The Buccaneers Season 2 Review: All Dressed Up With Nowhere to Go

The Buccaneers first arrived on our screens as a vibrant collision of worlds: new-money American ambition crashing against the shores of London’s ossified 1870s aristocracy. It positioned itself within the popular streaming trend of the historically-adjacent drama, promising a story of high-spirited heiresses determined to live on their own terms.

The first season culminated not in a storybook wedding, but in a calculated sacrifice. Nan St. George (Kristine Froseth) said “I do” to the Duke of Tintagel, a man she did not love, in a desperate, last-minute gambit to shield her sister Jinny from a dangerously abusive husband.

Season 2 picks up in the chilling silence after the vows. The champagne has gone flat, and the celebration gives way to the stark reality of the choices made. What was framed as a triumphant act of sisterly solidarity immediately reveals its cost. The season opens not with romantic bliss, but with the heavy mantle of consequence.

We are immediately plunged into the central tension that will define the narrative: the brutal conflict between public duty and private desire, and the question of whether the foundational friendships that launched this story can survive the very power the women sought to acquire.

Fractured Fronts and Fraying Alliances

The season scatters its heroines to the wind, each navigating a separate battlefield. As the new Duchess of Tintagel, Nan is trapped in a gilded cage of her own making. She performs the role of the happy wife for a public audience and a suspicious husband, while privately breaking down over her lingering connection to Guy.

This internal conflict is less a simple love triangle and more a complex power struggle with Theo, whose affections curdle into mistrust. The sudden arrival of her birth mother, Nell (Leighton Meester), a tantalizing but brief appearance, adds yet another thread to Nan’s already tangled identity, threatening to unravel her precarious position.

Across the continent, Jinny experiences a different kind of precarious freedom. Exiled in Italy with Guy as her protector, she is a fugitive from both her husband and the scandal-hungry press, which has branded her a kidnapper of her own unborn child. Their relationship evolves not into a predictable romance, but into a compelling friendship forged in shared isolation—a welcome deviation from the show’s romantic preoccupations.

Back in London, the remaining friends pursue their own ventures. Conchita and Richard, facing financial ruin, pivot to monetizing their social connections by becoming matchmakers. Lizzy embarks on a new romance, while Nan’s mother, Patti, wages a very public and humiliating war against the legal system in her fight for a divorce.

Meanwhile, the promising queer romance between Mabel and Honoria, a bright spot of the first season, is largely relegated to the narrative sidelines, granted only stolen moments while heterosexual dramas consume the bulk of the screen time—a curious choice for a series so invested in a modern, inclusive sensibility.

A Sisterhood in Theory, Not Practice

The season presents a scattered thesis on female power, with individual characters waging their own wars against the patriarchy. Patti St. George’s humiliating divorce trial serves as a stark depiction of a legal system constructed to disempower and contain women, a fight for basic personhood that feels disturbingly contemporary.

Elsewhere, Nan attempts to leverage her newfound ducal status for political influence, challenging laws from within the gilded cage she now occupies. Motherhood, for Jinny and Conchita, becomes another arena for defining their agency outside the limiting roles society has prescribed for them. These plotlines show The Buccaneers is certainly interested in talking about female empowerment.

Yet, for all its topical explorations, the series makes the baffling choice to dismantle its most potent political force: the collective friendship of its protagonists. The sisterhood that served as the vibrant, rebellious heart of the first season is fractured, with the women siloed into separate narratives.

Their bond, once the show’s central relationship, is weakened by secrets and, ironically, the constant interference of men. When Nan finally declares near the season’s end, “The obvious love story should be us, the girls,” the line lands with the heavy thud of a long-overdue epiphany. It feels less like a character’s realization and more like the show’s own self-critique, an admission that it spent an entire season sidelining its most radical and compelling idea.

An Aesthetic in Conflict

Visually, The Buccaneers remains an opulent feast. The production continues to deliver the lavish spectacle expected of prestige period drama, with breathtaking gowns for a Midsummer Night’s Dream party and a scenic expansion into the sun-drenched landscapes of Italy.

The series also doubles down on its use of the anachronistic soundtrack, a now-standard feature of the streaming-era historical piece. Deploying artists like Chappell Roan, the music aims to signal a modern, rebellious sensibility, and at times it succeeds, energizing a scene where an older generation finds freedom in a flirtatious dance.

However, this pop-art aesthetic sits in jarring opposition to the show’s increasingly bleak storylines. The series suffers from a severe tonal whiplash, lurching from a lighthearted dance sequence into the grim realities of domestic abuse or a humiliating public trial. This dissonance is more than a stylistic quirk; it is a fundamental flaw in the season’s construction.

The effervescent pop polish creates an emotional disconnect, preventing the narrative’s heaviest themes from landing with the gravity they require. It leaves the viewer navigating conflicting signals, unsure if they are watching a frothy romp or a melancholy exploration of trauma, because the show itself seems unable to decide.

A Rushed Pace and a Hollow Center

The season’s structural problems are most apparent in its uneven character focus and frantic pacing. The narrative often feels most alive on its periphery, where strong supporting performances provide a welcome depth. Amelia Bullmore’s Dowager Duchess evolves into a surprisingly compelling figure, and Matthew Broome brings a confident charisma to Guy Thwarte.

The much-discussed guest appearance by Leighton Meester is tantalizingly effective, yet so limited in scope it mostly serves as a frustrating reminder of the show’s underutilized potential. These bright spots only emphasize the weakness at the story’s core, where Kristine Froseth’s Nan is saddled with a frustratingly indecisive arc, her whisper of a performance struggling to anchor the drama.

This imbalance is exacerbated by the show’s relentless speed. The plot moves at a breakneck pace, galloping through what should be major emotional beats—betrayals, revelations, life-altering choices—so quickly that none of them are given the space to resonate. This rushed storytelling, a common pitfall in the age of binge-able content, consistently prioritizes plot momentum over emotional heft.

The most significant casualty of this approach is the neglect of more intriguing subplots. The romance between Mabel and Honoria is once again pushed to the margins, its development sacrificed to feed more screen time to a central love triangle that grows more tedious with each episode.

An Unsteady Step Forward

The season’s chief ambition is its attempt to evolve, shifting from a story about finding husbands to a more complex examination of navigating marriage and female identity within a restrictive world. This thematic growth is commendable. Yet, the execution remains as inconsistent as it is entertaining.

The show’s go-for-broke energy is both its greatest asset and its most significant liability, creating a visually stunning but narratively chaotic experience. The Buccaneers is caught in a constant tug-of-war with itself, aspiring to be a serious drama about women’s issues while indulging in the pleasures of a frothy, romantic romp.

It never fully commits to one identity, leaving it feeling unsteady. The finale, however, hints at a potential realignment, an acknowledgment of its own narrative missteps and the possibility of a different path.

The lingering question is whether the series, should it continue, will finally embrace the bold story of sisterhood it has long claimed to be telling, or if it will once again retreat to the more conventional comforts of the love triangle. The potential for a great show is there; it just needs to make up its mind.

The Buccaneers is a historical drama series adapted from Edith Wharton’s unfinished novel and created by Katherine Jakeways. Season 2 premiers on Apple TV+ on June 18, 2025, and rolls out across eight weekly episodes through August 6, 2025. You can stream it exclusively on Apple TV+, accessible on all major devices via subscription including a 7‑day free trial.

Full Credits

Director(s): Susanna White, William McGregor

Writers: Katherine Jakeways

Producers and Executive Producers: Katherine Jakeways, Beth Willis, George Faber, Susanna White

Cast: Kristine Froseth, Alisha Boe, Josie Totah, Aubri Ibrag, Imogen Waterhouse, Kristine Froseth, Barney Fishwick, Guy Remmers, Josh Dylan, Matthew Broome, Mia Threapleton, Christina Hendricks, Leighton Meester

Composer: Aisling Brouwer, Anna Phoebe