Since its debut Bridgertontv series of which today we present the review of her second season, has been able to attract and capture the attention of the general public on himself. The fact that it was a product that arose from the combination of ShondaLand And Netflix it has certainly tickled the antennae of those spectators who know well the products of the former, and the economic potential of the latter. Thus the foundations were laid for a narrative that finds its origins in the romance novels of Julia Quinn, opening the way to all the possibilities of the case and to the approvals that only the figurative dimension of the small screen can hope for. Moreover, it was the curiosity style at the base of the TV series itself, with a series of references to both modern products and stories belonging to a literature that seems light years away from the present, even if curiously adaptable to the events that still belong to us. So here we are in this second season, announced quite recently, and ready to expand further some of the vicissitudes we have witnessed in the past, however focusing his gaze a little further on. Even if everything is renewed, obviously it is good to keep in mind all the previous developments in a narrative that leaves nothing to chance, very attentive to its characters and the way in which the general public could perceive them.
Back to high society
As many others noted in the past we are talking about a product for the small screen that draws fully and without hesitation to many other products belonging both to the same expressive sphere and to others. In this second season of Bridgertonas we were able to assist during the review of also The Witcherfor example, nothing has changed. The expressive hybridization in the basic inspiration it remains unharmed and fully functional as a whole. If on the one hand, aesthetics and cultural characterization immediately refer to writers from the great English tradition (how Jane Austen or Forster for example), from the point of view of the plot it is impossible not to think of TV series as Gossip Girl. To translate the whole action towards particular narrative shores there is also the historical period in which everything takes hold, this is the “Recency era” English (historical period from 1811 to 1820), with all the frivolities and inconsistencies of the case. At the center of everything we find again theLondon high society and the families to be part of it, all observed and analyzed by the watchful gaze of Lady Whistledown and his own “Text columns” not to spare anyone. The latter’s identity remained a secret for the entire first season, only to come out at the end. This pivotal revelation will impact the story of not just the girl herself, but a handful of other characters as well. Unlike other similar shows, this new season will tend to a more in-depth analysis behind Lady Whistledown’s underlying motivations, laying the foundations for an interesting reflection on the long term. There is no talk of a simple one “Narrative tool”but also a true insight into a wide-ranging introspective.
Coming out of the darkness of this character, we return to the love and cultural events of the period, always drawn by an aesthetic attitude that distances any intent of historical veracity. Bridgerton’s second season therefore offers two fundamental elements, a particular focus on development of its characters, and as we also saw in the review of its first season one suffered love story. Love therefore remains the main fuel of this work, even if under different narrative guises compared to the past. Without making spoilers it is important to underline the centrality of two characters here: that of Anthony Bridgerton (Jonathan Bailey) and that of Kate Sharma (Simone Ashley). Their journey, hand in hand with the background events, is certainly the most incisive, touching some chords familiar to fans of the series.
This new season, however, yes distinguishes a minimum from his past, trying to further expand the background reflections through the stories of even the most secondary characters. Not just dancing, high society, sex and wealth, but also feminism and search for oneself in a suffocating context of hypocrisy. Reflection onimage it therefore remains unharmed and total, accompanied by some conceptual ideas that would deserve further study. In the background you can also perceive a detail “Maturation” in the writing of the characters, especially in those we already knew by now projected along their own e personal I walk. It is precisely the attention to each of them that supports this narration that hybridizes many different sensitivities within it, managing to find its summa from episode to episode.
Extethisms
From the point of view aesthetic the imprint we found in the first season also returns unharmed. Colorful and precious costumes, breathtaking scenery, aesthetic opulence and pictorial balances in photography. The construction of the various shots remains one of the greatest reasons for the pride of Bridgerton, as well as one of its considerable merits together with the general writing, obviously without ever forgetting the context in which all this is inserted. If initially the various ethnic hazards aroused curiosity in the general public who approached them for the first time, now the situation certainly has a less weight, given the amount of information each episode leaves behind. The length of these also remained similar to that of the past, with an approach to the viewer generally verbose and at times storytelling, but in any case always consistent with himself.
