Anyone even vaguely familiar with British history will be familiar with that of Anne Boleyn, Henry VIII’s second and most notorious wife. Even now, centuries after her decapitation, she remai…
, Henry VIII’s second and most notorious wife. Even now, centuries after her decapitation, she remains a uniquely enigmatic figure: a canny woman who so charmed a king that he threw away generations of tradition to divorce his wife and reject the church to be with her. Anne’s been portrayed innumerable times; even now, she and the rest of the wives take to Broadway six nights out of seven in a sparkly new “her-story.
This three-episode “Anne Boleyn” series, premiering Dec. 9 on AMC Plus after an earlier U.K. premiere on Channel 5, makes obvious efforts to differentiate its portrayal of Anne from any other. It picks up shortly before Anne’s final, damning miscarriage, which was not coincidentally just a few months before Henry decided he was done with her for good.
Tasked with depicting Anne’s very darkest days, Turner-Smith does all she can to bring the character to life, even as an over-explanatory opening scroll getting the audience up to speed tries to do her work for her before she gets the chance. She fully embodies Anne’s genuine lust and affection for her husband, grief at absorbing the pain of birthing a stillborn son, and disdain for the sham of a trial that a smugly victorious Cromwell steers towards the inevitable conclusion of her death.
And yet, neither Turner-Smith nor series’ sharpest scenes are the most explosive or devastating. Even as “Anne Boleyn” puts one foot in front of the other to get the queen to her terrible endpoint, weighted down by its own gravitas, its most compelling moments come when Turner-Smith gets to embrace Anne’s pettier, more impulsive instincts.
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