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Survive the seemingly never-ending gauntlet of requests from your advisors, peasants, allies, and enemies while maintaining balance between the influential factions of your kingdom. Each year of your reign brings another important — seemingly random — request from your unpredictable kingdom as you strive for balance between the church, the people, the army, and the treasury.
Prudent decisions and careful planning make for a long reign but unforeseen motivations, surprise events, and poor luck can take down even the most entrenched monarch.
Extend your reign as long as possible, forge alliances, make enemies, and find new ways to die as your dynasty marches along through the ages. Some events will span on centuries, with an intrigue involving burning witches, scientific enlightenment, wicked politics and, maybe, the Devil himself.
"All It Cost Her..."
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Reign (season 2) - Wikipedia
View details. Flag as inappropriate. Visit website. See more. Reigns: Her Majesty. Swipe and be the Queen! Reigns: Game of Thrones. You remember her! Previous attempts at closure were iffy; offhand, I can think of only a handful of stories that played out with lingering ramifications rather than being dropped into the Plot Pit out back.
In a lot of ways, Reign had hit the limits of its narrative.
It lingered for three seasons in France, partially because the romance was thickest there, and partially because everything that came after it was the beginning of a downward spiral; by the time Mary was in Scotland, it was a narrative sonic boom. Its combination of overclocked pacing and weird plot eddies meant it was hard to get a bead on the stakes for more than a few episodes at a time, and the rotating cast and weird neglect of the old-timers made it hard to get people too interested in new folks.
The show began to develop systemic amnesia.
That baby, like so many, has vanished from this story. But in the broad strokes, there was something almost admirable in its ambition: To tell a story about young women and power using a woman whose entire legacy was her mistakes.
Beside Mary was a husband chosen for her, a disastrous match she made for herself, and a man who may or may not have kidnapped her. Modernizing her story—and in a show that often sidestepped historical costumes in favor of Valentino, McQueen, and Anthropologie, modernizing was absolutely the goal—meant accepting that no matter how many times Mary got a sidelong victory, it was futile.
She was going to lose Scotland. She was going to lose her son. She was going to lose her life. At first, it leaned hard on the built-in tensions of a love triangle—Mary betrothed to Francis but seeking comfort from his bastard brother Bash—as the entry point for the high-stakes power brokering going on amid the monarchies.
"All It Cost Her..."
The occult sorcery was its own problem. After Francis died, Mary slowly became unmoored, returning home to political unrest and the inevitability that Elizabeth was better at statecraft than Mary was. Some of its historical fudging was trying to ameliorate this: how much older and impassioned she and Francis were, how much more pragmatic she was with Darnley. Downfall is one thing; foolishness, no. At its best, Reign used all this to tackle legacy, and the complications of power and responsibility.
Catherine was obsessed with legacy; Mary was trying to use it to advantage without vanishing inside it. But this sort of plot worked best with genuinely thorny problems—say, plague in the countryside preventing the movement of grain supplies, and trying to fix it so the fewest people died. With more sensationalist plot twists, things could go sideways in a hurry. And every time Mary triumphed—particularly in moments where history was slightly askew already—there was always the question: Will this be what saves her? Elizabeth was always going to have that much more foresight, that much less compunction; she was out to make a legacy for herself.
Greer, Bothwell, the Valois line: Plot Pit.