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Slaughter of Innocence
INFO: Ventiduesimo episodio della serie. È stato diretto da David Frazee e scritto da Lauri McCarthy e Doris Egan. Andato in onda per la prima volta il 15 maggio 2014. // Twenty-second episode of the series. David Frazee directed the episode written by Laurie McCarthy and Doris Egan. First aired on May 15th 2014.
TRAMA: Quando la pazzia e la crudeltà del Re assume le sfumature della follia, Maria e Francesco agiscono. Le loro scelte potrebbero cambiare il corso della storia, ma un terrore imprevisto che ribolle nei boschi costa loro, e i loro amici, ogni cosa. Maria prende una drastica decisione quando viene a sapere che Lola è nel mezzo di un travaglio che minaccia la sua vita in un luogo fuori dalla corte.// When the King's (Alan Van Sprang) madness and cruelty reaches a fevered pitch, Mary (Adelaide Kane) and Francis (Toby Regbo) take action. Their choices could change the course of history, but an unforeseen terror brewing in the woods could cost them, and their friends, everything. Mary makes a drastic decision when she learns Lola (Anna Popplewell) is going through a life-threatening labor at a location outside of the castle. x
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Due promo dell'episodio. // Two episode's promo. . -
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Il promo canadese dell'episodio. // Canadian promo.
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Una clip dall'episodio. // A clip from the episode.
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Nuova still e Adelaide Kane per WPIX 11. // New still and Adelaide Kane interview on WPIX 11. 
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Torrance sull'episodio e le scene d'amore. // Torrance on the finale and sex scenes.
Altra clip dall'episodio. // Another clip.
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Intervista per TV Guide di Laurie McCarthy sul finale e sulla prossima stagione. // Laurie McCarthy on the season finale and season two for Tv Guide. CITAZIONETV Guide Canada: Mary has really hardened the past couple of episodes. What consequences will that have for her?
Laurie McCarthy: I think you saw a Mary who made some really difficult choices. I think the immediate consequence is that she and Francis have enormous secrets from each other. She had to operate independently, she had to do things to save herself, she had to make choices that, surprisingly, are the kind of choices one could imagine Catherine de Medici (Megan Follows) might have made over the course of being a woman in power, but also being a woman whose power was not necessarily stable and was often threatened. That’s not to say Mary’s going to wind up like Catherine de Medici but she has really struggled with balancing her heart over her duty. There’s a line in the script where she says “It’s always the woman who must bow to the queen” and I think she realizes that within herself that’s true.
TVGC: You mention her becoming quite a bit like Catherine, and Catherine was quite influential in that. Did we see a reverse where Mary softened Catherine?
LM: I don’t see Catherine as hard as everyone else does. I think being a parent always softens her and I think for all the troubles that she and Mary have had, she has been a substitute parent for her over the course of her younger years, and she’s tried to guide her as a young adult. Obviously when anyone’s a foe of Catherine’s, she’ll take them down. Her position—even though she’s the queen of France—it’s not a secure position. We saw that threatened this year, because at any turn you realize the king is game to get rid of her and then where would she be? So I think that their relationship is complex, but I wouldn’t look for a softer Catherine in Season 2 by any means.
TVGC: Before Henry died, we saw this fantastic journey of him going completely insane. Why did you decide to do that with him?
LM: We did it because we knew the actor, Alan Van Sprang, could pull it off. It felt like it was a great time to shake things up at court, and truthfully, when you look back at the historical figure of Henry there were things he did that you could argue were mad. When you put them in the context of the time, they don’t look so crazy but he was a pretty violent guy himself. But honestly, it felt like the most interesting story to tell while we were telling a story about there being potential monsters in the woods and monsters outside the castle, it felt like a great time to tell the story of what it would be like if the monster was actually inside the castle and he had absolute power.
TVGC: The scenes between Catherine and Henry—staring with hiding the body—were pure comedy gold. Is there anything coming in Season 2 to replace what we’re losing?
LM: There will be. I can’t speak directly to it, but I think there’s an undercurrent of black comedy in the show anyway. But if you look at that episode it was actually the launching of his madness, so what started out as a piece that seemed comedic turned very quickly to realizing this was maybe the first girl that we knew that he had killed and then it turned out that maybe it wasn’t an accident at all. There will always be a thread of black comedy in the show because their lives are absurd in so many ways. I think even though it’s grounded in its own way—the characters don’t see their lives as being wildly absurd—they’re strange times to live in.
TVGC: Speaking of, how is Francis going to live with killing his father?
LM: I think it’s going to eat away at him. There was the death bed scene with his father—the father who killed his brother said to take the life of someone you love is a burden you carry your entire life and it does eat away at you and I think that will be true of Francis. It’s less true if it’s a burden you can share with others, but that remains to be seen, who he’ll be able to share that burden with.
TVGC: The hug between the brothers was really moving, but how will Bash feel when he finds out Francis killed their father?
LM: It will be interesting to see who finds out what Francis did, and who uses it against him, and who offers him support and who is understanding of that. Their relationship moving forward—they’ll be bonded but it will continue to be complex. Francis really loves his brother, and Bash really loves Francis but their stations will always pull them apart. At the core of the series, I really see that brotherly connection as a deep and true friendship—it’s one of the running love stories of the series, the love between the brothers and the love for Mary and her friends.
TVGC: Kenna and Bash finding happiness together was almost a bigger surprise than their marriage–but we know from what we’ve seen and speaking with Torrance Coombs that things do not go well for Bash, ever. How long do we expect this happiness to last?
LM: I think their love will last. I wouldn’t put a clock on it, but he’s a character who is adventurous and who Francis will come to lean on in a position of leadership. He also has a lot of knowledge about things going on beyond the castle wall. The plague is going to change the landscape of our region of France and that Bash will be involved, as will Francis, with the aftermath of that. There will be a power shift and there will be powerful lords rising from the ashes—people who may be friends but will oftentimes be foes. How it will affect his relationship with Kenna, we’re still figuring that out. But there’s also a genre element to the show. It’s less supernatural and more horror and that has touched and will continue to touch Bash in the upcoming season.
TVGC: Why did you opt to have pagans in the wood and go into that conflict instead of the more historical Protestant vs. Catholic struggle?
LM: Really, my fondness for telling mysteries and the actual superstitions and the horrors and terrors of the time. I thought it was a compelling way to look at that factor of society at the time. We won’t shy away from the violence between the Protestants and the Catholics, particularly in Season 2. In Season 1, we wanted the series to be a little more insular. It felt like it was a lot to bring Mary to court, introducing her to all these other characters, introduce the audience to all these characters, and not just the politics and the intrigue and the dynamic of that particular French court and the region around it, but to bring it in really [to] the politics of England and Scotland. I feel like we’ve accomplished that now, and now that Mary’s firmly rooted in France, she’s about to begin her reign as the queen of France alongside Francis, and I think that they will find themselves as king and queen of a nation that’s really on fire and an enormous part of that is going to be the Protestant/Catholic conflict.
TVGC: Is Lola a threat to Mary now that Francis knows about the baby?
LM: I think that she is. I think that Lola has given Francis something that Mary up to now has not been able to give him—not just an heir, but a child. Francis is a child of a very unhappy marriage and a relatively unhappy family. To do it himself and do it differently, is a pretty big draw. To want to be a father, and a very different father than he [had] is an enormous pull toward Lola. That’s not necessarily a romantic pull, but I think anything that tears at your husband’s affections…and it will be a husband who’s already king of a country so there’s not a lot of extra time or affection to spare. I think Mary will fight her unease and fight her jealousy with every fiber of her body, but I think it’s going to be a battle.
TVGC: Greer was the only one of the five to make the right decisions for a woman of her station in that time, and Leith attacked her for it! Does some part of him understand why she did it?
LM: I think he does understand why she’s doing it, but it hurts anyway. He’s in love with her, she’s in love with him—he knows that. He is a very ambitious, driven guy. He’s met her family, he realizes that there’s almost no helping them–they’re surprisingly penniless according to the needs of her world. He really feels like he’s been given an opportunity to rise in society and that it’s a miracle, really, at this point in time and that she should be brave and take his hand and jump in with him. When she doesn’t do that, and she betrays not only him but her own heart, he reacts passionately toward her. So I understand his point of view. I also really understand Greer taking a safer path. What he considers a big bump in society just isn’t enough to help her sisters. I thought it’s was great conflict for the two of them. I agree with you that she did what a girl in her position would do, but she paid a price for it and she’s going to have to pay a price down the road as well.
TVGC: It doesn’t feel like a coincidence that Castleroy’s daughter is Leith’s new interest. How much can we actually trust Castleroy despite all the supposedly generous things he’s done?
LM: Yes. The question is how much can you trust anyone when something they love is threatened, or when you threaten to take away someone who is very dear to them? I think he’ll have to search his own heart. It will be an interesting quadrangle in the future.
TVGC: Mary’s dress, when she puts on the English coat of arms, was this brilliant crimson colour which is similar to the dress that she wore when she died. Was that a deliberate choice?
LM: It really wasn’t. We’re aware of the fact that she meets a terrible and violent end and this was a moment where her fate might have gone another way. Historically, one of the things that really did her in in Elizabeth’s mind was the fact that she used the English coat of arms. The banner that proclaimed her England’s queen was behind her head at many occasions and it’s true that Henry II really was responsible for that, but at some point Mary was really complicit too. So we made a choice to bring that forward. The red dress being evocative of her beheading, I think that there’s an undercurrent of that there but it’s certainly nothing we’re racing towards.
TVGC: How are you balancing these historical moments with telling your own story?
LM: I think we’re following the major milestones. To use a different metaphor, if those historical events are giant curves in the road, we’ll get to them. It’s just a question of how quickly we hit those turns. Her life was fascinating, her life in France was fascinating, her life when she returned to Scotland was fascinating—but we’re also telling the stories of what I like to call the in-between pages of those chapters. In the next season it will be really interesting to see how she and Francis together handle being the king and queen of France.
TVGC: The costumes again, and also the music—you were really fusing the modern with the past. How did you figure out the way you wanted to do that and what was the process?
LM: I looked at other historical fiction—and you realize everybody takes some liberties. That opened the door a little bit. From the minute I started talking about doing this project, I was looking through fashion magazines and catalogues. I knew that I wanted it to feel really tribal—I wanted to do an origin story, I wanted these girls to look a little different than other members of French court, but also I wanted the show to look a little different than other series that had been done, and other features. I wanted it to feel aspirational, I wanted the girls to look beautiful, I wanted them to look as comfortable as one could look in a corset. I wanted it to look like clothes they might have chosen themselves and I wanted to feel like we were really with them in their everyday life as opposed to when they were getting their portraits done. So that’s why we moved away from any kind of Elizabethan collars, we went for layering and mixing textures as opposed to just going for velvets and taffetas. I just wanted it to be fun and beautiful. In terms of the music, I wanted you to feel what they were feeling and not feel estranged from the emotion. So that’s one of the reasons why we went for a more contemporary score and some contemporary needle drop as well.
TVGC: How gross can we expect things to get with the plague?
LM: I think you can expect them to be perilous. I don’t know how gross they’ll be. It’ll feel apocalyptic. There’s going to be huge division between those who are privileged to survive and those who don’t. It will be horrific and violent and chilling, but I don’t know that I would say that we’re going to go gross.
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Interviste a Torrance sull'episodio. // Torrance on the episode. CITAZIONEAccessHollywood.com: How did you feel about ending the season that way in the Francis Bash story line, with the brothers hugging?
Torrance Coombs: Well, it’s a beautiful way to end it. There’s a lot going on in that moment. On the one hand, our father’s dead, on the other hand, he was crazy, on the other hand, now Francis is King, so now I am his subject. So previously, I’ve been at court because my father allows me to be, or because he forced me to be, take your pick, and now my place there is really uncertain. Does my brother accept my presence there? What’s my role now? My mom’s obviously not gonna be welcome anymore. Catherine’s running the show. I’m possibly even a threat to Francis’ rule as long as I’m around. Is Catherine going to tolerate me? There’s so many questions, but in that moment, it’s just two brothers hugging it out, ‘cause man, has it been a tough year.
Access: What did you think of the darkness reveal?
Torrance: I love the darkness reveal. I like that they went with something gentler. Philosophically, there’s kind of a Nostradamus parallel going on there, because if you believe that Nostradamus’ prophecies are true, which Bash does believe because they’ve all been born out — what the darkness is saying — if he’s been doing all of this to stave off the plague, now, like you suddenly have to go, ‘All right, if I believe in anything, I maybe have to believe this guy too and what have I done?’
Access: Where do you think Bash’s heart is at the end of the season?
Torrance: It’s all over the place. A lot of it is just a feeling of being uprooted, this thing that’s been — weirdly enough, the darkness has been a grounding force for him. It’s been something for him to channel his energy into, regardless of what’s going on in his personal life, he’s got this thing. Now that’s gone and the new enemy is something a bit more ethereal. How do you fight something like a plague? There isn’t really anything to cling to any more so he’s going to have to lean heavily on his new wife.
Access: Bash and Kenna — we’re you surprised that they were brought together and ended up in love?
Torrance: The interesting thing is… much in the same way Bash and Mary bonded over their adventures in the woods, now Kenna and Bash have shared this darkness adventure in the end. He never meant to share it with her, but it turned out that way, and now they’re still left with this child, who is being groomed to become the new darkness. So what happens to him? What happens to them? I don’t know. It hasn’t been written yet.
Access: How excited are you that you get to go back to your show for a Season 2? There’s been such a great fan response to this.
Torrance: It’s super exciting because I’ve done a number of shows before that I’ve really believed in that just never caught on, nobody cared, and to have a critical mass of people care about what you’re doing and be passionate about it and engage with it is a real treat, and also, it happens to be a lot of fun to make too. I’m not just doing it for everybody else. There’s a selfish aspect to it where I really have a lot of fun making the show.
Access: And the fans that you interact with, including ones that take your name and make up Twitter handles…
Torrance: That’s right. I’m going to give a shout out right now to [my Twitter follower called] ‘FartOnMeTorrance,’ [@sighcoombs] because I think she’d appreciate that. She’s become somewhat famous now and she’s about to get a few more followers if you print this.
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Ancora stills dall'episodio. // More high quality stills. 
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![The House of Borgia [all about Renaissance, the Family - Da Vinci's Demons, Reign & more]](https://i.imgur.com/QY4IMuw.png)
The House of Borgia [all about Renaissance, the Family - Da Vinci's Demons, Reign & more] - x reign
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Slaughter of Innocence[PRIMA STAGIONE; 1X22] |
