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For those of us who have marveled at our kids and pondered, “What’s the best way to profit off of you, my amazing offspring and kin of my blood and bone?” Ladies, we have the solution. Mary Villiers, portrayed with delightful enthusiasm by Julianne Moore, is here to guide us.

The story of Mary and George centers on a woman who was born into a low social standing in the 17th century. She cleverly manipulates her stunningly handsome second son, portrayed by Nicholas Galitzine, to secure the family’s financial stability in a daring and bold way. Inspired by Benjamin Woolley’s factual book “The King’s Assassin,” which highlights a family so devious it could rival the infamous Borgias, the script was created by DC Moore, known for works like “Temple” and “Killing Eve.” It is a highly entertaining production, comparable to “The Favourite” in its compelling plot and “The Great” in its polished execution. It also carries a hint of the lavishness seen in “The Tudors” and includes enough romance to satisfy fans of “Bridgerton.” The combination of these elements makes for an outstanding show.

The first encounter with George occurs when he is found hanging in the forest. His mother, who is currently the Countess of Buckingham but it’s still early on, comes across him and with a sigh, cuts him down. She greets him with a simple “Good morning, George.” It turns out George had intentionally staged the hanging in order to avoid going to France, where his mother wishes for him to learn courtly manners and etiquette. Instead, he would rather stay on the family estate and have a relationship with a servant girl. However, his mother, Mary, explains that this behavior will not benefit them in any way. With their father deceased (George is unaware of this, as he died while trying to harm Mary and she only called for help once he was beyond saving), their older brother John is not fit to take care of the family due to his possible hereditary syphilis. Therefore, it is up to George to secure their family’s future.

Mary has found that the most effective approach is for George to fully immerse himself in French culture and then become the lover of King James I of England/James VI of Scotland (played by Tony Curran). In order to finance George’s journey and schooling, she requires funds. She seeks advice from her lawyer on the minimum amount of time she must wait before remarrying. He suggests four weeks as a minimum, but ideally six. However, Mary is able to wed Sir Thomas Compton (played by Sean Gilder), a man of decent wealth, in just two weeks. She uses her connection to the royal family to promote George’s education and experiences while she expands her own connections.

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After George returns home, she immediately starts putting him in situations where he interacts with the king and his sexuality, often in a confrontational manner. George and the king’s former favorite, the young Earl of Somerset named Robert Carr, quickly become enemies. However, Somerset is aware he is falling out of favor with the king.

There is more – much more. There is a plot to marry the feeble-minded John (a lovely, heartbreaking turn by Tom Victor) to the daughter of Sir Edward Coke (Adrian Rawlins), who is quite keen on the idea, and of Lady Hatton (Nicola Walker), who is having none of it. “I would rather strangle her dead,” she tells Mary in front of the assembled dinner party when the proposal is mooted. Game recognises game.

There are orgies, there are poisonings-by-prune, Sir Francis Bacon (Mark O’Halloran) offering to guide George better than Mama, alliances, betrayals, attempted and actual murders. There is a lesbian affair between Mary and a brothel keeper (Niamh Algar), who recognises in her a fellow “half-soul, worn down by mistress-time” and people on the hunt for proof of Mary’s lowly origins and a chance to bring her down.

As each episode progresses, the stakes get higher as the family climbs the ranks of society and the court. The overall experience is still remarkable – engaging yet grounded, with a strong plot that never gets messy. It’s full of energy and luxury, without going overboard (I’m looking at you, The Tudors). And it’s a rare gem: biting and humorous at just the right moments. Moore is exceptional – cool, cunning and always captivating – and seems to be thoroughly enjoying herself. Her scenes with Walker are particularly delightful. The entire cast is fantastic, including relative newcomer Galitzine, who brings depth to a character that nobody in his world cares about beyond his appearance. This is especially true for his magnificent and monstrous mother, for whom you can’t help but cheer on.

Source: theguardian.com