Bridgerton Review
Jan. 3rd, 2021 12:12 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
shadowkatI finished watching Bridgerton on Netflix last night. This is the new Shondra Rhimes series, helmed by her protegee, and long time writer Chris Van Dunsen.
It is a fun series. Fluffy, soapy, and very true to the "Regency-style" historical romances written by American writers. These aren't high-brow fiction by the way, but fun fluffy relationship dramas focusing on gender politics and place in a bygone age. They are mainly "fantasy" fiction and those reading and enjoying them - don't tend to view them as much more than fantasy. If I were to compare them to a painting - I'd say one of those romantic landscapes from the romantic period. Historically accurate, they aren't - and there are alas plot holes and inconsistencies aplenty in the genre. It's fun though, with witty banter, sex scenes, and everything works out in the end. There's a reason I've been reading the genre for the last several years - it's comforting, like a nice warm blanket, a cup of coca with marshmallows, and a fluffy pastry.
In watching it - I thought with glee - ah, the Regency Romances I've been reading (and forgetting with equal frequency) brought to life. It should be noted that part of the appeal of the genre is how easily I can forget it. It takes up no place in the old brain. It's fun little escape or distraction.
That said, they shouldn't be discounted so arbitrarily, any more than Bridgerton should. The romance genre much like daytime soaps, superhero/action comics (Marvel and DC) - do examine social issues. They just often do it with a light touch. It's not the point of their narratives, and it's more of a passing glance, that may or may not be followed up on or delved into with greater depth. Often it's just kind of commented on. Sandition, Pride & Prejudice, Downton Abbey or the Crown - this isn't. It's more akin to the early seasons of Grey's Anatomy or Scandal. It's a touch above the Hallmark movie, and a touch below the BBC Masterpiece Theater British Costume Drama.
I watched a little of Andrew Davies' Sanditon this morning and a little of Outlander - both work hard for historical accuracy, and delve deeply into social issues, and the history of the times. The romance, such as it is, is secondary. Neither have a happy ending. And they stick in the head longer.
In Sanditon, which also takes place during the Regency Period or close enough, lighting is done by candles, the streets of London are dark and dingy, and muddy. Bridgerton in stark contrast, is clean and neat. Racism is more than commented on - it's dwelled on in Sanditon but admittedly from a white perspective.
Bridgerton has a great deal in common with Shonda Rhimes other series, Scandal and Grey's Anatomy, where social issues are commented on, but the main focus are the romantic and familial relationships. Everything is background noise. Rhimes hired medical consultants for Grey's - so the hospital masks, and for the most part the hospital itself fits what most would expect. But if you know anything about hospitals or medicine, it will most likely jar you. Same here, with Bridgerton, they hired historical consultants to get fashion, furnishings, dance routines, etc correct, but if you know anything of the period or British history - it will probably jar you.
The other commonality, is plot inconsistencies. Little details are dropped then not picked up on. Two distracted me - one was a missing necklace that the character removed on a terrace then completely forgot about as did the writers, the other was that the Duke's mother had difficulty giving birth and it could have well been due to her husband. There was a suggestion that she may have looked elsewhere - but this isn't followed up on. Granted they may do so in later seasons.
The mystery of Lady Whistledown is revealed at the end, although I'm thinking they should have kept us guessing? I didn't figure it out - although I should have, thinking back on it, it is pretty obvious at one point. In the books - it's not revealed until around the fifth book - during Colin and Penelope's romance.
And, the misunderstanding between the Duke of Hastings and Daphne is rather silly but true of most romances in this genre. It's bubbly, and comical, and kind of frustrating. You want to smack both of them upside the head. And, it provides for rather creative sex scenes. There are a lot of sex scenes between Daphne and the Duke - although the more interesting ones are with her brothers and their mistresses, and friends. The series is actually at its most interesting when it focuses on everyone else.
The Duke's boxer friend, who is struggling to make a career out of fighting - is one example of the more interesting and intriguing supporting cast.
And here racism is commented on again, although rather briefly. It seems his friend's father fled the colonies and became a freed man in Britain. I'm not certain if slavery was completely abolished in British Colonies and in Britain during the Regency period - I was under the impression it happened under Victoria's reign. But that's neither here nor there - since this is meant to be romantic fantasy, and not taken all that seriously. That said - I'm not sure mentioning it off-hand and then letting it drop is...useful?
But it is par for the course with Rhimes series, which tend to build up to it. We'll most likely get an impassioned monologue from someone regarding it in either S2 or S3, if not later.
Other's that are more interesting - are the Feathertons, who I felt sorry for and found more intriguing that the overly perfect and pretty Bridgertons. They are supposed to be the villains of the piece, but if anything they remind me more of the silly villains out of an Austen novel, except with far less power. Polly Walker is quite good in her role as Lady Featherton - stuck in a loveless marriage, hunting a way to protect her daughters.
Minerva too - is rather interesting, although we get little exploration. She's a sympathetic but also wiley and strong character. Who attempts to fight for a smidgen of happiness, only to have it ruthlessly yanked from her clutches by those she either underestimated or barely noticed. Her relationship with Lady Featherton perhaps has the best arc.
Daphne, our heroine, is the fantasy, of course, and typical of most romantic heroines of the genre, much as is her Duke. What makes him interesting is the casting. Otherwise he would be your typical brooding romantic hero. Casting him with a POC in the role is a stroke of genius - for it takes his character out of trite cliche. Daphne, alas, doesn't have that luck. She's likable, I care about her, and enjoy her - but, she's not quite as interesting as other family members. The actress does a good job of making her appealing and vulnerable. The naivete played up a bit, as are her desires.
As stated above, I rather enjoyed the series. It's perfect for these dark dismal times. Bright and cheerful - like eating a puff pastry or sitting in the sunshine in a country garden. Harmless fun.
Plus, for once, when a man attempts to sexually assault a woman, she knocks him out. Can't disagree with that.
Overall rating? B+
It is a fun series. Fluffy, soapy, and very true to the "Regency-style" historical romances written by American writers. These aren't high-brow fiction by the way, but fun fluffy relationship dramas focusing on gender politics and place in a bygone age. They are mainly "fantasy" fiction and those reading and enjoying them - don't tend to view them as much more than fantasy. If I were to compare them to a painting - I'd say one of those romantic landscapes from the romantic period. Historically accurate, they aren't - and there are alas plot holes and inconsistencies aplenty in the genre. It's fun though, with witty banter, sex scenes, and everything works out in the end. There's a reason I've been reading the genre for the last several years - it's comforting, like a nice warm blanket, a cup of coca with marshmallows, and a fluffy pastry.
In watching it - I thought with glee - ah, the Regency Romances I've been reading (and forgetting with equal frequency) brought to life. It should be noted that part of the appeal of the genre is how easily I can forget it. It takes up no place in the old brain. It's fun little escape or distraction.
That said, they shouldn't be discounted so arbitrarily, any more than Bridgerton should. The romance genre much like daytime soaps, superhero/action comics (Marvel and DC) - do examine social issues. They just often do it with a light touch. It's not the point of their narratives, and it's more of a passing glance, that may or may not be followed up on or delved into with greater depth. Often it's just kind of commented on. Sandition, Pride & Prejudice, Downton Abbey or the Crown - this isn't. It's more akin to the early seasons of Grey's Anatomy or Scandal. It's a touch above the Hallmark movie, and a touch below the BBC Masterpiece Theater British Costume Drama.
I watched a little of Andrew Davies' Sanditon this morning and a little of Outlander - both work hard for historical accuracy, and delve deeply into social issues, and the history of the times. The romance, such as it is, is secondary. Neither have a happy ending. And they stick in the head longer.
In Sanditon, which also takes place during the Regency Period or close enough, lighting is done by candles, the streets of London are dark and dingy, and muddy. Bridgerton in stark contrast, is clean and neat. Racism is more than commented on - it's dwelled on in Sanditon but admittedly from a white perspective.
Bridgerton has a great deal in common with Shonda Rhimes other series, Scandal and Grey's Anatomy, where social issues are commented on, but the main focus are the romantic and familial relationships. Everything is background noise. Rhimes hired medical consultants for Grey's - so the hospital masks, and for the most part the hospital itself fits what most would expect. But if you know anything about hospitals or medicine, it will most likely jar you. Same here, with Bridgerton, they hired historical consultants to get fashion, furnishings, dance routines, etc correct, but if you know anything of the period or British history - it will probably jar you.
The other commonality, is plot inconsistencies. Little details are dropped then not picked up on. Two distracted me - one was a missing necklace that the character removed on a terrace then completely forgot about as did the writers, the other was that the Duke's mother had difficulty giving birth and it could have well been due to her husband. There was a suggestion that she may have looked elsewhere - but this isn't followed up on. Granted they may do so in later seasons.
The mystery of Lady Whistledown is revealed at the end, although I'm thinking they should have kept us guessing? I didn't figure it out - although I should have, thinking back on it, it is pretty obvious at one point. In the books - it's not revealed until around the fifth book - during Colin and Penelope's romance.
And, the misunderstanding between the Duke of Hastings and Daphne is rather silly but true of most romances in this genre. It's bubbly, and comical, and kind of frustrating. You want to smack both of them upside the head. And, it provides for rather creative sex scenes. There are a lot of sex scenes between Daphne and the Duke - although the more interesting ones are with her brothers and their mistresses, and friends. The series is actually at its most interesting when it focuses on everyone else.
The Duke's boxer friend, who is struggling to make a career out of fighting - is one example of the more interesting and intriguing supporting cast.
And here racism is commented on again, although rather briefly. It seems his friend's father fled the colonies and became a freed man in Britain. I'm not certain if slavery was completely abolished in British Colonies and in Britain during the Regency period - I was under the impression it happened under Victoria's reign. But that's neither here nor there - since this is meant to be romantic fantasy, and not taken all that seriously. That said - I'm not sure mentioning it off-hand and then letting it drop is...useful?
But it is par for the course with Rhimes series, which tend to build up to it. We'll most likely get an impassioned monologue from someone regarding it in either S2 or S3, if not later.
Other's that are more interesting - are the Feathertons, who I felt sorry for and found more intriguing that the overly perfect and pretty Bridgertons. They are supposed to be the villains of the piece, but if anything they remind me more of the silly villains out of an Austen novel, except with far less power. Polly Walker is quite good in her role as Lady Featherton - stuck in a loveless marriage, hunting a way to protect her daughters.
Minerva too - is rather interesting, although we get little exploration. She's a sympathetic but also wiley and strong character. Who attempts to fight for a smidgen of happiness, only to have it ruthlessly yanked from her clutches by those she either underestimated or barely noticed. Her relationship with Lady Featherton perhaps has the best arc.
Daphne, our heroine, is the fantasy, of course, and typical of most romantic heroines of the genre, much as is her Duke. What makes him interesting is the casting. Otherwise he would be your typical brooding romantic hero. Casting him with a POC in the role is a stroke of genius - for it takes his character out of trite cliche. Daphne, alas, doesn't have that luck. She's likable, I care about her, and enjoy her - but, she's not quite as interesting as other family members. The actress does a good job of making her appealing and vulnerable. The naivete played up a bit, as are her desires.
As stated above, I rather enjoyed the series. It's perfect for these dark dismal times. Bright and cheerful - like eating a puff pastry or sitting in the sunshine in a country garden. Harmless fun.
Plus, for once, when a man attempts to sexually assault a woman, she knocks him out. Can't disagree with that.
Overall rating? B+
no subject
Date: 2021-01-04 04:18 pm (UTC)Yeah, the misunderstanding is basically at the heart of the "relationship" drama or comedy. It doesn't bother me that much. I actually find it amusing at times - because people suck at communicating. They don't know how to listen.
What bugged me here - though - was, okay, he won't have kids in order to obtain vengeance against his father. His father is dead. He's punishing himself. Plus he already got that vengeance by yelling it in his father's ear on his death bed. Kind of overkill and stupid. (Which is what everyone who figures it out tells him).
I found that to be somewhat clumsy writing. It's as if the writer had to come up with something.
Anyway, I suspected Penelope and then was sure of it when the news of Marina Thompson's "condition" came out. Then I got confused by the modiste for a while. ;) So I get half a point maybe? Good job on the misdirecting, I think.
I wasn't all that focused on it. (Too busy worrying over the frigging necklace. LOL! Also I kept waiting for Penelope to tell Eloise or to find a way to tell Lady Whistledown. But when she doesn't appear to do either, or go to either with what she found - I thought maybe? But then, no, I don't see how...and decided maybe she sent the information to Whistledown off-screen. That was a little clumsy too, since you'd think her mother would have caught her at some point - she didn't appear to have that much freedom of movement. Although Eloise is admittedly able to get around easily. The Modiste made the most sense - also I was convinced it was someone we didn't know that well, on the outskirts, and didn't matter. But thinking back Penelope works best - because - the information revealed is specific to things Penelope would know, while other items which she can't know remain hidden. (She didn't know about Anthony and Benedict's trysts for example.)
But like I said, I wasn't thinking that much about it - much more interested in other things. Like the Duke's paternity (which was never brought up again) and the stupid necklace. LOL!