Want to relive Outlander Season 5 Episode 8? We do a minute-by-minute reaction to “Famous Last Words.”
[9:00 p.m.] Hello, friends! It’s been a minute since we last caught up — 20,160 of them to be exact. You look well… I hope you are well? I ask given the backdrop of the world and the <deep sigh> loss of Murtagh.
[9:01 p.m.] Dearest Starz, we appreciate the formulaic recap (tradition and whatnot), but rest assured — there is not one among us who will soon forget a single, gut-wrenching detail of the last episode.
[9:02 p.m.] We’ve entered Dead Poets Society and Roger Wakefield is our and these students’ John Keating. This scene is here to serve a deeper purpose connected to both the story and the episode title, but I also love the simple reminder of how confident Roger used to be in his own time, in his own element (with Bree to witness it and all). He’s struggled to find his footing as Roger Mac, but we know that the mildly arrogant, wildly charming Roger is still within biding his time to break to the surface.
[9:03 p.m.] Words truly are one of the most powerful tools available to us readily. My profession necessitates I dabble in them constantly, leaving me equal parts empowered and exhausted at the end of most days. When I find myself eye-rolling and struggling to string together more of them in some coherent, digestible way, I reflect on the impact of Proverbs 18:20: “Words satisfy the soul as food satisfies the stomach; the right words on a person’s lips bring satisfaction.” Ergo, you really can get me to understand anything by relating it to food.
[9:04 p.m.] “Let history forget my name, so long as my words and my deeds are remembered by those I love.” Wow. Not bad for spitting that out on the fly and under pressure, Mr. Wakefield.
[9:05 p.m.] A silent movie marathon? Love really is built on a mountain of compromise, isn’t it? Probably the same mountain that gets my husband to sit and watch most TV shows with me, sooooo I’ll shut up.
[9:06 p.m.] The cold open of words, words everywhere a word was a perfect lead-in to the silent film throwback accompanying the title card. And here I was wondering if my last words would be famous — now this dang show has me wondering if they’ll even be audible.
[9:07 p.m.] Well Happy Easter indeed. In my best ‘90s soap opera voiceover, the part of Jesus will now be played by Roger. Non-book readers, you can breathe now. He lived.
[9:08 p.m.] If this silent-film method for retelling Roger’s trauma continues throughout this episode, I suspect people will either intensely love or vehemently pan it. For the record, I’m in the former camp. Come join me. It’s nice here in this camp. I have an endless supply of adult beverages and s’mores.
[9:09 p.m.] Jamie, Roger might be alive and whole, but I’d give it a beat before deeming all “well.” Also, the purposeful editing in this scene to show only Roger’s face and none of the others making noise around him is its own outstanding supporting character.
[9:10 p.m.] And we’re back to silence and black and white. Yep, still here… campfire’s going. I’ll scoot my chair over and throw on another log if you want to join me at Camp Keep Calm and Silent Film Motif On.
[9:11 p.m.] The fear of actual drowning has always put my anxiety on a level 12, especially after having a child. I don’t fear my own demise, but rather anyone else’s who might wander into the water on my watch. The same holds for drowning in silence — witnessing another battle the unforgiving clutch that depression, anxiety or darkness has on them and not being able to do a damn thing to lessen it. In summary, I’d like to give Bree a hug right now.
[9:12 p.m.] I sometimes wonder if Claire and Bree hadn’t gone back through the stones, would the topics of their mother-daughter talks be quite so intense? I mean, we’ve covered abandonment, rape, pregnancy, grief, kidnapping, parenting, war, more trauma and thousand-yard stares in less than two years. A little tea and some gossip about the nosy brownstone neighbor or the latest Days of Our Lives shenanigans might look pretty good right about now.
[9:13 p.m.] In absence of Roger meeting his weekly singing quota (it’s okay, lad, take your time), I’ll gladly accept the stunning vocal stylings of Aunt Jocasta in replacement. I heart you, Maria Doyle Kennedy.
[9:14 p.m.] Jamie’s right — genetics are not an automatic prerequisite for grief. You get to feel whatever you want to feel for someone and their passing, whether their blood courses through you or not.
[9:15 p.m.] It’s been three months since Murtagh died and it takes 10 days to travel from River Run to The Big House. Math isn’t my strong suit, but the numbers say Aunt Jocasta came to grieve Murtagh publicly when she was emotionally ready, but don’t underestimate the physical toll she expended to get there.
[9:16 p.m.] And even in death, Murtagh continues to keep watch on Jamie from his final resting place. I can’t. I AM STILL SHORT ON PAPER PRODUCTS FROM THE LAST EPISODE, YOU GUYS. Help me ration it out, Sam Heughan and Bear McCreary. These are precarious times.
[9:17 p.m.] Oh my. This feels like a fine time to update you on the conditions of my camp. The sky is perfectly dark and clear — optimal for stargazing tonight! Invite still stands. Fancy a dram and a fleece blanket to keep you warm?
[9:18 p.m.] The damage to Roger’s throat given both his hanging and Claire’s meadowside tracheotomy is understood. But wouldn’t his fingers also be severely injured from how long they bulged like cocktail wieners between his neck and the rope? Who knows, but either way I promise to never again complain about the pain of looping far too many grocery bags around my fingers just to unload them all in a single trip.
[9:19 p.m.] “I guess we don’t have all the answers.” “No, sometimes we must have patience.” Welp, less than 20 minutes in and this week’s tally of inadvertent PSAs for surviving a global pandemic is off to a noble start. Also, it’s refreshing to see Lord John Grey break from the wedding circuit to stop by and insert his calming presence and warmth into a house in dire need of it.
[9:20 p.m.] “Glad to see you’ve found a way to distract yourself.” — Claire, passively judging my nightly happy hour ritual amidst the Groundhog Day nature of sheltering in place.
[9:21 p.m.] There’s no formula for grief, no set timeline for how quickly one can or should heal — even if any physical wounds have long since mended. Also, grief is not necessarily the absence of life. It just tucks inside and goes along with you…
*cue montage of life on the Ridge, farm chores and leftovers and whatnot*
…as life continues on.
[9:22 p.m.] This just goes to show you can always find your voice when you — and others — need it the most.
[9:23 p.m.] “Oh my darling, oh my darling, oh my darling Roger Mac. You were lost and gone forever, oh my darling Roger Mac.” — Me, wondering if this might be a more fitting version of their favorite ditty given the direction this episode is headed.
[9:24 p.m.] Watching these unnaturally dreamy grandparents dote on their grandson is helping balance out my emotions in this doozy of an episode. And also, another fine and timely reminder that simple joys — whether it be playing hide and seek, coloring with sidewalk chalk or taking family walks — are a beautiful way to fill a day.
[9:25 p.m.] Roger and Ian both resurrected in one episode?! And don’t get me started on the bounding Rollo. It’s a trifecta of Easter miracles.
[9:26 p.m.] Until now, I had not fully grasped the magnitude of guilt Roger must have been harboring about Ian sparing his life by taking his place with the Mohawk. The pressure valve release in his facial expression and mannerisms once he saw Ian still in one piece helped it sink in.
[9:27 p.m.] Just how many wounded male eyes will we stare into within a single episode? I’ve started to lose count. So. Many. Depressed. Men.
[9:28 p.m.] “It’s big.” — Ian, and also Outlander producers, to Jon Gary Steele. I love the subtle wink to Jon and his team in having Caitriona’s lines mention the blood, sweat and tears that went into building this home. A magnificent send-off, sir!
[9:29 p.m.] “Ummm… best of three?” Nice, Marsali.
[9:30 p.m.] Guessing that Marsali should’ve taken a note from Mrs. Graham’s playbook. Reading tea leaves might have been a less visually haunting way to have a little fortune teller parlor fun with Roger than repeatedly showing him a card boasting an image of a man hanging.
[9:31 p.m.] Bree, in a nutshell: “Suck it up, buttercup.” Listen, every person and their respective experience is different, yet her point is valid. She soldiered on. She needs Roger to do the same. It’s also not lost on me that when she “fought for us” and battled back from her own darkness, she did so without the benefit of him at her side and without shutting down altogether.
[9:32 p.m.] Her pleading with him is a reminder that sometimes all we need is a glimmer of hope that the darkness hasn’t fully swallowed the light forever.
[9:33 p.m.] More yams anyone? I treasure these family meals on the Ridge, but also… here’s hoping your next holiday dinner isn’t as forced and full of trauma as this one.
[9:34 p.m.] Marsali and Fergus are trying to In Touch Weekly Ian’s “gap year” when he has yet to speak in full sentences or break a smile and shudders at the word “home.” Know your audience, Frasers 2.0 (wink to my pal, Nikki).
[9:35 p.m.] Then again half of Frasers 1.0 might also take a cue. Jamie’s asking Bree if she and Roger have discussed accepting Tryon’s land offer. Meanwhile the entire episode has focused on the man not uttering a word in three months. But by all means, they did chat it up about the real estate market over morning coffee.
[9:36 p.m.] “You’re welcome to the bed in the kitchen.” I have waited my whole life for someone to say those words to me. Ian, say yes… for us.
[9:37 p.m.] Aside from Bree, music is Roger’s constant. I’m hopeful either or both will help him find his voice again. Also, he’s strumming that guitar quite capably. I have my answer to 9:18.
[9:38 p.m.] I stare at my bed every night like that too, Ian. However, mine’s usually in the spirit of “There you are, you cozy beast. Have you missed me? I’ve been longing for you all day.”
[9:39 p.m.] “But ye seem out of sorts.” I’ll take understatements for $500, Alex. I get it, though. The rhythm Jamie fell into with an adoring boy has long since gone. He’s now got to figure out how to connect with his grown nephew. But as we’re reminded here, sometimes all a person needs is for someone to sit with them quietly in the darkness for a bit, not trying to fix it.
[9:40 p.m.] …Annnnd when all else fails, kittens and adorable, apple-cheeked toddlers can help break through even the most hardened of souls.
[9:41 p.m.] I’ve adored Lauren Lyle and her comedic ability this entire season, but love how this porch stoop conversation is underscoring the range she brings to her portrayal of Marsali. Fire, sarcasm, spirit, focus, loyalty, empathy and warmth — she brings it all and then some, when and where needed. You want me to babble while you stare aloof? I got you, cuz.
[9:42 p.m.] While we’re heaping praise — hellooooo and welcome back, John Bell! Can this possibly be the same bumbling ginger boy we first met in a brothel in Edinburgh years ago? I know time has aged the actor physically, but that’s only partly a factor here in his introducing us to the man Ian’s become. He’s clearly endured the pain of a man twice his age, and I’m buying what Bell’s performance is selling hard. He’s long since proven we can drop the “young” from his name.
[9:43 p.m.] Words — per Roger, just focus on her words. Or go back to singing “Oh, My Darling Clementine” in my head. Because Sophie Skelton’s acting (and the cheesy paper airplane toss) in this scene feels off to me (Hi! I can read my lines.) and I want to stay in the bliss of this episode.
P.s. Have these two really already been married a year?! We haven’t been in quarantine that long, right? Asking for me.
[9:44 p.m.] Practical question: Ever noticed how every room in every house on the Ridge always has the most perfect fire blazing in the fireplace? Who’s starting and stoking them? Everyone’s always enjoying one, but never touching them and always leaving the room with them fully ablaze. I digress.
[9:45 p.m.] Okay stop me if you’ve heard this one before* — a mute man, a Mohawk teen and a trusty dog all walk into the woods…
*Nope, me neither. But as you were…
[9:46 p.m.] These two are a match made in heaven for each other to combat their individual hells. Both tortured, ambling about aimlessly trying to find their place in time and space — while toting an astrolabe, to boot.
[9:47 p.m.] Oh God no — YOU GUYS, THE WATER HEMLOCK IS GONE. Quick question, what the frack is water hemlock?
[9:48 p.m.] A few more sessions leaned up against this tree under the banner of sunshine and Ian’s banter and we might find Roger 2.0 (or 3.0 at this point?) after all.
[9:49 p.m.] “Wherever you thought you were, we’re both still here.” — Ian, and also my husband to me when he finds me on our front porch these days staring blankly in thought.
[9:50 p.m.] Suicide is a permanent solution to a temporary problem. Something to keep in mind as you stare down the water hemlock or cliff’s edge, Roger.
[9:51 p.m.] Oh fresh hell, we’re back in color and I am so not having a Dorothy-like wondrous reaction to it. I don’t need this. I’ m not a developing baby — I get it without all the bright colors and loud sounds.
[9:52 p.m.] Okay, full disclosure: full sarcasm above. I completely understand why Roger needed to walk through his hanging fully and vividly in order to find Bree’s face as his constant. In doing so, it finally loosened the hold the noose still had on him. I also love the paper as therapy symmetry of Brianna burning her drawings, Jamie burning the prison manifest and Roger now letting his fly off a cliff.
[9:53 p.m.] What is it, girl? Has Timmy fallen down the well? Nothing tugs at my heartstrings quite like a dog expressing emotion over his human.
[9:54 p.m.] “And now he is quite literally burying the hatchet.” — My husband. Back off ladies, he’s mine.
[9:55 p.m.] Not to downplay this brotherhood of commonality and solace, but I do hope that when these two wrap up their surveying road trip, they score a package deal on therapy from whoever handles that at the Ridge.
[9:56 p.m.] Her name doesn’t matter now, which brings us back to Roger’s Oxford lesson. History (or Ian’s telling of it) might not remember her name, so as long as her words and deeds are remembered by those she loved. By looking at Ian’s face, I’d say she’s well on her way.
[9:57 p.m.] 9:22, all day everyday, and twice on Outlander Sunday. Also, Ian saved Roger last season, and now Roger has returned the gesture.
[9:58 p.m.] Surveying and bro therapy done! We’re on the road to recovery… and home. Notice how the light shines more brightly now.
[9:59 p.m.] “Don’t tell me you’re at a loss for words now.” There’s the Roger we know — trademark quick wit and openness contributing to his dreaminess.
[10:00 p.m.] “Everybody wants the old Roger back” sounds like a societal conversation playing out on repeat these days, as we wonder if the “new normal” will ever resemble the one we recognize from before — even after the crisis has passed.
[10:01 p.m.] “I’ll always sing for you.” Cheesy… but also, swoon. These two are due a cheesy moment or two now that we’ve seen “How Roger Got His Groove Back” (my vote for alternate episode title).
[10:02 p.m.] Apparently kittens, toddlers and this duet over the end credits. Precious, just precious.
Closing thoughts:
Yasssss sir, Outlander Season 1 is truly back! Please add it to the resurrection tally I was maintaining above on this Easter Sunday episode. This season has felt like a slow climb up a hill that finally found some upward velocity with the undisputed high quality of “The Ballad of Roger Mac.” In loving it as I did, I also hoped we hadn’t crested the top midway through the season only to take a sharp downward slope into a lackluster back half unable to keep up the high-bar momentum. This was not an episode for that doubt, clearly.
It was, however, an episode for sadness (so_much_sadness) and bro time. We welcomed back don’t-call-me-young Ian, and much earlier than it happens in The Fiery Cross as book readers know. I love the creative liberties taken here as it allowed us to see two men suffering deeply and leaning into each other for solace — something we primarily only ever see with women. It was fitting, too, that it be Ian working to bring Roger out of the darkness, and Roger vice versa for Ian given both their history and relationship that’s just close enough, but also far enough removed. You just never know who in your world will be the one to finally break through your iron-clad shell. All in on this bromance, for the record.
Speaking of darkness, the play on light and dark was rampant this episode — beyond just what these characters experienced within. I don’t think we ever saw either Roger or Ian truly suffer in a light environment. Everything had a blue-greenish or cloudy sky haze of sadness to it when outside, or they were in thinly lit rooms trying to find light in the people around them. The sun only shone when they bantered under the tree and, ultimately, found their way home together. And then there was the silent movie motif, an unconventional choice to focus on some pretty heavy themes. But if you think about it, the horrific trauma Roger experienced was first told silently, in black and white words on the pages of Diana Gabaldon’s book. Book readers had only their minds to convert the imagery into color and sound. Now book readers and show watchers have an oddly similar experience in learning of Roger’s fate. If not for Richard Rankin’s superb performance, the storytelling choice might not have taken flight (pretty much like every paper airplane I’ve ever made). But that wasn’t the case, and we spent an episode drowning in silence with him.
Oh, and Murtagh <sigh>, sweet silver fox Murtagh. I’m still not alright, thank you so much for asking. Thoughts and prayers are nice, but Aunt Jocasta, Jamie and I are also accepting warm cookie deliveries to aid in our comfort during this truly difficult time. Thank you kindly. Until next week, friends…
If you’ve missed any of our Season 5 episode recaps, you can catch up with them here:
Episode 5.01: “The Fiery Cross”
Episode 5.02: “Between Two Fires”
Episode 5.03: “Free Will”
Episode 5.04: “The Company We Keep”
Episode 5.05: “Perpetual Adoration”
Episode 5.06: “Better to Marry than Burn”
Episode 5.07: “The Ballad of Roger Mac”
A complete library of recaps from Seasons 2-4 is also available here.
Ashley, your recap was superb – a perfect dessert for a thoroughly enjoyable meal.
This was my favorite Season-5 episode. So much to like it’s near impossible to highlight only one thing but I’ll make the attempt anyway and go with the reemergence of Ian. WOW! When last we saw him he sacrificed himself to be a man of worth. Now we see the man that he has become. Young Ian, the flouncy teenager, is now a Mohawk warrior and looking every bit the part while killing a rampaging boar with a bow shot from 50 yards. I tried to picture the tattoo’d dots on his face when I read the book way back when and I was very pleased with the way they did it. I thought they looked very cool along with the haircut/feather-thing.
Outlander uses juxtapositions as well as any story. They can be specific to an episode or across multiple episodes/seasons. Ashley highlights one with the opening scene of a confident Roger in his 20th Century element with the 18th Century Roger who can’t find his place, his sense of purpose or his worth. I think I needed to see the “Keating scene” to reset my feelings on Roger. He had become a wimp and it was starting to get a bit annoying. Yes, he’s out of his element and at a disadvantage in terms of valuable skills for those times, but he seemed to missing some inner-fire where he would tell himself enough is enough and do something about it. Hopefully Roger’s breakthrough in this episode bodes well for his stepping up as the man/father his family needs him to be.
So lovely when I see your name pop up! I loved the thoughts you pulled out. Seeing Ian again and his transformation was a major highlight for me too. And you’re spot on about Roger having become a wimp right before our very eyes. I needed that reminder that he’s not always one and has the potential to be something other than. I can’t believe there are only 4 episodes left. Anxious to see where we head from here. Always grateful for your perspective!
Ashley,
Thanks for another great recap!
Indeed this season is on par with the first. Totally agree. This episode needs, no requires, more than one viewing. It has many nuances and subulties that are missed due to all the trauma and level of emotion. It needs time in between as well to let it settle and breathe.
1. I loved seeing Roger and Bree dating. So helpful to establish them as a real couple. More of those scenes included in season 4 would have been nice instead of Roger walking endlessly to New York. For me I might have liked both characters better and their relationship.
2. Claire seemed to be the only one remotely aware of just how uncomfortable Ian is. She at least makes some attempt at space. Jaime is usually better at awareness, he appears clueless. One on one he is a bit better. Is it just me or did anyone else notice Ian calling out Jaime on the fact he and Claire keep secrets? This is not the first time Ian has noticed it is best if he doesn’t ask too many questions. He will share when and if he chooses. He just announced he is an equal.
3. I too have often wondered what the story would have been had Claire stayed. Left Culloden with Fegus? So many possibilities and questions! Too bad this is not Choose Your Own Adventure.
4. I think Bree and Roger’s first anniversary is coming up. Based on the historical battle, three months later, gatherings in Sepetember. A bit of a liberty, but close. Plus Jemmy looks almost 2 1/2 or so and is was in Marsali’s arms for the wedding.
5. News flash for Mr. Fraser, sir. You will grieve the rest of your life in some small way. What is done is done won’t work here, but you will learn to live with a new normal. No amount of whisky is going change it. Claire delivers that news nicely.
Finally each person processes trauma in their own way and yet it still impacts all who love that individual. The episode did a wonderful job reminding us of that. Sometimes only someone who knows how one feels in that desperate moment can actually show another the way out.
Stay safe!
Sandi, thanks for reading and commenting. I love the thoughts you pulled out and shared! My watch count is at 3 and I picked up on new things I loved about it in those subsequent watches. Can’t wait to see where this week heads!
Thank you Ashley! On-point recap, as always!
Keep them coming and be well.
Thanks, Jean! Same to you.
Thanks for this, Ashley! So cleverly written and nicely done. Wondering why Rogers first word, “Stop!” to Jemmy wasn’t in it. Did I miss that? I thought that was so timely and evident if his depth of love for his son, whether blood or not. Initially, I was shocked by the black and white and said out loud, “oh, I don’t like this.” But as the episode continued I was able to be astonished at how clever it truly was and genius. I need to watch again. Loved your words on it and comparison to a campfire and DG’s black and white words. Genius yourself. Thank you for sharing your words!
Hi, Julie! Thanks for reading and commenting. You did miss the “stop!” reference or I was too subtle about it… it was in the line where I mentioned that we always find our voice when we (and those around us) need it the most. I’m so glad to know that you’ll be at the campfire with me. Should be a perfect night for it! 😉
I just want to say that I look forward to your recaps almost as much as I look forward to the new episodes every week. This one was brilliant!! Thanks for making me laugh and smile!!
Diane, you are most welcome! Thank you for your very kind words.
Thanks for the in depth review. I see I have found another Battlestar Galactica fan.
HA! Busted.
Amazing recap Ashley! And now I have to ask–are we soulmates? You’ve hit on my most favorite movie of all time, Dead Poet’s Society.
Quite simply I adored seeing Professor Roger Wakefield in the John Keating role–confident and competent and so on top of his game.
To me, he was the Roger of Season 3 (a character I really liked).
I recall Mary and Blake’s podcast where they discussed how each of the Outlander characters showed their love for each other: Roger is all about the verbal words (and music), and communication.
So it really hit home that when he lost his voice due to his near-hanging, that he would loose his
sense of his whole self. Who he was as a person, his self esteem and his self worth.
In this episode, there was no bad. It was only great, great, great.
I have to admit I was one of those who hated the cliffhanger (pun intended) last episode. Partly it was a carryover from last season, and my own bias that I don’t care for them.
Boy was I wrong!
I have to admit, I don’t care for silent movies, but using the silent movie format was so fitting here! It could have been a choice that was so out of the box, it could have been disastrous, but I really liked it.
The film cuts of the silent movie format interspersed when Roger reflected on his trauma or was trying to speak. I found it interesting and emotional at the same time.
It was wonderful seeing Lord John, Jocasta, and the little one playing Germain. Marsali was a real gem in this episode! She showed her lovely softer side when she was talking about wanting to be part of a big family, how much she felt like she belonged at Frazier’s Ridge.
Not to be outdone, Jamie was so tender and paternal to Ian. It was so obvious Jamie had missed the nephew he really considers another son. What I liked best about Sam’s delivery of the lines he didn’t rush the scene, he seemed like he was really listening to Ian. Even though the kid didn’t open up, you could tell there was a history of love between the characters even though Ian was hurting.
The absolute BEST was Roger and Ian. They were images of each other. From their first greeting hello, you felt the click between the two characters–the wounded recognizes the wounded.
Ian was no longer the happy-go-lucky boy that Jamie left with the Mohawk. He was uncomfortable with something as simple as being inside the house with his family, or letting someone else butcher a pig.
He could no longer find the joy in living, and when he and Roger went on that excavating trip it was easy to see how much they were hurting.
John Bell as Ian showed a depth of hurting for the character that didn’t exist in Ian previously.
Kudos to Richard Rankin as Roger. His expressions were amazing–I felt Roger’s pain without him having to say a word. Whenever he did speak, it sounded as if his voice was raw.
I thought this was an interesting twist to have these two together as Ian was the person who actually sold Roger to the Mohawk in the first place–yet Roger harbored no hard feelings towards him.
The paper airplane Bree made was a great commentary–Paper isn’t made to fly, but it will if you make an airplane out of it.
Ian calling it a paper bird was cute–of course he wouldn’t know about planes. When he commented that paper birds fly but do not sing, it was very poignant. When he mentioned talking to the birds, I was reminded about how birds fly in groups to protect each other (as we learned in the Devil’s Mark)
Roger found his voice at last when Ian was going to commit suicide.
His strength, his gift was in compassion and helping others. Roger’s life is solidly with Bree and Jemmy
It was interesting to see Marsali do the Tarot (I thought she would be too superstitious for that), but in the Tarot, certain cards represent change.
It is true in Roger’s case: He has to take the best of Roger Wakefield along with Roger Mackensie and become someone knew. It will be interesting to see who Roger Mac will be
Dawn, hope your week is going well! I loved what you had to say here… “It is true in Roger’s case: He has to take the best of Roger Wakefield along with Roger Mackensie and become someone knew. It will be interesting to see who Roger Mac will be.” So true. We have four episodes left and I’m curious how we will see he (and Ian) fare as we close out this season. I appreciate and enjoy your thoughts each week – keep them coming!
I may be wrong and perhaps someone has already pointed that out, but I thought that the Oxford flashback at the start of the episode was a bit confusing in terms of Bree and Roger’s intimacy. It made it look like their relationship was full on back then, but when they met up for the festival in S4 they seemed still very green, with Roger only hugging Bree when they see each other at the airport. Even though they put a date on the Oxford flashback, I almost imagined it as a “Faith” sort of flashback, as if it was them after coming back to the future. Might have at least tried harder to hide Richard Rankin’s ponytail at least, ha.
I only have three books of canon knowledge, but even so it’s the writers’ job to tell us a story without relying too much on the hope that some of the audience read The Fiery Cross. I don’t know if the scene is from the books, except that it isn’t the first time they try to stuff more content into a finished season (I.e. Perpetual Adoration flashbacks)
I agree with Valeria about the opening scene. I felt they were trying hard to show that Roger and Bree were a very close couple back then when they weren’t. I feel it’s an effort by the writers to boost that relationship quickly so that viewers might forgive their lack of chemistry and discordant, weird past relationship. I didn’t want to watch this episode (but eventually did after a few days) because I think the Roger hanging in the book was melodramatic and a plot device to make us feel sorry for him and give him more character. It felt that way in the episode too. I really can’t stand Roger and Bree together and it was difficult to listen to their dialogue or scenes, which never feels genuine, only forced.
I agree with Ashley about the scene with Bree and the paper airplane. Skelton continues to be wooden speaking her lines. It didn’t get better for me in this episode. I cringe when she speaks or is onscreen.