As a history enthusiast who has delved into the lives of queens and royals from various eras, I must say that Catherine de Medici is truly a character straight out of a Shakespearean drama. Her life is filled with intrigue, power plays, and a dash of scandal that would make even the Bard himself raise an eyebrow in admiration.
I found it tough to tear myself away from repeatedly watching the DNC’s roll call ceremony, but this week’s exploration of Catherine de’ Medici and her family has proven worthwhile. Could I go so far as to say that this is the standout episode of the season? Absolutely! Catherine seems to have regained her composure and is truly embodying the Serpent Queen. This is exactly what we’ve been anticipating, yet she’s been a bit disorganized throughout the season. If I were seeking to watch a woman floundering without direction, I’d turn on another Mary, Queen of Scots production instead.
In a rather unsettling context, I must admit, I find myself eagerly anticipating the events surrounding St. Bartholomew’s Day massacre in this narrative we’re constructing. It seems illogical, given its historical brutality, but within our fictional timeline and character relationships, the Protestants have become a significant issue for me. I want Catherine to triumph over Sister Edith, despite her persuasive arguments about the flaws of monarchies. However, this isn’t a story about Sister Edith; it’s something else entirely. Moreover, Edith is coercing people into conversion through threats, which is not acceptable behavior.
In this episode, Catherine learns that Charles has tuberculosis (consumption). Initially, she lashes out at Anjou, blaming him for the deaths of Hercule and now Charles, and accusing him of bringing shame upon her throughout their lives. She also criticizes his deviance, suggesting he needs to hide who he is. However, Anjou counters that whatever Catherine finds shameful about him, she herself possesses as well. This statement seems to be confusing because it implies that Catherine may share the same characteristics or traits that she dislikes in Charles, rather than suggesting that she is queer like her child.
Currently, Margot has taken a seat on the board and is being manipulated by various individuals for their individual agendas. This strategy doesn’t seem to work on François de Guise, though, as he attempts an unusual approach by treating her harshly in order to discourage her from marrying him. Ironically, his tactic of emphasizing potential danger only serves to pique her interest further. He addresses her as a child, which is odd given that she appears to be around twenty-five years old. This behavior continues even when Antoinette encourages François to marry Margot to placate the Catholic League. It’s worth noting that the actress playing Margot, Philippine Velge, received her BA in 2018, which would make her approximately 28 years old. This age difference and François’s childlike treatment of her is striking, to say the least.
In the first person perspective,
However, isn’t it important to consider his planned marriage to Elizabeth? It appears that Elizabeth has expressed a preference for Anjou, which Catherine understands. Moreover, Elizabeth is aware of what consumption looks like, having witnessed her own sister perish from an illness that was not consumption, but possibly cancer. No, she didn’t! Mary I may have died from cancer instead. Then, in a surprising statement, Elizabeth questions, “Was she ever known as Mad Mary?” It seems unlikely, as the term appears to originate from Charles Lamb’s sister, Mary Lamb, and not Elizabeth I. One must be careful when creating fictional details about historical figures, as misinformation can spread easily, potentially leading people to believe in non-existent aspects of their lives.
Indeed, Elizabeth’s final scenes at the French court are captivating. However, I must admit that those back-to-back unexpected declarations left me a bit taken aback. In the storyline, Elizabeth receives intel suggesting Anjou is unwell, so she proposes they announce their engagement by visiting him in his chambers. Upon entering with Catherine, they walk in on a lively scene filled with revelry and debauchery, including Anjou engaged in an intimate act. Noticing the bustling conversation between Catherine and Anjou, Elizabeth gracefully departs. Anjou then requests Catherine to close the door, implying the festivities are far from over. Considering Catherine’s earlier exchange with Anjou, it doesn’t come as a complete shock to me.
The following day, Catherine finds herself at an all-time low. Rahima is absent and unable to help her prepare, her children are falling sick one after another, and Elizabeth is departing from the court. Catherine comes to understand that Elizabeth never genuinely intended to marry either Charles or Anjou. She accuses Elizabeth of visiting France solely to seek benefits for England. Elizabeth responds nonchalantly, acknowledging Catherine’s claims. Catherine warns Elizabeth that her flirtatious behavior won’t last forever, and Elizabeth replies, “Let me enlighten you.” Intriguingly, she admits that men hold the power to make decisions but that Elizabeth must maintain a virgin persona, while Catherine is expected to appear as a witch for any progress to be made. I enjoy such moments when the mask falls off!
Later, in a gesture intended to help Catherine, Elizabeth displays the document signed by Louis de Bourbon to her. She advises Catherine to sort out her household affairs, hinting that Catherine may not fully understand the situation at her own court. This act of Elizabeth’s speaks volumes about her respect! Indeed, Elizabeth is impressive, despite the strange anecdotes surrounding her sister.
As Elizabeth departs the court, the Bourbons swiftly slip away to avoid treason charges, finding refuge now with Sister Edith, Jeanne, Henry, Aabis, and Montmorency. The Cardinal is there too, but let’s keep that quiet since he’s a bit of a spy at court. It seems Catherine has hatched a scheme, especially after discovering her half-brother was only after her money (Catherine, really? You barely know the guy!), and Rahima is caught in a tryst with him in the woods. Forests, I must say, are not my preferred choice of lodging – the number of insects living there is quite alarming!
In the moments before he departed, Catherine sought out Ruggieri for assistance in revealing the final traitor’s identity, as she had already identified five of them. Upon receiving a drink from him, intended to aid her vision, Catherine couldn’t help but suspect that Ruggieri himself was the last traitor, ready to betray or even harm her. However, instead of betrayal, he simply assisted her in having a vision. The sixth traitor turned out to be a child, leaving Catherine to ask if it might be one of her own. In response, Ruggieri merely said, “Who can say?” – a statement that Catherine found unhelpful, as everyone is someone’s child. Indeed, she couldn’t help but feel that Ruggieri was being deliberately evasive or even sarcastic with his comment.
Margot inquires from Catherine if she can marry François, to which Catherine responds affirmatively but is actually deceiving her. She employs one of Rahima’s seductive spies to gather information on the Catholic League planning to place François on the throne. Later, she expresses regret to Anjou for their previous conversation, offering a sincere apology that may or may not be genuine. The truth about her feelings remains unclear.
In the end, Catherine manages to strike a deal with Sister Edith just prior to Charles’s baptism. This agreement includes Henry, Antoine’s son, marrying Margot, and Catherine making Edith the regent. However, I’m not going to investigate the legality of sixteenth-century French regency laws; I’ve got my boundaries!
As a lifelong fan of historical dramas, I’ve seen my fair share of nuns and noblewomen, but Sister Edith leaves much to be desired. On the flip side, I have high hopes for Catherine’s upcoming master plan; fingers crossed it all goes swimmingly next week! Now, imagine if we delved into a spinoff titled “The Virgin and the Witch” – a story of con artists Elizabeth and Catherine navigating the treacherous waters of global deceit. If done right, I’d be all for it, especially with Minnie Driver and Samantha Morton in the leading roles. However, Megan Follows would also do the trick.
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2024-08-24 05:55