'The Gilded Age' season 1 episode 6 review: 'Heads Have Rolled for Less'

Note: this post contains spoilers for The Gilded Age season 1 episode 6, "Heads Have Rolled For Less."

George Russell (Morgan Spector) has conquered the business world in The Gilded Age, but the first season has threatened his livelihood through multiple avenues. “Heads Have Rolled for Less” opens at the train derailment that required immediate action at the end of last week’s episode, which had George sighing wearily at yet another battle to endure.

HBO's lavish budget means rather than simply reporting on the crash we get to see Clara Barton’s (Linda Emond) Red Cross in action at the scene. The death toll is low — “Five dead doesn’t seem very many” is Aunt Agnes’ (Christine Baranski) chilly assessment — and Clara’s comments about George looking “grief-stricken” is good PR for the business. George notes he is grief-stricken, and not because of the financial impact. His fury is directed at whoever is responsible for the substandard train axels that caused this tragedy. Reputation is everything, and while he isn’t one to avoid unscrupulous methods, he doesn’t cut corners. 

So far everything has worked out favorably for the Russells and the fears vocalized at the end of “Charity Has Two Functions” felt like another blip they would overcome with ease. However, this is another case of George not considering all the outcomes. To emphasize the severity of this storyline, overly dramatic music swirls in the final scene when George tells Bertha (Carrie Coon) that the man in leading the team that built the engine is to blame. “He told them I gave the order,” George reveals, and this man claims he has written proof. It is another challenge to overcome, and one the couple will weather together.  

So far, the Russells' union has been at the center of surprising and fruitful storylines. Not only do Coon and Spector have the kind of burning chemistry that makes every scene crackle, but the fact this married couple is a symbol of strength and support has felt unusual for a show set during this period. “Useless each without the other,” is how Bertha referred to their partnership. They've been aligned to this point, but differing priorities cause friction this week. 

A fight erupts when Bertha whines about the timing of this tragedy. She has finally gotten a foot in the door with Ward McCallister (Nathan Lane), as he wants to come for luncheon, but the disaster is a dark cloud over her triumph.

“I don’t give a rat’s ass where McCallister breaks his bread,” snaps George at her tone-deaf concerns. He quickly apologies but the argument flares up when he sees his wife is still reading Gladys’ (Taissa Farmiga) letters. He doesn’t understand why Bertha won’t give their daughter some semblance of freedom. Thankfully, Gladys’ brother Larry (Harry Richardson) scores his little sister an invite to lunch that promises an appearance of Carrie Astor (Amy Forsyth). It is this namedrop that convinces Bertha to relinquish her control. 

Introduced at Mame Fish's (Ashlee Atkinson's creepy doll party), Gladys and Carrie become fast friends when they realize they have overbearing mothers in common. Gladys tearfully tells Carrie about her mother’s refusal to let her be with the man she loves, which is pretty much the theme song of every young woman in this series. When Carrie drops by the Russell mansion she has some ideas for how to help Gladys with her issue, and Bertha is once again hypnotized by her child getting close to the Queen Bee’s offspring.

Bertha’s scores another big victory when she is voted onto the Red Cross board after Clara Barton refused to give Mrs. Morris (Katie Finneran) the floor to air her grievances. “What a sad and vulgar world we live in,” Mrs. Morris announces before stomping out, but all Clara cares about is raising funds. 

That's  why Marian (Louisa Jacobson) gets sent to woo Mrs. Chamberlain (Jeanne Tripplehorn) for a contribution. It's here she learns the story she was told about the social pariah is true, but what Marian didn’t know is that when Mr. Chamberlain was alive she was tolerated in society. 

During this meeting, Marian shares her own romantic dilemma, as her Aunt Agnes’ warns about Tom (Thomas Cocquerel) being an “adventurer” looking to align himself with a legacy name. Marian agrees that she doesn’t know the lawyer well enough to make an accurate assessment, so Mrs. Chamberlain offers her home as a place the couple can meet. 

Secrets and negotiations recur throughout the episode, including Peggy (Denée Benton) making a trip to Brooklyn to see her mother at a time when she knows her father won’t be there. She shares the news that her article on Clara Barton was a success, and reaffirms she is only interested in maintaining a relationship with her mom. Mrs. Scott (Audra McDonald) is added to the list of matriarchs struggling with their children’s lies.

Now, if only Agnes knew quite how many secrets are being kept from her she might never recover. First, she finds out that her butler Bannister (Simon Jones) is moonlighting with the enemy, as Bertha’s important luncheon requires English service — her butler Church (Jack Gilpin) is not fluent in the specifics of this style. “Heads have rolled for less” is what Agnes says to Bannister after she has interrupted the luncheon and the betrayal cuts deep.

This episode tips into farce during this sequence, which includes footman Jack (Ben Ahlers) struggling with his temporary butler duties. The balance between comedy and melodrama is equally weighted and adds to the enjoyment. No doubt Church was the one who alerted Agnes of her butler’s whereabouts, and the rivalry between the two homes has cranked up a notch. 

Earlier, busybody maid Mrs. Armstrong (Debra Monk) was warned by Agnes to refrain from stirring trouble regarding Peggy, but she cannot dismiss what Armstrong saw occurring between her son Oscar (Blake Ritson) and Turner (Kelley Curran). Armstrong thinks they are having an affair, but the truth is even more scandalous. Agnes can’t stop her old world from crumbling and The Gilded Age is all the better for this change.