Mary & George review: Julianne Moore is on electric form in this overlooked historical tale

Sure, we were never going to be taught about the Villiers family and their unlikely ascension to power in our school classrooms, nor were we going to be regaled with tales of King James I and his sexual escapades. But Mary & George is the kind of semi-educational, positively salacious and overall witty historical drama that you won't be able to tear your eyes away from – and there are a litany of reasons why.

Led by multi award-winning actress Julianne Moore, as well as Nicholas Galitzine, known for his roles in Bottoms and Red, White and Royal Blue, the pair star as Mary and George Villiers, a mother and son who stopped at nothing to become one of the most powerful families in 17th century England.

Inspired by the very real true story and Benjamin Woolley’s non-fiction book The King’s Assassin, the series has been written by DC Moore (Killing Eve) with dramatic license giving us a feel for the era and what could have gone on behind the walls of such a spectacular story.

It's no understatement to confidently state that Moore and Galitzine are the electric energy underpinning the new seven-part series. Their fraught relationship adds a general sense of unease to the drama, meaning you never quite know what each of them is planning. If you haven't already guessed, they're far from the archetypal vision of a mother and son, something we quickly realise in the series opening when Mary plainly tells a newborn George that "perhaps I should've left you on the floor to rot".

As you can imagine from that sentiment alone, Moore is chillingly cold as the no-nonsense Mary, never bestowing her children with any form of affection and yet, doing whatever she can to ensure they have ample opportunity to lead a noble life. Arguably one of the most versatile actresses to grace the screen, here Moore is compelling as the enigmatic matriarch, bringing a familiar duplicitous May December energy to Mary but, simultaneously, delivers quick-wit and dry humour with the skill of a marksman.

Donning an English accent and some intricate Jacobean gowns, though, Moore seems at home in the Jacobean era as we see how her character pushes her handsome son to seduce King James VI of Scotland and I of England (Tony Curran). It would make for great fiction if the history that the series is based on wasn't true, but we see how George is initially propelled into life in France to learn how to be a better gentleman. From fencing, dancing and learning French, George has what we'd nowadays describe as a 'gap year jaunt' to find out more about himself and in the process, comes to understand more about his own sexuality.

On his return to England, George is a new man and Mary takes the opportunity to push her son to audacious heights, namely to become one of the King's lovers. Sure, it puts a strain on their already rocky familial relationship, but this isn't a series that's hung up on the emotion of any scenario or any character. We follow our two leads – and even the King himself – as they navigate a mixture of personal emotions but find solace and refuge in other people, vices and the like. We never really know what each of them are feeling or thinking, remaining relatively surface level so as not to distract from the main King-centred mission at hand.

Galitzine shines through the series alongside Moore, delivering an initially heartfelt portrayal as a naive and sweet George, who quickly dons more of his mother's characteristics. The story is propelled by the pair embarking on similar parallel journeys of self-discovery and being underestimated by those around them – a shoutout has to go to Nicola Walker's particularly vicious antagonist Elizabeth Hatton. But with Mary and George always being two steps ahead, the series continues to provide unexpected twists you won't see coming.

One of the glorious things about Mary & George is that it not only shines a light on a lesser known chapter of British LGBTQ+ and royal history, it assuredly does away with the trauma that can often come from marginalised stories. Here, any sexual experience is simply the norm and rather than deal with homophobia or prejudice, the series is more concerned with anachronistic ideas of honour.

"Bodies are just bodies," George is told by his French mentor, and it's a phrase that you're reminded of throughout a series as refreshingly sex-positive as Mary & George.

Like any good psychological drama, there are a few surprises in the first few episodes alone, paving the way for what will surely be a delightful change in pace the further into the series we get. In those first episodes of the series, though, Mary & George suffers from feeling slightly sluggish in parts and loses some of that crucial momentum built up by our main characters.

Pacing aside, the third episode is a real turning point in the series and almost feels like the drama shifts into another gear entirely. It's no easy feat making historical shows totally bingeable, but Mary & George is like a good novel you can't help but keep leafing avidly through, intent on seeing how this snowball of chaos will unfold.

While the series can sometimes feel like you're seeing out the long game with our protagonists, there's no denying this is a totally moreish watch that'll leave you suitably obsessed with (or fearful of) the Villers in no time.

Mary & George comes to Sky Atlantic and NOW on Tuesday 5th March. Find Sky deals here. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on.

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