It’s not that Elizabeth Tudor (Alicia von Rittberg) doesn’t see the advice. “It’s a wonderful game to keep or kill them all,” he remarks a little bitterly as he is discreetly sent to live with Catherine Parr (Jessica Raine), the widow of his father King Henry VIII. At that time we met him at Starz’s. turns into elizabethHowever, he still hasn’t learned to play by himself.
His evolution from pawn to main player wraps around the narrative backbone of the series, and there is no spoiler in acknowledging that he will end up winning the entire game and ruling England for nearly half a century. But creator Anna Reyes brings an intimate perspective to the Elizabeth I saga that prioritizes personal experience in the epic arena of history. The result is a series that no genre corresponds to the Tudor era (to the Ტ Judors) Nor does it freeze it under glass in a museum (in Anne Boleyn), but instead find a way to make it almost as dynamic and challenging as it is today.
turns into elizabeth
A deftly executed portrait of royal intrigue.
Release date of: 21:00 Sunday, June 12 (Starz)
Issue: Alicia von Rittberg, Romola Garay, Jessica Raine, Tom Cullen, John Heffernan, Jamie Blackley, Alexandra Gilbratt, Jamie Parker, Leo Billy, Oliver Zeterstrom, Bella Ramsey, Ekov Quart, Alex McKinney, Olivier Hubb
Developer: Anne Reiss
turns into elizabeth It begins by emphasizing not the innate strength of Elizabeth’s late King’s daughter, but her unbearable vulnerability. In the opening minutes of the premiere, 14-year-old Elizabeth, her older half-mayor (Romola Garay) and her younger half-brother Edward (Oliver Zeterstrom) meet without explanation. The room was closed behind them. “Why did you bring us all here?” What do you mean with us? they beg “Who is he?”
This is not the case: they were not brought here for prison or to sit, but to announce that their father has died and will be replaced by 9-year-old Edward. But the initial panic says a lot about the brothers’ painful awareness of the instability of their positions. They know very well that they can be killed at any moment, just because of what they were born to do.
he also talks turns into elizabethInsist on living these moments as people experienced them rather than looking back. (However, even this series cannot resist the irony from time to time: in one instance, Catherine Paris laughs at the young king: “What is he going to do, is he going to kill us?” The series chooses not to focus on his proven destiny, but in the fear and uncertainty with which the characters sit in the dark surrounded by armed guards.
Justin Chadwick, who directed the first three episodes (four of the four sent to critics and a total of eight episodes per season), complements the flyby approach with a handheld camera that often zooms in on the actors. The actors, meanwhile, do their best with layered performances that reflect the tension between what the characters feel, what they should feel, and what they hide.
Meanwhile, the grandeur of its surroundings passes without much comment. The first episode involves the main battle, which ends with brutal witnesses in a landscape of swords in hand. But the conflicts turns into elizabeth Mainly interested in bloodless meetings and personal conversations, motivated by petty or individual desires.
Thus, the strong disagreement between the zealous Protestant Edward VI, the equally zealous Catholic Mary and Elizabeth, caught in the middle, blurs their bond as brothers and their inevitable rivalry as members of the royal family. When Elizabeth tries to confide in her sister in the moment of intimacy, Mary holds her until she reveals the secret. “Don’t give me the strength to destroy and then ask me not to use it,” she warns her. Two noble brothers, Catherine’s new husband Thomas Seymour (Tom Cullen) and Edward VI’s chief attorney Edward Seymour (John Heffernan), fight a fierce battle in the royal council but also denounce the girl as unsuitable for Thomas. , which he had never attracted before. . the attention of such a charismatic man, she finds it hard to resist.
Collectively, the intersecting plot lines make the individual episodes so dense that they often last over an hour. Fortunately, Reiss chooses scenes carefully, so the big picture advances at a faster pace, even when individual scenes remain, such as the particularly disgusting (but fascinating) Renaissance-era pregnancy detection method. Elizabeth, who started the series, complained that, as a princess, she was never able to achieve what she wanted, making huge public strides in court midway through the season, claiming that the naive girl she was “died”.
But no, we can wait, completely. The purest expression of Elizabeth’s arc comes in the second episode, when she meets a benevolent friend, Robert Dudley (Jamie Blackley), who tries to get her out of a dangerous situation while hunting. “I have the right to make my own decisions that are reckless, contradictory, unrestrained, foolish and selfish,” he shouted. “I demand the right to do so.” You let Elizabeth enter adolescence first, with all the inner turmoil and impulsive choices and stupid ideas that come with it. turns into elizabeth The future monarch is credited with some of the agencies he claims to have rejected, and that the inevitability of history often deprives him of his most influential figures. In the process, he transforms a centuries-old fairy tale into a new, timeless theme.
Source: Hollywood Reporter

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