Reign, “Acts of War,” was written by the team of showrunner Laurie McCarthy and Nancy Won and was directed by Fred Gerber. It may be the most infamous episode in the series run to date and perhaps forever. The rape of Queen Mary (Adelaide Kane) elicited intense reactions from fans, many condemning the show. I believe it is impossible to either condemn of laud the show until we see how both the event and its aftermath unfold. I would like to remind my own readers that I am a reviewer of television shows, I’m not an expert on sexual assault. In addition, my reviews by their very nature are subjective. Keeping that in mind, it is not my intent to offend anyone, particularly on this sensitive topic. I welcome all viewpoints and perspectives in the comments following this article. I would ask that all readers of those comments treat them with even more than the usual respect. If either this article, the episode, or the comments result in intense responses, I would urge you to contact a professional through a local hotline.
Both Adelaide Kane and Megan Follows (Catherine) deliver magnificent performances in this episode. We also see an exceptional performance from Toby Regbo (Francis) and Craig Parker (Narcisse). A great deal does happen in the episode, in addition to the harrowing incident with Mary.
Mary has the brilliant idea to marry Claude (Rose Williams) to Conde (Sean Teale). Conde agrees, mainly to please Mary. Claude resists primarily because she doesn’t wish to be shackled to any man. I loved the scene in which Catherine shows up as Mary is trying to convince Claude. Catherine tells Mary that it’s her right and duty as a mother to map her children’s future. Catherine also objects to the match on the grounds that not only is Conde a Protestant he is also a Bourbon and he could lay claim to the throne! Catherine’s real motive against the match is that she is still determined to get Claude away from the castle – and presumably the murderous ghost-twins. Narcisse also gets involved as he wants to prevent the Protestants from gaining any traction.
Narcisse attempts to woo Claude for himself. Conde, meanwhile, is a much less enthusiastic woo-er. He basically tells Claude that if they don’t hit it off, it’s no problem for them to be married but lead separate lives. As much as Claude denies that she will be ruled by Francis, she does listen to him when he asks her to step up and fulfill her destiny. Mary announces the engagement at the Feast. After one last look towards Mary, Conde slips out. We next see him in his cloak, preparing to leave the Castle. He leaves a note for Mary to be opened the next morning. Presumably, he’s decided he can’t go through with the marriage. It seems likely that he will be accused of having something to do with the attack on the castle, however.
Castleroy (Michael Therriault) and Greer (Celina Sinden) seem likely to have negative fallout from the attack as well. We see them entertaining Rivell (Mac Fyfe), his family, and Hugo (William Matthews). Greer is convinced that Castleroy is simply trying to get her to convert, but he tells her he doesn’t want them to have sides, but to be together in all things. She is worried about his financial involvement in the movement but he assures her he’s just one donor for a school. During the feast, Greer tells Castleroy that she’s decided to convert for the sake of the children. After the attack on the castle, Rivell comes to them for money, fearing retribution. We learn that Castleroy has listened to Greer and discovered that their money wasn’t going where it was supposed to. Hugo has given the money to the radicals, but only because he was forced to do so. Unfortunately, it looks like Castleroy and Greer are going to be tied to the assassination plot. I’m disappointed to see their happy union in real trouble.
Francis manages to release himself from Narcisse’s control. First he and Bash (Torrance Coombs) find and release Father Michael (ME Lewis) who Narcisse was holding as evidence of Mary and Catherine’s plot. Francis is able to act erratically and crazily enough to convince Narcisse to send Balfont (David Dantes) to get Montgomery (Andrew Church). In the end, Bash kills Montgomery to ensure his silence forever, and Francis kills Balfont. However, it’s while Francis is out of the castle that Mary is attacked. Regbo does a great job in the scene with Narcisse as he pretends to go mad. I also loved the scene in which he asks Mary if he can simply look at her. This provides a nice contrast to Mary’s not wanting to be looked at at all at the end of the episode.
Narcisse himself comes to an epiphany after the attack and he goes to Lola (Anna Popplewell) to make sure that she is safe. She tells him he was right about the Protestant protestors. However, in what would seem to be an uncharacteristically open moment, he also tells her that he takes no pleasure in being right and that he believes he was wrong about some thighs. The assassination attempt was reckless – a result of people having nothing left to lose. He tells her, “to rob people of hope is a dangerous mistake.” He also tells Lola that he still thinks about her and we see a small smile play across her face. Perhaps there is hope for them – and Narcisse – after all.
The rape scene itself is brutal and shocking. The slow motion close ups of Mary’s face are almost too intense to watch. It is certainly not the trajectory I would have liked to see for this strong character. However, it underscores a number of elements. We see Mary very regally ordering these men about, yet as Severin (Oliver Becker) points out, once Mary is hit and on the ground in her very thin nightie, she doesn’t look like a Queen. There’s a real contrast between her vulnerability in her nightie and the men in their armor. Having this happen to Mary illustrates that it can happen to anyone, and even the most powerful may be helpless.
Mary is able to fight off one of her attackers and escape to find Catherine in the hallway surrounded by her own guards. Catherine immediately sees that something is very wrong, and she takes Mary under her own protection. The scene between the two in Catherine’s chamber is powerfully acted. Mary crumbles and Catherine immediately steps in to comfort and guide her. We learn that Catherine has also been raped. While there may be no historical evidence or even accuracy that either of these two Queens were raped, the fact remains that raping women, even royals or noble women, especially in times of war or unrest was quite commonplace at this time.
As a rape survivor herself, Catherine is uniquely able to help Mary. She understands that she doesn’t want to be touched and she understands the feelings of shame and helplessness that Mary is feeling. Catherine tells Mary that they must get her dressed to address the Court so that the assassins can see that they have not taken either Mary’s pride or strength. It’s telling that Catherine lists the things that Mary must fight for: you, Francis, Scotland, and France. For once, Catherine puts France last, instinctively knowing what will really motivate Mary.
Mary’s address to the court is painfully ironic. She tells them that their King and Queen remain “untouched,” yet this is the furthest thing from the truth. Kane is excellent in this scene as you can clearly see the anguish in her eyes as she addresses the Court though her face remains impassive. Catherine’s advice applies to Mary as a Queen. Mary can’t appear to be a victim if she is to maintain her persona of a powerful Queen. Yet, in private, Catherine is able to know exactly what Mary needs.
She understands that Mary shaking and being cold are symptoms of shock. When Francis arrives, Catherine tells him to give her time and space. It’s a lovely touch that Catherine looks to Mary when she asks if she should go after Francis arrives. I was very relieved that Mary immediately told Francis the truth. It’s also a nice contrast to the secrets that he’s been keeping. When he says it’s all his fault, he’s really quite right. Mary absolves him of blame, but will she feel the same way when she learns of everything that’s transpired?
We see immediately that Mary is changed from her ordeal. She tells Francis to find the men who did it and kill them.
This was a powerful episode that will, no doubt, be spoken of for some time. I’m interested to see what the long term effects of the rape will be on Mary. How will this trauma manifest itself? How will those around Mary help or hinder her ability to heal? What did you think of the episode? Do you think this event will allow the show to open a dialogue on this important topic? Why do you think Conde left? Do you think Greer and Castleroy are in imminent danger? Let me know your thoughts in the comments below.
About the Author - Lisa Macklem
I do interviews and write articles for the site in addition to reviewing a number of shows, including Supernatural, Arrow, Agents of Shield, The Walking Dead, Game of Thrones, Forever, Defiance, Bitten, Glee, and a few others! Highlights of this past year include covering San Diego Comic Con as press and a set visit to Bitten. When I'm not writing about television shows, I'm often writing about entertainment and media law in my capacity as a legal scholar. I also work in theatre when the opportunity arises. I'm an avid runner and rider, currently training in dressage.
