Review
Culture
Royalty
5 min read

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 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! 

Review
Culture
Film & TV
Purpose
Romance
5 min read

The Four Seasons and Dying for Sex hunt all of life for meaning

The TV shows joining academics exploring what it means to flourish

Giles Gough is a writer and creative who hosts the God in Film podcast.

Two women in a composite image.
Tina Fey and Michelle Williams.

A recent Harvard study revealed an intriguing relationship between religion and how well people feel their lives are going. The study suggests that there is a direct correlation between attendance at religious services and happiness.  

The researchers defined ‘human flourishing’ as encompassing all aspects of a person’s life, including happiness, health, purpose, character, and relationships. Perhaps a snappier way to think of this would be “what does it mean to live a full life?.”  

There must have been something in the air that leads to asking this big question, because two TV shows have come out close to the release of this study, both of which tackle what it means to have a fulfilling life. While science has only turned its attention to this topic recently, artists, philosophers and storytellers have been grappling with this one for centuries, and as science has neither Tina Fey, nor Michelle Williams, let’s see what the story tellers have to say  

The Four Seasons 

The Four Seasons is Netflix’s latest comedy drama series based on a 1981 Alan Alda film of the same name. In it, a group of long-time friends in their fifties, who regularly go on holiday with each other have their whole dynamic rocked when Nick (Steve Carell) tells them he plans to divorce Anne, (Kerri Kenney-Silver) his wife of 25 years. Danny and Claude (Colman Domingo and Marco Calvani) are the group’s only same sex couple, but their warm and hedonistic lifestyle is marred by Danny needing surgery for his heart condition, which he keeps putting off. Our point of view characters are Kate and Jack, played by Tina Fey and Will Forte. Initially positioned as the most normal and stable couple of the group, seeing the unhappiness in their friend’s marriages opens a fissure in their own relationship. Kate gets frustrated that Jack appears to turn into a hypochondriac when they’re in private, and Jack resents his embarrassing secrets being shared by Kate as the butt of a joke. As season one draws to a close, we are unsure if these two will repair their marriage.  

The Four Seasons is a show about wanting your remaining days on this earth to be filled with meaning and passion. Dying for Sex has arguably the same motivation but on a tragically compressed timescale.  

Dying for Sex 

Inspired by the story of Molly Kochan and originally shared on the podcast of the same name, Dying for Sex follows Molly (Michelle Williams) as she receives a diagnosis of Stage IV metastatic breast cancer. In a moment of desperate clarity, she decides to leave her husband, Steve (Jay Duplass) and begins to explore her sexual desires for the first time in her life. Aided by her best friend Nikki (Jenny Slate), Molly dives into the world of online dating, finding partners that range from the kinky to incompetent, and finally compassionate. Molly’s one goal is to experience an orgasm with another person for once in her life. An aim that is hindered by a childhood trauma of sexual abuse. Despite the edginess of the title, Dying for Sex is a heartfelt meditation on what it means to find love just as your body is shutting down on you. It includes perhaps the best depiction of the final stages of life for a person with a terminal illness, the show is worth it for that alone.  

Yet one constant remains for believers and non-believers, and it is as trite as it is true; love is the key to a fulfilled life. 

It is important to note that there is a class element to both of these shows. The Four Seasons places good-looking affluent people in beautiful locations and then invites you to feel invested in their relationship drama, like an episode of 90210 for people in their fifties. Similarly, Dying for Sex sees Molly receive some of the best medical care possible, by virtue of still being on her husband’s health insurance. In a country where free health care is not seen as a basic right, the luxury of the facilities she has to hand starts to seem conspicuous. But this is not oppression Olympics and we’re not here to compare people’s pain. The less money you have will certainly decrease the amount of time you have to ponder the meaning of life, but it’s not a question that should be avoided indefinitely.  

The connection between ‘human flourishing’ may be the type of thing that might get jumped on by pastors around the world. But a note of caution is advised here as to how it’s used. Firstly, the Harvard study does not appear to make any kind of distinction between religions. So, if one were to use this study to endorse being a devout Christian, then the same could be said for being a Muslim, Buddhist, Hindu etc. 

Secondly, if the church tells people that becoming a Christian will statistically increase their chances of happiness, it’s doing them a disservice because Jesus never promised that. He distinctly told his followers: “Whoever wants to be my disciple must deny themselves and take up their cross and follow me. For whoever wants to save their life[a] will lose it, but whoever loses their life for me will find it.” That’s a difficult line to swallow in the world of retail religion, but it borders on false advertising to ignore it. 

Lastly, as critics have pointed out, even if faith improves happiness, it doesn't make the beliefs automatically true! If used as a guiding principle, the pursuit of happiness could have you swapping churches, denominations, even religions until you find what makes you happiest.  

These two shows stimulate an interesting thought experiment; whether a relationship with God would have made a difference in their lives? For Kate and Jack in The Four Seasons, the answer may well have been yes. For Molly in Dying for Sex the answer is a little trickier. Jesus doesn’t condone a promiscuous lifestyle, but the drive towards that was borne out of a fundamental lack of connection with her husband. The main thing that Jesus does promise his followers is connection, either directly with him, or with those walking the same path.  

You can have a fulfilling life outside of God, it would be disingenuous to say otherwise. Yet one constant remains for believers and non-believers, and it is as trite as it is true; love is the key to a fulfilled life. Molly finally attains it when she finds true love, Jack and Kate begin to lose it when they fear their love might be slipping beyond their grasp. 

But the one area where faith might just differ from the secular is that Jesus lived out his time on this earth as a walking talking example of perfect love. Patient, kind, quick to forgive. The kind of example that’s impossible to completely emulate, but still worth trying. 

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief