Came for the third season Bridgerton – although, okay, technically Queen Charlotte it’s a prequel We thought we had already seen everything. Except what he could come up with Shonda Rhimesafter Duke Hastings’ sexy teaspoons or Lord Anthony’s wet shirts? Most of us then pressed the play button on the remote with the belief that Queen Charlotte we would have witnessed the end of the famous Regency saga. Instead, never underestimate Shonda Rhimes.
In fact ours had time to bowl exciting series (if not the most beautiful, then certainly the deepest of the entire franchise) Bridgerton), and he did it, among other things, using one of the most unintriguing characters: the Queen. While she was doing it, Shonda even distanced herself from the soap model she revealed, which can be summed up with “I hate you / let’s dance together / now I love you.” In short, genius.
Queen Carlotta because it’s not a frivolous series
But let’s go in order. On paper lQueen Charlotte Seemingly a classic frivolous love story. It opens with predetermined wedding, with the main character Carlotta the evil Black (she doesn’t want to know about joining a stranger, even if it’s His Majesty), then she meets him, there’s love at first sight and a wedding. But no, we didn’t just ruin all six episodes for you: this one you’ve read is only the first half hour. Because the love story is a bit soapy, featuring Charlotte and King George, yes, this is also convincing, but on closer examination it turns out to be marginal. The real theme, like the real heroes, is different.
The further we bet, the clearer it becomes that the queen is Prima inter pares. In the sense that this is not the absolute main character. There are at least three heroines here: the Queen, Lady Violet (Daphne, Anthony and Co.’s mother), and Lady Danbury. The trio, which is narrated in two time planes (present and past), unites an element that Shonda is gradually dissecting more and more: widowhood. (From now on, watch out for spoilers: don’t continue if you haven’t seen the series).
Lady Violet all her life alone took care of her children, gave them in marriage, made them happy. And now that they have “flyed out of the nest,” she feels lost. One. Also, for the first time since her husband’s death, she begins to think about moving on and falling in love again. Instead, Lady Danbury is stuck in a loveless marriage (and a lot of terrible sex). When she becomes a widow, she will experience it as a liberation, so much so that the character takes on a Jane Austen-like shape: she will even turn down a new suitor in the name of her independence. And then, of course, she: the Queen. Technically, she is married and her husband is alive, but due to the king’s illness, she is like a widow. “He is the loneliest person I know,” various characters repeat in turn, in Queen Charlotte.
Shonda then tells us a hitherto unknown universe: widows, who are the last “Untold Stories (Untold Stories)” as they are defined at a certain point in the course of the series. And this. We often talk about love in crisis, rejected, rejected, betrayed, but never, or at least very little, death – biological, but not sentimental – of a relationship. However, in one fell swoop, Shonda approaches the issue from three very different, but credible and compelling points of view.
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Therefore, it is not a youthful idyll that enters the stage. Not to mention sexual passion (although there is already enough of it in the palace …). The show’s real thematic foothold is widowhood, used as a very powerful metaphor for loneliness and a deep desire for a love that will last forever. It is as if Shonda takes us by the hand and accompanies us on a long journey into the human heart: a heart burning with love, longing for it, but even having found it, cannot fully enjoy it. As if in each of us there was the last dizziness from loneliness.
In this sense, the figures of Brimsley (Sam Clemmet) and Reynolds (Freddie Dennis) are especially beautiful and successful: two page boys following them, “always staying five steps behind”, the king and queen. They are sort of their guardian angels, and in the name of the Crown, they have given up everything. First of all, love. They are lonely, just as if not more so than the members of the royal family themselves.
And yet this desert does not seem to stifle love: it is a habitat where passion takes shape, moves, maybe even screams. But it never dies. The proof is that “love me between heaven and earth” uttered by the Queen who defies her lover’s illness. Not to mention the beautiful ending (those who say they weren’t touched are lying).
The result is a very strong romantic union in which melancholy and passion merge in unison. The choice of actors is also noteworthy: the juvenile alter egos of the main characters of Bridgerton are so physically plausible that you might think that some of them are illegitimate children. Young Queen Charlotte performed India Amarteifiomanages to be arrogant, but not assertive, as Golda Rochevel. Moreover, King George has his own explanation: Corey Milkchrist she has the same smile and fragile beauty as Hugh Grant, with the only difference being that she turns to Tom Cruise’s hairdresser for her hair.
Then, of course, some things definitely don’t add up. For example, it is never fully explained why, of all people, the king’s mother chose Carlotta. They talk about an agreement between countries, but it’s all very vague. In addition, it is possible that Carlotta, at least from hearsay, had no idea what the king was like: at that time there were no photographs and mobile phones, but rumors, especially gossip, still circulated. He must have known that ours was neither old nor even a cannibal. Last but not least, we must come to terms with the giant historical force created by Shonda Rhimes that is rewriting the past. In his world, slavery has not yet arrived, and blacks can be noble. Thus, on the queen, he builds a whole social meatloaf in the name of inclusion, which, however, is unconvincing precisely because of its historical unreliability.
In any case, the operation he performs on a very delicate subject of mental discomfort is much more subtle. The series begins with a historical fact, that is, with the madness that befell King George, and a beautiful story of welcoming fragility is built on this. “I would prefer a mad king to an unfortunate one!” – at some point, Carlotta thunders against the obsessed court doctor. Everything is already in this offer.
So yes: Queen Charlotte this is no ordinary frivolous fairy tale Bridgerton.
Source: Elle