Having been reluctant to watch the first season of Bridgerton when it released in 2021, I must say I was unexpectedly captivated by its take on the petty troubles of the British upper class. The second, and less raunchy season, proved to also engage with me in ways quite unlike my experience with almost any other period drama.
So, I must say I awaited Bridgerton’s first spin-off series, Queen Charlotte, with anticipation. Could showrunner Shonda Rhimes provide an interesting take on a well-worn story?
It is 1761 and the German born Charlotte (India Amartifo) faces the reality of becoming the new Queen of England when she must wed George III (Corey Mylchreest). Pushed away by him at every given opportunity, Charlotte must make good this life that has been decided for her and become a Queen for the ages.
Meanwhile in 1817 the Queen (Golda Rosheuvel) must convince her children to marry and produce a new heir to the throne.
The story of the madness of King George III is nothing new, but one of Bridgerton’s most exciting storylines has been exploring it from the perspective of Queen Charlotte. With Rosheuvel’s fiery performance always being a winner, Queen Charlotte has become a favourite recurring character in the mainline Bridgerton series. So, giving her a spin-off to explore the early days of her marriage to the King is a wise decision whilst we await the third mainline season.
So, I must say I awaited Bridgerton’s first spin-off series, Queen Charlotte, with anticipation. Could showrunner Shonda Rhimes provide an interesting take on a well-worn story?
It is 1761 and the German born Charlotte (India Amartifo) faces the reality of becoming the new Queen of England when she must wed George III (Corey Mylchreest). Pushed away by him at every given opportunity, Charlotte must make good this life that has been decided for her and become a Queen for the ages.
Meanwhile in 1817 the Queen (Golda Rosheuvel) must convince her children to marry and produce a new heir to the throne.
The story of the madness of King George III is nothing new, but one of Bridgerton’s most exciting storylines has been exploring it from the perspective of Queen Charlotte. With Rosheuvel’s fiery performance always being a winner, Queen Charlotte has become a favourite recurring character in the mainline Bridgerton series. So, giving her a spin-off to explore the early days of her marriage to the King is a wise decision whilst we await the third mainline season.
One of the most important aspects to Bridgerton’s Queen Charlotte is that she’s not white, and that then alters race relations in the show accordingly. What the Queen Charlotte series does so wisely is put this matter of race at the centre of the story, how George III could only have been married off to someone of a lower class status because of his mental health issues, and the resulting ‘good will’ of the royal estate to pass on titles and properties to some wealthy people of colour in order to make it seem as though the royals were now considering them as equal member of the ton.
This race drama adds significant depth to the Queen Charlotte series that has only ever been briefly addressed in the previous two Bridgerton seasons.
Plus of course there is given a significant amount of time and attention to George’s declining mental health, and the lengths he supposedly went through in order to cure it. That’s the real emotional drama of this spin-off series, being given a peek behind the royal curtain to see these two people who desperately love each other but are repeatedly kept apart because of fear and a lack of understanding into mental illness. It builds to a great emotional climax that ties in well with the finale of Season Two.
This race drama adds significant depth to the Queen Charlotte series that has only ever been briefly addressed in the previous two Bridgerton seasons.
Plus of course there is given a significant amount of time and attention to George’s declining mental health, and the lengths he supposedly went through in order to cure it. That’s the real emotional drama of this spin-off series, being given a peek behind the royal curtain to see these two people who desperately love each other but are repeatedly kept apart because of fear and a lack of understanding into mental illness. It builds to a great emotional climax that ties in well with the finale of Season Two.
Amartifo delivers an equally strong performance as a young Charlotte as Rosheuvel has done for the older version of the character. But it’s arguably Aresma Thomas who steals the show as the young Lady Danbury. She’s extremely funny, and sharp as a knife. Any scene featuring her is an absolute delight and honestly, I’d be so down for a young Lady Danbury spin-off series as we explore the first few years of her time as a widow, and how she helps Charlotte mould the future of the British Empire.
Much like previous seasons of Bridgerton, Queen Charlotte features some gorgeous sets and costumes, as well as a new set of modern pop songs refashioned as eighteenth-century court classics. It all looks wonderful, and the production designers and costume designers in particular really do deserve all the praise that they can get for their work here.
Queen Charlotte isn’t quite as good as the first season of Bridgerton, but I’d put it on equal footing with Season Two. It’s highly enjoyable and light viewing that’s easily bingeable and provides all the emotional highs and lows you could possibly want from a period romance. A fresh take on a well known tale, with enough artistic liberties to keep you on your toes and provide relevant social commentary.
Much like previous seasons of Bridgerton, Queen Charlotte features some gorgeous sets and costumes, as well as a new set of modern pop songs refashioned as eighteenth-century court classics. It all looks wonderful, and the production designers and costume designers in particular really do deserve all the praise that they can get for their work here.
Queen Charlotte isn’t quite as good as the first season of Bridgerton, but I’d put it on equal footing with Season Two. It’s highly enjoyable and light viewing that’s easily bingeable and provides all the emotional highs and lows you could possibly want from a period romance. A fresh take on a well known tale, with enough artistic liberties to keep you on your toes and provide relevant social commentary.