From the first season of The Time.news of Bridgerton — Netflix’s biggest hit last year, amid the pandemic — it’s become clear that series creator Shonda Rhimes [créditée comme productrice sur ce projet] had used his freedom as an artist and had not bothered with historical plausibility.
The soundtrack included acoustic covers of Ariana Grande, the Queen of England was black, and a whole host of anachronisms brightened up this love story so torrid that the American media dissected and analyzed the sex scenes during weeks.
Historically and culturally inaccurate
The second season offers us this time a new family: the Sharmas. And this chaotic and sublime story of an Indian family at the beginning of the 19e century (very inaccurate both historically and culturally) was exactly what I needed to forget the absurd decision of the screenwriters to dismiss the couple formed by Daphne and the Duke played by Régé-Jean Page [les deux personnages qui étaient les héros de la première saison].
The Sharmas – Mary and her daughters, Kate (Simone Ashley) and Edwina (Charithra Chandran) – are downgraded British aristocrats. Mary (of distant Indian heritage) married an Indian office worker far below her status and settled with him in India, far from the reproachful eyes of her parents. Kate is the daughter of a first bed [de l’employé en question]. After the death of the father, the three women return to London and place all their hopes in Edwina, the youngest, promised to a beautiful marriage.
An explosive mix
The rest is reserved for subscribers…
- Access all subscribed content
- Support independent writing
- Receive the Mail Alarm Clock every morning
Discover all our offers
Source of the article
The Guardian (London)Independence and quality characterize this title born in 1821, which counts among its ranks some of the most respected columnists in the country. The Guardian is the reference newspaper for the intelligentsia, teachers and trade unionists. Oriented to the center left, he is very critical of the Conservative government.
Unlike other British reference dailies, the newspaper has chosen a site with free access, which it shares with its Sunday edition, The Observer. The two press titles switched to tabloid format in 2018. This decision was part of a logic of cost reduction, while The Guardian had been losing money continuously for twenty years. A successful strategy: in May 2019, the editorial director, Katharine Viner, announced that the newspaper was profitable, a first since 1998.
Read more
Our services