The television show Outlander is based on the popular book by Diana Gabalon. The plot centers on Claire Fraser, a World War II nurse who goes onto a second honeymoon with her husband Frank Randall in Scotland. While there, she touches the stones at Craigh na Dun and time travels back to Scotland circa 1743. While there, she goes through many trials and tribulations that test her resilience and relationships. Outlander is categorized as a fantasy, romance show due to the use of time-travel as a means of transporting Claire back in time, although she is not the only one who can. There, her outspoken attitude about her treatment contrasts with the social norms of 18^th century Scotland. This concept, in addition to her possession of her sexuality, is what some media outlets call “the feminist answer to Game of Thrones,” although some can argue that there are complications with such a strong statement. The antagonist, Captain Johnathan “Black Jack” Randall, a British captain stationed in Scotland, is a man with incredibly obsessive tendencies that the audience sees throughout the season. These tendencies climax in the final episode where he tortures and rapes Scottish Highlander, and Claires love interest Jamie Fraser, in a reversal of gender roles that has not been commonly broadcasted on television.

The concept of time travel in the Outlander universe is not a new one. It is embedded in the Scottish folklore of the land. In the second episode titled “Castle Leoch,” a bard comes to sing to the MacKenzie clan and their guests. While Claire sits to listen, he sings of a woman who traveled from a fairly hill to a distant land, but eventually returned to the life she left behind through the stones at Craigh na Dun. Obviously this is a legend that the Scottish people have encountered before. Along the way, Claire meets Geillis Duncan, a mysterious woman whom many townspeople come to with various physical ailments. In the eleventh episode called “The Devil’s Mark,” both Claire and Geillis are convicted of witchcraft and sentenced to burn at the stake. After learning that Geillis has raise funds for the Jacobite rebellion, Claire responds with a popular quote, “I only regret that I have but one life to lose for my country,” which will not be known for another thirty-three years. Geillis pauses at this comment, recognizing the words from somewhere, and replies, “Nicely put.” This pause is an indication that Geillis has secrets of her own that could coincide with Claire’s current situation. Later on, the trial goes terribly and their lawyer says that one person will have to take the blame. To exonerate Claire, Geillis rips her dress and revealing a scar that she claims to be a devils teat. Claire immediately recognizes it as a smallpox vaccine and learns that she is from the year 1968, thus supporting the bard’s tale of women traveling through the rocks. This is not an accident; it is a supernatural element to the site of Craigh na Dun. From the flashbacks to Frank Randall in the eighth episode “Both Sides Now,” we see that life is continuing on at the same pace as Claire’s in 1743 Scotland. It seems that Claire has been able to jump to a certain point in time and that there is no layover. A goal of Claire and Jamie’s in season two is to stop the deadly Battle at Culloden. Although, it is known, from the book series, that this proves incapable, as it continues regardless of their efforts. Through this, the readers are able to see that regardless of her efforts they cannot change history as it has already happened; it is embedded in time. The theme of time travel constantly reemerges through the season as Claire attempts to return to present day Scotland to be reunited with her husband.

Claire Fraser’s modern actions are an interesting addition to the preconceived notions of womanhood and femininity in 18^th century Scotland. She is coming from England right out of World War II, where women began to have more of a prominent role in society due to the labor needs in Europe while men were fighting. Her behavior is in stark contrast to what the male Scottish Highlanders expect from her. She is used to giving orders and expressing her opinions from working as a nurse during the war and from living in the relatively equal 1940s society. A prime example of her behavior can be seen in the first episode, “Sassenach,” when Jamie has a dislocated shoulder. The men are about to jam it back into place until Claire inserts herself into the situation and demands she fixes it instead. When she arrives to the castle, Colum MacKenzie, the clan leader, immediately begins to question her identity and why she was in the woods. Throughout the show, the audience watches as Claire becomes incredibly annoyed and frustrated with the male characters, sometimes lashing out at them for their sexist comments and gestures. With Claire’s headstrong actions, many people claim that this could be a show for feminists. She does not care about the social implications of her actions. Not only does Claire exhibit authoritative attitudes, but she is also in control of her sexuality. In one of the first scenes of the pilot episode, Frank and Claire are exploring the old MacKenzie clan castle. At one point Claire motions for Frank to come to her and kneel, what ensues is quite different from the passive position that women usually take during intercourse. The executive producer Ron Moore says the scene is included “to show Claire as empowered sexually as a person and having her own appetites and desires.” This is very empowering as watching Frank preform cunnilingus onto his wife is an act that can surprise audiences because something as intimate as this has not been very common on television.

What also highlights the empowerment of Claire’s sexuality is the romance aspect of this historical, fantasy television show. Most of the sex scenes tailor toward the female gaze. Violence and rape are talked about in the show, but they are not used as shock value or as a way to push the story along, they are used as a part of the story. When Colum asks Claire why “a man bearing the Kind’s Commission decided to rape a stray lady traveler … in the woods for no good reason,” she retorts with the comment, “Is there ever a good reason for rape?” To add upon this concept of not using violence, the sex when shown is consensual and realistic. There are not additions to make the scenes seem incredibly romantic or unattainable, they are real, which allows for the audience to appreciate and enjoy the scenes more than other television shows. Jamie Fraser also adds an element of female praise, not only is he attractive, charismatic, and has a tragic backstory, he is a loyal companion to Claire. While Claire is characterized by being in charge, both her and Jamie are equally portrayed in a sexual, physical manner during the intimate scenes. He takes the time to listen to her and form a bond with her on their wedding night and believes her when she tells him the full story of how she arrived at the rocks of Craigh na Dun. These aspects make him stand out from the common romantic heroes in television and in cinema. Another realistic aspect of the show is the fact that on the wedding night it is not Claire who is losing her virginity, but Jamie. This switching of roles allows for a more realistic view of females and their sexuality. Usually in television, the female is cast as an innocent girl who knows nothing, while the male is experienced and awakens a “fire” in her. The relationship of Claire and Jamie is a most-welcomed contrast to the previous notion of male-female sexuality. Usually, television shows displays a male-female couple as one person in charge, the male, and another as their subordinate or constant supporter, the female. Having a male-female relationship be shown as an equal and supportive one, in and out of the bedroom, is important to the feminist undertones of the show.

Claire Fraser also represents the time old trope of the Final Girl, or the Chosen One. The Final Girl is categorized as the person to look death in the face and has the strength to persevere through the hardships to fight it. She is an intelligent, competent, and watchful character who develops greatly throughout the plot. The Chosen One trope is seen in common book series such as Harry Potter, The Hunger Games, and Divergent. They are the one chosen for the quest, the one who can save them all from the unforeseen darkness. While Claire is not necessarily chosen to fulfill a task, she possesses a power that few people have. Geillis also possesses this supernatural power of time-travel. With the passing of Geillis we see the succession of the Final Girl and the Chosen One, now Claire must take over the story to explore Scotland and find her journey.

There are many debates over whether or not Outlander is considered a feminist show. There is a headstrong character in control of her sexuality and actions, and the sex scenes are not purely physical, but the determined actions that Claire takes through the series are problematic to the actual views of feminism. While it is nice to see a female character being the main protagonist, her actions are what are sometimes plaguing the feminist movement. The center of the feminist movement is equality, not overcoming men and being controlling of them. Feminism is the work towards the equality of the sexes, regardless of gender or race. At times in the show, Claire sometimes represents the problems of headstrong feminists who sometimes do not consider the experiences and opinions of others. She can be stubborn to a point at times, like her willingness to continue to run off to Craigh na Dun without realizing the implications it held for the MacKenzie clan when she was captured by the Red Coats. When asked if Outlander is a feminist text, author Gabaldon explain that it depends on a person’s own definition of feminism. She says, “Outlander is about a woman, who is quite confident in who she is as a woman, and that is one definition of a feminist – you take yourself at your own worth, and you demand that others take you are your own estimation.” While Claire has the personality that many people categorize as a feminist her actions are in contrast to this. Some do believe that asserting their opinion is how one exemplifies the feminist viewpoint. Problems like this are seen in the movement of white feminism. Women fail to realize the other situations that other women experience. They generalize the female experience and throw their opinion into the faces of others. Outlander at times does play into this. As stated Claire fails to realize that she is not the only person who should be in charge, there needs to be a distribution of power to effectively live in 18^th century Scotland.

Captain Johnathan “Black Jack” Randall is the main antagonist who’s role becomes more important as the season progresses. He is incredibly controlling and mentally unstable. The first thing he does when he spots Claire, without it seems with any consideration, is to rape her. In the sixth episode, “The Garrison Commander,” we catch a glimpse at his controlling tendencies. In the scene, Claire talks of how she came in contact with the MacKenzie clan and how she would like to return to Inverness. Black Jack insists that she gives a testimony against the MacKenzies, who he knows have been raising funds for the Jacobite army. When she refuses, Black Jack threatens her with physical force. Claire responds with the knowledge of Jamie’s brutal whipping, which Black Jack then describes in gruesome detail. Claire claims that there is hope for him if he chooses the right choice. Black Jack allows Claire some hope by saying he would let her be escorted to Inverness, but then kills the hope by punching her in the stomach and demanding a young corporal to kick her repeatedly. This is one example of how Black Jack will control those around him for his desires. Before Jamie was whipped in Lallybroch for a second time, Black Jack gave Jamie an ultimatum, either get whipped again or submit to him in bed. Fearing the social implications that would hold and his father’s opinion, Jamie took the second whipping. Black Jack then begins to relentlessly beat Jamie until he passes out. He later describes his actions and the marks on Jamie’s back as “a work of art.” This is the first glimpse the audience receives about Black Jack’s peculiar obsession with Jamie. While Black Jack does control Claire in ways that are common of male-female domination, the audience can see that when it comes to Black Jack’s opinions and feelings about Jamie they are different, more complicated.

Black Jack’s sexual fascination and controlling personality can be described as the horror film trope for the villain from Men, Women, and Chainsaws, the psychosexual killer. The psychosexual fury of the killer propels his beliefs, which is commonly harbored through gender distress. While Black Jack is not in “gender distress” his homosexual tendencies do go against the norm of the time. Another sort of villain that exemplifies Black Jack is the one whose only role is that of a killer, in Outlander’s case a torturer, and one whose identity is clear from the beginning. Black Jack is basically indestructible with the safety of the Duke of Sandringham. This allows for him to fully embrace his rule over those who are less powerful than him and have no means of fighting back. Black Jack possesses an obsession and infatuation with Jamie that goes beyond what he has when he attempts to rape the female characters in the show. His obsession with Jamie is special, that is what makes him and his story compelling.

The final episode, “To Ransom a Man’s Soul,” is the culminating factor of Black Jack’s infatuation with Jamie. In the episode Black Jack tortures, psychologically manipulates, and finally rapes Jamie. After physical torturing Jamie and bringing him to the brink of exhaustion, he cradles him in his lap. While Jamie is lying in his lap, Black Jack whispers to himself, “Dear God you are a magnificent creature.” Black Jack then begins to force Jamie to bare himself and then begins to rape him. After what seems to be a few hours, Black Jack is close to the brink of breaking Jamie mentally. He makes him confused on what is reality and myth through using Claire’s name, continued pain, and the use of lavender oil. This emphasizes the control that Black Jack wants to force onto Jamie. He knows Jamie’s love for Claire is deep and wants to ruin that by forcing the image of his face into his consciousness. As a physical sign of Black Jack’s possession of Jamie, he brands him with his initials “JR.” Throughout the episode, the torture scenes are told in flashbacks, we see the mental damage that Black Jack has enacted onto Jamie. Watching the psychological damage that Black Jack has done to Jamie displays to the audience the amount of power and will that Black Jack has done to Jamie and how it brought him down physically and psychologically. Black Jack has no compassionate emotions, but what is really eye opening is that Black Jack realizes what he is doing to Jamie. He knows that he is hurting him and bringing him to a point that Jamie might not be able to return from. The scene is one that is painful to watch, one does not wish to stare at it long, which emphasizes the distinction between consensual sex and rape.

This final episode is important in the television world because people do not commonly discuss male rape, and to have it broadcasted on a new, up and coming show like Outlander is incredible. They are acknowledging the fact that anyone can be a victim of rape, regardless of appearance or gender identity. While Outlander is seen as a romantic, historical fantasy show, the show runner Ronald D. Moore and the writers wanted to de-romanticize and complicate the genre’s “nostalgia, escapism, and sentimentality.” In addition, it is different from common television show rape scenes where they seem to come every other episode and are always glorified. The women usually do not have a storyline beyond the rape scene, which dehumanizes the victims and does not allow for them to go beyond the realm of victimization. The rape scene in Outlander allows for the audience to gain a better understanding of how rape affects a person and how it is not the sole identifier of a person’s character.

Outlander has been able to gain an audience by doing things that television has not really touched on before. Claire Fraser, a headstrong woman, is the protagonist of the show, which has not really been seen before in this genre. She is the center of the plot and the audience sees major character development through the series, especially with her growing love for Jamie. While the show might have some views that slightly oppose those of modern views of feminism, it does a good job of breaking out of the trivial character types that other shows have created for women. The show portrays the romance and sex of the series as real and consensual, not graphic and questionable like other television shows have done in the past. Outlander is an interesting series in that it combines many elements that do not coincide with the romance genre that one does not see on the surface.

Works Cited

Clover, Carol J. 1992. “Her Body, Himself.” In Men, Women, and Chainsaws, 27, 30, 35, 40. USA: Princeton University Press.

Jensen, Jeff. “Outlander Season 2: EW Review.” Entertainment Weekly. Entertainment Weekly Inc., 4 Apr. 2016. Web. 18 Apr. 2016. <http://www.ew.com/article/2016/04/06/outlander-season-2-review>.

Luther, Jessica. “‘Outlander’ Is the Rare Show Where Women Aren’t an Afterthought.” bitchmedia. Bitch Media, 3 Apr. 2015. Web. 18 Apr. 2016. <https://bitchmedia.org/post/outlander-is-the-rare-show-where-women-arent-an-afterthought>.

Petersen, Anne Helen. “‘Outlander’ Is The Feminist Answer To  ’Game Of Thrones’ — And Men Should Be Watching It.” BuzzFeed. BuzzFeed, Inc., 4 Aug. 2014. Web. 18 Apr. 2016. <http://www.buzzfeed.com/annehelenpetersen/watch-outlander#.hol62nRa.>.

Trout, Jenny. “Outlander and the Female Gaze: Why Women Are Watching.”Huffpost Entertainment . TheHuffingtonPost.com, Inc., 22 Aug. 2014. Web. 18 Apr. 2016. <http://www.huffingtonpost.com/jenny-trout/outlander-and-the-female-_b_5859154.html>.

Wilkinson, Amy. “Outlander ‘The Devil’s Mark’.” Entertainment Weekly. Entertainment Weekly Inc., 18 Apr. 2015. Web. 18 Apr. 2016. <http://www.ew.com/recap/outlander-season-1-episode-11>.

Thanks for a great semester, its been fun not dreading going to class every Tuesday/Thursday.

It is hard to lose a loved one. They were a constant in your life that has now disappeared. To cope with the loss of another, people usually comfort themselves with know that the person who has passed is in a better place. The concept of knowing where they are is humbling because they are not left scrambling for an answer. This is why cold cases and kidnappings are such a stressor; the parent, sibling, or friend of the lost person has no idea where they are. It is hard to move on (in a sense, not completely of course) and live your life when you do not know where a person is. This concept is expanded upon in the TV show The Leftovers. In the show, 2% of the world’s population has mysteriously disappeared; there is no trace of them whatsoever. Although 2% seems like a small percentage, it is actually about 140 million people.

A major theme of the Pilot episode is how people are coping with the loss of their friends and families three years after the “Sudden Departure.” Throughout the episode, the audience is able to see how the residents of a small town are responding to the sudden disappearance of their family and friends. We are introduced to a cult called The Guilty Remnant, whose purpose is to remind people of the Sudden Departure. One of the quotes that they abide by is “We smoke to proclaim our faith,” meaning they are trying to kill themselves so they can be with God. They are just a single example of how people coped with the sudden, unknown loss. The teens of the town are on the opposite end of the spectrum; they are partying till the break of dawn practically. Aimee, Jill Garvey’s friend is a perfect example of how the most of the adolescents in the town are unfazed by the supposed rapture. At one point, she breaks into a woman’s car, who had lost her entire family, just to look for hand lotion. In the process she steals some jellybeans.

These are just two examples of how people are responding to the mysterious disappearance. Some other citizens of the town are just going about their daily lives, and that is the most complex part. How can one just forget that people left? It goes back to comparing the two numbers 2% and 140 million. Without context, 2% is very small so it makes sense that society would be able to continue function without much of a hitch, but when one contemplates on what it means to loose someone without an explanation and be expected to forget about it, that is when things get confusing and complicated.

All I know right now is that I really need to invest in an HBOGo account.

Black Hole is an interesting graphic novel. Not everyday can you open up a book to a random page and see a penis. It can surprise people due how it is uncommon to see genitals uncovered. Although it can be something comical to laugh at, one needs to acknowledge the deeper meaning of Black Hole.

The physical mutations that result when a teenager receives the STI are what really push the students in the novel to ostracize those who are different. The teenagers in the book effectively feel like their life has been brought to a standstill, all of their plans for the future are cut off because of this disease. This notion can be interpreted as a metaphor for adolescence and their transition into adulthood.

As discussed in class, transitioning from adolescence to adulthood is hard and confusing. Nobody really knows what is happening and our bodies are changing in ways that are uncommon and foreign to us. Every little thing that could possibly go wrong seems like the end of the world. It is hard to put oneself in the perspective that life will continue if things do not go as planned. I know for me at least, if one thing does not go right I slightly freak out and believe that all of my plans will fall apart. Although the plans never really do, instead they just morph into something else and I move on. In the novel, the teenagers initially freak out and run away from home, believing this is all they can do because now this disease is with them. They never seem to sit down and rationalize with themselves what this disease could be for them and how possibly they could combat it or work with it. That is why the physical mutations of the characters it is a good metaphor. It is a physical thing that we can see the characters react to in ways that are not rational and do not seem to realize that this disease has the possibility of being temporary.

In addition, I believe that the book also serves as a manifestation of how people ostracize those who are different than them. Yes, the teenagers have the physical mutations that deviate from the norm, but they are still the same person and those who are “normal” fail to believe this. This is a small part of the book, but it is important to concentrate on when matched with the metaphor of emerging adulthood.

Overall, we know that being a teenager is hard, but just know that soon you won’t be one and it’ll all be better.

In the graphic novel V for Vendetta, a mysterious figure by the name of V is set to murder all those who practically tortured him while in a Nazi Germany like concentration camp, bring down the government that is controlling all facets of life, and convince the people of the United Kingdom to rule for themselves.

A concept of this book that I found incredibly interesting is the identity of V, or lack thereof. He wears a Guy Fawkes mask throughout the novel and never reveals his face to his protégé Evey Hammond. When V is shot and killed by Finch, a government detective, Evey contemplates on whether she should remove his mask or not, thinking of the multiple possibilities his identity could assume.

Although we all know that V is a person with a face and a past, the ambiguity of who he is emphasizes his ideas on anarchism and freedom. It provides the audience the freedom to determine whether or not V is a hero for saving the people from the oppressive government or an insane villain for killing those around him so ruthlessly and believing their death to be just.

Revealing V’s identity could possibly retract the attention away from his ideas. We are led throughout the novel hoping to see his face and when the time comes for the possibility of knowing him, we are left with nothing. If his identity is known, then his past would be revealed and he would become this person that we could judge for his actions, rather than the reason as to why he is placed in the book, to be an idea for the people of the United Kingdom. We are thus left with the one concrete thing about him that we truly know, his anarchist ideals. These principles are what embodies V and what gives him purpose in the graphic novel. His anonymity bolsters his ideas to the forefront. As Evey had said after deciding to not take off V’s mask,

”If I take off that mask, something will go away forever, be diminished because whoever you are isn’t as big as the idea of you . . .”

The Handmaid’s Tale, a speculative fiction novel by Margret Attwood, centers on Offred, a handmaid for the Commander and his wife. Her sole purpose for him, society, and others is her ability to reproduce for the Republic of Gilead, a theocratic military dictatorship that took over the US.

An interesting concept of the book is the overall loss of identity for women and the further dehumanization of their role in society based up on the Republic’s interpretation of the Bible. Women are groups into different classes of Handmaids, Wifes, Marthas, or Econowifes. They have been subjected and put into these classes due to the importance that Gilead has placed on female reproduction. An example of this loss of identity is shown through the Handmaid’s names. For example Offred is literally Of-Fred. She is of the Commander, not of her own person. In chapter 14, Offred explains how she tries to distance herself from her old name because it is deemed useless, but she can’t.

“My name isn’t Offred, I have another name, which nobody uses now because it’s forbidden. I tell myself it doesn’t matter, your name is like your telephone number, useful only to others; but what I tell myself is wrong, it does matter.”

All of the control and subjugation of the women in society is done by the government for fear of a declining population. They validate their actions and authority through the Bible. Religion has become absolute law. It is scattered throughout all aspects of society, from the Martha’s name to the store shop names to the support of the Handmaids’ importance through scriptures. Gilead picks and chooses bible verses that glorify the message of marriage and reproduction. Gilead even seems to go as far as slightly altering verses to further their goal. They are validating their cruel actions through the Bible, similar to what was depicted in Kindred, a book by Octavia E. Butler. In Kindred, Butler depicts the harsh slave society of the antebellum south. During this time period, landowning males validated the slave system based upon the Bible. Butler doesn’t touch on how religion plays a role into the continuation of slavery, but she does explain through Dana how easy it is to become assimilated into such a cruel society. The same can be said for The Handmaid’s Tale, the majority of the women are being subjugated and thus supporting Gilead’s existence even though it is evident that the women do not enjoy their place in society.

Overall, the themes of a loss of identity, religion as a form of power, and complacency in the face of power all have roles in The Handmaid’s Tale and Kindred. Each combats the themes in a different setting and way, but they each show the importance of them.

Hello all! In our first podcast we concentrated on certain traits of Rufus and the role he plays in Kindred by Octavia E. Butler. We hope you enjoy it.

The Left Hand of Darkness, by Ursula K. Le Guin, centers on Genly Ai, Genry as the locals call him, on the planet Gethen as an envoy sent from the Ekumen. A special characteristic of Gethen is their concept of gender – there is none. Every citizen is essentially androgynous, neither male nor female, but somehow both.

This genderless society has seemed to make a mark on a majority of their society. There are no gender stereotypes, as there is no gender. The reader can see Genry try and apply the male-female stereotypes to the people he meets, but it never seems to stick. One can see this in the comment he makes at the beginning of chapter 5 on page 49,

“My landlady, a voluble man, arranged my journey into the East.”

One can see how he is blatantly calling the owner of where he was staying a “landlady,” essentially suggesting that he sees peoples’ jobs in terms of male v. female jobs. He also makes comments throughout the book on when someone is acting particularly male or female. For example, when Genry and Estroven are in their tent, on page 235, Genry comments on Estroven’s body shape,

“ . . . built more like a woman than a man, more fat than muscle . . .”

He is offended and uncomfortable by Estroven “ordering” him around on the ice when he physically looks female.

It is interesting that even after two years on this planet, he is still unable to assimilate to the genderless society of Gethen. This concept of the book reflects our own society’s ideas about gender and the role it plays in how we act, work, and live. In current society, one can see how some have a hard time accepting the concept of gender fluidity. If one thinks about it, gender is a product of society’s views of how one should act. Some don’t want to be judged based upon how one thinks they should, only on how they are as a person. As the investigators notes quote on page 101 about Gethen,

“One is respected and judged only as a human being. It is an appalling experience.”