‘Outlander’ Review: Episode 512, “Never My Love” (Season Finale)

[This is not a spoiler-free review of the episode. If you have not seen the episode yet, read it at your own spoiler risk.]

Episode 512: “Never My Love”

Written By Matthew B. Roberts and Toni Graphia, Directed by Jamie Payne

The final episode of season five of Outlander adds more turmoil and complications to the life and memory of Claire Fraser (Caitriona Balfe). Yet, it also strengthens relationships within the Fraser family and its “clan.”  Any amenable ties with the Browns are permanently severed, and that is undoubtedly going to rear its ugly head again.

This season has seen more stylized episodes than any season before it.  In the many interviews prior to and during the season, there were often quotes of taking risks and not doing what was expected of the show or the story.  I believe that this season is the first with writer and executive producer Matthew B. Roberts stepping into the showrunner position for the show.  With him as showrunner, this season can set itself apart from all four before it, just in terms of storytelling, the overall look, and pushing past the season’s book to the next.  The finale takes a risk in that it is once again broaching the subject of rape and using an interesting dream sequence as a coping mechanism for Claire.

The “previously on Outlander” scenes are our first tip-off to something being done differently for the finale.  There is no speaking in these scenes, and I initially thought the screener’s audio was messed up.  The episode diverges immediately from what was expected as we see a woman with red nail polish putting a record on the player.  The Association’s “Never My Love” begins playing, and we see a modern, sixties home.  It’s Claire back in the 1960s in a perfectly-coiffed bob, staring at a painting of the Big House on Fraser’s Ridge.  This whole dream sequence or hallucination is a coping mechanism as Claire has already been through a lot in the hands of Lionel Brown (Ned Dennehy).  Along with the dream sequence, we also see her flashbacks of what has already happened to her since she was kidnapped from her home.

As she lies there bruised and battered, Claire takes herself back to her time, someplace where she feels safe and protected.  While the life she imagines never happened, it does have elements from her past, things she would keep with her and reimagining her family in this time.  There is so much symbolism in the dream, and I am sure some of it is going over my head.  Fans of the show, regardless of if you have read the books or not, will recognize pieces of the past decorating the home as well as previous quotes from the characters.  The vase from the premiere episode of Outlander decorates the home; Claire is imagining that she got the life she wanted after buying that vase she passed by in the shop.  There is also recognizable wallpaper in the home; it feels out of place in the modern home but harkens back to Lallybroch or their Paris apartment.

While Claire has Marsali (Lauren Lyle), Fergus (César Domboy), Jocasta (Maria Doyle Kennedy), the now-deceased Murtagh (Duncan Lacroix), and Fergus and Marsali’s children in modern hairstyles, she has only partially outfitted Jamie (Sam Heughan) in contemporary garb.  Jamie has the same hairstyle as season one, and with a past shirt on, he screams episode 101 and 102 Jamie.  Claire was in trouble when she first arrived in the past, and while she was not accepting of it then, Jamie was her savior, keeping her safe.  As she stares out the window into the rainy night in the dream, Jamie approaches and wraps a blanket around her and holds her close.  Lionel approaches the window from the outside, threatening her safe place.  Jamie eventually says, “You’re shaking so hard, you are making my teeth rattle.”  The blanket eventually turns into a kilt, affirming the remembrance of when she first met Jamie.

It was only on my second viewing of this episode that I realized Claire is silent and not altogether present in the dream.  While Thanksgiving is when you are surrounded by family, it is not until they are at the dinner table that Claire sees the two empty chairs and appears puzzled.  Roger (Richard Rankin) and Brianna (Sophie Skelton) are not there.  There is a leaking roof, another reappearance of Lionel; they are all cracks in her dream, the reality of her situation breaking into her safe place.  Claire doesn’t speak until the police arrive.  One of them is Lionel and another member of his group, although they have been modernized, and Claire doesn’t recognize them.  Brianna, Roger, and Jemmy were killed in a car accident.  Her only words are those spoken in reaction to the news.

There are many brief flashes of a dragonfly figurine, held by Germaine.  While this would immediately bring to mind a dragonfly in amber, it is only a dragonfly.  Doing a Google search for its meaning leads to words like change, transformation, self-realization, power, poise, and a defeat of self-created illusions.  The audience can pick and choose from the many meanings and apply it; however, they think it would fit into Claire’s story.  There is also the appearance of a rabbit, both in the dream and in her reality.  This rabbit recalls episode 301 when Jamie sees a rabbit while he lies dying on the field of Culloden.  An orange appears at the beginning of the dream, and then Claire picks it up at the end of it.  Its meaning or relevance escapes me, though.

The rescue of Claire is swift and unforgiving, as it rightly should be.  With it being set in the dark, the firelight and guns going off lit the scene, giving everything and orangey, yellow tone, offsetting the violence and bloodshed taking place.  We see it from the men’s perspective and well as Claire’s blurry, distant realization that something is happening.  By this point, she has been raped multiple times and is going in and out of consciousness as she has also been beaten more.  When Jamie first sees Claire, your heart breaks.  He does not immediately bend down and rescue her; he is tentative with his touch and his words.  We would expect an angry and vengeful Jamie in this situation, but he dials it back for Claire.  He simply reassures her, “You are alive.  You are whole.”  Her family takes on her revenge, as her doctor’s oath prevents her from doing so, killing them all, save for one.  Lionel is still alive, and rather than kill him then, they take him back to Fraser’s Ridge to question him about his motives.

“How many?”

“I don’t know.”

“Kill them all.”

On Claire and Jamie’s journey back home, they stop by a river.  With her back turned, wrapped in a kilt, and her hair down, this scene is an echo of the season one riverside scene after Claire is rescued from Black Jack.  Jamie and Claire fighting and thrusting angry insults and accusations at each other are now replaced with Jamie standing back and letting Claire rest and process her ordeal.

While there is a lot to unpack just from Claire’s dream, there are other storylines in this episode that require mentioning.  The chief one is Brianna, Roger, and Jemmy’s traveling through the stones as the audience was left wondering where they ended up from the previous episode.  Unfortunately, this whole scenario is an incredible letdown for both readers and show-only fans.  They ended up going nowhere, realizing later when they were thinking of home, it was where they are now, not in the future.  While this realization is all well and good, the show spent the previous episode with the characters saying goodbye to each other for, well, nothing.  The show built up a cliffhanger that went absolutely nowhere and took up precious time.  I really did love the goodbye scenes, especially the one between Lizzie (Caitlin O’Ryan) and Brianna, but now there is no payoff for this storyline.  For those of us who have read the books, we know that the family will travel back to the future to save a member of their family.  Are they going to do the goodbyes all over again?  Or perhaps if the series does not go past season six (we still don’t have a pickup for season seven), will their time travel be eliminated altogether?

Wendigo Donner (Brennan Martin) appeared in the background of the previous episode when Lionel’s gang arrived at the Big House.  He was listed in the credits, but he didn’t have much of a purpose.  In the finale, his story echoes that of Geillis Duncan.  He references the “man in the moon” while tending to Claire and then approaches her later that night and asks her if she knows who Ringo Starr is.  He had previously heard her go-to curse words, Jesus H. Roosevelt Christ, as well as previously finding out she was Dr. Rawlings.  As he states, no man or woman from this time would have that knowledge, and that was his first inkling that she might be from the future.  It turns out he is part of Otter Tooth’s group that traveled back in time to try to save the Native Americans from their fate.  Wendigo learns of Otter Tooth’s or Bob’s death from Claire.  Even though he is like Claire and is excited to meet another time traveler, he will not help her as he is scared of Lionel.  Wendigo was not around when Jamie and his friends arrive at Lionel’s camp, so he is still around, but Claire now carries a particular opinion about him that won’t help him if they meet in the future.

Back at the Ridge, Lionel is kept bound in the surgery, beat up by the men.  He begs for food and care from Marsali, and then Claire as she has regained enough strength and composure to be in the same room as this man.  Or at least she tries to be strong.  Claire reaches for a scalpel, wanting to exercise some revenge of her own, but she drops it back into its place and leaves.  She is still traumatized, and although some of her exterior wounds are starting to heal, those on the inside are still fresh.

On the other hand, there is Marsali, the spitfire.  She states to Lionel that she has taken no oath and takes action to make sure that he never is able to harm her family again.  A resurrected syringe full of liquid from steeped water hemlock root is pushed into Lionel’s neck, killing him in moments.  It is only in the aftermath of his death that we see Marsali’s regret and vulnerability as she sits on the surgery floor, syringe in hand, hoping that Lionel will not haunt her and she will not go to hell.  Jamie tries to reassure her, a bit letdown that any plan he had in motion for Lionel is now for naught.

Bringing up Marsali makes me want to state the obvious.  I loved how the writers have grown her character and brought her out from the books to be a force within the Fraser family.  On the other hand, I hate that the writers have relegated Fergus to be a minor, supporting character with no real storylines this season, save for the conversation between him and Ian about amputation.  Fergus is a beloved character by book readers and has been in the show for four seasons now.  The older Fergus has so much more to offer, and César Domboy’s talent is worth developing Fergus into more of a main character like Marsali.  I sincerely hope that he will be included more in season six, as he is the son of Jamie Fraser and a valued member of the Ridge.

The episode and the season end with some hopeful scenes.  Brianna and Roger don’t regret traveling to the past or that the stones didn’t work.  They are happy to be where they are.  Claire, still recovering, looks upon the house’s yard and the people in it, while a storm approaches in the distance.  Jamie approaches, and she finds fault with a leaning post but tells him its repair can wait until tomorrow.  “Let us just enjoy this ordinary day.  Who knows how much longer we will have this peace, knowing what is coming,” Claire says. There are not many ordinary days for Claire and Jamie, ever.  While we enjoy seeing these two characters be together and have quiet moments, there is only so much joy and calm that can be had before the Revolution, as those time travelers know what is coming.

While we have a moment of foreshadowing, we also can rejoice in the final sentences spoken by Jamie and Claire this season, ones of everlasting love and feeling safe in each other’s arms.  With them naked, entwined together, bearing all of Claire’s fading injuries on her body, Jamie is still amazed by her resilience and strength, “Christ, you’re a brave, wee thing.”

The Show-only Sassenach: ‘Outlander’ Episode 512 Review, “Never My Love” (Season Finale)

**This is not a spoiler-free review of this episode. This review is also from a non-reader, and any comments revealing spoilers from the books will be deleted.**

Episode 512:  “Never My Love”

Written by Matthew B. Roberts and Toni Graphia, Directed by Jamie Payne

We start with an ominous recap of events! 

Here we goooooo. It’s the last episode, y’all! 

It’s modern Claire looking lovely and quite lonely listening to “Never My Love.” (Which just happens to be the name of the episode! What a coincidence.) The contrast of modern Claire with past Jamie is quite lovely. 

In the present, (er, past) poor Claire is being tortured by that Brown bastard and company. (I never thought I’d say this, but their atrocious behavior is making me miss Bonnet? What am I saying.) 

I love the shot of modern Ian in a soldier’s uniform!! 

One of the captors mentions a man on the moon to Claire. Another one, Tebbe, wisely offers Claire food and is like, “Plz don’t curse me, witch woman, I’m cool and nice.” Claire wise tries to convince Tebbe to let her escape, but another man foils the attempt. Brown ties Claire to a tree like she’s no better than a dog. 

Oh, I get it. Claire is dreaming about an ideal world where she can have her whole family in a time where they’re safe. I LOVE the shot of our Outlander faves in sixties regalia celebrating Thanksgiving! (And Murtagh and Jocasta being cute and adorable!) 

“Does the name Ringo Starr mean anything to you?”

 What a line! HOLY MOLY, WENDIGO DONNER TRAVELED BACK IN TIME WITH OTTER TOOTH??

But he won’t help Claire escape. His decision costs Claire dearly. 

The next few minutes are downright awful. Claire dreams of a better and safer world while multiple men brutally rape her. 

Claire looks like she’d rather be dead. 

In the dream, two police officers interrupt the dreamy bliss to tell Claire that Roger, Brianna, and Jem died in a car accident. Is one of the officers that actor playing that bastard Brown?

HOLY MOLY, ROGER AND BRIANNA DIDN’T MAKE IT BACK. 

They were thinking about home.

Thankfully they make it back just in time to intercept Jamie before he leaves to WHOOP SOME BROWN ASS.

Ian puts on war paint, and I HAVE NEVER BEEN SO EAGER FOR BLOOD. 

The scene of Jamie and the men finding Claire is devastating. Jamie asks Claire how many men raped her, and she says she doesn’t know. 

“Kill them all.”

That sent chills down my spine. Jamie recognizes Claire can do no harm, so just men will kill for her. He will kill for her. 

He wraps her in his tartan, just like he did many moons and seasons past. One of the men is still alive, and Jamie decides not to kill him so they can question him.

Ah, another callback of Jamie looking at Claire wrapped in his tartan by a stream! She mentions Donner and Jamie reveals that Roger and Brianna are back.

I love how the past two seasons have ended with Brianna running out from a house to reunite with someone! All jokes aside, it’s another heart-wrenching moment when Brianna and Marsali hold Claire close. 

Brianna echoes the same comforting words Lizzie said to her after she was raped. I hate that they have a trauma as a shared experience.

Poor Jamie hates the state Claire is in and cutely asks, “I’m so angry about this, please let me kill someone for you again.” 

Someone, please give Caitriona Balfe an Emmy for her shattered speech alone. The woman is incredible. 

Oh, of COURSE, Lionel Brown is still alive. (Stupid me didn’t realize that was his first name.) Claire contemplates breaking her oath and breaks down. Marsali is left to deal with the asshole and finally….

MARSALI KILLS THE BASTARD!! HELL YES. SHE INJECTED HIM WITH HEMLOCK BECAUSE A POISONOUS MAN DESERVES THE BEST POISON IN HIS VEINS. 

Jamie drops off Lionel to the other Brown brother, who’s like, “Yeah, he kinda deserved that, but I shall also wreak vengeance upon you one day, so there’s a conflict for next season.” 

“We wanted the stones to take us home, and they did.” 

Claire revels in the peace of an ordinary day.

“If my last words aren’t ‘I love you,’ I’d ken I didn’t have enough time.”

DAMMIT JAMIE BEING ALL CUTE!!

The last shot of Jamie and Claire is the most beautiful thing I’ve ever seen on this show. Claire finally feels safe as thunder beckons the war to come.

And with that, we have another season, come and gone. (How great was Raya Yarborough’s a cappella rendition of the opening song at the end?) I just want to say that I thoroughly enjoy watching each episode and writing my random thoughts. (Also, where was modern Lord John though?) I enjoyed the creative risks the show took this season, and Claire’s dream sequence was hauntingly perfect.

Outlander is such a beautiful show, and I’m grateful to my mother, my Claire, on this Mother’s Day for introducing me to the world of Claire and Jamie and co in the first place. I love you, mom. Thank you for showing me what strength and love and compassion can do.

Until next time!

My Birthday Quarantine Make Up Routine

My Birthday Quarantine Make Up Routine 

So today is my Birthday and this year has been weird to say the least being stuck in doors! I can't  go shopping for groceries, but I can go out for 1hour exercise around the park and doing social distancing. But before I go outside I'm going to put on some of my Make up witch is minimum which i'm going to share with you today!  

1. First I'm going prep my skin using Clarins Paris Beauty Flash Balm witch is a pea-size amount all over the face!
2.  Next i'm using Bare Minerals original Foundation in the colour light and buffing into the skin with my real techniques expert face brush!
3. Then using my Bare Minerals eyeshadow Glimmer in the colour Azure on to my lid with my real Techniques shading brush then blend with my real techniques duo fiber eye brush.
4. Then using NAS Climax Mascara.
5. Then using my NAS blush in Dolce Vita with My real techniques duo fiber face brush witch i'm putting lightly.
6. Then I am using Chantecaille Brilliant gloss in colour lucky all over the lips  

Also I have made a video too compliment this post. 😘

  

DR. ANDREW WEIL FOR ORIGINS Mega-Mushroom Relief & Resilience Treatment Lotion

Dr. Andrew Weil for Origins Mega-Mushroom  Relief & Resilience Soothing Treatment Lotion

I have been trying this treatment lotion during my time in Lockdown / quarantine and I am really seeing the improvements on to my skin: My skin feels softer, soothed and also helping  with my normal to dry skin: I Highly recommend this lotion to you all.

A Floral Treat for your Tech

A Floral Treat for your Tech 

Every year I get so excited to take my camera out when the spring flowers start to bloom, our daily dog walks are filled with the sights of bluebells, apple blossom and forget me nots. I don’t think I’ve ever appreciated the sight of the world reawakening more than I have this year so I thought I’d celebrate some of my favourite florals in this post. Please feel free to use these images for your phone and laptop backgrounds, just in case you’re missing out on Spring florals.

‘Outlander’ Review: Episode 511, “Journeycake”

[This is not a spoiler-free review of the episode. If you have not seen the episode yet, read it at your own spoiler risk.]

Episode 511: “Journeycake”

Written By Diana Gabaldon (AHHH!), Directed by Jamie Payne

Occasionally Outlander author Diana Gabaldon pens an episode. I’m sure we all recall the greatness from season two, episode 11, “Vengeance is Mine.” We went—in a word—bananas. Readers felt her presence in the quick staccato-like dialogue and epic pacing. Episode 511, “Journeycake,” does not disappoint.

The cold open is loaded; the scene opens on a montage of seasons; leaves change and fall, flowers bloom. Jamie (Sam Heughan) and Claire (Caitriona Balfe) trot along a road on horseback while Roger (Richard Rankin) and Bree (Sophie Skelton) ride ahead in a wagon, eavesdropping. Jamie wants to know what’s in the burlap bags. Peanuts, Claire tells him. He then hypothesizes the various purposes she could have for them: slops for the pig? Medicine perhaps? The answer? Peanut butter!

“I haven’t quite mastered ice cream yet, but I’ll be damned if Jemmy doesn’t grow up eating peanut butter and jelly sandwiches.”—Claire

Something off the side of the road catches their eye, and they halt. They find the remnants of a recently torched cabin. It’s smoldering, like coals on a grill. Jamie, Roger, and Young Ian (John Bell) inspect the grounds. He calls for Claire, worried there might be survivors. They find a charred body, but everyone is dead. But Jamie notices something odd…

“They were dead before the fire started.”—Jamie

He can’t tell for sure what killed them. They find a body and remove an arrow. Indians, perhaps? But if so, why just the one arrow? Jamie instructs everyone to scout the surrounding area for survivors. Just then, Roger stumbles on a survivor, a girl. She’s alive, barely. Worse, she’s suffering. Jamie moves to end the pain, but Roger insists. He coos to her softly, “It’s gonna be all right, sweetheart.” He pulls out his handkerchief and places it over her mouth and nose.

Thou goest home this night. To the home of autumn and of spring and of summer. Thou goest home this night to thy perpetual home. To thine eternal bed. To thine eternal slumber.”–Jamie

It’s done. Jamie makes the sign of the cross, and they return to their caravan. And all this before the opening credits. They roll. Showrunner Ron D. Moore’s title card incorporates a flashback of Claire from the neck down in her blue, waterproof travel garment from season three. She sits eating a peanut butter and jelly sandwich, and her cellophane wrap blows away.

On the Ridge, Young Ian plays with Jemmy (Andrew/Matthew Adair). He dangles Ottertooth’s amulet over him. Roger carves the head of a hobby horse and Claire and Bree shell peanuts while reliving that time Bree made her mother peanut butter and jelly sandwiches for her journey back to Jamie.

“I just wanted to make sure you had one last piece of home wherever you ended up.”—Bree

Something is going on with Jemmy. He’s holding the amulet and complaining it’s hot. He doesn’t like it. The stone cracks in his hand. Ian doesn’t understand; the rock is “cold as stone.” Does this mean Jem can travel? It does. Does this mean Roger and Bree can return to their time? IT DOES.

Just then, a band of 30 or so riders approaches. Bree takes Jemmy into Claire’s surgery, classic mom redirect move. It’s Mr. Brown (Chris Larkin) and “friends.” He informs Jamie of their plans to form a “committee of safety” now that they know they can’t count on the King for protection. The new governor, Gov. Martin, is aware of this committee but can not formally sanction it. They want Jamie and his men to join. Brown mentions the recent wave of violence: houses burned, families attacked. Jamie mentions the cabin they found earlier.

Just then, Claire interjects. She notices Lionel Brown (Ned Dennehy) has a leg wound. He says it’s nothing, a mere flesh wound (hehe), but Mr. Brown insists he let her tend it since they’re there after all. If you recall, the last time Claire and he interacted, he pulled his toxic masculinity card and stepped on her glass syringe of penicillin. Now, their conversation in her surgery is tense. He catches her off guard with a comment about a parent’s need to avenge one’s child. It rings eerily true considering what the family just went through regarding Stephen Bonnett (Ed Speleers).

“You think a father’s got no right to seek justice for a daughter who’s been dishonored?”—Lionel Brown

Meanwhile, the men are collecting water. Some are casting blame on the “savages” for the recent rash of violent attacks. Young Ian shoots down the blanket assertions, pointing out—correctly—that plenty of white men collect scalps. They all agree that whoever is to blame, something must have scared them off. Mr. Brown asks Jamie for a second scouting party, posing a quid pro quo scenario for his having joined Jamie’s militia before.

“Fighting a war and maintaining order are two different things.”—Jamie

He then resorts to a light blackmail approach, holding Jamie’s bootlegging business over him. He leaves Jamie with time to think it over. Young Ian remains on the offensive, insisting they’ll protect themselves. Lionel limps away from Claire’s surgery.

That night, Jamie and Claire talk intimately about Roger and Bree leaving. Claire confirms to him that their plan was always to leave as soon as they knew Jem could. Young Ian interrupts. “Are we not going to talk about what happened?!” he asks. They’re perplexed and assume he’s referring to the Brown brothers’ visit. He is, in fact, talking about Jemmy and the amulet.

The Indians told him that Ottertooth’s ghost appears to whoever possesses the opal. Technically, that’s Claire. She acknowledges he appeared to her. He says the Mohawk believe that the person who has the stone has the power to see what will come to pass. They asked him about her after she and Jamie left. He told them what he knew: he’d never seen anyone like her, then she went away and suddenly came back into their lives. Now, he has questions.

He gives her and Jamie something that once belonged to Ottertooth, a note, and it’s in Latin. Jamie puts on his old-man specs and translates.

 “I still exist, in that place between. I do not know exactly when I am nor can I find out. These people do not measure time by any scale I know. Nor do I have the tongue to find out. But I know I am too late.”

Claire looks at the note. She’s shocked to find it’s written with a ball-point pen, something that doesn’t exist yet. “Who or what are you?” Young Ian asks his aunt. She comes clean about being from 200 years in the future. He puts two and two together that pretty much everyone is in on it but him, Roger, Bree, Murtagh. Composer Bear McCreary’s original fairy hill score sneaks in as he has his epiphany. The man creates magic, pure magic.

“I knew you were a fairy, Auntie.”—Young Ian

The scene cuts to Jamie and Claire on horseback riding through the trees. They approach their old little hut. Jamie calls out to its inhabitant, “you can come out!” Jocasta’s servant Ulysses (Colin MacFarlane) emerges, relieved to see them but angst-ridden. He’s in hiding for killing the lawyer. They’re worried about him and deliver food and some light reading, Pamela or Virtue Rewarded by Samuel Richardson (first published in 1740, in case you’re curious). Jamie hopes the book will be a welcome distraction. Ulysses admits that his own thoughts are but poor company. They tell him of their visitors, admitting they were initially worried they were there for him, but soon realized everyone remains unaware. Ulysses acknowledges the fact that he is now a murderer, and admits he would do it again.

Jamie recommends an exit strategy, encouraging him to head for Quaker country in Philadelphia, somewhere with staunch anti-slavery sentiments. Ulysses explains he is no longer a slave and produces his document of manumission. Ironically, Gerald Forbes, the dead lawyer, was a witness to it. He’s been free this whole time but chose to stay.

It’s nighttime at the Ridge. Bree has just gotten Little Man to sleep, and she and Roger are having “grown-up time.” Just then, Roger clangs the bed warmer and moms watching hold their breath and freeze in unison, hoping he didn’t just WAKE THE FRIGGIN BABY, ROGERRR.

They discuss the fact that Jemmy broke the stone. How? Is it because both his parents are travelers? Is he a tiny black hole of time traveling juju? And if so, is this proof that Roger is his biological father? (I got all the feels here.) Roger admits all he’s ever wanted is for them to be a family and safe. Bree looks at him with love and hope. She doesn’t want to leave her parents and friends, but she needs to liver her life. In her time.

 “We need to figure out what we’re going to tell people. We can’t just go poof.”—Bree

They come up with a reason for their leave; Roger received a teaching job in Boston. They determine it’s the truth, just in the wrong time. He suggests a narrow timeline, one month until they depart. It stings.

The next morning, Lizzie (Caitlin O’Ryan) announces a visitor, with one hell of a swing in her step. Ah, of course, it’s the steel fox himself and James Marsden’s doppelganger John Grey (David Berry). Jamie is, of course, thrilled to see him but also worried something has happened. John quiets his nerves that all is well with himself and with William, Jamie’s bastard son. Jamie is also excited that they finally have a visitor to try out their new guest quarters. They catch up in the study. John heard of Bonnet’s demise, and Jamie confesses it was not by his hand. Regardless of who done it or how Grey is relieved for Bree’s sake.

At the river, Young Ian is doing something by the water’s edge while Bree works with her mother. He asks if she’s really leaving. She confirms. She talks of the difficult times on the horizon in their current time. As cousins are want to do, he gives her a hard time, basically calling her Captain Obvious. But, he is also happy for her if its what she really wants. He asks, though, would she not want the opportunity to stay and change things? Claire recounts how she and Jamie tried that. They were able to save one or two lives at best but unable to stop major historic events. They quickly realize Ian is asking for personal reasons, something between him and his wife. Claire doubles down that it won’t work; after all, he didn’t hear the buzzing from the opal or feel its heat. He can’t travel. Resigned to this fact, he tucks his tail and returns to the river.

Back at the house, Grey informs Jamie he’s returning to Hellwater. Lord Dunsany has died, and Grey must make arrangements seeing as how William is the heir. He admits he doesn’t want to leave. The change of pace has done him good. Jamie sends his condolences. John promises they will eventually return to Virginia (we all know how that turns out) after these darker days pass and gives Jamie a gift. It’s a pocket-sized portrait of his boy.

“I hope I am wrong, but I feel a storm coming.”—Lord John Grey

Claire tells Jamie she’s tasked Bree with sketching portraits of her, Roger and Jem. While Jamie applauds her excellent idea, he reminds her he didn’t require a picture to keep her likeness in mind for 20 years. “No pictures at all, but it does help.” He kisses her hand, thinks, and looks over at the picture of his son. Claire sits at her nightstand, a very modern-looking one at that, and dots herself with French perfume.

Later that night, she thrashes and wakes, kicking the covers off. It’s a hot flash. She heads to the window (aww snap! The window! Bow-chicka-wow-wow!) Jamie wakes shortly after, sensing her absence. Concerned, he quickly realizes she was wearing her “love on me” smell in addition to a standard kitchen spice rack: onions, garlic, black pepper, dill, vinegar. She teasingly smacks him on the bum. That bit felt adlibbed to me in that it was so natural. I could see Caitriona doing that jokingly, and they kept it. Who knows, but it came across as lovely and organic. She identifies his scents back as if she’s reading a candle ad in Masculine Magazine (not an actual thing): gun powder, fresh-cut grass, bacon, gasoline. They make love with her back to the wind. It’s delightful.

Back in her surgery the following morning, Claire inspects the resolution of her new microscope lens curtesy of John Grey. Jamie takes a peep and comments on the motility of the tiny microorganisms and their “handsomely thrashing tails.” (Oh, Diana. Ew.)

Later, Jamie finds Bree eating. He shows her his picture of William tells her of her brother. Jamie explains what happened between him and William’s mother, and that Claire is aware. He continues that William is in London and will never know Jamie is his father. Bree tells him they plan to leave in a week. He’s happy for her but sad.

“After your mother left me with you in her belly, I never thought I’d see you, but I kent you were there. I was a husband, a father, and now I’m a grandsire. And even though I may never see any of you again, you have made my life whole.”—Jamie

They hold hands.

Meanwhile, she and Roger have started the good-bye rounds. They tell Marsali (Lauren Lyle) and Fergus (Caesar Domboy). Marsali is stunned. “What are your parents going to do?! What am I going to do?! Boston is so far!”

Back at the house, Claire enters the frame. It’s a dark shot of the doorway, on a sunny day. She spots Bree, and things get very real. It’s a stunning visual. I feel the most like a voyeur when they shoot things in this doorway. They use it for a lot of the important stuff. Lizzie approaches Bree and gives her absolute guilt. They’ve been together so long, through the best and worst times. Why isn’t Lizzie coming with? She doesn’t understand. Bree tasks her with watching after the family.

Just then, visitors approach. It’s the Browns again and Lionel’s wife Rose (Hayley Doherty). They’ve come calling on Jamie again to join their gang. He’s considered it and declines. It’s now time for him to serve his family. Lionel admits he brought his wife to see Claire. She’s in need of a healer. They head to the surgery. Claire delicately questions the couple. They’ve been married just shy of a year. Her wrist is broken. Claire observes this happens typically by a fall or twisting it. Clearly, she suspects abuse. Claire finds a reason to send Lionel in search of Jamie, allowing her and Marsali some alone time with the patient. She gently inquires. Rose seems to think Lionel’s behavior is nothing out of the ordinary. He gets mad when she doesn’t finish chores and gets mad when he drinks. But insists he’s a “good man.” Claire points out that good men don’t hurt those they love.  Rose pushes back that it’s her fault for not lying with him. She then proceeds to regurgitate “Dr. Rawlings’” (Claire’s pseudonym) advice to avoid coitus during ovulation for preventing pregnancy. Just then, Lionel returns, and a glint catches his eye. It’s the Dr. Rawling’s nameplate on Claire’s medicine box. He’s on to her. He promptly removes his wife.

Outside, Roger approaches Young Ian for a favor. He wants him to join them on the journey to the nearest stone circle. Roger needs him to take the horses and wagon back after they leave. He doesn’t want Jamie or Claire there for fear the guilt will stop them altogether. Ian agrees. These two developed a wonderful friendship. Roger then hands him an envelope, a gift. It’s their land. Young Ian refuses. Roger says fine then, “look after it for me. Do with it what you will. I hope you find happiness.”

Bree looks free of worry for the first time in a long time. She sees Grey on the porch and smiles. He asks her about the Boston plan, and Brianna confirms. She mentions William. He’s relieved she knows but explains he can never tell William of her existence. She understands. Grey leaves in two days and will take Ulysses with him; once he sets foot on a British ship, he’ll be a free man. Plus, Grey needs a respectable chess buddy.

Later, Bree and Roger watch out the window as Jamie plays with Jemmy on a horse. They share the fact that neither ever had the grandparent experience.

Claire finally has a moment alone with Bree, who whimpers, “Mamma!” and they embrace. Stupid good-byes. (I’m not crying YOU’RE crying!) That night, Claire serves up something special at dinner.

“The future’s answer to journeycake: peanut butter and jelly sandwiches!”—Claire

Jamie attempts to eat it with a knife and fork. Young Ian eats it properly, with both hands. Jamie jokes, “Are you sure it’s meant to be eaten? you could seal letters and mend boots with it as well.” With that, he toasts his family, and they cheer. This feels like good-bye.

Cut to a wagon rolling along in the woods, and in comes that fairy melody theme again that defined season one. McCreary features the melody with a fiddle this time, compared to the original haunting choral arrangement. It’s set to b-roll of waterfalls, mountains, trees, and sunrise. Ugh, heartstrings. Next thing, Jem is shouting, “I hear them! I hear them!” And up the hill, they go. Roger holds a rope. The buzzing starts. They’re at the standing stones. Speaking from experience, it sounds like a hurricane.

Back on the Ridge, Claire looks at the sketches of the baby. Jamie stands in the doorway. They’re in Roger and Bree’s house, Jamie and Claire’s “starter home.” He comments that if Roger’s timing was right, they should be at the stones by now.

“We started our life on the ridge in this cabin. And now it’s just you and me again.”—Claire

Jamie comforts her. They hug and rub foreheads. I love them. He comments that perhaps in the future, she can actually become an engineer.

Meanwhile, the Mackenzies are all roped together, mom, dad, and Jem in the middle. They’re ready. They thank Young Ian for everything and ask him to take care of mom and da. They put a gemstone in Jem’s hand and intertwine their fingers. They touch the stone. My heart sinks.

Dead leaves blow and rustle. Roger, Bree, and the boy get up from the ground. Jem is fine. They made it. But when are they?

At home with Jamie and Claire, life carries on. The twins, Jamie, Fergus, and Young Ian, are digging a privy and having each other on. There’s a blast. It’s the whisky still, and they take off.

Claire and Marsali are treating a patient with a dislocated arm (think Jamie and Claire’s first encounter), and hilarious banter ensues. This moment cracked me up. Lauren Lyle and Caitriona’s chemistry is great. They’re interrupted as the “Safety Committee” members barge in. They knock Marsali unconscious but not before she hides Germaine under the bed. They kidnap Claire.

When Jamie and the boys return home, they find Jermaine standing on the porch alone. He tells Fergus, “Mama won’t wake up.” They storm the house to find Marsali out cold but breathing, and no Claire. Cut to Jamie running up the side of a cliff at dusk. He lights the fiery cross.

If Claire is in the healing business, Jamie is in the killing business.

And business is about to be booming.

LUNA'S MUSINGS: For when I can’t suppress my inner fan-girl.

• What is it about the “Diana” episodes?! They’re paced so damned well!
• They smothered the Dutch girl?! If my skin is burned off, a bullet to the head, please.
• I got all mushy during the Jamie/Jem horse scene. My parents immigrated, and I didn’t have grandparents. I love watching my kid enjoy the “grandparent experience.”
• That window scene, though…

That last shot of Jamie running up the cliff was very a la Poldark.