The White Queen drew a multitude of comparisons to other dramas before a single episode had aired, and critics were swift to deride it after an underwhelming and disappointing premiere. Fortunately for those of us hoping for a prequel to The Tudors, the second outing succeeded in achieving all that early trailers had promised – romance, violence and intrigue in bulk.
Much of the action focused upon political machinations, centred on the rivalry for control of Edward IV (Max Irons)’s head and heart, between Elizabeth Woodville (Rebecca Ferguson) and the scheming, pseudo-Machiavellian Lord Warwick (James Frain). Warwick’s glee at Elizabeth’s delivery of a girl was a terrific highlight, as was his fury at Edward’s failure to make good on repayment for the delivery of the fugitive Henry VI into custody.
A clunky time-jump of three years, an unashamed plot device, heralded the real drama of the episode as an embittered Warwick, allied to Edward’s scheming brother George (David Oakes), Duke of Clarence, rose in rebellion against Edward and succeeded in capturing him, and executing Elizabeth’s Father and Brother to boot. Ferguson ably delivered devastation and tragedy, but also a sense of grim determination as she reconciled herself to utilisation of sorcery, encouraged all the while by her mother, the intense and captivating Jacquetta of Luxembourg (Janet McTeer).
The sub-plots were vibrant, and complimented rather than detracted from the main action. Margaret Beaufort (Amanda Hale)’s devout faith in her son’s destiny to rule and determination to undermine Edward IV and Queen Elizabeth added a dark and at times almost deranged twist to affairs. Scintillating smaller turns were offered by the Duchess Cecily (Caroline Goodall) and Lady Beauchamp (Juliet Aubrey), as the scheming mothers of Edward and Warwick respectively, delivering rapid-fire reproaches and cutting remarks.
The White Queen is not a straight historical drama. Intense as the scripting and direction might be, the show is also consciously drawing on elements that have helped previous shows succeed. Political intrigue is ramped up so there are plots at every turn, romance is exaggerated perhaps beyond realistic 14th Century limits and the language used doesn’t fit the time because its more accessible and in some cases more effective with modern twinges added. It’s true the magic does seem a little out of place in a straight historical drama, but faced with the all conquering might of Game of Thrones it isn’t difficult to see why the BBC have included a fantasy element, even if it is almost so minor as to be invisible amongst the other swirling and stewing plotlines.
The second episode of The White Queen made good on the faults of its’ premiere. The political intrigue and swirling plots promised were delivered all at once, offering tantalizing threads to follow and establishing a central conflict on collision course between Elizabeth and Warwick. The chemistry between Edward and Elizabeth strengthened, despite reduced contact between the two, and the birth of their first child cemented the relationship as the romantic core of the series. With Edward captured, and Elizabeth resorting to sorcery to reap revenge on Warwick and the Duke of Clarence, the third episode promises to be unmissable.
FOUR STARS
Its Blackadder without the laughs. Do you think all those ill-advised shots of Edward riding along the edge of a cornfield, which they use whenever they have to show him on a journey, were filmed in the same day? “Max darling, ride from right to left as fast as you can…now from left to right..”