For centuries, shame has been a powerful tool used to enforce women's subordinate roles. The threat of humiliation and exclusion has kept women from diverse cultural and economic backgrounds silenced and docile. However, even as they navigate the limitations of “polite society” or toil as workers and caregivers in the working class, women have always found ways to challenge the oppressive norms that have limited their humanity.
Adapted for television by Katherine Jakeways from Edith Wharton's unfinished novel, Apple TV+'s "The Buccaneers" is set in the 1870s and follows a close-knit group of American socialites who embark on a transatlantic voyage in He searches for suitable partners on the London marriage market, armed with his naivety and wealth. Sharing an inclusive cast and anachronistic music reminiscent of “Bridgerton” (and Apple TV+’s “Dickinson”), this series offers a frenetic and charming exploration of the culture clash between the American and British aristocracy. It also highlights the enduring resilience of women who have tried to save themselves and their peers in a society where they lack power and autonomy.
Stars: Guy Remmers, Matthew Broome, Simone Kirby
“The Buccaneers” begins with a wedding, as 17-year-old Nan St. George (Kristine Frøseth) prepares for her best friend Conchita Closson’s (Alisha Boe) marriage to Lord Richard Marable (Josh Dylan) in their newly built home. NY. Mansion. After a passionate summer romance, the couple plans to marry and move to the United Kingdom, where they will face the scrutiny of Richard's conservative and traditional family. Despite her obvious love, Richard is apprehensive about how Conchita's new wealth, exuberance, and ethnicity will be received.
In an effort to ease Conchita's transition into her new life, Richard invites Nan, her older sister Jinny (Imogen Waterhouse), her mother, Mrs. Patricia St. George (superbly played by Christina Hendricks), as well as to the Elmsworth sisters, Lizzy (Aubri Ibrag) and Mabel (Josie Totah), to join them abroad in their search for marriage partners. These women embark on a journey to offer Conchita company in an environment unwelcoming to her true self.
Upon her arrival in London several months later, Nan finds herself caught in a love triangle. While she may lack the sparkle of Conchita or the striking beauty of Jinny and Lizzy, her intelligence and daring capture the attention of Theo, Duke of Tintagel (Guy Remmers), and the affections of Guy Thwarte (Matthew Broome), her closest friend. old of the duke. As Nan finds herself involuntarily embroiled in a romantic dilemma, the other ladies, including her mother Patricia, grapple with the consequences of their preordained lives.
“The Buccaneers” unfolds at a rapid pace, condensing weeks and months into episodes that are just eight hours long. The series could have benefited from two additional episodes, allowing viewers to delve deeper into the lives of the women around Nan. It is disconcerting that Conchita's extended family is barely mentioned or seen. The women in the story face abuse, revelations about their sexual identity, humiliation, and deep isolation. A longer season would have offered a more intimate exploration of their experiences within the rigid European society they navigate. Furthermore, while Nan's relationships with Theo and Guy initially spark interest, the abrupt shifts to other stories prevent viewers from fully immersing themselves in the love triangle, resulting in a somewhat dry depiction of romantic tensions.
Surprisingly, it is in the finale, titled “The Wedding of the Season,” where the emotional complexity of the Nan, Theo and Guy triangle really captivates the audience. Despite the breakneck pace of “The Buccaneers,” the central love triangle often feels forced. Throughout the series, the supporting characters, particularly Conchita, Patricia, Lizzy, and Mabel, have more compelling stories. Allowing these women to occupy additional narrative space could have created a more complex and engaging story.
However, despite its frenetic pace, “The Buccaneers” remains endearing. The vivid, bold costumes, pink poodles, and infectious laughter of the women contrast starkly with the suffocating silence of British high society. Picturesque landscapes and a soundtrack dominated by female artists like Olivia Rodrigo and Taylor Swift add depth and adventure to a historical era often portrayed with rigid formality. The young women authentically convey the universal mix of excitement and fear that comes with entering a new phase of life.
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