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Outlander Returns to Prove It’s the Best Show on TV




After a summer hiatus, I am back to The Fandomentals to review Outlander, and after a ridiculously long hiatus, it’s back too! Thankfully. Just in time, with that other epic fantasy show on TV still fresh in our minds, along comes this juggernaut of quality to remind us that there’s more to this TV game that spectacle—though spectacle can count for a lot.

I will say that the first 10 minutes absolutely gutted me, and they reminded me of the importance of world-building. While you can certainly start watching here, with season 3 episode 1, many of the things that happen, especially in those first few minutes, are a culmination of 2 seasons’ worth of character arcs, and they ran the gamut from satisfying, to humorous, to tragic as hell. It looks like Starz is letting people play catch-up for free, so please, if you haven’t already? Do it.

Content Warning: This review discusses violence, rape, a past miscarriage, and sexist behavior, including forced medication during childbirth, as depicted on the show.


Oh man. Whew, that a first 10 minutes!

We open with long, lingering shots of the dead and wounded in the aftermath of Culloden Moore. It was, as we know from history, a route for our Scottish heroes, and these scenes really bring home the brutality of it. I mean, when that idiot fop Bonnie Prince Charlie is there (in flashback) in his wig drinking his booze proclaiming their certain victory, you wanna punch him in the face. More so than usual.

Their strategy was, to say the least, flawed, and sending starving, sword-armed men into heavy artillery and musket fire seems like a quick path to defeat.

Jamie’s down anyway, of course.

Scenes of Jamie lying near-death are intercut with flashbacks to the battle: the charge, the volleys of English musket fire dropping waves of Scots, and, most important for us Outlander fans, Jamie and Black Jack Randall’s long-awaited showdown.

As I’m sure you remember, Claire promised Black Jack that he would die at Culloden Moore, a fact she knew from her husband Frank’s genealogical research. After Jack spent weeks torturing and raping Jamie, our hero was more than willing to do the deed. He owed him one, you might say.

Their fight was split across several flashbacks. It wasn’t in order (as Jamie himself might remember it in his dazed and wounded state), but the climax of it was spectacular. The English had set parts of the battlefield on fire, so everything was bathed in a hot, flickering light. Smoke curled around them. As they fought, the battle moved on, so it was just the two of them in a sea of dead.

They’re both wounded; Jack bayoneted Jamie in the leg and Jamie stabbed him in the stomach. They can barely stand, but they’re still going at each other. Suddenly Jack’s face changes. He knows he’s dying, and his expression becomes one of longing and compassion, which is kinda gross but also brilliant, and as he falls against Jamie it almost turns into an embrace.

They tumble to the ground, Jack’s body draped over Jamie’s, and it’s probably the dead redcoat on top of him that saved him from the roaming English soldiers finishing off the wounded.

While lying there, snow slowly drifting down onto his upturned face, Jamie has a vision of Claire walking across the field toward him. She’s in full La Dame Blanche mode, and he grips the dragonfly in amber tightly in his hand.

Claire’s face turns into Rupert’s, and he gets Jamie to a hovel where the Scots are collecting their wounded, but it isn’t long before the English find them. An officer arrives with some men and explains that he’s been ordered to execute any traitors to the Crown they find. Are any men here innocent of treason?

Rupert says nope, they’re guilty to a man, so the executions begin. I mean, like, they’re all very gentlemanly about it, but I think it’s a form of psychological torture to make everyone wait while you shoot these guys one by one.

So we lose Rupert, and the rest of the Scottish Gang from seasons 1 and 2, but Murtagh (who Jamie saw on the battlefield) is unaccounted for. Y’all know that ol’ cuss made it through. *fingers crossed*

All of the able-bodied men are executed, so the commander orders stretchers to be brought so the wounded can be carried outside for their executions. Jamie volunteers to be shot next, but when he gives his name, the commander recognizes it. If you remember from last season, Jamie at one point encountered a young English soldier, John Grey. Instead of killing him when he had the chance, he let him go, and the boy vowed to save his life one day.

Important rule of thumb: don’t kill dumb kids.

As luck would have it, the English commander is Lord Hal Melton, the kid’s older brother. He can’t kill Jamie as a point of honor (despite how much Jamie begs), so he has him smuggled out in a hay cart to Lallybroch. He believes Jamie will die on the way (I mean, they’ve never met, so he DOESN’T KNOW JAMES FRASER), but duh of course he survives. Jamie’s arc ends with Jenny bending over him crying and thankful that he’s home.

Okay, so, that was a lot, but it was only half the episode! All the Jamie stuff was intercut with Claire in 1948 Boston. She and Frank moved there when he was offered a position at Harvard. She’s pregnant, of course, with Jamie’s child, but Frank has offered to raise it as his own. He wants a fresh start with his wife, who, after all, he still loves very much.

Claire agrees, but she’s struggling. She doesn’t like the gas stove in their (amazing) house, and instead cooks over the fireplace. Frank’s boss is incredibly rude and condescending to her, basically dismissing her as a “little woman” who should be happy with the domestic life of motherhood and stop trying to actually think!

The wallpaper’s pretty terrible, but trust me on the rest of it.

And, of course, she misses Jamie. Frank grows frustrated because she’s so distant; she won’t let him touch her, and she can’t seem to settle into their life in Boston. They fight, and she throws an ashtray at his head. He tells her she has to make a choice: either stay there with him, or leave, but do what makes her happy.

That night, he’s sleeping on the couch when she comes downstairs to tell him her water’s broken. He rushes her to the hospital where the doctor is (once again) a condescending prig. She admits to having a past miscarriage, which Frank didn’t know about, but when she tries to apologize he tells her not to worry about it. It doesn’t matter.

She’s taken into the delivery room, and despite her protests she’s given ether to knock her out through the delivery process. God that seems so barbaric to me! Especially because the doctor’s attitude was “we can’t have any messy WOMEN involved in this process. Just go to sleep and let us MEN handle it.” Ugh.

Anyway, she’s terrified when she wakes up because clearly she isn’t pregnant anymore, but there’s no baby. Then Frank comes in carrying her, and they have a beautiful moment bonding over their daughter. They agree that this can be a fresh start, and they kiss and cry and fuss over how gorgeous their baby is.

She’s so cute!

You start to think that maybe this can all work out for them, after all, but then the nurse comes in and asks where the baby got her red hair. Frank’s face falls and the music changes. Just before the credits roll, you get the instant understanding that no, it won’t work. It can’t.


That made it sound like very little happened on Claire’s side, and while it’s true most of the action was in 18th century Scotland, Claire’s arc this episode was about her general “fish out of water” feeling in not only Boston, but also 1948 and her marriage with Frank.

When you look back at how incredibly hard she struggled to get back to him and her time, it makes the rift in their relationship even sadder. She never meant to fall in love with Jamie. She loved Frank deeply, but she did fall for Jamie, and now she has to figure out how to put her life back together after.

At one point her neighbor tells her how lucky she is, because she’ll never find a man like Frank again. That’s true, but she has found a man like Frank before, and now nothing compares to him. Frank loves her, and he’s trying, but how can their marriage work when most of Claire is still back in the 18th century with Jamie?

I feel so awful for Frank. He’s a good man who really never did anything wrong. It’s not his fault he looks exactly like Jamie’s rapist and Claire’s tormentor. It’s not his fault his wife got sucked back in time and fell in love with a strapping Highlander. Obviously Jamie and Claire are the OTP to end all OTPs, but Frank is a good man caught in a bad situation. I can’t help but wish that Claire could find room in her heart for him again.

Don’t think I’m blaming Claire for any of this. Again, she didn’t ask to marry Jamie, and she certainly never planned on loving him. Unfortunately circumstances dictated the marriage had to happen, and well whoops. Who wouldn’t fall in love with Jamie Fraser??

I mean pls.

I’ve seen people this season asking what happened to Edmure Tully, and, well, now y’all now: he escaped to a better show! Black Jack Randall is dead, but Frank’s still truckin’ on, being the long-suffering husband with carefully controlled anger issues. Good on you, Tobias. Upgrade.


As I said in the intro, what made this episode so effective (besides the spectacular use of color and lighting, and Bear McCreary’s always exceptional score) was all the payoff. We’d been falling for the ridiculous Scottish gang for 2 seasons; Rupert’s loss hurt, and it brought to mind Angus’s death last season. Rupert’s touching call out to Angus only made it that much more poignant.

Of course we finally got to see Jack Randall meet his fate, and I’m glad it wasn’t done in a super gratuitous way. Jamie is a good man with a strong sense of honor and vengeance, not cruel like Jack; so if he had enjoyed it or reveled in it, it would’ve been gross and out of character. As it was, they were two men with a bloody history meeting on the battlefield, and the better man won. The fact that Jamie probably owes his continued life to Jack’s death is an irony that likely isn’t lost on Jamie.

Claire’s storyline was less about endings and more about beginnings. She floated the idea of becoming an American citizen, but Frank didn’t like it. We see her chafe at the “little woman” role imposed on her by Frank’s colleagues and society in general. She’s clearly bored and annoyed by being a housewife. She also mentions that women have recently been accepted to Harvard Medical School. Hmmm, methinks Mrs. Randall is plotting something.

Isn’t she always?

Outlander is back, dear readers, and if you haven’t watched it before, now is the time. Everything you hate about certain other shows, everything those shows get wrong, Outlander gets right. There is nothing cheap or melodramatic here. Every beat is earned, every character is a real person, and the beauty and the spectacle are just icing on the cake.

Episode Grade: A. Get used to it, because this show is setting the bar.

Images curtesy of Starz

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Brooklyn Nine-Nine Should Let Rosa Date Gina





Gina and Rosa

Google most non-canon LGBT ships, and you get results for various fanfiction sites, maybe an article or two about why they should be canon, why the show is clearly missing the opportunity of a lifetime. Google Rosa/Gina—dubbed Dianetti—and you get tweets from the two actresses involved.

Though media has made huge strides in the past decade or so with LGBT relationships, there is still a lot to be done. Queerbaiting remains common, as does the bury your gays trope. Relationships—especially wlw ones—are still seen as less valid, less possible, than their straight counterparts; this is in part due to many writers, actors, and showrunners continuing to tease of F/F relationships. By creating a dynamic where two women are clearly not just friends (and, of course, never making that dynamic explicitly romantic either), they get the best of both worlds: LGBT viewers who crave representation with none of the potential backlash for so-called political correctness.

The Beauty of B99

Brooklyn Nine-Nine, however, has never fallen into that trap. Holt and Kevin may be the subject of many jokes, but they are never the butt of any. Similarly, topics like racial profiling and police corruption are taken seriously. It is a comedy show, but it is also a show that recognizes the power of its platform. Where another show would tease these topics and turn them into a punchline, Brooklyn Nine-Nine turns them into a discussion.

Holt and Kevin marry each other as quickly as possible.

(Source: tumblr)

So, of every show on television, I know that Brooklyn Nine-Nine would treat Rosa and Gina well. That is an important part of the discussion that is oft forgotten: representation does not end when it begins. Instead, it is an ongoing process, most successful when the writers and showrunners make continued efforts to deepen and better their characters and relationships. When we ask for representation, we are asking for a commitment: at the very minimum, do not kill them. Because that is still often too much to ask, we never get to the next step: do not cheapen them, do not forget them. Do not let them be a checked box on a list of things a show needs to have.

Brooklyn Nine-Nine has proven they can do it. So why don’t they?

The Case For Dianetti

Over the past four seasons, we have seen Gina and Rosa flit in and out of various relationships. All the while, however, they have been there for each other.

Rosa is closed-off, awkward whenever the slightest hint of emotions are involved; Gina, on the other hand, is as open a book as she could possibly be. In the same way that Jake and Amy build on each other and make each other grow, Rosa and Gina could do the same.

In the past, the show has paired Rosa with men who are too different or too similar. Marcus was very openly emotional, and while the importance of having such a character cannot be understated, he was not right for Rosa. Adrien, then, had the opposite problem: he and Rosa never truly get to know each other during their relationship because both were content being unattached in that way.

Enter Gina. She is the perfect option, the perfect mix of emotional and independent; she is the one who can make Rosa consistently smile, the one who isn’t semi-scared of her at all times.

There are not many women on television that are like Rosa, and to give her a chance to find true, lasting love would be very valuable to many viewers. Having her and Gina both go through several unsuccessful relationships is good—it’s realistic and done well. But just as Jake and Amy found each other, just as Kevin and Holt found each other, I would like to see Rosa and Gina do the same.

In a world where F/F ships are punchlines to jokes that weren’t funny the first time, it is a rare and very special thing to see such an opportunity supported by both actresses involved. We have the support, and we have the chance; all that remains is for Brooklyn Nine-Nine to take the leap.

Brooklyn Nine-Nine consistently surprises me with the topics they are willing to tackle and the grace with which they do so. So, as it returns this month for its fifth season, I hope that they will tackle Rosa/Gina next.

Images courtesy of Fox

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The Neighbors from Hell

Kristen Roche



This week’s episode of American Horror Story: Cult opens with a blonde woman, Rosie, speaking with Dr. Vincent (Cheyenne Jackson) about how thanks to him she’s overcome her fear of being trapped in dark places. (Sidebar: why is Ally the only important woman without white/blonde hair in this show?) When Rosie and her husband Mark, return home, however, they are accosted by clowns and nailed into coffins. Rosie’s worst nightmare that she admitted to Dr. Vincent. It makes you wonder if the Doctor is part of the cult. Hmm…

Switching up the timeline of things (again), we return to where we left off after last week’s episode; the Mayfair-Richards household following Ally’s (Sarah Paulson) gun play. Detective Samuels (Colton Haynes) assures Ally that he doesn’t think charges will be pressed because the murder of Pedro was in self defense. Though Ivy (Allison Pill) knows it was accidental and not self defense, she agrees with the Detective and the power finally returns.

The next day, protestors gather outside the Butchery on Main, branding Ally as the “lesbian George Zimmerman,” and the news is there to broadcast the protest. Unable to show her face, Ally is forced to stay in the car while Ivy goes to work. Before Ally can go home, however, she is confronted by Kai (Evan Peters) who calls her brave. He tells her to never apologize and that he’ll take care of the mob for her. When Ally does arrive home, she receives a very different greeting from Meadow (Leslie Grossman) and Harrison (Billy Eichner). The couple, dressed in sombreros, condemn the accidental murder and accuse her of being a racist.

Ally and Ivy are unable to avoid the news of the protestors on television. The news finally moves on to announce the deaths of Rosie and Mark, who were found in coffins in their home with a smiley face symbol painted above them. The same symbol that was found on the Changs’s house.

Things turn to the strange (or stranger, anyway), the next day when Ivy and Ally find dozens of dead crows in their yard. It gets stranger yet when Winter accidentally lets an unknown man into the house. The man was responding to an ad on Craigslist that listed lesbians looking for pleasure from a man.

During a phone session, Dr. Vincent talks to Ally about the Craigslist ad. It’s in this scene that we get our first election reference of the episode, a record few this time. Dr. Vincent suggests Ally file a police report then asks for an emergency meeting to talk about an inpatient facility. Ally (obviously) disagrees with the doctor’s assessment and ends the call. When she reaches town, protestors accost her car, but with a single word Kai is able to get them to leave.

Returning home, Ally and Ivy find Oz and Winter playing with a guinea pig with a cisnormative name.  They learn that the animal was a gift from Meadow. When Ally tells him that he cannot keep the pet, Oz lashes out and says that he wishes Ally wasn’t around. Ally then calls Harrison who is sitting with Meadow and Detective Samuels. Harrison states that he likes Oz but not Ally, and that Oz needs testosterone in the house. Angry, when Ally sees a truck spraying green mist, she chases the truck down to no avail.

Elsewhere, Meadow and Kai play the pinky game. When asked for her greatest fears, Meadow offers a superficial fear that Kai slaps her for. This is a revolution and he doesn’t want his time wasted. Kai calls her out as being afraid of never really being loved.

In a rare moment of levity and normalcy, the Mayfair-Richards family having a nice family dinner at the Butchery on Main. Oz apologizes for lashing out at Ally, and she decides to let Oz keep Mr. Guinea. When they arrive home, however, what was a good night takes a turn.   smiley face is painted on the door, and Mr. Guinea blows up in the microwave.

Ally crosses the street and enters the neighbors house where she assaults Harrison. She accuses the couple of being responsible for all the wrong that has been done to them, but Meadow is genuinely scared when she hears about the smiley face. Ally escalates matters and threatens to kill them before leaving. Ivy finally reaches her breaking point with Ally, calling her out on her absurd reactions, when Oz points out that the same smiley face is on the side of the Wilton’s house. Instead of warning the couple, however, Ivy and Oz return home. Ally follows behind, only to find mysterious people spraying a green substance on her lawn. When she tries to reveal their faces, she finds smiley faces in the place of where real faces should be.

Meadow is not the only Wilton to play the pinky game with Kai. This time, Harrison plays, and does a better job telling the truth to Kai than his wife. He admits that he wishes Meadow were dead.

When Detective Samuels calls on the Mayfair-Richards home, Ally talks to him with crazy eyes about her conspiracy theory. She’s finally the one that seems to be making some sense and no one is listening. It makes her look even crazier to have make-up smeared down her face. 

The conversation is halted by Oz’s scream. His mothers immediately head upstairs to find him closing his laptop. He admits that he got past Ivy’s parental controls as he saw her type in the password once, “Clownz”.  Sorry Ivy, but you’re starting to look pretty suspicious here. Ivy and Ally finally convince Oz to reveal what’s on the computer. It is a video of Ally in the bath getting fingered by Winter. Whomp, there it is.

Ivy wastes no time retaliating once they bring their conversation to the hallway and punches Ally in the face. She starts yelling about Ally breaking their family, while Ally seems hung up on the fact that someone planted a camera in their bathroom. Both valid points.

Not willing to stay in the same house as her cheating wife, Ivy prepares Oz to leave with her. Just as they are about to leave, however, police arrive across the street. They exit the house to find Harrison is freaking out and upon seeing her, accuses Ally of murdering Meadow. He woke up covered in Meadow’s blood, Meadow nowhere to be found. While the adults were arguing, Oz returns to the house. His mothers run after him to find him staring at the walls. Walls that are now covered in blood with a bloody smiley symbol on the living room wall.

Closing Thoughts

At this point, it seems as if the cult behind all the murders and strange happenings in this small Michigan town is larger than expected. In fact, it seems almost as if Ally and Oz are the only ones that aren’t part of the cult. With Meadow and Harrison both deferring to Kai, it appears that the blue-haired man might be one of the ring leaders. But then again, there’s also Dr. Vincent and Ivy to think about. Where do they fit? Are they secretly behind it all? And if Ivy is involved, what is it about Ally that makes her want to torture her so much?

With more questions raised in this episode, such as the questionable green substance, it’s easy to wonder where this cult is going, but perhaps the biggest question is; do we really care?

Images courtesy of FX

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Outlander Slows Things Down for Episode 2





This week’s Outlander was much slower than last week’s, returning to the steady pace they set in the first few episodes of both seasons 1 and 2. Unlike other shows that use this tactic (*cough* The Walking Dead *cough*), it works in Outlander because of how invested I am in the characters, no matter what they’re doing.


Like last week, this week’s episode divided its time between Jamie in the 18th century and Claire in the 20th. Jamie is at Lallybroch with his family, but he’s a wanted man. The redcoats frequently harass Jenny and Ian, even randomly throwing Ian in the clink in the hopes that they’ll all decide to betray Jamie’s whereabouts. Since they don’t ever really do anything to him, and he seems largely friendly with the soldiers, it’s a fairly empty threat.

Still, it’s dangerous, because in the aftermath of Culloden, being a Scot in Scotland was essentially outlawed. By that I mean clans were no longer allowed to wear their tartans, bagpipes were banned, and Scots weren’t allowed weapons (except I guess what they had to have to have hunt, like a bow and arrow or a knife).

Jamie has gone full-on wild man of the woods, complete with giant beard and long hair. He doesn’t really speak, just brings offerings of excessively large game (seriously, it was huge) and makes crazy eyes at people. Fergus, my dear son, is still in his service, and for all that it’s been 6 years, he’s not that much taller or older. It’s like the Stark kids in reverse.

For real, Bran’s like 25 and Fergus is still just 14.

While Ian’s locked up, Jenny goes into labor a bit early, and her sons Robbie and Jamie see a raven perched on the gate. They tell Fergus that a raven’s bad luck and can mean the death of the baby. The boys found a pistol hidden in the dovecot, so of course they use it to shoot the bird. Because why not!? Pistols aren’t against the law or anything.

The redcoats hear the shot because black powder guns are LOUD, and of course the tenacious captain brings some of his boys around. Unfortunately Jamie chose that moment to come a-visiting, so he’s walking around the house carrying his new nephew when the English show up.

Jamie hides and Jenny tells them the baby died, and while the commander is being semi-respectful, his corporal, a Scot named MacGregor, is a real ass. Ultimately the maid shows up with the pistol and says it was her dead husband’s, and she shot at a raven to scare it away.

The commander says to leave her, she’s no threat, and the soldiers leave. Fergus is giving them the stink eye as they go, and apparently it gives the Scottish corporal the idea to follow him, thinking he’ll lead them to Jamie. He’s wise to their bumbling, however, and he leads them away from Jamie’s cave. He taunts them as Jamie, hiding in the woods, watches in horror.

The soldiers catch Fergus and the corporal, um…chops his hand off with a sword. Which wasn’t nearly as violent and/or bloody as it could have been, thank goodness, because my poor son! As soon as they’re gone, Jamie wraps his stump and carries him back to the house.

Noooo, my wee angry son!!

Fergus later tells Jamie he’s lucky, because when he first hired him, Jamie swore if Fergus was hurt while in his service, Jamie would keep him for the rest of his days. “With one blow I’ve become a man of leisure,” he says with a grin.

Fergus’s maiming causes Jamie to realize that hiding out isn’t helping anyone. He tells Jenny and Ian they have to turn him in, partly to get the hefty reward money, but also so that the soldiers know once and for all that Jenny’s loyal to the Crown. She isn’t happy about it AT ALL, but she agrees. She sends her maid out to Jamie’s cave with some food, and she helps him shave the beard and cut his hair.

She also takes her dress off and offers him some old-fashioned comfort, which he reluctantly (and tearfully) accepts.

Later Jamie shows up at Lallybroch acting all “Jenny, it’s me after all this time! I certainly haven’t been hiding in a cave in the woods for the past few years! What a random happenstance!” The soldiers are there, of course, and he’s carted off while Jenny watches, crying.

Meanwhile in the future (which is our past, but not AS past as Jamie’s time), Claire is trying to be a full time mom and housewife. If y’all learned anything about Claire the last 2 seasons, you should’ve learned that that would NEVER work. It starts with her fantasizing about Jamie while Frank sleeps next to her, then the two of them having sex while she thinks about Jamie. Poor Frank.

After a dinner party one night she seduces him in front of the fire, but when she won’t open her eyes to look at him, he stops and tells her that when they’re together, he’s with her, but she’s with Jamie. She doesn’t deny it, and after that they go back to being much more distant.

Later Claire enrolls in medical school, and all the little white boys in her class are Shook. But they’re even MORE shook when a Black man walks in. He sits next to Claire and introduces himself to her, and in that moment a beautiful friendship was born.

“YOU got into Harvard Medical School?”
“What, like it’s hard?”

The episode ends with Claire and Frank crawling into bed to say goodnight. Claire turns off the light and lies down to sleep, and as the camera pulls back we see they’re now sleeping in twin beds. I guess their pretense of returning to their marriage has ended, and they’re staying together mostly for Bree’s sake.


Like I said, this was kind of a slow episode. Not a lot happened, really. It was mostly about Jamie and Claire trying to adjust to their new lives without each other. Jamie is essentially dead inside, a shell of himself, while Claire has Bree to think of.

They both tread water for a time, but eventually realize they have to figure out some way to keep going. Jamie turns himself in to the English because he knows he’s hurting his family and putting them at risk by being a fugitive. Even if they never find him hiding out on Fraser land, they’ll always suspect Jenny and Ian are sheltering him, and one day they may not be so congenial when they cart Ian off to jail.

If I have a criticism of the episode, it’s that Fergus losing his hand—a moment that shocked Jamie back to life, so to speak—lacked some of the punch it was clearly meant to have. Maybe I was just really tired, but my reaction was kinda like, “Oh no my son! Welp. Sucks for him.” I don’t know what they could’ve done differently with it. I certainly didn’t need it to be gorier. I guess it just seemed sort of…sudden? And possibly after Jack Randall’s antics, any old dastardly redcoat just doesn’t really compare. The whole thing was a little rushed in an episode that otherwise took its time.

I’m gonna admit it, y’all: I hate seeing Jamie with another woman! I can deal with Claire with Frank, but Jamie with the serving lady (who was very nice and very brave) had me seeing red. Like, duh he believes Claire’s gone forever, and it’s not like I’m mad at Jamie for seeking comfort with someone else—he needs to move on and get out of his emo phase. But STILL! Logic be damned!!!

“No cage could compare to the one I’ve been living in!” *cues “Welcome to the Black Parade”*

I honestly love this show and these characters, so I really could watch them stare at their shoes for an hour, but having said that—I hope next week picks up the pace just a li’l bit. Just a smidge. Especially on Claire’s side, because while yeah I love seeing her make That Face She Makes when men are sexist jerks, I want her to have something more to do than miss Jamie. Medical school and her career should definitely help that issue.

All in all, this was a solid filler episode, and I was glad to see Jenny and my (now one-handed) son Fergus again. Next week we’ll re-meet Sir John Grey, so that should be interesting. Also I wanna see more baby Bree because that is a super cute baby. Like, wow.

Episode Grade: B. It wasn’t as good as last week, but it’s a great show, so it earns some generosity from me. Also all the emotional notes were spot-on.

Images curtesy of Starz

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