But not everyone responded in such a gratifying way.
Hirst and I talked at length about the long legacy of negative stereotypes of Anne, and the tendency of fiction-writers and some historians to simply re-cycle them.
And says a lot about the intelligence of that audience.
Young girls struggling to find their identity, find their place, in this supposedly post-feminist era understood what I was doing”.
It was a constant struggle, because the original script had that tendency to polarize women into saint and whore. I tried to fight that wherever I could, and because Michael Hirst and I were friends, and he had respect for my knowledge of history, I did manage to accomplish a bit.
It was both inspiring and depressing when I got letters from young women, saying that it was so fascinating to watch me play a two-dimensional characterization of such a strong, powerful, clever and yet beautiful woman.
The fact that it was so unusual for them to have an inspiring portrait of a spirited, strong, young woman–that’s devastating to me.
That surprised me because I hadn’t written it that way—I didn’t think Anne was a manipulative bitch, but a lively, complex woman–but they couldn’t get out of this system of thought we’ve talked about.
“I didn’t even know if we’d be picked up for a second season at that point, and Anne was one of many people swimming in the ether.
Wolsey and More—and of course Henry–were the more dominant figures.” His ultimate goal was to introduce television viewers to the tumultuous events behind the English Reformation.
The reality is that viewers don't want to see an obese, red-haired guy on a TV series. I'd rather be happily married than be a king, any day.
I mean, I wouldn't like to see somebody who looked like Henry when he was older having sex.