OUTLANDER sent Claire Fraser into brutal ordeal in the show’s season five finale earlier this year, as she was held captive and abused by the evil Lionel Brown – but could one of her visions during this time have illustrated how Brianna Fraser and Roger MacKenzie are going to be killed off?
Outlander concluded its fifth season earlier this month with a dramatic turn of events. Claire Fraser (played by Caitriona Balfe) was horrifically captured by Lionel Brown (Ned Dennehy) and raped by his gang, leaving Starz viewers utterly devastated for their protagonist.
During this ordeal, Claire coped with her trauma by envisioning a stylised version of her life in her mind.
These dreams saw her and her husband, Jamie Fraser (Sam Heughan), living in a 1950s era world.
Brianna Fraser (Sophie Skelton) and Roger MacKenzie (Richard Rankin) were also present during these visions and illustrated their lives further.
However, during these visions, Claire saw Brianna and Roger being killed off in a tragic car crash.
This is also the same way Claire’s parents died, so viewers knew how personal and horrifying this vision must have been for the character.
But could the vision in question have been some sort of clairvoyance of how Brianna is going to be killed off?
Viewers know Outlander is not grounded in a strict reality and regularly utilises time travel as a plot device.
Fans of time travel fiction may also be aware they sometimes show off time repeating itself.
Considering Claire has had odd visions and looks into the future before, could this vision she had during her time in captivity have been a glimpse into the future of her daughter for season six?
If this is the case, Claire may never even realise her daughter and son-in-law are dead, as they may venture back to the future, cutting all communication between them.
This would, of course, be a devastating turn of events for the character, as she would have to relive losing her loved-ones in a car crash.
But, considering Claire now has the fear of this event happening, could she somehow go on to prevent it?
Elsewhere in Outlander news, Sam Heughan, the actor who plays Sam was originally not well-liked by Outlander author Diana Gabaldon.
The writer recently explained in an interview that she wasn’t his biggest fan upon first seeing him.
She explained: “At this point he had relatively little film work and just a series of extremely bizarre still photos – his IMDb page is strange.
“Some of his photos are strange! I was sitting there typing, this man is grotesque, what are you thinking?”
Thankfully, things seemed to look up for both Sam and Diana as production rolled on with the show.
Diana added: “I loaded up the computer not knowing what I was going to see, and five seconds in I was thinking: He doesn’t look anything like his pictures, he looks great.”
Sam has since played Jamie throughout all five seasons of the show, maintaining his position as one of the core characters in the story.
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.