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By the time he movingly prays to God, “Oh my ears hurt, oh Lord, please kill Morwenna so I can marry her hot sister,” Morwenna brings forth a son and instantly falls into postpartum depression.
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Whitworth’s other main preoccupation is creeping on Morwenna’s sister: in person, through a crack in her door, and even during his wife’s labor while her shrieks of agony echo through the house. Enys tries to spare her by telling Whitworth he’s too fat to be on top of his incredibly pregnant wife, but you can imagine how well THAT goes over. (Well, we’re only halfway through the season, I guess I shouldn’t count my chickens before they’re hatched.) It’s unlikely Morwenna would have identified what was happening to her as rape, but we gingerly watch this shithead force himself on her right up until the end of her pregnancy. George is a nightmare, of course, but he’s not a rapist. Whitworth is the worst person yet to grace our stage. I deeply regret ever having called her boring, because her plotline is now straight out of an extra-depressing Thomas Hardy novel, and it’s agonizing. I think it’s time we talk about Morwenna. When George informs her that he will be taking a home in Westminster without her, she looks both hurt and deeply concerned, a sentiment only heightened when she hears him ask his henchman to keep a close eye on her. Elizabeth is such an amiable wife and so eager to please (I didn’t even see her hit the laudanum this week!) that it’s easy to forget that she really has foisted his worst enemy’s child onto him. George being a real piece of work, he uses some classic Warleggan coping skills: cutting wages at three of his mines to ensure that other people are miserable too, throwing his energies into winning the spot Falmouth had held out for his own candidate (making a powerful enemy in the process), and continuing to drive a wedge between himself and Elizabeth. Babies come early, babies can look differently at different times, no, I honestly can’t tell you more than that, etc. Enys (who’s really got quite the rogue’s gallery of patients this week) has to break to him.
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Now, in 18th-century Cornwall, if you have doubts about whether or not it’s your baby, there’s no option to go on Maury. Elizabeth, rather reasonably, is not sure why her aunt (not even her own aunt, to be fair) got a pauper’s funeral, and George is all, “I am solely worried about infection, also I am very busy, a frosty good day to you, madam.”
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That being said, said spartan burial is the first chance we have to see how George is handling the old lady’s disclosures. Read the Rainbow Bridge poem and move on. She was extremely old, she’s in the churchyard, she has a cross, and she’s a corpse. What I do NOT care about is Aunt Agatha’s lack of a headstone. There are three main threads weaving together right now: George’s chilly rage and desperation to know the truth about Valentine’s parentage, Morwenna’s abject misery, and Demelza’s escalating flirtation with young Hugh “One Direction” Armitage. 10 out of 10 from me.Photo: Robert Viglasky Photography/Mammoth Screen for BBC and MASTERPIECEĪfter the high-drama of last week’s CUCKOLD GEORGE reveal, we are all very excited to see what shakes out. It recaptures the golden age of UK television, for those of us old enough to remember it.For those who do not, you are in for a real treat. The remaining cast which is both UK and international, are also extremely talented and well suited to their respective roles. As is Eleanor Tomlinson who offers up an at times very funny but also deeply touching performance, as Demelza. The cast of Poldark are to a man and women excellent. Poldark is at its core a romance but it avoids the "bodice ripper" label by maintaining a very grounded approach to romantic storytelling mixing in a strong social commentary and wry humour. Ross's warmth and his ability to see the true humanity in people, is in stark contrast to the callous, class based snobbery of many of his supposedly, noble peers. Set in 18th century Britain, Ross Poldark, played by Aidan Turner, is a nobleman who shuns social convention.
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Poldark sat happily alongside wonderful series like Upstairs and Downstairs, The Onedin Line, The Duchess of Duke St and War and Peace. The original Poldark was from what I would describe as the "golden age" of UK television.