Outlander bosses lift the lid on Jamie Fraser detail you may have missed
Express
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Executive producer Ronald D. Moore and costume designer Terry Dresbach previously delved into discussions about the significance of Jamie's kilt and the occasions on which it's worn throughout the Starz series.
Dresbach remarked, "A lot of people are asking me about the kilt and its significance when he wears it."
She continued, indicating that there isn't any profound secret to its use: "Really, there's no deep, hidden meaning in where we put it."
On the Official Outlander Podcast, she expanded, "We always knew we wanted Sam to go in and out of his kilt, it's just questioning what scene is the most appropriate."
Jamie Fraser flew the flag with Scotland in Outlander season 2
(Image: STARZ)
She mentioned how, during season two, the Frasers were in France advocating for Scotland, not England, and this was represented in Jamie's outfits, particularly through a coat embellished with a special motif.
Discussing the design on the coat, Dresbach explained, "I thought how wonderful it would be to do a stag hunt, something very, very Jamie and very Scottish."
She emphasized, "It was important to us at this event, Jamie could really feel like Jamie.
"And Sam really loved the idea when I showed him this coat. I showed him this coat and just really lost it. It's a gorgeous piece."
Claire and Jamie Fraser were representing Scotland in Outlander season 2
(Image: STARZ)
Conversing with Moore about why Jamie donned a kilt during his appearance in Versailles, Dresbach clarified, "Because, again this was a place where we felt it was appropriate for him to be really very Scottish. Again, like the coat.
"We wanted to have him really represent his country here, the way an ambassador from another country would.
"They're going there not as the English, they're going there as the Scottish."
The contentious scene featured Jamie confronting his adversary Captain 'Black Jack' Randall (Tobias Menzies) for a duel amidst Versailles' lush gardens.
Amidst warfare between England and France, Louis XV (Lionel Lingelser) blatantly belittled and embarrassed the captain with a backdrop of polite hostility.
Jamie Fraser opted for a kilt in Outlander during his visit to Versailles
(Image: STARZ)
Jamie and Claire earned acceptance at court largely due to their Scottish identity, unlike Black Jack who overtly symbolized his nation donning Redcoat attire.
Throughout Outlander, Jamie's kilt has been emblematic, especially after Culloden when wearing tartan was outlawed by the English, with severe penalties for defying this rule.
Hence, post-Culloden, the significance of the kilt on Outlander grew since possessing it became risky.
As Outlander shifts to the New World, the kilt's prominence dwindles but nevertheless remains a poignant symbol for Jamie, who is eternally bound to his heritage.
Outlander season 7 is available to buy now on Digital and is streaming on MGM+ via Prime Video now
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Erik shows Spike a photo of his girlfriend, only for the script to mock her appearance, hinting at cosmetic surgery with a not-so-subtle jab. It's meant to be a joke, but instead comes off as oddly mean-spirited, especially when directed at a woman. Later on, Erik joins Spike and Isla on their journey, travelling through an abandoned train carriage. It's here that things take a darker turn. Isla spots a female infected who appears to be in labour. Tensions flare when Erik demands the baby be abandoned, convinced it's also carrying the virus. The shouting attracts the Alpha, who bursts in and, in a shockingly swift moment, decapitates Erik. What follows is a frantic chase, with Isla, Spike and the newborn fleeing through the wreckage. Just when all hope seems lost, the mysterious doctor finally makes his appearance. He's covered in iodine—apparently the virus can't stand the stuff—and manages to tranquilise the Alpha just in time. 'Memento Mori' Above Dr Ian Kelson honours the dead in '28 Years Later' Above Dr Ian Kelson (Ralph Fiennes) in '28 Years Later' Dr Ian Kelson (Ralph Fiennes) offers a warm and comforting presence amid the film. Upon examining the newborn—uninfected despite being born of the infected—he theorises that the infected mother's placenta may have acted as a barrier, shielding the infant from the virus. It offers a flicker of hope for a potential cure in the future instalments. Much like The Last of Us , where Ellie's immunity is traced back to the circumstances of her birth, this subtle nod to scientific possibility adds a layer of intrigue. Back at his camp, Dr Kelson performs a solemn ritual. He cremates Erik's body, but not before salvaging the skull. The fires that have long burned in the distance are not fuelled by destruction, but by reverence. The doctor collects skulls—infected or not—as a way of honouring those lost. 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Kelson later euthanises Isla and adds her skull to his growing shrine. He invites Spike to choose her resting place. The boy places it atop the skeletal tree, where it faces the morning light. In the film's closing moments, Spike returns to the settlement alone, carrying the newborn child. In a handwritten note, he reveals the infant's origin. He asks that she be named 'Isla,' in tribute to the mother he lost, and the hope that may yet survive her. Read also : Does Disney's 'Lilo & Stitch' live-action remake do justice to the original? The Final Bite Above Tension builds in Danny Boyle's '28 Years later' It's almost impossible not to hold this third instalment up against its lauded forerunners. Unlike its predecessors, 28 Years Later is not content to be merely a horror film. There are philosophical undercurrents, moments of lyrical tenderness and yes, awkward attempts at humour. Boyle's return to the franchise offers a bold but bumpy comeback…depending on your appetite for 'genre-bending'. The infected have evolved, no longer the mindless aggressors we once knew. These creatures display social organisation and even hygiene. They bathe, breed and have begun constructing a primitive society. What made the zombie genre so darkly entertaining in the first place was its moral simplicity—you killed the infected without a second thought. Those guilt-free, head-smashing thrills are gone. Instead, the film quietly challenges our appetite for violent spectacle. Related : 'Hello, Love, Again' shows us the struggles of being an OFW under the backdrop of a love story Above The zombies are seemingly sentient in '28 Years Later' The cinematography is starkly beautiful, the performances are firmly grounded and the soundtrack fits each scene perfectly. Yet, there's a nagging feeling that something crucial has slipped through the cracks. The raw terror, the primal adrenaline rush, the straightforward satisfaction of a well-timed zombie kill. The film could have also done more with its setting, which too often drifts into sprawling forests that take up nearly 60 per cent of the screen time, rather than embracing the gritty post-apocalyptic feel fans might expect. The introduction of an 'Alpha' who is eerily intelligent and disturbingly human forces viewers into an unexpected moral dilemma, yet it holds the promise of reshaping the zombie genre for another 20 years. The question is, is it still entertainment when the undead become sentient? NOW READ 'A Minecraft Movie': when a video game adaptation gets it right 'Mission: Impossible - The Final Reckoning' is one last blaze of glory How to build an apocalypse-ready home: 5 essential design strategies for disaster resilience Credits Images: Columbia Pictures
