Tag archieven: In English

Bridgerton/Fourth Comment/The Siena Rosso Affair/Part One

Violet-S3E4

LADY VIOLET BRIDGERTON
Anthony_2x07-4
ANTHONY BRIDGERTON
LADY VIOLET’S SON
Siena_R
SIENA ROSSO
https://www.youtube.com/watch?v=TXI3oo1DSqI
https://www.youtube.com/watch?v=0RU87Q0zo-o
HERE IS A CRUCIAL PART OF THE ASTRID ESSED ANALYSIS ABOUT
THE RELATIONSHIP OF LADY VIOLET AND HER SON ANTHONY
THE SIENA ROSSO AFFAIR
SEE
INTRODUCTION
Bridgerton series is about the Bridgerton aristocratic Family in the Regency Era and
describes the happenings of the eight Bridgerton children and their mother and matriarch Violet Bridgerton
LADY VIOLET AND HER RELATIONSHIP WITH HER SON ANTHONY
Most important:
Lady Violet loves Anthony deeply, but their bond is strained by a number of factors:
By the death of the patriarch and father of Anthony, Edmund, his wife Violet is so
deep in mourning, that Anthony has to take full responsibility for not only the Estate and Household [as the head of the family], but also as the ”caretaker” and surrogate father of his younger brothers and sisters
When Lady Violet resumes her tasks as matriarch again, she is still mourning, often not
realizing that Anthony, eventhough he is the judicial head of the family, needs the
;love of his mother too.
While she is tender towards her 7 children,especially daughter Daphne, she often treats Anthony, unintentionally, with severe harshness, coldness and even cruelty, by consistently
scolding him and pointing mercilessly on his duties [making cruel remarks like ”O my dear son, your father should have been soooo disappointed], without giving him room for
 a break or even mourning his dead father [by saying ”Stop mourning, it’s ten years now, while she herself takes all the time for mourning]
So Anthony thinks mistakingly that his mother on;y uses him in his role as Viscount and loving him less then the other children
REASONS FOR VIOLET’S HARSHNESS, TENDING TO CRUELTY
Firstly
Violet doesnt realize her own harshness and as far as she sees it, she thinks she must harden
Anthony for his role as patriarch of the family in a relentless social Regency Era, where one
misstep could cause social death
And that threat of social death, especially concerning the marriage chances of
her daughters, is the reason for her harshness against Anthony in a time, that missteps
were not forgiven
So, because of that situation, she is extremely strict against him, culminating in cruelty, which hurts him deeply, especially given her tenderness to her other children.
She also fails to see his needs because of her deep mourning.
Then there is the unequal position of men and women.
As head of the Family, Anthony is also the legal head of his mother.
And as a strong willed woman, Violet finds it hard to accept, that her own
child is now her legal ”boss”
Then, as an eldest son, Anthony bears all the responsibility for the family.
How immense the burden is for an 18 year old boy is something that Lady Violet doesn’t realize at all, until much later.
She forces him [as is his task as head of the family] to arrange the marriage and the debut of his sister Daphne and of course he makes some mistakes, but Lady Violet, instead of
understanding that he has to learn from his mistakes ;;pounces on him like a tigress and
 scolding him without mercy.
So the twisted thing was:
They were not only Mother and Son, but also Matriarch [Violet]
and legal head of the Family [son Anthony]
Despite her deep love for Anthony, Violet saw him as the Viscount [who had to arrange the business of the Family], but at the same time she treated him not
so much as her son, but as a child, scolding him severely and mercilessly,
without any compassion and tenderness a child needs.
That hurt Anthony deeply, especially given her tenderness to Daphne.
But it hurt Violet emotionally too, since Anthony remained her child, whom she loved.
He tried to avoid her as much as possible [by staying in his bachelor lodgings
in London] but she jumped on him mercilessly as soon as she got the chance,
consistently pointing out on his duties without giving him a break.
THE OTHER SIDE OF THE COIN
DUEL WITH NIGEL BERBROOKE
ANTHONY’S RECKLESSNESS
At the other hand:
While Violet mercilessly dug her nails in him, it must be said, that Anthony caused his mother
many a frightening moment by wanting to duel [for the honour of
his sister Daphne] with Nigel Berbrooke [in those days a duel was a matter
of life or death], which Violet, of course strictly forbade, severely [this time
she was completely right] scolding Anthony about it.
So Violet solved the controverse on her own ”passive-agressive” female way, preventing bloodshed.
THE SIENA ROSSO AFFAIR
A deep wound for Anthony is also that while Daphne is allowed to marry for love [however that was within their social classes, she married a Duke, Anthony’s closest friend], his mother
coldly commands him to break up his love affair with opera singer Siena Rosso.
[Eventually it’s Siena herself who ends the affair, but triggered by Violet’s and the Ton’s fierce resistance, leaving Anthony heartbroken]
While of course Lady Violet wants him to be happy too, to her defence must be said, that
a marriage between an aristocrat and an operasinger was a no go area in Regency Time, since
opera singers not onl;y were of another social class, but were also considered
as immoral women.
Such a marriage would ruin the marriage chances of his sisters, so Violet had no choice.
But in the light of her severe strictness against him and his scolding for even innocent
mistakes he makes, her fierce resistance against his affair [which she considered as a mere ”infatuation] must have hurt him deeply, a fact Violet didn’t realize at all.
But at the end, Violet realized the sharp pain she unintentionally inflicted on her son and
made tearful apologies to him.
MORE TO WRITE ABOUT BRIDGERTON AND THE SIENA ROSSO AFFAIR!
SEE ALSO
SEE COMMENT
THE SIENA ROSSO AFFAIR
Based on the essays by Astrid Essed, here is the refined English summary of that specific dynamic:
Unintentional Heartbreak and Maternal Blindness
Essed emphasizes that while Lady Violet causes Anthony immense pain by thwarting his relationship with Siena Rosso, her actions are layered with a specific kind of misunderstanding:
  • A “Passing Fancy”: Violet does not fully realize how deep Anthony’s love for Siena truly goes. She views the relationship (or chooses to view it) merely as a “fling” or a passing whim, failing to recognize the profound heartbreak her son is experiencing.
  • The Inevitable Conflict: Essed argues that even if Violet had recognized it as true love, she would have resisted just as fiercely. The social consequences for her daughters—the threat of “social death” within the aristocracy—left her with no other choice in that “merciless time.”
  • Love Behind the Harshness: Despite her severity, Essed is clear that Violet is a loving mother to all eight of her children. Her harshness toward Anthony doesn’t stem from a lack of love, but from the impossible position of being a protector. Deep down, she would have felt the pain of his loss, yet she felt forced to prioritize the family’s survival over his individual happiness.
As Essed notes on astridessed.nl, Violet is a matriarch who is “loving at heart” but often forced into heartbreaking choices where she sacrifices tenderness for the sake of the family’s reputation.
SECOND COMMENT
The Siena Rosso Affair: Unintentional Heartbreak
Essed emphasizes that while Lady Violet causes Anthony immense pain by thwarting his relationship with the opera singer Siena Rosso, her actions are layered with a specific kind of maternal blindness:
  • A “Passing Fancy”: Violet does not initially realize how deep Anthony’s love for Siena truly goes. She views the relationship as a mere “infatuation” or a whim, failing to recognize the profound heartbreak her son experiences when the affair ends.
  • The Threat of Social Death: Essed argues that even if Violet had recognized it as true love, the social reality of the Regency Era left her no choice. A marriage to an opera singer—considered “immoral” by the Ton—would have meant “social death” for the entire family and ruined the marriage prospects of the other seven children.
  • Sacrificing Tenderness for Survival: Her fierce resistance is a form of protection. As a matriarch, she feels forced to prioritize the family’s reputation over Anthony’s individual happiness, replacing her usual maternal warmth with a cold, merciless focus on duty.
The Paradox of the “Mother-Son-Viscount” Dynamic
According to Essed, the core conflict arises because Anthony is both a grieving son and the legal head of the family:
  • Emotional Neglect: While Violet is tender toward her other children, she treats Anthony with a “harshness tending to cruelty.” She scolds him like a “tigress” for mistakes, forgetting that as an 18-year-old thrust into leadership, he needed a mother’s comfort just as much as his siblings.
  • The Burden of Responsibility: Violet initially fails to see the immense weight Anthony carries as a surrogate father. She expects him to be a hardened patriarch while she herself remains lost in her own deep mourning for Edmund.
  • The Turning Point: The tragedy is resolved only when Violet finally recognizes the sharp, unintentional pain she has inflicted. In a moment of deep self-reflection, she offers “tearful apologies,” finally embracing Anthony as her son rather than just the Viscount.
Conclusion by Essed:
Violet is a “loving mother at heart” who is forced into heartbreaking choices. Her journey is one of moving from the “paradox of power” back to the simple, tender bond between a mother and her child.
For the full context of these analyses, you can visit Astrid Essed’s Bridgerton commentaries

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Bridgerton/Astrid Essed about Bridgerton/Lady Violet and her complicated relationship with her eldest son Anthony/Or a Mother’s Failed Love

Violet-S3E4

LADY VIOLET BRIDGERTON
Anthony_2x07-4
ANTHONY BRIDGERTON
LADY VIOLET’S SON

LADY VIOLET BRIDGERTON AND HER COMPLEX RELATIONSHIP WITH HER

ELDEST SON ANTHONY OR A MOTHER’S FAILED DEEP LOVE
REGENCY ERA
BRiDGERTON NETFLIX TV SERIES IS A MUST SEE!
Series is about a British aristocratic Family in the Regency Era [1813-1820, broadly
1795-1830] and refers to universal human life themes like strong family bonds, forbidden
love, rivalry within a family, strong ties of friendship,political developments, social issues,the position of women and ”light stuff”, like gossip and sensation.
There is a ”color blind” casting, that’s most refreshing
The central persons are the eight children of the aristocratic family Bridgerton and
their mother, Lady Violet, the widow and matriarch, a loving mother at heart, but who
can be stern, harsh, cruel, demanding and sometimes merciless, as we shall see,
although not out of malice, of course,
Anthony, the eldest brother, is [after the death of their father Edmund] the legal
head of the family, which means ,that he is the ”legal guardian” of his brothers, sisters and also his mother Violet.
Although Violet loves Anthony very deeply, this new position leads to
a deep tension between Violet and her son.
Because however deep her motherly love, Violet who is strong willed, can’t entirely
accept that her own child is her legal ”head” now.
And although she loves Anthony as deeply as her other seven children, she often is
unreasonably strict with him and even cruel [consistently sharply pointing
him on his duty and cruelly comparing him to his dead father in the sense of ”Oh my dear son, your father would have so disappointed]
By doing so, she hurts him deeply, although that certainly is not her intention at all.
But her harshness stems from the fact that Anthony, now he is the eldest son, is responsible
for the whole family and the family Estate in a merciless time, that wrong decisions could
lead to family ruin and social death within the Ton [The British aristocracy in Regency Era]
And as a responsible mother, she must defend the marriage prospects of her daughters.
Besides this, she thinks, that treating him severely, will help him to grow into his role as head of the family.
Therefore she shows him much harshness and little tenderness, while she does show
tenderness to her other children, especially her daughters, which hurts him deeply, which Violet doesn”t notice in her business to keep the family reputation in the complicated Regency Time.
Violet not only doesn’t see, that young Anthony needs some space too [continually demanding that he must work for his sister’s marriage chances], she herself
is still in deep mourning over her late husband and doesn’t seem to notice that Anthony is
mourning too and needs the warmth of his mother,
Only much later Violet realizes this and she is extremely devastated about the way she
unintentionally hurt him.
She forces him [as is his task as head of the family] to arrange the marriage and the debut of his sister Daphne and of course he makes some mistakes, but Lady Violet, instead of
understanding that he has to learn from his mistakes, jumps on him  like a tigress defending her offspring [in this case Daphne] and
 scolding him without mercy.
So the twisted thing was:
They were not only Mother and Son, but also Matriarch [Violet]
and legal head of the Family [son Anthony]
Despite her deep love for Anthony, Violet saw him as the Viscount [who had to arrange the business of the Family], but at the same time she treated him not
so much as her son, but as a child, scolding him severely and mercilessly,
without any compassion and tenderness a child needs.
He tried to avoid her as much as possible [by staying in his bachelor lodgings
in London] but she jumped on him mercilessly as soon as she got the chance,consistently pointing out on his duties without giving him a break.
THE OTHER SIDE OF THE COIN
DUEL WITH NIGEL BERBROOKE
ANTHONY’S RECKLESSNESS
At the other hand:
While Violet mercilessly dug her nails in him, it must be said, that  Anthony caused his mother
many a frightening moment by wanting to duel [for the honour of
his sister Daphne] with Nigel Berbrooke [in those days a duel was a matter
of life or death], which Violet, of course strictly forbade, severely [this time
she was completely right] scolding Anthony about it.
So Violet solved the controverse on her own ”passive-agressive” female way, preventing bloodshed.
ABOUT OPERA SINGERS
Anthony has a long standing love affair with opera singer Siena Rosso and Lady Violet fiercely resists this, after having confronted Anthony about this, sharply and coldly demanding that he
breaks that relationship.
She doesn’t do this out of cruelty, but for the following reasons:
In the Regency Era, opera singers were considered ”evil” and ”immoral” and
although men had the ”right” to have an affair with them, a marriage between an aristocrat
and an opera singer was considered as ;;impossible” leading to the social death, not
only of Anthony, but of the whole family.
And Lady Violet feared a marriage [because of their long standing relationship].
meaning zero chances for her daughters to marry within the aristocracy.
Therefore, albet her deep love for Anthony, she had no choice but being hard on him,despite his heartache.
SEE ALSO
SEE THE EXCERPT!
.
EXCERPT OF THE ASTRID ESSED COMMENT

BRIDGERTON/LADY VIOLET AND HER COMPLEX RELATIONSHIP WITH HER ELDEST SON ANTHONY

https://www.astridessed.nl/bridgerton-my-first-comment-on-the-netflix-series-bridgerton-about-the-relationship-of-lady-violet-bridgerton-and-her-son-anthony/

Based on her insights, here is the summary of the relationship between Lady Violet and Anthony Bridgerton in English:
  • Unintentional Cruelty Born of Grief: Essed highlights that Lady Violet’s overwhelming grief after her husband’s death blinded her to the fact that Anthony, at only eighteen, was also mourning. While she was tender with her other children, she was often “merciless” toward Anthony, expecting him to be instantly strong.
  • The Burden of Responsibility: As the new head of the family, Anthony faced immense pressure. Essed notes that Violet’s harshness was fueled by the fear that a single mistake in the Regency era could be socially fatal for the entire estate and the marriage prospects of his sisters.
  • The Social Reality of Siena Rosso: Regarding Anthony’s long-term relationship with the opera singer Siena Rosso, Essed explains that Violet’s fierce opposition was a matter of social survival. Because opera singers were viewed as “immoral” at the time, a marriage would have ruined the family’s reputation.
  • Reconciliation and Healing: A crucial point in Essed’s analysis is the eventual reconciliation. The relationship only began to heal when Violet realized her lack of warmth and constant comparisons to his late father had deeply wounded Anthony, leading to a tearful apology and a restored bond.
For the full perspective on this “refreshing” take on the series and the “colorblind” casting, you can read her extensive articles on the official website of Astrid Essed.

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Bridgerton/Astrid Essed over ”Bridgerton”/Lady Violet en haar gecompliceerde relatie met haar zoon Anthony

Violet-S3E4

LADY VIOLET BRIDGERTON
Anthony_2x07-4
ANTHONY BRIDGERTON
LADY VIOLET’S SON
ASTRID ESSED OVER TV NETFLIX SERIE BRIDGERTON
LADY VIOLET BRIDGERTON EN HAAR GECOMPLICEERDE RELATIE MET HAAR
OUDSTE ZOON ANTHONY
REGENCY TIJD
SERIE IS EEN MUST SEE!
[Serie gaat over een aristocratische Britse familie in de Regenvy tijd [1813-1820, ruim
1795-1830] en beslaat universeel menselijke thema’s als sterke familiebanden, verboden liefdes
rivaliliteit binnen een familie, sterke vriendschapsbanden, politieke verwikkelingen, socoaal
onrecht, positie van vrouwen, roddel, sensatie etc
Centraal staat de aristocratische familie Bridgerton en hun verwikkelingen
De cast is ”kleurenblind”
Centraa; staan de 8 kinderen Bridgerton en hun moeder, die weduwe is en matriarch van de familie
Oudste broer Anthony is het hoofd van de familie en juridisch verantwoordelijk voor
zijn moeder en zijn jongere broers en zussen
Dat leidt tot extra spanning met zijn moeder, die voordien de scepter zwaaide en
nu, als weduwe, ”onder het gezag” van haar zoon valt
Hoewel haar liefde voor hem even diep zit als voor haar andere [7] kinderen, is
ze vaak tot in het onredelijke streng en soms zelfs ”wreed” tegen hem [wanneer zij
memoreert, dat zijn overleden vader zo teleurgssteld in hem zou zijn], omdat hij
de Family Estate [landgoed en alles wat erbij behoort] moet beheren en in de Regency Tijd
verkeerde beslissingen sociaal fataal konden zijn.
Daardoor vergeet zij vaak, dat hij, op nog jonge leeftijd, ook wat ruimte nodig heeft
Wat ook een cruciale rol speelt, is dat Lady Violet nog in diepe rouw is over de dood van haar man, van wie ze zeer veel hield, en daarom te weinig oog heeft voor de emotionele staat van Anthony, die in haar ogen maar direct sterk moet zijn, maar ook nog om zijn vader rouwt.
Dat maakt haar soms onbedoeld zeer hard.
Haar scherpe, soms meedogenloze kritiek en gebrek aan warmte kwetst Anthony diep, vooral tegen het licht van haar getoonde tederheid tegenover zijn zuster Daphne en de andere
broers en zusters, iets, waarvan Lady Violet zich pas later bewust is.
Bovendien denkt zij hem te helpen door hem extra hard aan te pakken, wat averechts werkt, maar niet uit gebrek aan liefde gebeurt, maar wat hij aanvankelijk wel denkt
OPMERKING OVER OPERAZANGERESSEN
Operazangeressen werden in de Regency Tijd als ”onzedelijk” beschouwd
en hoewel mannen het ”recht” hadden een verhouding met hen aan te gaan, was een huwelijk tussen een aristocraat en een operazangeres sociaal gezien onmogelijk, wat het felle verzet van Lady Violet tegen de relatie van haar zoon Anthony en operazangeres
Siena Rosso [die al 7 a acht jaar duurde] verklaarde
Bovendien vreesde Lady Violet voor de huwelijkskansen van haar dochters [die
door zo’n alliantie in gevaar kwamen], waardoor ze van Anthony eiste de relatie
te verbreken, wat wreed leek, maar vanuit haar oogpunt noodzakelijk was juist omdat hij als familiehoofd voor het welzijn van de hele familie verantwoordelijk was
ZIE
COMMENTAAR ASTRID ESSED OP DE RELATIE TUSSEN LADY VIOLET BRIDGERTON EN HAAR OUDSTE ZOON ANTHONY BRIDGERTON
Journalist, historicus en mensenrechtenactiviste Astrid Essed heeft een diepgaande analyse geschreven over de complexe relatie tussen Lady Violet Bridgerton en haar oudste zoon Anthony.
De belangrijkste punten uit haar commentaar zijn:
  • Onbedoelde wreedheid: Essed merkt op dat hoewel Violets liefde voor Anthony diep zit, haar strengheid vaak grensde aan wreedheid. Dit zorgde voor een pijnlijk contrast voor Anthony, omdat hij zag dat zijn moeder zijn zus Daphne met een tederheid behandelde die hij zelf miste.
  • De last van rouw: De analyse benadrukt dat Violets hardheid voortkwam uit haar eigen overweldigende verdriet na de dood van haar man. Ze besefte niet dat Anthony, die destijds pas achttien was, ook rouwde terwijl hij plotseling de zware rol van gezinshoofd op zich moest nemen.
  • De druk van verwachtingen: Essed wijst erop hoe Violet Anthony regelmatig berispte om zijn fouten en hem vergeleek met zijn overleden vader. Bovendien deed ze zijn oprechte liefde voor de operazangeres Siena Rosso af als een bevlieging, zonder in te zien hoe zwaar de breuk hem werkelijk viel.
  • Verzoening: Het keerpunt in hun relatie kwam toen Violet zich eindelijk realiseerde hoe haar gebrek aan tederheid en haar starre eisen haar zoon hadden gekwetst. Haar excuses met tranen in de ogen markeerden een moment van heling, waardoor ze hun band als moeder en zoon eindelijk konden herstellen.
Voor het volledige perspectief kun je de analyse lezen op de officiële website van Astrid Essed.
ZIE

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Astrid Essed over TV Netflix Serie ”Bridgerton”/Lady Violet en haar gecompliceerde relatie met haar oudste zoon Anthony

Violet-S3E4

LADY VIOLET BRIDGERTON
Anthony_2x07-4
ANTHONY BRIDGERTON
LADY VIOLET’S SON
ASTRID ESSED OVER TV NETFLIX SERIE BRIDGERTON
LADY VIOLET BRIDGERTON EN HAAR GECOMPLICEERDE RELATIE MET HAAR
OUDSTE ZOON ANTHONY
REGENCY TIJD
SERIE IS EEN MUST SEE!
[Serie gaat over een aristocratische Britse familie in de Regenvy tijd [1813-1820, ruim
1795-1830] en beslaat universeel menselijke thema’s als sterke familiebanden, verboden liefdes
rivaliliteit binnen een familie, sterke vriendschapsbanden, politieke verwikkelingen, socoaal
onrecht, positie van vrouwen, roddel, sensatie etc
Centraal staat de aristocratische familie Bridgerton en hun verwikkelingen
De cast is ”kleurenblind”
Centraa; staan de 8 kinderen Bridgerton en hun moeder, die weduwe is en matriarch van de familie
Oudste broer Anthony is het hoofd van de familie en juridisch verantwoordelijk voor
zijn moeder en zijn jongere broers en zussen
Dat leidt tot extra spanning met zijn moeder, die voordien de scepter zwaaide en
nu, als weduwe, ”onder het gezag” van haar zoon valt
Hoewel haar liefde voor hem even diep zit als voor haar andere [7] kinderen, is
ze vaak tot in het onredelijke streng en soms zelfs ”wreed” tegen hem [wanneer zij
memoreert, dat zijn overleden vader zo teleurgssteld in hem zou zijn], omdat hij
de Family Estate [landgoed en alles wat erbij behoort] moet beheren en in de Regency Tijd
verkeerde beslissingen sociaal fataal konden zijn.
Daardoor vergeet zij vaak, dat hij, op nog jonge leeftijd, ook wat ruimte nodig heeft
Wat ook een cruciale rol speelt, is dat Lady Violet nog in diepe rouw is over de dood van haar man, van wie ze zeer veel hield, en daarom te weinig oog heeft voor de emotionele staat van Anthony, die in haar ogen maar direct sterk moet zijn, maar ook nog om zijn vader rouwt.
Dat maakt haar soms onbedoeld zeer hard.
Haar scherpe, soms meedogenloze kritiek en gebrek aan warmte kwetst Anthony diep, vooral tegen het licht van haar getoonde tederheid tegenover zijn zuster Daphne en de andere
broers en zusters, iets, waarvan Lady Violet zich pas later bewust is.
Bovendien denkt zij hem te helpen door hem extra hard aan te pakken, wat averechts werkt, maar niet uit gebrek aan liefde gebeurt, maar wat hij aanvankelijk wel denkt
OPMERKING OVER OPERAZANGERESSEN
Operazangeressen werden in de Regency Tijd als ”onzedelijk” beschouwd
en hoewel mannen het ”recht” hadden een verhouding met hen aan te gaan, was een huwelijk tussen een aristocraat en een operazangeres sociaal gezien onmogelijk, wat het felle verzet van Lady Violet tegen de relatie van haar zoon Anthony en operazangeres
Siena Rosso [die al 7 a acht jaar duurde] verklaarde
Bovendien vreesde Lady Violet voor de huwelijkskansen van haar dochters [die
door zo’n alliantie in gevaar kwamen], waardoor ze van Anthony eiste de relatie
te verbreken, wat wreed leek, maar vanuit haar oogpunt noodzakelijk was juist omdat hij als familiehoofd voor het welzijn van de hele familie verantwoordelijk was
ZIE
COMMENTAAR ASTRID ESSED OP DE RELATIE TUSSEN LADY VIOLET BRIDGERTON EN HAAR OUDSTE ZOON ANTHONY BRIDGERTON
Journalist, historicus en mensenrechtenactiviste Astrid Essed heeft een diepgaande analyse geschreven over de complexe relatie tussen Lady Violet Bridgerton en haar oudste zoon Anthony.
De belangrijkste punten uit haar commentaar zijn:
  • Onbedoelde wreedheid: Essed merkt op dat hoewel Violets liefde voor Anthony diep zit, haar strengheid vaak grensde aan wreedheid. Dit zorgde voor een pijnlijk contrast voor Anthony, omdat hij zag dat zijn moeder zijn zus Daphne met een tederheid behandelde die hij zelf miste.
  • De last van rouw: De analyse benadrukt dat Violets hardheid voortkwam uit haar eigen overweldigende verdriet na de dood van haar man. Ze besefte niet dat Anthony, die destijds pas achttien was, ook rouwde terwijl hij plotseling de zware rol van gezinshoofd op zich moest nemen.
  • De druk van verwachtingen: Essed wijst erop hoe Violet Anthony regelmatig berispte om zijn fouten en hem vergeleek met zijn overleden vader. Bovendien deed ze zijn oprechte liefde voor de operazangeres Siena Rosso af als een bevlieging, zonder in te zien hoe zwaar de breuk hem werkelijk viel.
  • Verzoening: Het keerpunt in hun relatie kwam toen Violet zich eindelijk realiseerde hoe haar gebrek aan tederheid en haar starre eisen haar zoon hadden gekwetst. Haar excuses met tranen in de ogen markeerden een moment van heling, waardoor ze hun band als moeder en zoon eindelijk konden herstellen.
Voor het volledige perspectief kun je de analyse lezen op de officiële website van Astrid Essed.
ZIE

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Letter to the Editor/Color blind casting in the Netflix series Bridgerton/Refreshing,Inspiring,Uplifting

1x01-5

ANTHONY  BRIDGERTON AND HIS CLOSEST FRIEND SIMON BASSET,
2ND DUKE OF  HASTINGS
ANTHONY BRIDGERTON
SIMON BASSET, 2E HERTOG VAN HASTINGS
READERS,
Like you probably have read, I’ve already posted about the popular
Netflix TV series Bridgerton, which is now in its fourth Season! [1]
Hereby a Letter to the Editor about ”Bridgerton”, that I’ve sent to a number of internantional
papers.
Of course I don’t know, whether they will publish it, so here
my Letter to the Editor.
ENJOY!
ASTRID ESSED
[1]
THE FIRST
THE SECOND
THE THIRD
LETTER TO THE EDITOR

Letter to the Editor
Dear Editor,
This time it’s not about politics, but about a public debate, that is
conducted in all segments of society, especially the Woke movement.
This debate or discussion is related to politically inspired
subjects like history, [anti]racism, and other forms of inequality.
What I would like to raise here is the color blindness of the cast of the popular Netfflix series Bridgerton.
To be clear:
Color blindness i a film or TV series means that the actors are being cast
regardless ethnicity or color, eventhough that does not fit into historical
or cultural reality [like European fairy tales]
Bridgerton, based on the books of Julia Quinn, is a series centered about a noble
family in England during the Regency Era [1795-1837 or stricter 1811-1820]
and those series focuses on the lives of the eight Bridgerton children.
Where in the books they all are white [like the other characters], in the
Netflix series there is a ”black Nobility” next to the ”white nobility”
on equal level and a number Bridgerton Family members marry black
nobles.
So Simon Basset, the closest friend of
Anthony Bridgerton, is a ”black” Duke, the 2nd Duke of Hastings and marries Anthony Bridgerton’s sister Daphne.
Now from a historical perspective it doesn’t hold up at all.
Because although there lived rich black people in Regency Era England
-often children of plantation owners and their female slaves, who
were sent to England by their fathers and sometimes married into nobility
and there also was a limited black community in England, there was no
”Black Nobility” in Regency Era England.
And white and black people didn’t live together on base of equality
in a time that transatlantic slave trade and slavery flourished.
In thed Bridgerton series racism and discrimination were practically absent,
apart from a few incidents.
So one of the criticisms of color blindness is, that series as Bridgerton
don’t do justice to the historical reality and that the world is seen too
”overly optimistic” and ”rosy”[because of the absence of racism and discrimination]
But it wasn’t ll sunshine and roses:
In Bridgerton you see painfully the inequality of the social classes [the impossibility of a mariage between a nobleman and a woman of ”lower” social rank] and the serious oppression of women.
However:
Why I am in favour of the ”color blind cast” is that an opportunity is shaped
to picture black people and people of color in their full dignity, instead of
”always” as ”slaves”, ”oppressed” and ”victims”
That is refreshing, relaxing and positive promoting!
Because the course of history could have been different
with indeed an equal ”Black Nobility” next to  ”White Nobility”
That’s wh I think that series like Bridgerton must
be seen as a modern fairy tale and probably that’s the reason
people enjoy it that much.
Common human problems like impossible love affaires, mutual
relationships, strong family bonds, strong ”brotherly” friendships,
relations between parents and children, gossip, sensation, without
”color” and ”race” issues.
In these Times of political disturbance in the world, series as a Fairy Tale are so
refreshing!
Of course the battle against racism and inequality must be fougt,
but let’s do that in the streets and the political arena and continue
to enjoy Fairy Tales like Bridgerton!
Astrid Essed
Amsterdam
The Netherlands

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1x01-5

ANTHONY  BRIDGERTON AND HIS CLOSEST FRIEND SIMON BASSET,
2ND DUKE OF  HASTINGS
ANTHONY BRIDGERTON
SIMON BASSET, 2E HERTOG VAN HASTINGS

To:  newsonlinescotland@bbc.co.uk · Tue, Feb 10 at 3:31 AM
Letter to the Editor
Dear Editor,
This time it’s not about politics, but about a public debate, that is
conducted in all segments of society, especially the Woke movement.
This debate or discussion is related to politically inspired
subjects like history, [anti]racism, and other forms of inequality.
What I would like to raise here is the color blindness of the cast of the popular Netfflix series Bridgerton.
To be clear:
Color blindness i a film or TV series means that the actors are being cast
regardless ethnicity or color, eventhough that does not fit into historical
or cultural reality [like European fairy tales]
Bridgerton, based on the books of Julia Quinn, is a series centered about a noble
family in England during the Regency Era [1795-1837 or stricter 1811-1820]
and those series focuses on the lives of the eight Bridgerton children.
Where in the books they all are white [like the other characters], in the
Netflix series there is a ”black Nobility” next to the ”white nobility”
on equal level and a number Bridgerton Family members marry black
nobles.
So Simon Basset, the closest friend of
Anthony Bridgerton, is a ”black” Duke, the 2nd Duke of Hastings and marries Anthony Bridgerton’s sister Daphne.
Now from a historical perspective it doesn’t hold up at all.
Because although there lived rich black people in Regency Era England
-often children of plantation owners and their female slaves, who
were sent to England by their fathers and sometimes married into nobility
and there also was a limited black community in England, there was no
”Black Nobility” in Regency Era England.
And white and black people didn’t live together on base of equality
in a time that transatlantic slave trade and slavery flourished.
In thed Bridgerton series racism and discrimination were practically absent,
apart from a few incidents.
So one of the criticisms of color blindness is, that series as Bridgerton
don’t do justice to the historical reality and that the world is seen too
”overly optimistic” and ”rosy”[because of the absence of racism and discrimination]
But it wasn’t ll sunshine and roses:
In Bridgerton you see painfully the inequality of the social classes [the impossibility of a mariage between a nobleman and a woman of ”lower” social rank] and the serious oppression of women.
However:
Why I am in favour of the ”color blind cast” is that an opportunity is shaped
to picture black people and people of color in their full dignity, instead of
”always” as ”slaves”, ”oppressed” and ”victims”
That is refreshing, relaxing and positive promoting!
Because the course of history could have been different
with indeed an equal ”Black Nobility” next to  ”White Nobility”
That’s wh I think that series like Bridgerton must
be seen as a modern fairy tale and probably that’s the reason
people enjoy it that much.
Common human problems like impossible love affaires, mutual
relationships, strong family bonds, strong ”brotherly” friendships,
relations between parents and children, gossip, sensation, without
”color” and ”race” issues.
In these Times of political disturbance in the world, series as a Fairy Tale are so
refreshing!
Of course the battle against racism and inequality must be fougt,
but let’s do that in the streets and the political arena and continue
to enjoy Fairy Tales like Bridgerton!
Astrid Essed
Amsterdam
The Netherlands

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1x01-5

ANTHONY  BRIDGERTON AND HIS CLOSEST FRIEND SIMON BASSET,
2ND DUKE OF  HASTINGS
ANTHONY BRIDGERTON
SIMON BASSET, 2E HERTOG VAN HASTINGS

To:  guardian.letters@theguardian.com · Mon, Feb 9 at 5:22 PM
Letter to the Editor
Dear Editor,
This time it’s not about politics, but about a public debate, that is
conducted in all segments of society, especially the Woke movement.
This debate or discussion is related to politically inspired
subjects like history, [anti]racism, and other forms of inequality.
What I would like to raise here is the color blindness of the cast of the popular Netfflix series Bridgerton.
To be clear:
Color blindness i a film or TV series means that the actors are being cast
regardless ethnicity or color, eventhough that does not fit into historical
or cultural reality [like European fairy tales]
Bridgerton, based on the books of Julia Quinn, is a series centered about a noble
family in England during the Regency Era [1795-1837 or stricter 1811-1820]
and those series focuses on the lives of the eight Bridgerton children.
Where in the books they all are white [like the other characters], in the
Netflix series there is a ”black Nobility” next to the ”white nobility”
on equal level and a number Bridgerton Family members marry black
nobles.
So Simon Basset, the closest friend of
Anthony Bridgerton, is a ”black” Duke, the 2nd Duke of Hastings and marries Anthony Bridgerton’s sister Daphne.
Now from a historical perspective it doesn’t hold up at all.
Because although there lived rich black people in Regency Era England
-often children of plantation owners and their female slaves, who
were sent to England by their fathers and sometimes married into nobility
and there also was a limited black community in England, there was no
”Black Nobility” in Regency Era England.
And white and black people didn’t live together on base of equality
in a time that transatlantic slave trade and slavery flourished.
In thed Bridgerton series racism and discrimination were practically absent,
apart from a few incidents.
So one of the criticisms of color blindness is, that series as Bridgerton
don’t do justice to the historical reality and that the world is seen too
”overly optimistic” and ”rosy”[because of the absence of racism and discrimination]
But it wasn’t  all sunshine and roses:
In Bridgerton you see painfully the inequality of the social classes [the impossibility of a mariage between a nobleman and a woman of ”lower” social rank] and the serious oppression of women.
However:
Why I am in favour of the ”color blind cast” is that an opportunity is shaped
to picture black people and people of color in their full dignity, instead of
”always” as ”slaves”, ”oppressed” and ”victims”
That is refreshing, relaxing and positive promoting!
Because the course of history could have been different
with indeed an equal ”Black Nobility” next to  ”White Nobility”
That’s wh I think that series like Bridgerton must
be seen as a modern fairy tale and probably that’s the reason
people enjoy it that much.
Common human problems like impossible love affaires, mutual
relationships, strong family bonds, strong ”brotherly” friendships,
relations between parents and children, gossip, sensation, without
”color” and ”race” issues.
In these Times of political disturbance in the world, series as a Fairy Tale are so
refreshing!
Of course the battle against racism and inequality must be fought,
but let’s do that in the streets and the political arena and continue
to enjoy Fairy Tales like Bridgerton!
Astrid Essed
Amsterdam
The Netherlands

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1x01-5

 
 
ANTHONY  BRIDGERTON EN ZIJN BESTE VRIEND SIMON BASSET,
2E HERTOG VAN HASTINGS
 
 
ANTHONY BRIDGERTON
 
 
SIMON BASSET, 2E HERTOG VAN HASTINGS
INGEZONDEN STUK
”KLEURENBLINDE” CAST IN NETFLIX TV SERIE ”BRIDGERTON”/VERFRISSEND EN INSPIREREND
Lezers,
Zoals u waarschijnlijk gezien hebt, heb ik reeds een en ander gepost over
de succesvolle en populaire Nedtflix TV serie ” Bridgerton”, die nu aan zijn
Vierde Seizoen is [1]
Hierbij een Ingezonden Stuk, dat ik naar een aantal kranten heb toegezonden.
Of ze het publiceren weet ik natuurlijk niet, daarom voor u hier het Stuk
GENIET ERVAN
ASTRID ESSED
EERDERE POSTS OVER ”BRIDGERTON”
EERSTE
TWEEDE
DERDE
INGEZONDEN STUK
Ingezonden Stuk,
Geachte Redactie
Deze keer eens niet over politiek, maar over een aan politiek verwante maatschappelijke discussie, die onder andere speelt in de Woke Beweging
en is gerelateerd aan geschiedenis,[anti] racisme, discriminatie en
andere [on]gelijkheidsfactoren.
Wat ik aan de orde wil stellen is namelijk de kleurenblindheid van een TV serie cast, hier gerelateerd aan de populaire Netflix serie Bridgerton.
Voor de duidelijkheid: Kleurenblindheid in een film en/of TV serie betekent,
dat acteurs worden gecast ongeacht etniciteit of kleur, ook al zou dat niet
passen in de historische of algemeen sociaal geaccepteerde context [bijvoorbeeld ivm Europese Sprookjes]
Bridgerton, gebaseerd op de boeken van Julia Quinn, is een serie,
die draait om een belangrijke adellijke familie in Engeland, gedurende de Regency Tijd [ruim 1795-1837, stricter 1811-1820], waarin de geschiedenis van de  acht Bridgerton kinderen centraal staat.
Zijn ze [en ook de andere personages] in de boeken allemaal wit, in
de serie bestaat er naast de bestaande ”witte” adel, op gelijk niveau ook
een ”zwarte adel” en diverse leden van de familie Bridgerton trouwen
met zwarte adellijke personages.
Ook de beste vriend van een van de Bridgerton hoofdpersonen, Anthony
Bridgerton, is een ”zwarte” Hertog, namelijk Simon Basset, 2e Hertog
van Hastings, die trouwt met Anthony’s zuster Daphne.
Nu klopt dat historisch gezien van geen kanten.
Want hoewel er wel rijke zwarten in Engeland woonden, vaak kinderen
van plantagehouders [en hun slavinnen], die door hun vaders naar
Engeland waren gestuurd en ook wel incidenteel binnen de aristocratie
trouwden en er reeds een beperkte zwarte gemeenschap in Engeland was,
bestond er geen autonome ”zwarte adel” in Engeland.
Ook leefden ”witte mensen” en ”zwarte mensen” [voor zover in Engeland aanwezig’] zeker niet samen op gelijke voet in een tijd,
dat slavenhandel en slavernij nog volop de boventoon voerden.
Ook was, trouwens, in de Bridgerton serie, van racisme en discriminatie,
op enkele incidenten na, nauwelijks sprake.
Kritiek op die ”kleurenblindheid” is dan ook, dat het geen recht doet
aan de echte historische realiteit in de Regency tijd en dat de zaken
veel te ”rooskleurig” worden voorgesteld [vanwege de praktische
afwezigheid van racime/discriminatie]
Overigens kwamen wel de ongelijkheid van de standen [de onmogelijkheid
van een huwelijk tussen een aristocraat en een vrouw van ”lagere” sociale status] en de ernstige onderdrukking van vrouwen in de serie aan de orde.
Wat volgens mij echter juist pleit voor die ”kleurenblinde cast”-en daarom
ben ik er ook een enthousiast voorstander van-is dat hierdoor een
gelegenheid wordt geboden, zwarte mensen en mensen van kleur
in hun volle waardigheid neer te zetten, zonder altijd als ”slaven” en”onderdrukten’
Dat is verfrissend, relaxend en positieve promoting.
Want de geschiedenis had ook anders kunnen lopen met inderdaad een
”gelijkwaardige” ”zwarte adel” naast de bestaande witte adel.
Daarom denk ik, dat series als ”Bridgerton” vooral als modern
sprookje moeten worden gezien en ik denk, dat daarom
ook zoveel mensen ervan genieten.
Gewoon menselijke problemen als onmogelijke liefdes, onderlinge
relaties, sensatie en geroddel, relaties tussen vrienden, ouders
en kinderen, zonder dat ”kleur” per definitie een rol speelt.
Juist in deze politiek bedreigende tijden is een serie als Sprookje,
heel gezond en verfrissend!
Natuurlijk moet de strijd tegen racisme, discriminatie en welke vorm van
ongelijkheid ook, gevoerd worden.
Maar laten we die strijd op straat en in de politieke arena
voeren en blijven genieten van ”racisme vrije” Sprookjes als
Bridgerton
Astrid Essed
Amsterdam

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1x01-5

 
 
ANTHONY  BRIDGERTON EN ZIJN BESTE VRIEND SIMON BASSET,
2E HERTOG VAN HASTINGS
 
 
ANTHONY BRIDGERTON
 
 
SIMON BASSET, 2E HERTOG VAN HASTINGS

Ingezonden Stuk,
Geachte Redactie
Deze keer eens niet over politiek, maar over een aan politiek verwante maatschappelijke discussie, die onder andere speelt in de Woke Beweging
en is gerelateerd aan geschiedenis,[anti] racisme, discriminatie en
andere [on]gelijkheidsfactoren.
Wat ik aan de orde wil stellen is namelijk de kleurenblindheid van een TV serie cast, hier gerelateerd aan de populaire Netflix serie Bridgerton.
Voor de duidelijkheid: Kleurenblindheid in een film en/of TV serie betekent,
dat acteurs worden gecast ongeacht etniciteit of kleur, ook al zou dat niet
passen in de historische of algemeen sociaal geaccepteerde context [bijvoorbeeld ivm Europese Sprookjes]
Bridgerton, gebaseerd op de boeken van Julia Quinn, is een serie,
die draait om een belangrijke adellijke familie in Engeland, gedurende de Regency Tijd [ruim 1795-1837, stricter 1811-1820], waarin de geschiedenis van de  acht Bridgerton kinderen centraal staat.
Zijn ze [en ook de andere personages] in de boeken allemaal wit, in
de serie bestaat er naast de bestaande ”witte” adel, op gelijk niveau ook
een ”zwarte adel” en diverse leden van de familie Bridgerton trouwen
met zwarte adellijke personages.
Ook de beste vriend van een van de Bridgerton hoofdpersonen, Anthony
Bridgerton, is een ”zwarte” Hertog, namelijk Simon Basset, 2e Hertog
van Hastings, die trouwt met Anthony’s zuster Daphne.
Nu klopt dat historisch gezien van geen kanten.
Want hoewel er wel rijke zwarten in Engeland woonden, vaak kinderen
van plantagehouders [en hun slavinnen], die door hun vaders naar
Engeland waren gestuurd en ook wel incidenteel binnen de aristocratie
trouwden en er reeds een beperkte zwarte gemeenschap in Engeland was,
bestond er geen autonome ”zwarte adel” in Engeland.
Ook leefden ”witte mensen” en ”zwarte mensen” [voor zover in Engeland aanwezig’] zeker niet samen op gelijke voet in een tijd,
dat slavenhandel en slavernij nog volop de boventoon voerden.
Ook was, trouwens, in de Bridgerton serie, van racisme en discriminatie,
op enkele incidenten na, nauwelijks sprake.
Kritiek op die ”kleurenblindheid” is dan ook, dat het geen recht doet
aan de echte historische realiteit in de Regency tijd en dat de zaken
veel te ”rooskleurig” worden voorgesteld [vanwege de praktische
afwezigheid van racime/discriminatie]
Overigens kwamen wel de ongelijkheid van de standen [de onmogelijkheid
van een huwelijk tussen een aristocraat en een vrouw van ”lagere” sociale status] en de ernstige onderdrukking van vrouwen in de serie aan de orde.
Wat volgens mij echter juist pleit voor die ”kleurenblinde cast”-en daarom
ben ik er ook een enthousiast voorstander van-is dat hierdoor een
gelegenheid wordt geboden, zwarte mensen en mensen van kleur
in hun volle waardigheid neer te zetten, zonder altijd als ”slaven” en”onderdrukten’
Dat is verfrissend, relaxend en positieve promoting.
Want de geschiedenis had ook anders kunnen lopen met inderdaad een
”gelijkwaardige” ”zwarte adel” naast de bestaande witte adel.
Daarom denk ik, dat series als ”Bridgerton” vooral als modern
sprookje moeten worden gezien en ik denk, dat daarom
ook zoveel mensen ervan genieten.
Gewoon menselijke problemen als onmogelijke liefdes, onderlinge
relaties, sensatie en geroddel, relaties tussen vrienden, ouders
en kinderen, zonder dat ”kleur” per definitie een rol speelt.
Juist in deze politiek bedreigende tijden is een serie als Sprookje,
heel gezond en verfrissend!
Natuurlijk moet de strijd tegen racisme, discriminatie en welke vorm van
ongelijkheid ook, gevoerd worden.
Maar laten we die strijd op straat en in de politieke arena
voeren en blijven genieten van ”racisme vrije” Sprookjes als
Bridgerton
Astrid Essed
Amsterdam

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ANTHONY BRIDGERTON AND HIS CLOSE FRIEND SIMON BASSET,
DUKE OF HASTINGS
BRIDGERTON COLORBLIND-CASTING/RELAXING, INSPIRING, UPLIFTING!/THIRD COMMENT OF ASTRID ESSED
READERS!
You owe me a THANK YOU!/HAHAHAHA
For this is my THIRD Bridgerton post in a week, what was not planned by me!
But there is so much interesting to tell about these Netflix series, that
my writing about it ”comes with the job”’
My first Post was about the strained, complex, but loving relationship
between Lady Violet Bridgerton and her eldest son Anthony [1]
I expect to tell more about this, so keep following my posts!
My second Post [recently written] was about the reason I am so
much in favour to this Bridgerton story, based on the books, but with some
important, fascinating changes! [2]
There are some changes in the series [for example, in
the books the bond between Lady Violet and her son Anthony was less
strained and more loving [in the film she loves him dearly too, but also
scolds and critizes him sharply, sometimes even cruelly, stemming from
a number of causes, that have nothing to do with lack of love for him] [3]
However, the biggest difference between the books and the series is,
that while in the books, the characters are all British-white, in the series
black aristocrats mingle with white aristocrats and even intermarry.
So the ”black” Duke of Hastings, Simon Basset, is the very close friend
of Anthony Bridgerton [the Anthony who has that strained, but loving
relationship with his mother, Lady Violet] [4] and Simon marries,
out of love, with Anthony’s sister Daphne Bridgerton. [5]
Then there is a powerful black Lady, Lady Danbury, close friend of
Anthony’s mother Violet and that Lady is a favourite of Queen Charlotte,
who is also black in the series [some scholars say, she indeed had African descent] [6]
HISTORICAL REALITY
And I must confess, that when I first heard about Bridgerton I had my
doubts and I’ll explain why.
I learned that the series were about a noble Family in England in the Regency era [7] [so far, so good] and the cast was colorblind.
Which meant, that white and black nobles were part of the series on
equal stances.
I thought firstly:
What is that about?
In the Regency Time England, in which slavery and slavetrade flourished,
white and black aristocrats mingled and stood shoulder to shoulder?
That’s historically seen, nonsense.
And since I am an historian, I could know.
Of course there were already black people in England since the 16th century,
[8] but eventually they either left or mingled with the white British population.
And ”black aristocrats” even when they were in England in the Regency Time, were rare.
What happened was that there were a minority of rich black people
in England that time, mostly children of plantation owners and a black slave mother, who were sent to England by their fathers for education. [9]
SO FAR, SO GOOD
FAIRY TALE
But then I decided to step away from historical reality and look at the
storylines an sich, forgetting that black-white thing.
Because, so I thought:
What would it be beautiful if the history had gone another
way and indeed black and white aristocrats would have mingled with each
other in England, without the curse of racism?
Why the world should not be a Fairy Tale, at least for the time
watching the series?
And when you look at it from that perspective, the world, for a while,
is much more relaxed and then the Story an sich is relevant, not
the colour of people.
Would that not be a Relief in the real world?
Then let’s assume, for a moment, that it IS the real
world and black people regained their dignity again, which
was token from them by the nasty historical reality.
That was the moment, the Bridgerton Story, with a color blind cast,  began to fascinate me.
COLORBLIND CAST/IDEA
RELAXING AND MORE EXCITING
SHORTLY SAID:
That colorblind idea [in the Bridgrton books, all the personae are,
of course, white] [10], is relaxing and makes the series more
interesting and exciting.
STORYLINES
Since the story is not ”hindred” by race and color issues, it is not
only more entertaining and relaxing, but there is more
room to focus on the Story Itself
And the storylines are fascinating:
Themes are forbidden love, unresolved trauma’s, warm, loving
motherhood, the Cinderella theme, strong family bonds, warm and intense
male friendships [like Anthony and Simon Basset], scandals, social
prejudice, great Family Stories and yet, the racism thing passes also,
but on a more relaxed way.
You see all aspects of human life pass the review.
Because you know?
Although racism and unequality do exist and the fight against it must
continue, it sometimes can overshadow human relations and certainly
in TV series, for entertainment, it can be boring and disturbing.
Let we fight the fight against racism in the streets, not in TV series!
FINAL
Sometimes race issues distract from an otherwise beautiful story.
Constantly emphazising on race issues [I mean in TV series even
if for entertainment] is not only boring, it can even dehumanize black people in films and series, as if black
people must always be the victim.
Bridgerton offers the opportunity to depict black people
in all their dignity, humanity and on equal, sometimes higher
level than white people [for example Anthony’s close friend,
Simon Basset, is a Duke, while Anthony is a Viscount] [11]
COLORBLIND-CASTING IN BRIDGERTON?
RELAXING, INSPIRING, UPLIFTING!
Untill the next Post!
ASTRID ESSED
NOTES
NOTES 1 T/M 5
NOTE 6
NOTES 7 T/M 9
NOTE 10
NOTE 11

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