Talking about “surprises” in The Gilded Age is for those who don’t read books or research History. The paradox here is that predictability is still a positive thing because Julian Fellowes builds the romantic plot that makes us beg for the cliché, loving how he delivers it. Therefore, scams, lost fortunes, broken hearts, blackmail or romances, marriages, and unexpected inheritances are part of a cycle that proves that when telling a story you can count on everything and still have quality. The HBO Max series has it all, with a structure borrowed from Downton Abbey, characters and historical facts mixed with proposals to revisit love stories. There is depth in simplicity.

The second season accelerated the initial proposal by many steps, but although it seemed a little “too fast”, no one is here to avoid escapism and rely on realism. Without a third season officially assured – the notice should come soon – The Gilded Age did the right thing: it closed open plots and the ones it left unfinished are enough for us to consider even if they end up “inconclusive”. I’m sure we’ll have more.

The War of the Operas, inspired by the real events of 1883, was the backdrop for what was happening on stage, in particular, with the production of Faust creating the parallel of the protagonist, Bertha Russell (Carrie Coon), an anti-heroine who says goodbye for now, selling her soul – and her daughter, Gladys (Taissa Farmiga) – to have her material victory over a materialistic and futile society (like her). This fall of the mask removes any doubt that Bertha is the antagonist, not the girl, forcing us to reevaluate who has stood in her way to date. Yes, we’re talking about Enid Turner (Kelley Curran) who literally rose in status in the role and in the series.

In the eight episodes shown in 2023, Bertha used blackmail to remove the woman Larry (Harry Richardson) fell in love with, Susan Blane (Laura Benanti) from her son’s life; She bribed the voluble Duke of Buckingham (Ben Lamb) on several occasions, literally selling Gladys without her daughter even suspecting. In fact, Gladys not realizing what Bertha is doing is implausible given that as her daughter and suffocated by her, she would undoubtedly realize what her mother is planning for her. The revenge against Turner was as close to what we would expect, but how it was done reveals not only Bertha’s skill at deception but also her focus on victory no matter the cost. In contrast to this, George (Morgan Spector), who in the first season didn’t mind driving his enemies to bankruptcy and suicide, has revealed himself to be more empathetic, with strangers and his own family. Considering the basis of the story designed for the Russells – the Vanderbilts – we will see the family separating later on and lots of tears. Unfortunately.

In the final episode, Bertha discovers via Marian (Louisa Jacobson) that Warden McCallister (Nathan Lane) was never an ally, having been the biggest traitor in trying to help Caroline Astor (Donna Murphy) ensure that the Academy of Music had the prestige and the final victory of the opera war. The price is high, but she ended another season “on top”. And yes, she was the one who revealed Turner’s past to Mrs. Astor. Villain, my people. We were being hard on poor Enid.

On the Van Rhijn side, there was no alternative: Oscar (Blake Ritson) lost everything and what’s left is just enough for a simple life, far from the luxury and prestige that Agnes (Christine Baranski) sacrificed a life to avoid, including a loveless marriage. As a result, Ada (Cynthia Nixon) and Marian, who depended on her, are also at the mercy of what is left. She considers that in fact Marian will not even be affected as she will marry a suspiciously absent Dashiell Montgomery (David Furr), who already knows that the young woman has no money and will therefore support her. The prospect gives Marian goosebumps, but she is trying to follow her aunt’s guidance. However, not only does her fiancé set out for her a destiny of children and a stepdaughter, without working or doing what she likes, she almost suffocates with despair. The alternative is to hold on to the fact that he, recently widowed, is still in love with his late wife, and “it wouldn’t be right” to marry at the moment. I felt sorry for Dashiell because he is a man of his time, a good man, trying to do the best for his daughter, which is to move on with his life and have a good partner. But his purpose in The Gilded Age was different and it was achieved.

From the beginning, we know that the couple in the series are Marian and Larry, who met casually and became great friends and confidants without realizing that they were born for each other. Marian fell in love with the detestable Tom Raikes (Thomas Cocquerel) and Larry has now had a romance with the widow Susan Blane also heartbroken. But it wasn’t until Dashiell entered the loop that Larry began to realize Marian was more than a potential friend. The kiss between the two, still believing that they could separate now that she believes she will be poor again, was celebrated with fireworks by fans. Before, I argued that Bertha would be against their marriage, even though Marian was on more than one occasion the person who helped the Russells turn the tide. Today I can already see her willingly accepting the couple.

Before ending with the sisters Ada and Agnes, let’s look at the Brooklyn arc, led by Peggy Scott (Renée Benton): with relevant themes of inclusion, showing segregation and racism even in the abolitionist North, this part of the series gained more space and greater depth. And with a weight that does not clash with the rest of the almost deaf history of white privilege. It’s a good thing they didn’t even advance Peggy’s certainly reprehensible and unhappy romance with Thomas Fortune (Sullivan Jones). I was wrong to imagine him as a widower, he was a “man of his time”, cheating on his wife who was at home with a newborn baby. Peggy, some advice: RUN. I’m glad you did. In a third season, Julian Fellowes will bring a more honest candidate who doesn’t drink during work hours.

Another advancement of the season of The Gilded Age was creating teams among the teams that serve families. In a capitalist society, it is normal for the largest number of employees to be immigrants who submit themselves to the service and for relationships between employers and employees to be close, as shown. The interactions between them in the house and between houses were fun, with romances, friendships, and possible developments. I think Watson (Michael Cerveris) should enjoy “retirement from the valet life” by opening a detective agency and his first mission should be to locate Maud Beaton (Nicole Brydon Bloom). And I’m sure George will have jobs for him too. And the romance between Borden (Douglas Sills) and Mrs. Bauer (Kristine Nielsen) was also very cute. Jack (Ben Ahlers), whose partnership with Larry is promising, will also be a beautiful story to follow.

We said goodbye with an Oscar without showing the regret or despair that we expected for someone who lost EVERYTHING at the hands of a scammer, but I sympathize with the weight placed on his shoulders in the face of the obligation of having to pretend to be someone he is not. His plot with Maud is not over, I’m sure. And nothing better than seeing that the hasty marriage of Ada and Luke Forte (Robert Sean Leonard) had an important reason: to reverse the dynamic between the Brook sisters, pushing Agnes towards her transformative arc. It would be difficult to see her in poverty after years of dominance and arrogance, belittling Ada’s ability to decide important things in life. An empathetic manager was what that family needed, both Oscar and Marian, both possible heirs of their aunt. I doubt that Agnes will quickly adapt to her new role as Ada’s dependent, but there are signs that not all is lost, including her relationship with Peggy and even her frank conversations with Marian. In other words, WE NEED MORE SEASONS! At least two more. Until then, we’re left dreaming of more of The Gilded Age, which deservedly was one of HBO Max’s biggest hits in 2023.

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