It's no secret, that Outlander is at its best during character driven episodes. Often times the best episodes, like Garrison Commander, the Wedding, Wentworth Prison, and to Ransom and Man's Soul all take place in a truncated time period, over the span of a day, allowing the viewers focus to really be placed on the characters reaction to the plot, rather than the plots themselves. However, any series needs to establish both plot and setting, and Not in Scotland Anymore introduces the Paris Arc in a clever way.
In the prior episode, you are introduced to the main arc of Season 2, and its clear to see that this season will be a tragedy, with Jaime and Claire trying and failing to stop the events of the Rising and Culloden. From the start there is a dark cloud over season. Yet episode 2 is very unique for the Outlander series in that it is one of the very few episodes in the series that is more whimsical than realistic, more comedic than dramatic.
Each character is introduced so vibrantly, without much time really being spent to examine each person's character flaws. Master Raymond, the eccentric and mysterious potions master, Louise, the prototypical French noble, Mary Hawkins, the shy English girl, the King of France, literally introduced on the toilet. Duvernay's introduction in particular stands out because while he's forward with Claire, unlike in past episodes, there is never a serious threat against her. His advances are treated as bumbling and foolhardy rather than malicious.
Even some of the more serious themes are treated with a rare humor that you don't see many other times in the series. Jaime's PTSD and Claire's thoughtful efforts to help him try to get past it are balanced by Jaime's comedic awe marveling at her dress and her decision to shave. The Bonnie Prince Charlie's ravings about his divine purpose are treated similarly. The episode portrays more as a naïve child than a serious threat, deciding not to dwell too much on the fact that his fantasies could get everyone killed, even if it is alluded to in passing.
And I think that's why this episode is so clever. On the one hand, it gives the viewer a break from the span of continuous gut wrenching installments that the series has kept producing from the back half of season 1, by injecting so much needed levity into the mix. Yet, it's impossible to ignore the tension simmering beneath the surface. The Bonnie Prince may be brushed aside as a mere fool in this episode, someone who can be ignored in the Fraser's plan to stop the Rising, but you can already get a sense of the danger he poses, having never set foot in Scotland and finding himself surrounded by other sycophants feeding his illusions. Jaime's PTSD and the effect of Randall on him is present and will continue to affect him, even though the episode deftly concentrates on Claire's efforts more than Jaime's trauma. And of course, the Duke of Sandringham rears his ugly head at the end of the episode, reveling in Claire's dismay at the news that Black Jack is alive.
All in all, a largely plot driven, introductory episode doesn't feel too plodding because it departs from the standard fare Outlander formula, choosing to inject a rare dose of levity into the series.
In the prior episode, you are introduced to the main arc of Season 2, and its clear to see that this season will be a tragedy, with Jaime and Claire trying and failing to stop the events of the Rising and Culloden. From the start there is a dark cloud over season. Yet episode 2 is very unique for the Outlander series in that it is one of the very few episodes in the series that is more whimsical than realistic, more comedic than dramatic.
Each character is introduced so vibrantly, without much time really being spent to examine each person's character flaws. Master Raymond, the eccentric and mysterious potions master, Louise, the prototypical French noble, Mary Hawkins, the shy English girl, the King of France, literally introduced on the toilet. Duvernay's introduction in particular stands out because while he's forward with Claire, unlike in past episodes, there is never a serious threat against her. His advances are treated as bumbling and foolhardy rather than malicious.
Even some of the more serious themes are treated with a rare humor that you don't see many other times in the series. Jaime's PTSD and Claire's thoughtful efforts to help him try to get past it are balanced by Jaime's comedic awe marveling at her dress and her decision to shave. The Bonnie Prince Charlie's ravings about his divine purpose are treated similarly. The episode portrays more as a naïve child than a serious threat, deciding not to dwell too much on the fact that his fantasies could get everyone killed, even if it is alluded to in passing.
And I think that's why this episode is so clever. On the one hand, it gives the viewer a break from the span of continuous gut wrenching installments that the series has kept producing from the back half of season 1, by injecting so much needed levity into the mix. Yet, it's impossible to ignore the tension simmering beneath the surface. The Bonnie Prince may be brushed aside as a mere fool in this episode, someone who can be ignored in the Fraser's plan to stop the Rising, but you can already get a sense of the danger he poses, having never set foot in Scotland and finding himself surrounded by other sycophants feeding his illusions. Jaime's PTSD and the effect of Randall on him is present and will continue to affect him, even though the episode deftly concentrates on Claire's efforts more than Jaime's trauma. And of course, the Duke of Sandringham rears his ugly head at the end of the episode, reveling in Claire's dismay at the news that Black Jack is alive.
All in all, a largely plot driven, introductory episode doesn't feel too plodding because it departs from the standard fare Outlander formula, choosing to inject a rare dose of levity into the series.
