"I am charting a more venturesome course outside this society and in doing so I am being true to myself! snorts Benedict Bridgerton (Luke Thompson), flaring his philandering nostrils as Lady Violet (Ruth Gemmell) looks on aghast. But you still have two sisters who must marry and their fate depends on the family reputation, she snaps, bustle crackling with maternal indignation. This requires you to be a gentleman and not a rake!"
"There are costumes. There is a house. There are scones (pronounced scones, of course, not heaven forfend scones) and scrunch-faced toffs clearing their throats at news from the shires. There are scullery maids a-titterin' an' a-gossipin' and footmen with calves like bowling balls plotting to relieve dignitaries of their britches. There is a string-heavy score that becomes aroused at times of narrative tension and actively tumescent at the sight of a poorly secured cravat."
Bridgerton amplifies Regency-era conventions into a flamboyant, self-contained world with lavish costumes, grand houses, and heightened social rituals. The series blends melodrama and comedy through exaggerated dialogue, theatrical staging, and a rousing string-heavy score. Servant-class subplots, marriage-market stakes, and concerns about family reputation coexist with surreal, pastiche moments that deliberately skew toward the absurd. The show invites comparisons with other period dramas while maintaining a distinct, exuberant tone. Later episodes increase the extravagance and intentional silliness, confirming the series as a playful, often bananas take on historical romance and social theatre.
Read at www.theguardian.com
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