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‘The Summer I Turned Pretty’ Season 3, Episode 10 Review: Conrad Finally Makes a Move

Episode 10 gives Belly a year to build a life in Paris, then tests what Conrad’s decision to follow her actually means. It’s a transition toward the finale, not a resolution of the love triangle.
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Spoilers for Season 3, Episode 10. “Last Chance” is less a conclusion than a year-long transition: Belly tries to build a life in Paris, Jeremiah begins finding his footing without her, and Conrad remains unable to put her out of his mind. The episode gives Belly meaningful distance from Cousins, then makes that independence the test of Conrad’s decision to go after her. Whether his move feels like growth or another interruption is the hour’s central tension—and the finale’s unanswered question.

What happens in Episode 10?

Episode 10, written by Jenny Han, aired September 10, 2025. Its broad setup is a shift in what each character is doing with the separation: Belly is building a new life in Paris, Jeremiah is finding his footing without her, and Conrad is still thinking about her, according to the episode listing.

In Paris, Belly begins establishing an independent routine and starts a romance with Benito. That matters less as a simple new-love complication than as a sign that her life is no longer organized around the Fisher brothers. Conrad’s decision to travel to Paris changes the episode’s forward momentum: the hour ends by setting up a possible reunion rather than resolving what that reunion should mean.

Does Belly get a life of her own in Paris?

The Paris material gives the episode its strongest reason to exist. Belly is not just waiting in a new location for Conrad to catch up; she is trying to make a daily life that belongs to her. Her romance with Benito adds a concrete complication to Conrad’s planned return, while the city gives the story room to imagine Belly beyond Cousins and the familiar triangle.

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Still, the episode’s dramatic emphasis is divided. Belly’s independence is the premise, but Conrad’s decision becomes the hook. That shift can make the Paris year feel like a real step toward self-definition, or like a holding pattern designed to delay the central romantic answer until the finale. The episode is most compelling when those readings coexist: Conrad’s feelings may be sincere, but sincerity alone does not make his arrival the most important event in Belly’s life.

Is Conrad finally getting his act together?

Conrad choosing to go to Paris is action where the season’s familiar pattern has often depended on what he feels but does not say. In that sense, the decision suggests movement. It does not, by itself, prove that he has changed enough to approach Belly differently. The key question is not merely whether he still loves her, but whether he can recognize that she has spent a year making choices without him—and let her answer freely.

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That distinction keeps the title’s promise in check. A trip across the ocean is a gesture, not a complete emotional reckoning. If the move is framed as Conrad finally taking responsibility for his feelings, it can read as growth; if it treats Belly’s Paris life as an obstacle to be crossed, it risks repeating the old dynamic in a grander setting. Episode 10 makes that ambiguity productive, but leaves the finale to decide what his decision means in practice.

Does the time jump earn its place?

A year-long transition offers a useful contrast: Belly has had time to form routines and pursue a relationship, while Conrad’s continuing attachment has not vanished. The jump also creates an emotional cost. Viewers are asked to accept that a great deal of life has happened offscreen, so the episode has to make the changed circumstances legible quickly rather than deliver every intermediate step.

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That compression is both the hour’s engine and its limitation. It gives Paris an immediate sense of possibility and puts Conrad’s return under pressure, but it can leave Belly’s new life feeling more like a destination than a fully inhabited stretch of time. Kathleen Walsh of New York Magazine/Vulture captured one response to that trade-off, calling it “a pretty boring episode” while welcoming the prospect of Belly living the Parisian life she had imagined for her. Rotten Tomatoes displayed that single critic review when accessed; it should not be mistaken for a broader consensus.

How does the episode fit the books?

The series is adapting We’ll Always Have Summer, the third book in Jenny Han’s trilogy, but the show changes the geography and timing. As TIME reports, Belly studies in Spain in the novel and reconnects with Conrad later, while the series takes a different route through Paris. The useful comparison is therefore not a checklist of whether the screen version reproduces the book’s itinerary; it is whether the change gives this Belly a persuasive independent chapter.

Han has said she loves surprising audiences and wants them not to know what happens next, even as some viewers are restless to see how the story ends, according to the same TIME report of her interview with the Los Angeles Times. That is broader adaptation context, not a statement about this episode specifically. Here, the changed path makes the Paris year part of the show’s own emotional structure rather than a straightforward transfer of the novel’s setting.

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Why this is a runway, not the ending

Season 3 has 11 episodes. Episode 10 is the penultimate installment, and Prime Video identifies Episode 11, “At Last,” as the series finale. The distinction matters: this hour can establish Belly’s new circumstances and Conrad’s intention, but it does not settle the love triangle. Its ending is built to carry that question into the final episode, not to provide a complete verdict on Conrad’s growth or Belly’s future.

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For context, Prime Video reported 25 million viewers across the first seven days of Season 3’s two-episode premiere, a figure TIME relayed; that was a premiere statistic, not an Episode 10 audience measure. TIME also reported platform rankings for the season, including its standing among women aged 18–34 and returning seasons overall. Those numbers describe the season’s reach, not whether this particular hour’s pacing or romantic turn works.

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