Reign - Recap: It Don't Run In Our Blood

Recap and review of Reign - Episode 12 - Royal Blood:

Reign is just about the easiest show in the world to get hooked on, given how deliciously over-the-top so many of its plotlines happen to be. "Royal Blood" is like a twisted, tragic horror story about a scorned, neglected "monster" taking her revenge against the mother that brought her into the world, all while the entire monarchy falls to pieces in panic. I've noted before that I really couldn't care less that the show takes a cavalier approach to history, since offering a textbook history lesson is not something this show has ever been interested in doing. This isn't to say there isn't an interesting, historically-accurate version of this story worth telling, but would any such version be this deliciously absurd? Seriously, Reign is nakedly entertaining in a way few primetime soaps ever manage to be, even while offering occasional glimpses of narrative depth.

Credit: The CW

"Royal Blood" introduces us to Queen Catherine's two youngest sons, boys who've only been referenced in passing. Thus, the well-being of these two boys, whom we've just met, ends up becoming the focus of nearly the entire episode...and it feels like a perfectly natural development. Their sudden importance in the wake of Bash's ascension is a very real byproduct of the tenuous nature of royal power. When Francis was in line for the throne, the boys were insignificant since they were second and third in line, respectively. But with Bash ascending to the throne, the boys suddenly become potential usurpers for those taking up Medici banners. Or, worse, the boys are seen as targets by those loyal to Bash's cause. And so Bash has to decide what kind of ruler he wants to be: the kind that eliminates all opposition, or the kind that still privileges royal blood, even if it means he allows two potential threats to his rule to live.

Of course, the attempt on the lives of young Charles and Henry isn't its own conflict in the early going, but rather an excuse for Mary (Adelaide Kane) and Bash (Torrance Coombs) to have a fight. But it's an impassioned argument, the kind that Kane and Coombs do so well. Mary wants the kids to remain in the castle, since she believes they'll be better able to protect them. Also, she kind of already promised Catherine (Megan Follows) she would keep the boys safe, and Mary intends to remain a woman of her word, even if it's a promise made to an enemy. Bash, however, feels that the boys would be safer if they were spirited away to a convent or some other safe spot, since they'll never be completely protected from people who want them dead. Both are valid points, and further develops the independent-minded, back-and-forth nature of Mary and Bash's relationship, as Bash is trying to come into his role as future ruler, while Mary is attempting to acclimate to the idea of Bash as her future husband. She forbids him from sending the boys away, arguing that she'll just get King Henry (Alan Van Sprang) to side with her, since she's the crux of the alliance with England. But Bash still finds a way to accomplish his goals, faking the boys' kidnapping during a planned trip to a winter faire. Mary is furious, and that's before she learns that the transport whisking the boys off to a safe place has been commandeered by Clarissa, who has abducted her brothers as revenge against Catherine.

Credit: The CW

Clarissa's story has been a tragic one, certainly, as it's a combination of rejection and misunderstanding that has brought her to this point. The episode never treats Clarissa as a full-on villain until the end, and even then, it's through the filter of her own sorrowful backstory, as she was made into this vindictive, spiteful person through no real fault of her own. I suppose it was ultimately her choice of whether she would allow her upbringing to make her wicked, but this isn't really a Hunchback of Notre Dame tale of outward appearance hiding inner beauty. I mean, she pretty much murdered Aylee, and nearly killed Nostradamus. Sure, she saved Mary and Catherine, but her actions in abducting the boys and then threatening to slit the throat of one of the boys took her over the moral event horizon. Thankfully, the entire situation doesn't end nearly as badly as it might have. Bash and Mary, along with Catherine, are able to catch up to Clarissa and the boys. The resulting standoff illustrates that the episode is as much about the royal blood between Catherine and Clarissa as it is about the royal blood Bash shares with the boys, if not more so. Earlier in the episode, Catherine was able to escape her cell by faking a suicide attempt with the help of Nostradamus (Rossif Sutherland), yet while she has the opportunity to finally leave France, to be free and clear from all the enemies that wish to kill her, she chooses to stay. Out of love for her sons.

Although Catherine tries to reason with Clarissa, with Mary's help, the poor girl wants nothing to do with her mother. Sure, she wants to believe her mother could somehow love her, but she's too far gone already. Clarissa holds young Charles at knife point, and nearly kills the boy before Mary comes to the rescue by bashing her in the head with a rock, killing her. Mary seems mortified upon realizing what she's done, but it comes with a certain understanding that Clarissa left no other recourse. Ultimately, Catherine is returned to her cell, but not before being afforded the opportunity to say goodbye to her sons, and to thank Mary for what she's done, in her own way. The matter is also resolved between Mary and Bash, as Bash decides to keep his half-brothers at court, and Mary apologizes for giving him an ultimatum in the first place. It's all undercut with bittersweet sentiment, however, as Clarissa's body is exposed of by the palace guards in a visual that is as achingly beautiful as it is hauntingly sad: as rays of sunlight cut through the forest like an image of Heaven, Clarissa's body is hauled away, and then tossed down a hill, where it comes to a stop. The guards don't even bother burying the girl. They simply place a crudely-made cross over her head to mark her resting place, saying it's "what that wretch deserves." And thus is the illusory nature of power, when one with royal blood (Clarissa) can be so carelessly discarded. I'm not surprised Clarissa's story ended here, but I kind of wish there'd been more to it. Although I will admit that it was tremendously effective for what it was, a grim outcast's tale to mirror the similarly outcast Mary (and Bash as well). It's all quite impactful.

But there are other major stories of note here. Well, maybe just one: Lola (Anna Popplewell) goes to a gambling den to rescue her brother from a debt he owes. She acquires the money by calling in favors, since she and her brother come from a landed, titled family. Yet once she gets there, the den owner refuses to accept anything less than a night with Lola -- and who should come to Lola's rescue but a man who suddenly has all the free time in the world to hang around gambling houses, Francis (Toby Regbo). I didn't even realize how much I missed the guy until he showed up to pretty much bail out both Lola and her brother by making a triple all-or-nothing bet. It's brazen stuff and shows that while Francis has lost his title and birthright, he hasn't lost any of his flair for brash heroics. And Lola is more than grateful, choosing to spend time with him alone in the room he's rented. I'm not sure I could see the Francis/Lola pairing as anything other than wildly random, since I didn't feel like the two characters had any chemistry.

Credit: The CW

But surely enough, as Lola tells Francis about everything that's been going on at court, and Francis drinks more wine in grim determination to put it all out of his head, it seems all the more inevitable that they'll hook up. Except they don't. At least not that night. Instead, Francis makes his move the next morning, with a clear head, though a heart that is heavy with the memory of Mary. He might say Mary is no longer a part of his life, and it might even be enough to convince Lola he's moved on, but it's clear there's still a lot gnawing away at him beneath the surface. Yet Francis and Lola get it on anyway, and I'll be absolutely floored if she doesn't end up pregnant from this. As it stands now, they part as friends, with the knowledge that they'll likely never see each other again -- except that goes out the window the minute Francis learns his mother is to be executed. Francis is heading back to court, and I imagine the results will NOT be pleasant for King Henry, or for anyone who gets in his way.

"Royal Blood" is a fun episode that, while not the most substantial hour of the season, still offers a lot of pure entertainment. This is a totally binge-worthy show, but it's just as addictive when the wait between episodes is considerably longer. That said, I kind of wish it were next Thursday already.