Bridgerton

It’s an unqualified triumph. ... “Bridgerton” is Jane Austen meets “Scandal” meets “Gossip Girl” meets “The Favourite,” resulting in a wonderfully anachronistic mashup with gorgeous visuals, high-end production values and suitably larger-than-life performances by the talented cast.

Bridgerton is daft and OTT, but it’s a splash of colour and a rollicking good romantic lifter for miserable January and February.

It’s a juicy show that will get you hard and make you cry—a real capturing of life under lockdown—while serving up a cast so stacked with attractive actors that by the time storied British hottie Freddie Stroma shows up, he starts to look almost plain. Let’s all just be grateful.

The end result is something that is, on all accounts, honestly mostly fine, but that is ultimately tarnished by the memory of how good what came before it was.

Show every sign of having watched one too many episodes of Downton Abbey. ... I felt by the end of the first episode it had delighted me with its presence long enough, and yet … and yet … Was there not, after all, room for just one more? And, perhaps, another after that?

Van Dusen and his team seem to bite off more than they can chew by giving each of their characters, brought to life by a charming cast, a hefty storyline that in some cases is flayed by the end of the season. That's compounded by its melodrama, which may attract those with a specific palate for this kind of fare, like Downton Abbey and The Crown, even with its flaws, but others may not be able to get past its foibles to enjoy the operatic escapades. Bridgerton is ultimately extravagantly decent.

Instead of filling that opulent, 19th-century setting with true passion and heart, the show comes off like many of the aristocrats it’s skewering: soulless and vapid.

A wonderful show that gives life to the Regency era with compelling characters and the central family that the story revolves around is absolutely perfection. I love seeing beautiful depictions of love and romance, and the diversity that the show embraces is refreshing.

Empecé a ver esta serie por la recomendación de una amiga, pero además, por la banda sonora que salía en los trailers, que, supongo que todos y todas os habréis dado cuenta, pero son canciones del pop actual transformadas a la música clásica. Me flipaba ese rollo de la banda sonora, estaba muy chulo, en los primeros episodios incluso saltaba de la emoción al reconocer algunos de los temas, pero, era lo único que me llamaba de la serie y, una vez que te acostumbras, no hay mucho que añadir, quizás la crítica social que hace entorno a la inclusión y al feminismo, muy interesante, pero poco más a parte. Sobre el argumento, lo sabes en la primera hora de visionado, esperaba que me sorprendiese, y claro, algún plot twist hay que incluir, si no, no da ni para ocho episodios, pero luego, lo único que me mantenía pegado al sofá era descubrir quién era Lady Whistledown, y, a decir verdad, me esperaba más, sobre todo del final, muy apurado, poco conclusivo, meh. Lo bueno que tiene, pues básicamente, que es arriesgada la serie, pese a ser una estructura básica de romance, todo el tema de fotografía, colores, vestuario, la estética en general, muy arriesgada y muy bien llevada, y, si te gusta el morbo, o picas el anzuelo, se hace muy entretenida por los cotilleos. Lo malo, pues prácticamente todo lo demás, falta bastante verosimilitud, pero eso, a decir verdad, me da igual, es intencionado, las interpretaciones no es que sean de lo mejor que he visto, honestamente, y eso, que si no te interesan estos temas, abundan la banalidad, el morbo y los cotilleos.

Pretty cool! I love the royal aesthetic, always strikes my ****. I found episodes 1-4 a bit draggy, even though the marriage drama and Daphne's and Simon's relationship were pretty interesting. It's a show all about finding a miracle; true love, in the middle of these stupidass people with forced traditions and lies! The production was fantastic. Great camera handling, amazing romantic dance sequences that get very intimate and close until the characters look like they're getting constipation and have to run, fantastic looking sets and costumes, everyone ****ing killed it in that department. I enjoyed the breasts. The acting was really good too. There wasn't really a single bad performance to note. And the best acting, which came from the fantastic leads, was phenomenal and clearly passionate. A lot of the actors really had moments to shine and they definitely did their thing. Episode 5 was when things got much more interesting in the story department, when Daphne and Simon started ****ing a lot. The love scene in episode 5 was probably the most tasteful and romantic sex scene I've seen, it was pretty damn good and that is coming from a pervert. The marriage stuff between them overall was definitely the most interesting arc. Episode 6 was even better. You might as well just watch p0rn :D Episodes 7 and 8 were also great, with the rain scene in episode 8 being a standout, even though it's a bit weird that rain makes the characters suddenly all open and **** Great, emotional stuff regardless.. Although I do think all the side character stuff ranged from decent to just boringass **** I can't remember anyone else's name except the leads. The show overall is a great drama, but it does have some weirdass stuff. The twist at the end of episode 8 with Penelope leaving and the narration was just ****. In episode 1 it was also weird that Daphne is half-running to escape this ****ing nonce but no-one notices. Literally no-one cares. Like dude put your leg forward or something so the pedo trips lmao, just do it. Also the morals about marriage and Daphne lowkey manipulating Simon to cum inside her were pretty ****ing terrible. Like those were just bad ideas. Is the show trying to spread these morals or something??? Lol??? :D And last and least, there is so much passive-aggressive feminism dialogue once again, since these people can't fuuuucking help themselves, that they're basically just asking every man to HRT themselves into a woman. Eat my a$$ :DD

It’s gossip-girl in the olden-days! That’s not a compliment, don’t watch this show.

"I must confess, my dear, that the merest mention of that man's name is in fact enough to season my tapioca pudding with the sour-scented salt of your candle's darkest light." As my title suggests, Bridgerton's dialogue sounds like an over-the-top parody written by a trio of drunken lit students for a laugh. It constantly feels like the writers are taking the piss, safe in the knowledge that their target audience thinks Austen was a cryogenically-frozen secret agent from the 1960s. When it tries to sound poetic, it too often sounds mawkish ("If you desire the sun and the moon all you have to do is go out and shoot at the sky") or just plain nonsensical ("Darkness is our candle now"). George Orwell termed the latter 'writing without thinking'. When it strains to mimic Austen's mannerly dialogue, it frequently trips into tautology ("She is my *personal* special guest") or cliche ("There is nothing quite like the sweet-scented smell of success"; "You are the bane of my existence and the object of all my desires"). Emulating Austen's graceful cadence and euphonious scansion is hard, and too often the writers throw in 'filler' words, rather than anything nuanced or meaningful, to accentuate it ("Most marriages of the ton are, in fact, mere matters of business, my dear"