#frasers ridge

[mceproductions]

Best of 2023 TV Shows #19: Outlander (Starz)

The drumbeats of revolutionary war never seem more imminent for Jamie and Claire as they see the conflict inch closer to Fraser’s Ridge.

While Roger and Briana are forced to return to the present to help their expanding family.

Sinead O’Connor graces us with her musical talents one more time as we get her take on The Skye Boat Song.

The bone really does echo.

SUM 22: Outlander returns to form with the first half of its penultimate season. The Fraser’s really do need a break after all this.

[sgiandubh]

PSA: An Appalachian cry for help

Rather unusually, I have received this poignant message yesterday, in the middle of the European night, and I am now honoring it, with @novel-dreams' permission to share part of our DM convo:

@novel-dreams also provided this dramatic on-the-spot feedback:

[Click here for a more complete reblog, photos included: https://www.tumblr.com/the-elder-polls/762929863960166400/to-those-of-you-reblogging-this-thank-you-i-have?source=share]

And S himself shared the American Red Cross' appeal on behalf of the victims of hurricane Helene in North Carolina and Tennessee:

So, if you want to help and I strongly suggest you do so, even symbolically, as even dimes can make a difference to those left with absolutely nothing, here are a couple of other links for vetted local NGOs:

Most of these, such as Operation Airdrop or Manna Food Bank, may not take overseas donations and this makes me feel somewhat helpless, but all I am asking you, really, is at least to help spread this message, if you are unable/unwilling to pitch in.

In the meanwhile, we are ploughing through our own dressings, Shipper Mom and I, because we also had devastating floods in my own country and there are thousands who lost absolutely everything.

Let this be a reminder climate change is no joke.

[Later edit]: @txgenelady added this extra resource:

And I am adding The American Red Cross' dedicated link: https://www.redcross.org/donate/dr/hurricane-helene.html/

This post will remain open and might be regularly updated if you have any other idea or resource.

[Later edit 2]: Adding in the link for the North Carolina Disaster Relief Fund (thank you, @poughkeepsielass!): https://pay.payitgov.com/ncdonations (I have donated a very small amount here, from the 💖, the RC won't take my money), along with World Central Kitchen (thank you, @sarcastic-poll!): https://donate.wck.org/give/622465/?_gl=1qcys45_gcl_auMTQzNDU4MTEwMi4xNzI3ODA1MTkz_gaMTEwMjkzMjY4Ni4xNzI3ODA1MTkz_ga_5WKVY8503C*MTcyNzgwNTE5My4xLjEuMTcyNzgwNTIxNy4zNi4wLjA.#!/donation/checkout

[Later edit 3]: added The Cajun Navy Relief (https://www.cajunnavyrelief.com/)

[themusicsweetly]

Behind-the-scenes of burning down The Big House

[theoutlanderevangelist]

4x03 “The False Bride”

[ladywynne]

Hi - could I please request a mood board of Jamie and Claire enjoying domestic life at the Big House on Fraser’s Ridge? I always loved those happy moments in the books. Wish there were more in the series.

Thank you! ❤️

It was so good to get back to Jamie and Claire, especially when they are together and happy. <3 Thanks so much for requesting. I hope you like this!

[frasers-of-my-heart]

Wednesday 100: The Godfather

Brianna was leaning against the animals’ enclosure when Murtagh sidled up to her. She smiled at him and he saw Jamie in the way she drew up her mouth, but her eyes showed the same light he’d always seen in Claire’s.

“What were they like?” She interrupted his thoughts.

“Yer parents?” He asked and Bree nodded. “Hm, intolerable comes to mind,” he smirked at her, “much the same as they are today.”

“It’s not so bad, having parents so in love with each other…”

“They started as an arranged marriage, aye? But yer Da, he was gone from the first.”

[pedroam-bang]

Outlander (2018)

[theawkwardterrier]

Wednesday 100: S5 Series, cont.

Bree (5x06) 

“—and a bowl of milk will be fine, but cream is better."

Bree crosses her arms, looking only half amused. "I think we can take care of your cat, Mama."

"Of course, darling. It's only that I've never left the poor thing alone before."

"He won't be alone, that's the point." Eyeing Claire cuddling Adso, she adds, "Hey, if I didn't know better, I'd say you love that thing more than me."

Jamie, who has been waiting on the porch, sticks his head in. "Dinna be daft, a leannan. O' course we love you and yer wee brother the same."

Murtagh (5x07)

He cannot truly feel his godson's hands, only sees the stricken movement — not a soldier's instincts or someone trained by a healer wife, but a child's impulse, desperate to keep the blood inside where it belongs, to keep hold on someone he loves.

He wishes he could stay, yet he cannot regret what brought him here, cannot regret the righteous fight and brotherhood, the foundations of freedom. Even far from home, he isn't dying for nothing. He is doing it for Jamie, instead of him, so it will be years until he knows himself that it doesn't hurt a bit.

Ian (5x08)

He had known that the Ridge would be changed — he has been gone too long and Uncle Jamie's plans had been too expansive for it not to have — and yet Ian had still imagined that same little cabin here. He had wanted it, in some ways, wanted to somehow find himself turning back into the boy he had been then: someone who had suffered, yes, but someone who could smile without effort, who could imagine his bright future ahead.

But now he is here, haunting that big house, no long husband, father, warrior, tribesman, seeing only hopeless darkness awaiting him.

Marsali (5x09)

"Dinna tell me ye don't have snakes in yer time," Daddy says to Ma, and Marsali hears but does not pause in her work, only thinks to herself Yer time? and So that's what it is about her, and decides to speak of it with Fergus later.

A bit of her does feel invisible just then, wondering if they hadn't considered her worthy of true explanation or even excuses — misspeaking or delirium. The rest, however, feels warmed all through by the thought that they consider her family now, trusting her with their secrets, knowing that she accepts them both unguarded.

Roger (5x09)

He is a minister's son. He knows the confessions of the dying are meant to be sacred. That his father-in-law still lives does not change that he spoke this in confidence, as a last resort.

And yet when Bree asks if there is something else, he does not recall his duty to the dying, but that to his wife. He has kept things from her before, telling himself that it was for her own good, and brought only suffering to them all. He’s learned that lesson. He tells Brianna the hard truth.

He thinks Jamie Fraser would—will understand that.

Jamie (5x11)

"We just finished the upstairs," he had told John, and it feels now as if he had spoken a curse upon them, that specter that has visited them more than once before, as they grew settled, as they came to believe that they would have a life of perfectly twined peace.

But Jamie Fraser decides no. They will not be haunted again. They will have that peace, their walls and neighbors firm around them.

He has burned the cross. He will burn the world to find his wife and bring her back whole to this home they have built together.

Fergus (post 5x12)

The nightmares only start a week after.

It makes Fergus feel foolish, that he could ride to rescue Milady, take lives doing it, that he could find Marsali, think she was dead and still hold and joke with her later, and now once everything is calm, the nightmares come.

It makes him feel foolish, that he dreams of himself, laughing with Milord while Marsali shouts for him until she is shoved into silence and Germain stands outside alone, waiting and waiting.

That's why his hand finds the bottle: so he won't feel foolish, guilty, helpless, won't feel anything at all.

Claire (S5)

She realizes one day, looking around the house, that she still doesn't own a vase. She realizes the next minute that it doesn't matter.

She has here her garden and her favorite berry patches in the woods, patients and people who greet her each day. She has the children who have become hers, and her grandchildren too. Her husband has given her two rings, a cat, seeds for cabbages and marigolds, a strong roof, a surgery built by his own hands, windows no matter how dear the price, and everything of himself besides.

She has the vase already, and more.

[d-esmond]

aileen should be in outlander and she’d be besties with claire tbh

[amanbrah]

2023 Best Christmas Lights in Metro Vancouver & the Fraser Valley

2023 Best Christmas Lights in Metro Vancouver & the Fraser Valley.

If you’re looking to make your festive season truly merry and bright, look no further than these locations where Christmas lights are the main attraction in Metro Vancouver & the Fraser Valley. With Metro Vancouver’s many trees, green spaces and natural setting, lighting up for the holidays is must-do. Stop by for a spectacular photo-op and even some pretty amazing light shows across the…

[trickstercaptain]

PIRATE WAR / FRASER'S RIDGE VERSES.

With the arrival of the notorious Captain Flint and Long John Silver to Shipwreck Cove, fresh from the fall of Nassau, comes a truth that, in the midst of raising a family, Jack had been turning a deliberately blind eye to: the end of the pirate’s life as he knows it. Cutler Beckett may have been long gone, but there are plenty of others eager to fill that void and take credit for eradicating piracy from the Caribbean, and Jack soon finds himself torn between the home he has created for himself and the self-preservation instinct he can trust to keep him and his family alive.

The Fraser's Ridge verse follows on from this, with Shipwreck Cove destroyed, and Flint and the crew of the Walrus vanished. Jack, Elizabeth and the other survivors of the battle retreat to Tortuga in the wake of their defeat in order to count their losses, but the reality of their situation is clear: high seas piracy is a lifestyle soon to become a thing of the past. Fortunately, the friendship that the family have forged with Jamie and Claire Fraser provides a refuge, and the Swann-Sparrow clan relocate to Fraser's Ridge, where they take on the name Davis and assimilate into civilised society as best they can. But the American Revolution is brewing in the colonies, and it's not long before Jamie's obligation to North Carolina's governor causes difficulties of its own for the two families.

These verses follow on from each other and are for the most part private verses with Jen ( hangtherules & mysticwrit ) to include a three-way crossover between POTC, Black Sails and Outlander. But I am also very open to expanding it to different interactions if people are interested! It assumes the end of the pirate's way of life and, most importantly, the destruction of Shipwreck Cove, and explores how Jack navigates a more 'civilised' way of life in the shadow of the growing American Revolution.

[nature-played-a-trick-on-me]

Watching outlander, part hatewatching part genuine enjoyment

[gotham-ruaidh]

What an absolute - and unexpected - joy it was to see this iconic exchange between Jamie and Claire, from The Fiery Cross, at the beginning of 07x15 "Written In My Own Heart's Blood".

So perfectly placed in the episode, too.

The show is at its best when it directly presents the source material!

-----

“I saw my mother in her coffin,” he said at last. His thumb touched my ear, drew down the curve of helix and lobule, and I shivered at his touch.

“The women had plaited her hair, to be seemly, but my father wouldna have it. I heard him. He didna shout, though, he was verra quiet. He would have his last sight of her as she was to him, he said. He was half-crazed wi’ grief, they said, he should let well alone, be still. He didna trouble to say more to them, but went to the coffin himself. He undid her plaits and he spread out her hair in his two hands across the pillow. They were afraid to stop him.”

He paused, his thumb stilled.

“I was there, keepin’ quiet in the corner. When they all went out to meet the priest, I crept up close. I hadna seen a dead person before.”

I let my fingers curl over the ridge of his forearm, quietly. My mother had left me one morn ing, kissed my forehead, and slid in the clip that fell out of my curly hair. I had never seen her again. Her coffin had been closed.

“Was it—her?”

“No,” he said softly. His eyes were half-lidded as he looked into the fire. “Not quite. The face had the look of her, but no more. Like as if someone had set out to carve her from birch wood. But her hair—that was still alive. That was still . . . her.”

I heard him swallow, and half-clear his throat.

“The hair lay down across her breast, so it covered the child who lay with her. I thought per haps he wouldna like it; to be smothered so. So I lifted up the locks of red to let him out. I could see him—my wee brother, curled up in her arms, wi’ his head on her breast, all shad owed and snug under the curtain of her hair.

“So then I thought no, he’d be happier if I left him so—so I smoothed her hair down again, to cover his head.”

He drew a deep breath, and I felt his chest rise under my cheek. His fingers ran slowly down through my hair.

“She hadna one white hair, Sassenach. Not one.”

Ellen Fraser had died in childbirth, aged thirty-eight. My own mother had been thirty-two.

And I . . . I had the richness of all those long years lost to them. And more.

“To see the years touch ye gives me joy, Sassenach,” he whispered, “—for it means that ye live.”

-- The Fiery Cross

[frasers-of-my-heart]

Wednesday 100: Thanksgiving Double Feature

Grateful

Claire was cleaning her instruments when she realized it was the fourth Thursday of November. She hadn’t thought about Thanksgiving in quite some time; were they in the 1960s, she and Bree would have made a small meal to celebrate. Here and now, they had their whole family and Claire was more grateful than ever. So, she asked that Mrs. Bug and Lizzie go all out with dinner that day. She sent Ian on a turkey hunt, Marsali helped clean the bird while Fergus chased the children, and Bree and Roger were in charge of decorating the table with wildflowers.  

***

Thankful

Claire told Jamie the tradition of Thanksgiving and as he sat at the head of their table, he knew exactly what he was thankful for. The room was loud — Marsali and Bree were sharing the latest Ridge gossip, Fergus and Ian were exchanging lewd jokes, and Roger was telling the children the story of the first Thanksgiving (save Germain who chose to partake in his Papa’s conversation instead). Jamie never took his eyes off Claire and her gaze held him in return. How long had they dreamed of this? Her eyes shone with satisfaction and he prayed they always would.

[bcacstuff]

🚨 [This story contains major spoilers from the season seven finale of Outlander, “A Hundred Thousand Angels.”] 🚨

In seven seasons of Outlander, Claire (Caitríona Balfe) and Jamie Fraser (Sam Heughan) have endured enough trauma to last multiple lifetimes. While they have always found their way back to each other and the family they’ve created together across centuries, Claire and Jamie, now in middle age, are perhaps more aware than ever about what they stand to lose.

“Jamie is very much aware of his mortality. He’s talked about it multiple seasons, about his nine lives, and he’s right at the end of them,” Heughan tells The Hollywood Reporter in a joint interview with Balfe about the season seven ending. “He didn’t want to be involved in this [Revolutionary War], but his choice now is that he has to be involved to protect those he loves. I think [Jamie and Claire] are aware that they can’t exist without each other and they’d rather not. So what does that mean for the future? I think if one loses the other, then I don’t know if there’s much hope for them.”

Despite that bleak outlook, Claire and Jamie have reason to be hopeful heading into the eighth and final season of the fantasy historical drama. In the season seven finale, as Claire recovers from being shot again and undergoing a life-saving surgery at the hands of Denzell (Joey Phillips), she and Jamie discover that their first daughter Faith, who they believed died in childbirth, had actually survived and was the mother of their new ward Fanny Pocock (Florie Wilkinson) and her late sister Jane (Silvia Presente), who Jamie and his biological son William (Charles Vandervaart) were tragically unable to save from captivity just days earlier.

That shocking cliffhanger — which was not in Diana Gabaldon’s Outlander novels — sets up the final 10 episodes, which Balfe and Heughan have already finished filming. Given that the show has remained a constant in their lives for 11 years, the actors, who both became producers during the fifth season, admit they are still in the early stages of grieving that loss and figuring out how to fill that new void.

“I’m reading a lot, I’m writing a bit, I’m watching so many movies at the moment — all of these things that I just didn’t have time to do,” Balfe says. “I feel like as an actor, when you’re working, you’re on output mode all the time, and it’s so important to feed your soul as well. I want to take my time, wait and do things that really mean something to me.”

Below, the actors behind one of the most beloved TV couples of all time open up to THR about the evolution of their onscreen and offscreen relationships, how they chose to play the key moments from the latest chapter of Claire and Jamie’s love story — and the one genre they would love to collaborate on in the future.

***

Having played Claire and Jamie for over a decade, what new layers were you able to find in the playing of these characters in the seventh season?

SAM HEUGHAN Jamie’s gone from being this tempestuous, impetuous highland warrior with very little responsibility to becoming a laird, and now he’s responsible for not just his men in battle, but everyone on Fraser’s Ridge. He’s essentially a landlord or a clansman. But what I think is really interesting as well is that over the past couple of seasons — but this one in particular — Jamie realizes what he’s got to lose. I think now he realizes he can’t have a life without Claire; he knows that life isn’t worth living without her. I guess being more fragile is what’s interesting about him, which I think comes with old age as well. He’s not as hotheaded, he’s definitely more experienced, and with age comes perhaps more insight into mortality.

CAITRÍONA BALFE Seasons five and six were such a huge shift in who Claire was. Going through the attack and then the ether storyline, it wasn’t like [she became] two different people, but Claire’s whole structure and her coping mechanisms had to change. In season seven, it was this tentative rebuilding of who she was, which was really interesting because I feel like up until that point, there was a lot of compartmentalization — she would do things, but it was put away in a box and she wouldn’t really deal with it. In season seven, there was a maturity to her, but it came with this new layer of vulnerability, especially the beginning of the second part. I think it just made everything much more porous and much more fragile.

As you’ve played these characters from their earlier adult years into middle age, how have you found ways to deepen the palpable sense of intimacy and chemistry between them?

BALFE One of the things that Sam and I were very interested in working out and exploring was this difference in intimacy. People talk about the passion of Claire and Jamie, and that is always a through line, but it can’t feel like those first throes of lust. You want to find something that has more depth, more maturity and more nuance. So we didn’t want to be chasing something that we had done in season one; we didn’t want to be always trying to replicate that. We wanted to find new ways of doing it — and we did.

We had those conversations for most of the sex scenes, and we had chats with the writers about how to find those intimate moments when they’re in conversation and when we see them working out issues in their marriage. It was really important to us to develop that as the seasons went on because sometimes, there’s a call from the fans, and they want to see those sex scenes, and they want the passion. And we want to give you that, but we want to give it to you in a more honest way.

HEUGHAN I think you’re absolutely right. Over the years, they’ve both had to accept each other and their failings, and all these things that have happened either together or separately. And it can’t be like season one because XYZ has happened, so therefore, who’s this character? Who’s this person in front of you now? If anything, they’ve become more understanding of each other, and I think that comes with just playing these characters over time when they’ve been assaulted and lost and found each other again.

BALFE There was a vulnerability to them in the beginning because everything was so new and they didn’t know if they could trust each other. As we were in the mid-seasons, it felt like they had really come into their own — and there was a strength. In the later seasons, there was this new and very different vulnerability. With the precariousness of life that they were experiencing, there was this whole new set of fears and vulnerabilities that came up. That wasn’t something that I expected or imagined would happen, but it naturally happened that way.

Lord John Grey (David Berry), left. Starz

Caitríona, grief is already a tricky emotion to play, but you had the added challenge of having to make the audience believe, even if for a little bit, that Claire had really lost Jamie in episode 10. How did you want to play the different stages of her grief?

BALFE It was really tough, because I feel like there is that sense of, “Does anyone really believe that Jamie Fraser is dead?” But you have to go for it. I had just lost my dad, so the last thing I wanted to do was go into work and feel these feelings. It was not my favorite couple of weeks at work. I worked really hard with the writers to craft a bit of a journey, and there was that [line] that I held on to as well: “I would know [if he died]. I would feel it.” She feels betrayed by herself because she feels like it should feel differently. So there’s the anger and the disbelief that comes with what it feels like when you can’t even trust your own emotions.

And then, of course, the added implication of Lord John Grey [David Berry] was a curveball. (Laughs) David Berry was an amazing scene partner in those scenes. To do intimate scenes with somebody other than Sam — usually all my stuff is with him, so it was like an added unknown territory. But what was also good was we approached it in a very different way to how Sam and I approached things. Sam and I have this shorthand — it’s very organic, and we don’t have to plan out things as much — whereas David likes to [plan]. I’m glad he did because I was quite lost about how we were going to achieve it, but I think in the end it worked quite well.

Claire’s grief-stricken hook-up with John — during which they were both picturing Jamie — has to be one of the most shocking moments of the series. How did you justify Claire’s actions in that moment for yourself?

BALFE I suffer from a real need for things to be logical, which drives the writers crazy, because for me to be able to play it, I need to be able to understand the journey. I think in the final edit, things are quite cut up and it’s not as linear as how we played it. But I think it was great that David and I found a linear journey into it so we could understand that [moment], because it’s also two people who are drunk.

When you’re drunk, there isn’t always logic, but there has to be those moments of, how do you get from A to B? How do these two people who aren’t sexually attracted to each other, who don’t have a history together, go from being alone, drunk and in pain to then being together? So it was finding that shared pain, that shared anger. Lord John was almost needing this kind of consolation in the beginning, and then it’s just the anger and the passion — and it had to come out in some way. So that’s how it happened.

But I think that morning after scene — that gorgeous story that Lord John had and the insight into his life — is so much more intimate than the stuff before. The intimacy the next morning is where you really see these two people form this bond that isn’t sexual, but it’s a friendship and a deep understanding of each other, which I thought was quite beautiful.

In episode 12, Jamie makes his feelings about Claire and John’s entanglement clear in a long, heated sequence where Jamie and Claire are working through their own emotions in real time. How did you each approach that fight?

BALFE Well, Sam had COVID. Do you remember? (Laughs)

HEUGHAN Yeah! It was certainly very challenging. In some ways, it was [shot] like a play, but I think we shot one direction, then I came down with COVID. I think quite some time later we shot the rest of it, and we shot it in two sections because it moves all around the house. I suppose [that sequence shows] why this couple are still together. They manage to work through it, to hear each other and to communicate despite Jamie’s stubbornness, anger and jealousy.

BALFE But neither are wrong, really. This was a situation that is so unusual and unique, so it’s totally understandable why Jamie would be so upset and angry, but it’s also totally understandable why Claire would defend herself. I think what’s great is you get this tension of these two people who ultimately love each other so much, but they’re going to stand their ground. I think both Sam and I relish when we do get to do scenes like this. There’s certain days when you’re on a show and you’re just sitting at a table and somebody’s passing somebody coffee, and it doesn’t necessarily feel like the most rewarding acting day. But when you get big scenes like this, you really feel like you have to work hard, give it your all, and make it work.

Sam, do you think Jamie could ever bring himself to forgive John?

HEUGHAN I think what Jamie did [to John upon learning what happened] — is it justifiable? No, from [the viewers’] point of view. But for Jamie, probably. But what he did to him is horrific and certainly has broken their bond. John Grey comes back and does justify it, and I think we hope that they will become friends again, but I think it’d be a lot for them to get over. Jamie is going to have to admit his wrongdoing, and I think that’s probably the hardest thing for Jamie to do. It’s certainly put a rift in that relationship, and I’m sure for Claire and John Grey as well, it’s also a pretty weird situation. (Laughs)

In episode 15, Claire gets shot in the battlefield and Jamie desperately searches for any kind of way to save her. Sam, how did you want to play Jamie’s inner turmoil?

HEUGHAN Jamie has always been in control in situations, and I thought it was really interesting in the script that he loses it and he’s lashing out. I think the only other time where we’ve seen him like that is when he lost Murtaugh at the Battle of Alamance. I think that moment was close because Murtaugh was his godfather, a father figure to him, but this is even bigger. It’s like, “How do you react in that moment when your universe has just imploded?” I didn’t want to plan it; I just wanted to go for it and see what happens. I think what’s cool about the writing and the space I got in the performance was that he’s not Jamie. He’s out of control, and he’s pleading with everyone, with God. He knows he’s on the edge of losing his entire universe.

How did you react, then, to Jamie’s decision to write his notice of resignation using Claire’s blood on the back of one of his soldiers?

HEUGHAN Look, it’s a really hard one to get your head around. It’s a book moment, and even in discussing the practicality of that [moment], we were talking about “What is the way to write on this guy’s back?” and we realized it’s actually very difficult. But I think it’s just sheer desperation; it’s a moment where he’s completely at a loss. I think he can’t work out how to get his message through to these people, and he just goes for the nearest thing. It’s a really dark idea. It’s amazing that after eight seasons — well, seven at this point — that these characters still surprised us as actors, and there’s so many times we’ve had these book moments where I’m like, “Jamie wouldn’t do that. Jamie knows better.” And then, I’m like, “OK, let’s see what happens.” And actually, you get this really dramatic moment which is shocking, and I think that’s what makes Outlander perhaps still resonate.

Caitríona, on the flip side, what was it like for you to play the aftermath of Claire getting shot?

BALFE It was very funny because they were very concerned about how comfortable I would be lying down for that long, and I was like, “Guys, I’m going to be lying down. It’s going to be very comfortable!” But they made a prosthetic for my stomach so they could do the operation. Look, I’ve never been shot. You can watch things, but sometimes we joke about it, like, “Am I just playing my version of what I’ve seen other actors do in movies?” (Laughs.) But you have to trust the director and everything that’s going on in the scene and go with it. I’m not going to lie: I don’t mind playing sick and half-dying. (Laughs.) You get to let other people do all the hard work, and you just get to lie there and moan a bit. But the set was amazing. When you have all of those things around — and Sam was incredible in those scenes — it makes your job very easy.

After they’re unable to save Jane in the finale, William has a heated confrontation with Jamie about William’s late birth mother, and William ends the conversation with the line, “I will never call you father.” The hurt on Jamie’s face is obvious, but what is going through Jamie’s mind in that scene?

HEUGHAN Jamie’s never been able to be a father to William, and I think he’s always wanted to be — from a distance. Here’s a moment where Jamie doesn’t really know how to be a father. He’s been a father to other people. He’s got so many surrogate sons — from Fergus to a bunch of people that he’s brought into this extended family that he’s got — but with William, it’s a really tough one. I think it’s great because you can see Jamie and his son are very similar; they both have that fire in them. And without giving away spoilers, it’s definitely something that plays out a lot [going forward].

But it’s also interesting because he is John Grey’s son in a lot of ways. He’s been brought up by John Grey, and that adds another dimension to that trio’s relationship. Jamie has all this pride, hurt and longing that he could be [Jamie’s] father, and also jealousy that John has been his father but also thankful [at the same time]. Certainly, it’s going to be a tough one for [Jamie and William] to both overcome their pride.

Jamie Fraser (Sam Heughan) and his biological son William (Charles Vandervaart). Starz

In the final scene, Claire overhears Fanny singing “I Do Like to Be Beside the Seaside,” a 19th-century song Claire sang to her and Jamie’s first daughter, Faith. After learning that Fanny and Jane’s mother was also named Faith, Claire now believes that Faith wasn’t actually stillborn and had somehow lived to have children of her own. How does that set up their journey in the final season?

HEUGHAN It’s a huge moment for them to find out that their daughter potentially lived, and now they have this grandchild in their life. It’s a great cliffhanger — one that I think book and non-book fans are going to be surprised by. I think it was beautifully done with the song. It’s interesting because even playing [Faith’s death] way back in season two, we played the truth of it; we had no idea ourselves. So it was a shock for us as actors reading it and learning about it, as it was for the characters. I think the thought process for Jamie is, “How is it possible?” The elation, the happiness that, actually, it could be possible. And then, who is this young girl in front of us right now?

BALFE I just love it when you are given a scene and you read it, and it’s like, “Ooh, that’s really good.” But in the playing of it, when the hairs on your arms are standing up, it’s pretty brilliant. Florrie is so amazing. Every time we have a scene with her, you’re just so blown away by how brilliant she is. It’s such an interesting cliffhanger because it just opens up this whole other world of questions, which leads us so brilliantly into the next season. I think for Claire, it’s like her heart stops, her heart breaks and her heart sings — all at the same time.

You’ve seen each other through just about everything in the 11 years that you’ve worked together. Looking back, how has your working relationship evolved over time, and what do you think has stayed the same?

HEUGHAN (Laughs) That’s a cool question!

BALFE Well, I think our childish sense of humor has stayed the same.

HEUGHAN I was going to say our humor, silliness. When we’re in the shit and it’s a tough day, or we’re in the dark and it’s cold, we’ve always had each other. I’m very fortunate to have spent so much time with such an amazing person and also managed to laugh a lot as well. But what’s changed, Cait?

BALFE I think when we first started, the job was our lives. We lived it, breathed it. Our schedules were so insane. We really didn’t do much of anything else. I think as we’ve gotten older, our lives have gotten so much busier and you have obviously a wealth of experience to fall back on with your character. So it’s not that we’re not as invested as much, but the show isn’t just the only thing going on. I think, in that way, maybe our approach to things is slightly different. Would you agree, Sam, or no?

HEUGHAN Yeah. It’s not sustainable to be all-consumed by something for that long, but in some ways, perhaps having a bit more space or a life outside of it, it also influences the work itself. We’ve just both grown over time, and I guess it’s depressing but also an amazing opportunity that we’ve got to live with these characters for so long.

What would it take, then, for the two of you to work together again? Maybe in a more modern story without wigs or period costumes?

BALFE I’d love to do a comedy with Sam.

HEUGHAN Yeah, that would be a lot of fun. And as you said, yeah, no wig. Well, actually —

BALFE The wigs would be alright. No corset for me.

HEUGHAN I’d wear a corset, so maybe there’s the comedy right there.

BALFE I’ll wear your wig. There you go!

***

All seven seasons of Outlander are now streaming on Starz.

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Outlander + Costumes

Elizabeth “Lizzie” Wemyss’ green & grey dress in Season 05, Episode 01.

// requested by anonymous