Let's get back to the question I asked: Why does Prince Charles meet his co-conspirators ONLY in the brothel in Moore's "Outlander"? That is not the case in Gabaldon's "Outlander" books. I do not know if you have read Gabaldon's novels. In her Lord John novels, readers are introduced to gentleman's clubs and…

You ignored my question: Why aren't there any other women like Claire in Paris?

[This reply is out of order.] We are in total agreement about the major role that BJR plays in "Dragonfly in Amber." What I'm not sure I understand is your point that, in your opinion, the books do not give the rape enough weight. As I recall, Gabaldon's Jamie struggles with nightmares throughout all of the novels…

My chief complaint about Moore's "Outlander" has to do not so much with characterization as with genre. Other folk on the comment thread worry more about how Jamie has been characterized than I do, though I agree with them: He is weaker in the television series than he is in the novels.

So you say Moore's using the brothel is OK if it is in the novels, while, in other cases, it is preferable for him to depart from Gabaldon's story. Right?

But he did not conspire in the brothel, right? That's what doesn't make sense to me in Moore's version, which is so unlike Gabaldon's anyway.

Legitimate question: Why are there no other women like Claire in Moore’s Paris? Can it be possible that in eighteenth-century France all of the ladies of the salons were so
similar? Is it conceivable that all of the poor and middle class women in Paris (who had not taken a vow of celibacy) were trollops or ciphers,…

Legitimate question: Why does Moore’s Prince Charles always meet with fellow conspirators, even the French minister of finance, in a brothel? Moore's Prince Charles has no mistress or wife. Is that why he passes his time there while living in Paris? If so, he is not, apparently, alone. In Moore’s Paris, it seems…

Sometimes it is fun to dwell on the details, though, since Claire is famously a nurse. I had another question about medicine in this
episode: Why do you think Claire agrees to treat the case of scrofula?

This super character break-down demonstrates one of the things Hirst does very well: character development. He's on top of his game in focusing on siblings and the way they handle being part of the same family: Rollo and Ragnar, Ragnar's sons (Will Ivar turn out to be like that guy in "Avatar"?), Roland and Therese…

If you thought “Vikings” was all about swordplay, think again. Some of the best moments in this episode prove that the pen is mightier than the sword:

At least you are out there, mixing it up. I respect that, or I wouldn't call you on this slip. It shows that you maybe are too close to the entertainment industry (a good thing) to recognize the basic misogyny that is still operative in its practices and assumptions, from top to bottom. It will be a long learning…

Whenever I try to find anything in that part of social media, I end up lost. I believe you, and I truly wish DG had authorial control over the use of her material. Sometimes I think that her close associates at CS serve one purpose, such an important one. Those less close to the author, at a distance, can give her…

For someone enthusiastic about the arts, you sure feel comfortable calling other people like yourself, essentially, rabid. Or is it just a little misogynistic dig?

To be able to heal a patient, students in medical school have to dissect a cadaver. You SEEM to be saying that there is no reverence in taking apart a work of art to see what went wrong, but somehow, given how articulate you are, I think you and other sincere people on this comment thread know, deep down, that tough…

Here we are in the murky world of "approval by the author," an author without theatrical rights to her content. I get that you are asserting the author's right to claim agency even if her approval is (What shall we call it?)—voluntary. I think Moore has acted irresponsible and reprehensible with respect to…

Love this post of yours. It brought to mind my favorite book by Gerald Mast, " 'Can't Help Singin': The American Musical on Stage and Screen" (1987), because it starts with one of my favorite book titles. However, don't get me started either on authors or their revisions. You maybe "can't call any stage production…

Nor is it theft if one is richly compensated when an intellectual property is appropriated.

What Andrew Davies says! I took it to be a vain and puerile boast, didn't you? He did read the book to write the adaptation, however. The writers on Moore's team who have not read the book are, supposedly, meant to participate without aid of the book, to keep his product comprehensible to non-book readers. That's…

I get your point. Whether or not playwrights consider their plays dramatic literature, when a script is involved, the written word is transported from the page to the stage. I suppose that is the kind of magic I am talking about.