Deep Thoughts Outlander 410: “The Deep Heart’s Core”

And so today, my world it smiles
Your hand in mine, we walk the miles
Thanks to you it will be done
For you to me are the only one
Happiness, no more be sad
Happiness, I’m glad
Led Zeppelin,Thank You

This one’s a little different.  First a general reflection and a bit of a window into my personal life, which I tend to shy away from. I watch TV through a lens of what stories say about people in general. I think it’s a leftover from studying to be an art therapist, looking at the way symbols and gestures represent emotions and the way there are commonalities across ethnicity and gender that speak to the shared emotional ancestry of the human experience. Reading the Outlander novels is so lyrical, I am sometimes drawn into the music of the language, lulled into a rhythm which enables a certain emotional distance. I recognize and process the feelings I read about on a mostly intellectual level more than an emotional one. By causing me to experience those same stories through the actors’ bodies and eyes, their feelings expressed in motion and volume, the series sometimes makes my own emotional reaction harder to process, and I work that out by writing about it. It’s a sort of reciprocal loop, and it gets very, very wordy. Bear with me as I meander. Spoilers ahead for episode 410, “The Deep Heart’s Core” after the jump.

Deep Thoughts Outlander 409: “The Birds and the Bees”

“Now it’s like… like my own fortress has been blown up with gunpowder – there’s nothing left of it but ashes and a smoking rooftree, and the little naked thing that lived there once is out in the open, squeaking and whimpering in fear, tryin’ to hide itself under a blade of grass or a bit o’ leaf but…but not …makin’ m-much of a job of it.”
-Jamie Fraser, Outlander

This was, simultaneously, a difficult watch and a viscerally rewarding one. The Fraser base family unit is finally together for the first time since Jamie saw his pregnant wife through the stones right before Culloden. It’s far from a storybook reunion, as so many things are, both in Outlander and in life. There are periods of intense joy and deep sorrow. The brutal reality of it is jarring and yet, instinctively recognizable as truth. The writing moved along at an energetic pace and while the plot points were all dutifully ticked off, it was done with a meticulous attention to characterization that was satisfying in the extreme. Even if certain choices seemed obvious course-corrections (I’m looking at you, Murtagh suddenly at the Ridge despite your successful smithy), every emotional note was right on beat, weaving together a melody that was as mournful as it was joyful.

Spoilers ahead for episode 409, “The Birds and the Bees”.

A Difficult Lord to Serve

Despite the angry words they both flung at each other the night before, both Roger and Brianna expect that they will come back together. It’s not the healthiest relationship dynamic, but you can’t deny they love each other. Unfortunately, once again Bonnet is there to casually threaten Roger and derail not only their reunion, but the means by which to enlighten Lizzie as to who Roger really is. For a moment it seems as if Roger will risk the limb over the lass, but he isn’t given a choice, bodily escorted out by Bonnet’s men. He makes sure Brianna knows he was looking for her, but when she finds the ship gone, as per the usual when it comes to Bree and Roger’s assumptions about one another, she assumes the worst, that he loves her “not at all”. Roger, though, is steadfast, not only keeping his promise to return for Brianna, but asking to be paid via gemstone with an eye to their return trip. “You have Danu, I have Eros,” Roger tells Bonnet, but he’s really communicating to us, in the most succinct way, that every action he takes is because of love. A man that committed wouldn’t be likely to abandon a wife, and so he shows up at the Ridge, heartbreakingly friendly and utterly unprepared for what happens.  Unlike in the novels, he doesn’t even get a chance to defend himself, and it’s even more horrifying to watch because we know him to be innocent of that which he’s accused.

Call Me Da

It’s sweet beyond words to see Jamie touch his daughter’s face, but it’s especially significant that his stroking her face is the first loving touch Brianna allows after her rape. When Jamie says that he hadn’t thought of her as grown, but still “his babe,” it’s a melancholy bookend to Claire’s “My baby,” near episode’s end, and prompts Bree to initiate her own touch, flinging herself into his arms and crying in relief. Her reunion with Claire is electric in an entirely different way, since her mother is glad to see her, but knows the danger and difficulties faced by a woman traveling through time. Bree goes back to the Ridge and we get to see her interact with her extended family. Jamie observes her as much as he interacts, empathizing with her heartbreak and, like Brianna herself, avoiding the subject of Frank. Jamie is shy with his love, and gentle, trying to go only as far as Bree allows, watching carefully for hesitation. The bees are a metaphor that Brianna recognizes, telling Jamie she has a home and that she feels disloyal to Frank, being with him. Jamie, however, has also been forced from his home, and his understanding and plain speaking enable her to do the same, making what was once a complicated thing into something “simple”. His patience here makes what comes later both more and less understandable. The idea of violence being done to your child is so unthinkable that the mind shies away from it, and you can’t help but see them at their most vulnerable, when you were most able to protect them. Claire cannot heal this hurt and Jamie, a warrior, used to bearing his own pain and suppressing his own violent memories, cannot do the same with the pain of a child he has barely regained and already worried he could not protect. He seems to be handling things… until he just isn’t, Lizzie’s painfully detailed description of Bree’s condition (while standing next to Ian, another victim for whom he feels responsible) causing him to explode. Not only is the beating savage, but Jamie seems reduced down to his most primal, his usual strategic thinking gone, telling Ian simply to “get rid of him” without killing him. It’s one of the few times Jamie acts rashly, heart before head, and it will come back to haunt him.

A Disturbance

When Bree recites the poem on her bracelet, it seems she is outlining yet again the ebb and flow of her relationship with Roger. Despite thinking that he might love her “not at all,” she later confesses her love and regret to her mother, who wisely doubts Roger would leave after one argument. Bree’s connection with Claire is uninterrupted, warm and intimate. Her relationship with Jamie is more of a work in progress, though both parties are well-intentioned, and a truce of sorts is struck after their hunting trip. Brianna is open to Jamie, but despite agreeing to call him “Da,” she still refers to him as “Jamie” when speaking to Claire, who she affectionately calls “Momma” instead of the more adult “Mom”.  There is usually no time when we want our mothers more than the times we are in pain, and Brianna is no different. Although she has been doing a passable job of pretending to be okay, the occasional looks Claire shoots her daughter throughout the episode finally culminate in her tearful confession in the garden. It’s terrible enough for a mother to hear, but even worse to realize that there is nothing you can offer besides a sharing of mutual grief and horror, and the promise of support. Brianna doesn’t tell Jamie herself, but leaves Claire to do so, while Lizzie mistakenly fills in the blanks for Jamie. This piecemeal communication will cost Roger dearly, and it’s easy to think that Brianna is too overcome to think clearly, but the opposite is chillingly, horribly true.  In maybe her most MacKenzian act to-date, Brianna, having put the pieces of the puzzle together and confirming Bonnet as the thief of her mother’s ring, shields both her parents from the terrible truth to protect them from their own feelings and actions. It is then that the “baby” is shown to be taking care of her parents, shielding them with her very body as if they are the child, and she the mother.

This was hands-down Sophie Skelton’s episode, and she hurt my heart to watch. From that first, shaky-breathed standing bath to her pale, distant calm every time Bonnet’s name came up to the final, desperate moment of self-recrimination, it was both excellent and unbearable. Brianna is a woman who has grown up consistently making the best of terrible situations, but she is also a child of the 20th century, raised with love and imbued with a sense of her own independence and worth, and Bonnet takes more than her body that night. You can see her struggle to reassert the very bones of who she was, clutching at her own body as if to ground herself in it, flinching at unexpected touches, seeking the comfort of her parents’ bodies, as if by somehow pressing against those that created her, she can be reborn again, whole and inviolate.

Deep Thoughts Outlander 408: “Wilmington”

It feels like just yesterday that I was complimenting some the adaptation’s changes to the novels, so it seems karmically fair that this week I should be slapped in the face by how deeply the tiny shifts from the novels affected one of the episodes to which I was most looking forward. Drums of Autumn, the novel upon which this season is based, prominently features Roger and Brianna as individuals and as a couple, setting up the second great love of the novels. It had been hinted the show would give these characters a romantic hour of their own that would cement the emotional connections between them upon which rest several future plot points. I’m not sure that happened. As for Jamie and Claire, Murtagh’s leadership of the regulators manifested into a side plot that seemed to leave his relationship with Jamie weaker than we found it. Let’s revisit what was, for me at least, a pretty challenging hour. Spoilers ahead for episode 408, “Wilmington”.

All The World’s a Stage
After a visit to Fergus and Marsali that establishes that Bree and her parents are in the same place as well as the same time, Jamie and Claire attend the theater with Governor Tryon and his wife. There they meet the Governor’s Public Registrar of Deeds, Assemblyman and Judge Edmund Fanning, a man suffering from what Claire immediately recognizes as an inguinal hernia…and a young Colonel George Washington and his wife, Martha. Jamie is playing the part of loyal English subject, cultivating a cordial relationship with the man who is responsible for his land bequest while still trying to protect his godfather, Murtagh, from the ambush Tryon has set for him. It ends up not only cementing Tryon’s view of Jamie as a loyal subject, but also his opinion of Claire as a qualified surgeon. At the end, though Jamie stops Murtagh from committing “a hanging offense,” it’s not by showing up himself but rather returning to the theater with the Governor and sending Fergus in his stead, an act which Murtagh interprets somewhat disdainfully. Jamie, once again walking a fine line between loyalty and sedition, proves Roger’s assertion that it is dangerous to decide who lives and who dies. His actions have alerted his godfather to a traitor in his camp, but Tryon has also guessed the same about his own side, and now blames an innocent General Washington. The outcome of the Revolutionary War is a foregone conclusion, but it was by no means an overnight occurrence. With four years to go before the Boston Tea Party and six before the “Shot Heard Around the World,” it sets the stage for a long-term conflict which seems inconsistent with the level of focus Murtagh’s activities are occupying in the current narrative. It’ll be interesting to see how this plot line is resolved.


I Plight Thee My Troth
Just a few minutes into the episode, a tired Roger overhears a tired Brianna inquire about Cross Creek and the two are reunited. Their affection for each other is obvious, but by the time they take their conversation outside they are back to bickering that would appear, to a casual observer like Lizzie, that they are angry with each other. I understand that the TV version of Roger/Brianna rests largely on this dynamic, but it’s problematic for many reasons and this episode saw several of those rear their head. At first, things go well. During the course of their argument, Brianna confesses that she loves Roger, and the resulting make-out session has Bree agreeing to marry him. It’s a bit sudden but still believable, and their ceremony is sweet, a mashup of the older and newer wedding traditions that ends with them plighting their “troth” to one another, i.e. their faith and loyalty. It’s here where things begin to fall apart. The same comfort that allows them both to be swept away by grand gestures and romance causes them both not to think before they speak. Brianna discovers that Roger knew about the obituary, and she accuses him of being domineering. Roger retaliates by pointing out her recklessness, both in assuming she can change the past and in risking her life, and by extension his own, in trying. Once again, they both say things they don’t mean and care less about listening to each other than they do about getting their own point across. A prime example is when Roger says that, now they’re married, she should start listening to him, and Brianna interprets that as doing what he says. It’s incredibly frustrating to watch a couple that loves each other repeatedly stall in the growth of their relationship, withdraw from each other, and fight unfairly. For example, in the novel, Brianna leaves Roger after she discovers he knew about her mother’s death. Here, it’s Roger that leaves her, and what was empowering for her and motivating for him now looks like an unfeeling abandonment by a man who just swore to take care of her. Taken together with their post-proposal fight and how this incredibly sensitive character has been portrayed as a thoughtless misogynist, it leaves me with a feeling of alienation from Roger, and for Brianna for choosing him. Perhaps the intent is to make the television audience feel closer to Brianna, who was a somewhat polarizing character in the novels, but it ends up making me question why I should be excited about a relationship where two people are so careless with each other’s feelings. I want to cheer for Roger and Brianna, but when they keep being set against each other in these maladaptive ways, it’s incredibly difficult to keep overlooking.

You Can’t Protect Them
Still ringing from an argument with Roger in which she assures him that she and Lizzie have done “quite well” alone, Brianna comes back to the inn where she is staying, only to run into Stephen Bonnet and his possession of her mother’s ring. Her attempt to retrieve it unlocks Bonnet’s casual cruelty once more, to devastating effect. The resulting scene is not only traumatic for the fact that the real-time audio means you can close your eyes and see it in your mind’s eye, but because it’s heartbreaking proof of how very alone Brianna is, and how vulnerable despite the courage and fire in her heart. Outlander has never been a series that hesitates when it comes to the use of rape as a plot device, but the placement of this particular scene, directly after a loving first time, feels particularly traumatic because it happens the same night, not two days later and told as a flashback, like in the novels. Several meanings could be assigned to it. Maybe it was meant to evoke the horror of what is happening in those who watch it. Maybe it was meant as a contrast between the loving interlude with Roger, Bonnet’s relaxed violence making Roger’s careful reverence more tender and tragic by comparison. Or maybe it was simply one of those meaningless acts of violence to which reason simply doesn’t apply, presented without comment and without comfort. Brianna’s body is shown less care than her boots, stacked up carefully by the doorway. She walks back through the tavern —slowly, painfully, but upright.

Deep Thoughts Outlander 406: Blood of My Blood

John loves Jamie Outlander

Let us live, my Lesbia, and love,
and the rumors of rather stern old men
let us value all at just one penny!
Suns may set and rise again;
for us, when once the brief light has set,
an eternal night must be slept.
Give me a thousand kisses, then a hundred,
then another thousand, then a second hundred,
then yet another thousand, then a hundred;
then, when we have performed many thousands,
we shall shake them into confusion, in order for us to lose the count,
and in order not to let any evil person envy us,
as no one will be aware of how many kisses have there been.

-Catallus

This week’s episode was a favorite. It exemplified one of the things the novels do best: multiple points of view that each feel important. Although Jamie and Claire were at the center of this episode, it didn’t focus solely on their romantic relationship (except for the last few minutes that feature a quote from the above poem), but branched out to show some of the reasons these two exceptional people are just as exceptional apart. Spoilers ahead for episode 406.

Rumor Has It

A lot of this hour focused on the nature not of love, but of the allegiances that love entails. Does loving someone, and being loved by them, entitle us to be the priority in their hearts? I think this is something that changes more and more the older we get and the more allegiances we develop. When one is a child there is often one luminous adult, be they parent or grandparent (or groom) that helps us make sense of the world and our place in it. When we become parents, our children are the ones entitled to our greatest dedication, at least until they become adults. In Jamie’s youth, Murtagh was that adult, and the nature of their bond was so narrow that there was no one he trusted more. Now in his middle age, Jamie has made an unlikely but steadfast friend in John, who he appreciates not only for his own nobility of character but for the lasting commitment he made to raise Jamie’s son. Murtagh, who has only ever experienced loss at the hands of the English, doesn’t understand Jamie’s attachment until he guesses that William is Jamie’s son. Murtagh, who has thought of Jamie as his own son, must now weigh his allegiance to the one-time leader of his clan to that of the new clan he has created with the Scottish expats of Woolam’s Creek. He gently reminds Jamie when he leaves the Ridge that he has kept all his secrets so far, and perhaps can be trusted with the story of William’s mother; it’s a subtle dig that finds its mark. It’s not only Murtagh who struggles with Jamie’s regard for John. Claire, conscious of Jamie’s appreciation of William’s care, is perfectly polite to John in front of her husband but doesn’t hesitate to lay her cards on the table when they are left alone. Claire is making assumptions about John’s feelings for Jamie based not only on her own pain, but on the legacy of Black Jack Randall. William is operating from his memories of Mac and his belief that he is a nobleman’s son, above valuing the affections of a groom. Even the fandom, on occasion mentioning an episode that features one character over another, gets drawn into the fallacy that love of one thing must mean indifference or derision of another, when the opposite is true. So many hearts that begin the hour looking at love as an either/or proposition come to understand by hours’ end that the nature of a true love, one that comes from a good heart, be it eros, philia, storge or Claire’s evergreen agape, is that it cannot be lessened by division, only magnified.

Envy Eats Its Own Heart

John arrives at the Ridge ostensibly to allow Jamie to visit with his son, but it’s no surprise that it’s Claire who confronts him not once, but twice with his reason for coming. There is a searing honesty between these two that, if Jamie and his friendship is anything to go by, is a necessary requirement to a meaningful friendship with either of them. The way their relationship is advanced here, in a sort of abbreviated 3-act play with high emotional stakes, is my favorite part of the entire episode. It begins with a clawing out of boundaries where Claire not only confronts John with his real reason for coming (to see Jamie), but answers his accusation of envy by pointing out that she too, raised a child of Jamie’s and taunting John with the knowledge of what William’s reaction would be, should he learn that John is lying to him about his parentage. Despite Claire saying that her “devastating straightforwardness,” isn’t a choice, it’s certainly more of a choice than John’s sexual orientation, and especially in that time. The way that David Berry delivers that line, tears in his eyes, speaks volumes as to the pain in John’s heart.  While John appears to be dutifully mournful when he tells Jamie of Isobel’s death, he confesses to Claire later, when he believes he is dying, that he felt “nothing” upon the death of his wife despite the fact that they had a life together and that seeing Jamie was a way to see if he still had feelings. He also tells her that he could have had Jamie once and chose not to, when Jamie bartered his body for his promise to take care of William, and Claire is shocked. Not because she would not herself have made the same bargain (remember her submission to the King of France in exchange for Jamie’s release), but because she knows Jamie’s history with Randall and what it must have cost him to make such an offer. The next morning when John wakes, he begs her forgiveness for his indiscretion, and confesses it is the “satisfaction on your face” that grieves him most. When he asks Claire if she knows what it is to love someone and not be able to bring them happiness simply because you were not born the right person for them, it is no coincidence that the hand that reaches out to comfort him is the one with Frank’s ring. John has William, she tells him, communicating in so few words what Frank meant to her as the father to her daughter. John will never be loved by Jamie as he wishes, nor Frank by Claire, but they have places in their hearts that they earned honestly, and that holds a value all its own.

Sunrise, Sunset

A large part of the episode explored Jamie’s relationship with his son, William Ransom. William shows up with Lord John Grey, whose illness forces Jamie to take the boy into the woods and spend time together. We deviate from the book early on, as William remembers Mac the groom when Jamie speaks Gaelic to his horses on their way to the privy. The child’s hurt feelings are expressed in haughtiness. As John points out, this is a boy who has lost two mothers in his short lifetime, and now his father is ill. This illness is the catalyst for Jamie to take the boy out on a tour of the land. William is by turns enthusiastic and mulish. Although it is obvious that he admires Jamie and wants to learn from him, the mention of Jamie’s father reminds him of his own, and he lashes out in his uncertainty and fear, blaming his father’s illness on his visit to Jamie. William, as many children do, feels an intense loyalty to his father. The reminder of him fills him with a guilt that expresses itself in anger. While Jamie is emotionally intelligent enough to recognize his outburst for what it is, he is painfully reminded of the place John has in the boy’s heart, and how he compares. This makes his desperate offer to take Willie’s place for taking the Native’s fish all the more heartbreaking. When he shouts that he is the boy’s father, it’s such a ludicrous proposition that Willie assertively denies it, bravely claiming sole responsibility for the theft. William runs to Jamie’s arms for comfort, and they strike a truce. The next morning on the way back to Ridge, William asks Jamie why he didn’t turn around when he left Helwater. Jamie says honestly that he wanted to, but he didn’t want to give him false hope since he didn’t believe he would ever see him again. His affectionate rush to John and Jamie’s assurance that John is a good father in no way mars the closeness the two have achieved. Both men understand their place in the boy’s life, and when William looks back at Jamie as his horse ambles away from the Frasers’ homestead, his yearning gaze is a beacon of hope for his father’s heart to hold onto that someday, they will see each other again.

Let Us Live and Love

After the emotional turmoil of John’s visit, Claire and Jamie reaffirm their vows, in a way. Jamie washes Claire in a sort of baptismal cleansing. John wasn’t only a reminder of their child, but of their 20 years apart, and their yearning to be together. The ring Jamie gives her is emblematic of their commitment to each other, and the endurance of the Fraser clan in all its varied forms and iterations. Their first kiss, shared on their wedding day, multiplied into a thousand more, to be shared by them, their children, and the generations to come.

 

Deep Thoughts Outlander 401: America the Beautiful

Outlander S4, Jamie and Claire, Jamie Fraser, Claire Fraser

Irony, thy name is Outlander.

You also have several other middle names, some of which are Gaelic, some the Latin names for various flora and some, just wonderfully original curse words. Spoilers ahead for the season 4 premiere.

outlander spoilers, ed speeler, stephen bonnet

It’s a Round, Round, Round World

The episode opens in 2000 B. C., with unnamed tribes dancing in a stone circle and Claire speaking about the symbolism attributed to them, of which she is intimately aware. When we rejoin the Frasers in 1767 North Carolina, the brutality of English justice calls back to Jamie’s original capture, and he visits Hayes to offer him the same kindness Dougal once offered him: escape. He and Claire end this episode on their way to ask for a MacKenzie’s aid, same as Jamie once did after his escape from Randall. Jamie offers help to Stephen Bonnet in the same spirit it was offered to him, and it is Bonnet that breaks the circle of trust by stealing and killing those who once helped him. Claire and Jamie lose a friend, but their bond still holds them together and Claire’s knowledge of history will help shape their future choices, even if it doesn’t guarantee their success. Still, from the infinity symbol created by Claire’s twin wedding bands moments before she swallows them to Marsali and Fergus’s happy surprise, we are reminded that circles by their very nature continue spinning, and this is only the beginning of their second chance.

Of Thee I Sing

Season 4 has been framed over and over again as the Frasers’ immigration story, and as any first-generation immigrant will tell you, it’s no bed of roses. Their current situation in Scotland might not be as deadly as it once was, but it certainly isn’t as promising as it could be in the Carolinas, the wee issue of loyalty notwithstanding. Jamie, Claire, and their family differ from the standard immigrant to the Americas not only in their beliefs (Catholic vs. Protestant) and nationality (Scottish/Scottish-by-marriage vs. English), but in their morality and belief systems. I didn’t find the last scene as upsetting as searingly, terribly honest. The jazzy, upbeat version of America the Beautiful playing over the violence at the end is disturbing only to those who haven’t experienced this version of America…and the Frasers aren’t part of the population that will ultimately suffer the most from the realization of the American Dream. They are about to experience, maybe for the first time, what it is to be part of the victor’s side of an equation where victory can at times ring hollow. From the natives that we have heard about (but have yet to see) to the slave trade, Jamie and Claire will face every immigrant’s dilemma: how to carve out a space for themselves and their family that holds on to the dearest parts of their identity while learning what to let go in order to survive in a new world.

The Bakra and the Sea

The question of good and evil is never a black-and-white issue in Outlander, and we are reminded of this three times this episode. First, when Hayes bravely accepts his fate as his due for laying with a married woman and killing her husband in a panic. Jamie knows him to be a good man, and reaffirms that goodness well past the man’s death, ensuring Bonnet’s safety in his name. Although these were actions taken in good faith, they ultimately enable the escape of a man who will come to be a great thorn in the Frasers’ side. Second, when Ian experiences a flashback of his time as Geillis’ captive while digging Hayes’ grave. He confesses to Jamie his shame at the pleasure of it, despite the “unspeakable things” she made him do. Jamie encourages him to speak of it to him the way he once spoke of it to Claire, and reduces it to a simple yet brutal truth that Ian can accept. “What it comes down to is your cock doesna have a conscience, but you have.” Third and perhaps most poignantly, when Bonnet tells Claire his dream of dying at sea, and she empathizes with him as a healer and human being only to have him later violate that trust by taking her most cherished possession, the iron circle, made from Lallybroch’s key, that Jamie gave her on their wedding day 24 years ago.

Suck It, Science

Ultimately we are left with the central, circular truth in this show: Love holds everything together. Marsali, despite Claire’s contraceptive, is happily carrying her first child, the first generation of Frasers in America. Jamie, thinking of America as his daughter’s future home, once again considers pledging an allegiance he will eventually need to break when the revolutionary war breaks out in eight years. Fergus, Marsali and Ian choose to remain with Jamie and Claire rather than go back to Scotland. Lesley honors his friend by singing a caithris in his honor, and dies protecting his leader’s wife. Ian finds comfort in the unconditional love of a selfless companion. Claire and Jamie meditate on the fragility of life and the importance of whatever moments they have together, even if they don’t last forever. Jamie pledges a love that lasts beyond death. “Nothing is lost, Sassenach. Only changed.” When Claire replies that it’s the first law of thermodynamics, he replies that no, it’s faith. That belief in things unseen, in the eventual harmony of all things, in the closing of circles and the ability of good to overcome evil as long as good people hold on tight to each other and stand against it.

Let Freedom Ring: Outlander Season 4 Official Trailer

It’s that time again, to be teased with all the wonders that await us in the season to come and make preemptive judgments about which book scenes we’re most likely to be cheated out of. Let’s take a look at the high points of the S4 trailer.

We open on Claire and Jamie cuddling under a horse and speaking about the Scottish-American Dream. Claire is telling Jamie the story of America…

Outlander Independence Day Will Smith Claire and Jamie Fraser

…but leaving out most of the stuff that’s not really great pillow talk.

Outlander Trailer American Dream

Then we get some Claire-Jamie lip congress, just so we know they’re still banging like fireworks.

Outlander Claire Fraser Jamie Fraser Freedom Kissing

We then get an aerial view of River Run, the North Carolina plantation owned by Jamie’s widowed Aunt Jocasta, sister to his mother Ellen. If Jocasta is any indication, the long tradition of ball-busting Mackenzie women is about to be HELLA UPHELD. Somewhere in Scotland, Jenny is chortling.

Outlander Jocasta RBF

Jocasta is going to take her nephew in because family, but you better believe she’s going to read him to filth and that Claire is not going to stand for it. On a positive note, Claire and Jamie get to wear fancy clothes again, and it’s always good to see them clean and pressed.

Outlander Jamie Fraser Steak

Outlander Claire drinking

After this there’s a brief clip of Tim Downie as Governor William Tryon trying to hard sell Jamie on North Carolina by saying it “offers wealth and prosperity.”

Outlander Governor Tryon

The only fly in the colonial ointment, is Claire, bless her 20th-Century morals. After a brief flash of her gazing out the window at the River Run field hands, she point-blank tells Jocasta she doesn’t agree with keeping people as property while Jocasta’s slave Phaedre is on her knees pinning her dress and casting the subtlest and most effective of shades.

Outlander Phaedre The office

Jocasta bless-your-heart’s her HARD, replying “You’re a lively one, are ye no’?” in the time-honored tradition of polite derision which perfectly marries Jo’s Southern and Scottish sides. It is, however, no match for a pushy English broad who’s used to pushing both buttons and boundaries.

Outlander Claire pain in the ass

This results in Jamie telling Claire that it’s time to do what they do best: GTFO. There follows a montage of what I’ll refer to as “Colonial MacGyver”, Jamie chops wood, Claire sharpens the axe (this might not be in strict chronological order) and then Jamie ensures no evil spirits claim his bride by carrying Claire over the threshold of their new home.

Outlander Claire and Jamie Ball Pit

Claire pronounces the house “perfect,” and Jamie sweetly reveals he’s trying to leave something good behind for his daughter, so his “presence here now can be felt by Brianna later.” Back in the 20th century, his daughter is certainly feeling something: hunger for a Scottish biscuit.

Outlander Brianna grin brush beard

Outlander Roger Beard

A brief flash of Claire shooting a chopping block that probably asked for it, and then we meet Stephen Bonnet, the Big Bad of season 4 and charming PoS par excellence.

Stephen Bonnet is an ass

This is basically the cue for the “bad stuff happens to good people” portion of the trailer, where we find out all the messed-up things in the Frasers’ future. Cut to a concerned Jamie telling Young Ian that there are “savages” there.

Outlander Jamie savages

Several quick cuts follow: Men with torches in the night; men with rope headed to River Run; Bonnet and masked men bursting into Jamie’s bunk; a surprised Jamie, Claire and Ian sitting up in bed and finally, Jamie being pulled into a boat as he shouts Claire’s name. It’s all very stressful so let’s take five for some deep breaths and a meditation on Scottish teddy bears.

Roger Wakefield, Scottish Teddy Bear

I bet his face is like the finest velour.

Back to the 20th century, where Roger finds the land contract Gov. Tryon signed with Jamie and calls Bree in Boston to let her know he’s got news about her mother.

Brianna Outlander New Phone Who Dis

Outlander Roger Mac Indiana Jones

Flash back to the 18th century, and Jamie just looking worn out from all the plot. Poor Jamie. Boy just wants a cuddle with the Mrs. and maybe some pie or something, but stuff keeps going down.

Jamie Fraser too old for this

More quick cuts: What I am guessing are Tuscarora coming over a hill and startling Jamie, Claire and Ian; a public hanging that should look familiar to book readers; Bonnet, on a ship, telling someone who looks suspiciously like a beloved Scottish history professor we all know that “Everything’s in my power” and an angry mob throwing a rock through a window at River Run. I bet Claire forgot how deadly the 18th century is on account of the sex haze.

Outlander Claire Ginger Nookie

During what appears to be an extensive tour of the North Carolina woods, Claire’s skull Spidey-sense once again hits pay dirt, this time in the form of a skull with several silver fillings that, she tells Jamie, won’t be invented for another hundred years. Their dental hygiene seems to have improved when they traveled to the past.

Outlander Jamie Fraser time travelers

More quick cuts: Jamie dropping his dagger into the ground in front of the Tuscarora; another angle of the mob at River Run; an angry man being restrained in the street and over all of this, Claire’s voice saying that “This will lead us to fighting in another war. We will be on the wrong side of history again.” Right at the tail end of this, Roger is silhouetted in front of a bonfire with tears in his eyes, and a crying Bree stares at Roger. It’s very sad. It also looks very hot.

Outlander Roger Wakefield wool was a bad choice

More quick cuts: A clock strikes midnight; a drum circle at night looks eerily like standing stones; a close-up on the noose hanging in the middle of the town square; a strangely dressed Brianna looks up; Claire on a horse, frantically looking around and Bree kneeling in front of what might be Frank’s grave. Back to Jamie and Claire at River Run, Jamie telling his wife that they can’t change the world without her.

Outlander Claire Fraser

Ramping up towards the end, we see Claire’s horse get spooked by lightning…

Outlander Claire Fraser Horse Spooked

…Receive reassurance that Jamie’s back is still in working order…

Outlander Jamie Fraser Claire Fraser Tub

…Get slight motion sickness for the very best of reasons…

Don’t mind me, just drunk on joy

Back to Jamie’s voice reassuring us that “A dream for some can be a nightmare for others.” Cut in between footage of storms on land and sea, there’s a flash of maybe Otter Tooth walking through the woods at night, Claire aiming a shotgun at an unknown target, people being tossed about what looks like a ship and Jamie angrily pinning Stephen Bonnet against a wall and giving him what appears to be a scathing Yelp review.

Outlander al dente Jamie Fraser Stephen Bonnet

A quick flash of the fire at the Celtic festival Roger and Bree attend in the 20th-century fades into Bonnet jumping over a man’s body as he turns a corner. Now Jamie’s pointing a gun and Claire runs to hug him. The hug changes angles, but the hair peeking out from Claire’s arms is a darker red. The date of the premiere flashes quickly onscreen and then, in a beautiful bit seeming to guide his daughter onscreen, Frank’s voice: “Sometimes, life takes unexpected turns.”

Outlander Bree Fraser

Sometimes, those turns go backwards. Reverse clockwise, as it were.

When last we saw Jamie and Claire, they were newly arrived in Baby America, their copious enemy slate wiped clean. Miles and centuries away, Bree and Roger were newly in love and exploring each other’s um, oral traditions. By all rights, season four should be one long Ed Sheeran video. Instead, this trailer is rife with foreshadowing of trouble. It makes sense: no one is tuning in to watch Claire knit, and happily ever after is the kind of stasis that’s hard to maintain when you’re a time traveler with a brain built for science and a body built for sin. Still, the Frasers have some tough road ahead that will see the traditional Claire-Jamie focus expanded by events that will serve to emotionally attach you to their (bio and adopted) children. This is the season where our sci-fi-romance adds yet another category to its hypenate: Saga. Some might want the narrative to remain solely focused on Jamie and Claire but if the producers do right by us (and it seems they will), Outlander will once again pull moves like Jagger, giving us not what we might want but instead, what we need. Bree and Roger both amplify Claire and Jamie’s love, orphan children kept healthy and safe in the world because of people that loved them, and together their story (and Ian’s, and Fergus and Marsali’s) becomes the story of a fruitful love: a family whose determination to flourish despite the odds is a re-telling of the immigrant story that so many of us can identify as the American dream of our forefathers. The dream that we might build something good, so our presence may be felt through centuries.

Bring it.