Rich Text

This is a free preview of a paid episode. To hear more, visit claireandemma.substack.com The central theme of this season of Netflix romance series “Bridgerton” comes into sharp focus the end of the first episode. After charming rakish second son Benedict Bridgerton at his mother’s masquerade ball with her witty banter and sense of wonder, our masked heroine rushes home. We see her remove her formal glove, shoes and mask. Suddenly, she is staring into the humble mirror in her bedchamber, her full face in view for the first time. And instead of finery, she is dressed in a maid’s outfit. The major roadblock to a relationship between Sophie Baek and Benedict Bridgerton will not be a misunderstanding or a clash of personalities or a one-sided desire to end a bloodline. Instead, it will be something quite tangible, especially during the Regency era. It will be about class. It’s a fascinating moment for this season to hit our screens. On the one hand, as many viewers have noted, the uneven power dynamics of a Cinderella-inspired story — as this one definitively is — feel less fun to explore in fiction when we’re seeing the very real rollbacks of the rights of women in this country. (Part of why “Heated Rivalry” felt like such a salve to so many women viewers.) On the other hand, it’s clear that the writers injected some real class consciousness and modern labor politics into the text of the show. And that revamped text feels quite timely. (See: Mrs. Varley telling Lady Featherington off for using the language of “family” as a way to underpay her for two decades.) In this episode, we get into it all: the class dynamics, the power of AAPI representation, the ways in which the Cinderella tropes work and don’t, the many ancillary B-plots, and the pointed ways that the writers changed the plot of the show from its source material. Hope you enjoy! Xo