katepearson1949 Excellently entertaining series with some interesting slants on the history but I appreciate that the writers did not set out to create a drama-documentary. Although they did incorporate some historical accuracy, anyone not knowing the real history of the Civil War could/would be very confused by some of the content. The real Thomas Rainsborough did not marry someone called Angelica Fanshawe and he is buried in the now disappeared graveyard of St John's, Wapping.Pity that IMD have posted a picture of John Simm/Sexby's stand-in rather than JS/Sexby himself!!!!!I am also totally stunned that the makers of the series insisted that they could not find suitable filming locations in the UK. I could have suggested any number of suitable locations both privately owned (but the owners have allowed filming) and NT or English Heritage. It seems amazing that with so much Tudor and Jacobean property here, not to mention forests etc that they deemed it necessary to ship cast and crew several thousand miles away to South Africa.

samkan I'm accepting TDW as something designed for television and for that reason necessarily had to compromise its script, sets and melodrama to please the medium. Even assuming such, the story was captivating, the acting exceptional, and the sets and action convincing, if relatively modest. A few of the commenters herein have far better knowledge of this period of England's history and I cannot pass judgment on historical accuracy, though again, a mass TV audience might be less interested in such. Let me suggest that, if TDW didn't fit the historical facts too well, it certainly presented the intrigue, betrayal, ambiguity, futility and tragedy that certainly resulted from the period's events. But I've a biased view. At fifty-eight I find myself less enamored with kitten-like sexpots and more wooed by earthy beauty like that of Miss Riseborough. I probably would've still clapped at the end if her Angelica had been crowned Queen.

steven-222 An amazingly compact narrative packs a remarkable amount of emotion and philosophical musing into a sweeping narrative; this is television that delivers all the satisfactions of the old-fashioned novel.With a title like "The Devil's Whore" we are prepared for a rip-roaring bodice-ripper...and while bodices are indeed ripped...nay, shredded!...there is oh so much more going on here. Love long-denied over decades of tumultuous civil war, labyrinthine tests of loyalty, vengeance played out over decades, and various other devices create a nonstop narrative drive; try coming to the end of one episode without wanting to watch the next one at once. But at the very heart of this story is an inquiry into the deepest questions of existence: who are we amid our fellow humans, what force or forces rule the universe, and what does freedom really mean? A restless intelligence moves through this story, suffusing it with heartbreaking insight.Kudos to the whole cast, to a counter-intuitive musical track, and to the splendid visual sense that informs the whole production.The only thing that stops me from giving 10 stars is a certain dissatisfaction with the ending. Granted, the filmmakers face an almost impossible task to create a moment of transcendence to match all that has come before. Maybe on a second viewing I will change my mind about that.

paul2001sw-1 Peter Flannery wrote one of the finest dramatic accounts of recent history, the epic television series 'Our Friends in the North', but sadly, his attempt to write about the English Civil War is a far inferior affair. To me, the essence of good historical drama is that it distances us from our own times, and allows us to see how others could have held positions that seem to us indefensible; but 'The Devil's Whore' invents a fictitious female heroine, beautiful and anachronistically feisty (and involved in a story line that could have been borrowed from 'Thelma and Lousie'!) who seems to exist for the sole purpose of allowing us to judge the past through a modern pair of eyes. The writer also clearly wanted a share of the market for posh-frock romances, and the possibility of a happy end, while also putting this unlikely figure on the "right" side of the conflict - hence, wholly implausibly, our heroine is rendered as an aristocratic Leveller. The drama's general sympathy for the Levellers (and associated proto-socialist movements) is also overdone, in that the characters with attractive politics are consistently shows to be morally superior, and more likable, than those without. Against, the contrast with 'Our Friends', whose general sympathies for the Labour cause did not reduce the story to a black and white tale, is clear. The only really interesting character in this story is the Charles I, knowledge of whose execution perhaps invokes a certain involuntary sympathy on the part of the viewer, and who is suavely played by Peter Capaldi. But overall, 'The Devils Whore' is part Hollywood narrative , part Jane Austen and a sprinkling of socialism: an odd combination, and a disappointment compared with Flannery's best.