On December 30, 1996, Delacorte Press released Drums of Autumn, the fourth book in Diana Gabaldon’s stealth blockbuster Outlander series. Tonight, 22 years to the day of publication, the most anticipated, beloved, compelling, and frustrating scenes in that book come to life on the series’ wildly popular TV adaptation. Though the episode revolves around the shaky dynamic between a young woman and the father she’s never met, it’s the mother, Claire Fraser, and the woman who plays her, Caitriona Balfe—the series’ linchpin, the gravitational force keeping the Outlander world on track and viewers coming back for 51 episodes and counting—who quietly shapes the hour.
Titled “The Birds and the Bees,” the episode focuses on 20th century-born Brianna Randall Fraser (Sophie Skelton) tracking down her mother Claire (Balfe) and father Jamie (Sam Heughan) in 1769 North Carolina. A thorny communion plays out between the stubborn, 1970s-shaped American and the Scottish Highlander father she’s meeting for the first time. Confused? Welcome to the world of Outlander, in which a certain subset of the population can travel through time with the help of specific prehistoric monuments. More on that in a bit.
This is what fans who devour Gabaldon’s books and track cast members’ every move (a fandom the New York Times describes as “one of television’s most passionate fan bases”) have waited more than two decades for: Claire and Jamie, the textbook “perfect couple,” reunited with their long-lost daughter to complete the Fraser family unit. “When Brianna comes back, you see Claire look around the table like, Oh my God. I’ve finally been able to have it all,” Balfe explains over the phone from LA after a dizzying month spent promoting Outlander’s fourth season.
It’s an image Claire never allowed herself to imagine, and the road to this moment is paved with three-and-a-half seasons’ worth of timeline-hopping and tangled family trees. To quickly recap: In 1946, Claire, an English World War II nurse, accidentally travels to 1743 through a group of mystical standing stones in the Scottish Highlands. Though married in her own time, Claire weds a Highlander, Jamie Fraser, for protection, and they fall in love. Two years and a half-dozen life-threatening adventures later, Claire returns to the 20th century pregnant with Brianna. She’s fleeing the aftermath of the Battle of Culloden, the Scottish conflict with the British that spells the end of Highland culture—and where Jamie plans to die alongside his comrades.
Claire spends the next 20 years in the 1950s and ‘60s, mourning Jamie and raising her daughter with her first husband, Frank. After his death, Claire and Brianna, with the help of an old friend (and Bree’s future romantic interest), historian Roger Wakefield, learn Jamie survived Culloden, and Bree urges Claire to return to her husband in the past. As Season 4 opens, the Frasers are happily reunited and settling into life in America in 1767. Meanwhile, Brianna, essentially orphaned in the 1970s, discovers a clue in historical documents that points to Jamie and Claire’s deaths, and decides to makes the dangerous journey through the stones to warn them. (When Roger discovers where Bree has gone, he, of course, follows her.)
Though the burgeoning relationship between Brianna and Jamie—complicated by two centuries’ worth of baggage, including the shadow of another father figure—is the subject of this episode, there’s something goosebump-inducing about Claire and Bree’s reunion. Claire—who has experienced several lifetimes’ worth of upheaval and should, at this point, be physically incapable of shock—is well and truly stunned. Though Gabaldon wrote Claire as a character whose face betrays her every emotion, Balfe always played the part at a slight remove, with an aloof dignity betrayed only when Claire decides to speak her mind. Yet in this scene, there’s no pretense, no emotional barrier—just poignant relief. It’s incredibly moving, compounded by Skelton nearly knocking Balfe off her feet in an embrace. (“Everything in one moment is in that hug she gives her Mom,” Skelton says. “I ran to her and threw myself on her, like Bree would do, but I think Cait nearly fell over.”)
It is, perhaps, the first truly uninhibited interaction between these characters. Their relationship in the 20th century was strained at best, the truth about Brianna’s real father stretching the chasm between daughter and workaholic mother nearly beyond repair. It took what both assumed would be a permanent separation to bring them closer than ever, and their reunion closes the last remnants of that gap. “It’s really Claire and Brianna meeting each other on equal footing,” Balfe explains. “This is woman to woman, whereas at the end of Season 2 she was still trying to raise a child—you’re still very much trying to guide them, trying to teach them and tell them. When you’re a mother to an adult, there is that friendship that comes into it. [Claire] knows she can’t dictate to her anymore or tell her how to live her life. She sees she’s this full woman who still needs nurturing and comfort from her mother, but at the same point, Brianna is a woman now. And I think Claire recognizes that.”
The seasons’ earlier episodes establish Jamie and Claire in a home to which they can actually welcome Brianna, with the couple making the decision to actually sit still for once. They buy a tract of land in the backwoods of North Carolina and establish Fraser’s Ridge, a homestead where Jamie can farm while Claire practices her medicine. “It is so nice to see this couple be settled… There’s a solid foundation that Jamie and Claire have built, not only in their relationship, but now in this family, in this community,” Balfe says. “There’s a contentment and a settled nature that we’ve never got to explore before.” While earlier seasons saw Jamie and Claire crisscross the Highlands and portions of mainland Europe before their separation in Season 3, Season 4 allows the couple to settle down—and, of course, engage in that intimacy fans come to expect and crave. “Season 1 and Season 2, Claire was in constant reaction to events happening around her, and then last season it was that investment in her professional life and daughter, but at the expense of a personal fulfillment in that kind of intimate way,” Balfe says. “This season, it was about self-nurturing, where it’s never really been about that before.”
Balfe admits she struggled with Claire, a woman equally as proficient wielding a knife against leering miscreants as she is a scalpel in an operating theater, settling into the role of homemaker. “I think we can all fall into traps in our own lives and in ourselves, and as an actor you can fall into traps with characters where you’re like, Oh no, this is who they are and this is the way I see them. When I read those first scripts, it took me a second understand the shift. But I think that’s what’s so exciting about being on a show like this—[it] keeps you on your toes and keeps you challenged every season,” she says. “It’s finding the value in what you’re being given to explore in that particular moment. This season, she’s finding the value in nurturing that side of herself that she had to neglect for 20 years… This is the first season where we see all the parts of her come together in a more cohesive way.”
In “The Birds and the Bees,” it’s Balfe’s performance as both mediator and a mother grappling with a shifting family dynamic—which quickly devolves into concern for her daughter’s welfare—that reminds viewers why Claire is the core of the show. Despite this portrait of a happy family, viewers know there’s heartache to come for the Frasers. What should be a celebratory occasion for Brianna is marred by the impact of last week’s episode, which saw her raped at the hands of a pirate, Stephen Bonnet, with fateful ties to her parents. Bonnet stole Claire’s wedding ring in the Season 4 premiere, and when Brianna met him in last week’s episode and attempted to pay for the ring’s return, the pirate attacked her. Skelton gives a standout performance as a young woman stunned by grief, and when Bree finally tells her mother about what she’s been through, the four-minute scene is cathartic for both viewer and audience. “This whole storyline was so harrowing,” says Balfe. “The thing that’s so insidious about sexual assault is what a toll it takes on every relationship in the person’s life.”
Balfe and Skelton’s performances are chilling, and the rapport between the actors underlines a real camaraderie. “You get very generous actors [on this show] and Caitriona is very much one of those,” Skelton says. “Even when it’s not her take, she gives a 100 percent performance for you to feed off. She doesn’t tire for you. If she’s crying on her take, she’ll cry on your take because you’re reacting to the same thing. Not a lot of actors are like that.”
It’s a performance that calls back to some of the best Balfe has given on the show—think her steely conviction in the face of Season 1’s general confusion, or the aftermath of her first daughter’s stillbirth in Season 2’s “Faith.” It’s easy to see why she’s received four consecutive Golden Globe nominations for her efforts. (Her most recent, for the current season, pends next Sunday’s awards ceremony.) Her energy and tenacity has been one of the series’ most compelling factors since its premiere in 2014—not to mention her chemistry with leading man Heughan and their smoldering sex scenes, the appeal of which lies in the show’s inherent female gaze. “Somehow this show was groundbreaking in the beginning because the female character was more fully fleshed out than we’d ever seen when you’re telling these relationships,” Balfe recalls fondly. “We get to see sex through her eyes, we get to see all these things through her eyes. It’s quite shocking that in 2014 that was somewhat slightly revolutionary. I know we weren’t the only show doing it, but we were one of the only.”
Tonight’s episode explores some of the darkest material ever depicted on the show, but Balfe has always elevated material that could sink into soap opera territory, bringing depth, nuance, and gravitas to every scene. Claire’s reaction to Brianna’s news is a foil to her grief after Faith’s death; Claire can’t give herself fully to her rage because she has to have strength for her suffering daughter. “For Claire as a mother to know that in some way her actions… Claire can’t help but take on the guilt of it in many ways, and the pain that she can’t fix this, that she can’t make it right,” Balfe says. “That must be every mother’s worst nightmare, when something happens to your child, that you can’t protect them from it.”
Outlander has seen multiple main and supporting characters experience rape in past seasons, with critics and fans alike criticizing the show and its source material for its use of sexual violence as a plot device. Brianna’s assault in last week’s episode met mixed reviews, with some praising the decision to close the doors on the act itself, while others questioned the need to include the rape at all. “It’s important to discuss these kind of things and explore them, because unfortunately they’re all too real in our world,” Balfe says of the plot line. “We do straddle this tough line because we’re following a path that has been laid out in the books, and it’s set in a time period where sexual assault was a weapon used freely and still is in many places today. We have to tell these storylines because they are an integral part to the overall story. But there’s a concerted effort made on behalf of the writers and the producers and us actors that, if we’re going to do it, then let’s find the best way of doing it.”
Balfe also sees this storyline as a chance to convey a vital truth: “The shame of sexual assault does not lie with the victims. I think that that’s the most important message, especially in this episode—we don’t get to shame victims. And that would have been such a commonplace reaction in that time. It’s nice to see how Claire, especially when she’s telling Jamie, how that conversation is guided to go in the complete opposite way.”
The episode ends on a cliffhanger, with Jamie beating Brianna’s partner Roger (remember him?) close to death after Bree’s traveling companion Lizzie mistakenly identifies him as Bree’s rapist. The rest of the season will deal with the aftermath of this monumental misunderstanding as well as Brianna’s pregnancy (she doesn’t yet know whether the baby is Roger’s or Bonnet’s). So yes, things are about to get a lot messier. And as the final four episodes explore these converging storylines, it’s impossible to miss an inevitable shift in the show’s storytelling methods. Throughout Season 4, Outlander has slowly splintered away from a razor-sharp focus on Claire and Jamie to make room for Brianna and Roger—an expansion from the original duo to a quartet. “The story is as much Brianna and Roger’s as it is Claire and Jamie’s,” Balfe says. “The show has evolved to tell the story of this couple, and more, this family.”
This season also marked the first with an episode in which neither Balfe nor Heughan appear. “We were so happy. We were like, yay! A break!” Balfe says, laughing. She recounts the grueling shooting schedules of the shows’ first seasons, the “11-day fortnights” which constituted shooting a six-day and a five-day week back-to-back. “There’s an exhaustion level that kicks in,” she says. “I think all actors will tell you when you’re in production like that, it’s like you step outside the real world and you live in this bubble. You can do that for a certain amount of time, happily so, but then a couple years down the line you realize that real life is knocking at the door and demanding to be addressed.”
Balfe is excited about the opportunities this shift will afford her—in fact, she’s hoping to get to know Claire better. “Going forward it’s going to be a much more evenly doled-out set of storylines. I will get my moments to really delve deep into Claire, but there will also be moments where I will have to take a step aside and let one of the other characters do that,” she says. She recalls Tobias Menzies’ method in Season 1: “[He] would come in and he’d have had two, three weeks off, and he would have taken his character and looked at it from seven, eight different points of view. His way of working was incredible. I think the one thing this is affording me is the luxury of sitting with the character in a different way and being able to approach the process in a very different way.” For fans already wailing in protest, don’t panic: “It’s only going to be to the show’s benefit,” Balfe promises: “Any world that is more nuanced and given a wider view can only be better.”
Balfe also hopes the expansion of the Outlander universe will provide opportunities for her, along with Heughan, to explore roles beyond acting within the show’s production. “We would both relish more responsibility. I definitely would love to direct down the line, and I think he would too. I would love to be on set when Sam Heughan’s bossing me around,” she says, laughing. Balfe is, naturally, fiercely protective of Claire, and her influence extends beyond the camera and into the writers’ room: “It’s important to have a say. We’ve built these characters from day one, and I think we feel—especially when so many of our core writers are not on the show anymore and we’ve got new writers coming in—it’s [important] to retain that through-line throughout all the seasons.”
I ask Balfe if behind-the-camera work was something she considered when she started her career: “I think I’ve always had that secret ambition somewhere, but a lot of it is the fear of, first of all, voicing it. And then the fear of, Would I be able to do it? But being on set all the time, the hours that we’ve now accumulated doing this show—it’s an education. You get to watch people at the top of their careers. I try and be like a sponge and absorb as much as I can when I’m working with other people. There’s a confidence that comes with watching other people doing it day to day and learning from them. You feel like, Oh, I can do it.”
And it extends beyond the personal. Much like Claire, Balfe is fearlessly outspoken, her Twitter feed a window into her opinions and passions. This extends to the discussions surrounding #MeToo and #TimesUp, and women in entertainment. “What’s happening in the zeitgeist and these conversations about needing more women, [there’s a] realization of, Well, if I don’t step up and I don’t do it, then how can I talk about [how] we need more women? You realize we each have a responsibility to break through those barriers of fear. There’s one thing talking about it, and there’s another thing of just getting off your ass and actually doing it,” she says, laughing. “So I’m trying to get myself off my own ass.”
Outlander was officially renewed for Seasons 5 and 6 in May, which means Balfe has plenty of material with which to work. In the meantime, she’s voicing a character in Netflix’s upcoming Dark Crystal prequel (“It brought me back to such a particular time in my childhood”) and will play a role as sports car driver (and wife of fellow driver Ken Miles, played by Christian Bale) in Ford v. Ferrari. Then there’s a wedding to plan with fiancé Tony McGill. But first, there’s those final four episodes of Season 4, which Balfe promises will hint at what’s to come. “This is a big, transitional season, and I think it sets us up for the next couple of seasons. In many ways this is a big calm before the next storms.”
There is nothing better than getting together with family for the holidays!
In honor of Sunday’s much-anticipated meeting between Brianna and Jamie, EW snagged the exclusive first photo of the Fraser family and the first official portrait of Brianna as an 18th century lady. The results are positively rosy!
We also checked in with executive producer Maril Davis about shooting the pivotal scene for “The Birds and the Bees.” Here’s what she had to say about Brianna (Sophie Skelton) meeting Jamie (Sam Heughan) for the first time.
ENTERTAINMENT WEEKLY Did you like you needed to chat with Diana Gabaldon about the reunion?
MARIL DAVIS Everyone calls it a reunion. In fact, I’ve done it myself sometimes. They’ve never met before! We didn’t specifically talk to Diana. The scene is fairly similar to the book. It was important for us to get it right. We’ve been looking forward to that scene, seeing Jamie finally meeting his daughter. We had a lot of discussions with Sam and Sophie about it. I just love that it. There’s so much emotion there and for Jamie to see the daughter he’s heard so much about but never had the chance to meet … I think he’s shocked and overwhelmed and excited and heartbroken. There are so many emotions that show on Sam’s face. He does such an amazing job, as does Sophie.
What were the discussions about music for the scene?
We had a lot of discussions with Bear [McCreary, the music creator] and initially, there was a little more music in the scene. He lays it out and then we weigh in and figure where the music should be set and pull it back if we need less. He struck a perfect tone.
So do Brianna and Jamie settle into a loving relationship?
It would be interesting to hear what Sam and Sophie felt about it but for us, we feel like Jamie has loved Brianna since he found out she existed. I mean, certainly once he sent Claire back with the stones, I don’t think he had hopes that he would survive, and Claire and their child would survive. But I think ever since Claire came back, he realized, ‘Oh, my God, I do have a child and she’s alive and her name is Brianna,’ so he has loved. I think it just deepens his love when he sees her in person. He’s had her in his mind already but I think he falls in love with her all over again. But while there is love there, it’s going to take a little while to get to a place where they’re both comfortable. Remember, they know about each other but they’ve never seen each other before. She loves Jamie but she’s still torn and feels loyalty toward Frank. It will be a really interesting journey for both of them.
A quick programming note: there will be no Outlander Live! on New Years Eve. We’ll be back Jan. 7 on EW Radio, Sirius XM 105.
Outlander airs Sundays at 8 p.m. ET on Starz.
Phew! I’ve finished updating the photo gallery with all the missing Outlander screencaps, stills, and behind the scenes. Big thanks to my friend Kayla for her help. Sorry for the lack of updates. I been pre-occupied with other things, but now I’m all caught up! How are you enjoying the season? I am loving it!
Caitriona was out last night at the Michael Kors Dinner To Celebrate Kate Hudson And The World Food Programme. She looked lovely! Enjoy the photos.
I’ve added HD 1080p episode screencaps from the season 4 premiere episode of Outlander to the gallery. What an amazing episode!! So intense and the Jamie and Claire scenes were just everything. I can’t wait to see the rest of the season. Enjoy the photos.
Caitriona Balfe, Coming to America in Outlander Season 4, Grapples With the Depiction of Slavery Onscreen
New York’s Madison Square Garden is home to countless arena concerts and basketball games with screaming fans. It is not, however, typically the place you’d go to meet the cast of your favorite TV show. But not every TV show is Outlander. “It was insane,” said Caitriona Balfe, a few days after a New York Comic Con event in October that had her and the show’s cast take the stage at MSG’s Hulu Theater. “We basically played Madison Square Garden, and I can’t sing and I don’t box and I can’t play basketball, so that was very cool.”
As the star of one of television’s most popular series, which returns for its fourth season this Sunday, Balfe should be used to a fan base that might rival even Directioners or Swiifties. “It’s such a cool thing to happen and to be part of something that really speaks to people that people feel so invested in that they then go and dress up as the characters,” Balfe said. “It’s really wild. I’ve never get used to that…I’m the laziest person. If i have to line up for anything, I’m out.”
Not as if she’d have the time. The 39-year-old Irish actress has spent the last 10 months in Scotland shooting the upcoming season, on which she’ll reprise her lead role as Claire, a World War II nurse who finds herself traveling through time. “It’s always really daunting before you start, but once you’re in it, it’s really fine,” she said. “That first day back on set is just so exciting to see everybody and to catch up. We do still enjoy each other’s company and making the show that we’re making, so that is definitely a benefit.”
This season begins with Claire and her love Jamie (played by Sam Heughen) settling in North Carolina in the 18th century, following the book plot of the series’ fourth installment, “Drums of Autumn.” Despite the new fictional location, the show still filmed in Scotland, as it has with all the previous seasons. “As we say, trees in one place can pretty much look like trees in another place,” noted Balfe, adding that shooting in the country can be “quite intense.” “This winter, we suffered because Scotland had one of the coldest winters that they’ve had in a very long time,” she said. “But we’re a resilient bunch. I think after shooting in Scotland for five years, you become quite hearty.”
The new time period, however, did allow for some changes in outfits for Claire, much to Balfe’s delight. “A lot of the times you’ll do the fittings way at the beginning of the season, before you even get a script, so it is always quite a funny thing because you are like, ‘Where will this be? What will i be doing?’ It’s part of the process that I like; what you wear has such a reflection on who you are and where you are in your life,” she said. “This season especially, because so much of it is the new frontier and Claire as a settler and building this log cabin from scratch and living in the wilderness, my whole thing was it needs to be practical. So it was great; we got rid of the corsets, we got rid of the bumroll. It was cool to find Claire’s everyday, relaxed, man-about-the-house look.”
The new season will see Claire and Sam attempting to build a home, just as America as we know it is being settled, presenting both the actors and crew with new challenges. “Playing a character coming from the late ‘60s and going to North Carolina and ending up on a slave plantation, that was such a difficult thing to shoot,” she said. “We were constantly having discussions with the writers about is what we’re doing right now being respectful and telling the story. A lot of the responsibility lies on the writers’ heads because they determine what is in the script, but as actors you definitely try to fight your cause for what you feel is the most respectful as possible narrative. Anyone dealing with anything historical has to go through those questions.
“I have the easiest role to play in that way because Claire’s views and opinions are much closer to my own,” she continued. “Sam and Jamie are looking through things through the lens of an 18th century person and sometimes that can be a lot more complicated. But I hope we’ve done justice to those issues and looked at them in a way that’s been respectful.”
In her own life, Balfe voices her own opinions clearly, with an active Twitter account that does not shy from current social and political issues. “In some ways, I get a lot of grief online with people saying I’m trying to push this feminist agenda with the show, which I think is absolutely insane, because we are following the story of a book by a woman who has two degrees and raised a family and has a wonderful career, so if you are reading those books and don’t think Diana is just a living, walking example of what a feminist is, whether or not she’s trying to push any agenda, then you’re obviously reading with a hood over your head,” she said. “The way I look at it, every single person has the responsibility to be an informed and active member of the human race. I will always fight for whatever injustice I see happening and try to shine a light on that, because I can. But I don’t think that anyone has to listen to me. They can read my Twitter feed or they can’t. It’s a very easy thing to do. There’s a lot of people’s Twitter feeds I don’t read.”
Again, she also doesn’t have time for it. In her hiatus between Outlander seasons, Balfe is wrapping Ford v. Ferrari, the upcoming film about the feud between, yes, Ford and Ferrari, co-starring Christian Bale and Matt Damon. “It’s been so wonderful. Working with Christian has been such a dream and he is such an incredible actor and such a nice guy,” she said. “Also Matt Damon is so lovely, and it has been such a treat to work with him. It’s been so cool to do something different. The whole thing has such a different feel than Outlander. It feels like a little vacation, but a really exciting one.”