Bridgerton 2×08 “The Viscount Who Loved Me” Spoilers Ahead
Bridgerton‘s Season 2 finale is perhaps the best episode of the season despite how quickly it attempts to clean up the mess and put the puzzle pieces together. We’ve said it through almost all the reviews, but it’s unfortunate it had to happen this way because between “Harmony” and “The Viscount Who Loved Me,” we can see all the glimpses we’ve been hoping for; only then it’s over.
However, now that both Simone Ashley and Jonathan Bailey have confirmed in multiple interviews that they’ll be returning for Season 3, we aren’t as sad with how little we saw of their happiness because we’re hoping for all the marital bliss (and working through their traumas) that we could potentially see later.
Through a regency deus ex machina, the queen reverses the scandal looming over them with a few short words, the best of friends go their separate ways, heartbreak follows, amends are made, and the final ball of the season concludes with fireworks. Bridgerton 2×08 “The Viscount Who Loved Me” is gorgeously directed by Cheryl Dunye and Jess Brownell does a steady job with the writing.
Tulips and a Proposal
It shouldn’t have taken eight episodes for Anthony to give Kate a tulip finally, but we’ll let it pass because he brings her an entire bouquet. As one of the loveliest scenes in the books, though brief, it’s what ultimately showcases Kate’s quiet insecurities that feel so relatable. Her innocence at that moment is one of the things about her that so brilliantly stands out as she states: “I’ve never a seen a tulip before […] “Well, not in the ground,” she explained. “Edwina has received many bouquets, and the bulb flowers are quite the rage this time of year. But I’ve never actually seen one growing” (131).
Despite how brief the scene is in Bridgerton 2×08 (and the books), it shows us how much Kate has sacrificed and how quiet she’s remained in the process, never once allowing anyone to see just how these little things break her, even when she doesn’t realize that’s what’s happening.
But Anthony’s proposal here essentially signifies how much honor he truly has, noting that more than anything, his intentions weren’t to take liberties because he cares for her far too much. The choice was consensual, but he wants her more than anything, showcasing with this gesture, despite all his fears that honor and emotions are blurring together in the fate that should’ve initially been theirs.
One of the fascinating details about this scene is Jonathan Bailey’s voice and physicality as he talks to Kate. The subtle quiver in his voice as he looks back on their first meeting in the woods, followed by the unfortunate accident. Bailey doesn’t shed Anthony’s fears of losing Kate once he learns she’s awake; he carries them like a cross throughout this entire episode until she’s finally safe in his arms, and there’s tremendous depth in that.
The way Bailey shows us Anthony’s fears and the way Ashley touches on Kate’s insecurities throughout this exchange is utterly mesmerizing. As he comments on the detail that she’s running away, he’s talking to a part of himself he knows all too well. The man who often wanted to run from the grief and terrors that have haunted him, seeking an escape because standing by and saying you aren’t okay isn’t easy.
We can see a reflection of this detail after Benedict asks him if he’s alright, and he immediately blames himself for the accident, running from his heartaches as the sound of his brother’s voice drowns him out. As much as Anthony’s family has failed to see how much he carries, he conceals most of his pain well, running from his problems instead of straight toward confronting them. And that’s a part of Kate’s turmoil he sees clear as day because, as the eldest sibling, her words are spun from the same threads.
Mothers and Sons
Every single scene between Violet Bridgerton and her eldest son has been leading up to this very moment, and if we can’t have Benedict and Colin breaking walnuts while Anthony is stupidly hungover, this is the best thing that could’ve followed.
Ruth Gemmell and Jonathan Bailey consistently share some of the best scenes throughout the show, but what we see with them in Bridgerton 2×08 is worthy of much praise. As Violet comes to Anthony with the news that Kate is awake, both their worlds come crashing down in what’s a culmination of apologies years in the making.
It isn’t Violet’s fault that Anthony was with Edmund the day he died, and it isn’t Violet’s fault that she succumbed to grief either. As noted in the episode review for “A Bee in Your Bonnet,” and ultimately, throughout Bridgerton Season 2 with Mary as well, it’s refreshing to see women brought down by grief because, more often than not, they’re forced to be the strong ones, showing their emotions only in private while they pretend they’re okay in front of the rest of the world.
That was never going to be Violet Bridgerton because the partnership that she and Edmund shared was an otherworldly love of sorts. As Anthony forced himself to don layers of armor, Violet later began removing hers, starting to live for her children and ensuring they had all that she knew they were worthy of.
Except with Anthony, the ropes were always harder to detangle because his armor was a direct result of her grief as well as his own. And again, though all this equates to exceptional storytelling, where it’s at its most vital point is in the choice a mother makes to, once again, allow her son to see that vulnerability isn’t a weakness, it’s a strength.
As Anthony breaks the moment the words about Kate hit him, Jonathan Bailey shows us how tormented he is even before the words puncture. He might be dealing with family affairs, but his head and heart are elsewhere. He is with Kate, hating himself with every thought that overwhelms him while he attempts to bury himself in the papers. But the moment where it hits him, the moment where it becomes clear that Violet isn’t here to call him downstairs, Bailey showcases a whirlwind of emotions we could spend hours excavating.
Thus, in a moment of sheer relief, Anthony Bridgerton allows himself a moment of profound vulnerability where he isn’t merely the man of the house but a kid again—the 18-year-old boy, forced to grow up too quickly, wanting for a split moment to feel something that isn’t grief. As he covers his face in his hands, essentially fighting the incoming tears, Violet sees all of this, understanding every bit of heartbreak in the unthinkable way no one else could fathom.
And so, she speaks up again—she begins to apologize for all the he’s seen and witnessed, making it clear that she wants him to understand how deserving he is of real, true love. She tells him that she would choose the life she lived with Edmund every single time despite knowing that she’d lose him because real, true love is worth it. The amount of adoration and strength that Gemmell packs into the words you cannot lose her are paramount.
There’s also much to be said about how she holds his hand. He might be grown a man, but he is her first-born—the one she fussed over like he was made of porcelain, terrified that he could break at any moment, never realizing that’s what would happen to him internally.* Somewhere along the way, her precious boy’s heart became impenetrable, leaving her in complete desolation because she never knew how to make matters right. She never understood the depth of his trauma or how to piece those broken pieces of him back together.
*In Julia Quinn’s First Comes Scandal, Georgie mentions how Violet fussed over baby Anthony like he was made of porcelain.
Violet isn’t Portia Featherington. She doesn’t push marriage on her children because it’ll earn her praise or popularity from the ton. She insists they find love matches because she wants them to heal, understanding with an unshakeable belief that nothing eases the burdens a person carries quite like a partner with whom one can unveil all their heartaches with. It’s why she’s adamant that Anthony cannot lose Kate because she knows that the two can heal each other in ways no one else could even attempt. It’s why she consistently pushed for him to find love even when he was set against it last season and even while she could tell something was amiss in his courting process.
But Violet tries, for a moment, she holds her son’s hand tighter than she has in years, and she uncovers it all for him, making sure that he understands with every word and every tear that none of this darkness is his own doing. She makes sure that he understands love can heal him even if it breaks him further because nothing compares to having someone who sees you for all that you truly are. Bridgerton 2×08 brings to the surface conversations that are perfectly late in ways that ultimately work for relatable storytelling.
Violet is human, and no mother is perfect. She might not have always seen just how shattered Anthony was, but that’s part of life in more ways than one. By holding on too tightly, she couldn’t see the cracks beneath the surface. But now that she does, their dynamic will be even more beautiful in the future.
An Ode to Edmund Bridgerton
Most scenes in Bridgerton 2×08 deserve separate breakdowns, and this one is getting it. (The one with Violet should have too, let’s be frank, but you all got 1000+ words instead.) But this scene between the eldest and youngest Bridgerton is getting one; thus, stay tuned.*
But all that said, Gregory, taking the family’s collective need to confide in Anthony seriously, works because it shows us that despite his behavior at times, his siblings still know they can confide in him. (They make a joke of it initially, but it’s fascinating how Gregory later decides to do so.) And though he momentarily thinks he’s disturbing him, Anthony pushing back and insisting that he open up tells us that he is trying, in more ways than one, not to appear as frightening as he seems to be.
Violet overhearing Gregory and Anthony’s conversation after theirs ultimately shows her that Anthony is listening and simultaneously allows her to understand their similarities. It’s not that Anthony has shown up far too late because he was choosing to be selfish, but because he didn’t know how to open up. And the same can be said for Violet as well. Mother and son are more alike than they consider, but this scene profoundly brings that parallel to the surface. He never knew how to be a father and a brother concurrently, resulting in rifts between his siblings, and Violet never knew how to talk through the grief they all experienced, resulting in more trauma.
And Bridgerton 2×08 patching up the wounds the entire family lives with, Hyacinth included, is a special way to begin honoring Edmund Bridgerton’s legacy—his love for pranks, his devotion to doing the right thing, and the profound, unwavering love for his family which they each carry, distinct in their own way, no matter how well or how little they knew him. As much as grief becomes easier to deal with as time goes on, it never truly leaves us. This family will never return to the people they were before Edmund Bridgerton’s death, but they could go forward in honoring him by allowing the grief to turn into unceasing love for each other. There are so many ways the story could explore this, and I’m hoping this is only the beginning.
Anthony holding Gregory closer than he’s held anyone else tells us that he’s ready to open up. He’s prepared to be their closest confidant. He’s prepared for them to turn to him when they want to know Edmund a little more. And he’s ready to show up, listening carefully to what they’re saying while being there for them as best as he can. In “An Unthinkable Fate,” Kate tells Dorset that if she returns to India, she could teach, and you know what Anthony should do, fire the current Latin tutor, replace him with Kate, giving us the best of both worlds.
*Scene Breakdown: Passing Down Memories and Honest Conversations Between Anthony and Gregory in ‘Bridgerton’
Mothers and Daughters
In Bridgerton’s 2×08, the mothers understand better than most. They allow themselves moments of vulnerability to ensure that their eldest children are fully aware of the love they deserve. One of the most remarkable aspects of The Viscount Who Loved Me is Mary’s unceasing, profound love for Kate, and the series takes that one step further by allowing Shelley Conn to display that love with such conviction you feel every ounce of it.
We know that the love she shares for her daughters is equal throughout, but we start to get tangible proof of it in “An Unthinkable Fate,” and we feel it as profoundly as Kate does at this moment before the ball. While we don’t get much about Kate’s insecurities throughout the show, we are still fully aware that she does not believe she is deserving of the same love she fights for Edwina to receive. (And if you aren’t a book reader, this is probably something that doesn’t scream as obviously to you.) She also believes that it is up to her to consistently showcase that she is grateful for Mary’s love.
But as Mary so beautifully states, Kate never needed to earn anyone’s love—not Mary’s, Edwina’s, or even Anthony’s. She was deserving of boundless love all along, not because of anything she did, but because of who she is.
It’s a lovely thing, as mentioned above, to see that women are allowed to grieve. As Mary states in Bridgerton 2×08, her grief should’ve never forced Kate to take everything upon herself. That’s not how it needed to happen, but ultimately, grief doesn’t care who or what it takes in the process of its marination. No one can control how they react, but what people can control is what they choose to do with the light that follows. And Mary Sharma is choosing to remind her daughter, with everything in her, that she deserves the most sensational kind of love there is.
Repeating “my darling” to her quietly as they embrace is so heartbreaking when you think about how terrible she must feel. I suppose it’s a good thing we didn’t get the scene of Mary explaining what she knows about Kate’s mother and the storm; if Shelley Conn destroyed me this hard during this scene, words would completely fail me with the other. But at the same time, Conn is such a mesmerizing performer, and I wish we had gotten to see more of her, perhaps in flashbacks with Kate’s father. (If this is something we could see in Season 3, I will take it in a heartbeat.) We should have had more flashbacks of the Sharma family and their relationships. The four of them, the three of them, two by two, we’ll take it all.
Where two sisters (by choice) go their separate ways, Edwina and Kate do the opposite by drawing closer together. Once again, it should’ve never been this way. Edwina Sharma is too good to have been resorted to a mere plot device, coming to her own only after Kate’s accident scared her. Self-discovery is a great and important theme to tug on, but with Kate and Edwina, it went too far. It went too far because, with an eight-episode arc, we barely scratched the surface with the two of them making amends and seeing them as the platonic soulmates we know that they are.
When Edwina asks Kate if she knew of her true feelings, Kate tells her that she was denying them to herself more than anyone else. She wanted them to go away. She believed they would. She hoped they would. But this is a real, true love match, not an infatuation, and thus, those feelings could never simmer, and they could never lessen in time; they’d only grow. We could understand this as the audience, but it’s also something that Edwina can see, choosing herself and her interests above all things and insisting that for the first time, Kate does the same.
The scene with the two of them dancing in the ballroom is how many viewers imagined their relationship would be, and to see it only in the final few moments was utterly disheartening. Because again, we completely gloss over all the words Edwina spoke aloud to Kate in her anger. And we gloss over the mothering Kate took on as the eldest sibling. We’re good at reading between the lines, but these were the story arcs we deserved to see more of.
People say many cruel things when they are angry, but words sting and words hold meaning. We should’ve never had to see them crumble and fall to wind up here. (We should’ve cut the scene of Portia and Jack kissing. There was no need for it. We could’ve had more scenes with the Sharma sisters instead.)
In that final moment where the two sisters dance, that’s when they know each other best. This is the scene when they are their most authentic selves. Still, until we have official confirmation that Charithra Chandran will also be returning, their scenes were too short and not nearly enough when their platonic love story is one of the most beautiful representations of sisterhood in the books. Ashley and Chandran are precious beyond words together, and knowing we could’ve had far more ultimately makes all of this feel that much more unfortunate. It feels so rushed because we want to see more of them. And more of them when they are truthful to themselves and to each other.
Benedict Bridgerton unsurprisingly takes the crown as the season’s MVP once again, providing us with both comic relief and the cold hard truths about imposter syndrome. (Sophie Beckett, come collect your man.) After learning that a hefty donation from Anthony essentially bought his position at the academy, he begins to question whether he belongs or not. And anyone who’s in the creative field could understand this struggle so closely that it calls many of us out.
Though we don’t all have viscount brothers sticking their necks out for us in their own misguided ways, the creative fields often push people to this bizarre place: Are we even good enough for this? Do we deserve the credit we are getting? And when one little thing feels like a defeat, it feels like our worlds are crashing down. We’re dramatic people. It’s in our blood. But what’s so intriguing about what this sets up for Benedict is that it allows us to see that though he doesn’t understand intimate heartbreak the way he could feel it in paintings, this leads to the healing that he will find in Sophie. She is his greatest muse, after all.
Many fans, myself included, have wondered how An Offer From A Gentleman could pan out on-screen if Benedict’s art is no longer a secret only Sophie knows, but this ending shows us that it’s merely just beginning. He might feel broken and defeated now, believing that he isn’t worthy despite Anthony affirming that he is and clarifying how much Benedict’s vision has helped him. But while he’s putting the paintbrushes away today, we know that he will pick them up soon, allowing himself moments of vulnerability to understand that within the creative field especially, our work is best when it’s personal.
He might be exceptional at life drawing, but when his art begins to reflect those he loves, his family, the places that mean the most to him, the feelings he tries to capture through colors as he does in “A Bee in Your Bonnet,” then that’s when Benedict’s will healing will come to pass as well. It’s in these moments where he’ll not only learn more about himself but all those he loves, broadening his eyes to the small details like the sly look in Francesca’s smile to the mischief in the very way Hyacinth holds her shoulders (An Offer From A Gentleman, 243).
In one of the most jaw-dropping, engrossing scenes of the entire season, Eloise Bridgerton finally snaps, putting two and two together in the kind of scene that allows both Claudia Jessie and Nicola Coughlan to bring their best to the surface. While it’s so unfortunate to see the women fight in such a vicious way, it was fascinating no less to see Eloise finally realize that the writer she’s been trying to unmask this entire time has been her best friend.
It’s far more obvious this season than it was in the first that Penelope is Whistledown, making me wonder, especially during her constant denial when Eloise would finally realize something is off here. It was never a coincidence nor subtle that Whistledown published about Eloise right as Penelope told her to wait for the next issue. That should’ve been the first clue, among the many others, but it was incredible to understand that Eloise isn’t listening as closely despite her attempts to pay close attention. And to see the wires in her brain essentially ignite as Jessie allows us to pinpoint the exact moment where it hits Eloise was a sight I’ll always be grateful for.
It was somewhat understandable that Eloise wouldn’t be as angry at the revelation in the books. Whistledown doesn’t hold as much power as she does here, but also, the damage isn’t as substantial. Whistledown doesn’t bring to the surface secrets that could tarnish reputations; she calls people singed daffodils and insults their clothing, fawning at what delightful love matches two people make. She has her moments, to be sure, but the series allows Penelope to dig into the uglier parts of society more, shunning them in ways that leave lasting impacts.
As much as we adore her and as much as we care, the fact that she is called out this early and this brutally could lead to some exceptional growth. It’s not going to be easy for Eloise to forgive her, and it’s especially not going to be easy for Colin to either. He doesn’t trust anyone outside of his family the way he trusts Penelope; thereby, learning that she’s responsible for much of the scandal his family’s had to endure will likely lead to more angst than proudly showing her off in front of the ton. And perhaps what hurts even more than Colin’s comment, which we’ll get to, is Eloise biting back the words she fought against when Cressida Cowper uttered them—insipid wallflower.
That one stings deep because, for a moment, both of them attack one another in an attempt to defend themselves, allowing the fight to get even uglier. As Penelope essentially argues back, stating that Whistledown is all she has and Eloise must be jealous because she’s merely all talk, it leads to two simple words that will stain for a while.
In a sense, they are both right here. Eloise could put actions behind more of her words if societal rules didn’t hold her in such confines, and Penelope cannot defend herself because, in truth, no one would allow it—she’d be too scorned and ridiculed. As mere 18-year-olds, they have much to learn, both individually and as friends. But how that’ll happen, only Season 3 could predict.
It was a bold move to have Eloise sobbing with all the papers on the floor and Penelope using her words despite stating that she’s given it up for her. A bold, brilliant move, which made for some visually stunning scenes as the women clearly gave their all to what was undoubtedly a difficult moment to film.
There was a point where I would’ve sworn that Penelope Featherington would never overhear Colin Bridgerton disrespecting her the way he does in An Offer From A Gentleman, and yet, here we are, and this is somehow far crueler than what he says in the books. If the series gets one thing down to the t, it’s how it handles Colin and Penelope’s slow-burn, friends-to-lovers. There’s nothing about it that I’d change because it gives us ample time to understand why they’re right for each other, as the level of comfort they feel with one another is irreplaceable in the series.
She is special to him—he declares as much. He will always protect her—he shows it, not just with actions but with words. When he stands up to Jack, he proves that he will always look out for the Featherington family even though only Penelope is deserving of that right now. When he dances with her, it isn’t just an obligation, a mere societal demand he must meet, but rather, she is the only one with whom it isn’t an utter chore. Colin enjoys dancing with her. He trusts her. Whether they realize it or not, they’re already partners on the dance floor.
And it’s the very reason the men notice because what they have is undoubtedly something. It isn’t love for Colin—not yet; despite how effortless his every move with Penelope is, he has ways to go before he understands the true depths of his feelings. But where he could’ve merely said something along the lines of “we are merely good friends,” “she is the only normal person here, but we are not courting,”—it could’ve worked still. But this is…this is cruel. The wildest fantasies line cuts especially deep because the men laugh about it, whereas when he says this to Anthony and Benedict in the book, they aren’t mocking Penelope, ever. Could Colin be using these words to gain credibility amongst the men and to earn their trust? Is this a dude-bro moment he needs? Whatever it may be, it’s bringing out some astonishing performances, and we’re here for it.
But this hurts Penelope much more, and Nicola Coughlan shatters me by showcasing how deep this cuts and the gaping scar that’ll surface because of what these words do to Penelope. She will dwell on this. She will think about this far too long. Any fraction of hope that she has ever had is now lost in these words, and it’ll be so interesting to see their arc next season, along with how the Whistledown will redeem herself for the Bridgertons.
If we wanted to have a scene where Polly Walker destroys us all with a single word, we could’ve gotten here without wasting as much time as we did on Jack Featherington and his lies. It was hard to care about him the moment he started pursuing both mother and daughter (not that we were ever that invested, to begin with).
But no matter, Polly Walker is remarkable at that moment as she finally showcases that deep inside her gaudy heart is a woman who’d do anything to protect her children. She is a mother. As much her daughters might annoy her, she wouldn’t trade them for all the wealth and power in the world. It’s excellent to hear this, but hopefully it leads to significant growth in her character because Lord knows she is in dire need of it.
If nothing else, this moment at the Featherington Ball deliberately shows us that in every room, Anthony Bridgerton’s eyes will always find Kate Sharma’s. The love between them is anything but a wrecking ball; it’s a steady stream of all things good and pure—laughter and unwavering devotion, without the words even spoken aloud. It’s all there, spreading with every move they make, enveloping them in a sea of passion and yearning.
Anthony asking how many fingers he’s holding up, the two of them completely lost in the eyes of the other. This is the kind of dance we should’ve seen of the two while they were married, not in the vein of one last time. Still, it’s beautiful in every way as the orange dress represents shimmering passion, steadiness, and the searing love rushing between them.
You can count on us to provide you all with a lengthy scene breakdown of this moment, so we’ll keep much of this short.* This dance and the belief that it’s their one last time allows us to see just how much of each other they’re trying to consume. Jack Murphy outdoes himself consistently with the choreography and the stories he tells through them, but this dance is on another level. It’s transcendent in every way because the story within strikes as effectively as a wrecking ball would.
There is magic in how their bodies move in perfect unison as they look at each other in ways they never have before. The shot of Kate’s eyes deserves words and words of praise alone. It’s a dance where a thousand words are spoken aloud through every move they make. Simone Ashley and Jonathan Bailey brilliantly show us that Kate and Anthony are thoroughly taking in every longing glance and the presence of each other’s physical touch as though it’s the air they need to breathe.
The Viscount Who Loved Me
Thank heavens Bridgerton 2×08 isn’t the end because Kate and Anthony’s love story is too beautiful to only have small moments of. When the two finally exchange their “I love yous” as the fireworks explode behind them, it honors their story as we had hoped. And knowing that Jonathan Bailey and Simone Ashley will return makes it that much sweeter.
The moment Kate falls off the horse, Anthony stops breathing, and he doesn’t regain rhythmic momentum until this final scene when he hears Kathani Sharma promise that she loves him and that she, too, wants a life with him. He doesn’t breathe until she accepts that he’ll humble himself before her. When he puts his hand to his chest, it’s proof of the detail that his heart has been beating for her from the moment they met. Jonathan Bailey is so utterly brilliant in subtly exhibiting Anthony’s irregular breathing and the strain drowning his entire being that it’s painful to watch him. He has to let it all out because this is the only way to free himself from the waves cascading upon him.
The detail that he is willing to humble himself for her is a beautiful art that shows us who he’s been and how much he’s willing to give. Anthony’s capacity for love has always been incredibly vast, and much of it is by virtue of his grief. In the same way that Kate Sharma holds on to the people beside her for dear life after experiencing the life-changing sorrows of grief, Anthony Bridgerton does the same. And in humbling himself, he gives everything that he has to her, promising that a life that suits them both equates to walking through life as partners. He’s been careless and dismissive, he’s questioned her decisions and skills, but right now, under the night sky, he’s promising that their future will look different.
In this way, their love story allows for something even more significant—something that is theirs and theirs alone. They will build a life together as equals, sharing all the parts of themselves that they’ve hidden from the rest of the world in a way that allows them the healing they’ve always needed. It’s the way that the pure joy in their expressions surpasses everything else because you could feel the weight of their longing coming to a place of collision that feels as explosive as the fireworks above them.
Kate Sharma and Anthony Bridgerton have given much of who they are without someone holding them through the darkness until they met each other. It’s why they’re always holding onto each other a little bit longer after every dance. They not only need each other, but they can’t get enough of each other. In the books, it’s a few simple words but colossal in meaning—could you come over here so I could hold your hand? They heal the broken parts of themselves when they hold the other through their heartaches.
It’s profoundly poignant and beautifully cathartic to see them amidst flowers above all things, a place that illuminates how they’ll bloom together, growing as a couple—a family, and everything else in between. Together, the only way to go is up. Together, the sorrows that bind them will now free them from the walls they’ve built, allowing them to hold on to each other’s love as an unceasing strength. Neither Kate nor Anthony will be freed from the grief they carry. Grief never leaves you; it’s always there in the sheltered corridors of your heart, reminding you of what you’ve lost, nudging you to hold onto the people in your life more closely. And though it never leaves you, grief becomes bearable when we aren’t carrying it alone.
This searing kiss of passion and the final few moments lost in each other’s embrace reflects who they are and the life they’ll create together. The magnitude of adoration orbiting between them acts as a compass towards their one true north—poetically thrusting them toward healing amidst the lively chaos of laughter and warm disputes.
Bridgerton 2×08 “The Viscount Who Loved Me” is the type of finale that’s the season’s best. It’s heartwarming where it matters most, and it tugs on our heartstrings in all the right way. Daphne smiling while looking toward Anthony and Kate is the kind of scene that easily evokes tears. Perhaps it’s a good thing the season wasn’t perfect because then I’d never get over how beautifully certain moments work. But in short, it’s this final moment, back at Aubrey Hall that brings the story full circle.
Afternoon Tea and Further Thoughts
- The way Anthony says “viscountess” in that final scene makes me want to throw myself in front of oncoming traffic. SIR, THERE WAS NO REASON TO BE THAT HOT.
- What kind of cruelty was it to have Kris Bowers’ track playing as Anthony watched doctors tend to Kate while the sound of Benedict’s voice faded away? The torture that I endured, thinking of the two of them in a situation like this again after Anthony walked away once again from his brother in a moment of utter fear??????
- The Featherington Ball—original. So original.
- Theo sending Eloise a note hidden in a book was sweet. I’ll give him that. Or rather, maybe it’s because it’s the hot footman?
- “You can be their queen”…that’s…not…how…it…works…in…America, bro.
- WHY WAS I SUBJECTED TO THIS!? (Anything regarding Portia and Jack being way too close.)
- Kate Sharma is the only person who could be in an accident and still look that beautiful.
- Benedict and Eloise on the swings was an instant serotonin boost despite how sad the moment was.
- GREGORY BRIDGERTON CRUSHING MY HEART WITH THAT LITTLE DIMPLE!
- The women showing up in corals and oranges was everything. The color palette at the last dance was lovely.
- “Benedict, you’re beginning to sound like me” HURTS. I didn’t ask for this.
- People showing up to Will’s club? F I N A L L Y.
- Alice and Eloise could be such good friends. Why isn’t this happening? Why aren’t storylines like this pushed further.
- Violet telling Eloise the only thing that would disappoint her would be if she started to care what people think is EVERYTHING TO ME.
- Is this the last we’ve seen of Theo Sharpe?
Now streaming on Netflix: What are your thoughts on Bridgerton 2×08 “The Viscount Who Loved Me?” Let us know in the comments below.