Victoria is a slow-burning, costume-heavy drama about a young queen who becomes the most powerful woman in the world. It stars Jenna Coleman as Victoria, who ascends to the throne at 18 and spends three seasons navigating court intrigue, royal scandal, and the pressures of empire. The show follows her from 1837 to 1851, covering her early reign through the birth of her first child, the death of her father-in-law, and the rise of Albert’s exhibition. It is a period piece with a modern sensibility, and it mostly earns its keep.
Trailer, via MASTERPIECE PBS.
Early Reign
The first series opens with Victoria’s accession and her first years on the throne. She is a teenager thrust into power, surrounded by courtiers who want to control her. Her relationship with Lord Melbourne (Rufus Sewell) dominates the early narrative. He is her chief adviser, her friend, and her confidant. Their bond is intimate and fraught, and the show plays it for tension rather than romance.
Tom Hughes plays Prince Albert, who arrives late in the first series as a suitor and leaves early as a husband. His entrance is a turning point. The show tracks the courtship, the wedding, and the birth of their first child, Princess Victoria. The chemistry between Coleman and Hughes is genuine, and their scenes together are the best of the series.
Nell Hudson plays Nancy Skerrett, the queen’s lady-in-waiting and closest companion. She is loyal, sharp, and often the voice of reason when Victoria loses her temper. Adrian Schiller plays Penge, a courtier who serves as a foil to Melbourne. He is ambitious and ruthless, and his schemes drive much of the political drama in the first series.
The show’s pacing is deliberate. It takes its time establishing the royal household, the court system, and the social hierarchy. Some viewers will find this slow. Others will appreciate the attention to detail. The costumes are lavish, the sets are grand, and the music is stately. The series is a visual feast, even when the plot stalls.
Second Series
The second series picks up in 1840, after Victoria and Albert are married. They have young children now, and the queen must balance her duties as mother, wife, and sovereign. The series covers the decade up to 1849, including the Anglo-Afghan War and the famine in Ireland. These events are not just background noise; they shape the queen’s decisions and her reputation.
Lord Palmerston enters the frame as a rival to Melbourne. He is charismatic, ambitious, and less scrupulous. His relationship with Victoria is complex. He respects her intellect but despises her weakness. The show explores their political rivalry, which becomes a central thread in the third series.
The second series also introduces Princess Feodora, played by Kate Fleetwood. She is Victoria’s estranged maternal half-sister, and her arrival at the palace is a shock. Their reunion is tense, and the show uses it to explore family dynamics and loyalty. The subplot involving a forbidden romance between one of the queen’s ladies and a footman adds some spice, but it feels minor compared to the main narrative.
Third Series
The third series begins in 1849 and runs to 1851. Victoria and Albert have six children, and they are both in their early 30s. The series focuses on their marriage, which is strained by the demands of monarchy. The show references Albert’s health issues, and the final episode ends on a cliffhanger. This is a bold move, and it signals that the creators are willing to let the story breathe.
Albert’s efforts to find his place in the royal family are a major subplot. He wants to be taken seriously as a consort, and he pushes for projects like The Great Exhibition. The show dramatizes his work on the exhibition, showing the planning, the politics, and the personal cost. It is a highlight of the third series, and it demonstrates the production’s commitment to historical detail.
The series also follows Albert’s efforts to mould his eldest son into a king. This subplot is less successful. It is thin on character development and heavy on exposition. The show explains the prince’s education and his duties, but it never fully captures the emotional stakes. The result is a competent subplot that does not leave much of an impression.
Ensemble Cast
Jenna Coleman carries the series. She is magnetic, expressive, and capable of conveying the queen’s intensity without tipping into caricature. She is young enough to play Victoria convincingly, and she brings a sense of vulnerability to the role. Her scenes with Melbourne and Albert are the best of the series, and they are the reason the show works.
Tom Hughes is equally strong. He plays Albert as a man of principle, intelligence, and insecurity. His performance is nuanced, and he captures the prince’s struggle to find his footing in a world where he is constantly underestimated. Their scenes together are the heart of the show, and they anchor the series when the plot falters.
The supporting cast is excellent. Nell Hudson is a standout as Nancy Skerrett, and Adrian Schiller is compelling as Penge. Jordan Waller and Lily Travers add depth as Lord Alfred Paget and Duchess Sophie of Monmouth. The younger actors, including Tommy Knight as Archibald Brodie and Louisa Bay as Princess Vicky, are also impressive. They hold their own against the adults and contribute to the show’s familial tension.
Writing
Daisy Goodwin wrote the series, and her hand is evident throughout. The dialogue is elegant, the plotting is intricate, and the themes are weighty. The show deals with power, duty, love, and legacy, and it does so with a level of seriousness that is rare in modern television. It is not a light watch, and it is not a casual one either.
The show is not perfect. Some episodes drag, and some subplots feel underdeveloped. The pacing can be uneven, and there are moments where the show relies too heavily on exposition. The historical accuracy is debatable, and the show takes liberties with the record. However, these flaws are minor compared to the strengths.
The series is a triumph of craft. The costumes are stunning, the sets are elaborate, and the cinematography is beautiful. The show is a visual spectacle, and it deserves credit for its ambition. It is a show that wants to be taken seriously, and it mostly succeeds.
Cliffhanger Ending
The final episode ends on a cliffhanger. It is a bold choice, and it signals that the creators are thinking about the future. Whether the show returns is unclear. ITV has said there are no current plans to film Victoria, but the door is not closed. The ending leaves questions unanswered, and it invites a continuation.
The cliffhanger is a gamble. It risks alienating viewers who want closure. However, it also rewards those who want more. The show has built a loyal audience, and the ending is likely to generate discussion. It is a fitting conclusion to a series that has always been about the future.
Critical Reception
Victoria has received positive reviews since its premiere. The show has a Metacritic score of 6.7 out of 10, which reflects its mixed reception. Some critics praised the performances, the production values, and the historical scope. Others criticized the pacing, the predictability, and the lack of subtext. The show is a crowd pleaser, and it has earned its place in the cultural conversation.
The show has also been a ratings success. Its broadcast on ITV and PBS drew large audiences, and it became a cultural phenomenon. The show has spawned merchandise, fan communities, and a dedicated following. It has also sparked debate about the monarchy, the role of women, and the nature of power.
The show is a reminder that history is not just a series of dates and battles. It is a story about people, and it is a story about choices. Victoria is a queen who made her own path, and the show celebrates that independence. It is a show about a woman who refused to be a footnote, and it is a show about a woman who changed the world.
| Series | Years Covered | Episodes | Premiere |
|---|---|---|---|
| First | 1837–1840 | 8 | 28 August 2016 |
| Second | 1840–1849 | 8 + Christmas Special | 2017 |
| Third | 1849–1851 | 8 | 13 January 2019 |
The show is a marathon, not a sprint. It requires patience, and it rewards it. It is a show that asks you to invest time, and it pays off that investment. It is a show that is worth watching, and it is a show that is worth remembering.
Victoria is a good show, and it is a good show about a good queen. It is a show that deserves your attention, and it is a show that deserves your respect. It is a show that is a landmark in the genre, and it is a show that will be remembered for years to come.
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