Blacklanderz®Convos!
Outlander S8 Epi7 – Evidence of Things Not Seen
Written by Toni Graphia | Directed by Tracey Deer
This conversation is between Blacklanderz® Vida, Olivia, Evelyn, and Vida. Arranged and edited by Vida.
[Frank]
In the autumn of 1779, King’s Mountain
presented a serene vista,
E: Why is Jamie climbing and do I hear Frank’s voice? It’s been interesting to have Tobias do VO’s. He didn’t do a lot of voice overs when he was in the show, and it is a nice touch to tie him back into the final season.
reminiscent of Scotland’s Culloden Moor
before its historic bloodshed.
O: Yes, that’s Jamie climbing. I wonder if it’s Sam Heughan doing the actual climbing, since it’s something he likes to challenge himself to do. And yes, that is Tobias, Evelyn. I recall in an earlier episode Vida included a quote from showrunner Matthew Roberts that Tobias was busy, so they couldn’t get him onscreen. But Tobias Menzies was able to do the voice overs.
Yet, as history would record,
this tranquility was merely the calm
V: It must be an eerie thing for Jamie to know what’s going to happen in the future. I am glad he is now taking the offense and hopefully turning the tide of his fate. It’s good to have Tobias do the VOs, but weird that Jamie is hearing his voice when he never met him.
before a storm of iron and fire.
Major Patrick Ferguson and his Loyalist militia
established their stronghold at the summit,
commanding the high ground
with strategic superiority.
E: It’s so ominous. I hope Jamie makes it up King Mountain without falling.
Below, Sevier, Cleveland, Fraser, and their
Overmountain troops gathered, their resolve
as firm as the earth beneath their feet.
O: No, he won’t. But he’s doing his due diligence, isn’t he? Scouting the infamous King’s Mountain to get ahead of the battle.
V: Olivia, I’m with you on that. He’s finally moving from anticipatory anxiety to action, trying to gain the advantage in the battle.
The initial ascent was perilous,
with many a rebel picked off
as they clawed their way up
the mountainside.
The battle was swift and fierce.
Like pinned ducks,
290 Loyalist militiamen, including
Ferguson himself, were slain.
The Rebels suffered minimal losses.
only twenty-eight fell.
E: I am hoping that Frank is just trolling Jamie from the grave. Jamie has to not let it get into his head. He and Claire have defied death before when they were supposed to die in the house fire and I want to believe this battle will not play out as Frank says now that Jamie is aware.
O: Me too, me too. Or he’s trolling Claire, figuring that eventually she’ll try to find Jamie back in time, Evelyn.
V: I initially thought that too. But with him being a history professor, I doubt he would risk his tenure and be terminated if the publication’s claims were false, leaving his reputation in academia in ruins just to troll. I’m beginning to think he wrote it to help or warn them about the battle, knowing Claire would go back to Jamie.
Including me.
E: Bear never ceases to amaze me with the music. Again, I feel like they are really tying a lot of the magic of S1 into this final season. Gaelic music, Frank, etc. Giving me all the feels.
O: The music and the vistas. What a sight of the rocky outcrop! And Jamie/Sam being a little winded. Ha, a little winded! If it were any of us, we’d be scarcely able to catch our breath!
V: Catch our breath, Olivia? Ha. I never would’ve made it to the top. That was an outstanding cold opener, one of the best. At first, I thought Jamie was going for more gold until I heard Frank speaking. And, I also wondered if that was a stunt double doing climb. It was so effortless, but the view was incredible.
V: What the hell is that in the episode title card? Oh, is that some kind of knitting machine? Must be with them showing this lace dress. And, that dress looks familiar, but I’m gonna be quiet, not jump ahead and wait and see if it’s what I think it is.
O: I figured out it was lace making. Do they call that tatting? Anyway, I first thought it was a loom, until I saw it was very small. I get the foreshadowing now, Vida, but not when I saw it in the title card.
E: Why don’t I remember the dress? I have to go back and watch that again. I focused on the black lace which means bad things.
E: Yeah, If you are covered by the high ground, it’s like shooting fish in a barrel. There is no refuge or cover. I say just don’t engage there, Jamie. You know the history of the fight so get crafty and change the location.
O: Hmm. That’s a good idea, Evelyn, about changing the location. But somehow I don’t think that would change things. Remember, Claire and Jamie learned from Culloden they couldn’t change history.
V: I agree, but he doesn’t have any control over what the Loyalist will do or how they’ll position themselves. The only thing he can do is change the Rebel’s positioning, hopefully to give them a better advantage point. They don’t need too much of one, since more Loyalist die than Rebels.
V: I wonder with Jamie’s knowledge of what Frank wrote about the battle is enough to convince Cleveland of a better strategy; that is, if he fights with him. And I honestly don’t understand why Claire would think Frank would actually write a history book with false claims and jeopardize his reputation and career just to torment her or Jamie. Make it make sense.
E: I am with you, Vida. It doesn’t make sense at all. I’m sure Frank had his reasons for writing about Jamie that wasn’t based solely on jealousy. Maybe he was confounded on how many lives Jamie lived and how many times he avoided death, while other men would have perished. Your guess is as good as mine, but I hope they come up with something in the plot to fill me in. LOL
O: Well, this is all so confusing. Frank was a historian, but I recall in an early season, Claire looks at the genealogy chart first of Roger, then of Frank’s, or someone, and dismisses the earlier ancestor, knowing from her travel back in time that the genealogist got it wrong. She makes some kind of comment about how historians can hypothesize and get things wrong. This comes up again, when the newspaper report Claire and Jamie Fraser die in a fire, upsetting Bree and Roger when they are back in the present.
V: Olivia, I remember in S2 Claire wanted Jamie to spare Black Jack’s life because Frank thought he was his descendant. But it turned out that Black Jack’s brother, Alex, was.
E: I love Benjamin Moss as Henri-Christian. I also love how Fergus is teaching his boys how to run the printing press. Doling out facts and raising them to be men who stand for something.
O: I agree, Evelyn on both counts. The little guy is very good, and Fergus is good with them. And can I say, I love the print shop sign, Fergus Fraser and Sons, which harkens back to the MacKenzie print shop sign Jamie had in Edinburgh.
V: He really is. This was such a sweet father‑sons bonding moment. We haven’t seen Fergus interact with his kids as much as we have this season, and it’s really nice to see. And since there’s been no discussion or mention of a schoolhouse, it was a great way to show how people learned skills back then, and in this case, how important that work was. Olivia, I do too; that’s a nice piece of signage.
E: There it is right there! I ‘luvbs’ me some Fergus.
O: Great job in encouraging your son, Fergus!
V: I agree with both of you. This was another great moment.
I think it’s the first time, in a while, that Fergus has mentioned seeing himself as different or disabled, with the filled glove he wears, and yet look at everything he’s accomplished.
It made for a powerful parallel with Henri’s dwarfism. I loved the little stool Fergus made for him.
E: This scene had me tearing up a bit. Germain and Henri-Christian soaking up the knowledge and looking forward to walking in their father’s footsteps.
O: I like the way Fergus thinks! The pen is our sword. So true.
V: This scene reminded me of the old adage, ‘Train up a child in the way he should go.’ You’re so right, Olivia. Fergus is not only teaching them a skill, but also shaping their character.
Oh… magnifigue.
Fergus Fraser & Sons.
La plume est notre épée.
The pen is our sword.
And we can never lay it down.
E: Ok, Bree did a fantastic job with that painting. It looks just like that conniving Amaranthus, even down to the smirk. Not sure how William is going to broach the subject of BEN and what he found, but let’s see how this goes.
O: The painting does look good. Conniving Amaranthus, who is getting her hooks into William.
V: That painting is gorgeous. Evelyn, you are so funny. I had to go back and look at her smirk. She was so excited to see him. But he busted her little bubble of joy by telling her he found Ben.
I found Ben.
E: Here we go. I sure hope her batting those eyes at William don’t work and he keeps digging into how much she knew.
What do you mean?
His grave?
O: Well, a woman of that time knows she needs a man and she was going to do whatever it takes to get another one, after Ben.
V: I bet that little hamster was running wide on the wheel in her head as she tried to figure out her response. You can tell by the way she asked if he found the grave. William’s response that Ben has not only risen . . . but to the rank of general was hilarious.
E: It’s out there now! I get where Amaranthus is coming from, but you know who you married.
O: She’s from a lower-class family and knew that she would be a social outcast, once it was known her husband was a traitor, nor did she want it to get out, not even among his family. So, it’s understandable.
V: Yeah, I get all of that, but it is still conniving. And the way things are around there, what made either of them think they could get away with the lie? Someone was going to find out sooner rather than later. Knowing that she conspired with Ben makes the way she’s been acting with William, and trying to get her claws in him, even worse.
E: Again, I understand what drove her. Back then, to be a widow rather than the existing wife of a turncoat, shunned from society and your son will never have marriage prospects, is a much better story and outcome.
V: That’s true, Evelyn. But I would be concerned about what happens when someone eventually found out it was a lie.
E: Yep, just like I thought. Amaranthus is looking for an easy mark and William had no clue it was him. Then she found out that he is like the other Grey’s. Little does she know he takes after his real father. William really needs to find some direction, so he is not so easily duped by a pretty face and perky breasts.
O: Good point. Pretty face and perky breasts. I love your descriptions, Evelyn. And yes, William is easily duped. He needs to wise up.
V: First off, I can’t believe she basically called William a coward to his face and he doesn’t realize it. Evelyn, your description is spot on, but don’t forget the batting eyes and jumping into his lap wanting to try and make a baby before marriage. He is so gullible it’s exhausting.
E: Girl, you know exactly what went down. Once the question was raised, it was on. Honestly, Ben gave up his ‘rights’ to Amaranthus, so that was just a pride fight that he will lose forever.
O: He sure did. Ben had no more rights to Amaranthus. And she mounted William’s lap in the last episode, so… probably trying to get pregnant by him.
V: Yep, that’s what I just said too, Olivia. Now imagine, William has to think back on what they were doing, knowing she fully understood Ben’s situation. I wonder if that will ever come out, or if William will connect the dots. Ben did give up his rights to Amaranthus and Trevor, but the idea that William might have been romantic with her would bruise any man’s ego. That’s what set him off and William knew it when he said head been ‘consoling’ her.
E: I am of two minds here. Can’t the family know and feel better but to everyone outside of the family he is dead? I mean, there is no social media and only word of mouth. If the family kept their mouth shut no will know.
O: The family should keep their mouths shut, for their own welfare. I understand honor and all, but it’s the whole family that would be shunned.
V: William is so naïve. What does he think would happen to Ben if he told e’rybody. LJG might understand, but I know Hal wouldn’t.
Even if Hal did understand, Richardson is still out there. What if he found out? He’s been itching for dirt on the Greys. It would just be one more secret for them to keep. That shouldn’t be hard. LJG is gay. William is the biological son of a ‘rebel traitor.’ And now, Ben is a turncoat who left his wife and baby. What a predicament.
E: William is so new. He knows deep down he could never marry her now.
She is looking for a meal ticket and I, for one, am glad that her wiles are no longer working on him. His eyes have been opened; a little late, but better late than never.
O: I can’t see William taking her into his confidence, let alone marry her, after this. Unless, of course, she’s pregnant.
V: Yes Evelyn, he is naive. It is just hitting him that she was willing to marry him when she knew Ben wasn’t dead. And she is delusional to think they can still carry the marriage out after all of this.
Olivia, I wondered about her possibly being pregnant, but I thought I saw both of William’s hands around her and not positioning himself, or ‘lil Willie, to have actual sex. So unless there is an Immaculate Conception, I can’t see how she would be pregnant.
E: John is no dummy. He sees what is going on. And he knows something is up between the two of them.
O: Of course.
V: He most certainly does. These people kill me. The house is full of people, servants, and they are all openly blabbing, knowing someone can walk in any minute. I do hope LJG addresses this. William is out of control, as usual.
Papa, Ben is alive.
Now a military leader among the Patriots,
under an assumed name.
E: Love the look on John’s face. He can’t believe his ears, and I can’t wait to see how he reacts as the rest of the information comes out. If anyone should understand Amaranthus’s predicament, it’s John, but everyone has their limits.
My God, are you certain?
O: Yes, he knows why she did it.
I saw with my own eyes
at the Continental camp.
V: David Berry has LJG down to a ‘t’. That expression was priceless. He might understand her situation, but I bet he won’t like it.
E: Just wait Lord John, there’s more to the story than you know.
I suppose we must, um…
thank the Lord of small mercies.
O: You got that right!
V: He is trying to find the positive in all of this. But you’re right Evelyn, just wait. His head is going to explode.
E: William, let her speak. She needs to spill her guts and just get it over with. Hiding a secret this explosive is not easy. Just tell him now Amaranthus and don’t let William stop you.
O: I wonder why William didn’t want her to tell Lord John about the whole thing? Of course he had to know.
V: William was the ‘big chief’ who wanted to tell LJG from the beginning, now he is trying to shield her from telling him. Damn William, pick a lane and stay in it. I’m surprised she wants to tell LJG herself.
E: I agree with Amaranthus…Lord John needs to know. Hal is on the way.
O: Yes indeed.
V: I loved that he realized they all need to bypass food and go straight to the brandy. He does need to know to figure out how to handle Hal. Since this storyline has changed from the book and with only a few episodes left, I wonder how this will play out.
E: I love Marsali. She is the opposite from her crazy mother. I love how she see things from a different perspective and always wants to see the fun in something rather than the negative.
O: Marsali has transformed being part of the Fraser family. Remember how she hated Claire at first? I loved Fergus’s response in an earlier episode, essentially telling Marsali he was already the son of a great man, meaning Jamie. I just love that.
V: I love her too and Lauren Lyle is perfect playing this role. Just like all the other characters, she has grown over the seasons and blends right into the family. I also like having a scene with Marsali and Bree. We haven’t gotten too many of them.
E: I wouldn’t touch that money either. Anything the Comte ever touched was tainted, and why be beholden to someone else once you get the money.
O: The Comte was an evil man, no doubt. Leave that money alone.
V: I understand Bree thinking it might be a good idea to take the money. She is being realistic of the times and thinking about their well-being. But for them, especially Fergus, it’s bigger than just an inheritance. It’s what it would mean if they took it. I am glad he refused it. I wouldn’t take it either.
E: I do enjoy these interactions. These two are fun together. I can just see Marsali parading around in one of Claire’s old silk dresses from Paris now.
O: Marsali could pull it off, too! She has spunk, as they say. I love the girl talk as well. We women have to stick together and learn from each other, console one another, and just share in friendship.
V: Yes to all of the above. I am also glad we are finally getting some sibling interactions. Marsali is so funny; I can see her twirling in a silk dress.
V: Why in the hell are they talking so openly in the market full of people, all the while looking over their shoulders? Can they not wait until they get home and are away from people? Bree, she asks when you might be leaving, not for the full-blown plan of exchanging the gold for rifles. After all of that, she still didn’t say when they were leaving. Is it tomorrow?
E: I had the exact same thought. There are open ears all around them in a busy market. Bree providing way too much information.
O: I know, right, Vida. Talking out in the open like that is inviting catastrophe.
E: Oh no! Trouble is brewing and I know Fergus is aware of what happened to other printers. I hope this is just a one off and not something dangerous to come.
O: This doesn’t bode well.
V: No, it doesn’t. That’s why they need to take those threatening notes more seriously. Now it has escalated to physical violence, even though it’s just a tomato.
It’s the intended action that would scare me as to what’s next. And that guy surely had a lot of teeth in his mouth.
V: I love when Fanny is in a scene, and it is sweet that she is talking to Jane at her cairn, asking if she can wear her necklace.
I hate to say it, but I’m going to say it anyway. I do not like this Faith storyline, let alone how they are dragging it out. It is so unnecessary. What’s the point? And now making it that William has had sex, unknowingly, with his niece. So gross. Why?
E: Thank you Vida for saying what I was thinking! I DO NOT like this random and unnecessary storyline. I was willing to entertain it, but I think it detracts and doesn’t add to the story. The Fraser’s have always taken in strays. Why now do we need a familial link with Janie and Fanny.
O: I agree with you, Vida, about the Faith storyline. I know the show is using this last season to make their own mark, outside of the books, but they didn’t think this through well enough, in my humble opinion. At any rate, the actress that plays Fanny is great.
V: OMG, I didn’t know Claire couldn’t cook, or forgot she couldn’t. That is hilarious. How do you burn pancakes that badly? I bet they taste awful. I know she made those cookies for the kids. But now that I think about it, have we ever seen where Claire has cooked something?
E: I surely thought Claire could cook but maybe all she can do is bake. Everyone was raving about the cookies she made in episode one of this season. We’re they all being nice?
O: In the books, it was made clear Claire wasn’t much of a cook. But with a husband and child, you’d think she’d have learned the basics, and I think she does, more or less. In the books, I think Jamie even teases her about it, and they all raved about Mrs. Bug’s cooking on the Ridge, and how fortunate they were to have her, of course, until things went sour on that front.
V: I’m not going to jump the gun here. But with Fanny saying she had a square of lace and now it is gone, something popped in my head. Didn’t we see a lace dress in the title cards? I think I know where this is headed, but will wait to see if this plays out. If it does, again, it’s soooo unnecessary to carry out this storyline.
E: This is why I don’t remember the darn dress in the opening credits. This scene made me only remember the lace and I’m like, so what. Why are we going down this rabbit hole?
O: It’s part of the whole Faith storyline is all.
E: I don’t remember any lace in Fanny’s keepsakes. I barely remember the locket, but it plays a prominent role in the opening credits.
O: I don’t remember any lace from the Monmouth scene, but hey…
V: You will, just wait. Since they are dragging this storyline, the information will come out. I’m sure of it.
E: This is painful. This piecemeal storyline is annoying and honestly took up way too much of this episode.
O: They are stretching it out, that’s for sure.
V: I have no words. All this questioning and piecemealing, as you said, Evelyn, is just too much. They could have gotten to the reveal quicker and moved on. I honestly wonder who decided this was a good idea. It is slowing the pace and pulling me out of the story, every scene and every discussion about Faith.
O: Fanny is grieving hard, poor thing. Understandable.
E: She is trying so hard. I can’t imagine what it would be like to lose everyone and then live with these other people and not knowing or truly understanding for how long. She can’t decide whether to attach to them or not.
V: It is emotionally overwhelming for her.
O: What does she mean by, they would understand all too well? That she was some kind of gold-digger, or what?
E: I busted out laughing at her comment. We all know she was talking about William, but LJG has no idea William told her much less why he let something like that out.
V: Olivia, yes and an opportunist. She was only trying to find a way to maintain money and status, even if she has to lie to get it, William, and his title. So yeah, LJG would’ve seen through it all.
V: Seriously William? Why are you taking up for her and explaining away her deceit? I know it’s rhetorical, but still. LJG looks exasperated with this whole situation. Where’s his brandy? Forget a glass, he needs to turn up the bottle by now.
O: Ha-ha. They’re making him crazy, I’m sure.
E: LJG’s head is just spinning! Give the man a drink, please.
V: Hold up, Amaranthus. How dare you try to beat LJG being pissed because of your lies? And, when were you hungry?
Her father was a naturalist and a bookseller. Did he not make enough money to feed her? This girl has a lot of nerve smashing LJG’s glass after he took her and Trevor in.
And William, I don’t know why you are so shocked that she smashed that glass. She is showing you who she really is. You dodged a bullet with that one.
O: Yeah, it sounds like she was gilding the lily here, too much. Her father made a living for his family. William’s got to watch out for her.
E: Exactly! There is no way she was taught how to behave like a lady if her family didn’t have money. Her father may not have had a title, but he definitely had money.
V: First off, how dare Amaranthus slam the door in his house after he blindly took her and her son in.
I don’t think LJG was harsh and he is better than I am. I would’ve gotten a screw driver and taken the door off the hinge. But I know he is a gentleman. She has a lot, and I do mean, a lot of damn nerve.
O: Vida, you don’t play! I think Amaranthus has one thing on her mind: remaining in respectable society. Because, I guess, she fears having to earn money lying on her back.
E: It’s one of her ploys again to make them feel sorry for her.
They got so angry that they forgot how she came up with the story and has been pushing it nonstop. The grieving widow, my ass.
O: Oh please, all this proper society stuff, Lord John.
And as for William, he’s already taking that step with Amaranthus. He better hope he dodged a bullet with her and she doesn’t get pregnant!
E: That ship has sailed. I’m glad there were no ring camera or ring doorbells back then. William and Amaranthus would have been found out earlier.
V: I am so over William and his angst. So now he has no interest in ‘entangling’ himself with her because she deceived him. Get a grip. You shouldn’t have entertained the idea of marrying her in the first place.
O: Yes, I understand it as well. But there’s something about Amaranthus that should make William steer clear.
E: I also understand. But she led everyone on, and until William figured it all out, it was working for her. I never liked her.
V: But how long is this going to play out? Now, William is showing more anger towards LJG’s understanding of why Amaranthus did what she did than he is at Amaranthus. Why does e’rything resort back to them lying to him about his parentage?
O: I wonder why she didn’t tell him the truth.
E: I think Marsali wants to see the good in everyone.
It a fine trait for sure, but in these times of battles and heightened tension, you need to have their head on a swivel.
V: She knows Fergus will probably get upset and do something that would harm him. So, she bushes it off. I’m more worried about them getting ‘another’ note. How many have they received?
V: Marsali is funny, pointing out the person misspelled bird – burd. But OMG, they are taking these threats a little too calmly for me, especially saying the house is on fire and their children are gone, as in burned in the fire! No ma’am, I wouldn’t take that lightly.
O: I agree with you, Vida.
E: Yes…they probably get a lot of threats. If you don’t laugh you become paranoid or cry all the time. I just hope this is just letter writing.
Ladybird, ladybird. Fly away home.
Your house is on fire, and your
children are gone.
O: Y’all got to do more than that to protect yourselves, Marsali.
E: I know they are funny but damn, do you take any of these letters more serious than others? Does the handwriting look the same or all they all from different people? I mean, you got to start thinking more strategically than just grading them best to worst.
V: I can understand them taking a stance and not letting these people scare them, but they have too much to lose and not taking it seriously. And, this one she says to put it in the middle. So, they’ve received worse threats than this one.
I’m not sure what they could’ve done about it, but I wouldn’t be this calm, just rank them and put them in a drawer. Seriously?
O: He didn’t want to dirty the sleeve covers. Ha-ha. Oh child, that’s what the covers are for.
E: He is too cute.
V: Yes, the sleeve‑cover moment was adorable.
I just don’t understand how he thought skipping them would keep him clean when he ended up with ink everywhere else.
O: Those two love to get busy. But I love their joy.
E: Marsali is right. Good lord, if it wasn’t for the years Fergus was a raging alcoholic, they would have more kids.
But they do have so much fun together and that is what I love about these two characters.
V: César and Lauren have such good chemistry. I love them too, and I’m glad we get to see more of them this season. I’m especially glad they showed that spark is still there between them, even after years together and a house full of kids.
It’s part of their DNA. I think it’s so inherent to Lauren and I. We became really, really close friends very quickly throughout Outlander. We always had fun doing Marsali and Fergus together, and that was part of the way we portrayed them. It wasn’t really written in like that.
It was never written for there to be any extra “add-on” to our relationship. I think we just found a natural wave with each other. We never chemistry read—that’s the craziest thing. We got together on the show and it luckily just worked. The combo of who we are and what we brought to our characters melded in a really beautiful way. From the get-go, we were like, “They are the kind of fun, young couple of the show.
O: I hear the kids giggling. They know what mom and pop are up to.
We got them to step off for a minute and just give us a bit to choreograph it with the intimacy coordinators. We convinced them that it should start a minute before it did in the script, where it all gets fun and playful, because I think it’s nice to show this version of a couple that has four kids and still has this love for each other. You’re reminded of who they were because, in a few minutes, you’re going to see them, as an entity, die.
For a brief moment, you see who they were 10 years ago when they first started, where it’s always been about fun and romance and giddiness and sexiness. That is about to be the last thing you see of them, and we have to see that rather than it just being sex.
E: That man is not lying. I love that Marsali thought ahead and locked the door.
V: You can tell this isn’t their first time sneaking away. That’s why she locked the door.
With a house full of kids, this is the only moment they get. I love the playfulness between them and how much they still enjoy each other.
V: Jamie suddenly remembers going to a woman’s shop next to Master Raymond’s apothecary and hearing a baby crying.
OMG, this is too f*cking convenient and it makes no sense to me. Can you tell, I’m over this storyline?
O: No, it doesn’t. They’re trying really hard to sell this Faith storyline,
E: Ugh…so done with this. All conjecture and it’s a hard storyline for me to stomach.
Maybe this plays well for those who haven’t read the books, but I feel like it is so contrived even the non-book readers will find it awkward. Not every storyline needs to be tied up nicely.
O: I remember when Jamie got out of the Bastille (thanks to Claire who had to lay with the King), he comes to Claire on bended knee, apologizing that he wasn’t there when she bore a stillborn Faith and was deathly ill as a result.
She said she had forgiven him, because she understood why he did it: Black Jack had raped Fergus, as I recall.
E: I don’t remember why Mother Hildegard named the baby Faith. From what I can remember, Mother Hildegard was exasperated that she couldn’t help more. Honestly, this is reaching and again trying to stabilize a shaky storyline.
V: Yes, Olivia, you’re right. I remember the scenes from then. But why do we even need to know why her name is Faith? It doesn’t matter. And yet, they spent time discussing it. It’s almost like the writers are trying to put in scenes to fill in the gap for non-book readers with all this unnecessary dialog tacked onto an unnecessary storyline. I feel like I’m going in circles and am about to pull me hair out!
O: There are certainly unseen threads that bind them, but we didn’t need the preposterous Faith storyline.
E: LOL!!!
I’m so scared…
to lose you again.
With everything that’s about to come…
…how can I have faith…
when I face that possibility?
Well, it’s the unseen threads
that bind us…
woven by hand…
far greater than our own.
Hold on to me, Claire.
V: I just can’t with this nonsense, on and on. You would think there was no source material, and they had to fill in somehow. This is madness.
V: I thought that was Hal pulling up to be disappointed that it is Percy. Why is he there? What does he want now?
O: Percy showing up is probably not a good thing.
E: I thought it was Hal as well. Too bad it wasn’t. Percy is never a good drop by or scheduled visitor.
Nothing good comes of any of his drive-by’s.
I have some information for you
regarding a certain acquaintance.
V: So both of them are drinking. With Amaranthus in the house, I do hope Percy doesn’t get handsy like he did at that luncheon.
Tell me about Richardson.
The erstwhile captain was seen in Charlestown
boarding a ship to make his way to Savannah soon.
May I ask, what you have in
mind to do with him?
No, you may not.
V: And no Percy, you don’t need to know what LJG will do with Richardson. It’s none of your damn business.
V: Damn Percy, read the room, or rather the man. LJG doesn’t want anything to do with you. Does he think remembering the way they were, back in the day, is going to what? Make LJG want to be with him? He gives me the creep vibe. And he is talking all out in the open. He has no idea who all is in the house and could catch them. Percy is reckless and selfish.
O: Yeah, another situation that can lead to no good, especially with Amaranthus in the house.
E: Here he goes, tugging at old desires. I hope John keeps up the fight. He can’t give in. You know the servants are listening and have juicy tales to tell later.
V: O-M-G! Percy, why are you so desperate? What is with this going down memory lane. I was so glad LJG pulled his hand away. Shame, I know Percy didn’t expect LJG to say that. Boop!
And yes, once is the operative word here. It’s obvious LJG doesn’t love him anymore.
I am just nervous that Amaranthus is going to come out of her room. Where’s Bree and Roger? They could even walk in on them.
O: Oh boy. This is like when Lord John got busy with somebody in the butler’s pantry in an earlier season. Do not do this out in the open!
Perseverance…
never was a man so well named.
Something I get asked a lot is, ‘Will John find love of his own?’ I think this season will address that head on.
E: Yes, stop and think LJG! There is a reason you and Percy didn’t work out or were just bed buddies. Anyone can walk into the sitting room and see the sparks flying off of these two.
V: Oh lord, I guess the brandy got the better of LJG. What are you two thinking? Anyone could catch you, geez. OMG! I jumped when William walked in. And here I was expecting Amaranthus to walk in on them, not William. LJG all that stammering is not helping the situation and you two look a lot more than colleagues. He saw you kissing. Hello?!
E: Oh shit! Not William. LJG will not be able to explain this away. William has seen it all and there is no misunderstanding here. Here comes the rage.
I really object(ed) to them making William find out that Lord John is gay. There’s absolutely no reason (plot or character-wise) to do that, other than shock value.
Essentially, this episode isn’t a structural part of the show; it’s just a collection of shocks.
V: Asshole Percy. Now, you take your leave? You coward. You should have left a long time ago.
William kills me with all his accusations, not knowing what he is talking about, and talking openly about having a traitor for a father. Wouldn’t Percy wonder about that? This whole scene is exhausting.
O: Of course, Percy’s a coward. But he should get out of there, so William and Lord John can hash things out.
E: An irrational son already licking his wounds from the realization he continues to lust after women he can’t have (Bree, Rachel, Amaranthus) and now this.
I feel like William’s sinking here. Everything is not about Jamie or him, but he seems to make it so.
V: Okay William, you have gone too far. Why does he immediately jump to asking if Jamie was a conquest of LJG or vice versa. He will find any reason to hate Jamie.
But I’m not understanding why they are adding unnecessary scenes and storylines. They had enough to work with, so why add this.
Did they even need this scene? Just giving William another reason to crash out. Anyway, I digressed, apologizes.
I would have slapped the taste out of William’s mouth. I know he is shocked at what he saw, but I have had enough of this William, always angry about Jamie or something, lashing out, now calling LJG a sodomite at the top of his lungs. Enough already. You can’t tell me Amaranthus can’t hear him screaming.
O: Yeah, this is a mess. William didn’t need to be drawn into this aspect of Lord John’s personal life. So where is this headed, when will William come upon Jamie next, I wonder?
E: William has proved my point…he is still young and he thinks everything is about him. Who cares that LJG was a warden at Ardsmuir and Jamie was there. What has that got to do with anything he just walked in on. William has definitely gone overboard with the name calling.
V: All that grunting that William is doing, he’s about to start smashing things soon. As the saying goes, ‘hurt people, hurt people.’ I don’t care that William is shocked, confused, or whatever he is.
He has no right telling LJG that he doesn’t have a father. He is an ingrate. Where is Amaranthus? Is she hearing all of this or is William going to tell her about it? William keeps walking out, perhaps he should stay gone this time.
O: Ach. My head hurts watching this play out. I bet Amaranthus cooks up some scheme to hurt Lord John. She must have heard this.
E: Yes Olivia, everyone heard it. I bet she is just sitting there and taking notes. She will have her leverage to remain a lady and keep Trevor’s title.
I disregard anything involving Faith and/or Master Raymond, because I know they’re inventing it out of whole cloth.
O: Oh please. This is all too precarious. And when did Ian speak with this person?
E: I have no words for this. It so convenient. Although I knew Ian was going to make the inquiry, I was hoping it went nowhere.
V: For the love of god, enough already. And yes, it’s all too convenient with this one revelation after another, unnecessarily. Now, every other scene is about Faith.
Seriously, there better be a payoff in the end. I was hoping the letter from Ian was telling them they were on their way back home. I need to them to come back with the quickness.
O: Okay. Get through this already.
E: While I do enjoy tying up loose ends and seeing or hearing references to favorite characters from earlier seasons, it’s not necessary here. If they want to close the Outlander saga, fine, but this isn’t the thread to do it with. I want to know why Jamie was watching Claire by the water tower in S1, out of his timeline, in 1945. That’s the tea everyone wants.
V: I agree, Olivia. And Evelyn, hold your breath. We may never get that answer. I’ve always thought it was one of Jamie’s near‑death moments pulling him toward Claire. But honestly, I’m wondering when they even shot this scene. We’ve gotten (I’ve lost count) how many extra scenes about Faith, and not enough about the characters who are alive and still matter.
O: She left because Faith was dead, that’s why!
E: LOL! And, Master Raymond skipped time to another century.
V: Exactly on both points. They’re trying so hard to make us care and it’s falling flat. I have no more to say about this.
O: Okay. This story is getting too wild for me.
E: Pinch me when this trifling scene is done.
V: So they created an unnecessary storyline only to backpedal and shove it into the background of everything — WHEN WE ALREADY HEARD ABOUT IT FROM THE PIRATE! Now we get her mother’s story and the attempt to locate Claire in North Carolina when their ship was hijacked. Really? They could have shown all of that in a flashback at the beginning of the season when Claire stabbed the man.
O: That’s true. It’s not your fault, Fanny. I hope she holds on to that, at least.
E: We didn’t know Jane long, but she was a good sister. She looked out for Fanny and made sure she didn’t get trapped into the same ugly situation no matter what it took.
V: Yes, it is true that Fanny would need to know this, but wouldn’t she already know it from Jane’s actions that she witnessed? Luckily, at this point, I’m glad I already have short hair. Otherwise . . .
O: Okay, then, Jane. Your wish comes true. She’s with Claire now.
E: Can we end it here now. We have dragged this out and I feel like putting Tabasco in my eye would have been less painful.
V: OMG, they already showed this. Why do we have to be told, again?
O: Here comes the fire.
V: I’m getting anxious.
E: I hope everyone gets out safely, but I feel like the letter earlier in the episode was a bit of foreshadowing.
V: It was and now, I’m holding my breath and waiting to see what the show allows to happen.
O: Quick, get out.
E: Oh no. I can’t watch. My stomach is churning. I read the book.
V: Me too, Evelyn. This is so terrifying.
O: Up on the roof. Oh God.
E: I know little kids, especially boys, like to make forts and sleep under the stars. But sleeping above a tinder box?
V: Damn, my heart was racing with Fergus calling out and not knowing where they were. When Marsali said they liked to go on the roof to look at the stars my heart was in my throat.
And this is why they should’ve taken the threat more seriously and told the kids not to be on the roof for now.
O: To watch this play out was gut wrenching.
E: I just can’t. Hurry up and get the fire brigade.
V: It is hard to watch. But cinematically, one of the most amazing scenes shot. It’s so realistic and frightening. I can’t imagine how Marsali is feeling, right now, watching it all play out.
O: Come on, Fergus. Get out of there.
E: Everyone needs to get out and away from the fire as quick as possible. That place is going to explode with all the chemicals in it.
V: You’re right, Olivia. She doesn’t need a play-by-play. He just needs to get out of there.
And Evelyn, don’t forget all the paper in there along with the chemicals.
O: To watch what you’ve built go up in flames, and members of your family in danger, is beyond heart-rending. And all you can do is watch.
E: It’s so sad. Isn’t that Jamie’s printing press from Scotland too? The legacy of everything is also burning. So sad to have to just watch.
V: I think it is, Evelyn. I’m glad Bree and Roger are there, but I can’t imagine what Roger is thinking.
He just survived being on the battlefield only to come home and battle a fire that affects his family.
It’s unbearable to think about the pain and agony of Marsali seeing everything go up in flames from the ground, let alone Fergus being on the roof trying to save his boys and himself. I also can’t imagine filming a scene like that.
V: Bree moving into her auntie role. But she’s right, the girls don’t need to see what’s happening.
O: Yes, Fergus. Get your children to safety.
The way it was written in the books didn’t really suit wrapping the show like they are. When they asked me to come back for Season 8, which was obviously a yes, they reminded me what happened in the books, but said, ‘Maybe we could change that into a very heroic sendoff for Fergus.’
Saving his kids definitely adds another layer of heroism to his character, and I was happy with it. I’ve never had to do something like this before in my career as an actor. So I was very much looking forward to it.
E: Don’t ask questions boys. Do what your father says and let’s go!
V: All this talking is taking up time. Let’s move it.
O: This is white knuckle time. Will they make it?
E: This is father strength here. He has one hand and he is getting his kids to safety. Hurry up though, Fergus.
V: It’s a lot and the tension keeps mounting. My heart is pumping so fast I feel like it’ll pop out of my chest.
O: Oh Good. As with the Faith storyline, the show is departing from the book.
It’s very sad, very emotional. It’s a memorable part of the whole show, not just S8. People are going to be shocked. It’s going to hit hard and not necessarily play out the way people think.
E: GASP! I was not looking forward to the show sticking to this storyline. I am glad they deviated and Roger was there to catch Henri.
V: Yeah, but to what end. You sacrifice one, you have to substitute it for another. I wasn’t looking forward to what happened in the book. But now… what?
It was a challenge for Lauren and I. It’s beautiful when you read it in a script, that last look they give each other. But when you’re doing it, we were like, ‘Why isn’t he fucking jumping instead of taking the time to give this look?’
They really had to sort of explain to us how there was no way out for him and she knew it. They said to me on set that she knows this is what’s about to happen, and yet nothing can prepare you for what that actually means. But it’s an iconic ending, and it felt really iconic doing it.
V: OMG, my heart just sank. WTF? Seriously, WTAF?! I know they didn’t just kill Fergus off like that. Why? I’m pissed and screaming with Marsali. They spent the whole episode using Henri-Christian as a red herring, loading him with scenes just to distract us from what they were planning to do to Fergus. That wasn’t clever or slick. It was a narrative sucker punch that nobody asked for.
I can tell you that they killed Fergus because they (personally) couldn’t stand to kill Henri-Christian (several of them told me it was the final line of that scene from the book— ‘…the sound of his head striking the cobbles was the sound of the end of the world’ that horrified them so much they couldn’t stand to do it onscreen.
I suppose they thought they had to kill somebody. Personally, I thought if they were too chicken to do it right, they should just have eased back and burned down the print-shop—but (luckily) not my call.
No!
O: Why didn’t they have Fergus come down on the rope? So since we’re in the last season, the showrunner wanted to make a big change from the book to leave a mark. But this was surely a gut punch. An unwelcome one, I might add.
E: WTF and NOOOO!! I thought all was going to be good since Henri did not perish. This is just as bad. Why????
[Marsali sobbing.]
[gasps]
V: This is one of the things I was looking forward to. I jumped when Jamie jumped in the preview last week, and just did it again. You’re damn right, Jamie. Something is terribly wrong. At this point, it feels like the writers are just pulling shit out of their asses and hoping we won’t notice.
What is it?
But on a serious note, this just shows Jamie’s parental intuition. He can feel something is wrong; he just doesn’t know with whom. And god, he is going to be devastated when he realizes it’s Fergus, just like we are.
I dinna ken, but…
I have a terrible feeling
something is wrong.
O: Yes, he is. Heck, I was devastated.
E: I’m devastated and angry with the writers. This was not needed. Fergus should still be alive.
V: I’m sorry and truly confused. Bree and Roger are back at LJG’s house. Roger is telling Bree he is sorry that she lost her brother. So… Fergus dies, out of the blue-not in the book, and this is how we find out? They just cut to this scene. Where’s Marsali and the kids? WTF happened in the writer’s room this week, season. Fergus was a beloved character. Well, he was to me. I don’t appreciate how they are handling his death or that they killed him off unnecessarily.
O: Are they in LJG’s house? I didn’t catch that when I was watching. But Lord John is not around. Amaranthus is not around. I don’t get it.
V: Yes, they are. None of it is making sense.
E: They must have come back late, and everyone has either drunk themselves into a stupor or William is still out loudly crashing out.
O: Okay. I can see that, as long as Claire and Jamie are around.
E: Yes, as long as Claire and Jamie are still around, I can see Roger and the kids staying in this timeline, if something happened to Bree. If not, go home to your own century.
V: Why would he go back? Did Jamie tell them Buck took care of Rob? If not, that would be a reason to stay. And, if he went back, what would he do with no money, no job and two kids. So yeah, at this point, it makes sense for him, and for all of them, to say in that time, especially now that Bree is pregnant.
V: Okay, well, I feel a little better that Marsali and the kids are with them.
I feel so bad for her. Bree, there is no way she can sleep right now.
What is she going to do; how is she and the kids going to live. They might have to go back to the Ridge with Bree and Roger. But I am still pissed that they killed Fergus off and the way they did it. On another note, I guess LJG’s place is the colonial Airbnb with e’rybody staying there.
O: Colonial Airbnb, good one, Vida. I understand how Marsali won’t leave her kids.
E: I wouldn’t be separated from my kids either at this time.
O: I don’t know what they could’ve done, if they had taken the notes more seriously. But it seems they should’ve been more on guard.
E: Agreed, Olivia. They could have taken the notes more seriously, but what could they really have done? There was nothing along the lines of a sheriff or someone maintaining the peace back then.
V: The only thing I can see that they could’ve done was take the note more seriously (it was explicit) and come up with a fire‑escape plan. That’s probably all they could’ve done. I love Bree’s big‑sister energy in this scene and how she’s giving Marsali comfort and support.
O: While I hate they killed off Fergus, these scenes provoked a lot of emotion in me, as we witness Marsali’s devastation. I could feel the tears welling up in my eyes.
E: I was in complete and utter tears. I had to get the box of Kleenex because I was on that floor with Marsali and Bree.
Lauren Lyle played the hell out of this entire scene.
V: The imagery of Fergus’s body that she described got to me first.
Then Bree trying so hard to hold back her tears.
My own floodgates opened with Marsali’s quiet cry. Sophie and Lauren played the hell out of this scene, despite the writing. It was one of the most emotional ones for me.
V: OMG, are we back to this? They won’t even let us grieve for Fergus or Marsali before throwing this storyline back in our faces. Damn. And Claire, spit it out already so this storyline can come to a freaking end.
O: Indeed.
E: Jeez. I guess you will have to break it down for an 11-year-old and lead her to the relative facts so she can put it all together. But damn, hurry it up.
O: I don’t know that Fanny can really process all this. It’s too much.
E: Fanny is about to hit tilt with all of this.
V: They should have provided a cliff-note version. I know it has to be too much for her. It’s too much for me. You can see how happy Claire is in telling her she is the Broch Tuarach her mother was looking for, but damn.
V: Okay, sorry. I know they were trying to make this scene heartfelt and dramatic with Jamie and Claire telling Fanny they believe they are her grandparents. But the pauses, soft music, the overall ridiculousness of the storyline, plus not getting to the point faster, pulled me right out of the scene.
O: I agree; it went on too long.
E: I’m so done with this. Can we move on, please.
O: It would’ve made more sense if the writers had brought Master Raymond in sooner and showed he pulled his hocus pocus stuff and brought Faith back to “life” as he helped Claire overcome her near fatal illness.
E: EXACTLY THIS!!! We knew they were dallying with this storyline back in S7 or possibly 6. They should have done a flashback then to prepare us for this… preposterousness. Is that a word? It is now.
V: LOL, Evelyn. Yes, it is a word, and you used it perfectly. But it makes me think they just came up this twist this season.
Honestly, a flashback would’ve solved this without dragging us through an entire final season of confusion. But sure, let’s go GoT style and throw everything at the wall in the last stretch.
It feels like the writers weren’t confident enough in their own made‑up twist to execute it better.
O: Yeah, ‘by the seaside’ song. I don’t know when it was written, but I’m guessing it was after the 18th century.
V: Yes, it was 1907. I just don’t understand why this is being dragged out so much. They must have a payoff at the end, otherwise, all of this was a waste of time. How many times do we need to discuss the song? I feel like I am in a weird conversation loop and we are being punked.
E: Ugh, the pain continues for all of us.
O: Okay. Whatever.
E: Sure, like that was a necessary statement designed to make Faith feel better?!?!?! Jamie and Claire wanted this to be true so badly, per the writing, but I’m done.
V: Claire is only thinking about this from her perspective and not Fanny’s. What all she missed not knowing Faith was alive. They are excited to learn she is their granddaughter, and rightly so.
But I can only imagine what Fanny is thinking. If it were me, I’d be more than a little pissed. She and Jane had to grow up in a brothel, where Jane was abused until she finally broke and killed her attacker. And now Fanny learns they had grandparents out there living a much better life the whole time. It’s a lot to swallow when you look at it from her perspective. But sure, writers, carry on.
V: Fanny is in the strangest situation. I am sure she is terrified of being pushed out like she thought in the previous episode. So she doesn’t want to make anyone upset with her. Little does she know, there is nothing she can do or say that would make them want her to leave.
E: I feel for Fanny. It’s been crazy for her since she stepped foot on that ship from England.
V: Yep, from the title card. I thought that was the dress she wore at Faith’s burial site. But here we go talking about that song again. Did anyone in the writers’ room do a word search to see how many times this was in the damn script?!
O: I’m thinking it was from the veil, not necessarily the dress. I remember that lace bordered her veil, and probably the sleeves from the dress.
E: Right! I remembered the pretty black lace veil Claire wore. To make this story even more crazy, they could have had Claire describe that damn veil and see if Fanny said it was exactly what she lost.
V: Blah-blah-blah, Claire. Okay, e’rybody is a part of e’rybody. We get it. What I don’t get is the point. What were they trying to accomplish with this Faith storyline? They gave it more time in this episode than Fergus’s surprise, unnecessary death and he was their son.
O: I’m with you all the way, Vida.
E: Ditto, Vida! We should have had more Fergus and post Fergus death.
O: Let’s see where else this goes.
E: I like the description but ready to move on, please.
V: After all of that, they’d better hope Fanny doesn’t run away. I hope this is the end of it, but I know it won’t be.
V: Claire looks disappointed. What did she expect? Fanny simply just wants to go to her room. No hugs all around, no smiles. Just to her room, presumably to digest it all; it is a bit much. Jamie, no, you shouldn’t have waited. There was never going to be a better time. Since this is the storyline they are pushing down our throats, she needed to know. Perhaps you could have told it differently without all the crazy details that make absolutely no sense.
O: Like I said earlier, when this storyline was introduced, I know we’re in fantasy land, but some things still have to make sense. And this is too much.
E: Poor Fanny. It’s a lot to digest in one sitting.
O: Wow. Henri-Christian has taken his father’s mantra to heart. Good for you, little man. But your mama is going to need a little more time.
V: That he has. But c’mon, it’s completely unrealistic. He’s what, four or five years old? This is not how a child reacts after the kind of trauma he and his brother just went through, especially after learning their father died in a fire.
And now he wants to go back? To what? The shop literally burned down. I’m not even sure what the timeline is supposed to be here (is it overnight?), but it hasn’t been long enough for this kind of emotional turnaround from a child. Once again, the writing isn’t in sync with the reality of the story they themselves created out of nowhere. And yes, Marsali does need more time to get things together.
E: As Deadpool likes to say, ‘lazy writing.’ Those lines could have been omitted.
We have to go back to the print shop.
Papa says we must rise every day, ready to bring the
news to the people, no matter what happens.
“La plume est notre ‘épée,” he says.
We can never lay down our sword.
V: I understand Henri-Christian, but there is no way Marsali can stay there with all those kids, alone, without a man. What I don’t understand is the way everyone is so cavalier about Fergus’s death. It just happened. The writing for this episode feels totally off.
O: I don’t think Marsali’s reaction is cavalier, though, Vida. She is showing gut wrenching emotion through this.
V: No, I’m not talking about Marsali and she is. I’m talking about the other storylines, such as Henri, which are popping in around it. The writing. We spent hardly any time after his death before they jumped ahead.
E: I agree. What is the timeline here. Like you said, is this the morning after or is this a few days later? Did people, I mean women, really have to think that quickly after being widowed? I am so confused right now.
O: I think it’s something Marsali should consider, now that Fergus is dead. Weigh the pros and cons, though I’m not sure taking the inheritance is ultimately the right move.
V: It’s not. Marsali would never go against Fergus’s wishes, especially if she now had to claim the Comte as his father and not Jamie. She wouldn’t do that to Jamie either.
E: Run away from that money fast. Go to the Ridge. Family will help you now.
O: Yes, first things first. Does she even have his ashes?
E: I don’t know Olivia. She said there was nothing left so maybe she went back and scooped up some of the ashes of the print shop.
V: Yeah, perhaps. But there are many plot holes in this episode. I was wondering the same thing. Did they stay until the fire was out and someone went in to collect Fergus’s remains. Or, did someone, Roger maybe, go back that morning? Who knows. But, I don’t know why Bree is pushing the inheritance on Marsali. It’s not like Marsali or kids would ever want for anything. Did she forget about Jamie having all that gold, or did the writers?
O: Uh-oh. I hope Fanny hasn’t run away.
E: Oh no. Where has this child gotten off to. I don’t believe she would run away but who can blame her. She needs to think about everything she was just told.
V: I hope Fanny is okay. But Claire is talking about coming down for ‘supper’ and it looks like it’s high noon outside. I’m exhausted.
O: Whew. At least she’s at the cairn. How is she supposed to behave now that they might be her grandparents. And what will Bree think about this when she comes back?
E: Your guess I as a good as mine, Olivia.
V: Olivia, remember when Roger and Bree first came back and brought Frank’s book. Claire said she they needed to tell her something. I think they may have told her about the Faith theory. So Bree might already know. I’m glad they found her, but I hope they don’t hover. She needs time and space to process all of this, and it won’t help if they’re in her face about it all the time.
O: Oh boy. Now Fanny fears she’ll lose everyone. How can she cope?
E: This is what I feared. Poor Fanny doesn’t want to get to attached because everyone goes missing, dies, or has ill intent. So much for a young girl to take in.
V: I’m just glad we finally got to hear how Fanny feels. It is overwhelming for a child that age to lose her entire family, learn she has extended family, and be terrified she’ll lose them too. That’s all she knows. It will take time, but I think she will be okay.
O: Jamie came up with some wise counsel there.
E: Very wise indeed.
V: You know Jamie and his religion. He might not always have the words, but he knows the Bible, and his faith is part of his backbone.
V: Now, who is this? Bree, Roger and Marsali. Or, Ian and Rachel. These people travel so fast by horse and wagon this season it could be either of them.
O: Ha.
E: I thought it takes days to get back to the Ridge from Charlotte. Are these people teleporting?
[Claire VO]
No two people experience physical pain in the same way.
V: Is this the first Claire voice over this season? Haven’t had one in a while. I’ve missed it.
O: That’s interesting, they include her voice over here.
E: Yeah, why now.
Perhaps the same is true for emotional pain.
O: So now everyone is home, almost, how does Fanny fit into this tableau?
E: Everyone has come back home.
V: I think this was a perfect directional choice, using an aerial shot from Fanny’s POV. You’ve got the nucleus of the family gathered below while Fanny watches from the balcony. She’s seeing how they interact the moment Jamie and Claire realize Fergus isn’t with them, and how quickly they understand something must have happened. She’s witnessing a family she barely knows rally around each other in grief and fear. Something I’m not sure she’s ever experienced before. I also appreciate that instead of drowning the moment in dialogue, they used Claire’s voice over to finally articulate how they’re processing the loss of Fergus.
But our collective love of Fergus
O: Seeing Marsali in her black mourning clothes was an arresting sight.
E: At first, I didn’t even notice Marsali was in all black. Then it hit me, and the faucet turned right back on.
was reflected in the agony of our shared loss.
V: My god, I couldn’t even see the TV when the realization hit Jamie and Claire. And they were just so happy a split-second earlier at the thought of them, Bree and Roger, coming home.
O: Jamie’s intuition that something was wrong comes to fruition now.
V: Yes, it did and it was written all over his face.
O: Agony indeed.
E: I’m tearing up right now while I write this. The total grief and agony of losing Fergus. I can’t handle it.
V: Me too, Evelyn. It’s just terrible. And, the acting from all of them was outstanding in this scene, no dialogue needed, just pure emotions.
Our grief was alike,
O: Jamie hugging Marsali tightly shows it all.
E: I’m just devastated.
V: That was such a powerful scene. Sam and Lauren truly made me feel Jamie and Marsali’s grief. I could even feel that hug, letting her know he was there.
That wild look of suffering in Marsali’s eyes
O: And Marsali is still very young. How will she cope with this devastating loss?
E: This scene is so painful. I am grieving with them. Marsali has to be strong for her kids. But lord, in the dark of night, I’m not sure how she is going to handle this.
V: I’m just glad they came back to the Ridge. Like Bree and Roger, Marsali’s whole family is there. That’s how she will be able to cope.
Was the same I saw in Jamie’s.
O: What can you do except hug each other and cry.
E: I want to hug everyone right now. So painful.
V: That’s all you can do. There are no words for what happened and I’m glad they left the dialogue out.
It was in there in my own.
O: These scenes are affecting me, I must say.
E: I am absolutely balling at this point in the show. Uncontrollably at this moment. I hope they weave in Marsali and how she has gotten on before they sign off for the season.
V: It was a powerful and emotional scene. At least they let it breath and didn’t rush through it like they did throughout the episode.
O: How long will they show the devastation the family feels after Fergus’s death, or will they race through it.
E: I hope not Olivia. We deserve to see how everyone turns out.
V: They created this storyline, they’d better not rush through it. I’ll be pissed if they do.
That nauseating ache
the disbelief that eats away
at you until you’re numb.
O: There’s disbelief among the viewers as well.
E: I am all cried out and have no words for Fergus death.
V: You both are correct. I am emotionally spent.
A granddaughter who seemed to drop out
of the sky, a blessing from heaven,
O: She has tears in her eyes, is it from her own trauma or theirs?
E: I think Fanny was just overwhelmed with it all. She was probably thinking of one more person in her family who is now gone.
V: Yeah, Evelyn, I think so too. She met Fergus when Claire and Jamie came back to the Ridge, but she doesn’t know he’s related to her. I think she has empathy for Claire and Jamie and is feeling their grief. They just told her how much they missed in Faith’s life, and now they’ve lost a son.
and a son who was taken from us
too soon, a hellish reality.
O: This embrace between them is moving.
E: No words, just tears at this point.
V: It’s all very moving and should be studied in acting school. I can’t imagine what they had to do to prepare for this scene and make it believable. They had me thinking of all my family I’ve lost. My eyes are swollen.
Such are the tapestries of our lives,
O: All they can do is hold onto each other.
E: Yes.
V: And tightly!
threads of shock, anger, love and affection,
among the multitude of others,
O: He can see Marsali in mourning clothes and there’s no Fergus among them.
V: Yes, but I think he can’t believe Fergus is gone and is trying to understand what happened.
woven together as intricately and
delicately as the most beautiful lace.
O: They will take care of each other.
V: Yes, they will. I’m just glad they are there together. But did Claire really have to talk about the lace here, again?!
O: That’s got to hurt him deeply, building the coffin for his first son.
It doesn’t matter that he didn’t sire Fergus. Fergus was his son, with no reservations. And Fergus was devoted to Jamie.
E: So sad. I understand why he wants to make the coffin, but this is hard.
V: That’s a lot to bear, even for someone as strong as Jamie. His heart has to be breaking.
O: The flashback to Fergus was a fitting homage, uplifting and sorrowful at the same time.
E: It better not end their story right here. These are nice and touching, but please let there be more than just this.
V: Oh, I loved that they did this montage, just goes to show how central Fergus was to the story.
Writer’s, I’m talking to you!
Stop fooling around.
Pay attention.
I am.
O: Fergus was always going to follow Milord.
E: Everyone will miss him.
Where do you think you’re going?
Well, with milord.
V: I hollered when this scene came up. I loved Fergus as a child. Jamie wasn’t going anywhere he couldn’t go. No if, ands, or buts about it. Periodt!
O: The two musketeers.
E: That’s right! Fergus was adamant that Jamie fight.
V: He surely was and wasn’t letting up until he did.
O: It was great seeing Fergus’s reaction to a returning Claire after 20 years.
E: That was one of my favorite scenes in that episode.
V: Mine too, Evelyn. He was so shocked to see she had returned. He nearly knocked her over with that hug.
Thank you, mon fils.
O: I love how they bonded.
E: They were good together. Two clever minds working together and young Fergus having no fear because he believed in Jamie.
V: I remember initially tearing up during this scene when he called him his son, and the tears came back again.
Stand by my hand.
Fergus,
son of my name and of my heart …
O: That was the tour-de-force with Jamie making sure Fergus understood that Jamie thought of him as his son.
E: That was a great gathering.
V: You are so right, Olivia. Jamie let e’rybody know Fergus was his (their) son.
You saved my life
more than once.
O: Ah, yes!
E: YESS!
I’ve simply balanced the scales.
V: Jamie was right in saying this. Fergus had no business growing up in that brothel. I’m so glad Jamie came along and rescued him.
O: Too bad they wouldn’t see each other again.
E: I am just heartbroken. I bet there wasn’t a dry eye in the room when they ran lines for this episode.
V: That one hit the hardest because they had just seen him not too long ago, and now nevermore. Heartbroken is the understatement.
And do you have a name?
It’s Fraser.
His name is Fergus Claudel Fraser.
O: Yes, Fergus was a Fraser, Jamie Fraser’s son indeed.
E: A Fraser indeed.
V: That was one of my favorite scenes, when Marsali and Fergus got married. They were both surprised when Jamie gave Fergus his last name. I remember jumping up and clapping at the TV. I guess they saved that moment for last to really drive home that Jamie always, truly, considered Fergus his son.
O: Now this was surprising. So I guess it means she won’t run away (like where would she go? It wouldn’t be a good outcome, if she did leave).
E: Fanny really likes Jamie and Claire so I’m not surprised she wants to comfort them right now. I’m sure Bree is comforting both Marsali and Claire, but no one is comforting Jamie.
Come with me.
V: That’s what I was thinking, Evelyn. He always has to be brave and comfort others, but who comforts him, outside of Claire. I am just glad they showed him grieving and crying, having a moment to himself.
O: Hmm. That was kind of her. I wonder if Jamie will complete it.
V: I wonder how long she’s been working on it. She couldn’t have had that much time.
E: It’s a beautiful cairn. Jamie is so surprised and touched.
This is for Fergus…
and you.
I know he is not with us, but…
maybe you’ll find him here…
Grandda.
V: Yes, he is, and it really is full circle. He made one for Jane and for her, and now she returns the gesture by making one for Fergus and for him. It was such a touching, genuinely sweet moment.
O: Jamie has that effect on people. She’s seeing she can trust him, maybe even love him. I wonder if William will ever get there.
E: And the waterworks start again. I haven’t cried so much over an Outlander episode since S2. They’re doing too much and making me cry too hard.
V: These last few scenes were excellent and truly touching in Outlander fashion, though I’m still pissed at the reason. Guess she learned grandda from Jem and Mandy. Where are they and Buck? More holes.
Thank you,
mo chridhe.
V: Why the f*ck are we back in Paris in 1744. It should have ended with Fanny, Jamie and thoughts of Fergus. So, this is how Fanny’s grandmother got Faith. Okay, and?
O: Well, they have to explain that seaside song and the whole rigamarole about Broch Tuarach, etc.
E: This is an abrupt change and why are we seeing this now? Why didn’t we see this at the end of S2 to give us a nugget of hope that Faith didn’t die? Oh, I know. None of the writers thought this was a good storyline to pursue back then, but here we are now.
V: Why would he tell this woman all of Claire and Jamie’s business? He’s in prison and she’s very ill. The whole thing feels out of sequence and completely redundant. We’ve now heard this story retold three times. Three! If they were going to include the scene with Master Raymond dropping Faith off, then show that scene instead of having Jane narrate it to us. Now we learn Master Raymond told her about the seaside song Claire sang to Faith, and even sang it himself. But did we need to know that? Did we need to see it? I would’ve much rather seen how Faith came back to life than sit through this.
I’ll say it again: ending with Fanny and Jamie, both thinking about Fergus, would’ve been so much stronger. But no, they had to circle back to Faith. It’s an obsessed with this storyline. They kill off Fergus for no reason, and then end the episode singing about liking to be by the seaside? SMDH. The whole thing was disjointed and a complete waste of screen time.
O: But remember, Vida, Fanny asked how would Faith as a baby have been able to understand the seaside song to sing it to her children? But, you’re right. The episode should’ve ended with the Fergus tribute. They could’ve used this clip earlier in the episode.
V: Olivia, yes I know and remember her asking about the song. It’s just that… I. DO. NOT. CARE! 🙁 (I’m acting like Margot. 🙂)
E: LOL Vida! I am of the same mind. If the writing is that sloppy that they had to put this scene in to “validate” their nonsensical storyline on Faith, then dump the storyline. I just don’t get why they went so hard on this one. It ruined the ending of the episode for me.
We gave this episode 3 shots. Overall, the episode delivered strong performances and striking visuals, but the writing choices and structural imbalance kept it from reaching its full potential.
The plot holes, the overextended Faith storyline (seven scenes), and the unnecessary addition of William discovering that Lord John is gay dragged it down.
The episode built a series of emotionally powerful moments, only to abruptly veer back to Paris and the Faith plot. That detour felt unnecessary, repetitive, and completely out of sync with the emotional arc the episode had tried to build.
Instead of ending on the deeply moving tribute to Fergus and Fanny calling Jamie “Grandda,” the writers undercut the momentum by circling back to a storyline that did not need more screen time. The result was emotional whiplash.
Favorite Scene(s)
Across the episode, several moments stood out for their emotional depth and impact. The scenes between Marsali and Bree carried tremendous weight, grounding the story in the strength of their bond as sisters navigating grief and impossible choices together.
The tenderness between Fergus and Marsali,especially their laughter and easy intimacy, made their domestic happiness feel lived‑in and real, which only sharpened the blow of what followed. Fergus’s death, tragic and painful to watch, became one of the episode’s most powerful moments precisely because it shattered that hard‑won joy and contradicted the character’s arc in a way that was unnecessary.
Fanny taking Jamie’s hand and calling him “Grandda” was another standout, a quiet but deeply moving moment that showed her beginning to trust this family and claim a place within it.
And Lord John’s reaction to Amaranthus’s shifting story, along with his confrontation with William, added a sharp jolt of tension and revealed just how far he’s been pushed emotionally, exposing a secret he never wanted to get out.
Directing
The directing this week delivered some beautifully handled moments, especially at the Ridge when Bree, Roger, and Marsali arrived and the camera lingered on the quiet devastation of the family learning about Fergus. Those scenes carried real emotional weight and showed how strong the episode could be when it trusted stillness and character.
But the episode’s overall flow felt uneven. The scene transitions were choppy, and the constant shifting between storylines created a lack of continuity that made the episode feel disjointed.
Ending with the seaside song only amplified that feeling because it pulled the emotional tone in a completely different direction right when the story needed grounding. The directing had strong individual beats, but the way those moments were stitched together didn’t support the emotional rhythm the episode was trying to build.
Writing – This is a new section, and it might only be here for this episode, but it’s needed.
The writing struggled with balance and structure, especially considering the magnitude of what happens in this episode. The Faith storyline was stretched far beyond what the narrative could support, overshadowing more urgent and emotionally grounded arcs. It also disrupted the episode’s thematic cohesion; the hour was trying to explore family, loss, and legacy, but the Faith material kept pulling focus away from the storylines that were already carrying those themes more effectively.
And because the writers knew they were going to kill off a major character, the season should have invested more time in Fergus and Marsali earlier on. Their scenes here were powerful, but they were doing the work of an entire arc in a single episode. More context, more buildup, and more focus on their family would have made Fergus’s death feel earned rather than rushed, almost like a last minute decision, albeit one decided before S8 started.
The impact was also weakened by how frequently the show continues to deviate from the source material, often in ways that undercut the emotional logic of the original story.
The episode had strong material, but the writing choices often pulled attention in the wrong direction and weakened the emotional payoff.
Standout Acting / Performance(s)
This episode delivered several powerful performances, with multiple actors rising to the emotional demands of the story despite the deviations and uneven writing. Florrie May Wilkinson continues to shine as Fanny, bringing a depth and vulnerability that makes every one of her scenes land with real weight. Her ability to balance fear, hope, and longing gives the character a lived‑in authenticity that anchors the emotional core of the episode.
Lauren Lyle was another standout, especially in Marsali’s grief. She captured the rawness of shock and heartbreak with a quiet intensity that made her scenes some of the most affecting of the hour. César Domboy brought tenderness and warmth to Fergus, particularly in his moments with Henri‑Christian and Marsali. His playfulness, his gentleness, and his fierce determination to save his sons made his performance both heartbreaking and unforgettable.
Sophie Skelton also delivered strong work as Brianna, especially in her scenes with Marsali. She brought a steady, grounded presence that made their bond feel genuine, and her emotional support in those moments added another layer to the episode’s portrayal of family and sisterhood.
Charles Vandervaart delivered compelling work as William, navigating anger, confusion, and betrayal with a complexity that made his scenes with Lord John especially impactful.
Favorite Costume(s)
The costumes this week offered a quiet but meaningful layer of character storytelling. Bree’s coat stood out for its clean structure and the way it moved through the scenes, practical and grounded, yet unmistakably hers.
Fergus’s velvet jacket and boots added a striking visual contrast, rich in texture and presence, giving him a sharp silhouette that felt both familiar and elevated.
And Fanny’s double‑layer dress paired with her grey over‑vest created the perfect balance between childhood and young womanhood. The soft yellow beneath the muted outer layer added a subtle emotional resonance, mirroring her tentative steps toward belonging.
Cinematography
The episode opened with a striking shot of Jamie on the mountain. It wasn’t just a scenic moment. The way the camera pulled back from him made the whole image feel weighted, as if he were already carrying the grief and fallout we hadn’t reached yet. It set the emotional temperature for everything that followed and everything still to come.
The fire sequence shifted the tone completely. The glow of the flames, the smoke curling up the brick walls, the frantic movement of bodies in and out of shadow all made Fergus’s death feel chaotic and immediate. The camera didn’t try to soften anything. It stayed close enough that you could feel the heat, the panic, the desperation. Even the smaller moments, like the children pressed against the wall or the scramble across rooftops, were framed in a way that made the danger feel real without turning it into spectacle.
Later, the camera settled into something quieter and more intimate with Fanny’s point of view on the balcony as Bree, Roger, Marsali, and the children came home after Fergus’s death. Seeing that moment through her eyes gave it a soft ache. It wasn’t staged or dramatic, just a child watching a family return changed, trying to understand what that means for her. The framing made the whole scene feel personal in a way dialogue couldn’t.
LOOKING FORWARD
What we are looking forward to in S8 Epi8 – A Bit of Time
Vida: I am looking forward to seeing LJG’s reaction to Amaranthus wanting to know where William is. I am also looking forward to how Jamie takes heed to Frank’s warning and starts preparing. And, OMG I am sooo looking forward to seeing how Mr. Whitaker and his men will help Jamie. Follow Vida on X – @blacklanderz; Bluesky – @blacklanderz.bsky.social; FB – @Blacklanderz; IG – @blacklanderz.
Olivia: I’m looking forward to finding out how Jamie handles this battle that Frank says he’ll die in, and how William reacts to seeing LJG and Percy kissing. I’m also curious what happens when the Grey family learns about Ben’s betrayal, and where Amaranthus fits into all of this. Follow Olivia on Bluesky: newsollie.bsky.social and on IG: oliviajourno19.
Evelyn: I’m looking forward to see what Amaranthus is going to do now that everyone knows. She is going to need new prospects. I’m interested in how Hal is going to handle this or if they tell him at all. Yes, I want to find out if Frank is really trolling Jamie to make him think he knows what day he is going to die. Follow Evelyn on X – @eloran & Bluesky: loran25.bsky.social.
Outlander S8 Epi8 – A Bit of Time ~ Video via STARZ
Synopsis:
Claire and Jamie receive an unexpected visitor on the Ridge.
See why we love Outlander on Blacklanderz® Speak!
Disclaimer: We hold no rights to any of the pictures. No copyright infringement intended.
