Ever My Love @beckygoesbonkers - Tumblr Blog

It’s okay that he doesn’t comment on her posts.

It really is.

It’s okay that he doesn’t like or repost them, or leave some carefully worded comment that can then be dissected and interpreted ten different ways.

Because let’s be honest, those public interactions are for us, not for them. They’re there for us to notice which emoji he chose, how he phrased something, whether it was too much, too little, too warm, too cold.

When two people are genuinely close, the things that actually matter are said between them. They don’t need to be performed for the rest of the world.

So no, I don’t see his silence as distance. Quite the opposite. To me, not needing to publicly prove that closeness says a lot more.

cajon-desastre

IG jamies_sassenach

☘ Claire's reactions to Jamie in uniform... and in full Highland regalia. ❤️

margareth-lv

🤯"Dish up the f—king pain!"🤯

Today's post needs a little context.

After the deleted scene with Frank's ghost was released the other day, the discussion in the comments inevitably circled back to another infamous storyline: Faith, unexpectedly resurrected in Season 8 (and, to some extent, Season 7).

I'm not going to dwell on the storyline in which Faith is brought back only to be tragically killed again. In my opinion, it's one of the most misguided creative decisions in the entire series, and "misguided" may not even be a strong enough word.

This brings me to a broader point. I believe that the way many storylines have been handled in Outlander - and, to be clear, I'm including the original novels by the Writer as well - raises uncomfortable questions about the moral framework underlying those creative choices. Yes, I realize that discussing morality in the context of a television drama may strike some people as excessive. But consider the following example.

This isn't even about Faith. It's about a far less controversial storyline - yet one that was every bit as tragic and, in my view, just as poorly executed: Fergus's death.

(Below I'm quoting from a Parade article published in May after the "Outlander: A Celebration" panel with CMB, SRH, MBR and Maril Davis.)

. . . What kind of person says something like this: that the death of a disabled child wouldn't have had as much "impact for the family" as Fergus's death?

Seriously.

Think about that for a moment.

Don't you get the impression that someone here is operating on an almost inhuman emotional wavelength? That certain higher emotions are simply inaccessible to them? That they genuinely don't understand how ordinary people experience love and grief?

Because when we talk about the impact on a family, we're not talking only about losing the primary breadwinner.

Perhaps that explains why, in the series, Marsali behaves at her husband's grave as though practical concerns matter more to her than grieving the love of her life. Or why Claire never even gets to say goodbye to the son she loved.

But let's go one step further. The executive producers kill Fergus.

And then this happens.

MBR actually said this:

. . . For me, that single sentence perfectly encapsulates everything I've been thinking about lately when it comes to Outlander - both the series itself and what goes on behind the scenes.

Truth doesn't matter. Goodness doesn't matter. Love doesn't matter. What matters is causing pain.

Dish up the f—king pain.

An... interesting philosophy of entertainment, I'd say.

[7 August, 2026]

auburncurlslass

View this post on Instagram

katmate6

Fan Favorite Goofballs

And the winner is ... !!!

sdreamersc82

For those who didn't understand my previous post, it's a joke.

Anyway, time for palate cleanser. I miss them 🥰

sdreamersc82

This is what is real! Fight me!

hanashegum

The horny grannies (and non-grannies) did it! Or did they?

“To bed — or to sleep?” Jamie asked. “To act — or to make drinks?” This may have been S’s dilemma at one point. It’d be fair to say that the latter has been winning. An embryonic idea, it may have gained traction after filming S3. The S that answered interview questions upon returning from filming S3 in SA was a very different public S. It was a pissed-off S who had had it. And this, of course, must encompass the personal and the professional — a series of intertwined circumstances that led him to do what he could to take control of his life. But how did we get here? How did we get to the here and now where S’s acting career does not seem to have many prospects but his partner-in-crime costar’s does? For starters, C attaches herself to projects with A-list leads where she plays supporting roles. While she’s very attractive, her appearance is subdued. She can disappear in a role without taking any attention away from the lead actor or the storyline. There aren’t many worthwhile supporting roles for a tall striking male actor who’s already led a successful 8-season series but achieved no significant industry recognition. Likewise, he has too much exposure and too little star power to be the lead in important projects; and he’s too old to be the next Thor. Starz, RDM, politics, “horny grannies,” whatever — they all set him up to do what he’s doing now. It all started with the seemingly harmless female gaze marketing: Empowered modern career woman with magical powers meets hot stable boy/warrior from the past with magical dick. She was promoted for awards; he was not. Simple as that. He was downgraded to a beefcake from the start because, apparently, female audiences are not expected to walk and chew gum. He would bring in the cash; she, the prestige. It was a setup. S did outstanding acting in the first few OL seasons and yet he got no recognition. The industry ignored him. Where to go from there? He must’ve figured, “If not now, when?” All he could count on was the crazed, unconditional fervor of his committed female following. When life gives you lemons, make lemonade — in this case, alcohol, merchandise, fan events. A significant segment of the audience turned him into something that was beyond his control. And then he became it. He turned being the object of desire into a business. A Taurus boy, he has an earthly relationship with money. He was not going to let lemons go to waste. The other side of it is that you can’t be a serious actor or be taken seriously when you spend much of your time and energy promoting your side business, which you deem your passion project. The craft of acting requires a focused mind, and he’s all over the place with business pursuits.

An exceptional filmmaker, some day (hopefully sooner rather than later), may discover OL and fall in love with S’s subtle, deep, sensual, vulnerable, honest, visceral and arresting performances. And S may just be whom they were hoping to find for the leading part in their stellar project. But life goes on. It doesn't have to be like you once imagined or other people imagined for you. If you can't have what you love, love what you have — as the saying goes. (In the words of 17th century Comte de Bussy, “Quand on n'a pas ce que l'on aime, il faut aimer ce que l'on a.”) I believe that’s called growth.

sgiandubh

One of the best posts I have read this year. Thank you for this honest analysis. It will surely make some cringe, but this is elegantly telling it how it probably is.

mummygolucky

Sadly, I agree with you.

The question is, how long will this phase last? He's not getting any younger. And there's only so much booze he can sell to one group of people and still make a decent profit.

It's just sad he was treated this way.

I hope for his sake something good comes along, sooner rather than later.