AME

Then they ended the show in the most conformist way possible, not even the already canon wlw relationship surviving.

— 100%, huh?

— ...

when you're having a nightmare but then the nightmare doesn't surprise you anymore

PSA: I don't give two shit about Jamie 95% of the time, but when I do he's probably sucking on some dick in a very bisexual way

X @outlanderredactedmoment / The Virgin of the Lilies (1899), William-Adolphe Bouguereau / Pieta (1876), William-Adolphe Bouguereau / Virgin and Child with Angels (1610), Giulio Cesare Procaccini

so, upon reading this, my first thought was obviously fucking outlander.

outlander simultaneously utilizes the traditional homophobic trope of the homosexually-inclined predator and the politically useful historical impression of homosexuality as a symptom of the immoral and dissolute presence of colonizing english perverts while also plainly taking pleasure from this homosexual imperialism, from the opportunity to be voyeur to this predation and physical abuse of Virtuous Celtic Boys while denying them the chance to explore their own sexuality in the wake of such trauma at the price of an englishwoman’s temporary sexual dissatisfaction — an opportunity well-afforded to englishmen enduring the sort of homoerotic abuse and discipline rampant in the english army that undoubtedly contributed to randall’s unseen development into the character known to us.

the audience is intended not only to take voyeuristic sexual pleasure from jamie’s repeated sexual harassment and assault — gabaldon has said as much herself — but also to believe that such sexually charged punishment as jamie takes throughout his life (and metes out, once, to claire) is necessary and justifiable. jamie’s descriptions of his repeated childhood beatings at the hands of his older male relatives are not criticized nor are they even questioned by claire, who laughs at her husband’s humorous descriptions of the abuse that, when meted upon her own english body, she threatens to kill him over. randall reaches orgasmic pleasure at the lash ripping jamie’s primitive and colonized skin, claire laughs at stories of a switch bruising his virtuous body, and the audience is to thrill at the thought of both.

upon learning that randall propositioned jamie prior to these floggings, claire’s expressed horror is not at the fact that randall is a sadistic rapist — in fairness to her, she has been made well aware of that fact already — but that randall is engages in homosexual behavior. she gives no comment on jamie’s apparently relaxed attitude to homosexuality in general (“i considered it” “my father wouldn’t have given the sodomy a care”), but this can hardly be described as the result of an enlightened attitude. she describes frank — a character immediately queered by his profession as historian/antiquarian, a field traditionally viewed as the realm of the homosexual — as having “hands white and hairless as a girl’s,” an unfavorable and gay-coded comparison with jamie’s undeniable traditional masculinity. her reaction to jamie’s repeated torture and rape is one of selfishness — she is concerned for him, but her concern primarily expresses itself in relation to his resulting inability or unwillingness to re-engage her in their marriage bed. out of this desire to have him retake this traditional heterosexual role, to bend to her will as his english wife, claire deliberately triggers him with details of his rape he had confided to her. his role as the virtuous scottish youth preyed upon by the deviant english homosexual is to provide for claire, the englishwoman’s, voyeuristic and maternal pleasure — when his lasting trauma from being the subject of imperial violence interferes with her sexual desires, she chooses to revictimize him in pursuit of her own pleasure. both she and randall utilize the colony of scotland as a frontier within which to enact sexual desires considered deviant and forbidden in england on the bodies of a subjugated populace.

I just cannot get over the story/dynamic/relationship between Black Jack Randall and Jamie Fraser. Of course, it is and is meant to be filled with terror, pain and hatred, yet after watching episode 3x01 of Outlander, I can't help but see a poetic beauty in it, too. In that scene on the battlefield, both during the fight and afterwards, there was a completely unique intimacy between them. It highlighted how strongly they were bound together by some sort of intangible force, be it fate, an unrequited, selfish love on Randall's part or the deep need for revenge on Jamie's.

There are two scenes where for both Randall and Jamie, time stopped completely, the world around them disappeared and they were solely focused on eachother. The first time was when Randall "saved" Jamie from the noose, the second when they saw eachother across the battlefield. Both of those moments hold so much emotion and meaning for the both of them which make them poetically beautiful in my eyes. I would say that anticipation is an important part of both scenes.

In the first, Randall must feel an excited anticipation. I'm sure he couldn't believe his luck, that finally, he gets another chance to be with the object of his obsession, his desire and his twisted love. Jamie on the other hand must be terrified, because he knows Randall, knows that he wants him and anticipates in horror what he is going to do to him.

In the second scene, they now both experience an excited anticipation. Jamie can't believe he finally gets his chance at revenge, to kill the man who has put him through unspeakable horrors and marked him in most horrible ways, both physically and mentally. And I think Randall sees this as his last chance to be close to the man he desires, so he is excited and content as well.

During the fight, both their intents are clear: To kill the other. Yet there are moments that seem almost tender, their faces held close together, their bodies entangled as they each struggle to get the upper hand in the fight. Towards the end, they are both still standing while the fighting around them has come to and end. They were untouched by everything else, trapped in a world with just eachother. And then, finally, Randall's strenght abandons him. With his last breath he doesn't stab Jamie, he simply reaches out and lets himself fall against him. Jamie's strenght seems to leave him at the same time, as he does not struggle to get Randall off him but goes down with him.

Again and again the fight scene gets interrupted and we see Jamie, lying on the quiet and still battlefield, holding - almost hugging - another man's lifeless body. I think at that point the viewer instinctively knows that it's Randall, even before the face is revealed. And the way it is framed, the way Jamie holds him, they seem not enemies after a deadly fight, but lovers after a passionate night. Which is, to me, both horrifying - because of Jamie's trauma and his hatred for that man - and tragically beautiful - because of Randall's twisted love for Jamie.

I just cannot get over the story/dynamic/relationship between Black Jack Randall and Jamie Fraser. Of course, it is and is meant to be filled with terror, pain and hatred, yet after watching episode 3x01 of Outlander, I can't help but see a poetic beauty in it, too. In that scene on the battlefield, both during the fight and afterwards, there was a completely unique intimacy between them. It highlighted how strongly they were bound together by some sort of intangible force, be it fate, an unrequited, selfish love on Randall's part or the deep need for revenge on Jamie's.

There are two scenes where for both Randall and Jamie, time stopped completely, the world around them disappeared and they were solely focused on eachother. The first time was when Randall "saved" Jamie from the noose, the second when they saw eachother across the battlefield. Both of those moments hold so much emotion and meaning for the both of them which make them poetically beautiful in my eyes. I would say that anticipation is an important part of both scenes.

In the first, Randall must feel an excited anticipation. I'm sure he couldn't believe his luck, that finally, he gets another chance to be with the object of his obsession, his desire and his twisted love. Jamie on the other hand must be terrified, because he knows Randall, knows that he wants him and anticipates in horror what he is going to do to him.

In the second scene, they now both experience an excited anticipation. Jamie can't believe he finally gets his chance at revenge, to kill the man who has put him through unspeakable horrors and marked him in most horrible ways, both physically and mentally. And I think Randall sees this as his last chance to be close to the man he desires, so he is excited and content as well.

During the fight, both their intents are clear: To kill the other. Yet there are moments that seem almost tender, their faces held close together, their bodies entangled as they each struggle to get the upper hand in the fight. Towards the end, they are both still standing while the fighting around them has come to and end. They were untouched by everything else, trapped in a world with just eachother. And then, finally, Randall's strenght abandons him. With his last breath he doesn't stab Jamie, he simply reaches out and lets himself fall against him. Jamie's strenght seems to leave him at the same time, as he does not struggle to get Randall off him but goes down with him.

Again and again the fight scene gets interrupted and we see Jamie, lying on the quiet and still battlefield, holding - almost hugging - another man's lifeless body. I think at that point the viewer instinctively knows that it's Randall, even before the face is revealed. And the way it is framed, the way Jamie holds him, they seem not enemies after a deadly fight, but lovers after a passionate night. Which is, to me, both horrifying - because of Jamie's trauma and his hatred for that man - and tragically beautiful - because of Randall's twisted love for Jamie.

pusiste en la palabras todo lo que pienso

tenian que hacerlo tan intimo

adoro que randall muera en los brazos de jamie