The Buccaneers 1×06, “It’s Christmas,” confronts the holiday season with a myriad of biting choices for the ensemble. The episode pulls the characters in with the warm comforts of familiar pastimes — family gatherings, snowball fights, mulled wine — only for dramatic turns to pull the rug out from under them at every turn. Essentially, storylines gain dangerous momentum as The Buccaneers gears up for the season’s final two episodes.
What could be a giant yet welcoming castle becomes a chilling and hollow backdrop for some of the darkest turns on The Buccaneers yet.
For instance, the uncomfortable energy brewing between Miss Testvalley and Richard reaches a new, scathing heat when Honoria defends her brother and his marriage to Conchita. The script, written by Anna-Maria Ssemuyaba, and performances, namely Josh Dylan and Simone Kirby, tease the untold history among those characters, making it one of the season’s most concerning yet intriguing sticking points.
A Monster Out of the Shadows
Likewise, James’s abuse and manipulation of Jinny and Lizzy come into an even sharper focus during “It’s Christmas” — and with all-around damning repercussions.
Charlotte Regan‘s direction emphasizes his suffocating tactics, like the shot that shows James’s frame encompassing Jinny’s before revealing that the scolding water nearly makes her body invisible. It’s a consistent detail across The Buccaneers that Jinny is the primary source of light when she is with James or in their shared quarters, and this episode maintains that but shows how that light dwindles around and within Jinny.
Those production details aid the story that unfolds within the script and performances, specifically Jinny’s unwavering choice of James over Lizzy — and herself. That turn and James using Nan’s secret as a weapon, unfortunately, isn’t surprising, but it is painful. Aubri Ibrag bears a vulnerable performance in that revelatory scene, and though more reserved, Imogen Waterhouse depicts Jinny’s complicated thought process.
It’s a testament to Barney Fishwick‘s quietly unnerving performance that his character’s abusive behavior and gaslighting don’t fall flat but come as a genuine threat.
A Complicated Love Story
Alternatively, different forces threaten to tear Mabel and Honoria apart — homophobia and the distance between the United States and England.
Josie Totah and Mia Threapleton are fantastic when Mabel gifts Honoria the music box with two women in the center. Again, the direction elevates the story by framing the characters as if they are boxed in, too, which is such brilliant symbolism. It’s also a critical scene before The Buccaneers can move the story forward with Mabel’s plan. These two women need to unpack the events of The Buccaneers 1×05, “Failed Betrayal,” first.
As for Mabel’s plan, it’s a logical move on her behalf, but it’s a shame that it involves such an underdeveloped character as Miles. His appearances throughout the show’s first three episodes are periphery at best. While he seems to be an agreeable, kind young man, The Buccaneers could only benefit from featuring him and his friendship with Mabel more prominently moving forward, especially if their marriage happens.
Conversely, “It’s Christmas” stuns when Honoria turns to Conchita for advice. Alisha Boe has a brilliant on-screen presence and navigates that scene with sincerity and warmth. It speaks to Conchi’s character that she takes Honoria to a mirror to see her already present greatness. Their dynamic is severely underrated and underrepresented so far; this scene is a shining example that the show needs more of them.
An Unfinished Love Triangle
Similarly, if The Buccaneers wants Jean to be a legitimate romantic partner for Guy, there needs to be more time invested in their dynamic — and Jean. The two only begin to speak to each other and Jean about herself during “Failed Betrayal.” It’s unfair to think Jean can hold a candle to Guy’s chemistry and depth with Nan. Thankfully, the episode’s ending bodes well for The Buccaneers‘s plan to expound any compatibility between the pair.
Likewise, “It’s Christmas” takes a critique of “Failed Betrayal” (The scenes between the sides of Nan’s love triangle feel unbalanced) and corrects it. Following Matthew Broome‘s incredibly delivered love declaration as Guy isn’t easy, but Guy Remmers does it.
Through Theo’s choice of her, Nan realizes Guy doesn’t choose her. Kristine Frøseth lets all those complex emotions flash on Nan’s face in that whirlwind moment. It’s such an exciting place to leave this love triangle heading into the season’s final two episodes. On the one hand, this scene could signal the end of Nan and Guy, with Nan choosing the man who chooses her. On the other hand, this declaration could be the final reminder that Nan needs to know that her feelings for Guy are stronger than those for Theo.
Love triangle aside, “It’s Christmas” finds substantial development when Nan chooses “to be” and refuses to feel shame any longer about being born as “illegitimate.” As cliche as the scene may be for some, the script and Frøseth’s performance acknowledge it as a brave and freeing act for her. Moreover, the implications of Nan’s words, even subcontextually, extend to everyone at the table (The loaded looks!) and beyond (Richard, Conchi, and Miss Testvalley!). That ripple effect carries The Buccaneers into the next episode.
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The Buccaneers streams new episodes on Wednesdays on Apple TV+.
