"Dear Billy II" [G] - 1/1

 

"DEAR BILLY II"

RATING: [G]
SUMMARY: A view of Charles Main's life as an Army officer on the Texas frontier during the summer of 1858, via a letter written to his best friend and fellow officer, Billy Hazard.
FEEDBACK: Be my guest. But please, be kind.
DISCLAIMER: Charles Main, Billy Hazard, Orry Main, Elkhannah Bent and all other characters related to the "NORTH AND SOUTH Trilogy" belong to John Jakes, Wolper Productions, and Warner Brothers Television.

AUTHOR'S NOTE: This story is a continuation of Charles Main’s experiences in Texas, first started in the story, "Dear Orry", and continued with "Dear Billy" and "Dear Orry II". The story is a combination of canon from the trilogies of both John Jakes’ novels and the television adaptations.

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"DEAR BILLY II"

August 16, 1858
Camp Cooper, TX

Dear Billy,

I had received your letter, written last March, along with two letters from Cousin Orry. Did you ever receive any letters from Cousin Brett recently? I realize that Orry remains reluctant to give you permission to ask for her hand in marriage. But don't lose hope. As long as you remain faithful in your intentions, he may soon realize that you are more than capable of taking care of Brett during these troubled times.

Speaking of troubled times, I hear that the country's political tensions have become tenfold, due to the upcoming elections in Congress. I . . . I'm sorry Billy, but I just can't keep this to myself any longer. Do you recall my writing to you about my new company commander? Captain Elkhannah Bent? That was over a year ago. I noticed in your last letter that your brother George had not mentioned him. Have you written to him about Captain Bent? I had written to Orry, asking if he knew the man at West Point or in Mexico. You see . . . I believe I have made a serious enemy and I don't understand why.  In my last letter to Orry, I had informed him that Captain Bent had ordered me to lead a detachment to rescue passengers from a wrecked stagecoach during a winter storm. That was child's play in compared to what recently happened between me and the Captain.

Two days ago, a farmer had arrived at the post to inform us that a local farmer named Lantzman and his family were beseiged by a band of Penateka Commanches near Phantom Hill. For once, Captain Bent had decided to lead a detachment that included myself, our first officer Lieutenant O'Dell, our Indian tracker and 20 troopers. I suspect he wanted to appear competent in the eyes of the commandant after being criticized for sending me out into that storm last winter. Upon our arrival at the Lantzmans' farm, we discovered that more Commanches had joined the siege around the house, leaving our detachment outnumbered 2 to 1. For a brief second, I wondered if Bent wanted to turn around and leave the Lantzmans to their fate. Only a second. I had suggested we dismount before we approach the house through the cornfield. However, Captain Bent insisted upon sticking to Army regulations. We rode through the cornfield and successfully reached the Lantzmans' homestead. Poor Mr. Lantzman had died from his wounds. And since we had remained mounted, our detachment lost four men, including Lafe O'Dell. This left me as the company's new first officer.

Billy, I hope that no one within the Army command will read or hear what I am about to reveal. Once our detachment ended up trapped inside the house with the Lantzmans, I realized that we needed to make our escape as soon as possible. However . . . Captain Bent expressed reluctance to leave, especially after we discovered that the Commanches had killed the two troopers he had sent to inform Camp Cooper of our situation. I am not accusing the Captain of cowardice. After all, the man was a veteran of the war in Mexico. But I suspect that for a brief moment, our situation nearly overwhelmed him. I was forced to assume temporary command and ordered the detachment and the Lantzmans to get the hell out. I can imagine your reaction to what I had just revealed. However, I had no choice. With the messengers dead and twice the number of Commanches encircling us, there is no way in hell we would have survived if we had remained inside that house. We finally made our escape, galloping through the cornfield. A Commanche warrior managed to wound my shoulder and I would have been left behind if a trooper named Tannen had not come back for me.

The Commanches chased us for at least an hour before we finally managed to evade them. Captain Bent complimented for getting the men and the Lantzmans away from the Commanches. He also informed me that he planned to charge me with disobeying his orders to remain at the farmhouse. Needless to say, I found myself in a fix.

Billy, you would be surprised to learn what saved me and my Army career. Our detachment and the Lantzmans stopped for a rest after finally evading the Commanches. During that period, the Captain . . . how can I put this on paper? Captain Bent became attracted to young Martha Lantzman. She is 12 years old. Worse, the Captain tried to make his feelings known to her. Who knows what would have happened if I had not appeared? He had already had his hands on her. Mrs. Lantzman and her sons threatened to charge Bent with attempted sexual assault. I convinced them to allow the matter to pass, considering no harm came to young Martha. A part of me feels ashamed of what I did next. Another part felt a sense of satisfaction. The Captain thanked me for saving him from possible criminal charges. I received his thanks . . . and suggested that he drop the charges of disobeying his orders at the Lantzman farm. I also added that if he persists in pressing charges against me, I will summon Mrs. Lantzman to testify on my character and "the characters of others". Needless to say, I will not be facing a court-martial for disobeying the Captain.

Captain Bent, me and Lafe received commendations for the Lantzmans' rescue. Poor Lafe's commendation was posthumous. I have submitted a letter to the Department, suggesting a promotion for Private Tannen for saving my life. Orry would be pleased to learn of my commendation. I must admit that I feel a slight sense of satisfaction. But this satisfaction feels slightly tainted by what had transpired between the Captain and me. Not long after our return, he requested for medical leave in San Antonio. This has left me as the temporary commanding officer of Company K. And this has left me with the task to write letters to the relations of Lafe O'Dell and the other men who had denied. A very unpleasant task.

I realize that I have betrayed my promise to maintain discretion over what happened between Captain Bent, the Lantzmans and myself. However, as my closest friend, I felt you should have a clear understanding on what kind of man you might be dealing with, should you ever find yourself under Captain Bent's command. And never did I imagine I would find myself resorting to blackmail to save my hide, but I do believe Captain Bent did not deserve any restraint on my part. He is not an honorable man. No honor at all. And I am not quite certain if he is truly sane.

Billy, I am certain you will be discreet over what was written in this letter. And be patient with Cousin Orry. I am certain that sooner or later, he will give you permission to propose marriage to Cousin Brett. Take care Billy. I hope to hear from you soon.


Your friend always,


Charles Main

Southern Belle Fashionistas

 

Below are images featuring my favorite costumes worn by two Southern Belle characters in fiction - Scarlett O'Hara from Margaret Mitchell's 1936 novel and its 1939 movie adaptation, "GONE WITH THE WIND"; and Ashton Main from John Jakes' 1982-1987 literary trilogy and its 1985-1994 television adaptation, "NORTH AND SOUTH" Trilogy:



SOUTHERN BELLE FASHIONISTAS

I may have mixed feelings about the 1939 movie, “GONE WITH THE WIND”, I cannot deny that I really liked some of the costumes designed by Walter Plunkett for the story's protagonist, Scarlett O'Hara Hamilton Kennedy Butler.  Here are my five (5) favorite costumes:

Wedding Dress - The dress that Scarlett wore when she married Charles Hamilton

Christmas 1863 Dress - Scarlett wore this outfit when she bid good-bye to Ashley Wilkes at the end of his army furlough around the Christmas 1863 holiday.

Marriage Announcement Dress - She wore this dress when she informed her sisters and the Wilkes about her marriage to second husband, Frank Kennedy.

Businesswoman Dress - Scarlett wore this outfit in one scene featuring her role as manager of her second husband Frank Kennedy’s sawmill.

Post-Honeymoon Visit to Tara Dress - Scarlett wore this dress when she and third husband Rhett Butler visited Tara following their honeymoon.

Sawmill Visit Dress - Scarlett wore this dress when she paid a visit to Ashley Wilkes, who was manager of the sawmill she had inherited from Frank Kennedy.

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I am a fan of the ABC adaptations of John Jakes’ “NORTH AND SOUTH” Trilogy.  Among my favorite costumes worn by the character, Ashton Main Huntoon Fenway, and designed by Vicki Sánchez, Robert Fletcher and Carol H. Beule.  Here are my favorite costumes: 

Mont Royal Ball Gown - Ashton Main wore this gown at the ball held at her family’s plantation during the summer of 1854.

Wedding Gown - Ashton wore this gown when she married her first husband, James Huntoon in 1856.

Richmond Ball Gown - Ashton Huntoon wore this ballgown when she met Elkhannah Bent at a reception held in Richmond, Virginia in July 1861.

Day Dress - Ashton wore this dress during her first visit to Elkhannah Bent’s Richmond home during the summer of 1861 and when she was married to salesman Will Fenway in 1866-67.

Huntoon Reception Dress - Ashton wore this dress at a reception she and her husband James Huntoon had hosted at their Richmond home in November 1861.

Evening Dress - Ashton wore this dress during an evening visit to Bent’s Richmond home in August 1862.

Travel Dress - Ashton wore this dress during a visit to her family’s plantation, Mont Royal, in August 1863.

Factory Visit Dress - Ashton wore this dress when she paid a visit to her husband Will Fenway’s Chicago piano factory in 1868.

List of Historical Fiction Series

Below is a list of popular historical novels that are a part of a series: 


LIST OF HISTORICAL FICTION SERIES



1. The Forsyte Saga (1906-1921) by John Galsworthy - Nobel Prize winning author John Galsworthy wrote and published a series of three novels and two interludes about members of an upper middle-class English family between the 1870s and 1920s.





2. Poldark Saga (1945-2002) by Winston Graham - Set between 1783 and 1820 is a series of twelve novels about a former British Army officer and Revolutionary War veteran, his struggles to make a new life and renew his fortunes following his return to Cornwall after the war.





3. The Asian Saga (1962-1993) by James Clavell - This series of six novels centered on Europeans - especially the Struans-Dunross family - in Asia and the impact of both Eastern and Western civilization between the the early 17th century and late 20th century.





4. The Raj Quartet (1966-1975) by Paul Scott - Paul Scott wrote this four novel series about a group of Europeans during the last five years of the British Raj in India.





5. Flashman Papers (1969-2005) by George MacDonald Fraser - Journalist George MacDonald Fraser wrote a series of novels about the exploits of a cowardly British Army officer during the Victorian Age, between 1839 and 1894. The Harry Flashman character was originally a minor character in Thomas Hughes' 1857 novel, "Tom Brown's School Days".





6. Beulah Land Trilogy (1973-1981) by Lonnie Coleman - This three-volume series told the saga of a Savannah belle named Sarah Pennington Kendrick and her years as mistress of a Georgia cotton plantation called Beulah Land, between the early Antebellum Era and the late Gilded Age. 





7. The Kent Family Chronicles (1974-1979) by John Jakes - Also known as "the Bicentennial Series", author John Jakes wrote a series of eight novels to commemorate the United States' 200th Bicentennial that centered on the experiences of the Kent family from 1770 to 1890.





8. American Civil War Trilogy (1974; 1996-2000) by Michael and Jeff Shaara - Michael Shaara wrote the Pulitzer Prize winning novel, "The Killer Angels" in 1974, which was about the Battle of Gettysburg during the Civil War. A few years after his death, his son Jeff wrote both a prequel (set during the first two years of the war) and a sequel (set during the war's last year); creating a trilogy of the three novels.





9. The Australians Series (1979-1990) by William Stuart Long - Set between the late 18th century and the late 19th (or early 20th) century, this literary series followed the experiences of the Broome family in Australia and other parts of the British Empire.





10. North and South Trilogy (1982-1987) by John Jakes - John Jakes wrote this literary trilogy about the experiences of two families - the Hazards of Pennsylvania and the Mains of South Carolina - between 1842 and 1876.





11. The Savannah Quartet (1983-1989) by Eugenia Price - The four novels that make up this series is centered around a Northerner named Mark Browning who moves to the birthplace of his Savannah-born mother and his relationships with his family, friends and neighbors between 1812 and 1864.





12. Wild Swan Trilogy (1984-1989) by Celeste De Blasis - Set between 1813 and 1894, this literary trilogy focused on a young English immigrant named Alexandria Thaine, her two husbands and her descendants in England and Maryland.





13. Outlander Series (1992-Present) by Diana Gabaldon - This current literary series focuses upon a World War II nurse named Claire Randall, who embarks upon a series of adventures after she travels back in time and fall in love with an 18th century Highland warrior named Jamie Fraser.

"NORTH AND SOUTH: BOOK II" (1986) - Episode Six "March-April 1865" Commentary

"NORTH AND SOUTH: BOOK II" (1986) - EPISODE SIX "March-April 1865" Commentary

I hate to say this, but whenever I watch "NORTH AND SOUTH: BOOK II", I usually heave a sigh of relief after the last episode fades away. I have never done this with the other two miniseries - "NORTH AND SOUTH: BOOK I" and "HEAVEN AND HELL: NORTH AND SOUTH BOOK III". But with the 1986 production, I usually do. There is something about watching this particular production usually ends up as hard work for me. 

Episode Six of "BOOK II" began at least a month after Episode Five ended. This episode began with Orry Main hiring a former Pinkerton detective to find his missing wife, Madeline Fabray LaMotte Main. The latter continues her efforts to feed Charleston's poor by appealing to Union general William Tecumseh Sherman. With nothing else to do, Orry has no choice but to help the Confederacy defend Richmond, Virginia; which is under siege from the Army of the Potomoc under Ulysses S. Grant. The episode eventually leads into the Battle of Fort Stedman, in which Orry, his cousin Charles, George and Billy Hazard all participate. The Union victory at Fort Stedman eventually lead to another military victory for the Army of Potomoc and Confederate General Robert E. Lee's surrender to Grant at Appomattox Court House. Once the episode puts these series of historical events behind, Episode Six refocuses on the main characters' personal lives. 

Episode Six closes more story arcs that began in Episode One than the previous episode did. The consequences of Charles Main and Augusta Barclay concludes in one stage and begins in another that will continue in 1994's "HEAVEN AND HELL: NORTH AND SOUTH BOOK III". The war's end leads to a final romantic reunion for Billy and Brett Hazard. In fact, the Charles/Augusta and Billy/Brett relationships were not the only ones that came to fruition in this episode. Episode Sixalso resolved the romance between Semiramis and Ezra, with the former finally acknowledging her love for the latter. And yes, Orry finally finds Madeline and their son with the help of George and Madeline's attorney, Miles Colbert. With war, there is always the chance for tragedy. While tragedy of one kind marked John Jakes' 1984 novel, another kind of tragedy ends Virgilia Hazard's relationship with Congressman Sam Greene and her character arc, which began in "BOOK I". Tragedy also occurred during the attack upon Mont Royal near the end of the episode. Irony also seemed to be hallmark of this attack, for it was led by an alliance between former Mont Royal slave Cuffey and former overseer Salem Jones. I found it ironic that a black man and a white man, former enemies due to their positions as slave and overseer, should form an alliance against the very family that had controlled their lives in one form or another. Non-elites of two different races uniting against the elite. Talk about a rich man's worst nightmare. 

There was a good deal about Episode Six for me to praise. One of the miniseries’ strengths has always been its battle scenes. And this particular episode featured an exciting interpretation of the Battle at Fort Stedman. As I had earlier noted, this episode also featured a poignant recreation of the Surrender at Appomattox. There were some dramatic scenes that I found very satisfying. One of them included George and Orry's emotional reunion following the Appomattox surrender and Charles' return to Barclay's Farm. A part of me realizes this might be wrong, but I felt a great sense of satisfaction in the way Virgilia dealt with her situation with Congressman Sam Greene. However, her act landed her in serious legal trouble and a very tearful reconciliation with her brother George. Last, but not least was Cuffey and Salem Jones' action-packed assault on Mont Royal.

I have to give credit to several people for the manner in which both the action and dramatic sequences in this episode. One of them is Kevin Connor, who I must admit did a pretty solid job in helming this six-part, 540-minutes juggernaut for television from a script filled with plot holes. I also have to comment upon the work of cinematographer Jacques R. Marquette, whose excellent photography of the miniseries added a great deal of pathos to a story about one of the United States' most traumatic periods in its history. I was especially impressed by how he handled the Fort Stedman sequence. Bill Conti's score contributed a great deal to the production's narrative. And I was also impressed by the work of the six men who served as the miniseries' film editing team, especially for the Fort Stedman and Mont Royal attack sequences. And as usual, Robert Fletcher knocked it out of the ballpark with his costume designs . . . especially for the outfits shown in the images below: 

 

Judging from Fletcher's filmography, I suspect that "NORTH AND SOUTH: BOOK II" was his best work on screen - movies or television.

"NORTH AND SOUTH: BOOK II" also featured some fine performances. Aside from one particular scene that I found particularly hammy, I was satisfied with the performances featured in this episode. For me, the best performances came from Patrick Swayze, Lloyd Bridges, Parker Stevenson, Forest Whitaker, Tony Frank, David Ogden Stiers, Jean Simmons, Inga Swanson, John Nixon. I was especially impressed by James Read and Kirstie Alley's performances in the scene that featured George and Virgilia's emotional reconciliation and discovery of President Abraham Lincoln's assassination. And the poignancy in the Appomattox surrender sequence greatly benefited from Anthony Zerbe and William Schallert's portrayal of Generals Ulysses S. Grant and Robert E. Lee. On a minor note, if you look carefully during the miniseries' last half hour, you might spot future star Bryan Cranston as a Union officer whom George questions about Orry whereabouts, following the Fort Stedman battle.

Although there seemed to be a good about Episode Six that strikes me as praiseworthy . . . and there is, I found a good deal that I found problematic. Which strikes me as a pity, for the emotional levity featured in this episode could have made Episode Six my favorite in the entire miniseries. Alas . . . I have too much to complain about. Three of my problems centered around the Charles Main character. First of all, two months after he last saw Augusta Barclay inEpisode Five, Charles discovered that he was the father of an infant boy. Apparently Augusta had died while giving birth to their son. Unfortunately . . . Augusta DID NOT look pregnant during her last meeting with Charles. And considering that they had made love in the previous episode, her pregnancy should not have come as a surprise to him. To make matters worse, young Augustus Charles Main looked as if he had been conceived nearly two years ago. Honestly. The kid looked at least one year old. And Charles and Augusta had started their affair eleven months before the end of the war. Unlike Jakes' novel, Charles found his son being cared for by Augusta's South Carolina relatives in Charleston. Really? Was that necessary? I found it ridiculously convee-ee-ee-ient that Augusta had Charleston relatives, who managed to be in Virginia at the time she gave birth to her son. My second problem with Charles is the fact that it took him less than a week to travel from Spotsylvania County, Virginia to Charleston, South Carolina. Less than a week? On horseback? Charles' journey should have taken him longer. This seemed like an extreme reversal of Brett and Semiramis' ludicrous four-month journey from Washington D.C. to Mont Royal. 

Quite frankly, I felt a bit put out that the screenwriters (which include John Jakes) dumped a tragic ending to Virgilia Hazard's story arc. Unlike the miniseries, Virgilia survived her affair with Congressman Greene and ended up marrying another black man - the same man who had befriend George, Constance and Brett in the novel. Apparently, Wolper Productions felt that since Virgilia's five-year marriage had ended in tragedy, it seemed proper to give her a tragic ending, as well. Or perhaps many of the trilogy's fans had found Virgilia's radical politics and marriage to Grady so off-putting that David Wolper and the screenwriters had decided to appease them by giving her a tragic ending. Regardless their reason, I found Virgilia's tragic ending very annoying and clichéd. As much as Patrick Swayze's portrayal of Orry Main had impressed me in this episode, there is one scene in which his acting skills failed to impress. I hate to say this, but I cannot hold it back. I refer to the scene in which Orry finds the body of his mother Clarissa Main, following the attack upon Mont Royal and expresses his grief. Can I say . . . OVER-THE-TOP? Seriously. I found it to be one of the hammiest moments in the entire television trilogy.

But the episode's real problems were made obvious during the Fort Stedman battle sequence. Granted, I was impressed by the visual style of this segment. But I noticed the screenwriters went out of their way to ensure that the major four military characters - George, Billy, Orry and Charles - all participated in this battle. In ensuring this, the screenwriters committed a great deal of inconsistencies and bloopers. Orry led a group of infantry troops into battle for the first time, since the Battle of Churubusco, nearly eighteen years earlier. Personally, I never saw the need for him to be put into the field. The Army of Northern Virginia still had enough commanders to lead men into battle. One of the officers under his command proved to be Charles. Charles? Charles, who spent the entire war as a cavalry officer and scout under Wade Hampton III? I am aware that Charles had led infantry troops during the Battle Antietam, during Episode Three. And I had pointed that this was a major blooper. Yet, the screenwriters repeated this same blooper by allowing him to lead infantry troops again during the Battle at Fort Stedman . . . this time, under Orry's command. Also leading infantry troops for the Union was George Hazard. Now, I am baffled. George had command of Artillery troops during the Battle of Gettysburg in Episode Three and when he was captured during Episode Four. Could someone explain why the screenwriters had decided to have him lead Infantry troops in this episode? Among the troops under George's command proved to be his brother Billy, who continued to serve with the Sharpshooters. It was bad enough that the writers had Charles serving under Orry during this battle. But they had Billy serving under George, as well? There is more, folks. Not only did Billy continued to serve with the Sharpshooters, he also seemed to be in command of them. For, I saw no other officers during this scene. I am aware that Hiram Burdan was no longer in command of this regiment by the end of the war. But what happened to the other officers in the regiment? What happened to Rudy Bodford and Stephen Kent? They seemed to have disappeared. And how did Billy end up in this position, considering that he had spent nearly 10 months AWOL between the summer of 1863 and the spring of 1864? What the hell, guys? Come on!

Do not get me wrong. There is still plenty to admire about "NORTH AND SOUTH: BOOK II". Like its predecessor,"NORTH AND SOUTH"; it has its share of good acting, exciting sequences, drama, superb production values, and probably the best costume design in the entire trilogy, thanks to Robert Fletcher’s work. Unfortunately, the 1986 miniseries has its share of major flaws that included clunky dialogue and probably some of the worst writing in the entire trilogy. And when I say the entire trilogy, I am including the much reviled "NORTH AND SOUTH III: HEAVEN AND HELL". "NORTH AND SOUTH: BOOK II" might be my least favorite chapter in the television trilogy, thanks to a great deal of plot holes and historical inaccuracies . . . I still managed to enjoyed it anyway.

NORTH AND SOUTH: BOOK II" (1986) - Episode Five "December 1864 - February 1865"

"NORTH AND SOUTH: BOOK II" (1986) - EPISODE FIVE "December 1864 - February 1865" Commentary

"NORTH AND SOUTH: BOOK II" finally reached its home stretch in Episode Five, the penultimate episode. Well . . . almost. Beginning several weeks after the end of Episode Four, Episode Five continued the miniseries' portrayal of the Civil War's last year for the Hazards and the Mains. It also put three or four subplots to rest. 

Episode Five opened with George Hazard still imprisoned inside Libby Prison in Richmond, Virginia. The episode also continued with Madeline Main's efforts to feed Charleston's poor and war refugees, Charles Main and Augusta Barclay's wartime romance, and the survival of Mont Royal's remaining inhabitants. Episode Five also closed several subplots that included Stanley and Isobel Hazard's war profiteering, Elkhannah Bent and Ashton Main Huntoon's plot against Jefferson Davis' administration, and Madeline's relationship with former officer Rafe Beaudine. 

This episode featured some excellent dramatic moments. Lewis Smith certainly shined in his portrayal of Charles Main, who had hardened considerably after three-and-a-half years of war. This was especially apparent in scenes that included Charles' reluctance to help his cousin Orry Main rescue George Hazard from Libby Prison, his cold-blooded killing of a Union prisoner, his attempt prevent fellow scout Jim Pickles from deserting and his emotionally distant attitude toward lady love Augusta Barclay and her manservant, Washington. Another well acted scene featured Brett Main Hazard and Semiramis' encounter with former Mont Royal overseer, Salem Jones. Watching Erica Gimpel point a shotgun at Tony Frank, considering their characters' past history, brought a smile to my face. I also enjoyed the poignant scene between Brett and her mother, Clarissa Main, while the latter painfully reminisced about the past; thanks to Genie Francis and Jean Simmons' performances. And both James Read and Jonathan Frakes knocked it out of the ballpark in the scene that featured George's confrontation with Stanley and Isobel over their war profiteering. They were supported by fine performances from Wendy Kilbourne and Mary Crosby.

But another truly superb performance came from Terri Garber, who got a chance to portray Ashton Huntooon's increasing doubts over Elkhannah Bent's scheme against Davis. This was especially apparent in one scene in which Ashton silently expressed shame over her willingness to prostitute herself to a potential contributor for Bent's plot. She received fine support from Jim Metzler as her husband James Huntoon and Patrick Swayze as Orry Main. But I felt that Philip Casnoff's Bent nearly became slightly hammy by the scene's end. Even Lesley Anne Down and Lee Horsley managed to shine as Madeline and the infatuated Rafe Beaudine. But I must admit that I found one of their later scenes slightly melodramatic.

Yet, despite these dramatic gems, I was not particularly impressed by the writing featured in Episode Five. I had a problem with several subplots. One, I had a problem with the subplot involving Stanley and Isobel's profiteering. It made me wish the screenwriters had adhered to author John Jakes' original portrayal of the couple in his 1984 novel, "Love and War". I felt this subplot had ended with a whimper. It was bad enough that George had killed Stanley and Isobel's partner in a bar fight. But aside from the dead partner, the only way the couple could face conviction was to confess. And I found it implausible that a remorseful Stanley would still be willing to do that after receiving an earful of angry insults from George. Very weak.

Episode Five also allowed Madeline and Bent's subplots to interact for the purpose of killing off Rafe Beaudine. Frankly, I found the idea of Bent traveling from Richmond to Charleston for more funds . . . only to be told to seek hard cash from"the Angel of Charleston" - namely Madeline. The latter recruited a retired stage actress portrayed by Linda Evans to impersonate her and discover Bent's plans. And what was Madeline's next act? She left her boarding house (in the middle of the night) to warn . . . who? The script never made it clear about whom Madeline had intended to warn. Why? Because her night time task was interrupted by Bent, who had recognized the stage actress. And before Bent could lay eyes upon Madeline, Rafe comes to her rescue. What can I say? Contrived.

I also found Bent's scheme to get rid of Jefferson Davis and assume political and military control of the Confederacy rather ludicrous. Audiences never really saw him recruit any real political support for his scheme . . . just money from various wealthy Southerners. The screenplay never allowed Bent to make any effort to recruit military support for the weapons he had purchased. In the end, I found the entire subplot lame and a waste of my time.

And finally, we come to the efforts of "Madeline the Merciful" to find food for Charleston's poor. Personally, I found this subplot ludicrous. Madeline did not bother to recruit other women from Charleston's elite to help her. And I suspect some of them would have been willing to help. I also found this subplot extremely patronizing. Again, it seemed to embrace the"savior complex" trope to the extreme. The subplot seemed to infantilize all social groups that were not part of the city's white elite or middle-class - namely fugitive slaves, working-class whites and all free blacks. I found this last category surprising, considering that the screenwriters failed to acknowledge that not all free blacks were poor. In the end, this entire subplot struck me as a white elitist fantasy that Julian Fellowes would embrace.

The production values featured in the episode struck me as top-notch. Both director Kevin O'Connor and the film editing team did excellent work for the actions scenes in Episode Five. I found myself impressed by the scenes that featured George's escape from Libby Prison, his bar fight with Stanley and Isobel's profiteering partner, Bent and Rafe's fight in Charleston and the former's encounter with Orry and the Huntoons back in Virginia. More importantly, Robert Fletcher continued to shine with his outstanding costume designs, as shown in the following images:

  

Yes, Episode Five featured some fine dramatic moments and performances. It even featured some solid action scenes. But . . . I was not particularly happy with most of the subplots. I also found the ending of one particularly subplot rather disappointing. No one felt more relieved than me when Episode Five finally ended.