Queen Charlotte’s determined love

Is the backstory better than the original? Bex Chapman reviews Queen Charlotte, Netflix’s blockbuster, and finds a determined love story with a lesson.

Bex Chapman

Bex is a freelance journalist and consultant who writes about culture, the church, and both government and governance.

A regency queen and king stand beside each other looking pensive.

India Amarteifio and Corey Mylchreest play Queen Charlotte and King George.

Shondaland.

Regency romance is very definitely back, if indeed it ever went away. Fans of Bridgerton will be aware how very binge-worthy the Jane Austen-meets-Gossip-Girl world brought to the screen by Shonda Rhimes is. But her new spin-off prequal has outdone itself. Since it landed on Netflix on May 4th, 307 million hours of Queen Charlotte have been watched – especially impressive given it only has six episodes – and now it looks set to become one of Netflix’s most popular series of all time. All the fun and frivolity of the Bridgerton world is here – sumptuous costumes, compelling drama about strong women, electric chemistry between the two leads, supported by a strong and diverse ensemble cast, shown in stunning period locations as they dance at elaborate balls… and all set to a soundtrack of modern pop songs reimagined as orchestral anthems.

Gentle reader, prequals can be something of a curate’s egg – they can provide the joy of returning to a much loved, familiar world to learn more about favourite characters. But there might be the devastating discovery that the world you love has become disappointingly plodding, or worse, been leveraged for profit – would this prequel be a Better Call Saul or more of a Cruel Intentions 2?

Thankfully, Queen Charlotte: A Bridgerton Story is that rare thing – a backstory that betters the original, with more emotional heft as it shows us how several much-loved characters developed. We see the context for how the Bridgerton world came into being - controversially described previously as colourblind, in this new show race is part of the story as ‘the great experiment’ unfolds; Queen Charlotte is a love story that supposedly leads to a societal shift.

This is a very modern love story, with a difference. It remains frothy and funny, but there is a serious focus and insight too.

While the two leads may be familiar from history lessons, the show opens with the dulcet tones of doyenne Julie Andrews reminding us, in her role as Lady Whistledown, that Queen Charlotte:

“is not a history lesson. It is fiction inspired by fact. All liberties taken by the author are quite intentional.”

We all already know how this story ends – and yet as we spend time with such compelling characters the suspense builds all the same. This is a very modern love story, with a difference. It remains frothy and funny, but there is a serious focus and insight too. This is still a swoon-worthy romance, but here women grow in their power as they understand themselves, and each other, better. Whether or not you have someone to sweep you off your feet (or help you over the garden wall!) that understanding is something we can all aspire to.

Meanwhile, many of the men in the Bridgerton world have their own challenges to work through (from abusive fathers to more loving ones who die in front of them), and this show is no exception. Juxtaposed with the lightness, banter, and of course the love scenes, there is a heaviness and darkness here too.

We see George struggling with his mental ill-health such that though he has fallen head over heels for Charlotte from the moment of their meet-cute, he feels he must hide himself away from her to avoid hurting her, and then undergoes a shocking, traumatic series of ‘treatments’. Having seen their relationship from her perspective, we have our eyes opened from episode 4 as his attempts to hide his illness are revealed, first to the viewer and then to his beloved. His devastating illness is shown compassionately, but despite the empathy, it is still hard to watch. This is storytelling so strong that it has left many with a passion for a character they previously thought of as the ‘mad king’ from Hamilton who tried to prevent American independence!

This level of narrative ability is perhaps why the legend that is Julie Andrews called Shonda Rhimes ‘one of the most powerful creative forces in film and television today’. We live a world where we see many romances on screen just as they are getting started – we see from the meet-cute to the declaration of love or the ‘I do’, ending as we reach a happy ever after. Yet Shonda Rhimes has been clear that she is not interested in telling the ‘sort of romantic story of a marriage where everything's perfect’. Each of us knows we are not perfect, and we know that nor (even in the first flush of romance!) are those we love. The Book of James in the Bible reminds us that ‘we all stumble in many ways’. But we choose to love anyway. In this show, love is not just about a belief in destiny, being deserving, or mere attraction. Lecturing her son, Charlotte reminds him:

“Love is not a thing one is able or not able to do based on some magic, some chemistry. That is for plays. Love is determination. Love is a choice one makes.”

From arranged marriage to meet-cute, from working through an unconsummated marriage to having 15 children and devastating long-term mental ill-health, we see a love that remains constant despite the challenges; Charlotte shouts at George ‘I want to fight with you. Fight with me. Fight for me’ when she thinks him indifferent.

he actress who plays young Charlotte, India Amarteifio, beautifully noted that ‘unconditional love is the river that runs through their relationship’. Even as George descends deeper in his madness, Charlotte meets him where he is at (frequently literally as well as figuratively!) to be with him. As fan-favourite Lady Danberry observes:

“what matters madness when true love flourishes? For them, the weeds are all part of the process”.

This is a love that acknowledges the challenges, the imperfection, the pain and the sacrifice, but it persists. How do any of us find the strength to love like that? We may not all be King George, but we are all imperfect, and flawed – we all make mistakes and must ask for the forgiveness of those we love. For those with a faith, there is the hope of God with us to help us; the Bible says ‘we love because he first loved us’. The Dutch priest and psychologist Henry Nouwen powerfully wrote:

‘our life is full of brokenness – broken relationships, broken promises, broken expectations. How can we live with that brokenness without becoming bitter and resentful except by returning again and again to God’s faithful presence in our lives’.

In a world filled with perfect-looking screen romances, the bittersweet depth of Queen Charlotte touched me far more than any aspirational happy ending. This was far more interesting, more powerful, and more complex. Part of romantic love is attraction and feelings, but also choice and action; hearts and flowers if that’s your thing, but also being a team, wanting what is best for them above yourself, supporting one another to be your best. To quote the passage from the book of Corinthians and so often quoted at weddings, this ‘Love bears all things, believes all things, hopes all things, endures all things’. In a world filled with perfect-looking screen romances, this depiction of love as a daily choice, made with courage and compassion, is what I long to see more of. But I’ll happily take it with a side of regency glamour – it wouldn’t be Bridgerton without it!

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11 December 2024

1 min read

All this can be yours: the momentum that drives mafia states

Once abhorred opinions gain traction among the distracted nursing grievances.

Simon Burton-Jones

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

Preisdent Putin stands behind a lectern with a gold door and Russian flag behind him.

What is Putin thinking?

Is there a new Cold War today? This assumption, spurred by the war in Ukraine, is challenged by Anne Applebaum in Autocracy, Inc. (Penguin Random House, 2024). Instead, she argues, there is a growing group of autocratic nations where ruling elites exercise staggering levels of corruption, accumulating wealth, eviscerating the common good and suppressing any meaningful dissent. There is rule by law rather than rule of law, where the courts become the means by which brutal, cynical state power is employed to destroy and imprison opponents.

The Cold War was underpinned by ideology, but autocratic states today support one another through logistics, resources and propaganda despite big differences in outlook. Iran, North Korea, Venezuela, China, Russia and Zimbabwe, to name a handful of autocratic nations, share little by way of common ideology, except the desire of their dictators to stay in power, both to ensure their wealth and to protect themselves from legal action. The fig leaves of religious beliefs and nationalism are often used in different combinations but fool few.

If there is a common denominator for these autocracies, it is the wish to scrap the post-war settlements – the institutions and laws that have marked global affairs since. The body of existing international law is a particular target, as its dismantling immunises dictators against judgment.

Framing the present global picture in clear, criminal terms like this is helpful. Mafia states exist, and they are growing in influence. But it is too easy for others to place themselves on the side of the angels. These kleptocracies have been enabled by corporate bodies elsewhere. In the UK, London is host to lawyers, accountants, bankers and PR experts who have helped to launder money for corrupt elites. They argue their support is legal, but it is also amoral; such is the professional framework of some of the biggest names in law and finance. London’s property market, like several other global capitals, has been grossly distorted by the laundering of foreign money, to the detriment of working people trying to afford their own homes.

At the end of the Cold War, there was a widespread sense that liberal, democratic values had prevailed and it only remained for this dye to leak into the fabric of remaining nations. Not only is this not true today, if anything the momentum is with autocratic values infecting democracies with their ways. The global technology revolution has assisted this, as once abhorred opinions and positions gain traction in the minds of distracted people with grievances, real or imagined.

There is a special hypocrisy when criminals who have stolen billions and murdered thousands claim to speak for God.

The late Chief Rabbi, Jonathan Sacks, said the key question for the new century was: who speaks for God? If the suggestion was that this is a question different religious traditions need to answer in ways that support our common humanity, we now have no shortage of dictators who say they speak for God. Their claims that other regions of the world are godless and degenerate are made time and again. Like Goebbels, they know that the endless repetition eventually wears people down until phrases become believable. No-one who cares about God’s character would claim their society reflects his character well; there is injustice, hatred and violence everywhere. But there is a special hypocrisy when criminals who have stolen billions and murdered thousands claim to speak for God.

When Jesus faced his life-defining temptation in the wilderness, the devil showed him the kingdoms of the world and promised they would be his if he ‘turned’. He also tempted Jesus to turn stones into bread. Power and wealth, the very trappings coveted by the world’s dictators. And his final temptation: to throw himself from the roof of the Temple, only to be saved by the angels. To surround himself with a loyal cadre of officers sure to protect his interests at all times.

Instead of the highway to autocracy, Jesus took the uneven and winding path of service to others. One of self-denial, deprived of the material wealth made available by his elevated position. This is the human standard we have been set and it compels self-reflection, not boasting and threats.