affiliated with Bridgertons

In this new series of episodes, the stars are no longer the snowy Daphne (Phoebe Dynevor) and the happily married Duke after heated encounters and disagreements, as you may well know, unless they’ve spent the last few weeks in a parallel universe. This first appeared throughout the season. Copying the original structure, the protagonist is now caught in an uneasy love triangle with Daphne’s older brother Anthony (Jonathan Bailey), Anglo-Indian half-sisters Kate Sharma (Simone Ashley) and Edwina (Charithra Chandran). The series concludes as a pure ambrosia of seduction, armed with a suffocating sexual tension in complex resolution.

The Bridgertons trap the viewer in a silky spider web from which it is impossible to escape. In one or two-day marathons where time melts like sand, it’s common to devour the series. Even though you know that gluttony and lust are deadly sins, what is the secret of the capacity for addiction that keeps you from seeking? Here we try to unravel the keys to an unusual addiction in the panorama of audiovisual fiction. Why can’t we forget the Bridgertons?

Shondaland is not only the producer of Shonda Rhimes (Grey’s Anatomy, Scandal), but is already a style sign. He started his collaboration with Los Bridgertons with Netflix, but it was making his mark on previous work. Its content is clear: the plots oscillate between the ludicrous and the sublime, the vulgar and the sophisticated, always through stories suggesting dramas that connect perfectly with the audience, perhaps because they are as simple as they are effective. From there there is the joy of the game, the twists in the narrative, the guilty desire for pleasure.

In the case of Los Bridgertons, all these features are imbued with the richness of the environment, the brilliance of the venues, an excellent artistic production, an overwhelming and gripping production, compelling characters that evade clichés, and a soundtrack filled with pop songs. arranged as chamber music. Its protagonists are strong and determined, able to confront the stereotypes of the castrating society in which they live. In addition, it revolves around desire, unfulfilled desire, frustrated illusions, joyous sexuality and, why not, romantic love as a form of salvation, at a time when we succumb to cynicism. In short, it’s a hypervitamin cocktail full of irresistible stimuli.

Each episode is a bacchanal for the senses, an opulent English afternoon tea party filled with the most exquisite English pastries: savory scones, Queen Victoria muffins, muffins, Battenberg biscuits, screen-filling custards and crumbs, yes and plain swallowed. characters with the spontaneity of the omnipotent. Beyond the fact that the show is a fantasy about Regency London and a court that never existed, it is likely that what attracts us is the royal charm, the history of the British royal family and its irresistible charm: that elegant diction, that graceful manner, that grace of cut, of dress… those pompous palaces, those gardens of Eden, those private clubs that smell of leather. Beautiful people on horseback, hunting, playing pall mall. It’s impossible to stop looking: an aesthetic magnet, pure sensory black hole in the form of an explosion of vibrant colors in 4K.

The voiceover of Lady Whistledown (Julie Andrews in the original version) has been the backbone of the series’ first season from the first episode. A way to discover the secrets of a society that looks through the gallery and tries to hide its misery at all costs. But what if they are exposed? What if he dares to challenge the monarchical powers? Lady Whistledown is, in a way, a disruptive element in this field of intrigue and gossip, a kind of precursor to the no-headed puppet Hedda Hopper and the gossip magazines, the daily Save Me, and indeed, in this case, an early 18th-century British columnist. This is the real image under which Miss Crackenthorpe, who is He knows what the public needs, some fun to escape our miserable existences through the popular characters of high society where we can get closer to the lower passions. A classic of our time, revealed here with a sharp and illuminating pencil as we trace the fate of the characters.

If in the first season the spontaneity of racial diversity was hit, including a black queen from England, this new season also adds a timely value: female empowerment. Daphne Bridgerton was already a heroine who avoided the patriarchal gaze of her surroundings and questioned what was expected of her. But now, she’s taking it one step further with Kate Sharma. It shows that from her first appearance on horseback in untimely hours, it is something to underline that she was above social impositions and that she was the only woman around in the traditional heteropatriarchal order who knew how to hunt and was in absolute equality. skills. with their male colleagues. Additionally, we will witness the not exactly sexual but intellectual awakening of Eloise Bridgerton (Claudia Jessie), who will begin to explore feminist theories and embark on a path leading up to the dawn around the defense of women’s rights. first wave of the movement. Eloise will begin to question a system that condemns her to marriage and invisibility, and she tries to break free from the shackles of her own status by befriending Theo (Callam Lynch), a young man who works at a printing company.

Unresolved sexual tension (to the very end) becomes one of the founding foundations of these new episodes of The Bridgertons. In the first season of the series, if the bet was on boundless eroticism and joyful lust, then it was preferable to boil the tension caused by desire until it became unsustainable. From their first meeting, Anthony Bridgerton and Kate Sharman play a game of cat-and-mouse glances, ranging from brushes to sighs to bursting lips to sleepless nights. Infinite encounters support a relationship where the good is definitely on hold, if by that we mean that endless flirty crowning kiss (and sex, of course) that leaves you exhausted, but that becomes one of the elements. maximum anticipation over eight episodes. The Bridgertons seem to argue that the art of waiting in the face of the urgency of new technologies also has sexual appeal.