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BRIDGERTON – Netflix/Shonda Rhimes

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    Keth
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    Dec 2nd, 2011
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    #1203953968

    My friend and I were drinking a bottle of red, wishing 2020 to begone a day early because damn this year sucked – with the exception of Trump losing. But, this thread is about Bridgerton, so let me sprinkle my thoughts on this series that I watched twice in the last three days.

    Quick detour but it blends. We also talked about the music we loved this year. For me it was Bruce and Taylor and Harry and Stevie’s Show Them the Way and Bob D’s Murder Most Foul – my best song of the year because the dude gets it. Another glass of red, please. Back on topic – Bridgerton.

    I loved Bridgerton. But not so much for the main characters. Daphne and Simon almost bored me – emphasis on almost because I was more interested in the other characters. Daphne and Simon did provide the visuals and fantasies for the Netflix audience. She is beautiful – he is handsome. Their love story was decent. But my mind wandered with it at times – it was the other players who played me. I wanted to hang out with them. I wanted to add them to my contacts. I wanted to host a New Year’s Eve party and have them be my only guests. I wanted to drink champagne at midnight (possible spoiler information to follow):

    Play me Eloise – Society put her in a small box. She was bigger. She’s not your bitch – don’t hang your shit on her. Let her go to the university. Let her out.

    Play me Benedict – the tortured artist and the only man I wanted to sleep with in 1813. Can we get some shirtless shots in season two? Me and Ben’s song could be Bakar’s Hell N Back. Woof.

    Play me Penelope – oh, you deceptive, but playful cutie. I loved every moment when you showed up in my life. I would save a dance on my card for you. Don’t give up on Colin. And you look good in yellow.

    Play me Marina – I struggled with you, my beauty, and Colin and your deception. I get it, so I won’t hold it against you. I want to know you more. A dance at midnight, unless Benedict is available.

    Play me Colin – what a charmer. Can I travel with you? But don’t go too far. What you may be looking for is right next door. You call her Pen.

    Play me Queen Charlotte – I bow down. Fantastic.

    What can I say. I loved this one. Keep the seasons coming, Netf.

    And Happy New Year, my Gold Derby friends. As John Lennon once sang – let’s hope it’s a good one. Without any fear.

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    marty
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    Aug 18th, 2020
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    #1203959425

    I hate-watched the whole thing with my mom (who loves this stuff) on Monday and this was pretty to look at, but that’s about it. The writing and acting was so shallow. Lots of cringe, lots of nonsensical plot points, and LOTS of anachronisms that my regency nerd ass did not appreciate. If you’re arbitrarily going to pick a time period and build your story around the sensibilities of that specific era, and even go so far as to forcefully insert famous historical figures, at least do research outside of the 2005 Pride and Prejudice movie ffs.

    Production value was UP there though. Except for some lame CGI exterior shots, the sets were gorgeous.

    FYC:

    Best Director - Lee Isaac Chung (Minari), Darius Marder (Sound of Metal)

    Lead Actor - Delroy Lindo (Da 5 Bloods), Mads Mikkelsen (Another Round), Riz Ahmed (Sound of Metal)

    Supporting Actor - Paul Raci (Sound of Metal)

    Supporting Actress - Youn Yuh-jung (Minari)

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    Gabarnes43
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    Jan 6th, 2018
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    #1203981052

    Not seen this yet, would Julie Andrews be elegible for Best Narrator or Best Voice Over Performance

    FYC OSCARS

    PROMISING YOUNG WOMAN in all categories (inc. CAREY MULLIGAN & Emerald Fennell in Screenplay)

    THE FATHER in all categories (inc. Best Picture, ANTHONY HOPKINS, Olivia Colman & Adapted Screenplay)

    Lo Si (Diane Warren) for Original Song

    Chloe Zhao for Director

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    Atypical
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    Dec 1st, 2011
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    #1203981598

    Just watched the pilot. “Gowns, beautiful gowns.” Not much there there, but from a visual perspective, the Netflix dollars were clearly spent well and on something significant. This is an interesting first venture for Shonda Rhimes’s mega-producing deal. She tried a period piece on ABC a few years ago that royally flopped called “Still Star Crossed.” Even though the source material here is quite popular and well-received so far, I’m surprised more contemporary subject matter wasn’t chosen instead. I’m guessing she just wanted the new challenge, since otherwise, it’s been there, done that. The anachronistic touches were interesting. Loved the string quartet playing Ariana Grande & Maroon 5. “Lovecraft Country” did similarly using vintage & contemporary soundtracks in 1950s segregated Chicago. I’ve already read in the critics’ reviews how the mixed racial casting is offhandedly addressed later in the season. It raises more questions than it does answers, so as much as I’m all for world-building & creative license on their own terms, at least flesh it out properly. The best part of this was Julie Andrews’s “Gossip Girl” narration. She should easily nab an Emmy nomination for Outstanding Narrator like Anthony Mendez did for “Jane the Virgin.” All I really want to know is who is Lady Whistledown lol. So many characters, and no real standouts from any of the young cast. Yay for Polly Walker & Adjoa Andoh, wow. Who is she? Might watch more episodes, but not right away.

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    Brayden Fitzsimmons
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    May 3rd, 2015
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    #1203994362

    Officially renewed for S2 now.

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