:Bridgerton reviews 2021
Bridgerton, signed by Chris Van Dossen, is fun enough, but it tackles themes of love, marriage, and class differences in an unimaginative way.
This series takes us back to the era of the regency in England in the year 1813, and it is characterized by its ethnic diversity more than historical events allow. Queen Charlotte (Golda Rocheville), whom the king falls in love with is a black woman and paves the way for her to add other races to the story, rather than merely highlighting white people in British society. There are few families with an ethnic background who can compete with the powerful and prestigious Bridgerton family. Daughter of this eldest family, Daphne (Phoebe Denifor), is preparing to participate in social events for the first time. This young woman has perfect characteristics, as she is soft, beautiful, slim, smart in her words, balanced in her behavior, and kind to the staff in the palace and with the general public and other social elites, and she wants to become a good wife and mother. Also, the Bridgertons are hoping that Daphne will do. Well during prom season, dinner parties, tea and other occasions, young men and women get to know each other and the parents discuss the details of their engagement. Queen Daphne describes the “ideal” girl in one of the spectacle, but younger sister Elois (Claudia Jessie) concludes that other young women who participate in social events that year will face a “common enemy,” and she is correct. Will they find men for them if everyone starts flirting with “Daphne”?
Of course, events do not proceed according to the original plan. The first problem concerns the arrival of the beautiful and mysterious Marina Thompson (Robbie Parker), a distant cousin of the Feverington family who is considered “vulgar and noisy”. During the season’s first dance party, Marina charms everyone and Daphne stumbles (literally!). Her collision with the Duke of Hastings and the famous bachelor Simon (Reggae Jean Paige) and their terse conversation is causing a sensation. Other mothers monitor developments all the time, looking for husbands for their daughters, and wait for any slip from Daphne to eliminate the chances of her marriage. When “Daphne” realizes that her older brother “Anthony” (Jonathan Bailey), who recently acquired the title of Viscount after the death of her father, is ready to ban any candidates he does not consider suitable, and discovers that “Simon” is not interested in marriage and wants to get rid of this burden, the two agree on Joint plan. If they pretended Simon and Daphne that they are flirting, the other men will have renewed interest in her and the competition between them will intensify. On the other hand, Simon thought that getting close to Daphne would dissipate the women’s interest in him. They do not stand each other at first, but each of them gets what they want as long as Lady “Weseldown”, who plays the narrator in the series (in the voice of Julie Andrews), does not know about the plot between them and exposes them in her offensive manner.
Anyone who has read Jane Austen novels or seen romantic comedies in the last 30 or so years (ranging from Pretty Woman to Easy A (easy sign)) will have no trouble anticipating the aftermath. But Bridgerton wastes a long time before reaching this stage. Roughly half of the season is devoted to featuring characters dancing alongside each other rather than explicitly declaring each one of them. And when the relationships are finally cleared up, major obstacles appear in the way of the two lovers, but they are dealt with in a hasty way. Because of this uneven rhythm, the first episodes witness major procrastination, and then events accelerate all at once in the subsequent episodes, especially the sub-plot related to discovering the true purpose of marriage: love in itself or having children and preserving the family’s legacy?
Finally, Bridgerton relies on a fun model equation that does not deviate from traditional concepts, most notably the need to find ideal love instead of arranged marriage, feeling comfortable when making sure that the candidate for marriage is an extremely wealthy man, and the importance of living an exceptional and ideal sexual relationship, and the woman assuming the role of a mother who protects her family While maintaining her attractiveness and sexual desire, and succeeding in living a happy life forever. These familiar factors have a fun and attractive side, but they sometimes take a boring turn. “Daphne“, for example, says in one of the scenes while her foot is floundering on the ground: “I will become a princess!” In short, Bridgerton does his best when he focuses on the magical, fairytale atmosphere in this story but remains superficial when he tries to delve into the topics at hand.
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