Television series

Versailles

Versailles turns the driest fact of French history — a king building a very large house — into pure court-set soap opera: seduction, murder plots, and yards of gorgeous fabric. Louis XIV consolidates absolute power by trapping his nobles in luxury, and the show revels in the friction between grandeur and rot. History, served with candlelight and nudity.

TVMaze rating7.9

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The Tudors2007

If you love the mix of sex, murder and gorgeous costume in Versailles, this is its English cousin — Henry VIII's court simmering with the same ambition, cruelty and betrayal.

But It plays even faster and looser with history, and the early seasons care more about skin than statecraft.

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The Borgias2011no page yet

Swap the palace for the Vatican and you get the same blend of religion, politics and family bloodlust — with Jeremy Irons chewing every scene as the pope.

But Only three seasons, and it ends abruptly; pacing is choppier and less patient than Versailles' slow-burn plotting.

Rome2005

Same appetite for grand history married to brutal politics, sex and murder, just moved to ancient Rome and an empire being built from scratch.

But Cancelled after two seasons with a rushed finish; grittier and dirtier-looking than Versailles' polished court.

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The wildcard

Something you would not have found on your own.

The Favourite2018

It's Versailles' bedchamber politics with the earnestness surgically removed — the same power games played entirely as cruel comedy.

Same engine — court intrigue, sexual manipulation, a monarch used as a pawn — but run through a blackly funny, profane modern lens with three actresses at the top of their game.

But Its cynicism and stylised anachronism (modern language, fisheye lenses) will jar if you want a straight period drama.

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More like this (8)

Wolf Hall2015

The quieter, more literary version of the same engine — court manipulation where every glance and pause carries real menace, no wigs required.

But Glacially paced and shot in near-darkness; if you came for spectacle and sex, this will feel monastic by comparison.

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The Crown2016

A completely different register on the same idea — a monarch shaped and constrained by the institution around them, filmed with enormous care.

But Far more restrained and talky, with little of the blood or bedroom scheming that gives Versailles its pulse.

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Reign2013

A guilty-pleasure companion piece set in the same French court decades earlier, all romance and intrigue with a wink at the history books.

But Made for a teen audience, so the tone is glossier and sillier — less prestige drama, more CW soap.

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Poldark2015

Lush landscapes, class conflict and doomed romance, with a hero navigating power and ruin without ever setting foot in a palace.

But Cornwall, not Versailles — there's little court intrigue here, and the tone leans romantic melodrama rather than political thriller.

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Marie Antoinette2006

Same palace, decades later — a gorgeous, pop-scored, oddly lonely portrait of royalty as a gilded prisoner rather than a scheming operator.

But Nearly plotless by design; style over substance, which will frustrate anyone wanting intrigue and stakes.

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A Royal Affair2012no page yet

Danish court, Enlightenment ideas and a forbidden romance that threatens the throne — tremendous performances packed into two tight hours.

But A single film, not a series, so it can't build the same sprawling world; subtitled Danish rather than English costume drama.

The Taking of Power by Louis XIV1966no page yet

It's the same historical moment — Louis consolidating power over the nobility — stripped of every soap element Versailles piles on top.

Rossellini's austere, near-documentary account of the exact same king seizing absolute power, told through ritual and procedure instead of melodrama — riveting in its coldness.

But No sex, no silk-clad villains, deliberately flat and instructional; it will feel inert next to Versailles' heat.

House of Cards2013

Same structural DNA — a would-be ruler manipulating everyone around him to consolidate power — just relocated from 17th-century France to modern American politics.

Take Versailles' Machiavellian scheming, remove the wigs, and drop it into Washington — ruthless manoeuvring for absolute control, told with the same cold pleasure in watching a schemer win.

But The modern setting loses all the costume-drama pleasure, and later seasons decline sharply, coloured now by the show's own scandal.

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