If you ever have doubts about whether The Gilded Age understands its viewership, the initial scenes of season two should dispel any uncertainties. We are reintroduced to the realm of extravagant 1880s New York with a sequence that celebrates one of the finer aspects: the hats.
Everyone is en-route to church, albeit different ones, subtly emphasizing the class divisions that shape the narrative, adorned in the opulence that characterizes the show. These initial scenes exude a palpable enthusiasm, as if there's a haste to reiterate every compelling factor that brought you back for the second season: extravagant costumes, drama of minimal consequence, lavish sets, and Christine Baranski giving a stand-out performance.
We're brought up to speed on various character developments and plot points, including some that may have slipped your mind. These include Bertha's twin fixations on Newport, securing an opera box, and her ongoing rivalry with Mrs. Astor. The transformation of Bertha's chef from Monsieur Baudin to Mr. Borden after his comical deception was exposed, Jack's advances on Miss Weber, Bertha's ladies maid, and the chilly exchanges between Agnes and Mrs. Astor towards Bertha in church, among other narrative details. Amidst news of Agnes' nephew's sudden appearance, the introduction of a new pastor in the affluent circles of New York, and the somewhat comically clumsy revelation that Marian's former fiancé is about to be wed, we catch up with the Scott family.
Following Easter mass, cousin Oscar is equally melancholic. He's been noticeably ignored by Gladys Russell, whom he still pursues, and he spots his former lover John Adams strolling through the streets with another man. Oscar seeks solace in a bar, where things seem to take a positive turn when he catches the eye of another patron—only to return home later, badly beaten and robbed. However, he's adamant about not involving the police.
In Philadelphia, things are equally somber for Peggy Scott, who is also attending mass while in mourning. After discovering late in the previous season that the child her father led her to believe had died was actually still alive, we tragically learn that Peggy's young son has succumbed to scarlet fever, the same illness that claimed the life of his adoptive mother. Peggy, along with her parents, visit the boy's adoptive family and see where he lived all these years. It's a devastating excursion that has stirred up resentments and regrets within the Scott family. It comes as no surprise then, that Peggy informs her parents that they all need a break from each other and, upon her return to New York, inquires with Marian about her previous position at the Van Rhijn residence.
The premiere concludes with consecutive social gatherings, each marked by significant surprises. The first event is an afternoon tea in honor of Dashiell, hosted by Agnes & Co. During the gathering, Oscar discreetly proposes marriage to Gladys, who attends much to her mother's displeasure. He encourages her to take her time to consider his proposal.
Meanwhile, at House Russell, Bertha is overseeing the preparation of soufflés and the decanting of claret for her own elegant soirée, a dinner for opera aficionados that doubles as a pseudo benefit for the Metropolitan Opera. She extends invitations to fellow Academy waitlisters and Mrs. Astor, who is far from pleased about being tricked into attending. Her mood further sours upon learning about the Met's star-studded lineup for its opening season, featuring the world-renowned soprano Christina Nillson - who conveniently makes a surprise appearance at Bertha's event for an exclusive performance for the dinner guests. We can't wait to see how Mrs. Astor will top this!
A great opening to the season with many surprises to come.
