Lady Whisteldown

You don’t know me, but I do know you✨

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A NEW PROSPECTIVE ON BRIDGERTON✨

Part three:

It’s clear: Bridgerton is not a masterpiece and also the representation she makes of sexuality is, after all, rigid, glossy, plastic, one could even venture graphic in its implicit performance; there is not a shred of truth at any time. This is inevitable - and has always been programmatic in Netflix productions - when you only show what you can bend to the caption, to a socially uplifting message. Human relationships are complex and not at all 'sanitized', but Netflix does not care about that relational complexity and that's okay: this duly stated, by Bridgerton, a mainstream product that, yes, puts too much meat on the fire without ever going deeper, you can certainly another to appreciate the desire to take a step towards the future, in overthrowing those who, even today, remain in our society as a cliché or, worse, taboo. If freeing the female representation from an erotic gaze and applying that same gaze to the masculine is neither a novelty nor a reason for merit, the same cannot be said of the narrative space dedicated, especially in the context of a period drama, to the 'blessing' and to the enhancement of the female determination to understand and experience a little more all the possibilities of access to her own sexuality.

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A NEW PROSPECTIVE ON BRIDGERTON 🌙✨🤍

part two:

The viewer is led to follow the emancipation of Daphne from the nest, she learns to know, episode after episode, the temperament, the firmness, the concrete intelligence, less 'ideological' than that of her younger sister Eloise, trapped, this last, in the family narrative - and, consequently, his own - which wants the 'mind' of the family, all intellectual fervor and zero domestic or even emotional yearning. Bridgerton certainly did not invent anything: Jane Austen's heroines were already like that. Normal girls, indeed “barely passable”, to quote Matthew Macfadyen's Mr. Darcy, who in the end managed to win the most coveted bachelor thanks to their wit or sensitivity, thanks to intellectual or, so to speak, spiritual gifts. Bridgerton's heroines have on their side a pragmatism that the Austenian matrix lacks, a natural inclination to act, to want to escape a position of passivity, even sexual. Emblematic in this sense is Daphne's discovery of sex, kept in the dark by her mother of how the 'things of love' work: first through masturbation and then through direct experience with a partner, she understands up to what sexual pleasure is reachable only as long as one renounces to superimpose on it both the codes learned on a cultural level (the myth of female passivity, for example) and above all the family ghosts and their exploitation to achieve purposes, conscious or unconscious, of power or control not only over the other but also over oneself.“Do you do it because you like it or to please me?”: This is the question that, of all, resonates the most once the vision is complete, it is the one that most remains in the midst of a chatter of often negligible suggestions. Paraphrased: How much of what we do in bed is due and how much is enjoyed? To what extent is what seems instinctive to us, however, vitiated by cultural heritage or family complexes?

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SIMON APPRECIATION POST ❤️

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A boy of good taste

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A NEW PROSPECTIVE ON BRIDGERTON 🤍✨

Part one:

However, the revolution of which the series is the bearer is another and which concerns above all the representation of female sexuality. If Julia Quinn's novel does not skimp on descriptions of passionate embraces, the TV series leads the source towards a greater awareness of the reversal of perspective in the presentation of the dynamics that regulate gender relations. Let's start with a fact: in Bridgerton it is the male characters, not the female ones, who are sexually 'objectified'. All the male protagonists - from Simon, Duke of Hastings, to the Bridgerton brothers of marriageable age - are handsome and perform better. It is true that sex appeal is an indeterminable element on an objectivity level, but it can certainly be observed, without fear of denial, that the sexual appetibility of the male characters of the serie is always and however emphasized. The main female characters, on the other hand, are constructed in such a way that the character and intellectual traits stand out over the aesthetic ones. When the queen sees Daphne for the first time, she calls her flawless. The "diamond of the first water” (as renamed by the poisonous pen of the gossip girl Lady Whistledown) is an ordinary girl, neither ugly nor beautiful. It is not important that she has a peach complexion or doe eyes. And there is never any reference to its actual adherence to an aesthetic canon.

[ladywhisteldown]

I burn for you 🤍

[ladywhisteldown]

🤍

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Daphne & Simon

I can’t wait for the season about Penelope and Colin 🤍

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Finding a a real friend in the most beautiful woman in the world is a fortune that has no comparison.

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Details 🤍

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Two hearts 💞

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Vanity Fair on Bridgerton series 😍

The confirmation from Netflix has not yet arrived but, in the meantime, Charles Van Dusen, the Bridgerton showrunner, moves forward and explains that his intention for the future is to continue the series for another eight seasons, thus remaining faithful to the original setting of the Julia Quinn novels from which Bridgerton is drawn. “As a family of eight children and eight books, I'd like to be able to tell the stories and love affairs of all the Bridgerton brothers. Certainly dedicating each to each character” - Van Dusen, Shonda Rhimes's right hand man, explained to Collider, fueling the hope of fans. If the first season, the fifth most watched in Netflix history, focused above all on Daphne and her love story with the Duke of Hastings, now launched full sail towards the cinema, starting with the possible assignment of James again Bond from the 007 saga, Bridgerton's second season could focus on Anthony, Daphne's older brother looking for a wife. Of course, the storyline of Daphne and Simon would continue to be told as well as all the other subplots of the series, from the life of Lady Portia Featherington after the death of her husband to the new adventures of the mysterious Lady Whistledown, whose identity was revealed during the last episode of the first season.

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JEWELS IN BRIDGERTON✨ (part three)

Lady Danbury wears amethysts, aquamarines and emeralds: the former has the ability to ward off nightmares, the latter are important for communication and fidelity. She is a determined, reassuring but also charismatic figure: a wise woman who knows how to juggle gossip and difficult situations. Even the Duke of Hastings does not remain unaffected by the charm of jewels: throughout the season he wears an emerald brooch pinned to the brocade vest. A gem that in addition to expressing fidelity is a symbol of truth and chastity, as well as a stone that defeats evil. A lucky charm that will help him to face the fears of marriage, with love and passion, overcoming the shadows of the past.

[ladywhisteldown]

JEWELS IN BRIDGERTON✨ (part two)

In Bridgerton jewels speak, they have their own voice, they tell us intentions and meanings: for this reason they are exaggerated, ostentatious or more discreet. Daphne for her debut in society shows off small points of light that are barely noticeable, because all her attention is directed to her natural beauty. As her awareness and determination of her grows, as she becomes a woman, the jewels become bigger and more important, remaining faithful to the ice-colored shades. She herself will be defined by Lady Whistledown as a "diamond first water". We must also underline the particular choice of rubies: she herself says she wants to wear this gem, before concluding the deal with the Duke. Here we find a double meaning: this hard stone is a symbol of love and ardor, while the biblical reference tells us that it corresponds to the value of a woman. When Marina arrives at the Featherington house, she mostly wears pearls: a single thread for a young age and a coded message for the viewer “hope for something bigger”. A higher place in society but also a different perspective with respect to the fate that awaits her, because she is pregnant and not yet married. Both young women, Daphne and Marina, show off more measured jewelry, unlike the Featherington sisters who aim to show off by any means, therefore with colorful and showy jewels that recall American bijoux, in order to capture the attention of a young scion . The only one not interested is Penelope who tends to adorn herself with very delicate flowers.

[ladywhisteldown]

JEWELS ON BRIDGERTON ✨ (part one)

Any wardrobe choice is not casual: the smallest trinket is significant, an element that emphasizes or tells the drama or emotion that is about to be experienced on the screen. At a glance you can see the language of colors: the Bridgerton house can be recognized by a color palette ranging from blue to wisteria, all fresh, calm but at the same time reassuring shades. Featheringtons are identified by yellow, orange, green or fuchsia. And it is no coincidence that Penelope identifies with yellow: the yellow dress as well as the yellow jewels, a shade that illuminates the minds and which, as we know (spoiler!) tells the truth and the secrets of the English nobles under the name of Lady Whistledown. Then there are the jewels that tell more succulent details about the characters, such as the liaisons that bind them. It is in fact an exquisite diamond necklace to be given to Daphne, by the Prince, as a sign of esteem and love. In one of the many dances, the protagonist of the first TV series will wear it to make the Duke of Hastings jealous (the code message is "I made a decision"), and then tear it from her neck, in front of the labyrinth garden (clear representation of mental confusion of the protagonists who cross it), suffocated by external pressures on who to marry.

[ladywhisteldown]

To observe, judge and above all stigmatize is the powerful and very mysterious Lady Whistledown who shocks society with her scandalous pamphlet. Gossip and fake news, but above all a profoundly male-dominated vision of society where if the pressures are strong on everyone, in particular they weigh on young women whose only purpose seems to be to make a good marriage. Something that Eloise, Daphne's younger sister has absolutely no intention of doing: It is very important to have someone to share things with: Eloise and Penelope are able to discuss the complexity of their desires and dreams, even coming to accept the idea that that world is not for them. And then they both show that there are different ways to be encouraged... they are able to push their boundaries further... we should all be able to experience this freedom and share it with someone we love and who claims.

[ladywhisteldown]

The Duke of Hastings is the tormented and fascinating man that Daphne meets on her way, he is not the man who seems to bring her happiness despite being the most coveted bachelor and yet their paths, or rather their dances, will eventually meet. What interested me most in exploring Simon's character was the question of what we find fascinating about these dark, tormented, romantic archetypal male characters on what strength means in a man: let's talk about control or assault ... The series instead shows his vulnerability as his strength, his will to love and be loved. The journey that Simon makes is the heart of the character. On the other hand, for Daphne, the series is a Bildungsroman, it's strange because on television the changes happen from one episode to another but in reality it is a profound transformation. I believe that especially for women this type the journey from adolescence to maturity is long and can truly give a sense of one's identity. I think even today's teenagers can recognize themselves because women still struggle with the pressure of trying to become someone, whether it's on Instagram or in real life. The idea that what really matters is only what makes you happy and that you have to fight to be who you are is something that was worth then as now. Daphne in meeting Simon finds herself at the time we couldn't allow ourselves the luxury of finding him on his own as happens now but in finding love he ends up understanding who he really is and his happiness.