Skins star Freya Mavor wreaks havoc in explosive TV appearance for BBC drama

Emilia Schüle and Louis Cunningham are back in the opulent of Versailles as ’s returns for a high-stakes second season.

But this time, the gilded palace walls can’t hold back the chaos. “Season one was like a walk in the park,” says Emilia Schüle, “Season two is much more high-stakes.”

Disorder looms for their characters, Marie Antoinette and Louis XVI, who are now navigating a new dynamic as parents. “They’ve settled into this new kind of platonic love,” says Louis Cunningham, “They’ve produced the heirs that they’re expected to. They’ve done their duty and they can lean into friendship.”

That emotional distance opens the door for Marie Antoinette to rekindle her romance with Count Axel von Fersen, newly returned from the American Revolutionary War. But peace is fleeting.

Their oldest son’s health deteriorates - Louis-Joseph suffers from spinal tuberculosis, historically known as . His tragic death in June 1789 would coincide with France’s descent into revolution.

But at the heart of that unravelling is a long-forgotten scandal involving ’s character, Jeanne de Valois. Though descended from Henry IV, Jeanne is no pampered royal.

“Her history is very traumatic and really dark,” says former star Freya. “She was hardened by the way she grew up. It’s made her incredibly decisive and ruthless. She will perform, lie and manipulate to get herself where she wants to be.”

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Raised in poverty, Jeanne becomes determined to infiltrate the upper echelons of French society by any means necessary - most notably by stealing a diamond necklace once gifted by Louis XV to his mistress, Jeanne du Barry.

Jeanne forges the Queen’s signature to obtain the necklace, setting off a chain reaction that accelerates France’s political crisis. “She definitely makes things difficult,” says Emilia, “She’s definitely one of the people that really harmed the reputation of the monarchy, alongside the economic collapse and Marie Antoinette’s questionable choices.”

The fallout is swift. Marie Antoinette is tried publicly, accused of masterminding the theft. “Both of Louis and Marie Antoinette’s reputations are on the line, but especially hers,” warns Louis, “Historically, without that public trial, things might have been quite different for them.”

The season’s emotional intensity wasn’t just felt on screen. The cast faced some of their most difficult scenes while filming in and around Paris. Emilia recalls dreading one scene in particular.

“There’s a major confrontation between Louis and Marie Antoinette regarding the state of their son’s health,” she says, “I was dreading that scene. It was scary because I don’t have children yet, it was very emotional.”

For Freya, the scenes depicting Jeanne’s comeuppance were hardest. “She doesn’t get away with it,” she says, “One scene was particularly difficult, but violence is always tricky to play.

Even if it’s all make believe, your body goes into a strange space. As a woman, enacting gender-based violence is always going to feel hard.” Fortunately, intimacy coordinators were on hand to support them.

Freya, known for her role as Mini McGuinness in Skins, embraced the opportunity to reconnect with her French roots - she was raised in La Rochelle - though this wasn’t her first European production.

She notably starred opposite in The Emperor of Paris. But to tap into Jeanne’s cutthroat ambition, she turned to an unexpected source: . “Jeanne plays personas and I found kindred spirits in the drag world,” she says, “They know how to fully inhabit a character.”

Production brought its own challenges. The crew only had Mondays to film on location at the Versailles Chateau, when it was closed to tourists.

“It’s chaos,” Louis says, “We cram everything into one day.” Interior shots were filmed on a stunningly realistic studio set. “No green screen,” he says, “The production design is unbelievable.”

Costume and styling were equally intricate. Contrary to popular belief, the cast’s towering wigs are hollow to ease the weight, but the outfits are still demanding.

“I wore this massive white dress with a heavy headpiece,” Emilia says, “It takes hours. They sew everything on while you stand still.” Her corset was another hurdle: “I felt sick the first time I wore it. But we figured out tricks. We’d put it on loose in the morning and close it after hair and makeup, once my body heat had softened it.”

Louis faced his own wardrobe woes. “In season one, I’d rip my trousers every time I got on a horse,” he says, “This time, they gave me stretch fabric.” His changing costumes also mirror his character’s decline. “He goes downhill and I wanted that reflected in his clothes and hair.”

To stay grounded, Emilia leans on meditation and sleep. Louis now credits her for inspiring him to slow down. “I was exhausted last season,” he says, “I didn’t know what I was doing. Emilia structures her life so well. I learned a lot from her.”

But Marie Antoinette isn’t just a historical drama - it’s also a reclamation. Emilia is adamant: “Marie Antoinette is seen as spoiled but she was inspiring - almost a feminist. She fought for her freedom and family.”

Louis agrees. “People think Louis XVI was weak but I see his passions - locks, clocks, books - as his strengths. He was a detailed intellectual and a great father. He just wasn’t a conventional ruler.”

Season two doesn’t just promise drama, it offers a deeper look at two misunderstood and vilified historical figures on the brink of an empire’s collapse.

And with everything unravelling around them, Marie Antoinette reminds us that even the most expensive crowns can’t protect you from a revolution.

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