THE MORNING LIST
Despite Brexit, London remains an enviable destination, at least on streaming platforms. Of the four series of the week, three offer visits to the surroundings of Buckingham Palace, the districts south of the Thames or the Tower of London. For those who are on the verge of indigestion from Anglophilia, there are still the Catalan vineyards to explore in the company of Eva Longoria and Carmen Maura.
“The Bridgerton Chronicles”: diabetic coma threatens
Head of the gondola of inclusive fictions that revisit history, The Bridgerton Chronicles unveiled, on June 14, on Netflix, the last four episodes of its third season, essentially centered on the romance between Penelope, the shy young girl who is also the author of the society column keeping the local aristocracy in suspense, and the dashing Colin Bridgerton. If we put aside a very “hot” masturbatory interlude in a carriage, this second part does not reserve any other twist than the resolution of a few misunderstandings and lays the groundwork for the future, since a fourth season is already planned.
Read also | “The Bridgerton Chronicles”: no more corsets on the sets of the Netflix series
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However, the Colin-Penelope couple may stand out for their freshness (the charisma of Nicola Coughlan has a lot to do with it), this dramaturgical poverty has, over the seasons, terribly weakened the political ambitions of the series. Lacking antagonists, adventures, dangers and vile feelings, Bridgerton remains more than ever frozen in a great medley of romantic plots, balls where the destiny of the characters is at stake and confidences at tea time. In this pampered and over-made-up world, where we argue over a plate of macaroons, the only goal of life is to find a husband, and the only villain in the story ultimately remains the patriarchy. To favor representation over narrative, Bridgerton ends up producing the unthinkable: boredom. At. F.
Series created by Shonda Rhimes and Chris Van Dusen (season 3, second part). With Nicola Coughlan, Luke Newton, Claudia Jessie, Ruth Gemmell (USA, 2024, 8 x 60 min). On demand on Netflix.
“My Lady Jane”: comic and sensual rereading of a tragic royal destiny
The category in which flourishes Bridgerton welcomes a rival of choice this week. My Lady Jane proceeds from the same feminist revisionism, since it involves rewriting the destiny of Jane Grey, an English aristocrat who became queen in 1553, at the age of 16, but beheaded only nine days later on the orders of the new sovereign Mary You sleep. From the first minutes of the series, a narrator with an acid tongue sets the tone: “fuck that!” » Little is known about Jane Grey, except that she was renowned, despite her young age, for her excellent education and erudition. The series starts, among other things, from this little-known detail to rehabilitate the short existence of the young queen, better known today for her tragic death, of which the French painter Paul Delaroche made a famous painting, The Execution of Lady Jane Gray.
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