Scotland Ventured, Scotland Gained

October 10, 2016

We’re back! Stay tuned for upcoming posts on things like driving stories, travel tips, restaurant, lodging and attraction reviews, Outlander tour ideas, whiskey (whisky) sampling results, favorite close-ups and vistas, Gaelic language lessons, pleasant surprises, and oodles of images from two weeks spent exploring the land of Scots and so much more.

Alba gu brath!


November 2016 update: Posts of our Scotland excursion are linked below, through the far-right, top-menu tab “Scotland,” and on the Philosofishal home page.

Before the trip:

  1. Book Review: Fodors Travel Essential Great Britain
  2. The Labor of Learning to Set Limits
  3. Five-Phrase Friday (38): Scotland

After the trip:

  1. Morning Fog, Loch Long, Arrochar – snapshot from the Seabank B&B, Trossachs National Park (posted Oct 11, 2016)
  2. Scottish Color: A Photo Essay – overview of sensory highlights (posted Oct 12, 2016)
  3. The Paps of Jura – sea-and-mountains vista; language lesson (posted Oct 15, 2016)
  4. Linlithgow Palace, a.k.a. Wentworth Prison – profile of a lesser-known Outlander STARZ filming site (posted Oct 20, 2016)
  5. Famous Poets’ Nature Poetry, 5: Of Mice, Men and Rabbie Burns – reading “To a Mouse” & The Writers’ Museum (posted Oct 24, 2016)
  6. Kurdish in Edinburgh – restaurant review (posted Nov 4, 2016)
  7. Dial up the sun – original poem & photos from the National Museum of Scotland (posted Nov 9, 2016)
  8. An Outlander Tourist in Scotland, Part 1 – my take on Outlander tourism, presenting filming sites in Central Scotland (posted December 1, 2016)
  9. An Outlander Tourist in Scotland, Part 2 – continuing in Central Scotland with filming sites in Glasgow, then southward to the Ayrshire coast and Dumfries & Galloway (posted December 23, 2016)
  10. An Outlander Tourist in Scotland, Part 3 – wrapping up orientation with sites in the Highlands, from Perthshire to Ross & Cromarty to Inverness (posted Feb 11, 2017)
  11. An Outlander Tourist in Scotland, Part 4 – the story of my trip planning process, snapshots of planned vs. actual itinerary, summary of our experience, and reflections on improvements (posted March 11, 2017)
  12. Wildlife TV Programs This Week – a heads-up for Wild Scotland on NatGeoWild. See the end section about select Scotland nature and wildlife tourism options with brief descriptions and links to resources. (posted March 27, 2017)
  13. Review: Slainte Scotland Outlander Tour + Outlander Tourism Resources – our Outlander tour and Slainte Scotland company review, notes on OL sites we visited alone, profiles of most popular OL filming sites, list of 40 OL filming sites, resources for OL book and inspiration sites, other OL tour company links, articles on the show, plus how to survive Droughtlander (posted April 11, 2017)
  14. next up: An Outlander Tourist in Scotland, Part 5, final post in the series, focusing on Scottish and more general travel tips and resources

Updated February, April 2017 – Plus, coming soon:

  • our Outlander tour review
  • profiles of Outlander filming sites
  • the nuts and bolts of Outlander tourism

Celebrating Alba:

  • B&B, hotel & transport reviews
  • Argyll with OL‘s Àdhamh Ó Broin
  • monuments, museums & galleries
  • fairy hills & stone circles
  • Edinburgh down “close”
  • musical theater at The Lyceum
  • hiking & other adventures
  • apps I liked (& those I didn’t)
  • wildlife viewing options
  • the driving experience
  • my whisky tasting report
  • Inverness dining delights

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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0_Claire_reacts_Alex_bro_to_Jack_ep202_finalscene

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.

0_Duke_nodding_wounds_not_insignificant_ep202_finalscene

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.

0_Claire_deeply_worried_look_at_Jamie_ep202_finalscene

. . . 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.”

Outlander STARZ: Season 2 Review, Eps 201 and 202

Highlights of Episodes 201 and 202

Spoilers imminent (but we’re mid-season, so it’s time to catch up anyway)

Sparkling Overall Performances:

  1. Caitriona Balfe as Claire
  2. Tobias Menzies as Frank
  3. Duncan LaCroix as Murtagh
  4. Andrew Gower as Bonnie Prince Charlie–quite the caricature
  5. (as always) Simon Callow as the Duke of Sandringham

Sparkling Moments of Performance:

  1. Sam Heughan as Jamie battling the Black Jack Randall demon in ep202
  2. Lionel Lingelser as Louis XV in ep202–so funny!

Delightful New Characters:

  1. Jared Fraser, Jamie’s cousin and a wine merchant, resident of Paris
  2. Prince Charles Stuart, presumptive heir to the British throne
  3. Louise de Rohan, Claire’s new friend and a marquess
  4. Mary Hawkins, Louise’s charge and teenager engaged to Le Vicomte Marigny
  5. Fergus, a young French pickpocket at first named Claudel, whom Jamie employs to steal letters to and from Prince Charles
  6. Suzette, Claire’s lady’s maid, an expanded role thanks to Murtagh’s expanded . . . ahem, role
  7. Bouton!, border terrier and diagnostic partner of Mother Hildegarde at l’Hopital des Anges
  8. and, of course, Mother Hildegarde herself

The Look:

Production Design, Set Decoration, and Costume Design all demonstrate their usual attention to beauty, detail, and symbolism, with the vibrant results to leave you oo-ing and ah-ing at the sumptuous subjects of Parisian architecture, interior design, and dress.

Costumes Highlight – Every time Balfe appears in a new costume, the eyes feast and many of us drool, a hazard that men of the 18th century must often have encountered with all those low-cut, corseted busts. While show costume design and decoration seem to represent history well overall, the 1700s costumes in particular purposely blend mid-20th century styles into the look of Claire’s wardrobe in subtle but noticeable ways. One of these is a Dior sample Terry Dresbach used for Claire’s silver-jacketed dress with neat black hat in episode 202. See Terry’s website for details.

Jamie also cleans up nicely in his own velvets, satins, and crisp white jabots, along with that clean-shaven square jaw and dimpled chin framing the piercing blue eyes Heughan sports so expertly. And of course, there’s the flowing, curly red hair. * enamored sigh *

Other Notable Elements:

Cinematography: ep201 multi-scene and ep202 Versailles

Film editing: ep201, mainly

Plot outlining and writing — overall, very good with very few flat or off moments

Book fan pleasures: Continued close following of enjoyable original dialogue and narration

Highlights of Great Scenes 

Numerous scenes in ep201 and ep202 conveyed emotional depth and effective drama in acting and dialogue. For a sample, the following illustrates my experience of ep201’s . . .

. . . Tears (70%) and Laughter (30%): Moment by Moment.

Episode 201

Cries in Ep201 from the opening moments to 45 minutes in (all of 1948)–that is, moments when tears actually fell from my eyes:

Although the opening scene is gut-wrenching, I was too intent on paying attention and too bewildered and horrified by Claire’s screaming for crying to be an option.

Cry #1 – Claire kneeling and sobbing in the road after coming back to the 1940s and hearing from the passerby that the British had won the Battle of Culloden. Whoa.

Cry #2 – Mrs. Graham reaches and grabs Claire’s hands, the strings rise, and she tells Claire to cherish her experience. It just grabbed me so tightly in the chest like.

Cries #3 and #4 – Frank crying and then pleading with Claire to let them be reunited as husband and wife as he professes his love (violins rising). Poor Frank . . .

Cry #5 – Claire’s reaction to Frank’s condition that she conduct “no more research” into her dead husband Jamie. Not only must she mourn his loss, but now she must not “re-member” either. And yet, a reasonable request, really.

Cry #6 – “I will” let him go, she says. “I accept your conditions.” *Heart tears open.*

Cry #7 – When Claire tries to take off her 1740s wedding ring but cannot. It’s a wonder she doesn’t collapse to the floor again right there.

Cry #8 – Putting away love, into her suitcase, in the form of the other ring she brought back with her that is missing its jewel. So much adjusting, so soon, so sad.

Cry #9 – When Claire sees Frank burning the 18th-century Scottish apparel she wore back through the stones (music rising — volume and pitch). All traces being erased.

Cry #10 / Final heartbreak, and this one may surprise some viewers – The visual transition from Claire taking Frank’s hand as she de-boards the plan in New York to Claire taking Jamie’s hand as she disembarks from the Cristabel in Le Havre, France. (Claire and Jamie musical theme surges.) Some saw this as a moment of triumph, but it is at least bitter-sweet, and I found it somewhat hollow after the absolute gutting perpetrated by the first 45 minutes.

Laughs in Ep201 — from the transition point forward, all in the 1700s setting:

See my list at Five-Phrase Friday (36): Comic Relief in Outlander STARZ ep201.

The effect of this chosen sequence and emphasis on the 1940s is to propel the audience into a season in which we’re desperate to cling to every positive moment possible between our beloved heroes Claire and Jamie. Although the selections above suggest a tolerable contrast of 70/30 between heartbreak and joy, the experience of it is more like 80/20, or even 85/15.

The darkness and deep sorrow of knowing from the beginning that the Frasers ultimately lose each other at the end of the season invests the viewer more keenly in their 1740s togetherness, and particularly in their luxury and high status, if not quite revelry, as stewards of Cousin Jared’s house and business in Paris while Jared expands his endeavors overseas.

Simultaneously, the heavy weight of the first 45 minutes of Episode 201 brings the audience so low that we’re more than ready for the sex, laughter, diversion, and above all, levity (i.e., frivolity, materialism, beauty, and style) with which Paris is replete.

The hope portrayed in the landing at Le Havre soon gives way, however, to the dark cloud that has followed Jamie and Claire from Scotland into the City of Lights. This shadow hovers ominously as they plunge headlong into political intrigue, double dealing, wariness of whom to trust, and danger amidst new enemies. Their overarching anxiety primarily takes the form of the dual and competing (indeed, conflicting) pressures and strains of Jamie’s recent traumatic past in the hands of Black Jack Randall and of the impending birth of the couple’s first child.

Any normal human being would crack under the weight of it all. Thank goodness this is fiction, and Jamie and Claire are (as Jamie describes Claire to Jared) “sturdy” people.

Good Surprises and Divergences from the Book:

A bold move it was indeed to start season two in the 1940s since the non-book-oriented audience expects to see Jamie and Claire arriving in France after last season’s finale. Bolder still, and risky to some degree, to linger there for so long with the pain and sorrow between Claire and Frank before transitioning back to the past.

Readers of book two, Dragonfly in Amber, may recall that the book also opens in the twentieth century, but 20 years later, when we meet grown-up Brianna and grown-up Roger Wakefield, the Reverend Wakefield’s adopted son. It will be fascinating to see how that time leap element is treated later this season–or next.

Murtagh’s expanded role from book to show honors Duncan LaCroix with well-deserved opportunities to shine.

Episode 202

From start to finish, ep202 is an eye-popping firecracker, ending in literal fireworks. The opening scene of Jamie’s nightmare is disturbing and shocking, particularly when his sure-fire murderous stab-a-thon ends with BJR’s eyes opening, still alive.

The sexual indulgences of the second episode are largely humorous in nature, at times fascinating and at others disturbing, but always of that entertaining levity to counterbalance the nightmares and anxieties that linger.

The ridiculousness of King Louis’ “dressing” comes off splendidly. Lionel Lingelser commands the room whether through melodramatic constipation or royal diffidence and lurid looks. His sizing up of Claire will prove relevant mid-season.

In keeping with a slightly more daringly sexual Claire the show and Balfe have formulated, a nonetheless pregnant Sassenach matches the French women’s sensuality step for step. Between the “third-rib” V-neck red dress she “helped design” that stirs up trouble at Versailles and the more private “honeypot” scandal, Claire’s bold efforts to mesh with Parisian high society prove a shock to Jamie’s more traditional, 18th-century sensibilities.

IMG_20160417_021451

Claire Fraser (Caitriona Balfe) in THE red dress with new friend Louise de Rohan (Claire Sermonne), at Versailles. Image credit: STARZ and Sony Pictures/ Left Bank/ Tall Ships

Speaking of shocks and meeting one’s match . . . .

A Grand, uh, Climax:

Toward the end of ep202, the Frasers’ confrontation with the Duke of Sandringham at Versailles presents great suspense and layered implications, thanks mainly to the writing and to Simon Callow’s stunning performance. The exchange between the Duke and Claire after Jamie and Murtagh walk away is so good, subtle, and biting that it deserves a closer look, which I provide in the next post in this series. I didn’t catch several of the layers until I viewed it a second time myself, so stay tuned!

See also Five-Phrase Friday (37) on Simon Callow’s characterization of Sandringham.

A compressed plot, especially in ep202, with overlapping events that are more spread out in the book, works very well. Pacing is on track in the first two episodes, along with the undulation of moods. Overall, the progression of scenes does not feel rushed, and it very easily could have. Kudos to the writers and producers for their care and creativity.

Aspects Somewhat Less Than Stellar

While not quite a detractor, I have been less than impressed with Dominique Pinon’s performance as the apothecary Master Raymond. It may in part be the difficulty I had in understanding his French accent when he speaks English. Perhaps it’s the nature of the role as well, and the fact that I’ve seen Pinon dig into meatier ones, namely, as a jealous womanizer in the quirky, surrealist French film Amelie, starring Audrey Tautou.

Le Comte St. Germain, played by Stanley Weber, provides juicy menace, but by the end of ep202, Weber hasn’t had a chance to shine much yet. It’s been mostly slow striding with his scepter, quiet brooding, and hungry, if subtle, murderous looks of “I will get you” toward Claire and Jamie.

A Lowlight of Episodes 201 and 202

The other time problem, which I wrote about concerning last season, this season turns out to be a mere typographical error in ep201 captioning: “Le Havre, 1745” should have read “Le Havre, 1744.” The effect of this sloppiness? Initial confusion and distress give way to disappointment at its cheapening of the series.

However, it was not until ep203 that I found more to critique, though there is still plenty to praise.


Come back next time for more thoughts on subsequent episodes in season two of Outlander STARZ.

Book Review: Fodor’s Travel Essential Great Britain

I decided to skip my five phrases for this Friday the 13th, not out of superstition but just because I have a lot on my plate at the moment. Late last night, I finished reading a travel guide I’ve reviewed for this post, and I’m still working on my Outlander STARZ Season 2 reviews. Beyond that, the flower pots and beds, spring cleaning, my novel, the book club book, and my home office clean-up project all continue to beckon. We who work from home must remember to travel outside the house and outside those beloved books, so in that spirit, after this, I’m off to the garden center.


Book Review

Fodor’s Travel Essential Great Britain: With the Best of England, Scotland & Wales (2015)

BookCover_FodorsEssentialGreatBritainReview in Brief

Inspired largely by my Outlander obsession and by my English teaching and literature background, I’ve determined to take my first trip to the UK with my husband soon.

Snagged by me two months ago at the book store, this comprehensive Great Britain travel guide for England, Scotland, and Wales contains a helpful mixture of features and a layout of short text segments throughout for quick reference and easy reading. Numerous listings for sights, lodging, dining, shopping, and night life include starred “Fodor’s Choice” recommendations for their opinions of the most worthwhile experiences, as well as labels such as “Family” to point out good options for children.

A key at the front indicates the clear symbols used to label different types of establishments, map elements, and important associated notes. With its few and minor shortcomings in content, structure, and format, I can recommend this guide to most travellers.

Countries’ Coverage

One thing that threw me at first was the lack of an opening section page for Scotland; the Wales section precedes the “Edinburgh” chapter and the rest of the Scottish focus areas. However, the England section also lacks an “England” label page, starting right at London–why waste precious manuscript real estate?

The order of presentation is England, Wales, Scotland, and they make up about 58, seven-tenths, and 35 percent of the book, respectively. In the Great Britain introductory section, there is a proportional list of top attractions, including 6 for England, 1 for Wales, and 3 for Scotland. My family’s decision to skip Wales for this upcoming trip reflects this distribution. (Castles are the main Welsh draw, and you can see lots of those in England and especially in Scotland.)

The Writing

A group of 10 British writers all have written clearly and in entertaining ways without distracting from the content. The text also demonstrates good editing. Special terminology, i.e., Briticisms, are usually pointed out in helpful ways, though sometimes acronyms and other words appear without identification on first instances, such as for “V.A.T” (Value Added Tax). That term is explained several pages later, but it appears in neither the index nor a glossary, an absent element that could be helpful. I detected only a few typographical errors in this large book and none that impeded understanding.

Arrangement of Parts

The opening chapter is an extensive orientation to Great Britain overall. Chapters are then divided by region or major metropolitan area. An overview spread beginning each chapter presents a highlight picture or two, “Top Reasons to Go” blurbs that highlight a mixture of sights and types of experiences, a zoomed-out map of the area with main segments labeled and described, and a smaller map of the entire nation with the featured section highlighted in orange. A navigational “Getting Oriented” column of text lines the far right-hand side.

Inspiring Highlights

Introductions to each chapter follow the overview spread and precede specific listings with varied descriptive text that does a laudable job of making the reader want to see absolutely everything at first. There are also regional and city-center maps interspersed among listings; sidebars and feature pages on topics such as “In Search of Jane Austen,” “Close Up: Clans and Tartans,” and “The Beatles and Liverpool”; as well as photographs and shorter sidebar blurbs about open-air markets, local legends, and more. Special sections about travel tips, specific cultural elements, and highlights of sights not to miss populate the front and back matter.

Other Features

A thick, somewhat heavy paperback book, it might be more practical during travel as a spiral-bound guide. I found the font size and sans-serif type easy to read, but I would have liked a bonus map or two with more detail. In addition, regional maps do not show overlap where regions connect, and some maps fail to show distinctive topography highlighted in the text, such as Loch Awe (in western Scottish Argyll) on the region’s main introductory map. However, there is a tear-out map of London included inside the back flap, and there are oodles of website references, along with a sights-focused index and table of contents.

The Literary Approach

After a brief flip through the book, I started to comb the chapters with the express purpose of identifying literary sights in England and Scotland. I was able to make a preliminary list of places to target in our travels, which means, in England:

  1. Bronte sisters country in Yorkshire
  2. Romantic poet Wordsworth’s homes in the Lake District
  3. Jane Austen country in Hampshire (Bath, Chawton, Winchester, Lyme Regis)
  4. numerous places in London such as Virginia Woolf’s Bloomsbury
  5. Oxford University (Lewis Carroll, W.H. Auden, Percy Shelley, Oscar Wilde, etc.)
  6. Stratford-upon-Avon and Southwark (London) for Shakespeare
  7. Canterbury for Chaucer and Dickens
  8. Cornwall for Woolf, Tennyson, du Maurier, Doyle, Christie, and Arthurian legend

Prominent Scottish writers and stories with sights to match include Sir Walter Scott (Ivanhoe, historical though unofficial tourism ambassador for Scotland), poet Robert Burns (in Dumfries), and as many Outlander filming locations and book references as possible.

While still in the England portion of the guide, my approach quickly morphed into aiming for arts, nature, and literature sights, as reflected in my blog focus. I’ll be more interested in parks, landscapes, seascapes, other bodies of water, country estates, and the countryside than in most urban attractions.

Obviously, that doesn’t leave much time for, well, anything else, to say nothing of my husband’s interests that lean more toward soccer, pubs, castles, technology, and industry. Although I have a decent handle on art and theater attractions, I barely scratched the surface concerning music-related sights.

If only I could somehow take my own trip for travel writing or scholarly research. Hmm…. It became apparent quite early in this process that visiting Ireland would have to be a separate trip as well. For that matter, the same could be said of London.

Conclusions

Although I began reading Fodor’s Travel Essential Great Britain: With the Best of England, Scotland & Wales in the hopes of identifying key places I’d like to visit, reaching the end of the book has only made choosing more difficult, which is both good and bad for the guide, and definitely excellent for the UK. There is just so very much to see and do!

While brimming with sound advice, tips, and orienting elements, it seems this text alone will not be the deciding factor in our ultimate itinerary. I am inclined, for example, to compare other guides and consult a travel agency for help.

I will also have to see how useful the guide is in practice and on location before finalizing my rating for it.

Good Luck and Happy Travels!