images by STARZ and Sony Pictures Television, accessed at Outlander-Online.


For my full review of episodes 201 and 202, including commentary on other individual performances, visit “Outlander STARZ, Season 2 Review: Episodes 201 and 202.”

Only one of countless examples of TV storytelling the show aces, the final scene of ep202 foreshadows several events in the series. I hope the show continues to follow Sandringham’s pivotal role in the book’s plot, giving Simon Callow yet more air time.

Tune in to Starz at 9pm ET on Saturdays to find out. This week the Highlanders reunite and prepare for battle. You can also watch Outlander on demand online via Starz Play. As a stand-out episode, I highly recommend ep207, “Faith,” which first aired two weeks ago and presents a dramatic turning point in the season, featuring mind-blowing work by Caitriona Balfe as Claire Fraser.

And there’s so much more to come. This week, World Outlander Day (June 1), the 25th anniversary of the first book’s publication, brought us the gift of the official announcement that not one but two more seasons–3 and 4–will go forward. Hooray!

Long live Outlander. “Je suis pret.”

Five-Phrase Friday (37): No “Callow” Craft

After a two-week hiatus from Friday phrases, I’ve decided to round off the series at 40. It’s time to move on to new ventures with my blog.

I’m using this post to set up my next in-depth review of Outlander STARZ season two, which will zoom in on British actor Simon Callow’s masterful development and portrayal of the Duke of Sandringham, especially in episode 202. (See Simon Callow’s performance credits here.) I first forecast this closer look–it’s coming, I swear!–in my review of episodes 201 and 202.

The quality of Simon Callow’s work greatly dwarfs (nod to his joke in ep204) his place in the credits list and the amount of time his performances air. Along with his writers, he deserves more attention.

Observing the nuances re-shaping the character from the book Dragonfly in Amber to its TV show adaptation via season two (and from the novel Outlander to season one, for that matter), I’ve chosen five phrases among the many I feel define the Duke of Sandringham as played by Callow. I’ll discuss their meaning and that engrossing ep202 final scene in the full review.

1. Untouchable serpentine “gentleman” (wily with impunity)

2. Hypocritical, dissembling opportunist (he accuses Claire of this motive)

3. Stab-and-twist provocateur (Voo-doo practitioner?)

4. Charming, witty, self-serving chameleon (i.e., the Devil incarnate)

5. Malevolent jester mastermind (like the “fool” Feste in Shakespeare’s Twelfth Night, sans truthfulness . . . and benevolence)

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Simon Callow with Caitriona Balfe (Claire Fraser). Ep202, “Not in Scotland Anymore,” Gif clip credit: Outlander STARZ, Sony Pictures Television.

Far from being pure insults, these descriptors praise Callow’s crafting of a juicy, layered (onion) villain to rival Tobias Menzies’ Black Jack Randall. And if the show stays true to the book for the Sandringham character arc–and I do hope it does–there is more pungent peeling to come.

“If that’s an apology, and I do hope it is, I accept with all good grace.”

Yes. Yes, Your Grace, it will be quite the apology. You’ll see I have become an unapologetic Callow-Sandringham apologist.

Stay tuned.

Happy Memorial Day Weekend, America. Episode 208 airs tomorrow at 9pm on STARZ.