The rising popularity of wacky reimagined period drama...Bridgerton VS Dickinson. What is it that is SO ADDICTIVE?

Bridgerton. We have all heard of it. It has taken Netflix by storm as the most watched television programme ever. Surely yet another lockdown isn't to blame, is it? No, I don't believe that's why. Following a pretty dismally received latest season of The Crown (mainly because of the lengthy debate over what is true or false) I feel the need for something that people can't tear to shred for accuracy has emerged like a hatched chick. Bridgerton does have its historical truths. Of course it does. Because we wouldn't be able to recognise it as history or the regency period. But what it does so well is it delivers not only that, but the ludicrously and soapy drama that Jane Austen films always bring without meaning to but this time on purpose. It is simple, but subtly genius. 

Themes such as female empowerment, being able to choose who you marry is an idealistic perspective. Bridgerton almost acts as the past we wish had happened. We want the characters to speak how they feel, and get the justice they deserve but we still want the frigidness of society there. And oh does it have it. As silly as it makes it, we all still heavily believe in the story. Nothing reflects this better than the colour-blind casting. Queen Charlotte is dripping in jewels, beautiful but historically inaccurate fabrics, and here's the kicker- lots, and lots of power. We know it is not true of the early 1800s that a queen would have been black. Slavery wasn't even fully abolished by this time. Far from it. But the fantasy of this is really effective on the viewer. In a world full of pandemics, riots at The Capitol and Black Lives Matter marches; we just need a break and to imagine otherwise. This isn't harmful and distracting; it's just doing a good deed to all of our doom-scrolling eyeballs, you know?

The same goes for Dickinson. I watched this for the first time last week and just like Bridgerton there is a heavy use of modern songs layered throughout the episodes. Strangely, it doesn't take you out of the time period because it makes us think more deeply about the characters and the kind of music they would like in a different era. Emily Dickinson definitely classes herself as someone that would like the music. It doesn't seem completely wrong. The fakeness of that kind of makes it more digestible for teenagers who aren't into the whole period drama thing. Sometimes not everyone can relate to people of the past, and this is like a step-ladder to doing so and I like that. 

The language and phrases used in Dickinson is full of "sups" and modern lingo and it does it in a really self-aware way. The show isn't lying to you. It's just presenting the humour of seeing that transcend centuries that highlights the hilarity and attitudes of the time. It can be grating at first but the comedy grows on you. It's just all dynamic, and smart in a way that isn't praised by critics and I think that it is a great shame to label Dickinson as rubbish because it is geared towards teenagers and doesn't have the most strong ties to fact. Yet, there are characters that are very much real and documented. Just what the show does with them is speculative but that is what is so fantastic. It is an extremely loyalty to the character of Emily Dickinson and the unlimited bounds you can give to telling someone's story. A quote from the Dickinson creator Alena Smith summarises their vision well:

But I think the key is less to do with “this happened and this didn’t,” and it’s actually more of a question about the techniques we used in telling Emily’s story. In other words, we are really pushing the boundaries of surrealism in season two. I wanted to set that introduction up so the audience themselves can be open to perhaps blurring the lines or losing the distinction between what is real and what is a dream state of a great artist."

Also I would just like to shout out how incredibly fabulous the treatment of Emily Dickinson's suspected sexuality was represented in the show? If I could compel you to watch it just because of that I really would say you should. I think we all need to watch this space on how many shows may follow the lead of Dickinson and Bridgerton. We are all thirsty for the surreal and when it comes to history there is a playground of material to do this too. Both of these shows are very camp and theatrical. Who doesn't crave that? Anyone remember The Favourite? That film definitely was ahead of its time. In any case I am just living for this kind of thing and fingers crossed this trend lasts!

Is the first episode of Channel 4's "It's A Sin" SINcere or SINful in its representation?

 

As a fan of director Russell T Davies and his ability to craft characters made me feel that whatever way the first episode went; it would be well written characters. It certainly isn't his first rodeo. Queer As Folk as relevant as it will always be seems to fade away the more years go by, and even Russell's work on Cucumber and Banana from 2015 also seem oddly old as the face, and the pace of LGBTQ+ experience continues to run in bounds and strides among Millennials and now Generation Z who expect to be represented well, consistently, and properly. Gone are the days are well all just "happy with what we can get"! It is a new world for us all seize what we deserved in the past of when It's A Sin was set and what we deserve now, and always.

So, onto my perspective on the slice of the act that is It's A Sin. Sometimes gay characters can fall into the pitfall of binge carbon copies of each other but that's not what we're served on a gay London scene platter. These young people are vastly different and are all at different stages of exploring the world of sexuality. Nice. Cracking start so far. We meet Ritchie who has moved to London for university who attends clubs, and rapidly sleeps around confidentially and seems to be a fish in water for the London scene. Colin is a clean-cut reserved boy from Wales who longs for a boyfriend but doesn't pursue it, merely takes sneak peeks at men and has moved to London for a new job at an up-market Savile Row store. Roscoe is a boy escaping the wrath of his deeply religious African family and culture. I'd say these are the three we see the most of in the first episode, though there are many more I am sure we will hear more from later.

Films and television have covered being gay in the 80s and the aids crisis a lot. This is a fact and made me feel anxious that another one would be stale. This isn't to say that there aren't recent, fresh takes on a very important period in the last few years. One great example is BPM released in 2017. (I truly recommend a watch if you haven't). But It's A Sin feels different from the get-go and isn't hitting too many stereotypes as it leads us through the narrative. It doesn't glamorise every gay experience in a rose-tinted way because yes, it is a very romantic, fulfilling time getting to finally getting to live your truth but sexual experiences can be messy and I appreciate that from Russell T Davies. This is shown when Ritchie encounters his first-time and Ash, brash as anything tells him truthfully that "Your ass. It needs a good wash." Nothing like the reality being presented more, eh? I feel like that is great especially when young LGBTQ+ people are watching dramas and relying on them for accuracy to shape their perspective on who they are and how their lives are going to be when they are older.

What is a gay drama without Neil Patrick Harris working at Saville Row, slick and donning a moustache? He becomes a mentor to Colin and takes him under his wing by helping him normalise his feelings especially by introducing Colin to his home and his partner of decades Pablo. The relationship is sweet, non-toxic and a realistic portrayal of the different ways you can come to accept yourself with the help of others. We see Colin get a pep in his step from this, as do we see in Ritchie who has made a female best friend who he takes home with him to help "come out" to his family. Spoiler-alert: you think that he is going to come out as gay but, really, he tells his parents he is switching from a law degree to a drama degree. There is humour in that because as a viewer you sigh with relief, but also see it as a stepping stone for Ritchie because his parents are still very angry about this. I like that it shows that it is not just sexuality, but gender-norms which were a huge struggle at the time.

The fact that it is set in the eighties isn't thrown at our faces like Luke-warm water. It doesn't dominate everything like some period dramas can do. In fact, the show delivers it in ice cold doses in a glass and a kiss on the cheek every time they do. It's organic, and natural. Every scene is easy and pleasing on the eye and I was looking forward to every frame. We slowly see Colin lose touch with Henry (Neil Patrick Harris) who has become ill alongside his husband. We watch this unfold with a slow knot of unease build up in our stomachs. Contextually, we know what this means, but the world and Colin have no idea as to event is about to have its firm grip around the population. Colin doesn't give up and eventually is able to visit Henry in hospital and we see lots of tender exchanges that come from this but that is all I will say about that to prevent spoilers!

All the characters meet together towards the end of the episode in a dysfunctional but a warm introduction to what life can be for Colin. Roscoe is almost the leader of the pack and their flat is called 'The Pink Palace' and it is a busy, safe place that hosts crowds. It takes Colin barely five minutes to ask if he can rent a room there. Seeing all the different personalities come together is heart-warming. Starting to see their daily life together begin and seeing them all get ready in the morning is homely and feel-good. I can't wait to see more of that and see this develop more. Each episode seems to jump two/three years in time which is going to be a really fascinating experience and the way things change dramatically between each jump will be interesting to see.

See ya next time,

The Serial Television Watcher