‘Mary & George’ Stop the Relentless Sex to Wage War—and It’s Just as Satisfying
As if there weren’t enough power struggles being waged from week to week on Mary & George, real war is brewing for the English in 1618, and Mary Villiers (Julianne Moore) and her son George (Nicholas Galitzine) are on the proverbial frontlines. Episode 5 of the deliciously provocative seven-episode limited series dials back its sexual overtones for the first time since its premiere.
If Mary & George were a lesser show, those who come to this period piece for all of its licking and lusting—of which there is so much—might be disappointed by this week's lack of copulation. But by dialing up the life-and-death stakes, and putting a sizable wedge between mother and son for the first time, Mary & George Episode 5 shows us that this series can be just as persuasive when it turns its focus from brothels to battles.
At the top of the episode, Sir Walter Raleigh (Joseph Mawle)—a soldier and explorer who was responsible for proliferating the legend of the golden city of El Dorado among the English people—has just recovered from a failed, rogue attack on Spanish troops. In a period of peace following the Anglo-Spanish War, Raleigh’s assault was treasonous to England, and Raleigh kills his captain to cover it up, but must be shipped back to England regardless to explain the organized strike on Spanish troops to King James I (Tony Curran).
Before Raleigh’s arrival, James holds a party to announce Mary as the Countess of Buckingham, a title she refuses to share with her husband, Sir Thomas (Sean Gilder). She has effectively secured her spot in the king’s court, but Mary doesn’t plan on taking it easy. There is always more meddling to do, more ranks to climb, and more power to attain. George, on the other hand, is becoming arrogant, having been the king’s right-hand man/fuck buddy for a few years. Mary spots George’s conceit from miles away and chastises him for his idleness. A son who isn’t striving is of no use to her.
“The king desires to be led in all things,” Mary tells George when James hears about Raleigh’s return. “Let him know you’re not just for his bed.” Mary wants George to step in and join the council debating Raleigh’s fate for his alleged treason, but George balks. “Sometimes he needs his space to miss me, love is knowing when,” George replies. “No,” Mary fires back, “Love is knowing when to dominate.”
(L-R) Nicholas Galitzine (“George Villiers”)
But George has historically stumbled when trying to put his mother’s words into action, and the same goes for when George inserts himself into a meeting with the English Privy Council, who are hearing Raleigh’s side of the story. James is already leaning toward executing Raleigh, as his treasonous actions could endanger England and lead to another war. It doesn’t help that Raleigh also plotted sedition against James years prior, before being imprisoned and mysteriously released a few years later.
‘Mary & George’ May Just Be the Sexiest Period Piece Ever
“Some of you may deride the existence of El Dorado,” Raleigh tells the council, lying through his teeth to defend his life. “But just before all this horror [with the Spanish], we saw evidence that we were close to it.” To most members of the council, it’s clear that Raleigh has lost his mind trying to pursue his golden city, and is covering his tracks for a violent outburst driven by insanity. Raleigh does, however, notice George listening intently to his story. George learned about Raleigh’s expeditions (and his defense of the country against the Spanish armada) in school, and is hypnotized by the man before him. Raleigh spouts a lie about his son being killed in the battle that was waged against the Spanish, and pleads George for the death not to be in vain. “It won’t,” George tells Raleigh. “You will return.”
King James doesn’t say a word, but is furious with George for his defiance, shutting him out of their shared bedroom. Queen Anne (Trine Dyrholm), however, is pleased with George, believing that Raleigh is an English hero. “London is happy,” Anne tells Mary in a private conversation. “I privately campaigned for Raleigh’s release from [prison]. George did very well but your son must be careful. James hates to contradict his lovers in public, which is why James let George’s decision stand. It will make him feel emasculated, as Somerset used to make him feel, and we both know what happened to Somerset.” I had hoped Anne might comically drag her finger across her throat to remind viewers, but there’s no time for humor when countries are clashing.
(L-R) Niamh Algar (“Sandie”) and Julianne Moore (“Mary Villiers”)
Mary leaves the queen’s side to remind George exactly why the king is angry with him. “The king was dancing a sly Scot’s jig between English pride and Spanish anger, and you tread on his toes,” Mary says. She realizes that she can’t encourage George to move an inch without him running a mile, and commands not just patience, but adherence. She tells George to apologize to the Earl of Rutland (Simon Winkler) for ignoring him at the king’s dinner the night before. If George doesn’t ingratiate himself, he could lose the chance to marry Rutland’s daughter, Katherine (Mirren Mack). “The king is still mine, he will forever be mine,” George tells Mary, ignoring her orders. “Fuck Rutland, fuck Katherine, and fuck you.” Someone’s getting a bit too big for his pantaloons!
Mary’s chips are down across the board, unfortunately. She’s losing strongholds left and right, and her footing is becoming shaky—a shift she does not take kindly to. Her first-born son, the manic and impotent John (Tom Victor), can’t please Frances (Amelia Gething), causing her to dally with other men in the king’s palace. “My husband cannot be a husband,” Frances tells Mary, still furious that Mary roped her into this marriage without Frances’ will. “Set me free or slit my throat, or I’ll take what joy I can, and merrily cuckold your son in every palace from here to fucking Russia.” Mary shoves Frances in response, a bout of small-time violence that barely conveys her precarious state.
While Mary is trying to pick up the pieces, Sir Francis Bacon (Mark O’Halloran) gets George’s ear. “I like you, George,” Bacon tells him. “You might just save us. And the king has much bigger concerns: Treason for a start. The queen doesn’t get it, she believes every word Raleigh wrote. He tried to overthrow the king before, why not again? The queen loves Raleigh the myth, but she hasn’t seen the real man.” Bacon takes George out into England and shows him the civil unrest. Raleigh’s false declaration that the Spanish attacked him first has the common people riled up and pushing for war. “England loves Raleigh because he kills Spanish Catholics,” Bacon says. “As long as Raleigh’s free and lives, we’re all at risk. He’s a warmonger. We need you, George, you were born for this. While Raleigh breathes, war is inevitable.”
George sees an opening. Even if he initially bought into Raleigh’s mythos, apologizing to James and letting him decide Raleigh’s fate could bring him back into the king’s good graces and give George more power in the royal court. George finds James—lying on his bedroom floor, deep in thought—and asks the king to lay his head on George’s chest. “Listen to my heart as you listen to your own, “George says. “Listen for your own thoughts. Ignore [everyone]. What do you think should be done with Raleigh?” James tells George that it’s already too late, but George protests. “But it’s up to you, your majesty. You are the king. You have always wanted peace with Spain. What does your heart say will bring it? What fate does Raleigh deserve?”
The ‘Mary & George’ Sex Romp Ends With a (Literally) Buried Heart
In one of the episode’s final scenes, Raleigh is beheaded in a grisly public display of power. Blood splatters the executioner’s stage, and George can barely stand to look at what his maneuvering has wrought. Mary would have watched this ceremony with glee, knowing one of her plots had come to fruition. But George’s distaste means that his soul is, for now, intact.
English commoners begin to riot in the streets, but Bacon tells George he believes it will die down in a few days. The two men meet with Mary and her lover/lady-in-waiting, Sandie (Niamh Algar). George knows that Sandie is a former prostitute, who helped Mary plot the murder of two men in their rise to power. He tries to denigrate Sandie in front of Mary, but George has never been particularly good at reading anyone for filth in the way that his mother can. “You never paid or took pay for your body?” Sandie asks George, implying that giving his body to the king is just the very same as her former occupation.
George leaves in a huff with Bacon, and Mary realizes she is losing her grip on her son. There’s only room for one power-hungry leader in the Villiers family, and that’s Mary. Sandie asks Mary what they’ll do if they cannot pry George back from Bacon. Mary, unwilling to give up her influence, replies with a firm declaration: “If George does not bend? War.”
(L-R) Nicholas Galitzine (“George Villiers”) and Tom Victor (“John Villiers”)
However you slice it or dice it, Mary and George have a rift between them that could quickly become irreparable. While Mary’s priority used to involve her entire family, Episode 5 has shifted her priorities significantly. John’s marriage has crumbled, George is challenging her, and her grabs at power and authority are more transparent, despite her new countess title. With only two episodes left, a war at home seems inevitable, and if Mary has anything to say about it, it’ll be a bloodbath.
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