Lost Boys. Retrospective: The White Queen — “The Princess In the Tower”

Season 1, Episode 9

Airdate: October 12, 2013 at 9 E/P on Starz

Rating: ★★★★★

“You want a throne, but do you even have a boy to put on it?”—Princess Elizabeth

As The White Queen nears its final episode, political intrigue takes center stage. Episodic writer Emma Frost and director Colin Teague keep a firm hold on the suspense surrounding the unfortunate fate of Elizabeth’s (Rebecca Ferguson) sons and daughters in “The Princess in the Tower.”

One of the most infamous points in England’s history is the fate of Edward IV’s (Max Irons) sons, Prince Edward (Sonny Ashbourne Serkis) and Prince Richard (Ted Allpress), the heirs to the throne of England. Were the poor boys murdered or did they survive? We know from last week’s “Long Live the King” Elizabeth sent the real Prince Richard to Flanders; an event that is based mostly on rumors of the time. Then there is a matter of who ordered and arranged for all this to transpire. We know who is ready to put it all on the line, Lord Stanley (Rupert Graves) and Margaret Beaufort (Amanda Hale), yet who’s to say they are the only ones? This week, The White Queen, tackles this subject with as much mystery and ambiguity as the actual account itself.

As “The Princess In the Tower” opens, the year is 1484 and we are at King Richard (Aneurin Barnard) and Queen Anne’s (Faye Marsay) court where the new royals sit at their throne solemnly. Before them, former advisors and associates of Edward IV: Sir Robert Brackenbury (Shaun Dooley), Lord Stafford the Duke of Buckingham (Arthur Darvill), and Lord Stanley stand humorlessly. Richard rises from his seat, “My affinity, my kin, my loyal men at arms. I am rightful king, and you are guardians to my kingdom…the men whom I rely on.” The seriousness of the scene is actually a ceremony where each of the men receives new and powerful titles: Branckenbury is the new Constable of the Tower, followed by Buckingham as Lord Chamberlain of England, and Lord Stanley as Lord High Constable of England, a title formerly belonging to Anthony Rivers (Ben Lamb). These new positions are instrumental to the events leading to Prince Edward and Prince Richard’s fates.

Some Things Never Change

Some of the major subplots in “The Princess in the Tower” center on dethroning Richard through malevolent means and uprisings. These are all too familiar scenarios viewers have endured for the past several weeks, however, Richard’s approach to these challenges seem almost deflated. There’s a cloud hovering about him since his brother’s death. When Warwick (James Frain), George (David Oakes), and Edward IV fought for the throne, they rallied the people to their side. Richard’s means of taking the throne was weak and misguided.

The White Queen portrays Richard in a less sinister way. Considering how history is dictated by the victors, Richard’s role in the princes’ disappearance may just be rumors after all. What is certain is that Richard’s poor decisions, lead by his insecurities, becomes his ultimate demise.

The Kingmaker’s Daughter

The rise of Anne to the throne is one of the more tragic storylines. She’s lost all the family close to her through disastrous turn of events and it’ understandable why she is rather bitter towards Elizabeth. Yet, when all is said and done, Anne really has become quite heartless making it harder to empathize with her when she tells Richard such things as, “Nobody wanted a Rivers boy on the throne whose mother would tear England apart.” Then she goes on to admit she would wish Prince Edward dead does her no favors, even if it were in the context of protecting her own family; there are other means to ensure safety without murder.

Not So Fanatical Margaret.

Ah, Margaret Beaufort; she raises the stakes in her ambition to take on the throne. What is interesting is the context of it, including the encouragement from her husband Lord Stanley to murder the young princes. It’s here we see the reason why Stanley has survived for so long in the War of the Roses. He is as conniving and manipulative as both the houses of York and Lancaster. Yet, what makes this such an intense scene is how Margaret is essentially bullied into submission. You see her conflict, her reservation in telling Lord Stanley they should have Prince Edward and Prince Richard murdered. It is Stanley’s screaming ultimatum that reveals his cutthroat nature, “Save or Slaughter!” He repeats this like a chant, telling her she can save the boys but risk her son’s claim to the throne. The final nail on the coffin is place when she finally answers, “Obviously, the men must kill them.”

When her first attempt to have the boys murdered fails, she forms a secret pact with Buckingham to have their deaths appear to happen from another source, so as to take suspicion off her. Again, things do not go as planned when Richard learns of their deceit. He later, under the encouragement of Lord Stanley, places Margaret under house arrest.

The Former White Queen

Elizabeth rises to the occasion, and a new Elizabeth—her daughter Lizzie (Freya Mavor) — takes the lead. We start to see the many ways Lizzie is like her mother with her ominous visions — her brothers’ death, and future husband. But the most important element of their storyline is how they maintain their bond through magic and trust. Of all the other families gunning for the princes’ deaths, you would think Edward IV’s family would falter, instead they have shown a solidarity that outshines the rest.

Overall

The importance of “The Princess in the Tower” is not so much specific plot points, but the overall theme of death. The course of action, and the women’s reaction to the princes’ disappearance are at the heart of the matter. Whereas Warwick and Edward IV had not qualms about executing their enemies, it’s significant to observe the reaction when it concerns the young princes because it is a game changer. Not only did Richard dishonor his duty as Lord Protector, he betrayed his brother’s wishes by having them declared bastards. The fallout from his need for power will have drastic consequences.

A lot of the memorable moments are crafted with such detail to lighting and wardrobe; you can feel the heavy and grave atmosphere of the royal court. The way the suspense is lead through the crisis of conscious between Margaret and Anne really show some heart, but not enough to wipe their hands cleans.

The best scene, and one that is a long time coming, is between Elizabeth and Richard. It seems the rumors of Richard murdering his missing nephews weigh on his mind, and he seeks confirmation from Elizabeth that she did not hide them away somewhere. When Richard learns Elizabeth does not have the princes, he falls into a depression. Making matters worse, Anne starts to believe the rumors about Richard. Hurt by the accusation, Richard denies his involvement. It’s here you see Anne and Richard’s relationship disconnect immensely, leading the door open for his niece, Lizzie, to catch his attention.

There are a lot of creative uses in the direction of pivotal moments with the use of closeup camera shots, and in some cases a blurry flashbacks. The saddest one is of Elizabeth holding Edward IV’s shirt, and remembering their younger days together. It’s just a reminder of how quickly the wheel of fate can turn in a moment. One of the great strengths of “The Princess in the Tower” is its ability to move the audience with its beautifully lit scenes and stand out performances from its cast. It serves as a sad and memorable prelude to the conclusion of The White Queen‘s next week.

Tune in to The White Queen, Saturdays at 9pm ET/PT, only on STARZ.

Follow the series on its official site: http://www. starz. com/originals/thewhitequeen.

Follow The White Queen on Twitter: @WQueen_Starz, as well as the cast and writers: @carogoodall, @emmafrostlondon, @freyamavor__,@fayemarsay @aneurinbarnard, @david_oakes, @therestis_ @elinor_crawley, and @julietaubrey1.

Like The White Queen on Facebook.