Blood Will Be Thy End. Retrospective: The White Queen - "War At First Hand"

Season 1, Episode 5

Air Date: Saturday, September 14th, 9pm ET/PT on STARZ

Rating: ★★★★★

“I don’t see God in these people…” – Lord Henry Stafford

The medieval battle for England’s throne reaches a major turning point in this week’s “War at First Hand,” an intense rollercoaster ride marking the end, and rise to power, of several major characters in the series, The White Queen. Unlike some previous episodes, “War at First Hand” does a better job of balancing the continuity of its characters’ storylines, as well as the dramatic tone of its heavier, atmospheric, battle sequences. This all adds up to a thrilling and compelling episode that suggests more bloodshed in the future. In addition, Malcolm Campbell, the writer of the episode, skillfully creates some of The White Queen’s most memorable dialogue while adding depth to the supporting female characters: Margaret of Anjou (Veerle Baetens), Warwick’s (James Frain) daughter Anne Neville (Faye Marsay), and Margaret Beaufort (Amanda Hale), mother of Henry Tudor (Oscar Kennedy). It’s gratifying to see women, apart from Elizabeth (Rebecca Ferugson) and Jacquetta (Janet McTeer), take the limelight since it adds a deeper perspective to the rooted conflict in the war between the Yorks and Lancasters.

It’s A Man’s World…Or Is It?

Picking up where last week’s episode, “The Bad Queen” ends, the opening scene of “War at First Hand” takes us to France where Margaret of Anjou is ready to pounce all over the House of York. In an effort to defeat Edward IV (Max Irons) once and for all, she prepares to set sail for England along with her troops and Anne Neville—who is now a princess courtesy of her marriage to the awful Edward of Lancaster (Joey Batey), the Prince of Wales.

With the first shot of Anne, we see she is no longer the starry-eyed girl with romantic notions in her head as she ogled Elizabeth and Edward on the throne; that girl seems to no longer exist, and in her place is a woman who plays to the tune of her father’s ambition, and now the mistreatment from her husband. It is within that context that the dynamic between her and Margaret of Anjou takes an interesting turn of events. Behind Margaret’s ruthlessness, there is an odd fascination towards Anne:

Anne: “I am not weak, nor like my sister.”

Margaret of Anjou: “Who are you then? I have no sense of Anne, and I am interested to know what kind of queen you will be.”

Anne: “Haven’t thought about it.”

Margaret of Anjou: “You are the Kingmaker’s daughter, you think about it.”

Baetens is remarkable in her portrayal of the “Bad Queen,” Margaret of Anjou. The determination in her voice and the way she reveals Margaret of Anjou’s vulnerability at the end of the episode is a wonderful contrast, and testament to Baetens’ talent as an actress. Another stand out moment includes her ride with Anne to Tewkesbury. The scene reveals so much about her, and Baetens is spot on when stating her bitter responses to Anne’s questions:

Margaret of Anjou: “This is what it is to be queen militant; you have to fight for what you own. Remember these odds, this pain, for if we win, you never have to march again.”

Anne: “Don’t you ever tire of living like this?”

Margaret of Anjou: “Never! This is what I live for.”

Anne: “Even if it means you are hated?”

Margaret of Anjou: “ I’ve never been liked. I’m damned twice in most men’s eyes; I’m the woman who dare rule when her husband could not, and who fought to ensure her only son’s position. Now how could I do such a thing? Men!”

Anne : “Why damned twice?”

Margaret of Anjou: “Because I’m French, of course!”

Marsay is equally charismatic as Anne Neville, whose character—in another display of cruelty—takes a literal beating this week from a group of York soldiers. If it is the intent of the writers to create a sympathetic character, they are providing more than enough to convince the viewers. However, may we please have a temporary cease-fire on torturing her?

Anne’s storyline contributes to one of the important character arcs in The White Queen. She is the thread, and one of few witnesses to the dangers of being on the losing team. We observe her become stronger, and more determined to speak her mind; even Margaret of Anjou tells her, “It’s good. It’s good. You’re starting to think like me.” If that isn’t a figurative passing of the HBIC (Head Bitch In Charge) baton, I don’t know what else is.

See You At The Crossroads

There are a lot of casualties in “War At First Hand” but none as significant as Warwick’s death in his last battle against Edward IV. For weeks, viewers have observed this conniving Kingmaker marry off his children for leverage, and form an alliance with his sworn enemy, only to be hacked at the waist by one of Edward IV’s men on the battlefield. Despite Warwick’s treasonous behavior, Frain made him a grey character—toeing the line between being evil and ambitious. While Warwick’s death will remedy Edward IV’s battle for the throne, you can’t help but wonder if this will mean he is in any less danger. Warwick was a Kingmaker for a reason; he was able to rally a crowd and lead men to battle. He had the merciless political expertise to make the best of a situation. Even near the hour of his death, Warwick was decisive, and refused to leave his men on the field to die.

Despite Warwick’s misguided methods for gaining access to the throne, he served as a good strategist and advisor when he and Edward IV were on good terms. It’s sad how quickly their alliance fell apart with the arrival of Elizabeth as Edward IV’s queen. But better the devil you know than the devil you don’t, and with Warwick out of the way, who’s to say Richard (Aneurin Barnard) and George (David Oakes) are not waiting in the wings for an opportunity?

The theme of family and sacrifice are major in this episode, and most likely the reason for emphasizing the horrible details of the battle, such as dogs devouring the flesh of dead soldiers on the field. When Edward IV makes his mind up to kill Warwick, it is for his newborn son’s sake; yet even in his decision to do so, the look of sadness in his eyes as he watches Warwick die is sincere and heartbreaking.

Margaret “Ye Olde Hypocrite” Beaufort

Of all the female protagonists in The White Queen, Margaret Beaufort is the only one most likely to give you emotional whiplash. The minute Margaret engages the audience with her sob story, she does something to betray her husband, Lord Henry Stafford (Michael Maloney). Previously, it was easy to sympathize with Margaret when her son, Henry Tudor, was taken away. However, this week, all redeeming qualities fly out the window.

With the patience of a saint, Stafford attempts to explain his reasons for siding with Edward IV on the battlefield to Margaret, who refuses to accept his decision:

Lord Henry Stafford: “The only time we have known peace is during King Edward’s reign…and now he has a son, it is my duty to ensure his succession is peaceful. Look, your house does not deserve to rule: The King is half mad; his wife’s a tyrant; she hates this country; and their son is vile…”

Margaret Beaufort: “You would defy a King appointed by God himself?”

Lord Henry Stafford: “I do not see God in these people…”

Although Stafford takes this moment to stand up for his beliefs, Margaret’s reaction to her husband is unforgiveable and difficult to watch play out. She throws a fit, informing Stafford he is dead to her; she will not pray for his safe return. When Stafford stiffens his back and turns back to Margaret, one could hear a pin drop. Will he slap her? Harm her? Much to Margaret’s surprise, Stafford stoops on bended knee telling Margaret, “God bless you.”

The real tragedy of this storyline is Stafford, a man desperate to make a loveless marriage work, and whose only crime was agreeing to marry Margaret in the first place. Like Warwick, Stafford is another character who meets his death in “War at First Hand,” and while Margaret’s futile attempts at redemption are poignant, they are not enough to make her likeable.

The Spoils of War

One of the great things about watching Edward IV repeatedly fight for his throne are the action sequences. Since the beginning, Edward IV has been revered for being strong on the battlefield, and in “War at First Hand,” viewers get a sense of how stealthy and powerful the York men are in battle. When the Battle at Tewkesbury leads to the death of Edward of Lancaster, King Henry IV’s heir and son of Margaret of Anjou, Edward IV secures his throne again as King of England.

Once again, Baetens turns in a memorable performance when Margaret of Anjou learns her son is dead. As she is led away to be placed in the Tower of London, she pauses to let out one of the most heartbreaking screams announcing her son is dead; she then instantly regains her icy composure while walking alongside her captors.

Meanwhile, Richard saves Anne from a vicious attack by his men, who are unaware of her connection to him. Richard and Anne’s reunion serves as one of the few bright moments in “War at First Hand.” After exchanging words of love and loyalty to King Edward IV, Richard promises Anne he will safely return her back home. Of course, this being The White Queen, Anne’s luck may not last.

Overall

“War at First Hand” is another strong episode for The White Queen, especially with the story arc for the Lancaster nobles, as well as the way in which Warwick’s death is handled by Edward IV. It could easily have been a face off but since Warwick doesn’t die by Edward IV’s hand, it goes to show the tragic and complex nature of their relationship.

This week’s episode also had wonderful visuals. The cinematography is striking, and Jamie Payne’s direction interlaces some of the most intriguing scenes—like Elizabeth and Jacquetta standing by the window while the men prepare for battle in a misty grove of trees along the river. The plot continues to get stronger, and there are not as many loose ends in “War at First Hand” as there were in the beginning of the series. Overall, this is definitely one of the best episodes of The White Queen to date.

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