New Worlds, Channel 4’s latest period drama, is the sequel to the popular The Devil’s Whore, which starred Dominic West as Oliver Cromwell. Set two decades later in the 1680s, this new offering by Peter Flannery and Martine Brant is an unusual combination of extensive historical detail and highly implausible female frolicking.

The dual narrative is at first a little confusing and, true to many other period dramas, the first episode bounces between an unnecessary amount of heaving bare breast and whispered historical explanations to set the scene.

The opening scene depicts scantily clad virginal maidens darting out of their mansion and dousing themselves in the blood of a freshly slaughtered deer (it is unclear exactly why they are dressed so inappropriately or what role in the plot they or their breasts are playing).

The plot deals with a very complicated part of British and American history simultaneously. In Massachusetts, the heirs of the Pilgrim fathers are gaining ground against the natives, while a plot emerges to overthrow Charles in England.

The dialogue is loaded with the historical detail of this dual narrative. Although arguably this detail is necessary in order to have any idea of the two periods that New Worlds attempts to depict, this heavy historical elucidation is written into the mouths of the characters. The result is that this programme is mostly period, and not a lot drama.

What little ‘drama’ there is, is extreme to say the least. The daughter of the “Devil’s Whore” Angelica Fanshawe, Beth (Freya Mavor), has a habit of running through the woods with unsuitable men without fear or awareness. She falls for both the local anarchist Abe (Jamie Dornan), who is plotting the downfall of Charles II, and a Native American chief while shipwrecked on American shores. The third episode sees her falling in love with this bone clad native (who can miraculously speak perfect English), adopting their cultural practices and accent, and then burning the body of her lover when he is killed by local New Englishmen.

There is however, a definite silver lining: the cast is convincing and delicate. Ned Hawkins, whose father’s company owned the land grant from the King, is played passionately by Joe Dempsie, as he defends native rights against the illegal exploitation of his father’s company. Despite a dry beginning, this programme does attempt to address an area of history that is largely overlooked; one where an indigenous people were robbed and persecuted. The result is not wholly successful but certainly interesting.