Wildlife TV Programs This Week

One of my favorite ways to view wildlife is through TV programs on my favorite nature channel NatGeoWild (DirecTV 283). There is always something delightfully soothing, fascinating, mysterious, invigorating, or surprising to see–and always much to learn.

In the USA, two special options rendering reality in two very different styles will be broadcast this weekend. They are The Zoo on Animal Planet (channel 282) and Wild Scotland on NatGeoWild (channel 283).

The new episode of The Zoo (link to live streaming of season 1 episodes), a show I have yet to sample about adventures at the Bronx Zoo, is on next Saturday, April 1, at 10pm Eastern and features a desert fox, or fennec, named Charlie. I LOVE fennecs. The tall, pointy ears, the dark eyes, the foxiness, the elegance–truly entertaining canids.

Of course, I love Scotland, too, and until now have not seen a show advertised on NatGeoWild (channel 283) that focuses on Scotland’s natural treasures: Wild Scotland will air starting at 8pm Eastern next Sunday, April 2, in a series of 1-hour-long premiers, each focusing on a different season’s challenges and species in the Scottish wilds. Plus, it’s narrated by Ewan McGregor (at least the UK version is, which seems to focus on the Hebrides)–can’t wait!

Episodes for this series, part of a regular program known as Destination Wild in the U.S., start with “Spring Awakening” at 8pm (Eastern), about this unpredictable season’s effects on life in the Highlands. This new episode is followed by two others at 9pm and 10pm, “Mid Summer’s Night Dream,” and “Into the Woods” (I found no direct links for profiles on these episodes).

Earlier that day are additional, re-run episodes of Destination Wild, including Wild France. I added that to my DVR, also, just for good measure. Wild Alaska was one of the earliest in that line that I recall seeing years ago.

If you missed Big Cat Week on NatGeoWild this year, you missed some great shows set in North and South America including the Amazon jungle and Andes mountains. The majority of shows presented a diverse array of African savannahs, river deltas, deserts, and swamps. I DVR’d most of the shows and watched them later at my leisure. My preferences were the mountain lion, leopard, and cheetah episodes, as well as those involving, you guessed it, African wild dogs, aka African painted dogs.

Incidentally, although big cats are endangered in many places, the social life of lions leaves something to be desired with the males’ lack of protective instinct for younger sibling cubs and the infanticide of marauding adult male lions. Dogs, otters, and even bizarre hyenas are less dysfunctional. For a primer on how great African wild dogs are, see the footnote. *

Sometimes it’s a refreshing change of pace to watch individual animals tough it out–leopards, cheetahs, mountain lions, jaguars, even honey badgers. However, Shark Week (NatGeo) is a ways off, not till late summer, the Westminster Kennel Club Dog Show (previously on USA but this year on FS1) airs each year on Valentine’s Day, and Puppy Bowl on Animal Planet (channel 282) broadcasts as an alternative to the NFL Super Bowl (also early February for you non-sporting breeds). Those ships have sailed.

Generally, Animal Planet focuses more on adventure that may or may not involve animals, with programs such as North Woods Law, Pitbulls & Parolees, Tanked, and Treehouse Masters. I’m less of a fan overall of Animal Planet because I would rather see actual animals, not just people acting like them. There’s no substitute for the real thing.

These are not the only channels for observing wildlife on television, just the most obvious, most reliable, and most popular. Every once in a while, there is a special presentation, a Disney movie, films like March of the Penguins, and others on various channels from movie channels to science to family. Of course, now YouTube and other online venues offer even more opportunities to view animal and wilderness videos of all kinds. Our options continue to expand with streaming media and the mobility of videos being shared across social networks.

But if you’re more of a traditionalist as I tend to be, and you prefer good, old-fashioned TV for most of your visual home entertainment, check out this week’s offerings on NatGeoWild and Animal Planet throughout the week. I like The Incredible Dr. Pol, American Beaver, Otter Town, and anything to do with wild canids like foxes, wolves, jackals, coyotes, and dogs (including Dog Whisperer Cesar Milan shows). Tune in especially on Saturday for The Zoo at 10pm Eastern and for Wild Scotland starting at 8pm Eastern on Sunday. Enjoy!

Wild Scotland Reference

By the way, as I am in the process of presenting my multi-part series on Outlander-oriented tourism in Scotland–having visited the country last year but sadly seen little wildlife during that trip–I’m including below a few resources to learn more about exploring wild Scotland in person. 

For general tour guide sources about wild Scotland, I recommend:

Scotland the Best: Peter Irvine chooses his top 50 Scottish places to eat, stay and play – Daily Record – THE latest edition (book) of Scottish travel bible Scotland the best is out and here, author Peter Irvine selects his top 50 places to eat, stay and play.

Rough Guides – The Rough Guide to Scotland – The new, full-colour Rough Guide to Scotland is the definitive travel guide to this gem of a country. In-depth coverage of its burgeoning food scene, artistic innovations and awe-inspiring wild places

Walk Wild Scotland (walkwild.org) – Wilderness. Adventure. Culture. Relaxation.

Regional Guides and Guides by Type of Place or Activity

To begin to drill down into specifics, a helpful starting point for exploration is the Scottish Natural Heritage nature reserves and parks page. It provides different category links for types of sites and where to find them, including national, regional, and local nature reserves, national, regional, and country parks, national nature reserves and those managed by SNH, as well as other sites.

The following are some select resources I happened to come across while trip planning. This is in no way an exhaustive list; some vast territories are not covered.

In the South

WWT Caerlaverock – Wildfowl & Wetlands Centre near Caerlaverock Castle, managed by Wildfowl & Wetlands Trust (wwt.org.uk)

Adjacent to WWT Caerlaverock is the Caerlaverock National Nature Reserve managed by Scottish Natural Heritage (snh.gov.uk) – “an internationally important coastal site on the North Solway Coast.” It is a birding hotspot (winter) and habitat for natterjack toads (summer) in the shallow pools on the northern edge of the reserve. “Winter attracts staggering numbers of wildfowl and waders. Oystercatcher, pintail and curlew feed on the mudflats and roost on the merse (local name for saltmarsh).”

St. Abb’s Head National Nature Reserve, Eyemouth, Scottish Borders (a National Trust Scotland site) – “A nature reserve and seabird colony on a dramatic cliff-top known for dolphin and puffin sightings.” – Google maps

Central Scotland & southern Highlands

In Fife, just north of Edinburgh, across the Firth of Forth: Welcome to Fife Coast & Countryside Trust and Local Nature Reserves.

Rannoch & Tummel (rannochandtummel.co.uk) – In the Big Trees Country of Perthshire: Loch Rannoch, Schiehallion munro, Dunalastair Estate, Blackwood of Rannoch (Scots Pine, remnants of the Great Forest of Caledonia), Kinloch Rannoch (village), Tummel Bridge and Loch Tummel, Rannoch Moor, Rannoch Station, churches, and more

Argyll & the Isles

Scottish Beaver Trials in Knapdale Forest – “Spot the signs of beaver activity in one of the most stunning parts of Scotland.” For information on the project, see the Scottish Natural Heritage page about it.

Argyll & the Isles (exploreargyll.co.uk) Wildlife and nature reserves page – a brief overview followed by three pages of specific results on wildlife and nature tourism in Argyll & the Isles, including Bute Forest, Islay Sea Adventures, Mull Eagle Watch, and Staffa National Nature Reserve.

Cairngorms National Park

Cairngorms National Park (visitcairngorms.com – official) – Activity search results for “Wildlife Watching” include well-established wildlife tours such as

UK Wildlife Safaris: Cairngorms Highland Wilderness–diverse, elaborate over 7 days, the tour offers sightings of red deer, wild goat, golden eagle, common seal, red squirrel, otter, pine marten, badger, and Capercaillie via treks to the Speyside Wildlife Hide, the Moray Firth, and through Caledonian pine forest–

and Rothiemurchus Safaris and Tours (Aviemore): osprey, badgers, red squirrels, red deer, pine martens. See Rothiemurchus.net for the full range of outdoor activities available, which include wildlife watching and photography, self-guided walks, pony treks, fishing, white water rafting, gorge swimming, hiking, kayaking, biking with bike hire, clay target shooting, quad bike treks, mountain climbing, archery, and special activities for kids.

For more Highland wildlife and bird watching safaris, go to VisitScotland.

Farther North and West

Scotland’s National Nature Reserves (nnr-scotland.org.uk) – Beinn Eighe National Nature Reserve (lower northwest coast vicinity, Highland): On the hill you may see red deer, pine marten, mountain hares, foxes, voles and stoats.

Garbh Eilean Wildlife Hide (managed by Forestry Commission of Scotland) along Loch Sunart between Acharacle and Strontian, West Highland – otters, pine martens, a heronry, and, rarely, golden eagles and white-tailed eagles

Islands

Arguably the best place to see puffins is Handa Island. The Islands are generally best for waterfowl sightings year round.

Eilean Ban: The Brightwater Centre (eileanban.org), The Pier, Kyleakin, Isle of Skye island wildlife: “On the island you may see Voles, Pine Marten, Rock and Meadow Pipits, while in the water around, Shags and Cormorants are regularly seen feeding, and Eider Ducks have appeared in large numbers. Porpoises and both Harbour and Grey Seals are visitors, not to mention the resident Otters!

Don’t forget to learn about wildlife and nature in the Outer Hebrides, Orkney, and Shetland!

If you decide to hold off till the weekend, Wild Scotland is sure to be another great way to start exploring the Scottish wilderness. Watch it this Sunday, April 2, at 8pm Eastern on NatGeoWild.

The Zoo‘s latest episode called “Birds and the Bees” features the fennec fox, bee-eater birds, and a leopard; it airs Saturday, April 1, on Animal Planet at 10pm Eastern.


Disclaimer: I have no affiliation with any of these companies and make this recommendation from personal interest alone.

  • African wild dogs are the most efficient predators in Africa, with a percentage of hunts resulting in kills more than 90% of the time, and arguably the most humane. Rather than slowly suffocating or bleeding their prey, like big cats often do, African wild dogs immediately go for the belly, which induces the numbing effects of shock and results in a quick death. Again, dogs are better than cats–it’s just a fact. But they’re all endangered, and each ecosystem survives in a delicate balance. For a snapshot of other wild animals I enjoy, see Five-Phrase Friday (23): Cool Creatures.

Linlithgow Palace, a.k.a. Wentworth Prison

A labyrinthine ruin on a promontory overlooking beautiful Linlithgow Loch and Peel (royal park), Linlithgow Palace stands proudly within the town of Linlithgow, west of Edinburgh. The palace served both as the site of Mary Queen of Scots’ birthplace and of filming for Outlander STARZ’s Wentworth Prison exterior and corridors in episodes 115 and 116.

Linlithgow, pronounced like Glasgow with a long “o” sound, means “loch in the damp hollow” in Gaelic. For apt description, more places in Scotland should probably bear the same name.

With four towers and accompanying spiral stone staircases, straight steps up and down to various corridors, hidden nooks, prisoner pits, larger chambers pitch black at mid-day, and overlooking terraces to the interior, Linlithgow Palace feels like a kind of jungle gym for older kids and energetic adults. But that’s not all it has to offer.

Isolated corner courtyards, numerous royal chambers, a great hall with adjoining kitchen, a chapel, an elaborate central courtyard fountain, a small accompanying museum, and a visitor centre gift shop nearly complete the picture.

On our first day while staying in Edinburgh, we consulted our Outlander day-tour guide about the time needed to explore Hopetoun House (the Duke of Sandringham residence in episode 109: 2+ hours) and Linlithgow Palace (about an hour). She also said she preferred the latter, so we chose the ruins over the polished stately home and were glad we did.

Linlithgow Palace is significantly larger and more complex than other ruined castles like Doune and Blackness, which we saw on the Outlander tour, and there’s a good historical reason for that: 6 centuries of Scottish and British royal residence, strategic military use, and general admiration.*

The earliest recorded royal occupation of the palace was by King David I in 1143. Destroyed by fire in 1424, the medieval palace was aggressively rebuilt by James I, becoming the grand royal house of the Stewart court. Developed and remodeled over the centuries by different kings, the palace owes most of its current shape to the 15th-century efforts of James IV.

In 1746, the fire that sealed the fate of the palace occurred three months before the Battle of Culloden, which ended Jacobite hopes for restoring the Stewarts to Britain’s throne. Linlithgow Palace has remained uninhabited ever since but was placed in State care as of 1853, and is now a Historic Scotland property. This site is one of only two places we visited where I purchased a book about it. The other was Culloden Battlefield.

Both places piqued my interest with their prominent use in the original story (Culloden) of Outlander and in the TV adaptation’s series 1 filming (Linlithgow  for Wentworth Prison exterior and corridors). My respect and wonder have only grown from seeing them up close and first hand. Much more later from this blog about Culloden.

Below are some corridor shots of locations in the palace I’m guessing found use during filming of episodes 115, “Wentworth Prison,” and 116, “To Ransom a Man’s Soul,” the darkest times in series 1 for our heroes Claire Fraser and especially Jamie Fraser.

Rooks and pigeons roost willy-nilly undisturbed and are the new kings and queens of the palace. But the available notches, ledges, sheltered stalls, window frames, crumbled walls, and even window seats far outnumber the birds occupying them when the public’s around.

Views from the northwest tower, housing Queen Margaret’s Bower (the sheltered tower room up the stairs shown below), reward those who brave the spiralling climb. Visiting Linlithgow Palace on our last full day in Scotland was well worth the extra trip from Glasgow, even in steady rain.


* My source for the historical information was Linlithgow Palace: The Official Souvenir Guide, published by Historic Environment Scotland.

For more information about Linlithgow Palace, its long and fascinating history, its connection to Outlander, or about other Historic Scotland properties, start with:

To learn about dining, accommodation, and other things to do in the surrounding town of Linlithgow, see the links provided at the Linlithgow page of VisitScotland.com.

For a list and brief descriptions of (mostly) season 1 Outlander filming and book-related sites, as well as our plans leading up to the trip, go to Five-Phrase Friday (38): Scotland. Upcoming posts will offer thoughts and advice about Outlander tours and different aspects of travel in Scotland. 

Here’s what I’ve covered so far:

Five-Phrase Friday (40): Subversive Farewell

Caveat/Warning/Disclaimer/Note: This post is not for the faint of heart, i.e., the wimps. Explicit language included. Proceed with caution and discretion. Or don’t proceed, of course. It’s your choice. Choose wisely. Wise choices are good. I commend those who choose them. This might be you. Bravo, discerning consumer. Pat yourself on the back, but maybe wait until after you read. Rewards are best postponed until after a goal is reached or task completed. That way, you actually get stuff done.

For the foreseeable future (not sure what that is), this is my final set of five phrases for Friday as I transition into other projects. If you missed some or all of the other 39, just search my blog by “Friday,” and they should all come up. They are also collected in their own menu section on the home page.

This post is dedicated to my husband since the topic was his suggestion last year. Disclaimer: We both like cats just fine, he probably more so than me, so this is all in jest. See also the additional disclaimer below the list.

For those of us with a preference for dogs over cats, and who enjoy jokes about how cats are the Devil’s minions, here are five ways to skin a cat, including method and evaluation:

  1. After anaesthetic — most humane
  2. Using a serrated blade — most efficient
  3. Shark Week, anyone? — most entertaining
  4. With its own claws — most creative
  5. Tail first — most challenging

Further disclaimer: Neither my husband nor I endorses the act of literally skinning animals of any species unless done respectfully, after the animal is confirmed dead, and for food, fuel, or other means of survival and sustaining life. We begrudge no farmer, distributor, or butcher his or her profits, and we won’t be joining PETA, but we also love animals in a peaceful, affectionate way without violence or intent to harm or inflict pain or death. We find them cute and funny and sweet, we like to laugh at them, and make fun of them, sometimes tease them (though not excessively), and also tickle them. We encourage this sort of relationship with animals. In other words, if we catch you neglecting, overtly abusing, or otherwise being cavalier with the health, well-being, or life of a domestic or wild animal, you will be shot on sight (with a camera) and reported to the proper authorities, you sick bastard. Cat skinning is for figurative expression only, as a reminder of the wonderful innovations and problem-solving skills of humanity–and its animal companions.

A note for the weekend: If you’ll be enjoying barbecue over the 4th of July holiday (whether in patriotism or mere coincidence as a non-American), make sure it’s not cat, horse, or especially dog meat. Wild, farmed, or displaced–but non-threatened or endangered–pigs, cows, sheep, goats, lambs, calves, birds, shellfish, fish, nematodes, turtles, snakes, frogs, insects, bugs, vegetables, legumes, grains, eggs, cheese, and fruit will serve. (Good luck figuring out how to barbecue all that.) Also, don’t eat people. If you’re vegetarian, vegan, or fruitarian and any of these statements offend you, I don’t care. Lighten up.

Also, please spay and neuter your cats (even if you don’t like to see them as being yours; understandable, but no wily disownership now). And protect your dogs (all dogs) from dehydration, vehicle traffic, long toenails, pest infestations, toads, holiday costumes, gratuitous bathing, and those scary fireworks, and kids, and cats.

Happy Independence Day. Freiheit!

Five-Phrase Friday (39): Cicada Culture

Five fun facts about cicadas, our 17-year visitors. Content borrowed from Cicada Mania.

  1. Five eyes: “two large, obvious, compound [red] eyes and three ocelli. . . . [black] jewel-like eyes” between the large ones. Ocelli is Latin for “little eyes.”
  2. Mistaken attraction: “Cicadas think the sounds made by power tools and lawn maintenance equipment are made by cicadas. They get confused and will land on the people using the equipment! Pro-tip: cut your lawn in the early morning or near dusk when the cicadas are less active.”
  3. Five tasty ways to eat cicadas: cicada kabobs, lemon cicada, cicada salad, cicada and potatoes, cicada burger
  4. “Honey dew” or “cicada rain”: Yes, that’s cicada pee, from drinking tree fluids.
  5. Cicada math: “Scientist speculate that one reason why these cicadas emerge in 17 or 13 year cycles is because those are prime numbers. The fact that 13 & 17 are relatively large prime numbers makes it difficult for predators to synchronize with them,” evolutionarily speaking. A calculated game of survival.

To learn more–the other 12 (17 total) fun facts featured, plus other resources–visit Cicada Mania.

Psst . . . locusts are not cicadas, and cicadas are not locusts. They even look very different. Locusts are similar in appearance to grasshoppers. To me, cicadas look more like overgrown flies. . . . Sorry.

cicada83

Cicada – Image credit: Cicada Invasion via duckduckgo.com

 

Five-Phrase Friday (38): Scotland

So here’s the state of the art on my painstaking vacation planning. Gee, I thought vacation was supposed to be fun. . . . Huh.

Despite (or because of) all the great things to see, despite my fondness for Shakespeare and English literature, and despite a long process of selecting favorite English regions, cities, and sights, England, let alone London, has not made the cut.

Scotland is now our sole target country for this first dedicated family trip of some length.

I feel kind of foolish because I’m not Scottish and neither is my husband. It feels illegitimate somehow, like we’re imposters or something. Since we aren’t going to an extremely different climate and culture as would be the case on an African safari or in other seemingly more exotic locales like the Tropics or Tokyo or Tasmania, I feel compelled to be very selective about the part of Europe we explore together. It feels as if we should have some personal connection, relatives, work purpose, or people we know there.

He’s Slovenian (Italian-ate) and Latvian; I’m Irish, English, German, and Dutch. I travelled France, Italy, Switzerland, Austria, and the Netherlands (where some known cousins live) almost 20 years ago during college, and he’s been to the United Arab Emirates, Turkey, and France on business. I speak French; he speaks (a little) German, understands some French.

So why Scotland?

It’s really all down to Outlander and my obsession therewith. Through the journey of the story, Scotland has become personal. Scottish Gaelic is even becoming my third language. Visiting does seem full of purpose. I feel as though I do know the people, at least more than I did before my deep and abiding interest in the book and TV series set there.

No apologies, no excuses, no misgivings, no sheepishness, but maybe some sheep, and maybe for dinner . . . mmm, haggis (?!). Research, plan, prepare, go, enjoy, and remember. And be grateful for the chance. And remember, the best laid schemes . . .

Five Scottish regional destinations for a 2-week visit, clockwise order from the south-west: Most preferred sights are listed for each area, though we may will not make it to all of them.

  1. Glasgow and environs (4 nights Glasgow) – Glasgow Botanic Gardens, Kelvingrove Art Gallery and Park, City Chambers, Glasgow Cathedral/Necropolis, a play, boat ride on the river Clyde; Cumbernauld (Outlander studios drive-by), Falkirk Wheel, Stirling Castle, Doune Castle (Monty Python, Castle Leoch), Wallace Monument
  2. The Trossachs, Argyll, and Central Highlands – Loch Lomond (and maybe Loch Katrine) in Trossachs National Park; Loch Awe, Inveraray Castle; Glencoe
  3. The Great Glen, Highlands, and west coast (2 nights Fort William) – Fort William, Glenfinnan Monument (Jacobite Rebellion launch), Jacobite Steam Train to Mallaig, lochs and walks in the Great Glen; Eilean Donan Castle
  4. Inverness and environs (3 nights Inverness) – Inverness Visitors Centre, excursions to Foyers Falls, Loch Ness and Urquhart Castle (maybe a boat ride), Cawdor Castle (Macbeth), Culloden Moor (Jacobite Rebellion), Clava Cairns (standing stones with split rock), Cromarty, Black Isle, Moray Firth
  5. Edinburgh and environs (4-5 nights Edinburgh) – Edinburgh Castle, National Museum of Scotland, Palace of Holyroodhouse, Calton Hill, The Royal Mile main street, which includes Writers’ Museum, Greyfriars Kirk (“Bobby” the Westie), St. Giles’ Cathedral, Scott Monument, and more; Southern Uplands including Rosslyn Chapel and maybe Abbotsford House (Sir Walter Scott) and Melrose Abbey
Glen_Coe_West_Highland_Way_ScotlandNow

Glencoe & the West Highland Way. Image by ScotlandNow, The Daily Record online

The above sites are separate from several specific towns and rural locations where the Outlander TV series has been filmed. After some consideration, I’m inclined to skip a packaged Outlander tour in favor of making our own. I know enough about the books, TV series, and show creators that information won’t be lacking, and we need not be further restricted in our movements or schedule.

EileanDonanCastle_scenic_ScotlandNow

Eilean Donan Castle, W. Highlands. Image by ScotlandNow, The Daily Record online

Outlander-related locations, many of which we can catch en route to others, include (my preferences in bold):

  1. Culross, Fife, between Edinburgh and Stirling (Crainsmuir, the Black Kirk)
  2. Falkland, Fife, with the Covenanter Hotel (Mrs. Baird’s B&B, 1940s Inverness)
  3. Pollok Country Park, Glasgow (Castle Leoch grounds, Paris woods duel)
  4. George Square, Glasgow (Frank’s wedding proposal to Claire)
  5. Highland Folk Museum, Newtonmore, Highlands (wool waulking, rent collection)
  6. Loch Rannoch/Rannoch Moor near Glencoe (backdrop for Craig Na Dun)
  7. Tulloch Ghru, Highlands, near Cairngorms National Park (opening credits and hilly woods between Craigh Na Dun and Leoch)

Those near Edinburgh are:

  1. Blackness Castle, on Firth of Forth (Randall’s Fort William, of Jamie’s flogging)
  2. Linlithgow Palace, West Lothian (Wentworth Prison exterior, corridors, eps 115-116)
  3. Hopetoun House, West Lothian (Sandringham’s stately home in ep109)
  4. Glencorse Old Kirk, Glencorse House grounds, Pentland Hills, Midlothian (Jamie and Claire’s wedding, ep107)
  5. Midhope Castle/House, a private residence, Abercorn, Hopetoun estate, South Queensferry (Lallybroch)

I’d also like to visit the Southwest/Borders region closest to England–including Caerlaverock Castle and Caerlaverock Wildfowl and Wetlands Centre, Dumfries, and Robert Burns sights–as well as the Isle of Skye, but there won’t be time. At some point, we’ll need to sample the peaty whiskey (whisky) among the many distilleries.

CaerlaerockCastle_Dumfriesshire_Scotland_VisitScotlandpic

Caerlaverock Castle, Borders/Southwest. Image by ScotlandNow, The Daily Record

Life is large and detailed, as is the world. I relish details, the worlds within worlds on this planet. I like to get lost in them, as must be obvious by now from my blog. For two weeks, we’ll get lost, and be found driving on the wrong side of a single-track road along a beautiful loch in the Highlands of Scotland. Details.

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.