“Queen Charlotte: A Bridgerton Story” is a spinoff and prequel to the popular Netflix series, “Bridgerton,” which is based on Julia Quinn’s Regency Era romance novels and produced by Shonda Rhimes. The six-episode series delves into the early years of the titular monarch’s marriage but maintains the signature style of the original show, including classical covers of contemporary pop songs and voiceover narration by Julie Andrews’ Lady Whistledown. It even features a timeline set after the most recent season, with appearances by Lady Danbury, Violet Bridgerton, and Queen Charlotte herself.
Rather than breaking from precedent, “Queen Charlotte” is a return to form for showrunner Shonda Rhimes, who is in her most hands-on role since “Inventing Anna.” Though Rhimes had previously delegated “Bridgerton” to other creators, in her capable hands, the show becomes the best version of itself: a mature, substantial love story with erotic undertones. This prequel/spinoff to the hit Netflix series is not a standalone work but rather a continuation of the “Bridgerton” universe, complete with its signature stylistic touches and talented ensemble cast. “Queen Charlotte” unlocks the full potential of the franchise, taking it to new heights of popularity and critical acclaim.
The first season of “Bridgerton” garnered attention for its explicit sex scenes and its unique take on English aristocracy, which was racially integrated. The second season took a step back from the nudity and focused more on the characters’ romantic relationships. “Queen Charlotte” manages to blend the best elements of both seasons. The prequel and spinoff feature the marriage of a young Charlotte and King George III, which opens up the door for both emotional and physical courtship. The show tackles issues such as race, mental health, bodily autonomy, and the meaning of desire and long-term partnership, all treated with appropriate gravity without sacrificing the fantasy.
However, the show’s treatment of race is still somewhat ambiguous. Charlotte’s arrival in England triggers the “Great Experiment,” where select people of color are bestowed titles, lands, and privileges. The show does not fully explain how this selection process works, and there is some resistance from the old guard, although it is never explicitly racist. Despite some unanswered questions, “Queen Charlotte” manages to continue the “Bridgerton” legacy with its complex characters, steamy romance, and intriguing storylines.
The chemistry between Amarteifio and Mylchreest in “Queen Charlotte” is a compelling watch, with a unique conflict that surpasses the usual will-they-won’t-they trope. The central question is not whether they will end up together, but how they will overcome the hurdles that come with being bound for life. The series injects relatable emotions into a world of opulence, creating a rollercoaster of emotions that viewers can quickly invest in. George’s struggles with mental illness are explored, adding depth to his character, and the couple’s undeniable attraction intensifies their complicated journey.
Although the Queen Charlotte of “Bridgerton” is not the main character, her presence is notable, and her absence would be felt in a prequel. However, the show manages to create a suspenseful story despite viewers’ foreknowledge of her ultimate fate. Amarteifio’s portrayal of the teenage Charlotte is convincing, showing her as a typical teenager with self-centered tendencies that later mature into a more focused desire for an heir. Meanwhile, Rosheuvel’s performance reinforces the continuity between the two versions of Charlotte while also providing a new subplot in which she pressures her children to produce a legitimate heir.
In “Queen Charlotte,” the show’s ensemble is pared down to a more focused narrative, providing room for supporting characters such as Charlotte’s footman Brimsley and a young Agatha Danbury. Thomas gives an exceptional performance as Agatha, who is trapped in a loveless marriage with an older man but discovers that happiness can exist beyond the confines of matrimony. This conclusion is unusual in the marriage-centric world of “Bridgerton.”
At its heart, the “Bridgerton” project aims to modernize a traditional genre while maintaining its fundamental structure, and whether or not one agrees with that objective, “Queen Charlotte” achieves it nearly flawlessly. The show is a prime example of Netflix’s desire to expand its successful series into larger universes, such as “Stranger Things,” “Squid Game,” and “Bridgerton.” However, “Queen Charlotte” feels authentic and sincere in its comprehension of what makes “Bridgerton” effective and how it can improve.
Moreover, the show serves as a fitting metaphor for how successful spinoffs should operate. In a scene that epitomizes the series’ witty, insightful, and entertaining tone, Violet and Agatha refer to their sexual desires as a “garden” that can either flourish or wither away depending on the season. Agatha asserts that everyone has a garden, which is a fundamental truth and a statement of purpose. This assertion suggests that anyone can love and be loved, and thus, anyone can be the protagonist of a love story. While “Bridgerton” is already a more inclusive romance series than most, its seasons still culminate with the birth of a child or a marriage. In contrast, “Queen Charlotte” pushes past these typical tropes, indicating that “Bridgerton” has room to grow and continue.
“Queen Charlotte” debuts on Netflix on May 4th.
Source: Variety
