In the new season of Bridgerton,  fan-favorite spinster gossip columnist Penelope Featherington (Nicola Coughlan) finally reunites with her longtime boyfriend Colin Bridgerton (Luke Newton), and it's just as exciting as the first two (or three). transmitter. this is the case) seasons. Beautiful people, beautiful clothes, trees and fruit are always perfectly manicured and blooming, and the story is set in green, smoke-free London, you wouldn't know it was set during the Regency.  


 All the slippery smoothness  we got from Bridgerton. It has a multicultural problem; A small (to me dubious) world has been created to explain the involvement of black people, which creates the  feeling that the world is, on the one hand, a bit biased towards history, and generally not. is limited by time and space. It's part of the series that's fun to watch, and other shows like Pirates on Apple TV+  have followed the entertainment trend with varying levels of progression. But this time, after watching part of the episode that aired as the first episode of the new season, I - like the "ready" Penelope - admitted that I was standing at the edge of the endless room here, looking at the rich. and good. -People dress to dance and compare with each other. After the events of the fourth movie, which took place over lunch at the musical and all, I found myself wanting a different place and different risks. The match between Eloise Bridgerton and the young press in season two was an odd one, but God help me: I missed it. Just as there is no season other than spring in Bridgerton's poem, there are no truly poor, working-class, or neutral characters in the play. Even the servants  have no life. There is everything to impress the beautiful people in the ballroom. Of course, the material (Julia Quinn's Bridgerton novels) is also similar. Few people became the focus of plot attention who were not members of the aristocracy, or at least  the illegitimate children of  the nouveau riche or aristocrats like Penelope. Impending doom is always kept at the center of the narrative; is an illusion and ultimately not a threat to the Bridgertons we care about.


 The family was financially secure thanks to the careful management of their estate by their late father and subsequently by their older brother Anthony. If they have unhappiness, it is in their hearts. The issue of financial devastation for non-Bridgertonians posed frequently on pages and screens, but it never seemed to materialize. Kate Sharma, the protagonist of the second season, has a "shopkeeper" husband who is forced to marry his sister off to politicians in order to receive financial support; But the heart of the story is comfort and wealth. In fact, in the third season, the Mondrichs (Martins Imhambe and Emma Naomi), one of the few working-class characters of the first two seasons, are used and turned into young actors through the death of a distant relative. Now the Mondrichs are no longer a boxer and his wife, or even women's club owners like in season 2: they're leisure aristocrats like everyone else. To maintain their aristocratic etiquette, they must stop their work and focus on organizing the best  parties. This means that the little escape from the hustle and bustle that the Mondrichs provide is no longer possible. We turned to the edge of the ballroom to see who was watching whom again! My feet are tired.


 This strict class constraint is one reason why reading historical romance novels and  their television adaptations are so appealing to some. But not everyone enjoys this type of historical romance. A good example of historical romance writing is Joe Baker's "Longbourn," which revisits Jane Austen's "Pride and Prejudice" and tells the plot from the perspective of Bennet's servant; It tells the story  between a woman and a romantic servant. This is not a Downton Abbey style "up/down" story, it is set in a mansion and the servants work in the mansion and become part of the upper class. This is the story of  servants working through a family that cannot be fulfilled. Maids had to remove cobwebs from the corners of  guest rooms on short notice, afraid to deal with guests' additional laundry and wait out the night while the  family went dancing. They are weak and continue to fight. This weakness becomes part of the love story. For example, the hero lights a fire for her every day before waking up, which is one of the reasons why the hero loves her.