How Jamie Roy Bulked Up for Outlander Season 2: The Coaching, Science and Workout Plan Behind a Functional Transformation

Table of Contents

1. Key Highlights
2. Introduction
3. Why Outlander’s Season 2 Needed a Different Kind of Physique
4. Palau’s Phased Strategy: Cut, Maintain, Surplus
5. Training Structure: Upper/Lower/Whole-Body Splits and Why They Matter
6. Jamie Roy’s Upper-Body Session: Supersets, Tri‑sets and Purpose
7. Reps in Reserve (RIR) and Progressive Overload Without Reckless Failure
8. Technique, Video Feedback and Remote Coaching: Creating Repeatable Reps
9. Movement Choices for Weapon Work and On‑Set Demands
10. Building Mass Without Sacrificing Definition: Nutrition and Macronutrients
11. Recovery: Sleep, Volume Management and On‑Set Fatigue
12. Periodization Example: 12 Weeks from Lean to Functional Muscle
13. Practical Workout Examples Beyond the Upper-Body Template
14. Common Pitfalls and How Roy’s Program Avoided Them
15. Translating This Model for Non‑Actors and Gym Enthusiasts
16. Case Studies: How Other Performers Managed Functional Bulk
17. Measuring Progress: Metrics That Matter
18. When to Call a Coach: Signals You Need Professional Oversight
19. What This Transformation Means for the Craft of Acting
20. Practical Checklist for Actors Preparing for a Physical Role
21. FAQ

Key Highlights

• Jamie Roy moved from a lean, screen-ready physique to a stronger, more muscular build for Outlander Season 2 by following a phased program of fat loss, maintenance, and a controlled calorie surplus combined with high‑intensity, technique-driven resistance training.
• Coach Giulio Palau emphasized progressive intensity, structured supersets/tri‑sets, RIR (reps in reserve) progression, and constant technique feedback via video to develop functional muscle suited to on‑set combat and heavy weapons work.
• The program balanced hypertrophy with movement quality, recovery, and nutrition—demonstrating how actors can add usable mass without compromising agility or camera appearance.

Introduction

Actors routinely alter their bodies to match the demands of a role, but the change required for a physical, fight‑heavy season of television calls for more than cosmetic muscle. Jamie Roy’s preparation for Season 2 of Outlander: Blood of My Blood illustrates how a carefully periodized approach—combining deliberate calorie phases, targeted strength and hypertrophy training, and meticulous technique coaching—produces muscle that performs under the stress of long shoots, staged violence, and heavy props.

The transformation moved Roy beyond the visible six‑pack of Season 1 into a stronger, more durable version of his character, Brian Fraser. His coach, Giulio Palau of Ultimate Performance, designed a plan that prioritized functional strength, progressive intensity, and precise technique. The result offers a practical template for athletes, performers and committed gym-goers who need to add lean mass while remaining athletic and camera-ready.

Why Outlander’s Season 2 Needed a Different Kind of Physique

Outlander’s fight choreography and onscreen physicality escalated in Season 2: close-quarters combat, prolonged swordplay and scenes requiring actors to carry, swing and control heavy props. A lean look is visually striking on camera, but it cannot substitute for the robustness and joint resilience that actors need when they must perform aggressive, repeated physical moves across multi-hour shooting days.

Bulking for a role is not strictly about size. The goal becomes functional hypertrophy—muscle mass that supports higher force production, improves stability and protects joints during high‑impact sequences. A larger, stronger frame allows an actor to move convincingly with weapons, to absorb hits safely, and to sustain the repeated takes demanded by production schedules. Giulio Palau tailored Roy’s program to deliver exactly that: additional lean mass without loss of definition or on‑set mobility.

Palau’s Phased Strategy: Cut, Maintain, Surplus

Palau structured Roy’s preparation into distinct nutritional and training phases, each with a clear purpose:

• Fat‑loss (calorie deficit): Reduce body fat until Roy reached roughly 10–12% body fat, preserving muscle to keep a defined camera appearance.
• Maintenance: Stabilize weight and metabolic rate, allow neuromuscular adaptation and reset appetite hormones before increasing calories.
• Short surplus (lean mass phase): Small, controlled calorie surplus to drive muscle hypertrophy while keeping fat gain minimal.

This sequencing matters because attempting to build muscle from a higher body‑fat baseline often produces undesirable visual outcomes for actors—added size but softened definition. Roy began Season 1 lean, so the emphasis shifted: maintain aesthetic qualities while progressively increasing strength and muscle. The maintenance phase functions as an important metabolic and psychological bridge; it reduces the shock of sudden caloric changes and ensures training intensity rather than fluctuating recovery becomes the primary stimulus for adaptation.

Practical numbers: a typical approach for an athlete in Roy’s position would use a deficit of about 300–500 kcal/day during the cut, maintenance at estimated total daily energy expenditure (TDEE), then a surplus of 200–400 kcal/day during the lean‑mass phase. The exact values depend on baseline body composition, training volume and schedule constraints.

Training Structure: Upper/Lower/Whole-Body Splits and Why They Matter

Palau’s program prioritized fundamental joint actions each week and alternated between upper, lower and whole‑body sessions depending on the training phase. This approach balances volume, intensity and recovery while maximizing the frequency of key movements (press, row, hinge, squat, carry).

Frequency drives growth and skill acquisition. For an actor who must learn fight choreography and handle weapons, performing major patterns multiple times per week combines strength gains with motor learning. Roy’s sessions used supersets and tri‑sets to increase density—more work in less time—while retaining training intensity.

Sample framework:

• Early phase (skill and conditioning): 3–4 sessions/week, emphasis on technique and movement quality.
• Hypertrophy/strength phase: 4–6 sessions/week, alternating upper/lower or whole‑body days so each joint action is trained 2–3 times weekly.
• Taper before heavy filming: Reduce volume, maintain intensity to keep strength without excessive fatigue.

Higher frequency combined with managed volume is superior for both hypertrophy and motor learning. It also aligns cleanly with the requirements of fight rehearsal: the body learns to generate and control force in movement patterns that mirror staged combat.

Jamie Roy’s Upper-Body Session: Supersets, Tri‑sets and Purpose

Palau’s provided upper‑body template for Roy illustrates several coaching principles: antagonistic pairings, push/pull balance, and multimuscle fatigue strategies to drive hypertrophy without extensive isolation work.

Upper‑body workout (as performed as supersets/tri‑sets):

• Flat Bench Press / Seated Machine Row: 4 sets, 6–8 reps
• Flat Bench Press / Lat Pulldown: 3 sets, 8–12 reps
• Incline Dumbbell Bicep Curl / Cable Triceps Pushdowns / Lateral Raise: 3 sets, 8–12 reps

Why this works:

• The bench press variants build pressing force and upper‑body mass. Pairing presses with rows enforces postural balance to protect shoulders—critical for an actor performing repetitive weapon swings.
• Lat pulldowns complement benching by strengthening pulling patterns and scapular control.
• The tri‑set of curls, triceps pushdowns and lateral raises increases metabolic and mechanical fatigue around the shoulder girdle, improving aesthetics and endurance without long rest intervals that add time and metabolic stress.

Rep ranges: Palau treated rep ranges as secondary to set intensity. Early weeks targeted 2–3 RIR (reps in reserve) to build volume and reinforce technique; over 4–8 weeks intensity progressed toward 0–1 RIR on working sets. This progression drives both size and neural adaptation without requiring constant training to failure.

Reps in Reserve (RIR) and Progressive Overload Without Reckless Failure

RIR is an accessible metric to control intensity. RIR denotes how many reps short of failure a trainee stops a set. It gives immediate feedback to both coach and athlete about effort.

Palau’s progression for Roy:

• Weeks 1–2 of a phase: target 2–3 RIR on working sets. This builds volume and allows rehearsal of movement patterns with reduced technical breakdown.
• Weeks 3–8: decrease RIR gradually to 0–1 on key sets, increasing neuromuscular demand and stimulating hypertrophy and strength gains.

Why not always train to failure? Frequent training to failure raises fatigue, increases injury risk and can degrade technique—counterproductive for an actor who must move cleanly on camera. RIR-based progression balances intensity with form. The coach’s demand for standardized technique and video feedback ensured each rep’s quality and made incremental overload reliable.

Technique, Video Feedback and Remote Coaching: Creating Repeatable Reps

Palau required Roy to send videos of two working sets from each training session. That data stream served multiple purposes:

• Technique refinement: Minor adjustments to bar path, scapular position or knee tracking yield immediate improvements in movement efficiency and safety.
• Standardization: When every rep is executed with the same standard, increases in load or reps represent true progress, not just altered form.
• Accountability and coaching bandwidth: Remote review allows a high degree of precision without in‑person oversight, useful for actors whose schedules change.

Standardized technique underpins reliable progression. For onscreen performers, specificity of movement is vital—training must reinforce the motor patterns used in fights and weapon handling. Video review identifies drift and corrects it before it becomes habituated.

Movement Choices for Weapon Work and On‑Set Demands

Building muscle for an action role must reflect the demands the actor faces. Weapons and staged combat require:

• Grip and forearm strength for sustained holds and swings.
• Rotational strength and anti‑rotation capacity to control torso during strikes.
• Posterior chain strength for explosive strikes and to absorb forces.
• Shoulder stability to protect against repetitive overhead and horizontal actions.

Integrating specific elements—heavy carries, farmer’s walks, single‑arm presses, anti‑rotation chops and loaded carries—transfers gym strength to prop manipulation and fight choreography. Conditioning work with implement carries and high‑tempo complexes improves the actor’s ability to do repeated takes without performance degradation.

Real‑world example: Similar principles guided transformations for actors like Chris Hemsworth and Henry Cavill when their roles required both mass and mobility. Their programs combined compound lifts with conditioning and skill‑specific drills, prioritizing movement transfer to on‑set tasks.

Building Mass Without Sacrificing Definition: Nutrition and Macronutrients

Palau’s plan moved Roy from a lean baseline through a controlled surplus designed to add lean mass without visually softening his appearance. Nutrition strategy included:

• Protein: Sufficient intake to support muscle repair and growth—generally 1.6–2.2 g/kg body weight per day for athletes targeting hypertrophy.
• Carbohydrates: Prioritized around training to fuel sessions and support intensity. Carbs enable higher work capacity, which translates to superior progressive overload.
• Fats: Maintained at ~20–30% of calories to support hormonal function and satiety.
• Caloric strategy: Cut 300–500 kcal/day during the fat‑loss phase; eat at maintenance for 2–4 weeks; increase by 200–400 kcal/day during lean‑mass phase and monitor weight and composition.

Monitoring and adjustment matter. Small weekly changes in body mass, performance metrics (e.g., barbell numbers) and subjective measures (sleep, hunger, recovery) inform calorie adjustments. A gain of 0.25–0.5% body weight per week is a reasonable target for lean mass phases, minimizing fat accrual while allowing consistent progression.

Supplements can assist but are not compulsory. Creatine monohydrate supports repeated high‑intensity efforts and increases training capacity. A high‑quality protein supplement can help reach daily protein targets when whole food intake is constrained by schedule.

Recovery: Sleep, Volume Management and On‑Set Fatigue

Actors must juggle the physical demands of training with film schedules, travel and irregular sleep. Recovery strategies implemented for Roy emphasized:

• Sleep: Prioritize consistent 7–9 hours where possible; improved sleep enhances strength gains, cognitive function and recovery from contact scenes.
• Autoregulation: Adjust training volume and intensity based on readiness. Filming days with heavy choreography may require lower training intensity or shifted workouts.
• Active recovery and mobility: Daily mobility routines, foam rolling and targeted soft‑tissue work preserve range of motion critical for fight scenes.
• Taper before heavy shooting: Reduce volume but maintain intensity to keep strength and freshness going into filming blocks.

On set, long days and multiple takes accumulate fatigue. Actors with stronger baseline conditioning tolerate that load better. Roy’s added strength meant he could manage the repetitiveness and physicality of fights while reducing injury risk.

Periodization Example: 12 Weeks from Lean to Functional Muscle

Below is a conceptual 12‑week plan that reflects Palau’s model while offering practical structure. Adjustments would be individualized by a coach based on progress and schedule.

Weeks 1–3: Stabilize and Build Base (Maintenance to light surplus)

• Calories: Maintenance (week 1), +150 kcal (weeks 2–3)
• Frequency: 4 sessions/week (Upper/Lower split)
• Intensity: 2–3 RIR on working sets
• Focus: Technique, movement quality, core and unilateral work
• Sample weekly split:
  • Day 1: Upper (bench press variation, row variation, assistance)
  • Day 2: Lower (squat/hinge, split squat, posterior chain)
  • Day 4: Upper (press, pull, rotator cuff work)
  • Day 5: Lower (deadlift/variation, carries, core)

Weeks 4–8: Hypertrophy and Strength Emphasis (Lean surplus)

• Calories: +200–350 kcal/day
• Frequency: 5–6 sessions/week (mix of Upper/Lower/Whole‑Body)
• Intensity progression: Move from 2 RIR toward 0–1 RIR on main sets across weeks
• Structure: Incorporate supersets and tri‑sets; prioritize compound lifts early in sessions
• Sample weekly split:
  • Day 1: Heavy upper (flat bench / seated row superset 4x6–8)
  • Day 2: Heavy lower (squat/hinge focus, carries)
  • Day 3: Whole body (clean variation or loaded carries)
  • Day 4: Upper (lat pulldown, incline press, tri‑set arm/lat)
  • Day 5: Lower (deadlift variant, single‑leg work, core)
  • Optional Day 6: Conditioning/mobility active recovery

Weeks 9–12: Peak Strength and Specificity (Taper into filming)

• Calories: Adjust to maintain weight or small deficit depending on on‑screen needs
• Frequency: 3–4 sessions/week (shorter, higher-intensity)
• Intensity: Maintain 0–1 RIR on key movements; reduce volume by 30–40%
• Focus: Power, weapon‑specific conditioning, mobility
• Sessions emphasize rehearsal of fight‑mimic movement patterns under low fatigue to sharpen performance.

This plan balances progressive overload with the need to remain functional and camera‑ready. It prevents the accumulation of excessive fatigue before filming while still driving muscular adaptations.

Practical Workout Examples Beyond the Upper-Body Template

To make gains relevant to weapon work and on‑set demands, integrate the following session types into a weekly routine:

1. Posterior Chain Focus (Lower/Whole‑Body)

• Romanian Deadlift: 4 sets x 6–8
• Bulgarian Split Squat: 3 sets x 8–10 each
• Heavy Farmer’s Walks: 4 x 40–60m (as tolerated)
• Pallof Press: 3 sets x 10–12 each side

2. Grip and Rotational Strength Session

• Single‑arm Kettlebell Swings: 4 x 8–10 each arm
• Plate Chop/Anti‑Rotation Cable Press: 3 x 10–12 each side
• Heavy Towel Pull‑up or Thick‑bar Row: 4 x 6–8
• Wrist Roller or Reverse Curl: 3 x 10–12

3. Conditioning for On‑Set Endurance

• EMOM (every minute on the minute) for 15–20 minutes: alternating loaded carries and medicine‑ball slams to simulate intermittent high effort and recovery like fight scenes.
• Short circuit: 4 rounds of 60s station work (battle ropes, sled pushes, burpees) with 90s rest to develop repeated sprint ability analogues.

These sessions create transferable strength and endurance, not just size. The variety prevents adaptation plateaus and improves robustness for unpredictable on‑set work.

Common Pitfalls and How Roy’s Program Avoided Them

Actors attempting to bulk for roles often make predictable mistakes. Roy’s approach sidestepped these by design.

Pitfall: Rapid, excessive caloric surplus

• Consequence: Visible fat gain and reduced camera definition.
• Fix: Controlled surplus (200–400 kcal) and careful monitoring. Aim for slow, lean weight gain.

Pitfall: Prioritizing aesthetics over function

• Consequence: Bigger muscles that lack the strength or endurance to perform on cue.
• Fix: Integrate functional lifts, carries and conditioning to ensure strength transfers to fight work.

Pitfall: Training to failure every session

• Consequence: Technique breakdown, higher injury risk, impaired recovery.
• Fix: Use RIR progression and coach feedback to maintain form and longevity.

Pitfall: Ignoring posterior chain and rotator cuff work

• Consequence: Imbalanced shoulder mechanics and poor ability to handle weapon dynamics.
• Fix: Program robust posterior chain, scapular control and rotator cuff strength.

Pitfall: Failing to adapt to on‑set schedule

• Consequence: Overtraining or underrecovery during filming blocks.
• Fix: Autoregulate training intensity and reduce volume before intense filming periods.

By combining clear phases, objective intensity markers and remote technique review, Palau ensured Roy accumulated the right kind of work and recovery.

Translating This Model for Non‑Actors and Gym Enthusiasts

The principles that guided Roy’s transformation apply to anyone seeking lean mass that performs:

• Phase your nutrition: A planned deficit, maintenance and small surplus is effective for adding quality mass while protecting aesthetics.
• Prioritize compound lifts: Squat, hinge, press, row and carry movements build a foundation of usable strength.
• Control intensity with RIR: This metric manages fatigue while enabling progressive overload.
• Emphasize technique: Standardized reps make increments meaningful and reduce injury risk.
• Include specificity: Train for the demands you’ll face—sport, job or hobby—so gains transfer.
• Monitor outcomes: Track body weight, strength metrics and subjective recovery to guide adjustments.

A common adaptation for non‑actors is to lengthen phases: recreational athletes may need 8–12 weeks for each phase, while elite performers often use shorter, more intense blocks. The underlying process—structured progression, applied specificity and recovery—remains the same.

Case Studies: How Other Performers Managed Functional Bulk

• Chris Hemsworth: For roles requiring both size and mobility, Hemsworth’s programs have combined heavy compound lifts with sled work, paddling (for cardiovascular specificity), and mobility routines to ensure agility alongside added mass.
• Henry Cavill: Training for large, sustained performances often included heavy compound strength work, consistent conditioning and attention to joint health to tolerate long shooting schedules.
• Daniel Craig: For physically demanding roles, the focus often shifts to functional conditioning—grip, rotational strength and short, intense conditioning sessions that mimic fight intensity.

These examples mirror the strategies applied to Roy’s transformation—each program tailored not just to the desired look but also to the specific performance and durability required by the role.

Measuring Progress: Metrics That Matter

Tracking progress requires more than a scale. Use a combination of objective and subjective measures:

• Strength markers: Increases in key compound lifts or improved work capacity (more reps at the same weight) confirm muscular adaptation.
• Body composition: DEXA, skinfolds or reliable circumference measurements reveal changes in lean mass versus fat.
• Performance on‑task: Improved endurance during fight rehearsal, reduced fatigue across takes, and the ability to manipulate props with ease indicate functional progress.
• Recovery quality: Sleep, mood, and soreness levels inform whether volume and intensity are appropriate.
• Visual evidence: Period photos and video compare posture, movement quality and appearance across phases.

Regular assessment—weekly weigh‑ins, monthly composition checks and session logs—lets coaches tune calories, volume and intensity.

When to Call a Coach: Signals You Need Professional Oversight

Actors and athletes with demanding physical roles benefit from expert guidance. Signals that a coach is needed include:

• Tight timelines: When changes must occur quickly and safely, a coach optimizes approach.
• Injury history: A coach adapts loads and exercises to protect vulnerable areas.
• Complex skill transfer: When gym work must convert to fight performance, a coach designs specificity.
• Limited training time: Professional schedules often constrain gym availability; coaches create efficient, high‑return sessions.
• Need for accountability and technique feedback: Remote video review and consistent oversight prevent degraded form and overreach.

Giulio Palau’s work with Roy exemplifies how coaching accelerates safe, usable transformation while preserving on‑screen aesthetics.

What This Transformation Means for the Craft of Acting

Physical preparation is part of character embodiment. For roles with physical stakes, actors who invest in functional strength and movement quality arrive at set with tools that reduce risk and enhance performance authenticity. Jamie Roy’s added mass was not an aesthetic experiment alone: it was a professional investment in storytelling. Stronger performers can play harder, stay safer and deliver more convincing physical narratives.

Moreover, the rigors of long shooting days, repeated choreography and heavy props require resilience. Training that accounts for these stresses allows actors to focus on craft rather than physical limitations.

Practical Checklist for Actors Preparing for a Physical Role

• Establish baselines: body-fat estimate, key strength lifts, mobility range.
• Build a phase plan: cut/maintain/surplus sequence with timelines aligned to shooting dates.
• Use progressive overload and RIR: plan how intensity will increase and how technique will be monitored.
• Prioritize compound lifts and posterior chain: these form the backbone of functional strength.
• Add specificity: carries, unilateral work, rotational strength and grip are non-negotiable for weapon work.
• Include mobility and recovery: schedule active recovery and ensure sufficient sleep.
• Track progress: log weights, sets, RPE/RIR, body metrics and recovery.
• Communicate with stunt coordinators: align training to choreography and prop handling.
• Consider a coach for technique and periodization: remote video feedback is effective and practical.

Actors who check these boxes reduce injury risk and increase their performance bandwidth on set.

FAQ

Q: How long did it take Jamie Roy to gain the extra muscle for Season 2? A: Roy’s preparation followed phases that included an initial fat‑loss phase, a maintenance phase and a short controlled surplus. While the source does not state exact weeks, similar actor programs often span 8–16 weeks for visible, sustainable gains. The critical factor is progressive overload paired with dietary control and coaching.

Q: What does RIR mean and why is it used? A: RIR stands for reps in reserve—an intensity measure indicating how many reps short of failure the athlete stopped a set. It controls fatigue and protects technique while still providing progressive overload. Palau used RIR to move Roy from 2–3 RIR in early weeks toward 0–1 RIR as phases progressed.

Q: Can someone without prior lifting experience follow this program? A: The principles apply universally, but exercise selection, loads and progression must be adjusted. Beginners need a longer phase emphasizing movement fundamentals and submaximal intensity before increasing volume and intensity. Working with a coach to learn technique is strongly recommended.

Q: What role did nutrition play in the transformation? A: Nutrition framed the transformation. Roy began with a calorie deficit to reach ~10–12% body fat, transitioned to maintenance, then entered a short surplus to encourage lean mass gains. Protein was prioritized to support hypertrophy, carbohydrates fueled training intensity, and overall calorie control limited fat gain.

Q: Which exercises translated best to weapon handling and fight scenes? A: Posterior chain lifts (deadlifts, Romanian deadlifts), carries (farmer’s walks), single‑arm swings, anti‑rotation core work and heavy rows/presses provide force production, stability and rotational control that mirror weapon demands.

Q: Did Roy train to failure? A: No. Palau used RIR progression rather than training to failure. Training to failure is not necessary for hypertrophy and increases risk of technique breakdown; Roy’s program emphasized controlled intensity to maintain form.

Q: What supplements are helpful for such a transformation? A: Basic, evidence‑based supplements like creatine monohydrate and a quality protein powder can support training and recovery. Vitamin D and omega‑3s aid general health. Supplements are adjuncts—training and nutrition are primary.

Q: How was technique monitored when Roy was not training in person with Palau? A: Roy sent videos of two working sets from each training session to Palau for feedback. Remote video coaching allowed frequent, precise corrections and ensured consistency in execution.

Q: How should someone taper before a physically demanding filming block? A: Reduce training volume by 30–40% while retaining intensity on main lifts. Emphasize mobility, recovery modalities and reduce cumulative fatigue so strength and sharpness are preserved heading into filming.

Q: Is the muscle built in this program permanent? A: Muscle is retained with consistent training and adequate nutrition. Actors often periodize their training to match role demands; long‑term retention requires continued stimulus. If training and calorie intake drop drastically post‑production, some mass may be lost.

Q: Can this model be adapted for sports? A: Yes. The phased approach (manage body composition, increase intensity progressively, prioritize movement transfer and recovery) is directly applicable to athletes who need both size and sport‑specific performance.

Q: Where can actors find coaching similar to what Roy received? A: Specialist performance gyms, strength coaches with experience in entertainment and services like Ultimate Performance offer individualized plans. Look for coaches experienced in periodization, technique coaching and the physical demands of fight work.

Q: Will adding muscle make an actor look unnaturally bulky on camera? A: Not if the process is controlled. Small, slow gains combined with strategic programming and conditioning preserve camera definition while improving strength. The objective is usable mass that serves performance, not unchecked hypertrophy.

Q: Are supersets and tri‑sets necessary? A: They are not strictly necessary but are efficient for increasing training density and inducing hypertrophic stimulus within time constraints. For actors juggling rehearsal and filming, they deliver more work per session without excessively long gym time.

Q: How can non‑actors apply these lessons for everyday fitness? A: Prioritize progressive resistance training, track intensity with a metric like RIR or RPE, use phased nutrition to reach goals, and retain a focus on movement quality and recovery. Tailor specificity to the physical demands of your life—whether manual labor, sport or general health.

This approach to transformation—methodical, measurable and movement‑first—explains why Jamie Roy could both look the part and perform the role with the strength and endurance necessary for Outlander’s demanding Season 2.