'Bridgerton' brings steamy romance to Netflix but plays a weak hand

Dopo aver posseduto giovedì sera su ABC, “Grey's Anatomy” producer Shonda Rhimesfirst series under her Netflix deal should feel like an occasion. Come vanno le offerte di apertura, tuttavia, “Bridgerton” gioca una mano debole, turning Julia Quinn’s novels about a 19th-century London family into a handsome but tedious snooze — pensare “Masterpiece Theater,” only with more sex and nudity.

The eight-episode season follows the extended travails of the titular Bridgerton family, primarily through eldest daughter Daphne (Phoebe Dynevor), who has reached the age where marriage and finding a worthy suitor are of paramount concern.
With her prospects threatened by scandal, she enters into a bargain with the highly eligible and outwardly dashing Duke of Hastings (Regé-Jean Page), a friend of Daphne’s brother, who is determined to remain a bachelor but willing to participate in a charade in order to make her more desirable.
Naturalmente, the two are in fact drawn to each other, a situation they prove reluctant to admit. Yet their ties represent only one of the soapy elements that surround the Bridgerton family and their extended circle, developments chronicled by the mysterious gossip columnist Lady Whistledown, who narrates the proceedings via the still highly-recognizable voice of Julie Andrews.
    Series creator Chris Van Dusen (a veteran of Rhimes’ “Scandal” e “Grey’s”) does a credible job juggling all the assorted plot threads, erecting one new hazard to throw into the path of Daphne and the Duke after another.
    Shonda Rhimes is a Hollywood powerhouse


      Shonda Rhimes is a Hollywood powerhouse


    Shonda Rhimes is a Hollywood powerhouse 01:42

    There’s a sluggishness to the pacing, tuttavia, as the will-they-or-won’t-they contortions pile up on various fronts. For anybody who has read or watched many Jane Austen adaptations, it’s hard to escape the familiarity of that scenario, even with the more modern spin.
    Ovviamente, there is an audience for British period fare that was once confined to public television (streaming services have exhibited a healthy appetite for such content), though with the exception of something likeDownton Abbey,” that constituency is usually small numbers-wise. Rhimes discovered as much in 2017 con Still Star-Crossed,” an attempt to build a series around the story of Romeo and Juliet that quickly departed on ABC.
    After a run of hits in broadcast television, Rhimes joined Netflix amid a wave of rich contracts with creative talent like her, Ryan Murphy and Kenya Barris, empowering them as the streaming service seeks to secure its next generation of content. By Netflix’s standards, ratings aren’t an issue if such shows can inspire the kind of loyalty that wins and keeps subscribers.
      Betting on pedigreed producers might be a wise investment in the long run, e “Bridgerton’slustier take on early-19th-century romance serves as a modest point of distinction. Whatever the century, anche se, for a show that’s all about looking for love, the series doesn’t do nearly enough to earn it.
      “Bridgerton” anteprime dic. 25 su Netflix.

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