Following on from Philippa Gregory’s interpretation of the end of the English Wars of the Roses in “The White Queen” (2013), Michelle Fairley delivers strongly as Lady Margaret Beaufort, the begrudging conduit between the old and the new whilst the erstwhile Queen Elizabeth (Essie Davis) struggles to adapt to her new circumstances. What might save her from total humiliation is a political compromise that will see the two houses of Tudor and York unite. Her daughter “Elizabeth” (Jodie Comer), daughter of Edward IV, is to marry the young Henry VII (Jacob Collins-Levy). Now he isn’t remotely interested in this political match, but it’s impressed upon her by her mother and by the ever-present Duchess Cecily (Caroline Goodall) that she has to play the game, and so she sets out to make herself invaluable to the King and to rid him of his mother’s malevolent influence towards her. Just because the wars have technically finished doesn’t mean that the machinations have and with the King having to constantly fight to hold onto his crown, a love story reminiscent of that of her parents immerses Elizabeth and Henry; one that sees them fight the Burgundians (Joanne Whalley) as well as an whole host of opportunistic domestic enemies. This drama also brings more prominence to the role of the church in matters of state and Kenneth Cranham reminded me a little of Basil Dignam as he unscrupulous…

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