BRIDGERTON Season 3 – Review by Susan Granger

Gentle reader, if you have not seen the first two seasons of the Regency-era melodrama “Bridgerton,” you’ve missed some truly delightful television. Producer Shonda Rhimes’ Shondaland series is now heavily into Season 3 with a cliffhanger concluding Part 1 – and Part 2 scheduled to commence on June 13. Re-imaging a diverse 19th century England, it focuses on aristocratic families finding proper husbands for their ‘eligible’ daughters while seeking favor from Black royalty: “We were two separate societies, divided by color, until King George fell in love with one of us,” explained influential Lady Danbury (Adjoa Andoh) in Season 2.

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BRIDGERTON Season Two – Review by Susan Granger

When Bridgerton debuted in December, 2020, the Regency-era costume drama quickly became one of Netflix’s most popular shows, reaching 82 million households. Admittedly, its second season lacks the sexy spice of the first, focusing on far less interesting characters. Nevertheless, its Gossip Girl-meets-Downton Abbey concept is addictive for bingeing. Reimagining 19th century England, it once again focuses on aristocratic families seeking favor from Black royalty.

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BRIDGERTON – Review by Susan Granger

While Netflix’s Bridgerton sprawling mini-series may seem like Gossip Girl-meets-Downton Abbey, it’s unique in reimagining 19th century Britain with aristocratic families seeking favor from Black royalty. Produced by Shonda Rhimes, it’s fun, frothy escapism. According to showrunner Chris Van Dusen, regarding that era’s excess, beauty and decadence: “It was over-the-top: the costumes, the jewels, the glittering ballrooms, the country homes.”

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WOMEN MAKE FILM – Review by Diane Carson

In Women Make Film, writer/director Mark Cousins has shouldered a monumental task. First, he promises A New Road Movie Through Cinema by looking “at film through the eyes of women filmmakers.” Second, he’ll accomplish this in forty chapters, not devoted to directors’ lives, not chronologically organized, and not exploring ways women are different from male filmmakers, though that emerges implicitly.

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