The Gilded Age Season 3, Episode 7, “Ex-Communicated” Spoilers Ahead
Talk about a penultimate episode. The Gilded Age delivers one of its most subtly thrilling rides in “Ex-Communicated,” as it basically promises that the show as we know it is about to change. With another terrifying cliffhanger and tension that’s through the roof, it sets up what might just be the most intense finale we’ll get, as it’ll thrust us into Season 5 with its newly scored renewal.
George is shot! Mr. McAllister’s book has everyone in New York society furious; Marian and Larry talk—sort of; Oscar grieves the death of John Adams, and Bertha’s entire family has basically turned against her. Drama.
The Gilded Age Season 3, Episode 7 Threatens George Russell’s Life
I wouldn’t put it past Julian Fellowes to kill off a major character, but railroad daddy George Russell isn’t one of those characters. There is no Gilded Age without George and Bertha Russell, so it’s hard to believe that the series would kill him off because countless viewers would stop watching. (It’s me. I’m viewers. And there are more like me, I’m sure of it.) So while I’m 90% sure George is okay, I’m not sure about how this will change the course of the show as we know it. Can he make a full recovery? Did someone jump in front of the bullet? Will he be the same?
The Russells have a glimmer of hope thanks to Larry’s business deals in Arizona, but they’re not out of the woods quite yet. The house that was once a home nurtured by a deep partnership is now merely a grand estate with four walls and fractures making up every crevice. Despite the fact that Bertha made things right with Gladys in “If You Want to Cook an Omelette,” both George and Larry are still simmering in their anger and calling her out on her ambitions. Larry’s frustrations with Marian breaking off the engagement are fully taking the reins for him, but he isn’t technically wrong in stating that they’re all pawns to Bertha. He isn’t wrong for immediately wondering if she had something to do with it when he’s in the dark about Marian’s reasons.
Carrie Coon continues to be indescribably riveting as she quietly displays just how considerably this tension is destroying Bertha. They’re all ambitious, yes, but Larry’s words are getting to her. George shutting her out is hitting hard. She has been selfish. She has been self-serving, but Bertha isn’t without love in her heart. She cares for her kids and wants the best for them, but her desire to be revered within society is blurring her ability to see what they need as opposed to what she wants for them. Their family might be back from ruin, and now she’s throwing the end-of-the-season ball, but really—at what cost? At what point will all of Bertha’s actions catch up to her? The performances it’s bringing out of Coon (and Spector!) are incredible, though, and as nervous as I was for the strain between them, it’s compelling to watch what it brings out for the two of them as actors.
The Gilded Age writers know exactly what they’re doing by bringing these dark narratives to the surface because it’s what the show has been building toward since it began. I’ve said it throughout the third season, but The Gilded Age Season 3, Episode 7, “Ex-Communicated,” proves that drama can be riveting if the seeds are planted early enough and if they honor the characters properly. And with the Russells, the seeds have bloomed into a prickly rose garden.
Marian Finally Talks Directly to Larry
Thankfully, The Gilded Age doesn’t make us or Larry wait too long before Marian finally reveals why she’s choosing to break off their engagement. It doesn’t happen immediately, but it’s more so Ada’s persuasion, Jack’s confirmation, and Larry’s insistence to talk that corner her into revealing the truth.
The thing is, Marian’s fears are understandable. It makes complete and total sense why she’s upset, but it isn’t fair to Larry that she’s jumping to conclusions. It isn’t fair to anyone when life is so short that any minute, one of them could lose the other, and it’s poetic that it all occurs in an episode where she is reminded of the grief surrounding her. Ada knows it, Oscar knows it, and countless other characters do, too. Still, fear is a pesky thing, so it’s ultimately human and makes for great talking points that the matter is handled authentically. Sometimes, we need the people closest to us to remind us that our vision isn’t all that clear. We need people to remind us of how to take a breath and be better versions of ourselves.
Marian is kindhearted and tender, so it’s also understandable that she’d be so hurt by Larry’s “betrayal” of all people. But it’s also why she needed to take a step back and consider his point of view. He isn’t like the men from her past—he’s never been and never will be. At the same time, it’s also admirable that Larry admits to the fact that lying to her was wrong. We know he’s loyal and would never be tempted, but his inability to understand that transparency would’ve been better is also incredibly human.
It’s unclear where the two of them will go from here, but Larry and Marian are endgame. We have three seasons of proof to back this faith, so while I’m not always certain of fictional relationships and where they’ll end up, I am sure of this one. The two of them not only love each other too much to let go like this, but their friendship stands on a solid foundation. When the dust settles, I’m sure that ring will be back on her finger. Getting this conversation out in the open is a step.
From an Arranged Marriage to Partnership?
While there may not be love brewing between Hector and Gladys, there’s certainly a partnership now. A friendship, if nothing else. And judging by their brief scenes in “Ex-Communicated,” I’d even wager that Hector is beginning to feel something more. He didn’t seem at all disturbed by the prospect that George may not be able to pay them this month, and the fact that he’s continuing to put his foot down about Lady Sarah’s involvement is something.
He clearly likes having Gladys around, and he likes the fact that there’s a bit of light back into the castle. Respectfully, but I’d be just as irked if my sibling were the only person I saw. And now that the two of them are getting ready to return to America, I’m so curious how things will be when George sees that Gladys isn’t as miserable as she once imagined. Again, we can acknowledge that arranged marriages take away agency, but, at times, the era demands it, and they aren’t always bad. Sometimes, that very agency returns when two people decide that they actually like being stuck together.
Picnics and Interferences
Speaking of agency, I loathe the fact that William’s mom takes away Peggy’s by dropping the news about her son to him. While I can understand that she should’ve said it herself, the fact that his mom has been against their union makes it ten times worse. William is so besotted by Peggy, evidenced by the way he holds her gaze every single time he kisses her hand and how he supports her endeavours—so what gives, ma’am? Let your son be happy.
It’s also riveting that we have two different prospects of mothers interfering when one clearly wants her daughter to be comfortable, whereas another is determined to ensure her son stays as he is? Peggy can provide so much for William as a woman who’s so determined that it’s wild his mom is so against it. And William is so in love already that I’m eager to see how he confronts Peggy, what he’ll do when he learns the truth, and understands another piece of her puzzle. Something tells me he’ll be understanding, so I look forward to seeing it.
The Beginning of Oscar’s Grief Is So Heartbreaking
In an episode brimming with big moments that require great performances, Blake Ritson is the undeniable standout as Oscar goes through the five stages of grief. My heart ached from the moment we saw him and didn’t stop until the credits began to roll because every part of it feels raw. He isn’t just grieving the love of his life, but he’s grieving his person. He’s grieving his inability ever to be his most authentic self. Oscar loses a part of himself with John’s death, and it’s so painfully obvious that even Agnes senses it. She might not understand the full gravitas of what all of this means—or she isn’t saying anything—but she feels the puncturing ache. And sure, Marian brings up the explanation of John being like a savior to Oscar, but I think a mother always knows. There’s something bigger here.
How Ritson goes from holding his grief close to his chest to lashing out and later allowing himself to feel fully is no small feat. We see every ounce of Oscar’s pain through the silence, and we feel it punctuated in every word he bites back. It’s what makes Marian’s conversation with him that much sweeter because it’s all about the unsaid words. And for him to know that his cousin still loves him as she always had, despite this thing that society shuns, is such a beautiful thing. This is also where Marian’s gentleness shines best because she can see people, even better than they see themselves. It’s maybe why Larry’s lie is so horrifying because of all the men in her life, she never expected him to withhold the truth. Still, her choice to consistently check in on Oscar and help him through his pain is a lovely inclusion in an otherwise dreary episode.
It’s also comforting that John’s sister knew the truth, too, because it allows Oscar to at least grieve freely around a couple of people. He might hide parts of the truth from others, but he doesn’t have to hide it in front of them. He should’ve been seated at the front with close people instead of all the way in the back at John’s funeral, but there’s some peace in knowing the world doesn’t stay this way. Oscar van Rhijn and countless others have borne the pain of hiding, but the world thankfully changes. Love transcends. Still, his grief hurts tremendously. It feels visceral. It feels raw. And so much of it is again because of Blake Ritson’s vulnerability and his ability to tap into a place that’s often so hard to showcase.
Interestingly, this isn’t the episode titled “A Different World,” but it’s the one that feels like it. Mr. McAllister’s book bringing all the women banding together with each other isn’t a sight I thought I’d see. Everything is dark, he’s out of the circle, the mole at the Russell house has been uncovered, and everything about The Gilded Age Season 3, Episode 7, “Ex-Communicated,” changes the game.
Stray Thoughts
- Mrs. Fish is so unserious, I love her.
- “Society is hanging by a thread, Ada. This is not the time to celebrate.” Agnes really keeps coming through with the best lines.
- “Are we headed for the poor house?” BERTHA.
- Does Hector actually like Gladys? Oh, he likes her.
- “He thought of you.” And he left a letter. Oh—😭
- I’m really so impressed with Blake Riston this week. It’s so so good!!
- “But I have no wish to turn away from you.” Oh, I weep.
- “You have helped me. More than you know.” Guys, I can’t stop crying.
- Peggy knocking some sense into Marian? you. Thank TALK TO HIM, GIRLY.
- “He lives right across the street.” She seems to have forgotten that, actually.
- Mr. McAllister demanding more? Bro, you good?
- Larry is back!
- LARRY’S CURLS!!!!!! Also, oof, Harry Richardson is so good at delivering ANGST.
- Someone please tell Railroad Mommy and Daddy to stop fighting.
- When was the last time you asked any of us what we wanted?
- Larry has opened a Pandora’s box. Girl, it’s not that…
- “You mask the pain with a smile, but this is nothing you want.” Oh, Ada.
- I’m sorry, what do you mean, cockroaches have a thousand lives??? Is this true?? I’m scared to Google it. Someone break it to me gently.
- “Men are forgiven for their indiscretions and women are punished.” LOUDER.
- Awww, Jack. Baby boy is getting his one house.
- The eye contact William holds with Peggy!!! Makes !!! Me !!! WEAK!!!
- Not these gossips going off about Peggy.
- “All your pawns will be back on the board” is such a good line.
- “If women can get the vote, they can have a voice in other matters.” Hear hear, Agnes.
Now streaming on HBO Max: What are your thoughts on The Gilded Age Season 3, Episode 7, “Ex-Communicated?” Let us know in the comments below.
First Featured Image Credit: ©Photograph by Karolina Wojtasik/HBO