if you ever try to befriend me and you expect to be in frequent contact with me i am so sorry. i do that with maybe two people and even then i often go days or weeks withouts saying anything before talking daily for a while.
the point is if we dont talk that doesnt mean i dont like u and think about u a lot im just terrible at maintaining close relationships
*interacts with people*
*has to take a four hour nap*
It starts out the same, but then, after a moment,” he said, speaking softly, “suddenly it’s as though I’ve a living flame in my arms.” His touch grew firmer, outlining my lips and caressing the line of my jaw. “And I want only to throw myself into it and be consumed.
Diana Gabaldon, Outlander
And that’s where Outlander is truly appealing to the sexuality of its straight female viewers. Instead of painting female pleasure on the male terms of the virgin/whore dichotomy, the audience is shown sex as a normal, matter-of-fact piece of the relationship puzzle. Sure, Jamie and Claire can’t get enough of each other on their wedding night, but their passion is forged by the connections made in the unhurried conversations that make up the bulk of the episode. Jamie is kind and Claire is emotionally conflicted, and their sex isn’t perfect or without fumbling. At one point in the now infamous wedding episode, Jamie stops mid-coitus to make sure he hasn’t hurt Claire. It’s a far cry from the violent thrusting and distressed shouts of a Game of Thrones sex scene.
Outlander approaches sex in a way that’s only shocking because it isn’t shocking at all. It’s non-violent, sensual, natural, and the woman is framed as more than an object for male pleasure. Female sexuality isn’t demonized, and engaging in sex doesn’t diminish Claire as a character. Outlander is the rare television drama that shows us a woman who is sexually experienced without being the villain of the piece, and a man who sees her desire and pleasure as a participatory experience, rather than an object to edify his own importance.