Season 28 - Cider with Rosie (1998-1999)
Did my Dad write this? No, seriously, did he? Because if he didn't it was written for him. Bucolic nostalgia for a young boy's formative years and first loves of a forgotten time narrated by Timothy Spall with evocative and precise language? That's what my Dad lives for. Sadly it's not quite what I live for. This had a very Lark Rise to Candleford meets Little Women vibe with young Laurie Lee growing up between the world wars and first seeing his older sister experience love and then experiencing it himself when he grows up. The problem I have is, that while it's nice to have this world captured before it disappeared forever, that just isn't enough. I wanted some sort of plot, something other than Laurie just growing up. Because of its brevity we have a very narrow window of time in which we see Laurie arrive in the Cotswolds and then depart it. Obviously he returns, because he's buried there, but at the close of this movie he hasn't found his calling, he's just a young man setting out not someone who has found his purpose and place in the world, much like Laura Timmins in Lark Rise to Candleford or Jo March in Little Women. Plus, one would assume that naming this series after an encounter with a girl named Rosie she would be the love of his life, but that isn't the case. She awakens something in him, but one day skiving off work and drinking cider under a hay wagon while making out doesn't seem that formative an experience for anyone. Especially when you find out after the fact that Rosie was his cousin. In fact for a show that is about love and relationships they are all kind of bleak and doomed. The worst being Laurie's mother Annie. Annie answered an advertisement in the paper to be a housekeeper to a widower, Reg, with three girls. She then went on to marry Reg and have four children with him. While pregnant with her last child they moved out of London and they never see Reg again. She occasionally goes up to visit him, such as when the war is over, but his job is "very important" and he has to stay in London for work. Sure. I actually wonder if he married her. He just found a gullible lovestruck young woman who would take care of his kids and sleep with him. Once he'd had enough, which was only four years mind you, he packed her off like some sort of secret, and never thought of her again. I'm pretty sure those telegrams were faked. This poor woman was with the man she loved for only four years and waited for him to return for the rest of her life. She raised his children, she sang his favorite song, all while her heart was breaking. The last time Laurie saw his father he was three. I wanted some kind of reckoning. I wanted hellfire. Sure, they didn't want for anything, but being supported and being cared for are two totally different things. How could you have an idyllic childhood with a mother who was always wearing a brave face to hide the fact that her heart was breaking? This show wants to be a feel good nostalgia trip, but for me, there's too much sadness, too many unanswered questions, too much bitter with the sweet.
I can't be the only one who knows Catherine de' Medici from the guilty pleasure that was Reign. Yes, yes, I know, I did know vaguely who she was before than but needless to say, I was intrigued by this new series and was sold once I heard that Charles Dance was playing Pope Clement. The weird thing about this adaptation is that while it obviously has better production values than the CW could afford, there's still a bit of a low budget feel to it. This though could be due to the bizarre music choices that start and end each episode, much like the 2018 adaptation of Vanity Fair, or the arch knowing tone that wants to be Gentleman Jack and fails. Yet, it still has charm. The driving force though is really just waiting for Catherine to go full on serpent queen and embrace the dark side. To watch her line up the pawns and knock them all down, getting exactly what she wants. Yet she's willing to play the long game and thankfully in the meantime we have Ludivine Sagnier as Diane de Poitiers. Diane was the mistress of Catherine's husband Henri. Diane had a lot of power and spent a lot of time rubbing this in Catherine's face. But Ludivine who I previously admired on The Young Pope/The New Pope, plays a character you love to hate so perfectly she is what I envision Catherine will become, well maybe not bathing in gold, but you never know. This back and forth between the two women, and later between Catherine and her daughter-in-law Mary, is really at the heart of the show. Women vying for what power they can hold onto. Which made my mind just explode. Because I just realized that ANY royal historical drama could never pass the Bechdel Test. Did these women EVER talk about anything other than men or how they will derive power due to their male protectors? No they did not. It's all men and marriages and alliances and male heirs and men men men. Seriously, why have I never noticed this before? This is brought home even more here because all the main stars of the show are female yet everything is about the men. And the star with top billing is Samantha Morton. I'm not sure I really get how she's approaching this character. She's playing the role very quiet, very reserved, and oddly very love-struck. The weird mystical aspects are shoved off onto Ruggieri, played by one of my favorite actors, Enzo Cilenti. But Catherine is almost a nonentity. She is the spider at the center of the web, but only because she's worked her way there slowly and methodically. I think more than anything that is why this show got a second season, viewers need to see her at the height of her power, not some woman barely holding onto her marriage, or a baby factory, or a widow, she needs to seize control. And the last two episodes showed us what's coming. France and Catherine's enemies better hold on tight.
