Ranking of “HIS DARK MATERIALS” Season One (2019) Episodes

Below is my ranking of the Season One episodes of “HIS DARK MATERIALS”, HBO’s adaptation of Philip Pullman’s 1995 novel, “The Golden Compass” aka “Northern Lights” and the first part of his 1997 novel, “The Subtle Knife”. Written by Jack Thorne, the series stars Dafne Keen:

RANKING OF “HIS DARK MATERIALS” SEASON ONE (2019) Episodes

1. (1.02) “The Idea of North” – Orphan Lyra Belacqua starts a new life in London with the charming socialite, Mrs. Marisa Coulter; determined to find her missing friend, Roger Parslow. The Gyptians continue searching for their missing children and the elusive Gobblers, a group of government sanctioned child snatchers.

2. (1.06) “The Daemon-Cages” – Lyra discovers the horrific truth behind the Gobblers’ activities at a science station in the North called Bolvangar.

3. (1.08) “Betrayal” – As the Magesterium, a religious-political body, closes in; Lyra learns more about Lord Asriel’s rebellion. But her assistance to him comes at a great personal cost.

4. (1.01) “Lyra’s Jordan” – Lyra’s world at Jordan College in Oxford, is turned upside-down by the arrival of her long-absent uncle Lord Asriel from the North. Meanwhile, she meets the glamorous Mrs. Coulter for the first time.

5. (1.04) “Armour” – As Lyra and the Gyptians head up North, she searches for allies in her search for Lord Asriel. With the help of a balloonist named Lee Scoresby, she comes across an armored bear named Iorek Byrnison at a port town in Svalbard.

6. (1.03) “Spies” – Lyra is rescued from the clutches of the Gobblers by the Gyptians, who helps her piece together more about her past and keep her safe from the Magisterium.

7. (1.07) “Fight to the Death” – Separated from her friends and captured by the armoured bears ruled the usurper king Iofur Raknison, Lyra must use all of her methods of deception to thwart him in order to be rescued by Iorek Byrnison, the true king. Meanwhile, Mrs. Coulter plots her next move.

8. (1.05) “The Lost Boy” – On their journey to the Bolvangar Station, Lyra and the Gyptians finally discover what the Gobblers have been doing to the missing children. In the alternate World, an adolescent named Will Parry and his mentally ill mother Elaine are being stalked by Magisterium official Lord Carlo Boreal, who seeks Will’s father, a missing explorer named John Parry.

“THE IRREGULARS” (2021) Photo Gallery

Below are images from the Netflix limited series, “THE IRREGULARS”. Based upon the works of Sir Arthur Conan Doyle, the series was created by Tom Birdwell:

“THE IRREGULARS” (2021) Photo Gallery

The Disappointment of “STAR TREK: PICARD” Season One Finale

THE DISAPPOINTMENT OF “STAR TREK: PICARD” SEASON ONE FINALE

The Season One finale for “STAR TREK: PICARD”, (1.10) “Et in Arcadia Ego, Part 2”, was such a disappointment to me. To be honest, I did not foresee my negative reaction. Yes, I will admit that the entire season was not perfect. But I still managed to enjoy it . . . until I saw the season finale. Let me be frank. I had several issues with it.

My first disappointment from “Et in Arcadia Ego, Part 2” proved to be the death of the synthetic individual known as Sutra. Despite being built up as a dangerous antagonist for retired Starfleet Admiral Jean-Luc Picard and his crew, her death proved to be so ridiculously anti-climatic that I found myself rolling my eyes. The moment Data’s creator, Dr. Noonian Soong, had discovered that she was responsible for the death of another synthetic and framed the Romulan spy Narek for it, he automatically shut her down. That was it. No conflict . . . nothing.

My second disappointment manifested in the appearances of both the Romulan and Starfleet fleets above the synthetics’ planet, Coppelius. Overdone much? I have not seen this many combatants appear for a single battle since Peter Jackson’s Tolkien films. Why did Starfleet Admiral (and Romulan mole) Oh sent such a large fleet of Romulan war birds against the planet? It was so unnecessary. And it made the ridiculously large fleet of Starfleet ships equally unnecessary to me. Which led me to another head scratcher . . . why was Will Riker in command of the Starfleet armada? Why? Aside from being a reservist officer, he had retired from full duty with Starfleet. Why would Starfleet send an reservist to a hot spot like Coppelius, when there were probably plenty of other competent on-duty commanders who could have led the armada to Coppelius?

My third disappointment was the fate of Dr. Agnes Jurati, a Daystrom Institute cyberneticist who had been recruited by Admiral Oh to spy on Picard. Why was she never turned over to Federation authority for the murder of her lover and fellow cyberneticist Dr. Bruce Maddox in (1.05) “Stardust City Rag”? She had confessed her crime to Picard and other members of the La Sierena crew, later in the season. Speaking of murder – did Picard and the others ever learn about the murder of black-marketeer Bjayzl at the hands of Seven-of-Nine, an ex-Borg and former member of the U.S.S. Voyager’s crew in the same episode? Seven had murdered her former lover for the torture and death of Seven’s protegee, ex-Borg and former Delta Quadrant resident, Icheb. If not, I can understand how she got away with murder. If Picard and the others had found out about Seven’s crime, why was she still free – like Agnes?

My fourth disappointment? Data’s death. Why was it necessary to relive his death in another STAR TREK production and in another setting? Was this scene all about Picard finally learning to accept his death? What made this ridiculous to me is that . . . Picard’s final acceptance of Data’s death had occurred within Picard’s consciousness following his own physical death. I mean . . . seriously? Besides, this entire scene was such a waste for me. I had learned to accept Data’s death after watching the 2002 movie, “STAR TREK: NEMESIS” for the first time.

My fifth disappointment? The Federation/Starfleet. The season had earlier hinted that the Federation was moving toward a less than ideal or less tolerant place. But this topic was never fully explored or exploited for that matter. And the showrunners reseted the organization’s status quo – much to my major disappointment – by sending Starfleet to come to the rescue of synthetics on Coppelia in the finale. Why? The Federation had spent most of Season One being hostile toward synthetics. How did the show runners suddenly do an 180-degree spin on this situation? They did this by having Picard expose Admiral Oh as a Romulan mole and the Romulans’ role in the destruction of the Utopia Planitia Fleet Yards – an incident that led to the Federations’ hostility toward synthetics. Why did the show runners do this? I have no idea, but it is typical of the Star Trek franchise. When it comes to exploring the ugliness of humanity, the franchise always cops out in the end. Always.

My sixth disappointment with the episode? “Et in Arcadia Ego, Part 2” featured a moment in its last scene in which Picard’s friend and former colleague Rafaella “Raffi” Musiker exchanged glances and held hands with Seven-of-Nine. Huh? When did that happen? This whole relationship had popped out from no where. Trek fans had spent years complaining about Seven’s last relationship with Voyager’s executive officer, Commander Chakotay, during the last few episodes of “STAR TREK VOYAGER”. I have come across very few complaints about the excessive speed of her romance with Raffi. Talk about queer baiting. What makes this so annoying is that this was the second time “PICARD” had pulled this stunt. Apparently, the series attempted to develop some kind of relationship between Agnes Jurati and the La Sirena’s captain and former Starfleet officer, Chris Rios. I hate to say this but Santiago Cabrera and Alison Pill have no screen chemistry whatsoever. And I have also noticed the lack of romantic interaction between the pair since their only on-screen kiss, earlier in the season.

And my final complaint about “STAR TREK: PICARD”? The death of Jean-Luc Picard. Was it really necessary? Surely the series’ show runners could have saved this scenario for the series finale? As for moving Picard’s consciousness into a golem construct of his body . . . I was disgusted. I was disgusted that Dr. Soong and Agnes had committed this act without Picard’s consent. I would equate this action to Willow Rosenberg bringing Buffy Summers back from dead in Season Six of “BUFFY THE VAMPIRE SLAYER”. What I found even more disgusting is that Picard had never condemned either Soong and Agnes for fiddling with his consciousness – his self – without his consent. Many fans may have been thrilled by this action. I was not. Someone had pointed out that earlier in the season, Picard had expressed a desire to survive ailment that would eventually kill him. But I do not recall Picard giving anyone permission – verbal or written – to have his consciousness transferred from his dying body to an android or any other entity. To commit such a major act without any thought to or discussion about the moral consequences is just abhorrent to me. And lazy writing.For me, it was an act of violation of a person’s individuality. I hope that the series would address this issue in Season Two. But I suspect they will not.

Overall, I did enjoy Season One of “STAR TREK: PICARD”. But I can honestly say that I did not find it particularly mind-blowing. I also felt that it had a few episodes that seemed more of a miss than a hit. But for me, the biggest miss or disappointment was its finale, “Et in Arcadia Ego, Part 2”. I hope that the series does a better job in its second season.

Favorite Television Productions Set in the 1810s

Below is a list of my favorite television productions set during the 1810s:

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1810s

1. “Pride and Prejudice” (1995) – Jennifer Ehle and Colin Firth starred in this award winning adaptation of Jane Austen’s 1813 novel. The six-part miniseries was adapted by Andrew Davies and directed by Simon Langton.

2. “Emma” (2009) – Romola Garai, Jonny Lee Miller and Michael Gambon starred in this excellent adaptation of Jane Austen’s 1815 novel. The four-part miniseries was adapted by Sandy Welch and directed by Jim O’Hanlon.

3. “Vanity Fair” (1987) – Eve Matheson starred in this superb adaptation of William Makepeace Thackery’s 1848 novel. The sixteen-part miniseries was directed by Diarmuid Lawrence and Michael Owen Morris; and adapted by Alexander Baron.

4. “Pride and Prejudice” (1980) – Elizabeth Garvie and David Rintoul starred in this first-rate adaptation of Jane Austen’s 1813 novel. The five-part miniseries was adapted by Fay Weldon and directed by Cyril Coke.

5. “War and Peace” (2016) – Paul Dano, Lily James and James Norton starred in this excellent adaptation of Leo Tolstoy’s 1869 novel. The six-part miniseries was adapted by Andrew Davies and directed by Tom Harper.

6. “Vanity Fair” (1998) – Natasha Little starred in this award winning adaptation of William Makepeace Thackery’s 1848 novel. The six-part miniseries was directed by Marc Munden and adapted by Andrew Davies.

7. “Emma” (1972) – Doran Godwin and John Carson starred in this first-rate adaptation of Jane Austen’s 1815 novel. The six-part miniseries was adapted by Denis Constanduros and directed by John Glenister.

8. “Davy Crockett and the River Pirates” (1956) – This sequel to the 1955 television movie, “Davy Crockett, King of the Wild Frontier”, conveyed the experiences of Davy Crockett and George Russel with keelboat riverman Mike Fink and river pirates along the Ohio and Mississippi Rivers. Picturesque and a lot of fun. Directed by Norman Foster, the TV movie starred Fess Parker, Buddy Ebsen and Jeff York.

9. “War and Peace” (1972) – Anthony Hopkins, Morag Hood and Alan Dobie starred in this superb adaptation of Leo Tolstoy’s 1869 novel. The twenty-part miniseries was adapted by Jack Pulman and directed by John Davies.

10. “Poldark” (1996) – John Bowe and Mel Martin starred in this television adaptation of Winston Graham’s 1981 novel from his Poldark series, “The Stranger From the Sea”. The television movie was directed by Richard Laxton and adapted by Robin Mukherjee.

Favorite Episodes of “OUTLANDER” Season One (2014-2015)

Below is a list of my favorite episodes from Season One of “OUTLANDER”, STARZ’s adaptation of Diana Gabaldon’s 1991 novel and literary series of the same name. Developed by Ronald D. Moore, the series stars Caitriona Balfe and Sam Heughan:

FAVORITE EPISODES OF “OUTLANDER” SEASON ONE (2014-2015)

1. (1.02) “Castle Leoch” – Former World War II nurse and time traveler Claire Beauchamp Randall is brought to Castle Leoch by a group of Highlanders that include Jamie Fraser and his maternal uncle Dougal MacKenzie. The Highlanders suspect she might be an English spy. Discovering she had traveled back to 1743, Claire tries to arrange travel back to the standing stones.

2. (1.11) “The Devil’s Mark” – Claire and the wife of the local procurator fiscal, Geillis Duncan, stand trial for witchcraft. Claire also learns a secret about Geillis’ past.

3. (1.08) “Both Sides Now” – Back in 1945, Claire’s husband, Frank Randall, continues to search for her; but he starts to lose hope of ever finding her. Meanwhile, Claire is trying to come to terms with her marriage to Jamie in 1743 Scotland.

4. (1.05) “Rent” – Claire joins Jamie and Dougal on the road with other members of Clan MacKenzie, as they collect the tenants’ rent on behalf their laird, Colum MacKenzie. She becomes aware of Dougal’s involvement in trying to raise money for the Jacobite rebellion.

5. (1.01) “Sassenach” – In this series premiere, Claire and Frank reunite after five years of war apart in 1945. Their second honeymoon in Scotland goes awry when she falls back through time to the 1740s.

Honorable Mention: (1.12) “Lallybroch” – Old family wounds reopen when Jamie returns to his family estate, Lallybroch, with new wife Claire in tow.

“HERCULE POIROT’S CHRISTMAS” (1994) Review

“HERCULE POIROT’S CHRISTMAS” (1994) Review

I have been a fan of Agatha Christie’s 1938 novel, “Hercule Poirot’s Christmas” aka “A Holiday for Murder” for years – ever since I was in my early adolescence. When I learned that the producers of the “AGATHA CHRISTIE’S POIROT” series aired its adaptation of it back in 1994, I looked forward to watching it.

Written as a “locked room” mystery, “HERCULE POIROT’S CHRISTMAS” focused on Belgian sleuth Hercule Poirot’s investigation of the murder of Simeon Lee, a tyrannical patriarch of a wealthy family. The mean-spirited Lee, who had made his fortune in South African diamonds, summons his offspring to his country manor house for a Christmas gathering. He also requests that Poirot attend the reunion, but fails to give a full explanation for the latter’s presence. Those gathered for Lee’s Christmas reunion are:

*Alfred Lee, his dutiful oldest son

*Lydia Lee, Alfred’s wife

*George Lee, Simeon’s penny-pinching middle son, who is also a Member of Parliament

*Magdalene Lee, George’s wife, a beauty with a mysterious past

*Harry Lee, Simeon’s ne’er do well son, who has been living abroad

*Pilar Estavados, Simeon’s Anglo-Spanish granddaughter

The sadistic Lee treats his family with cruelty and enjoys pitting them against each other. This is apparent in a scene in which he summons his family to his sitting room and fakes a telephone call to his solicitor, announcing his intentions to make changes to his will. Later that evening, a scream is heard by the manor’s inhabitants before Lee’s throat is cut in an apparent locked room. Although the old man was wheelchair bound, there is evidence of a great struggle between him and his murder. It is up to Poirot, assisted by Chief Inspector Japp of Scotland Yard and a local investigating officer named Superintendent Sugden to find Simeon Lee’s murderer before the latter can strike again.

I would never view “HERCULE POIROT’S CHRISTMAS” as one of the better Christie adaptations I have seen. But I still managed to enjoy it. One, the television movie is rich with a holiday atmosphere, despite the presence of murder. In fact, I can honestly say that Rob Harris’ production designs really impressed me. Along with Simon Kossoff’s photography, they gave the movie an atmosphere of Olde England that suited the story’s setting very well. I also enjoyed Andrea Galer’s costume designs for the film. Instead of the early or mid-1930s, her costume designs for the female characters seemed to hint that the movie was set during the late 1930s.

“HERCULE POIROT’S CHRISTMAS” also benefited from a solid cast. David Suchet gave a first rate performance as Hercule Poirot, with his usual mixture of subtle humor and intelligence. He was ably supported by a very wry performance from Philip Jackson as Chief Inspector Japp. The rest of the cast, aside from four, gave solid but unmemorable performances. For me, there were three standouts that really impressed me. Brian Gwaspari was a hoot as Simeon Lee’s outspoken prodigal son, Harry. And he had great chemistry with Sasha Behar, who was charming and frank as Simeon’s Anglo-Spanish granddaughter, Pilar Estravados. The producers cast veteran character actor Vernon Dobtcheff as the poisonous Simeon Lee. And he portrayed the hell out of that role, giving the character a richness and sharp wit that allowed him to practically own it. The only performance that failed to impress me came from Mark Tandy, who portrayed Superintendent Sudgen. I hate to say this, but Tandy’s take on a character as memorable and imposing as Sudgen seemed lightweight. He almost seemed overshadowed by Suchet and Jackson and I suspect that the role would have succeeded better with a more imposing actor.

As I had stated earlier, I have always been a fan of Christie’s 1938 film. This adaptation could have been first rate. But it had one main problem – namely Clive Exton’s screenplay. He made two major changes to the plot that nearly undermined the story. I did not mind that he had reduced the number of characters by eliminating the David Lee, Hilda Lee and Stephen Farr characters. I DID mind when he substituted the Colonel Johnson character for Chief Inspector Japp as the case’s senior investigator. As a member of Scotland Yard, Japp was out of his jurisdiction, which was limited to Greater London. This is a mistake that has appeared in a handful of other Exton adaptations. The screenwriter’s bigger mistake proved to be the addition of a prologue set in 1896 South Africa. The prologue included a scene featuring Simeon Lee’s murder of his partner and his seduction of a young Afrikaaner woman named Stella. Even worse, Stella reappeared as a mysterious guest at a local hotel in 1936 England. The addition of the South African sequence and the Stella character made it easier for viewers to eliminate a good number of characters as potential suspects . . . and dimmed the mystery of Simeon Lee’s murder.

I managed to enjoy “HERCULE POIROT’S CHRISTMAS” very much. It featured excellent characterizations and a rich, holiday atmosphere, thanks to Simon Kossoff’s production designs and Andrea Galer’s costume designs. Director Edward Bennett did a great job with a superb cast led by a superb David Suchet. But several changes to Christie’s plot made by screenwriter Clive Exton prevented this movie from being the first-rate adaptation it could have been.

Five Favorite Episodes of “STAR TREK VOYAGER” Season Three (1996-1997)

Below is a list of my five favorite episodes from Season Three of “STAR TREK VOYAGER”. Created by Rick Berman, Michael Piller and Jeri Taylor; the series starred Kate Mulgrew as Captain Kathryn Janeway:

FIVE FAVORITE EPISODES OF “STAR TREK VOYAGER” SEASON THREE (1996-1997)

1 - 3.16 Blood Fever

1. (3.16) “Blood Fever” – While enduring pon farr, a lovesick Ensign Vorik unexpectedly passes it to Chief Engineer B’Elanna Torres, affecting her relationship with Chief Helmsman Tom Paris during an Away mission. Alexander Enberg guest-starred.

2 - 3.24 Displaced

2. (3.24) “Displaced” – A mystery develops when Voyager crew members are replaced, one-by-one, with aliens from an unknown race.

3 - 3.25 Worst Case Scenario

3. (3.25) “Worst Case Scenario” – When Torres discovers a hidden holodeck program in which the ship’s Maquis crewmen stage an insurrection, members of the Voyager crew begin clandestinely participating in it, with surprising dangerous results for Paris and Security Chief Tuvok. Martha Hackett guest-starred.

4 - 3.17 Unity

4. (3.17) “Unity” – Voyager’s First Officer, Commander Chakotay, crashes on a planet with a community of unassimilated Borg drones from all over the galaxy. Meanwhile, the ship encounters a Borg cube that is “dead in space”.

5 - 3.02 The Chute

5. (3.02) “The Chute” – While on leave on the Akritirian homeworld, Paris and Operations Chief Harry Kim are falsely accused of a terrorist bombing. While the two men struggle to survive in a brutal prison, Captain Kathryn Janeway and Voyager’s crew race against time to prove their innocence.

HM - 3.14 Alter Ego

Honorable Mention: (3.14) “Alter Ego” – Kim falls in love with a holodeck character from Neelix’s Polynesian resort program named Marayna. But when he seeks help from Tuvok to get over his “crush”, Marayna begins to behave strangely when she develops an obsession toward the Vulcan Security Chief.

Five Favorite Episodes of “GAME OF THRONES” Season Two (2012)

Below is a list of my favorite episodes from Season Two of “GAME OF THRONES”, HBO’s adaptation of George R. R. Martin’s 1998 novel from his A Song of Ice and Fire series, “A Clash of Kings”. The series was created by David Benioff and D. B. Weiss:

FIVE FAVORITE EPISODES OF “GAME OF THRONES” SEASON TWO (2012)

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1. (2.09) “Blackwater” – King Robert Baratheon’s younger brother, Stannis Baratheon, arrives at Westeros’ capital, King’s Landing, to battle for the city and the Iron Throne.

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2. (2.06) “The Old Gods and the New” – Former Stark hostage Theon Greyjoy seizes control of Winterfell to please his father, Balon Greyjoy of the Iron Islands. Jon Snow captures a wildling named Ygritte. And the people of King’s Landing begin to turn against King Joffrey during a riot in the capital’s streets. Daenerys Targaryen looks to buy ships to sail for the Seven Kingdoms.

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3. (2.10) “Valar Morghulis” – In this season finale, Joffrey ends his engagement to Sansa Stark in favor for an engagement to Renley Baratheon’s widow, Margery Tyrell, in the wake of the Lannisters’ new alliance with her family. Daenerys seeks to rescue her baby dragons from the warlocks of Qarth.

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4. (2.05) “The Ghost of Harrenhal” – Temporary Hand of the King Tyrion Lannister investigates a secret weapon that King Joffrey and his mother, Queen Cersei, plan to use against Stannis’ invasion force. Meanwhile, as a token to Arya for saving his life on the road from King’s Landing, an assassin named Jaqen H’ghar offers to kill three people that she chooses.

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5. (2.04) “Garden of Bones” – Sansa is nearly punished by Joffrey following her brother Robb Stark’s latest victory over the Lannister forces. Lord Petyr ‘Littlefinger’ Baelish arrives at Renly’s camp just before the latter can face off against Stannis. Daenerys and her company are welcomed into the city of Qarth. Arya and her travel companions – Gendry and Hot Pie – find themselves imprisoned at Harrenhal Castle.

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Sexist Tropes in “POLDARK” (2015-2019)

SEXIST TROPES IN “POLDARK” (2015-2019)

After watching the recent “POLDARK” television series for the past few years and reading the commentaries on these episodes and especially two particular characters – Demelza Carne Poldark and Elizabeth Chynoweth Poldark Warleggan – I have come to a disturbing conclusion. Despite the advent of the feminist movement, we still live a sexist society. Because our society remains sexist to this day, many people – women included – tend to view female fictional characters from a sexist view. This was especially apparent with the opinions of the two major female characters in “POLDARK”.

I have noticed that producer Debbie Horsfield and many of the series’ fans and critics seemed hellbent upon viewing both Demelza and Elizabeth through some Whore/Madonna trope. The situation regarding Demelza and Elizabeth strikes me as rather ironic. In many works of fiction and sometimes in real life, women of working-class backgrounds are usually perceived as sexually permissive or a “whore”. And women from a middle-class or upper-class background are usually perceived as virtuous or “the Madonna”. Not only do a good number of men apply this type of categorization upon women, other women do as well.

What made this trope ironic in “POLDARK”? The low-born Demelza – a miner’s daughter who became main protagonist Ross Polark’s servant and later, wife – has been regarded by many fans as virtuous or . . . “the Madonna”. In contrast, Elizabeth Chynoweth, a landowner’s daughter, has been more less labeled as a “whore” by said fans. Elizabeth, who had originally been courted by Ross before he left to serve in the British Army during the American Revolution, ended up marrying his cousin Francis Poldark. She later married Ross’ neighbor and nemesis, George Warleggan after Francis’ death.

I suspect that if Demelza had not married Ross and become the main protagonist, she would not have become so highly regarded by the fans. After all, she was low born. And she had sex with Ross, while serving his household as a kitchen maid. Right before their marriage. Ross ended up coercing her into marrying him in order to put a stop to the rumors about them. But I believe what really saved Demelza from being labeled “the whore” by readers and television viewers was the presence of the one woman she regarded as her nemesis – namely her cousin-in-law and Ross’ first love, Elizabeth Poldark Warleggan née Chynoweth. In the fans’ eyes, Elizabeth had made the mistake of rejecting Ross upon his return from the American Revolutionary War and marrying his cousin Francis. The literary Elizabeth honestly thought she had loved Francis and felt that Ross would not be the right husband for her. The recent series depicted Elizabeth as a woman torn by her feelings for Ross and slightly coerced into marrying Francis by her mother. To make matters worse, following Francis’ death, Elizabeth had married Ross’ nemesis, banker George Warleggan for his money. She needed his money to save the Trenwith estate for hers and Francis’ son, Geoffrey Charles.

I have a confession. Originally, I had believed this sexist view of both women stemmed from Demelza being the saga’s main female protagonist and Elizabeth’s rejection of Ross and her decisions to marry Francis and George. While Demelza was portrayed as this near perfect woman, especially in the series by show runner Debbie Horsfield; she was constantly praised by fans and critics for not only being “ideal”, but also the “ideal” mate for Ross. Elizabeth was portrayed with a more negative tone. As I had stated earlier, Debbie Horsfield changed the nature of her reason for rejecting Ross and marrying Francis. Horsfield used Demelza’s class origin as some kind of “Cinderella” fairy tale. Elizabeth was subtlety criticized for being a member of the upper-class and marrying Francis to maintain the lifestyle she was accustomed to. She was also portrayed as a woman who could not make up her mind about whom she wanted to marry. And then came that night of May 9, 1793.

Any fan of Winston Graham’s novels or the two television adaptations of his saga knows what happened that month – Ross and Elizabeth conceived his third child and her second – Valentine Warleggan. For years, many fans have asserted that Valentine’s conception was an act of consensual sex between the pair. The 1975-1977 series had portrayed Ross raping Elizabeth before pretending that rape never happened. The 2015-2019 series proved to be worse. It had Ross assaulting Elizabeth and on the verge of raping her. Before he could, she consented to sex at the last moment, transforming their encounter into a “rape fantasy”. Only Winston Graham’s 1953 novel, “Warleggan”, portrayed the encounter as rape. The author condemned Ross’ act for the rest of his literary series – something that many fans refuse to acknowledge.

Yet, even before the rape, Horsfield did her level best to set up sympathy toward Demelza and condemn Elizabeth at the same time. As in the novels, Ross had spent a good deal of time at Trenwith, helping the recently widowed Elizabeth deal with estate debts. But in the series, Demelza, her cousin-in-law Verity Poldark Blamey and the audience blamed Elizabeth instead of Ross; who seemed hellbent upon enjoying Elizabeth’s company as much as possible. Horsfield even added a scene in which Demelza made a snarky, yet hostile comment about Ross’ time at Trenwith that clearly blamed Elizabeth. And fans, to my utter disgust, cheered this moment of misogyny. Horsfield included another scene after the rape that featured an encounter between Demelza and Elizabeth in the woods (this also never happened in the novel) in which the former accused the latter of having a sexually illicit encounter with Ross. Again, I found myself disgusted by this obvious attempt by Horsfield to demonize Elizabeth for something that was never her fault. I felt equally disgusted by the fans’ cheers over Demelza’s words.

After the series’ adaptation of “Warleggan”, I thought I would see the last of this less than ambiguous handling of both Demelza and Elizabeth. I did not. Horsfield provided other examples of idealizing Demelza’s character and vilifying Elizabeth’s. In the novels that followed “Warleggan”, both women had committed major mistakes.

Elizabeth had supported her second husband George Warleggan’s attempt to force a marriage between her cousin Morwenna Chynoweth and a highborn vicar from Truro, the Reverend Osbourne Whitworth. Who proved to be an abusive husband. Mind you, Elizabeth was not solely to blame for this marriage. One, it was George’s idea and he was the one who finally coerced Morwenna into marrying Osbourne – at least in the series. Morwenna’s mother was the one who finally coerced her in the novel. But Elizabeth did support his action. It was probably the worst thing she truly ever did. Unfortunately, Horsfield felt this need to portray Elizabeth as a cold and scheming woman, who proved to be initially cold to her younger son Valentine. This never happened in the novel. Worse, Horsfield had transformed Elizabeth into both an morphine addict and alcoholic as a means to express the struggles she suffered as George’s wife. Again . . . this never happened in the novel. Why Horsfield thought this was necessary. I have no idea. The literary Elizabeth had found George’s paranoia over Ross rather stressful, but not to the point of her becoming an addict.

On the other hand, Horsfield had went out of her way to portray Demelza as this perfect lady, who sang whenever the screenplay allowed actress Eleanor Tomlinson to display her singing ability. There was a moment of Demelza racing across the countryside on horseback like some Harlequin Romance heroine in an effort to save her younger brother Drake Carne from being set upon by George’s bullies. Actually, some locals came to Drake’s rescue in the novel. There was also the matter of Demelza’s initial refusal to support her brother Drake romance with Morwenna. Demelza used the differences in Drake and Morwenna’s classes as an excuse for her lack of support, claiming she did not want to see both of them suffer in an unhappy marriage. I found this rather hypocritical, considering Demelza had married outside of her class. The series had went out of its way to avoid conveying Demelza’s unwillingness to contemplate the idea of Elizabeth’s cousin as her future sister-in-law. Although she had ended up supporting Drake and Morwenna’s relationship in the end, Demelza had never really let go of this wish of her brother marrying another woman of her choice instead of Morwenna, despite their happy marriage – at least in one of Winston Graham’s later novels. The one true terrible act that Demelza had committed was her brief affair with Royal Navy officer Hugh Armitage. Actually, they only had sex once. But once was enough, as far as I am concerned. Many viewers had excused Demelza’s infidelity as an act of bad writing from Graham or Horsfield. One blogger used Demelza’s rushed romance/marriage to Ross as excuse for her to experience an actual romance with someone of her age. And there were those who used Ross’ infidelity – namely the “eye for an eye” – as an excuse. Frankly, revenge sex has never struck me as a good excuse to cheat on one’s spouse, unless he was a serial abuser like the Justin LaMotte character from the “NORTH AND SOUTH” series . . . or Osbourne Whitworth. Ross may have been guilty of raping Elizabeth, but he had never ever abused Demelza in that manner. Also, I do not recall anyone slut shaming Demelza for her affair with Hugh.

I might as well be frank. Neither Demelza or Elizabeth were perfect. And neither were monsters. Both women possessed flaws and virtues. And yet . . . the fans and writer Debbie Horsfield seemed incapable of accepting both as complex women. Fans had behaved as if Demelza was the greatest thing since the invention of the wheel. They regarded Elizabeth as “the Whore of Babylon” or worse, a weak and manipulative woman. They seem incapable of facing Demelza’s faults – other than her naivety in late Season One. And they seem unwilling to acknowledge Elizabeth’s virtues. Horsfield’s writing for the series did a lot to support their reactions.

I find myself wondering if this inability to accept the ambiguity of both women stemmed from a refusal to acknowledge the idea of Ross Poldark harboring love for two different women at the same time. I do not know. Perhaps this scenario went against their ideals of “true love”, marriage and a Harlequin Romance-style story. The unfortunate thing is that producers like Debbie Horsfield of the current series and the producers of the 1970s series – Anthony Coburn and Morris Barry – had seemed more than willing to constantly feed this “Whore/Madonna” mentality regarding Demelza Poldark and Elizabeth Warleggan.

1970s Costumes in Movies and Television

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Below are images of fashion during the 1970s, found in movies and television productions over the years:

1970s COSTUMES IN MOVIES AND TELEVISION

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“Apollo 13″ (1995)

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“Casino” (1995)

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“Austin Powers in Goldmember” (2002)

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“Dreamgirls” (2006)

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“Rush” (2013)

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“American Hustle” (2013)

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“X-Men: Days of Future Past” (2014)

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“The Astronaut Wives Club” (2015)