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(Given a devil’s bargain - more choice than any of the women are offered - Jamie opts for the whip.) And the episode ends with all of them at gun- or knifepoint again, with an intruder looking up at Claire, leering at the “bonny lass.” After Jenny relates her story, Jamie reveals to his wife that Randall threatened him with rape, too - instead of a flogging, Randall was willing to violate Jamie in some other way. When Jamie reunites with her after four years apart, he assumes the little boy running around is the product of that awful event - and, naturally, responds in the most reductive, unsympathetic way possible, accusing Jenny of being a “hoor” for Randall. This episode is the first time the audience meets Jenny, who we have only known up until now as the woman Jamie (Sam Heughan) went to jail for. “Lallybroch,” written by Anne Kenney, starts and ends with the threat of rape. Donnelly and Menzies make the most out of an extremely fraught scene. Whether or not the episode or show is perfect, what makes “Outlander” so compelling is that it makes a space for moments like this - stories of sexual assault that give agency to the victims, even when something terrible is about to happen to them. And laughter - in the midst of something so awful - it’s an expression of power, a callback to innocent amusement, self-assured expression of mirth.
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Full-frontal male nudity is absent from even the raciest of cable shows - HBO’s “Game of Thrones” has steadfastly avoided it, even as the boob count on that show goes through the roof. Women are afraid that men will kill them.” Randall’s anger and humiliation at being laughed at is the most characterization he’s gotten on the show - a glimpse into his fractured, violent psyche. It’s an embodiment of the now rather famous line, possibly apocryphally attributed to Margaret Atwood: “Men are afraid that women will laugh at them. And the show’s obsession with sexual assault, though understandable, borders on exploitative.īut that scene is something to write home about that scene is like nothing else on television. The show has had trouble finding a way to characterize the rapist, Jack Randall (Tobias Menzies), with anything else than pure sadism - he has threatened, at this point, at least three of the lead characters with rape. The episode, “Lallybroch,” is not the best episode of “Outlander.” It’s a chapter meant to be a lull in the action, so it’s spliced together with flashbacks and exposition. She goes on, four years later, to have a husband, a son, a child on the way and a household.
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Ultimately he has to satisfy himself with knocking her out with a particularly heavy blow. He gets angrier and angrier - and less and less aroused. Her laughter cuts through the terror of the scene, negating the sexual energy he draws off of her fear. But not only does she manage to summon up burbling, raucous giggles - it works. The laughter is hysterical, perhaps, or desperate. In narration, afterwards, the character - Jenny (Laura Donnelly), Jamie Fraser’s sister - admits to being terrified and at her wits’ end, out of every other possible option.
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Her eyes drop to his flaccid member, and back up to his face she continues to revel in her amusement. The woman then does something I have never seen before: She turns around and laughs at him, full-throated. He has groped her and beaten her already, and hauled her brother away for trying to stop him from his pleasure. The audience is treated to a shot of his uncut, un-erect penis as he tries to become aroused his quote-unquote victim is facing away from him, having been hauled to the bed. More recently, a director like Céline Sciamma constructed a bracing picture of an intimate female relationship with “Portrait of a Lady on Fire,” though looking back at her career, she’s long explored the nuances of female sexuality.įrom the 20th Century up until just this past year with Sweden’s Best International Feature Oscar submission “And Then We Danced,” below is a sampling of some of the best international LGBTQ cinema out there - including alternative entries from popular filmmakers you may have missed.Last night’s episode of “Outlander” features a flashback where a sadist tries to rape a woman but can’t get it up.
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It has been updated on March 15, 2022.Īmerican movies and TV are making major strides in LGBTQ representation, but storytellers abroad are in many ways ahead of the curve, exploring sexuality and relationships with groundbreaking technique, and in ways often coded and ahead of their time.įrom Rainer Werner Fassbinder to Pier Paolo Pasolini, the fluidity of human sexuality has long fascinated international filmmakers unafraid to bust taboos. Editor’s Note: This list was originally posted on February 27, 2021.