“The White Princess” is a slow-burning, atmospheric period drama about the end of the Wars of the Roses. It follows Elizabeth of York, daughter of Edward IV, as she marries Henry VII, the Lancastrian victor who defeated Richard III at Bosworth Field. The show is based on Philippa Gregory’s 2013 novel and its 2014 sequel The King’s Curse, and it serves as a direct follow-up to the earlier miniseries The White Queen.
STARZ premiered the series in April 2017, and it ran for eight episodes across two months. The production is visually lush, with sumptuous costumes and locations that evoke the late medieval era. But the show is less interested in spectacle than in family politics, power, and the weight of history. It is a story about how the past shapes the present, and how love can either save or destroy a marriage.
Trailer, via STARZ.
Elizabeth of York and Henry VII
Jodie Comer plays Elizabeth of York, and she brings a quiet intensity to the role. Elizabeth is a royal widow, having lost her husband Richard III, and she enters the marriage with a deep sense of loss. Her relationship with Henry VII, played by Jacob Collins-Levy, is central to the narrative. Their union is meant to heal the wounds of the Wars of the Roses, but the show is careful not to make their romance feel simple or sentimental.
Henry is a calculating man, and Comer and Collins-Levy play off each other well. There is genuine affection between them, but there is also suspicion, fear, and the constant pressure of the throne. The show understands that a royal marriage is a political contract first and a personal one second, and it refuses to ignore that tension.
The marriage is a bargain between two families, and the show explores what happens when the bargain starts to crack. Elizabeth is haunted by her dead husband, and Henry is constantly looking over his shoulder at the threats to his rule. Their scenes together are some of the best in the series, and they carry the emotional weight of the entire story.
Mothers, Wives, and Daughters
The show spends considerable time on the female characters around Elizabeth, particularly her mother, Elizabeth Woodville, played by Essie Davis. Woodville is a formidable presence, and Davis gives her a commanding performance. She is a widow herself, having lost her son Edward V, and she remains a powerful figure even after her son’s death.
The show also introduces Margaret Beaufort, played by Michelle Fairley, who is Henry VII’s mother. Margaret is a political force, and Fairley captures her cunning and ambition. The two women represent competing interests within the York family, and their rivalry drives much of the early plot. The show is at its strongest when it focuses on these women, whose lives are shaped by the men around them but who refuse to be passive.
Rebecca Benson plays Margaret Pole, and Caroline Goodall plays Cecily Neville. Both actresses bring depth to their roles, and their scenes add texture to the wider political landscape. The show also features Suki Waterhouse as Cecily of York, and Amy Manson as Catherine Gordon. These supporting characters give the series a sense of a full court, rather than a narrow focus on the main couple.
The Wars of the Roses and the Lancaster Victory
The show opens with the aftermath of Bosworth Field, where Richard III was killed. Henry VII’s victory ended the Yorkist claim to the throne, but the show makes clear that the conflict was not truly over. The Lancaster victory united the houses of York and Lancaster, but the show argues that unity is fragile. The marriage of Elizabeth and Henry is the symbol of that union, but the show suggests that the old hatreds die hard.
The series is careful to situate itself within the larger historical context. It shows the political maneuvering that followed the battle, and it depicts the fear and uncertainty that gripped the realm. The show does not glorify war, but it does not shy away from its consequences either. The battles are shown in brief, stark scenes, and the show focuses more on the human cost than on the spectacle.
The show also touches on the fate of Richard of Shrewsbury, played by Patrick Gibson. His story is a tragic one, and the show handles it with sensitivity. The show is at its most affecting when it deals with grief and loss, and Gibson’s performance is a highlight of the later episodes.
The Sequel to The White Queen
“The White Princess” is a sequel to the earlier miniseries The White Queen, which adapted three of Gregory’s previous novels. That show established the world and the characters, and this one picks up directly where it left off. The show assumes viewers are familiar with the earlier series, and it references events from it without slowing down.
The show is faithful to Gregory’s source material, drawing on both the original novel and its sequel. The adaptation is not a slavish copy, but it stays close to the book’s themes and events. The show takes its time with the story, and it allows the characters to breathe.
The show is structured as a miniseries, which means it has a clear beginning, middle, and end. It does not stretch out the story unnecessarily, and it resolves its main plotlines by the final episode. The pacing is deliberate, and the show trusts its audience to stay with it through the slower stretches.
The Cast and the Production
The show benefits from a strong ensemble cast. Jodie Comer, Jacob Collins-Levy, Essie Davis, Michelle Fairley, and the rest of the cast deliver performances that are grounded and emotionally honest. The show is a showcase for actors, and it gives them room to explore their characters.
The production values are high. The costumes are elaborate, and the sets are detailed. The show captures the opulence of the late medieval court, and it also shows the grim reality of life for those below the nobility. The show balances the grandeur of the palace with the squalor of the streets, and it does not let the luxury obscure the underlying violence of the age.
The show is a co-production, and it has a large budget. That budget is visible in the attention to detail, from the armor to the tapestries. The show is a visual feast, and it rewards close watching.
The Verdict
“The White Princess” is a thoughtful, well-made historical drama. It is not a fast-paced action series, and it is not a romantic fantasy. It is a serious exploration of power, family, and the cost of survival. The show is at its best when it focuses on the relationships between its characters, and it is weakest when it gets bogged down in exposition.
The show’s weakness is its pacing. Some episodes feel padded, and the middle stretch drags slightly. The show is not a quick watch, and it requires patience from the viewer. But the payoff is worth it. The final episodes are strong, and they resolve the story with dignity.
The show is a worthy successor to The White Queen, and it stands on its own as a compelling piece of television. It is a show that rewards close attention, and it is a show that lingers in the mind long after it is over.
“The marriage of Henry VII and Elizabeth of York effectively ends the Wars of the Roses by uniting the houses of Lancaster and York.”
That line captures the show’s central idea: that the past can be overcome, but only through great effort and sacrifice. The show is a reminder that history is not inevitable, but it is also a warning that the ghosts of the past are never truly gone.
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