‘Sanditon’ review: Season 2 Episode 6 is another emotional whirlwind of a finale

The prospect of another Sanditon season finale written by Andrew Davies may well send chills down the spine of every long term fan.

This is the man, who in addition to being the architect of some of the finest period drama adaptations in television history, also gave us one of its most shocking cliffhangers.

After Season 1’s devastating conclusion, which saw Sidney (Theo James) and Charlotte (Rose Williams) wrenched apart, ultimately forever, many Sanditon fans are still picking up the pieces of their shattered hearts.

They have cause to feel nervous. It should come as no surprise that this episode is once again an emotional whirlwind, which culminates in a moment which is both jaw dropping and infuriating, in equal measure. Beware of the desire to fling the nearest object at the screen. You have been warned.

WARNING: SPOILERS FOR SEASON 2 EPISODE 6 FROM HERE IF YOU’VE NOT SEEN IT!

 

In keeping with most finales, we see some storylines being neatly, if hastily resolved, while others face fresh obstacles. Fortunately on this occasion, as the credits roll, fans can rest assured that there’s more to come. Not only will there be a third season of Sanditon, it has already been filmed and is expected to air early next year.

Following on from two of the stronger episodes of the season, in many ways, this instalment perfectly encapsulates what has worked well in this second outing and what hasn’t. It’s a tour of the good, the bad, and the highly questionable. We have moments here which are beautifully realised and others which are perplexing, and frankly, ill judged.

The episode kicks off on something of a melancholy note. The late Sidney’s personal effects have arrived from Antigua and make their way slowly towards Trafalgar House, on the back of a horse and cart. It’s puzzling that his widow is not receiving them, and some simple exposition might have been useful here. After all, we know the former Mrs Campion (Ruth Kearney) to be a less than sentimental creature. So it would not have come as a shock, if she had shown little interest in taking possession of the items, and had ordered them to be sent, to the Parkers instead.

The eventual opening of the trunk, produces a genuinely moving scene, which further reinforces what an extraordinary presence and influence, the character was. Also, the impact of Theo James’ powerful performance, which lives on, and continues to be redolent for fans who have watched since season one.

As a result, in many ways it feels as though Sidney never left, and his shadow continues to hang heavily over events. Tom (Kris Marshall) takes his late brother’s signet ring, and Arthur (Turlough Convery) his hip flask. We also see Sidney’s playing cards and learn that Tom could never beat him at Vingt-et-un. Store that little nugget of information, it’ll come in handy, as events progress.

Sidney has also left a letter for Tom, written as he was gravely ill and approaching death. You sense there may yet be more to his writing than we actually get to hear at this point. We can but hope. Particularly, as some of the extract read by Tom, appears to lack narrative logic. For example, Sidney tells Tom, “You must bear no guilt for my part in saving you from ruin.”

The only problem is, when Sidney wrote this letter, Tom would have had no idea that he should feel a sense of guilt. We saw that he only learned the truth about his brother’s sacrifice, from Mary, after Sidney’s death. Sidney also encourages his brother to continue taking risks, “For what is life for”. A reasonable enough sentiment.

However, given that Tom’s last massive gamble, cost Sidney the chance of a lifetime with the woman he loved, and almost put Tom in debtors prison, with the potentially devastating consequences for his wife and children, perhaps some suggestion of even mild moderation or exercising caution, would have seemed, much more plausible advice. Particularly from the “sensible brother”.

This strangeness aside, Sidney also reveals an urgent issue for the family to address. He names the individual who is in pursuit of Georgiana’s (Crystal Clarke) fortune. He is “a man without scruple” who will stop at nothing to lay his hands on the money. Sidney instructs that they must protect her from him, at all costs. That man is Sanditon’s artist in residence, Charles Lockhart (Alexander Vlahos). Dun, dun, dun…

Yes, poor Georgiana has been deceived yet again. This time not by a gambler, but by a charming fortune hunter. Lockhart had been hoping to persuade her to marry him, and head to the continent. Having thereby secured her fortune for himself. We see that she was clearly ready to do just that, and was making her final preparations to leave, having written letters to those closest to her.

Thankfully, the Parkers arrive just in time and explain the scam. She later confronts Lockhart, whom it transpires is her late father’s nephew, and was intending to use racist and sexist bile to call into question her right to inherit. Thanks to Sidney, his lawsuit failed.

Lockhart tries to persuade her, one last time, to come with him. He pleads that while he began with nefarious intent, he now knows her worth. He suggests that she leave these “preposterous” people behind.

Thankfully she actually knows her own worth and is having none of it. Lockhart is promptly dismissed from Sanditon, with Arthur telling him, “We may be preposterous but we are honest and sincere.”

Mary later tells Georgiana that Sidney also discovered that her mother didn’t die giving birth to her, but is in fact, still alive, and was known to have been looking for her as recently as five years ago. Sidney tried to locate her, without success. She left a bracelet for her daughter to remember her by. It’s a moving reveal.

This will undoubtedly form a major aspect of her character’s season three journey.

Another heartwarming scene later in the episode, features Georgiana proposing once again to Arthur, who is now, “…more convinced that ever that marriage is not for me.” However, he firmly believes that there is a man out there for his dear friend, who is now very much an honorary Parker.

His one regret, is having put his faith in Lockhart and advocating for him. Arthur and Georgiana have delivered a very tenderly realised friendship this season, and both Turlough Convery and Crystal Clarke deserve enormous credit for their performances. They have been terrific, both individually and together. It has unquestionably provided one of season’s highlights.

Similarly, the relationship between Arthur and Tom has also blossomed into a much more rewarding dynamic. One of mutual respect, love and trust. There is a lot of fun to be had this time, as they band together to send the ghastly Colonel “Creepy” Lennox (Tom Weston-Jones) and his scurrilous regiment, packing.

Taking inspiration from Sidney, at Arthur’s suggestion, Tom finds his backbone and literally beats Lennox at his own game. Offering him a wager, which involves putting down his £100 debt to the Colonel, and the debts owed to the town’s shopkeepers, as the stake.

Thankfully, for once, luck and Sidney’s playing cards, are on his brother’s side. He finally wins a game of Vingt-et-un, and the villain is well and truly routed. Victory for the Parker brothers. On this occasion taking a risk, finally paid off.

Sadly, a much less successful narrative this season, has been the poisoning of Esther, Lady Babington (Charlotte Spencer). This overblown melodrama is thankfully resolved within the first fifteen minutes, as Clara (Lily Sacofsky) steps up to save her erstwhile arch enemy. This comes just in time, as Dr Fuch’s (Adrian Scarborough) had reached the conclusion that “Her hysteria has advanced beyond the point of no return.”

Thankfully her Aunt, Lady Denham (Anne Reid), never fully embraced this nonsense, or Sir Edward’s (Jack Fox) daft efforts to put her in an asylum. Clara eventually smashes a glass, during a tea with the Rev Hankins, to prevent Esther from taking a drink tainted with more Laudanum. She then reveals the whole sorry plot. Frankly, you’re glad to see the back of it.

Esther defends Clara and tells her Aunt that she deserves no punishment, as “…she has been as much his victim as I am.” We’re also finally able to transition back to the real quality here, which is the dynamic between the two women.

Clara has continued to struggle with motherhood, and while she clearly feels great love for her baby, she finally decides that Esther will make a much better mother for George. She leaves him with a note, saying “Some of us are meant to be mothers and some are not. You will be the mother he deserves.”

Lily Sacofsky and Charlotte Spencer are wonderful actresses, who are never anything less than authentic, often in spite of the material. It does however, make you wish, on reflection, that we had seen much less of the Laudanum lunacy, and much more of the motherhood story. In the end their individual departures, do feel like character resolutions, and therefore, somewhat final.

If they are now gone from the show, they will be greatly missed. Both will depart with enormous credit, and have been nothing short of a gift to Sanditon.

Another gift this season has been the sweet romance between Charlotte’s sister Alison (Rosie Graham) and by some distance, the most compelling new man in the series, Captain Declan Fraser (Frank Blake).

Alison has finally decided where her heart truly lies, but is she too late? She ruminates to Charlotte and Georgiana, “Isn’t it peculiar how we can be strangers to our own affections?” Fraser is due to head off to India, and is still struggling to articulate his feelings. He leaves her a gift to signify their “friendship”, not to be opened until she returns to Willingden.

Thankfully, with a little encouragement, she throws caution to the wind and opens it, to find a book of romantic poetry. Her sister Charlotte explains that this is not a gesture of friendship, but of love. There’s then a race against time for the sisters, to find the Captain. The lovers seem to miss each other but, thankfully they’ve just overlapped, and he’s awaiting her return at Trafalgar House.

In scenes which lean very heavily on the Bingley/Jane proposal from the 2005 film adaptation of Pride and Prejudice, Fraser pops the question, to a emphatic yes from Alison.

Would that her sister had the same romantic good fortune. Charlotte, it seems, is condemned to always be the bridesmaid, and never the bride.

As you’d expect, the Charlotte/Colbourne (Ben Lloyd-Hughes) saga forms a significant component of this episode. Our heroine arrives at Heyrick Park, filled with romantic optimism, having shared a kiss with her employer, after the Parker’s eventful ball, in the previous episode. She’s all heart eyes, and yet more mutual gazing, set to the romantic strains of string music. Colbourne’s playing fetch with his adorable dog. He suggests a, “Turn about the grounds”. Yeah, we see you “Zander”. Once again he’s apologising.

To be honest, he does this so often, that I’m beginning to lose track about what it’s for this time. Anyway, he’s anxious that Charlotte might spill the tea about Lennox and his late wife. Charlotte reassures him that she, “Won’t breathe a word.”

Eh, didn’t she appear to have told Alison and Georgiana about it at the start of episode? They certainly seemed to have some awareness that Colbourne was always the good guy and Lennox, the cad. Perhaps she edited out the juicy bits.

I’ve pondered why, try as I might, this relationship still isn’t resonating with me after six episodes. I came into this season genuinely seeking a fresh start and wanting to be impressed. I was fully open to being enchanted by these two. That makes this strange feeling of disconnection from their burgeoning romance, even more disappointing.

I think in some ways, this scene perfectly illustrates my problem with them. What I find so jarring is that, other than establishing that she can calculate fifteen multiplied by seven, and can make a decent stab at conversational french, the writers haven’t once depicted Colbourne actually attempting to get to know Charlotte, in any meaningful way.

Admittedly, that’s hard to do when you have next to no screen time, and barely speak when you do. Charlotte asks questions of him, delivers occasional worthy speeches at him, and gazes in soft focus into the middle distance. Colbourne can be brusque, and defensive, then he apologises constantly, then he’s gentle and kind, and tries to do better, while also gazing in soft focus into the middle distance. Or for some variety, through a window. That’s pretty much it.

In the last episode, Captain Fraser was astonished that Carter didn’t know that Alison comes from Willingden. At this point, would Colbourne know that about Charlotte? While she’s absorbing his and his family’s angst, like a grief sponge, there’s no reciprocity. She opens up and tells him that she too has experienced heartache and betrayal and that she had sworn off marriage and love.

However, she now realises that she cannot hide herself away. She asks him if it’s not time that he did the same? There was a real opportunity here for an actual dialogue between the two. For an honest, meaningful exchange. For him to go beyond his evident sexual attraction, and learn about who she is as a woman and what experiences have formed her.

To at least show some signs of wanting to learn more. Instead of seeing this as a chance to do just that, the writers see the moment as simply an opportunity for him to move in for another kiss. Yeah, less talking there Charlotte, more making out.

As a result, it never fully achieves the level of mutual understanding and intimacy, I want to see from two grown adults finding love after loss. It’s more like a superficial, teenage romance. They haven’t taken the time to build the foundations of a decent friendship, let alone a love story.

It’s as though the production completely forgot, that while the audience may think that it knows Charlotte, or at least Charlotte version 1.0, Colbourne has no such history with her. They have to build it from scratch. They can’t just skip that exposition. That’s what does the heavy lifting in the narrative. It’s what makes those heated looks and glances, have actual meaning, and pack a real emotional punch.

Maybe I’ll eventually “get there” with these two, who knows? There’s another season to go after all. However, I still firmly believe that the production needs to do the work, to give us a sense that they’re worth investing in, and have more in common than just mutual misery. They certainly don’t help the process by some of the woeful decision making which they impose on Colbourne later in this episode.

All that being said, there are some moments here, which really do make you crave a much better understanding of this man. There are also scenes where you really do glimpse the possibilities of this pairing. You begin to see his potential to be a loving husband for Charlotte and a kind and caring father.

There is an excellent scene at the army camp, after little Leo (Flora Mitchell) goes there in search of Colonel “Creepy” Lennox, to ask him if he’s her father. Flora and Tom Weston-Jones play this moment beautifully.

Leo tells him that she never knew her mother, “…but you did.” Lennox is in shock and rapidly starts doing the calculations. He undoubtedly knows the truth, but tells her that Colbourne is her father. Almost certainly less from altruism than for convenience.

What follows are then some very touching moments, as Colbourne vows to be a better father to Leo and he displays a tenderness, both to the child and to Charlotte, which begins to open up his character, in ways which are genuinely promising. We also see him displaying considerable integrity, when he thanks the profoundly unworthy Lennox, for not revealing the truth. He also demonstrates restraint in the face of extreme provocation from his nemesis, with regard to Colbourne’s late wife Lucy.

I can’t be the only one considering the very real possibility that such an aggressive predator as Lennox may well have assaulted Colbourne’s late wife, rather than romanced her. Sadly, as we see, Lennox is also Colbourne’s metaphorical Kryptonite. As a result, he’s able to sow the seeds of doubt in Colbourne’s mind, about his ability to make Charlotte happy, and takes him down a very dark path.

It’s a real pity, as a subsequent scene in which Colbourne has breakfast outdoors, with Leo and Augusta (Eloise Webb), begins to consolidate the sense that we’re finally seeing real glimpses of a genuinely good man, and the kind of viable romantic lead, we’ve been craving. Ultimately, it’s merely the calm before the storm.

What follows is a scene and plot development which frustrates me on so many levels. I could write an entire article about how genuinely awful and ill-judged it is. More importantly, the truly toxic nature of what we’re eventually going to be asked to excuse in order to move on from it.

Surely there are few productions which have chosen to sabotage their leading men with quite the same degree of ruthlessness as Sanditon. To saddle Colbourne with this burden is almost unfathomable to me.

I’d be flabbergasted if this wasn’t the hasty result of a Zoom call, in which someone pointed out that the whole employer/employee relationship thing doesn’t always land as a grand romance with modern audiences.

Handled badly, given the power dynamics, our hero could look a tad sleazy. Their response is to handle it just about as badly as it’s possible to do. They essentially end up strangling themselves, and their hero, on the narrative knots they’ve tied. In seeking a method to predictably thwart this relationship, in order to buy themselves more time, they couldn’t possibly have picked a more damaging option.

We watch as the angst ridden Colbourne wrestles for some degree of integrity, while about to do something which is profoundly demeaning and dishonourable. It’s to Ben Lloyd-Hughes’ enormous credit that he just about keeps this scene, and his character, on the rails.

He starts by apologising to an increasingly bewildered Charlotte, for his conduct in taking advantage of his position as her employer, on two occasions. He tells her that upon reflection, he now feels “nothing but shame and regret” for his actions. We know that, post Lennox’s poisonous insinuations, he’s intentionally pushing her away in this moment.

However, the implicit request being made of the audience, to tacitly excuse his conduct on that basis, is in itself troubling. The production’s choice to sever the ties between the couple, in this way, is uncomfortable to say the least. Particularly, as it’s bound to only be a temporary interruption to proceedings.

In a truly astonishingly tin-eared piece of dialogue, our Regency heroine then reassures him, and any anxious viewers out there, not to sweat it, as she was “a willing participant” in recent events. A line about as authentic as a three pound note which lands like a tonne of bricks.

Does anyone have any idea where Charlotte Heywood’s gone, and can we have her back, please?

Colbourne then reminds her of her status in the household and states that he’s sure she’ll agree that her position is now untenable. He then promptly fires her. Offering her six month’s wages of course, he’s not a total creep. Three for each kiss it would seem. He wouldn’t want to make her feel used, or degraded.

You’re then half expecting him to produce a non disclosure agreement for her to sign. Charlotte, I’ve got Gloria Allred on line one.

The deeply distasteful nature of this, the sheer layers of wrong, are almost beyond belief. How you redeem the guy from here, and at what cost, I have no idea.

How Charlotte retains her dignity and strength of character, while excusing this, will be something of a writing achievement. It’s also one, that I’m not entirely sure I want to see.

It’s much the same feeling I had at the end of Season 1, with regard to Sidney’s actions. Over two seasons, this is a heroine who has been subjected to behaviour of almost unremitting ugliness and cruelty from the men she has given her heart to. Her mantra has become, “Is that all I am to you?…”

Unsurprisingly she leaves Heyrick Park in tears. Mrs Wheatley then tells Colbourne, “You will regret this.” If only she’d told the writers the same thing. According to Colbourne, “It’s better this way. For her sake.” Oh, that’s alright then.

They later try to salvage something out of this unmitigated mess, by having Augusta confront her Uncle and beg him to make the situation right. If not for himself, then for her and Leo. She’s seen the light of late, after weeks of intermittently bullying her Governess, and now realises that not everyone will meet her “unique” teenage angst with such generosity and kindness.

Unless Colbourne’s got a time machine, and can somehow erase Charlotte’s short term memory, I’m not sure her plan’s going to work. The show then tries to airbrush the whole lamentable saga we’ve just watched, and re-inject some plausible hero vibes, by having him race off to Trafalgar House. All puffy sleeves billowing and galloping black stallion.

What awaits him there, is a woman resolved to get out of town, as soon as possible. Can anyone blame her!? The real mystery is why she ever contemplated returning in the first place. Sanditon is her very own vortex of doom. We’re left to assume that Colbourne was going to propose to Charlotte here. However he fumbles around, twisting his signet ring and apologising, which is clearly his default mode.

He clumsily cites Augusta as being furious and having wanted him to come and see her, then tells her that the house “feels your absence already”. I knew that spinet wouldn’t cope.

Needless to say she’s reached her elastic limit with the guy, and she tells him in no uncertain terms, that the whole thing was a mistake. That he was right. They did let their emotions get the better of them. That what she thought she felt for him was clearly in error. She could, “…never feel such tender feelings for a man who showed me such little respect.”

While the show clearly wants you to weep in this moment, as Colbourne is sent packing, I found myself wanting to cheer with delight, that our heroine finally relocated some portion of her backbone. This is the Charlotte Heywood we need to see more of in season three.

There’s also a delicious parallel that she appears to be taking back her power, in the very room where Sidney shattered all her hopes. However, judging by her subsequent sobbing, it would seem that her inner yearning to be a human doormat for the nearest male, hasn’t been entirely suppressed. More on that next time, no doubt.

The one encouraging sign is that she declares, “Enough!” and wipes her tears away. It’s onward and upward from now on. She’s undefeated and still forging that new path! …Well, not exactly…

We’re suddenly two months on and Alison and Fraser are tying the knot in Willingden. Why the Rev Hankins has left his parish to perform the ceremony, I have absolutely no idea. Your guess is as good as mine. However, the important thing is that the one, genuinely delightful romance of the season, finally gets it celebratory denouement.

This is all juxtaposed with Colbourne leaving Heyrick Park with Augusta and Leo. They’re off to who knows where, to broaden their horizons and doubtless be miserable, in another location. Mrs Wheatley approves, so fair enough. We’re then back in Willingden and back in the same barn we began the season in, and lo and behold…but who is that mysterious figure we vaguely remember, who was clapping along to a tune in episode one?

Well, fret not Sanditon fans, for we’re about to find out. He certainly seems confidently familiar with Charlotte, who’s once again serving unfettered tresses and full décolletage. As the Parkers, Georgiana and Charlotte chit chat about keeping in touch, returning to Sanditon and Georgiana’s imminent twenty first birthday party, it’s clear that our erstwhile heroine, is somewhat uncomfortable and evasive. We’re about to discover why. She then delivers a bombshell about her future, and this is where the remaining wheels well and truly come off the wagon.

You honestly don’t know whether to laugh, cry, or cry with laughter, as the elder Miss Heywood announces her truly illogical, random and unfathomably stupid decision. Charlotte is getting married, and the clapping dude is her intended. Yes, it’s bachelor number three folks! Bet you didn’t see that one coming after six episodes.

This formerly brave, tenacious and determined young woman, has accepted a proposal of marriage, under the worst possible terms. Essentially, we’re presented with yet another narrative stunt. Clearly when she said “Enough!”, we missed the rest of that sentence.

What she actually said was, “Enough!…I’ve tried this spirited independence lark. The pursuit of happiness isn’t all it’s cracked up to be. So give me subjugation and lifelong misery!”

For a show which likes to proudly wear the mantle of progressiveness and female empowerment, we now have a heroine who has been left with absolutely no agency whatsoever. She’s been rendered little more than a passenger in this story. Things happen to Charlotte. She exists to respond to the whims and capriciousness of others, mainly men. Her role it seems, is simply to absorb the endless body blows that she’s subjected to, until she has no strength left and submits to her fate.

We’ve just sat through a season in which multiple women were physically, financially, racially, emotionally and sexually exploited, abused and manipulated. Esther was poisoned, systematically isolated, labelled an hysteric and subjected to societal pressure to produce an heir. She was thankfully salvaged by Clara, in one of the more positive developments this season.

Georgiana is once again manipulated by a man in pursuit of her money and endures racism, misogyny and the worst kind of betrayal. Alison is romantically deceived and humiliated, but somehow finds one of the very few honourable men in this story. Our heroine, seeking to “forge a new path”, spends most of the season endeavouring to move forward by looking back and inward.

She’s is assaulted by one potential suitor, then tentatively opens her heart, only to be terribly hurt, degraded and disrespected, and have her trust violated, by another. One who also happens to be her employer, and therefore in control of her soul remaining financial lifeline and source of independence.

She’s then summarily dismissed by him, when he gets spooked by the prognostications of the same dissolute and predatory male, who disavowed his own biological daughter, abused Charlotte, and may well have done the same to Colbourne’s late wife.

When it finally looks like Charlotte’s had enough of being an emotional punching bag yet again, she merely goes home to submit to the inevitable, and pledges herself to a lifetime of soulless submission. She accepts a proposal of marriage from the very man she came to Sanditon to escape, the prosaically named, Ralph Starling (Cai Brigden). A man she clearly doesn’t love. Thus going against her own principles, which she’s espoused consistently since season one.

By the final moments of season two, Charlotte hasn’t mended her heart and revitalised her spirits; far from it. She’s not swimming, she’s drowning, and watching it is both distasteful and exhausting. She hasn’t so much gotten over the loss of Sidney Parker, as become him.

We end this season as we ended the last, with one of the main protagonists facing the prospect of a loveless union born of sheer desperation, hopelessness, and familial pressure. To call this frustrating, lazy, repetitive, and wholly unnecessary, would be not be overstating.

 

So this is where we find our heroine now. Peddling backwards, utterly lost, defeated and barely recognisable. As an audience we must now await Season 3, aka The Colbourne Apology Tour. Doubtless the clean up operation will see the demonisation and dumping of the unfortunate Ralph, and the rehabilitation and redemption of the troublingly erratic Colbourne.

To do this successfully, it helps to be willing to perceive men as perpetually troubled, delicate little souls, with the emotional spines of jellyfish. Perennially the “victims” of questionable females. They know not what they do, and as such, must be continually excused, via any manner of past emotional traumas, when they wipe their feet on women.

We can all look forward to the ultimate pay off, when the hero and heroine will be dragged, battered, bruised and hastily patched up, across the marital finishing line, towards the inevitable “happily ever after.”

Personally, I’d be delighted if the third season ends with Charlotte eschewing marriage altogether and somehow inheriting Sidney’s share in the Sanditon project.

Then she and Georgiana can stand in their own power, deciding to devote themselves, their energies, and their money to improving the lives of others. Making their mark in the world by supporting the abolition of slavery, the education and advancement of women, and the children of the poor and the exploited.

Now that, sounds like a happy ever after to me.

Reviewed by guest writer Gillian Clifford.

Season 2 airs in the US on Sunday nights on PBS, then debuting in the UK on Mondays on BritBox.

Season 1 is available on DVD on Amazon.