Outlander

Ten months, sixteen episodes.

A lot has changed in the world of Outlander since it premiered in August.  The show has changed.  It went, if you’ll pardon the expression given the season one finale, deep.

The world of Outlander is beautiful and gritty.  It takes place almost entirely in Scotland and they try to film as much on the landscape as possible.  The pace is slow but beating, and there are lots of animals, extras, lush greens and castles.  The art design is incredible and it’s actually two distinct period pieces, taking place in both the 1940s and 1790s.  Lighting design is both bright and dark as well, using lots of light but also lots of flags.  Contrast is a theme.

Claire is our protagonist and also the eyes of the viewer in most scenes.  So it makes sense that her love interest, Jamie, is seen through her eyes.  But there is something revolutionary about the construction and editing of sex scenes in Outlander (of which there are many).  The sex scenes are for and/or from a “female” gaze.  There is a lot of focus and time spent on men’s faces and reactions.  It’s vulnerable, and feminist.  There are also many scenes especially toward the end of the season that are really uncomfortable to watch.  These are bold choices and there must have been a lot of network discomfort that the showrunner pushed through, if I can guess.  The show started as a beautiful love story, true to the book, and managed to translate the heft and weight of it too.  I’m disturbed, but very impressed.

To “lighten” this post a little I’ll put some Behind the Scenes photos of Grip & Electric work from season one of Outlander.

A 9x9 grid and bounce light a scene in Outlander

Catriona Balfe and young actor are flanked by boom mics and bounce

two grips hold screens on the Outlander set

A grip averts his eyes holding a bounce in Outlander

Outlander dolly track is laid down in the castle yard

Slate for Outlander

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