Season 1, Episode 6
Airdate: Saturday, September 21, 2013 at 9 pm ET/PT on STARZ
Rating:
“I saved you from yourself.” – Dowager Lady Welles
After another series of violent clashes between the Houses of York and Lancaster leads to Warwick’s (James Frain) death on the battlefield, and Margaret of Anjou’s (Veerle Baetens) defeat, we find ourselves back in King Edward’s (Max Irons) court. In what feels like a short reprieve from the violence, “Love and Death” focuses squarely on the interpersonal relationships among Edward’s court and the political alliances among his peers. As the title suggests, death also plays a significant part in the episode, contributing to some very important game changing events.
The Yorks: King Edward IV and Queen Elizabeth take back the throne!
Love All, Trust Few
“Love and Death” has a lot key events happening at once, starting with Anne (Fay Marsay) seeking a royal pardon from Edward. Due to her marriage with Edward of Lancaster (Joey Batey), the Prince of Wales, as well as her association with Margaret of Anjou and the Lancasters, Anne is seen as an enemy. Luckily for her, she has Richard’s (Aneurin Barnard) support, which is a large part of her return to London. The dynamic between Richard and Anne is an interesting one. On one hand, there is no doubt about their affection for one another. On the other, they have had such little interaction until recently, it’s hard to gauge whether Richard’s feelings are true love or mere infatuation.
After Elizabeth (Rebecca Ferguson) hears Edward forgive Anne by granting her a pardon, essentially a slap on the wrist, she immediately goes to see her mother, Jacquetta (Janet McTeer). Elizabeth explains how they “must begrudge the happy reunion” of Warwick’s daughters, Isabel (Eleanor Tomlinson) and Anne, as vengeance for the harm their family has done to them. Jacquetta, ever the wise woman, reminds her daughter, “England needs peace. Everything else must be set aside.” As has become the pattern for Elizabeth, whenever she disagrees with someone’s opinion, she storms off.
It’s quite off-putting seeing Elizabeth’s drastic change in attitude when only a short time ago, she was guilt ridden over Isabel’s miscarriage. Perhaps Elizabeth has a particular grudge against Anne, which is unfortunate considering she previously liked her in the beginning. Another interesting storyline is the evolution of Edward and Elizabeth’s relationship. Considering one of the themes of the episode is love, it’s frustrating how Edward’s feelings for Elizabeth are depicted in this episode. Edward’s reputation as a womanizer was made clear at the start of The White Queen, yet considering the somewhat fairytale nature of his and Elizabeth’s relationship, Elizabeth appeared to be the exception, particularly since Edward’s physical need for her never waned. So, it feels almost misleading to show viewers his sexual appetite with his mistress, Jane Shore (Emily Berrington) now. But at least The White Queen makes a good effort to explain how common it was for a king to have mistresses. With so much going on, it’s hard to watch Elizabeth observe Edward spending time in public with his mistress, especially when he makes no apologies for it later. Where is the woman who would sooner slit her own throat than become Edward’s plaything?
And In This Corner… (The Warwick Sisters)
Although Isabel and Anne have limited amount of scenes together, do they make it memorable! It’s a wonder after all the backstabbing, meddling, and treasonous plots that there hasn’t been a cat fight until now. Isabel takes her father’s word to heart and gives her utter devotion to the Yorks in an act of self-preservation whereas Anne takes her father’s advice about family honor to mean fighting back, and do they ever!
This all changes with Richard and Anne’s relationship, which is not only a strategic alliance, but a love match. Their relationship is one of two emotional storylines, the other being Margaret of Beaufort (Amanda Hale) who, despite the motivation for her new marriage, has an off-beat dynamic with her husband; more on that in a bit.
Richard leads Anne to sanctuary.
Love, Sweet, Love (Richard & Anne)
Throughout the season, Anne has changed from the girl who played dress up with Elizabeth’s coronation robe to the Princess of Wales and now to a royal duchess. How did this happen? It seems her short time with the Bad Queen, Margaret of Anjou, is paying off; she is becoming a bigger player in the fight for the throne when she reveals to Richard:
Anne: “I’m not the little girl you knew, Richard. I’ve grown up. Margaret of Anjou taught me not to hesitate. She told me there would be times where I would have to see the best things for myself, and to take that course without fear.”
The determination in her expression, and the seriousness in her voice, seems to stir something in Richard. Finally, Anne gets to have a bit of happiness; the wide-eyed reaction she gives Richard when he asks her to marry him is charming and a nice contrast to his nervous expression.
Richard: “It’s true. Marrying you will make me a wealthy man, just as you marrying me will make you a royal duchess when you go to your sister. But I will be a true husband because I love you.”
Anne: “You love me, Richard? Truly?”
Richard: “I do. Perhaps, I always have. Anne, will you marry me?”
Anne: “Yes.”
The new Lord Thomas and Margaret Stanley.
Lady Margaret Rides Again…Sort Of
Considering how much turmoil occurs in “Love and Death,” the last person most would suspect to deliver some levity is Lady Margaret Beaufort. One of the reasons Margaret is a character so easily hated one moment, and liked the next is Hale’s ability to show different dimensions to her character without uttering a single word. Most of Margaret’s scenes in “Love and Death” are expressive responses rather than vocal ones—from intense stares to awkward downward gazes.
With the deaths of Margaret’s mother, Dowager Lady Welles (Frances Tomelty) and her late husband Lord Stafford (Michael Maloney), she is now one of the wealthiest women in the kingdom. The news of Jasper Tudor’s (Tom McKay) rejection is not exactly the fairytale ending she imagined while married to her husband. In an attempt to absolve her guilt, she honors Stafford’s wishes, but with a twist. She decides to make peace with Yorks, but only for political gain. She assigns her close advisor, Reginald Bray (Leo Bill), to the task of finding her a new husband. When Bray asks Margaret if there is anything she would like to inform potential suitors, she is thrown off her game. All the years spent plotting and praying has left little time for reflection on physical attributes or creative talents, qualities which would make her more pleasing to a new husband. Finally, she tells Bray to let her suitors know, “I have saints’ knees since childhood.”
After Bray’s attempt to match Margaret with Richard fails, he suggests Lord Thomas Stanley as her best, and last, option. Margaret’s marriage to Stanley, a man with great influence in court, will get her close to King Edward’s inner circle. Director Jamie Payne does a brilliant job using Graves and Hale’s talents and chemistry to demonstrate the compatibility between Stanley and Margaret. We see this the minute Stanley enters the room. Margaret’s eyes widen in surprise, the camera remains fixed on a tight shot of her face. Perhaps she thought he would be ugly or feeble minded. Stanley responds with a similar reaction but does a better job of maintaining a poker face. Graves is great with taking simple scenes and adding a bit of sarcasm to it:
Margaret: “I believe my adviser made it clear to you that I wish for a position at court.”
Stanley: “Indeed, he made that plain.”
Margaret: “And did he also convey my desire——my intention that there be no issue from our marriage?”
Stanley: “Fear not. Your spiritual gifts were lavishly detailed. I am well briefed. You wish to live as a nun.”
Margaret: “And that is agreeable with you?”
Stanley: “Perfectly. I have sons already, no need to try for another with you.”
Words cannot describe the sort of mutual satisfaction lit in their eyes when they agree to one another’s terms. The exposition and manner in which Graves delivers his plan of action to Margaret is ripe with promise; their union will be one of action, and less words. Together, they will take the House of York down, bit by bit.
The End of an Era: RIP Lady Rivers (Jacquetta)
Among the major losses in The White Queen, Jacquetta’s death is paramount because it not only leaves Elizabeth with one less ally, it also provides an opportunity for others to take advantage of her. Without Jacquetta’s sound advice and protection, the marriages of Margaret and Anne to Stanley and Richard pose a great threat. Two of the richest women in the country, who plotted against Edward, are now married to men closest to him.
Payne and episode writer, Nicole Taylor, weave a beautiful and heartbreaking scene during Jacquetta’s final hours. Visually, there is impeccable contrast of images between Elizabeth’s tear stained face, and the light streaming from the window outlining the fine details of Jacquetta’s frail hand that still bears her wedding ring. When Elizabeth lies her newborn dying son in Jacquetta’s arms, the moment is gut wrenching:
Elizabeth: “He’s dying, mother. Take care of him for me.”
With her last breath, Jacquetta and her grandson die, much to the anguish of both Elizabeth and Edward. Jacquetta was a strong woman in a brutal time with little freedoms. She fought her way to deliver her grandson into the world while George and Warwick’s men sought to destroy her family. And in the very end, she still manages to stand by her family even into the afterlife.
Overall, the Wheel of Fortune Keeps Turning
In an ominous sequence of events, “Love and Death” represent a new beginning and an end with Margaret and Anne’s marriages taking place while Elizabeth holds Jacquetta’s lifeless hand to her cheek. “Love and Death” is the best episode so far. The plots are well written, and dialogue on point without glossing over the emotional importance of its theme: love. The acting is superb, and the sadness feels genuine. Overall, a memorable episode.
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Connie Allen
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