‘This Tempting Madness’ Torments The Unreliable Heroine With Unusual Degrees Of Pain And Suffering

 

This Tempting Madness film poster.

Based on a jarring true story, This Tempting Madness opens on Mia dramatically falling. The back of her body suspends in a slow moving arc towards a terrifying bottom, her voluminous hot orange dress spreading out its lush folds in flowery fashion, powerless to cushion against the devastating plight. Without warning, her vulnerable front faces the full brunt of impact. She screams “no!” as sounds of her cracking bones strike against surface after surface, sending bloodcurdling chills down the apprehensive watcher’s spine. Was she violently pushed or had she accidentally lost footing and tripped? Is it not any wonder that she manages to miraculously cheat certain death?

However, Mia surviving these cataclysmic bodily injuries isn’t the sole surprise. Her memory exists in startling fragments that cause ruptured behavioral changes— severe mood swings coming from somewhere deep within. Moments contain a kind, sweet wife and attentive mother standing by her husband Jake’s side. Others showcase an ambitious woman reaping the benefits of her privileged upbringing, either callously putting an often anxious Jake on edge or threatening anyone in her vicinity with intended violence.

Mia’s brother Ajay (Suraj Sharma) seems to be her only friend. DP: Andrew Davis.

Mia’s tied to her family, primarily Ajay, her older brother, a constant, loyal presence at her side. Every time she awakens, pained and grinding teeth, Ajay is there assuring her that she’ll be alright. Yet, Mia only prioritizes Jake. Despite having a damaged mind struggling to grasp normality, Mia becomes a full out menace, crying, whining, and screaming about Jake, believing wholeheartedly in an unproven innocence. 

Furthermore, in a world ruled by patriarchal cruelty, Mia’s mental capacities dissolve into a delusional territory where men can do no wrong. Has all such histories been replaced by the overwhelming compulsion to remain at a husband’s side? Does she not realize that their behaviors alter like clockwork more often than not? An irrational, gravely injured Mia appears to be overcompensating for a happily ever after romance as her own flashbacks give hints that she and Jake do not exemplify a love match. Their chilly relationship lacks warmth and affection including a cold Mia pleasuring herself with a scowling Jake watching. Somehow a daughter was created from this arrangement.  

The film blends mystery, thriller, and medical horror, the best parts navigating through Mia’s reset after trauma, the ways that words and sounds trigger reactions that sometimes frighten her family. The young woman has much to process—being in considerable pain and danger, wearing a metal brace to hold up her chin, prone to excess bleeding as her deranged husband blames her for his own failings. Jake seems to reserve a certain hatred for Mia and her family, has likely hated her for quite some time and tries to convince Mia that the incident was her fault.  

  

Although the story begins on a descent, it ends by arousing more questions than generating any real answers. Were we supposed to root for a woman’s revenge on her abusive husband or a broken, depressed man desperate to escape a family obsessed with success? 

 

Mia finally sees her man in jail and tells him straight up that she believes in his innocence. DP: Andrew Davis.

This Tempting Madness had been on the watchlist since last year’s announcement and hot orange dress scene. Unfortunately, the film proved to be even more limited in theater screenings than Me, You, and Tuscany and Is God Is. No nearby major outlets or small art houses played it. The neon color saturations and unique sound design—among the film’s most solid strengths— would have alone enhanced this cinematic experience. The first time viewing on an iPad robbed an allowance of a big screen and surround speakers. Independent films with a raw, stark edge face greater challenges, especially when helmed by new women filmmakers. Sadly, that struggle will continue if they seek directing a second picture, typically another barrier for them to break through. 

With a certified fresh Rotten Tomatoes seventy-seven percent score, This Tempting Madness has its highlights. Director/co-writer Jennifer Montgomery’s feature-length debut spins an unusual narrative whilst unearthing a stellar performance out of her lead actress Simone Ashley. Cinematographer and co-writer Andrew Davis’s skilled camera work includes multiple point of views on Mia’s fall and the spectacular underwater visuals. Rebekka Karijord’s music composition that understands the complications necessary to fit scene moods. Thus, it must be the actor’s dream of having a physically demanding part whilst demonstrating the many emotional facets that Mia expresses throughout— disorientation, frustration, rage, humility, grace, genuine and forced happiness. Ashley’s complexity exhibits a broad range of psychological depths just by sheer body language. Her tenacious ability to showcase the necessary talents to reveal her character’s unreliable narrative proves what we have been saying all along in regards to her bare presence in the last few seasons of Bridgerton, her own starring season two appearance limited her character’s overall arc and voice. Suraj Sharma (star of Ang Lee’s Oscar winning triumph Life of Pi) also has a commendable supporting role as Ajay, a character who sticks so close to his sister and seems to be hiding his own dirt. 

Mia gives Hitchcockian psycho energy as she wields a knife for self-defense. DP: Andrew Davis.

This Tempting Madness is a must see for its calculated build up of eerie atmospheric tension in the realms of Mia’s mind, the pushes and pulls that affect an off balanced psyche. 

Viscountess Kate & Viscount Anthony Moments From Bridgerton Season Three, Part II (Spoiler Heavy)

 

Kate (Simone Ashley) and Anthony (Jonathan Bailey)’s short-lived return takes endless missteps. DP: Alicia Robbins. 

A year before the Benedict centered fourth season debuts, this long awaited second part sheds light on more moments that Viscount Anthony Bridgerton and his lovely wife Viscountess Kate Bridgerton’s shared in Bridgerton season three. The viscount and the viscountess have nineteen minutes across the two episodes: Tick Tock and Joining of Hands, more than the paltry eight minutes depicted here.

Kate in her trademark contemplative state. DP: Alicia Robbins.

Writers are often instructed to “show, not tell.”

Kate and Anthony vocalize accounts without the production giving them the necessary screentime. For example, in Tick Tock, season three’s fifth episode, Kate and Anthony take a grand carriage ride back to the Bridgerton family home, returning from another extended offscreen holiday. Kate’s expecting their first child despite their sparse love scenes always showing Anthony giving his wife oral penetration as opposed to the usual way that pregnancy is achieved. Now this bears no disregard on the emphasis of women’s gratification being the pinnacle pleasure hallmark as male-dominated films and television programs historically placed a man’s desire above all else—consent or not. Yet, it’s questionable choices to have their most intimate moments tucked away, left onto the watcher’s imagination as opposed to using these two gifted actors with phenomenal chemistry to depict these acts on camera. Otherwise, the behind-the-scenes decision making seems to invent that their child came from a stork or happens to be immaculately conceived. 

An insatiable Anthony wants what he wants whenever he wants unfortunately things couldn’t become too steamy as…

Newton, nation’s favorite corgi, was watching. DP: Alicia Robbins.

Furthermore, in season three, episode seven’s Joining of Hands, Anthony talks to Colin about his nervous jitters and drinking profusely before his second wedding— a wedding yet to be seen. A flashback would have helped move the eldest brother’s thoughts along, but of course, this wasn’t Kate and Anthony’s season anymore. We are no longer supposed to care about them, invest in the fragmented puzzle pieces of their happiness, of just how their nuptial bliss came about. Were there lilies filling and smelling up the place— in a church or outside someplace? Did it happen around morning or near evening? What did they wear? Had Kate and Anthony wrote their own vows? What did they say to each other? Where was the barely mentioned Mary— Kate’s stepmother? 

Kate and Anthony being pure and affectionate. DP: Jeffrey Jur.

The laziest, most offensive writing involves Kate recounting her sister Edwina riding horses and marrying a scholar (as she DID in the book). Anthony senses his wife’s displeasure and suggests that they take a third holiday— to India. While completely understanding that Anthony adores his wife, it’s unbelievable that he would shirk his familial obligations and present a dangerous opportunity to a pregnant woman. All the money in the world (during that particular time period) would not protect Kate from the dangers of extended boat travel. The Bridgerton series as a whole takes extreme liberties disregarding the appropriate history, hair, fashion, and music— but this eccentric direction feels an aggressive slight to remove Kate and Anthony, to not even let them linger in the background. 

Overall, Simone Ashley and Jonathan Bailey delivered the smoldering gold that keeps us connected to Kate and Anthony’s love story. Yet season three presence reemphasizes downplaying a great couple deserving to be championed onscreen and off. Sure, there are promising moments worth rewinding— a dance, smooches, Kate hosting her first function as viscountess, a game of charades, Newton appearances, and vulnerable conversation. It’s simply not enough for a couple of this excellent caliber— a couple with many potential storylines that twenty plus minutes sporadically sprinkled across a few episodes will not cut. 

Shondaland should invest in a Kate and Anthony spin off series like yesterday. 

Supporting Two Entities Through The Storms Ahead

 

Simone Ashley and Jonathan Bailey promoting a show that barely promoted them and their season.

Last night, I dreamed about meeting Jonathan Bailey and Simone Ashley (Netflix Bridgerton’s Viscount Anthony Bridgerton and Viscountess Kate ‘Kathani’ Bridgerton) backstage during two simultaneous awards shows— the upstairs SAG Awards and the downstairs NAACP Image Awards. I thought, “how strange that the minority artists are being celebrated below, a similar arrangement happens in the visual arts.” 

Jonathan Bailey stars in Jurassic Park Rebirth with the actress known for taking roles meant for minorities— Scarlett Johannessen. DP: John Mathieson.

Simone Ashley’s scenes were cut from F1, IMDb credit removed. Pictured with would-be costar Damson Idris. The Walk In Magazine Instagram.

The dream simply signifies Bailey and Ashley’s separate career trajectories. Two people will star in a piece together (cruel cuts withholding true depth nonetheless) and then move onto other avenues, someone potentially having more shining opportunities. It will not always be both on top at the same time. 

Yet, it seemed a perfect coincidence for Bailey’s Jurassic Park Rebirth to arrive in theaters after Simone’s F1...

Bailey has starred in endless back to back projects Showtime’s Fellow Travelers, the Wicked two parter, and an extended London theatre revival of Henry V. Whereas L’Oreâl ambassador Ashley has a minor part in the theatrical live-action The Little Mermaid remake and two Amazon Prime releases: The Night Before Christmas in Wonderland and Picture This, and a few coffee commercials and magazine covers. Controversy spread over the net regarding her cut scenes from last weekend’s number one box office film F1. 

“Ashley’s appearance in F1 amounts to a blink-and-you’ll-miss-it moment—no dialogue, no arc, no explanation. [Joseph] Kosinski, who also directed Top Gun: Maverick [cutting Manny Jacinto] called the decision routine and praised Ashley as ‘incredible,’ saying he hopes to work with her again. But to many, the praise feels hollow. Ashley spent months promoting a film that ultimately erased her.”

Ashley has the chops and the vocals to become a superior A list actress, needing the time, investment, and the opportunity as Viola Davis eloquently put years ago. Ashley has yet to find a bigger break than Bridgerton— a show still keeping her as lowly seen and heard as possible. In fact, they rarely promote her returns and title her character as Kate Sharma instead of Kate Bridgerton (you won’t catch them slipping up a “Penelope Featherington” post-season three) Lancôme spokesperson Lupita Nyong’o, an actual Oscar winner, also has more pictorial spreads than film credits. For many talented women of color actresses, it appears far easier to value their gorgeous dark skin in fashionable couture than have them play a humanized character for more than thirty minutes onscreen. 

Kate (Simone Ashley) and Anthony (Jonathan Bailey) were not given the proper love story. Hopefully their portrayers will find behind-the-scenes people who truly care about them in other projects. DP: Jeffrey Jur.

We’re remaining supportive to Jonathan Bailey— an out and proud gay man who’s seen as a serious actor (featured on Variety’s Actor On Actors interview with Naomi Watts) and may score a future ETO (Emmy, Tony, and Oscar). On the other hand, Simone Ashley hailed by Time, Hollywood Reporter, and Forbes deserves more than word of mouth praise— she deserves physical accolades too. Unfortunately, her roads will be met with tumultuous pitfalls of minimized roles or parts removal altogether because she is not white or lighter skinned. How can she and other minority actresses of her grace and magnitude succeed if the behaviors from big shot heavyweights never change from an ancient industry standard—preferring to shut out darker skinned actresses? 

Well, thankfully Simone Ashley started her own production company. Maybe that’s the most solid step to take in order to shift her own career’s direction. 

Viscountess Kate & Viscount Anthony Moments From Bridgerton Season Three, Part I (Spoiler Heavy)

Kate smelling flowers of Bridgerton writer BS. DP: Diana Olifirova. 

Bridgerton season three, part one has finally dropped after a hiatus of over two years. Unfortunately, the most alarming detail is that the popular pairing of Anthony and Kathani Sharma-Bridgerton and their pet Newton have an extremely shortened presence despite Duchess Daphne Bridgerton-Hastings (absent here) having five solo appearances during their season. 

Thus, the unequal attention to Kanthony’s romance continues to reveal itself in nonsensical ways. 

Kate (Simone Ashley) and Anthony (Jonathan Bailey) are ready for Francesca’s presentation to the Queen in Out of the Shadows written by new showrunner Jess Brownell and directed by Tricia Brock. DP: Diana Olifirova.

It was always a problem that the writers underdeveloped Kate, giving her no flashbacks, no in-depth backstory, much less a satisfying relationship arc with both younger sister Edwina and her stepmother Mary. 

Bridgerton’s underwhelming, lackluster third season does little to mend those errors. 

Kate and Anthony appear only in the first episode Out of the Shadows— criminal. After Violet expresses that she will find a dowager house soon, Kate has the idea for her and Anthony to extend their honeymoon— which at the end of season two was a six-month tenure. We have no reflections regarding that honeymoon either, let alone a glimpse into what their wedding had been. This lazy plot device removes Kate and Anthony onscreen at an attempt to get their fans to lean into other less satisfactory pairings— pairings that don’t have that fiery charisma carried by talented actors whose very body language has the same momentum as any dialogue the team has neglected to pen. 

Violet (Ruth Gemmell) and Kate (Simone Ashley) have a lovely conversation in the garden. DP: Diana Olifirova. 

Newton (Austen) has a cameo scene, but does not interact with his mom and dad. DP: Diana Olifirova.  

At least we see that married life did not slow down love’s momentum. 

No longer traumatized older siblings taking on parental responsible ties too early and putting societal duties first, Anthony and Kate are saturated in pure bliss, constantly holding hands and stealing alone time whenever possible, crying tears of pleasure as opposed to tears of pain and sorrow. Their intimate bond has grown and strengthened, a testament to every obstacle thrown in their direction. Although the limited writing still does not offer them deeper, lengthier conversations with each other, their utmost devotion—showing a unified grace— is beautifully depicted primarily due to Simone Ashley and Jonathan’s Bailey’s commitment to portraying believable characters. 

As stated in a previous essay, the happily ever after shouldn’t necessarily end at marriage. There are plentiful scenarios to create for Kanthony— beyond pregnancy too. 

Viscount duties? Where? Anthony doting on his irresistible wife because nothing else matters more to him. DP: Diana Olifirova. 

As Bridgerton continues to suffer from too many side plots— as it happened in season two— and lessens the amount centered on the titled family, the series crumbles, especially when muting one of the best pairings in a streaming series. There should have been more interactions between Kate and her new world— a season three highlight included her talk with Violet. It was nice seeing her become less an outsider and more a vital part, as the pall mall game had demonstrated that she belonged. Kate and Eloise scenes were missed, plus she could have been a friend to Penelope. Kate deserves more Bechdel in general— where is her family anyway? Where do she and Edwina and Mary stand currently? The writers act as though it’s difficult to give her more than two lines. 

Moreover, Anthony’s scenes with his siblings are another joy— Anthony/Gregory, Anthony/Benedict, and Anthony/Hyacinth are some of the most poignant familial bonds in the series. He has been extremely instrumental in the first two seasons, decreasing his role was not the wisest decision. 

Kanthony’s sole dance sequence— featuring the kiss heard from around the world— was exquisitely done! DP: Diana Olifirova. 

Kate continues to have the most beautiful intimacy apparel. DP: Diana Olifirova.  

Kate’s study scene was beautifully shot. The first image alone is perfect for a romance novel cover. DP: Diana Olifirova.  

Overall, the eight minutes of Kate and Anthony were simply not enough. How the writers, producers, and the editors greenlit this catastrophic treatment to devoted fans is beyond the pale! The dishonest promotion— having them everywhere— sold an impressionable dream that wasn’t even fully realized. Why would anyone suggest, “oh, let’s waste this rare chemistry and see if it can be mimicked by our stacked cast?” If you have an ensemble, you have to highlight its strongest components— not make the colossal mistake of purposely omitting them to center weaker legs. As Bridgerton pairings experience promotion from season one to Queen Charlotte to the latest coupled actors, we will never forget that eventual movie star Simone Ashley and future Emmy nominee Jonathan Bailey (watch Fellow Travelers!) were never granted similar photo shoot campaigns. 

The behind-the-scenes travesties show up onscreen and it’s just not a pretty sight going into next month’s part two. 

‘The Sister’ Rewards Bad Guy Behavior

 

The Sister on Hulu. 

I watched The Sister only to support Simone Ashley’s pre-Bridgerton era. 

A colossal mistake. 

Neill Cross’s four episode series is a terror for women watchers or those who align heavily with advocating for women’s rights; each character more offensive than the last including the lead: Nathan, a real foul chap. 

Nathan meets Elise at a New Year’s party. She follows him out into the woods, gets into a stranger’s car (his name is Bob), takes mystery drugs, and dies during coital with Nathan. Instead of alerting authorities, Nathan decides to not only help Bob hide Elise’s body, he later trails Elise’s distraught sister, Holly at her real estate job. Holly reels over her missing family member whose case sadly goes unsolved. It then worsens: Holly actually marries this man greatly involved in Elise’s whereabouts— and Jacki does nothing to help. 

On the wedding day, Jacki (Nina Toussaint-White) sits next to creepy Nathan (Russell Tovey) as Holly (Amrita Acharia) gets up to talk about her sister. 

Who is Jacki?

Well, Jacki, a police officer, is apparently a close friend of the Fox family. During the diligent investigation of finding Elise, Jacki questioned both Nathan and Bob, two skeptically behaving characters among the many people present at the ill-fated New Year’s party. Although she seems very shocked that Holly is engaged to Nathan (because they hadn’t met prior to the engagement party?), Jacki gives Nathan the cliche “if you hurt her” speech sans digging into the strange coincidence of this former suspect marrying Elise’s sister. If Jacki were a true friend, she would have told Holly all about Nathan and Bob. It is an honor code among women, especially women friends, to not withhold huge crucial secrets. Nathan is already hurting Holly by not being honest. Jacki— whose obligation should be Holly first, Nathan last— makes an ugly situation worse in keeping quiet. Instead of asking the right questions regarding how Nathan met Holly and so forth, Jacki lets Nathan slide more than once. 

In almost every picture, Elise (Simone Ashley) stares out at Holly, her sister and Nathan, an accessory to her disappearance. 

In the present, Holly and Nathan live together in an opulent house where framed photos of Elise are everywhere— a depressing reminder to Holly that her sister is never forgotten and a brutal reminder to Nathan of his buried crimes. Yet, Nathan’s guilt rarely cracks— until Bob shows up on a random evening. The biggest scare in Nathan’s life is not Elise’s ghost haunting him to infinity. It is Bob who knows the truth behind Elise’s disappearance. 

We couldn’t have that mess up Nathan’s domestic bliss with Holly. 

Elise (Simone Ashley) is too comfortable with these strangers: Nathan (Russell Tovey) and Bob (Bertie Carvel). Heartbreaking. The series paints her final moments as a typical party girl looking to score. 

Honestly, Nathan comes across as unhinged and not a good liar. He appears to have no family or friends of his own. Ever since Holly’s tearful plea for help regarding her missing sister on the news, Nathan has grossly attached himself to Holly and the Foxes. His unhealthy fixation is neither romantic or cute in gesture. In fact, he makes the series all the more sinister. A wife can never truly know her husband one hundred percent, but you feel sorry for Holly who allowed a man to take advantage of her vulnerable state of mind. She deserves better— as does Elise’s ghost. 

Unfortunately, Holly will not see the light. 

Poor Elise. Other than being completely photogenic, we never know who she is. 

Disjointed The Sister is a terribly slow pace series with wobbly flash forward sequences allowing Nathan to get away with his detrimental acts. He dug up a grave, put a body inside, stalked a sister knowing that information, and married into a grieving family. Moments happen when Nathan almost gets caught, but alas, nothing. He is at a crime scene wearing gloves and police see nothing weird in his odd behavior, making no inquiries. Plus, the morbid replays of a brown woman dying over and over, her skull kept in a box, her dress in a freezer, the rest of her remains unknown— ugh, so awfully offensive to watch. Perhaps the bad writing suggests that an unchaperoned young woman on her own at night is asking for the consequences of her choices. Do not gallivant in dark forests with strangers, engage in unknown drugs, and premarital sex— societal death wishes. Sure Bob planned another ghastly scenario entirely, but that’s not what played out— the only person in real danger was the woman. At least, Bob who acts as deranged as Bob on Twin Peaks, owns up to his calculated intentions. Nathan is a loose canon dressing up as a “good guy.” 

Holly is often in scenes drinking wine. Here she tells her friend Jacki about Nathan’s old pal Bob coming to visit. 

Yes, Jacki is intrigued by Bob. She goes as far as investigating Elise’s disappearance again and coming to Bob’s residence late at night (by herself). 

The saddest takeaway is that women are horrifically developed (or underdeveloped) here. Holly and Jacki easily accept Nathan’s lies. They truly buy that Nathan met Bob on the road after the New Year’s party. Why would anyone want to hide such dumb information unless some deeper implications were afoot between the two of them? Are both women’s intuitions severely broken? Has Elise’s absence made them dimmer? Is Holly so desperate to have a baby that she can overlook Nathan being questioned in the past regarding her own sister? It is beyond disgusting that Nathan slept with Elise— which Holly will never ever learn— and gets rewarded in the end. Jacki— who threw reopening the case— believes Nathan is good for Holly. Does that mean an accessory/killer should raise children? 

Sometimes we must learn the hard way that male creators/showrunners still do not have women’s best interests at heart, let alone realize how women think/behave. And cringy The Sister— its title should have been renamed The Creepy Husband— fails in every aspect of granting Elise true justice. 

Deconstructing The Fairytale Myth: That ‘Happily Ever After’ Means No More Stories Can Be Told About a Couple

 

Recently, when asked about Kate and Anthony’s future and requests for a possible spinoff based on the Netflix streaming series, award-winning Bridgerton producer Shonda Rhimes said the following problematic statements:

“I don’t know what story could be told. The beauty of this show is that we get to tell a complete love story from beginning to end with a happy ever after every season. We don’t have to manufacture reasons why a couple can’t be together, we let them have their actual happy moment. And so, there are no spinoffs to be had because we’d have to find some way to break the couple up, and that feels very artificial..... maybe we could just watch them sit together.”

As previously stated in essays Part 1 and Part 2, the second season of Bridgerton focused on a lackluster triangle rather than the leads themselves— Anthony Bridgerton and Kathani Sharma-Bridgerton. That in itself was terribly bad manufacturing on their part. Thus, fans deserve a deeper continuation on their couple’s journey of love, a love that does not stop at an unseen wedding or an implied six month honeymoon. If these writers can devote extra time to the Featherington drama purposely cuts into the main reason for adapting The Viscount Who Loved Me, then spare moments for those that the protagonists lost. 

A lot of excitement exists for Bridgerton’s first returning couple and so much can be built from Anthony and Kate’s union. 

This notion that “happily ever after” ends where a story could potentially go is absolute nonsense. Rhimes, so accustomed to having her couples experience short lived happiness anyway, obviously requires more lessons in discussing all factors of romance. In her previously produced shows, she always makes it seem that there only two phases— the loving buildup and then surprise death/breakup. Although she doesn’t write on certain shows, especially Bridgerton, her trademark is branded throughout. She thrives on drama as explosive and destructive as it can be managed. Perhaps adapting Julia Quinn’s novels offers her own personal tropes a challenge. Except, it seems such limitations cannot allot her the ability to expand beyond her normal storyline approaches. 

In these interviews, Rhimes cringes at this lack of authority, not being able to permanently hurt these fictional characters. However, she can have them experience pain in multiple ways. We saw Kate’s brutal humiliation over and over: Anthony setting up that nasty trick with Thomas Dorset at the races, Edwina being fine with it, Kate being cruelly sidelined as Anthony proposed to Edwina right in front of her, Anthony repeatedly speaking of his lust for Kate which rightfully confused her, and Edwina rolling out of character to viciously maul Kate and Lady Mary (supposed loving mother of both daughters) not doing anything about it. Also some members in Anthony’s family had the tendency to be either overly harsh with him or make unfunny jokes at his dispense. 

Furthermore, the “maybe we could watch them sit together” is insulting. Most of Kate and Anthony’s love story comprised of nonverbal interactions. She knows this. The audience knows this. To say that you would rather create more quiet moments between them and not necessarily work on giving them any dialogue is a huge red flag— a sign of lazy, uninventive writing. It is not smart or wise to backburn a charming, charismatic pairing that has yet shown us all that they can be. 

In Quinn’s The Viscount Who Loved Me, the story truly begins after Kate and Anthony are married. Lots of juicy tidbits can be taken from there. Room can be made for finally divulging Kate’s childhood traumas, Anthony apologizing onscreen for hurting Kate the way he did (maybe a pseudo moment triggers Kate’s memory of Anthony’s proposal to Edwina), Kate’s first pregnancy encouraging Anthony’s heartbreaking flashbacks to his grieving mother’s agony, and etc. The possibilities beyond “just breaking them up” are endless. Heck, a spin off has the promise to center Kate and Anthony’s growth, vulnerability, grace, and humility together. Bridgerton is not an adaptation acquired by Disney. The characters still have internalized issues to deal with, to channel through. That doesn’t end because they’re wearing wedding rings. Or have lots of great sex. Already, many women of color see themselves in Kate, especially South Asian women who rarely have the opportunity to have this kind of beautiful brown woman media representation on a popular series. Imagine how even more thrilling it could be with her leading a whole series and incorporating her heritage further— which should have been properly conducted in season two. 

Jonathan Bailey and Simone Ashley are incredible, top tier actors that can render scripts into gold (even when the scripts are not that). They deserve the opportunity to showcase the internal workings of a marriage, all its complex nuances in addition to the intimate pleasures and joys. If these show runners and writers still refuse to give them any more depth worthy of their talents, they will come to regret it. After all, both have big projects set for the future. It would be nice if the series appreciated them as others strike an otherwise very hot iron. 

So please, get a clue, Shonda Rhimes & Co. You’re all becoming increasingly out of pocket and out of line. 

The Curiously Uneven Symmetry of Kate Sharma & Lady Danbury

Bridgerton’s Kate (Simone Ashley) and Lady Danbury (Adjoa Andou) shared a few similarities. DP: Jeffrey Jur.

Kate Sharma and Lady Danbury could have been a formidable pair. 

The Bridgerton writers seemed to build parallels between the two— Kate having more substantial scenes with Lady Danbury than her own stepmother, Lady Mary is key. Yet Lady Danburry’s constant contradictions to Kate slightly spoiled whatever they had in mind. 

Lady Danbury suggests some gentlemen for Kate’s dance card. An uninterested Kate, however, never wears a dance card the entire season. DP: Jeffrey Jur.

During their head clashing introduction in Capital R Rake, after coyly hiding the evidence of her secret morning ride, Kate smugly informs Lady Danbury that she taught Edwina every wifely requirement including pianoforte, dancing, and French. Kate then cheekily inquires about the preparation of the despicable tea. It comes off as insulting. After all, it is the household staff preparing such trivial matters as tea and cake. Then again, Lady Danbury rudely inquires Kate’s advanced age and Kate responded with a forced smile. These two women were playing chess, testing each other’s wills under the demure impression of English respectability. Lady Danbury sees Kate as an unexpected opponent, more so than a spinster making a grand debut. Kate sees Lady Danbury as the resourceful influence to solving her family’s problems and what she hopes her future independence to mirror. So where did it all go wrong? 

Kate pleads with Lady Danbury to keep her secret. DP: Jeffrey Jur.

Lady Danbury is surprised that Kate is dead set against finding a match of her own. DP: Jeffrey Jur.

Later, Lady Danbury scolds Kate for lying about her reasons for coming to London and claims that few can outwit her. A desperate and grateful Kate pleads for Lady Danbury to keep her secret. Although it appears that the lonely Kate has a confidante at last, Lady Danbury advices her to reconsider being alone. At the conservatory ball, Lady Danbury quickly puts Kate in her place when Kate makes several minor mistakes. This seems like payback for Kate’s unladylike manner and her diabolical scheme.

Kate and Lady Danbury are pleased that Edwina is announced the season’s diamond. DP: Jeffrey Jur.

When Edwina is announced Queen Charlotte’s diamond, Kate and Lady Danbury find common ground as co-conspirators. 

In Off To The Races, Kate intentionally leaves Anthony’s name off the suitor’s list due to his desire for no love match. Kate is looking out for Edwina’s best interests in addition to her own, obviously vicariously living through Edwina. In fact, Kate believes the poetic Lord Lumley perfect for Edwina. By insinuating that love matches are extremely rare, Lady Danbury candidly informs Kate that foolhardy romanticism has no place in their society. Marriage is a social contract, blah, blah, blah. Lady Danbury is trying to dominate Kate’s hope for Edwina. She is inserting politics over the pure human inclination for what the heart wants. Thus, at the races, Lady Danbury plots with Lady Violet to persuade Anthony into changing his mind about finding love while Lady Danbury aims to sway Kate’s influence, noting that Kate’s naivety is an advantage. Perhaps Lady Danbury—seemingly unknowing about the traumas that ail Anthony— believes that a man’s mind can be easily persuaded. Yes, Lady Danbury may have allowed Kate to leave Anthony off the soirée guest list, but she’s the first to allow him to speak false nothings to Edwina. 

In Off to The Races, Kate (Simone Ashley) shares that Anthony is not about finding love to Lady Mary (Shelley Conn), Edwina (Charithra Chandran), and Lady Danbury (Adjoa Andou). Lady Danbury severely tells Kate that marriages are usually nothing more than business contracts. DP: Jeffrey Jur.

During this fiery soirée, the next conversation between Kate and Lady Danbury is an iron battle. Kate admits to watching Lady Danbury’s powerful, influential independence. Lady Danbury snaps that she has known love, lived an excellent life due to that, and that Kate will never become anything like her. Thus, if Lady Danbury has experienced this rare love match for herself, why not help Kate obtain that for Edwina? Lady Danbury heard Anthony quite clearly. She knew what he was about. Yet, like Edwina, Lady Danbury saw a good name, title, and fortune. Why not fight for someone such as Lord Lumley for Edwina’s hand? From that point on, no other suitor mattered more than Anthony. While Lady Danbury and Lady Violet are busy planning to put another couple together, for they had succeeded well with Simon and Daphne last season, they’re the ones who see the sparks flying between Kate and Anthony. Yet, Lady Danbury is fresh out of advice for Kate— the woman not looking for love. Maybe that’s why Lady Danbury holds her tongue.  

Lady Danbury encourages Kate to change her behavior. DP: Jeffrey Jur.

Kate only cares about seeing her sister married, no dreams of her own. DP: Jeffrey Jur.

In Victory, Lady Danbury witnesses that Kate and Anthony are falling in love. It is especially evident as she watches them dancing at the Heart and Flowers Ball. Also, what did she think of them at the earlier pall mall game? Did she not notice Kate and Anthony chasing their balls together? Did she not see the mud on their clothes when they returned? This editing will bring death to the mind. The writers were veering from the typical “alone unchaperoned” scenarios. Still, it is very strange that no one brings up pall mall. After Kate and Anthony’s “love is on full display for all” dance, Lady Danbury sees Kate following Anthony out of the ballroom. That same evening, Lady Danbury finds Kate crying outside and advices her to tell Edwina the truth about Anthony. There is tenderness and understanding in Lady Danbury’s expression. If only Lady Danbury told a conflicted Kate that her confusing “hatred” was love. In this scene, Kate became so utterly young and vulnerable that you must remember that Kate has never before experienced the feelings Anthony inspires in her. While we know Daphne tells Anthony that the feelings are indeed love, a super cryptic Lady Danbury does not use flowery language to prop Kate up. She lets the spinster believe that her feelings are “dislike.” 

In Bee In Your Bonnet, Kate promises to be on her best behavior at Aubrey Hall—the setting that will change her life forever. DP: Jeffrey Jur.

In An Unexpected Fate, Lady Danbury gives Kate daggering stares and more contradictory advice— even in the same scene. Kate has had enough torture of bearing Anthony and Edwina together, but Lady Danbury forces her to promenade with them (that carriage ride was probably pure hell). Lady Danbury tells Kate in one breath to let go of the viscount, implying that Kate would be a fool to try to get between Edwina and Anthony. She even implies that she believes Kate would be pleased if the engagement would break. It is a rather callous statement. Hadn’t Lady Danbury witnessed the great sacrifices Kate made in order to ensure Edwina’s happiness? Had Kate not shown in Lady Danbury’s face that Edwina is at the very top priority in Kate’s life? In the next breath, Lady Danbury suggests that Kate appreciate her upcoming freedom— now a nice consolation as opposed to her earlier criticism of it. Seconds later, Lady Danbury pushes the reluctant Kate into accepting a boat ride with Thomas Dorset. Did Lady Danbury believe that Thomas’s obvious interest would change Kate’s mind? That her broken heart could move so swiftly towards another man, let alone Anthony’s former Oxford schoolmate? Perhaps keeping favor with Queen Charlotte by having Anthony and Edwina’s wedding come off without a hitch meant more to Lady Danbury than saving Edwina from a disaster Kate warned her about. After all, Lady Danbury knew damn well that Edwina wanted a love match. 

In Victory, Lady Danbury pointedly asks Kate if she has been enjoying her time alone with Anthony, raising this question in inappropriateness. DP: Jeffrey Jur.

Daphne and Lady Danbury clearly see what is going on. They are the ones who attempt to steer Anthony and Kate in a proper direction. DP: Jeffrey Jur.

After Lady Danbury’s wedding efforts embarrassingly failed in The Choice, Lady Danbury went into hiding, seeking refuge from Queen Charlotte’s wrath. The keen, observant Lady Danbury must have known why Edwina ran down that aisle. With Lady Mary on Edwina’s side, Kate needed someone on hers. Lady Danbury probably saw Kate as the wrecker to the union— a union that Lady Danbury avidly advocated for. In these six episodes, Kate and Lady Danbury’s established relationship hinted at protégé and mentor, wise elder and young mind, etc. Moreover, Lady Danbury has some blame for her role in staying silent. In a rather eye rolling moment, Lady Danbury later admits this to Lady Violet who also knows about Anthony and Kate. 

Lady Danbury tells Kate that she would be a fool to jeopardize Anthony and Edwina’s nuptials and that an independent life is a great consolation prize… DP: Jeffrey Jur. 

Lady Danbury also then speaks for Kate— saying “she will be delighted” when Thomas Dorsey requests Kate’s presence on the lake. DP: Jeffrey Jur.

If the Bridgerton writers collectively decided against fully fleshing out Lady Mary’s character— Kate’s supposedly loving stepmother from the book who receives minor onscreen interaction with Kate in the series— they could have at least showed consistency in forming an otherwise tepid older woman and young woman trajectory. It was a creative decision to utilize Lady Danbury as the Sharma family sponsor— making them rent a place would be another story (and set location) entirely. The execution, however, leaves room to be desired. Lady Danbury may have kept mum about Kate’s misdeeds, but if she had not interfered maybe the story would have turned out better for everyone.

Now Simone Ashley and Adjoa Andou play well off each other. It is wonderful to watch two women of color share the screen in an otherwise predominantly white streaming series. In fact, some of Ashley and Andou’s strongest acting this season is in their scenes together. Apparently, the writers— however fickle they wrote Lady Danbury— had a better time giving Ashley lengthier lines with Andou than properly sculpting out her undeniable chemistry with Jonathan Bailey. One cannot be fully upset by this fact— the sight of Ashley and Andou matching wits was another source of gratifying entertainment. 

It is highly doubtable that Lady Mary will return, seeing as her role so minor and almost glaringly insignificant until the last episode. Thus, it may continue to be interesting seeing Lady Danbury and Kate interact in the third season if they even interact at all. 

Understanding an Obsession With Kate & Anthony: Part Two

 

The pull between Kate and Anthony proves much too strong. 

On my thirteenth day of Bridgerton season two obsession, this part two analysis on Kate and Anthony chronicles episodes five through eight— the crucial milestones (and roadblocks) made along their journey towards love. 

Kate (Simone Ashley) is beautiful in a low cut teal gown and soft curls framing her face as Anthony strides in the room in An Unthinkable Fate directed by Tom Verica aka Sam Keating from How To Get Away With Murder and written by Abby McDonald. DP: Jeffrey Jur.

As Kate daydreams of Anthony (Jonathan Bailey) passionately whispering her name, he passes by her, greeting only with a short “Miss Sharma” and a head nod. DP: Jeffrey Jur. 

Even Kate and Anthony’s hands ache to touch— this is one of the important symbols of this episode. They hold/touch hands on two separate occasions. DP: Jeffrey Jur. 

An Unthinkable Fate, the jealousy heavy episode five, begins with Kate’s uncontrollable desire for her future brother-in-law. At Queen Charlotte’s palace, Kate’s stimulating memories of Aubrey Hall are seen through the perspective of a woman quietly deciphering unrequited passions alone with no outlet to explore them. As usual, Kate pushes every emotion within, the newly awakening desire threatening to devour her. Only Lady Danbury sees her struggle. This would have been a wonderful opportunity to expand on Kate and Lady Mary’s relationship—  incompletely developed from the book. Yes, Kate is twenty-six. That doesn’t mean she doesn’t need motherly guidance to explain her conflict. As Kate fans herself, in comes Anthony striding through none the wiser at what ails her. Kate and Anthony’s nearly brushing fingers for five scorching seconds is degrees hotter than Anthony kissing Edwina’s hand— the very hand he has mistakenly chosen to marry. Kate has to force a decent composure (in the Queen Charlotte’s presence no less, poor woman) as her stormy thoughts and envy for Edwina overwhelm her. Later, we see Kate is not alone in her suffering—a strained Anthony’s in great agony in his bathtub.

Thankfully Mr. Brooks, the makeshift chaperone, is too occupied with lemon cake— otherwise Kate wouldn’t have the gall to speak freely about the startling events at Aubrey Hall to Anthony. DP: Jeffrey Jur. 

At least their hands, however short the time, sought the other as Anthony appreciates his father’s ring on Kate’s finger. Nothing else seems so right. DP: Jeffrey Jur. 

Ugh. The tender clasping… DP: Jeffrey Jur. 

The very next day Kate questions why Anthony is going through with marrying her sister after what passed between them at Aubrey Hall— the events still repeatedly playing in her mind, driving her to maddening distraction. Also, since it was so imperative for Anthony to receive Kate’s blessing in the first place, she does bring up a valid point. 

“Would the two of us being obliged to marry be the outcome that you desire?” Anthony asks.

“Of course not,” Kate answers quickly, clearly in denial. 

Woman, you’ve been thinking about that man since you came back to the Danbury house. 

Perhaps Anthony is bating Kate to admit her feelings despite his insistence nothing happened at Aubrey Hall, nothing happened in that library. He knows that she was raised to be a lady. She is still an innocent. She doesn’t understand what has been slowly building between them as her earlier resolve to hate him dissolves and softens. Instead of following Daphne’s advice to follow his heart, Anthony has ushered him and Kate into this detrimental predicament aka the real unthinkable fate — sentencing Edwina into a loveless union. Once the absentminded jeweler Mr. Brooks makes Kate try on Edmund’s ring, the consequences of Anthony’s actions become even more apparent. Immediately, Anthony’s voice drops to a low timbre as his fingers provocatively stroke the meaningful band on Kate’s finger; this tender caressing similar to him holding Edmund’s book in the two-minute library scene. It subtly suggests that Kate is the woman Anthony should have proposed to regardless if he thought she would reject him. 

As Lady Violet (Ruth Gemmell) and Edwina (Charithra Chandran) discuss Edwina’s favorite colors, a possessed Anthony (Jonathan Bailey) watches Kate as though no one else exists in the world. DP: Jeffrey Jur. 

Not another man being the cause of Kate’s luminous smile— Anthony was hating it. DP: Jeffrey Jur. 

Jealousy bites the hell out of Anthony when Thomas Dorset chances by the promenading Bridgerton and Sharma families. Lady Danbury forces Kate to accept Thomas’s request for a turn around the lake. Anthony watches them so hard that his ears have magically heightened Kate’s faraway laughter over Lady Violet and Edwina’s close range conversation. While Anthony’s envy threatens to get the best of him in front of a huge summertime crowd, it is pleasant to see the brooding Kate come out of heartache’s painful shell. Kate openly expresses her desires of returning to India with Thomas, giving just a slight insight into her life before coming to London. The writers certainly missed an opportunity to also have Kate share this world to Anthony as well— her swimming with the turtles sounded refreshingly sweet and lovely. The sore lack of longer intimate conversations and screen time between Kate and Anthony overall hurts the season anyway. They spend more time with other characters than each other. Yes, it is absolutely delicious that Kate talks a good game about a free, independent life, her gaze straying towards Anthony— who still stares at her from afar. The excruciating part is incessantly stalling Kate and Anthony’s journey.

Anthony was not about to let Thomas touch Kate’s bare hand— especially after the prior experience of his father’s ring on her finger. Once Anthony helps Kate out of the boat, their fingers linger longer than propriety allots. DP: Jeffrey Jur. 

How Edwina (Charithra Chandran) did not notice Kate (Simone Ashley) staring directly at Anthony and not Thomas is beyond strange. DP: Jeffrey Jur.

Triangles are silly, often lopsided plot devices. Kate was worthy of a kind, gentle someone paying favor to her. Anthony broke this woman’s heart after all. Heck, Thomas apologizes for his part in Anthony’s horse race scheme— something of which Anthony himself never expresses a sorry for. Yes, Kate wants to return to India quite badly. Wouldn’t it be delightful if another soul compelled Kate to stay in London? To feel all the joys that the city could also provide her and not just her noble born sister? It is still odd that no one ever compliments Kate’s beauty and manner either. Everyone tells Edwina that she is “beautiful and lovely” in almost every episode. Kate receives nothing of the sort. If Thomas obtained another scene with Kate, maybe he would have told her so. After Thomas and Anthony accidentally fall into the water together, Thomas is never seen or mentioned again. Perhaps Thomas saw the way Kate ogled Anthony’s sheer wet shirt and decided not to pursue her further. 

Lady Mary (Shelley Conn) tells Kate (Simone Ashley) that she does not regret choosing love over her family foreshadowing the inevitable. DP: Jeffrey Jur. 

The later Sheffield dinner becomes a vile, awkward mess. Lady Mary’s parents barely acknowledge Kate— adding more pain and humiliation for her throughout this whole dreadful engagement. Lady Mary defends herself against them. Unfortunately, Kate’s deal with the devilish Sheffields comes to light and she is painted a villain to all at the table including the Sheffields who have never welcomed Kate— as both child and adult. Lady Mary and Edwina are both horrified and blast Kate. Still, Lady Mary had to know that her family was in a dire situation. She could not be that ignorant about their finances. Edwina, yes. But Lady Mary? C’mon. After Anthony bravely stands up for the Sharma family and boots out the Sheffields, he and his mother also take their leave. Here he is coldly dismissive to a pleading Edwina. Yet when a breathless Kate begs to speak with him, Anthony gives in to her request. In the drawing room—shot metaphorically well— Anthony and Kate passionately declare their feelings for each other. The torment is risen alarmingly high— the pants, the whispers, the close faces, him touching her. Anthony, who may have drunk some of Colin and Benedict’s special tea, starkly makes it plain that he does not want to marry Edwina, not when such a marriage eternally binds him to Kate in a way that does not suit them. How could Kate not swoon by Anthony’s utterly poetic revelation? A man who once considered himself not to believe in poetry? These two stubborn individuals bent on not finding love have reached the climatic crossroads in which love has indeed found them and wants them to give in to the lasting, inexplicit temptation of it. Instead of confessing her feelings for Anthony to her sister, however, Kate lets herself be blindsided by Edwina admitting her own manufactured love for Anthony. Edwina does not love Anthony. She loves the role of the viscountess. Ever dutiful Kate who doesn’t take her mother’s sound advice decides to make a foolish sacrifice. 

However, did Kate have the willpower to sleep with Anthony’s ardent words embedded in her conscious:

“You are the bane of my existence... and the object of all my desires.”

A funny Anthony tweet about that dinner!

Anthony and Kate meet in the dawn at the park of their introductory meeting. Kate calls him by his given name for the first time, but not in another loving testament. She wants him to marry her sister and forget their alarmingly wonderful potential. She actually believes what they feel will become “tenable.” What were the writers thinking with this awful rubbish? It was so unnecessary, so wrong. If you love your sister so much, you would tell her the truth. Not sentence her to a loveless marriage, especially to a man who worships the ground you walk on. Anthony already has no self control over the lilies filling up his flailing nostrils whenever Kate walks by. Anthony also confessed he would be wanting Kate every single day and night of his existence. If she were to ever leave for India, he would likely follow her there. Edwina, though juvenile and unseeing, does not deserve that. If only, they allowed Edwina to have other suitors, have Lord Lumley supply her with more articulately recited Lord Byron. Bring in Mr. Bagwell early on. It was a colossal mistake having Edwina center Kate and Anthony’s story— an otherwise remarkable romance stained with their rare conversations cruelly framed around the annoyingly redundant “your sister.” 

In The Choice, episode six, directed by Tom Verica and written by Lou-Lou Igbokwe, Edwina complains about Anthony’s lack of looking at her. Kate tells her that love is the meeting of souls dancing; hiding the fact that she is forfeiting her own happiness for Edwina. DP: Jeffrey Jur. 

With the eventual strife rising between Kate and Edwina, it is pretty depressing that Kate would probably not receive this same ceremony for her own wedding to Anthony— an event that happened offscreen. DP: Jeffrey Jur. 

Colin (Luke Newton) and Benedict (Luke Thompson) make a toast to Anthony (Jonathan Bailey) “besting the sister.” Anthony drinks to it. He doesn’t appear pleased at all. DP: Jeffrey Jur.

When Edwina says she wishes Anthony could witness their pre-wedding ritual, it conjures an irresistible thought of Anthony seeing Kate in this golden dress, her skin smeared in turmeric. He would likely die on the spot. DP: Jeffrey Jur. 

Despite Anthony thinking about Kate, staring at Kate, and picking up Kate’s dropped bangle on Edwina’s wedding dress train, The Choice, episode six aka the doomed wedding, is a terrible waste of time— a corny, unsatisfactory plot. Honestly, it never should have gotten this far. The ceremony takes what should have been Anthony and Kate alone. Once Edwina realizes Anthony and Kate are in love (they do a poor job of hiding their emotions at the altar), she runs down the aisle before vows can be exchanged. Again, Edwina and Mary take another united front against Kate. While Anthony is surrounded by his disappointed family, these brutally ugly and uncomfortable Sharma family scenes upstart Kate’s painful loneliness in a closet, ultimately highlighting her shame induced ostracism. Yes, Kate begged Anthony to go on with this charade— a charade of his own making— but she certainly didn’t deserve to be called a “half-sister,” an abrasive remark that vengeful Edwina never apologizes for. The whole Edwina character seems hastily rewritten too— so offended by Anthony not loving her when it has been implied since episode two. Kate had been warning this chit from the beginning. Also, why did they have Anthony call Kate a thorn to Edwina? That was an interesting decision. 

By the end, Edwina rejects Anthony and claims “victory over Kate” in that she makes up her own mind. In reality, since Anthony’s honest speech at the Danbury soirée, Edwina saw no other suitors to pursue. She just wanted Anthony; easily swayed by mechanical gestures. She chose him herself against Kate’s wishes. Anthony had been speaking of duty the entire time never once declaring love and passion. Edwina chose not to see Anthony was trying to best Kate. Although Anthony and Kate’s game became one in which they were both winners (of each other), putting Edwina in the middle was a dangerous price to pay. Why did the writers choose to taint Anthony and Kate’s love in the most insufferable way by adding Edwina? 

Everyone leaves, having learned that the wedding is called off. Kate and Anthony are alone in the church. 

Anthony daydreams of Kate as his gorgeous bride. DP: Jeffrey Jur. 

Too bad the season did not grant audiences a perfect wedding for Kate and Anthony. Perhaps there will be special flashback inserted in season three? DP: Jeffrey Jur.

Anthony picks up the bangles Kate’s mother has given her in an astonishing scene that speaks volumes to everyone mostly Edwina. DP: Jeffrey Jur.

After previous episodes of Kate and Anthony standing close to one another, breathing hard, they finally kiss— and right at the altar! This kiss is well worth the wait for the build up was extremely intense. With Kate and Anthony’s feverishly yearning looks and desperate fingers seeking the other since returning from Aubrey Hall, the ravenous meeting of mouths simply rejoiced near heaven. The kiss speaks of riveting passion and smoldering flame. Kate greedily digs in Anthony’s hair while Anthony clutches at her back, their relief and bliss the most honest they’ve ever been to each other. The failed nuptials pushed them into the direction that these two pining souls had been wanting practically forever. Who cares if it inappropriate to be tearing each other up in the church at the very place Anthony set to wed? They desperately needed to take this step— a step that could no longer be self contained. How Kate and Anthony managed to eventually leave the church and return to their respective homes after giving into their emotions remains an unsolved mystery. 

Kate and Anthony’s long awaited kiss bursts with utmost urgency. DP: Jeffrey Jur. 

In Harmony, episode seven, directed by the brilliant Cheryl Dunn and written by Oliver Goldstick, Kate is reliving her first kiss with Anthony a million times. DP: Jeffrey Jur. 

Anthony is also thinking about it— a man so different, so changed from this season’s first episode highlighting his rakish behavior. Now he is pining away, yearning for the woman who has stolen his heart in the very bed she would soon join him in. DP: Jeffrey Jur. 

Kate tracing her lips from the memory of Anthony is a sweet demonstration of an innocent woman’s descent into yearning for further tutelage in the seductive arts. Ah, the ways Anthony could teach her… DP: Jeffrey Jur. 

Harmony, the seventh episode, moves Kate and Anthony’s snail paced story forward. Highlights include Newton accepting Anthony, the fun family dance, the gazebo, and the rain accident. As both families undergo a most humiliating promenade, Anthony and Kate share a tormented stare from across the cutting crowd. Much later, at the Danbury house, they sit next to each other, silently enduring Edwina’s constant barbs and frowns. Newton comes crashing in— greeting Anthony first. It is extremely adorable. They both tell the corgi “out” and immediately their magnetic bodies incline towards one another. Of course, Lady Danbury breaks them up with her cane. A complaining Edwina whines, “was I truly that blind?” No one cares. Lady Danbury and Lady Violet then plan a ball at the Bridgerton house because that’s what these people do— throw extravagant parties. 

Kate’s beloved Newton (Austin) now adores Anthony— wish we saw more between these three. DP: Jeffrey Jur.

Kate and Anthony act as though no one else exists in a room that also contains Lady Danbury, Lady Mary, Lady Violet, and Edwina “was I truly that blind” Sharma. DP: Jeffrey Jur.

At the art gallery, Lady Mary admits to Anthony that she ultimately became a Lady Violet— leaving Kate alone to support her family due to overwhelming grief. While Lady Mary and Lady Violet allowed the gnawing sadness to overtake their lives, they forgot that their children were grieving too. Anthony and Kate were forced to grow up faster and take on familial responsibility. Perhaps like Anthony, Kate’s thoughts on love changed the moment her father died too. Meanwhile, Edwina continues making Kate feel low and guilty. The character change is unbearably hard. Yes, Edwina is hurting, but so was Kate who shouldn’t have bottled her feelings as though they did not matter.  Sadly, Edwina is the only person Kate cannot snap back at. Kate looks utterly defeated, almost dead, taking her sister’s insults inside herself. Anthony is the concerned party, ironically finding her beside the embracing sculpture. Anthony longs to speak about their kisses. A melancholic Kate mirrors Anthony’s “nothing happened in that library” from An Unthinkable Fate stoically responding with “nothing happened between us.” Kate also says “we should be ashamed,” sucking the joy from Anthony’s face. Thus, Kate’s anguish over her actions— torn between sisterly obligation and Cupid’s heart piercing arrow— grows and grows as Edwina continues making callous remarks, inciting Kate’s guilt. Kate has never uttered a single mar against Edwina, but Edwina deliberately abuses Kate over and over. Talk about a brutal character switch. Yes, Edwina is hurt. She feels betrayed. Yet how does constantly belittling Kate make Edwina a bigger, rootable person? Kate needs a real consolatory friend, someone to tell her that everything will be alright and embrace her. 

Anthony has lost all his senses thanks to Kate’s lily smell just as he is in the book. DP: Jeffrey Jur. 

Anthony— who after coincidentally spying Lady Mary, Lady Violet, and Lady Danbury engaged in the same sculpture— hunts for Kate. He tries to talk to her through the embracing marble figures which powerfully represents torturous remembrances of their kisses. DP: Jeffrey Jur.

No one attends the Bridgerton ball. Joy ensues anyway! Before Benedict even tries escaping to his studio, a lighthearted Anthony forces him to stay and dance, even inviting Hyacinth and Gregory (sweetly watching at the top of the stairs) to join in for a rowdy country dance. It is such a terrific scene— everyone including Lady Violet, Lady Danbury, and Lady Mary dancing together and switching partners with the young people. Anthony and Kate light up and smile, temporarily restored from their private miseries, their failed duties. When they share their second ever dance, their wide, affectionate grins are quite contagious. This sweet, happy side of Anthony is a result of Kate— a woman who brings fun, laughter, and rebellion in his world. By fully relishing in the carefree nature of this event, Kate, who never felt worthy of such feelings, appears to have let down her guard for the man she couldn’t help falling for. It is not desire and passion uniting Anthony and Kate together— it is like she said prior to the wedding— “love is two souls dancing.” 

Kate and Anthony share the final round of the group square dance in each other’s arms. It is one of the first times Kate has actually smiled and laughed in this episode. DP: Jeffrey Jur. 

Unfortunately, a catty, vindictive Edwina spoils Kate’s uplifted mood— telling her that “I am not the coldhearted one, you are.” Wow. The sisters’ fallout remains fraught with difficulty. Yes, Kate sacrificed far too much for her family including putting up her whole heart in the bargain. Throughout this torturous saga, Kate continuously placed Edwina’s happiness above her own. Like Anthony, Kate situates herself at the bottom of her personal hierarchy. Ironically, Edwina’s brash attitude mirrors the old, rebellious Kate. Thus,  was the childish, entitled, doll-like Edwina of earlier ever a real person? Was that Edwina a manufactured invention of Kate’s misguided calculations? 

When Kate goes outside towards the lovely gazebo for fresh air and peace after enduring another of Edwina’s verbal jabs, Anthony is also outside— reflecting on his own family’s struggles. Sadly, both the Bridgerton and Sharma families are on the brink of societal ruin due to Anthony and Kate denying themselves what they truly wanted. If Anthony had stopped his hypocrisy, took Daphne’s advice correctly, followed his heart, and proposed to Kate, they maybe would have been together sooner. If Kate had told Edwina and Lady Mary about her growing feelings, Anthony and Kate would not be wallowing in self pity as the entire ton shunned and cut their families. 

Yet Kate and Anthony cannot seem to have an honest heart to heart without arguing.

Their spat soon becomes infused with invisible smoke. 

After a heated argument and refusing to “go back inside,” Kate and Anthony travel down the fiery hot road of no return. DP: Jeffrey Jur.

Kate simply does not care about the societal rules and takes all that Anthony gives her right on the family property. DP: Jeffrey Jur. 

The love scene contains very sensuous provocation, but it is a questionable choice to have flashing snippets instead of a long, drawn out exploration between two people finally using their bodies to convey pent up emotion. They’ve been wanting each other for months. After sharing fervent kisses on the altar, they were more than ready to enter the next phase. It took a few blush inducing rewatches (for research purposes) to fully understand and appreciate what Anthony, the notorious rake, was doing with Kate. Although people were upset by some parts of the Capital R Rake episode, it definitely showcased Anthony’s mediocre discarding of female bodies which contrasts against him losing all his control as he worships Kate romantically surrounded in flowers. 

Another issue with Harmony’s short love scene is that no one notices Kate and Anthony have disappeared. In fact, they have seemingly spent the whole night outdoors in the open air without error. Kate is even able to return home unscathed. Thus, this may be a glaring editing issue, seeing as the writers squeezed in a happy ending in these last two episodes. The book itself is majorly Kate and Anthony’s married life, but the series uses that particular fact as a footnote— a missed opportunity to see Kate in a real (not imaginary) wedding dress surrounded by the large Bridgerton family. 

The look of a fallen woman. Kate decides to ride out in the storm likely because she is both afraid and passionately frustrated. DP: Jeffrey Jur.

After finally getting a good night’s rest, our insomniac Anthony takes out his father’s ring again. Honestly, Anthony is better off selecting another ring fit for Kate— a ring that symbolizes his love for her. The audience will never forget the that Edwina wore it first after thrusting her glove at Kate. DP: Jeffrey Jur. 

In The Viscount Who Loved Me, episode eight directed by Cheryl Dunn and written by Jess Brownell, Anthony witnesses Kate fall off her horse and the consequences appear worse than Kate’s bee sting at Aubrey Hall. In front of Anthony’s eyes, destiny repeats trauma. DP: Jeffrey Jur.

The Viscount Who Loved Me, the eighth and final episode, tries to squeeze in as much as possible. Anthony carries Kate in the pouring rain like a true romance novel hero. This full circle moment of Anthony once again witnessing someone he loves in great peril leaves him paralyzed with fear and regret. So torn and afraid that Kate will face the same fate as his father, Anthony cannot bring himself to visit his comatose love. When Kate awakens, she is hurt that Anthony has not visited her. Anthony’s tearful joy at learning that Kate is alive (after a week in a coma) is beyond tender, heightened further by his mother’s apology for abandoning him due to her own private grief. When Lady Violet tells Anthony to go to the woman he loves, Anthony does just that. Anthony brings Kate tulips (the symbol of true love) and apologizes for taking liberties, proposing without including the correct three little words. A pained Kate is back on her “I’m returning to India” refrain, a humorous song as tired as Anthony’s “I am a gentleman.” Time is running out too fast for this ridiculous hold up.

Lady Violet, who has been disappointed with Anthony for most of the season, finally apologizes for her part in his refusal to find love. She encourages her son to follow his heart, to stop fighting what has been between him and Kate since their horse race in the park. DP: Jeffrey Jur.

Anthony brings Kate tulips, but his marriage proposal lacks finesse. DP: Jeffrey Jur.

Kate and Anthony’s third and final dance is incredible. In a crowded judgmental room, Anthony instructs Kate to keep her eyes on him. She matches him step by step, making no mistake. That moment their joined hands slowly falls down their faces, the pure angst in their eyes is beyond powerful, moving. By now, the whole ton knows that Kate and Anthony are in love. Kate and Anthony’s every gesture broadcasts it. Queen Charlotte saves the night by forcing everyone else to join them. At the end, their hands are still together— it is simply poignant and powerful. Afterwards, outside in the gardens, Anthony and Kate confess their love to each other— which means that the trunks that Kate has packed for India will instead be for staying in London. Yes!!!!

“Just know that there never be a day that you will not vex me,” Kate says. 

“Is that a promise, Kathani Sharma?” Anthony asks. 

“I believe it is.” 

At the Featherington Ball, Anthony asks Kate to dance— “one last time.” DP: Jeffrey Jur.

Their romance is suggested through every move they make shocking the ton. DP: Jeffrey Jur. 

Kate’s eyes looking into Anthony’s reveals everything. DP: Jeffrey Jur.

Does anyone else even exist in that ballroom? DP: Jeffrey Jur.

The series ends on a criminally short peak of Kate and Anthony’s newlywed bliss. They’re in bed, spent and happy as can be, the smiling becoming a permanent fixture on their once suppressed faces. The Bridgerton’s certainly seem pleased with the new viscountess, especially Daphne— who had been trying to get her brother to see reason this entire season. During the family pall mall game, which thankfully excludes Edwina, Kate effortlessly grabs the black mallet of death and Anthony settles for pink. They flirt without shame in front of Kate’s new, very welcoming family— the family that she always deserved. Anthony and Kate then reward us with one of the loveliest kisses ever filmed. How many times has these beautiful seconds been rewound? Infinitely. 

Season two’s cons: we desperately needed Kate’s memories of India, of her upbringing. The first season gave flashbacks of The Duke of Hastings’ whole life including his childhood stuttering, but the writers refused to capitalize on Kate’s story. Kate and Anthony’s scenes together are not as much as they should be. They are the leads yet barely spend time together onscreen, much less have lengthy conversations. It was also very disappointing to have a relationship between sisters— South Asian sisters at that— carelessly destroyed. 

Kate and Anthony kiss with her holding the black mallet of death and he holding the pink one. Absolute perfection. DP: Jeffrey Jur.

Without the exceptional talents of Jonathan Bailey and Simone Ashley bringing the undeniable chemistry between Anthony Bridgerton and Kate Sharma to life, we would have never believed in this harrowingly romantic portrayal. It is their fault we’re obsessed. It is their fault we’re stuck in a chokehold clutch. Bailey and Ashley encourage rewatching for the little nuances, the little things that may have been missed. They make you want to become a poet, a novelist on just the staring game alone. It takes commendable skill for actors to use their eyes to push a story along. In addition to the romantic element, the humor was top notch. They just make you burst out laughing— tears and all. Hopefully, Bridgerton wins that cast SAG Award next year and everything else that comes their way. While the romance genre rarely gets a look at during awards show season, especially when the material is lighter fare than something like Outlander, Bailey and Ashley are the main reason why viewers keep repeatedly tuning in. That must count for something. 

Kate and Anthony better have a lot of screen time next season. The Kate & Anthony stories on YouTube prove that this nearly 8 hour second season barely contained the true leads— a huge oversight. DP: Jeffrey Jur.

I never thought I would actually be among those anticipating season three. Yet here I am— anticipating season three with the rest of y’all. In the meantime, between rewatching the series again, Kate and Anthony fanfiction eases the wait— which is when? Next year? I highly recommend Jenna Green’s adaptation of the streaming series— the writer includes the show action and adds bonus content that explain missing plots.

While the Kate and Anthony fever still runs rapid within many of us, the Bridgerton showrunners ought to do us a courtesy by releasing their cut and extended scenes. We know they exist.