Hope for New Worlds

Gritty historical dramas seem to be monopolizing the television schedule in the last few years, re-introducing spatterings of gore and rusty chainmail to our weekly evening viewings. HBO’s thrilling, award-winning Game of Thrones series has, despite its fantasy source-text, arguably spear-headed this rise of the televisual historical drama, and bringing with it, the intrigue of conniving politics between aristocrats which are no less gripping than battles waged upon blood-stained fields. Recent historical dramas such as The White Queen and The Borgias similarly combined such plot elements, balancing the drama between the stage of the politician and that of the warrior, and now, Channel 4’s New Worlds is following this popular trend.

Set in the tumultuous 1680s, New Worlds is the sequel to Channel 4’s critically acclaimed 2008 historical drama, The Devil’s Whore. While the original series followed the lead-up to and events of the English Civil War, this new venture has widened the scope of its focus, exploring the aftermath of the Civil War in both Restoration England and its East-Coast Colonies of America through the eyes of four young men and women. It is a series that promises the political turmoil of religious persecution, the bloody influence of ‘Hanging Judge’ Jeffreys, and cultural tensions between white European settlers and Native Americans. And with a cast that includes rising stars such as Joe Dempsie (Game of Thrones), Freya Mavor (Skins) and Jamie Dornan (Once Upon a Time), New Worlds looked to be as winning a combination as its 2008 predecessor.

Yet, New Worlds’ premier episode was nothing short of a disappointment. Episode one of this three part mini-series proved to be the definition of an establishing episode, acting as an hour-long exposition of the historical setting and the series’ subject matter. Suffice to say, turning such a narrative device into a full-length episode struck up some rather clumsy and heavy-handed introductions of character-arcs, subplots, and contemporary issues. Much of the episode felt like a potted history lecture on the tensions that abounded Restoration England: the concerns surrounding Charles II’s lack of an heir and the implications of the ascendency of his Catholic brother, James; the impacts of the genesis of an industrial world upon the poorer classes; and the impacts of the Civil War and recently fallen Commonwealth of England upon the English nation. Perhaps the most interesting plot strand is that concerning the British colonies in America, where the consequences of colonisation upon native peoples have already been touched upon.

New Worlds falls short of the large shoes The Devil’s Whore left to fill. While The Devil’s Whore was as sleek, cut-throat and unapologetic in its grit as any of the best episodes of Game of Thrones, what New Worlds has offered is a lumbering, trivial romp that relies too heavily upon clichéd plotlines and the knowledge that young audiences are hungry for the next exciting historical drama. Indeed, what New Worlds seems to suffer from is too great a focus on marketing itself and pandering to its desired audience; the ‘youth of today’. There is a constant sense of self-consciousness that burdens the series, unlike its predecessor, and as such, certain relationships and dynamics appear forced and insincere. While the tempestuous and slowly-blossoming love between the principle characters, Angelica Fanshawe (Andrea Riseborough) and Edward Sexby (John Simm), in The Devil’s Whore was engaging, charged and beautifully performed, the two primary couples of this new series seem forced and rushed. While Freya Mavor (who plays Angelica Fanshawe’s daughter, Beth), Jamie Dornan, Joe Dempsie and Alice Englert are all talented and capable actors, the writing of this series has not allowed for the sincere and gradual development of romance to occur between the characters as it did so beautifully in The Devil’s Whore. Instead, their relationships seem tactlessly forced within the drama, like another hook to try and reel in a younger viewing audience.

Much of the episode felt like a potted history lecture on the tensions that abounded Restoration England

Yet this drama seems to doubt the intelligence of this ‘younger audience’. Though the time period of the series is perhaps one which is not so extensively covered by school history lessons, such historical exposition covered in the initial episode was no less crudely communicated to its audience. The same applies to the two leading romances of the series, for given the focus of this youthful, sexual plot aspect in the advertising and marketing of the series, such relationships seem to be a mere bid for higher viewing figures; as though romance and sexualised content are the only way to attract younger audiences.

All this being said, I still have hope for New Worlds. Some plot strands hold the promise of ripe fruit (and juicy viewing); the cast cannot be faulted for their acting ability; and the dialogue is satisfyingly historicised in its phrasing and grammar (though admittedly, I am no expert). With all this exposition and introduction out of the way, I hope the next two episodes will fulfil the excellent character and plot development that its predecessor achieved.