In May 2024, Maxton Hall took the internet by storm, gaining a dedicated fanbase (myself included) who soaked up the first season and demanded more. Based on German author Mona Kasten's Maxton Hall book trilogy, the show follows Ruby Bell and James Beaufort as they discover what it means to fall in love. The show's second season, debuting November 7, took only two days to claim its spot as the No. 1 trending show in the United States on Amazon Prime Video. Personally, I have been impressed with the second season; although at times unrealistic, Maxton Hall remains powerful, intriguing and filled with positive messaging.
Before we dive into what season two has to offer, let's review. During season one, our lovebirds followed the traditional enemies-to-lovers story arc, eventually admitting their feelings; while falling in love, the two manage rigorous academic schedules and confront the wrath of James' father, Mortimer, who emotionally abuses James while judging Ruby's lack of wealth. Chock-full of drama and romance, season one left viewers with a heart-shattering cliffhanger: the death of James' mother, Cordelia Beaufort.
In my opinion, the second season of "Maxton Hall" does a phenomenal job of depicting the grief that James experiences, managing to push messaging about the detrimental effects of using substances to cope while accurately capturing the utter despair of his character. For context, James’s use of alcohol and drugs leads him to a flashy party, where, wildly drunk, he makes out with a female friend. In the depths of his grief, he pushes everyone close to him away, lashing out while simultaneously drawing inwards. I found James' character development tragically compelling, but Ruby's reaction to it all struck me as unrealistic. While I empathize with her heartbreak over James' cheating, her decision to shirk all responsibilities the next day, and her inability to empathize with James for longer than ten minutes, shocked me. Additionally, considering the Beaufort family's fame, how is it possible that Ruby had not heard about Cordelia's death? And why would she, while sobbing, climb into a stranger's car returning home from the party? Little details like these detract from the show's impact, but not enough to disturb the piece as a whole.
This review cannot leave out the mysterious appearance of Ophelia, the aunt of James and his twin, Lydia. First appearing at Cordelia's funeral, Ophelia’s introduction hints at a new layer of family drama, as her spat with Mortimer leaves viewers intrigued. Adding to her air of mystery, she comes to James' rescue and states her intention to continue protecting the twins. For context, Mortimer, despite earlier sharing a heartwarming scene with James, returns to his old ways by angrily insinuating that James' mother viewed him as a disappointment. Although perhaps a necessary plot device, I find the static nature of their relationship frustrating when other characters and relations constantly evolve. In response to this horrible remark, James, screaming and crying, takes off on a reckless driving spree. When he crashes the car, Ophelia is the one to call the hospital to get help. Is Ophelia a villain? A protector? Only time (or the directors) will tell.
Though Ruby rejects James' attempts to win her back, she loyally aids his twin, Lydia, who is struggling with pregnancy by one of her professors. The show makes a brief commentary on the politically sensitive issue of abortion, as Lydia picks up a pamphlet promoting a "your body, your choice" message, but the show falls short of offering any real opinion as Lydia decides to have the twins with minimal debate. I do wish Lydia got more screentime, as her actress, Sonja Weißer, does an excellent job expressing the turmoil of teenage pregnancy. Additionally, Lydia tries to take a more active role in her family's company but is repeatedly shot down, touching on the issue of women being shut out of the business arena. On the topic of feminism, I must express my respect for the show's depiction of strong, capable female characters, particularly in the main character Ruby. In addition to supporting Lydia, Ruby must work to organize the Campbell Foundation fundraising gala to raise money for underprivileged children in need of therapy. As Ruby successfully navigates the challenges of organizing the gala, she also receives her acceptance to Oxford, serving as an excellent role model for young women and exemplifying the rewards of hard work.
I will leave you with arguably the strongest aspect of this season: its promotion of mental health awareness. After his car crash, James begins attending therapy. When Ruby's speaker for the gala cancels on her at the last minute, James steps in and gives a speech instead; he opens up about the power of asking for help, accepting the way his grief has caused him to lose those he loves (particularly Ruby) and expressing his desire to share the way therapy has helped him with people who do not have the same access. Though the scene clearly doubles as a grand gesture, I am impressed with how Maxton Hall fearlessly tackles stigmas around toxic masculinity, which James has faced in his dad's control over his life, and which he openly defies in this moving speech.
At last, Ruby has begun to forgive James, impressed (as I was) by his vulnerability and willingness to seek help. In the next three episodes, I remain hopeful for Ruby and James' romantic reunion as the show continues exploring what it means to grieve and to love.
Emily Federovitch is a freshman in the College of Arts and Sciences. She can be reached at eaf258@cornell.edu.
