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But it’s not a particularly strong ensemble drama when gender is removed from the equation. Supporting characters are there to do just that: support James. From Hardy’s star turn in the premiere’s opening moments to the final frames of each episode, “Taboo” is about Tom Hardy, James Delaney, and little else.While the first three episodes introduce taboo topics like race relations, treason, love, sex, and even cannibalism, so far “Taboo” has more to say about being cool than any other topic.

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Even Jimmy’s inexplicable choice to walk around with his thick coat unbuttoned feels like a clever manipulation of a well-known environment to make it intimidating, masculine, and, yes, damn cool.

It’s an aggressive, fearless, and periodically nasty story filled with men who Delaney wants to kill, and told in a fashion that makes waiting all the more entertaining.

James leans over to her, as she is trying to leave with her husband: “One thing that Africa did not cure is that I still love you,” he declares, with what is supposed to be rough-edged passion. ) The audience has just been adjusting to the idea that the two most handsome people in the show are not romantically linked but siblings; turns out, the show wants to offer us both.

“Taboo’s” primary story driver is just “Flowers in the Attic: Old-Timey London,” or “Game of Thrones: But Victorian-ish.” The line, which Hardy tries to imbue with hoarse and fiery urgency, lands with all the sexual chemistry of a surgical strike.

His character, James Delaney, has returned to London for his father’s funeral, but his time away — in unspecific, undifferentiated “Africa” — has taken some kind of toll on him.

Hardy spends most of the first episode of “Taboo” brooding and lurking about in dark corners (every corner in 1814 London is shadowy), casting portentous glances and uttering every word as if it is the beginning of an incantation.Vi har brug for, at depression ikke bliver et tabu.Så ta' snakken, hvis du møder nogen, der har eller har haft en depression.After all, these women aren’t simple enough to be saints, nor powerful enough to commit the dastardly deeds of the opposite sex.They are merely trying to survive, as best they can, in a world that’s built to beat them down. Perhaps if “Taboo” commits to its title and explores what separates societal and moral sensibilities, it can also serve as a testament to the patriarchy’s historical roots.Either way, they’re subservient to James’ story, if not to other men as well.

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