#bridgerton analysis

[rainbow-sunshine-unicorn]

Life without Kate

vs

Life with Kate

[waltricia]

I love that Colin’s dream of his first meeting with Pen post-kiss is very much a parallel of the carriage scene, with mirrored dialogue and passion…

… but the ACTUAL first meeting post-kiss is the opposite of the carriage scene. The dialogue is incredibly (albeit adorably) awkward and stilted, he’s hiding his true feelings instead of confessing them, and it ends with her leaving him instead of joining him.

Good LORD he must have felt so shitty after the willow tree meeting. It really was the opposite of what he wanted to have happen. It almost makes me feel bad for loving that scene so much.

Almost.

[sophiebaek]

Bridgerton Brothers through the Seasons (ABC)

Anthony is always in the darkest tone to show he is the most serious brother as the head of the household. Presentation is very important to him.

Benedict has the most playful wardrobe with pops of color, patterns, and ruffles to coincide with his carefree and artistic nature. His cravat is also consistently tied incorrectly.

Colin has always been styled very boyish until s3 where he takes the lead of the season, showing his transition from young and naive to a man with experiences abroad. He has the most distinct change out of ABC.

[nostalgicmiscellaneous]

Colin is a lucky man. He's a rich man from a loving prestigious family, married the love of his life, and she is the richest self-made woman in the Ton - and it doesn't hurt that she's talented, gorgeous and has loved him forever- , she helped him mature his own talent and materialize his professional purpose, despite both being untitled third children, their son will be a Baron and heir to a big state, and he's regent of that state until his son is able to take care of it, a state that now is basically set to be well managed. Colin wins at life.

[myargalargan]

Polin's theme - a musical Polinalysis

Alright...I am very rusty with this stuff (I studied music theory ohhh 15 years ago or so) but I couldn't resist delving deeper into the subject of this post. Anyone else with more expertise in this area, I'd love to know your thoughts!

So, we hear a lovely soaring orchestral theme in the background when Colin and Penelope kiss for the first time, yes? To remind ourselves, here's the theme in full.

The actual theme starts at about the 18s mark, but I included those initial 18 seconds because what's going on in the strings at that point helps orient us in the proper key. There's a resolution to a D-flat Major chord around the 5s mark as Colin's starting to lean in. Given that, and the rest of the notes in the theme and how they relate to each other, I'm assuming we're in the key of D-flat Major. (And I'll get into why it's meaningful to know this throughout the analysis.)

The theme we hear in this scene is made up of two main musical phrases. The first goes like this:

The second starts the same but takes a slightly different path at the end. It sounds like this:

What I think is interesting about both of these phrases is that we neither start nor end on the tonic (aka the first) note of a D-flat Major scale (which is D-flat). The phrases start on A-flat and end on E-flat. Why is this interesting?

Think of the tonic note of a scale as "home." If you start a musical phrase on the tonic note, that gives you a good sense of where you are harmonically right off the bat. The phrase will always take you away from that tonic note, but what creates tension and movement in the music is that ever-present desire to return home.

The phrases in Polin's theme neither start us at home nor return us there. In fact, the last part of the first phrase descends within a D-flat Major scale from A-flat to G-flat to E-flat and then hangs there. E-flat is one note in the scale above the tonic. Musically, we desperately want to resolve from E-flat to D-flat, but the phrase suspends us in that desire. The next line, instead of giving us a nice solid D-flat, drops us back to A-flat and starts the phrase over again.

I think this is a beautiful bit of musical storytelling. Just like the music dances around the tonic note without ever grounding us there, Colin and Penelope's relationship at this point is heading into uncertain territory. And just as the tension in the melodic line builds and never quite resolves, we are left at the end of the kiss scene with a dramatic transformation having occurred in Colin and Penelope's relationship and no clarity as to what's next. (Except that we would desperately love for them to keep kissing. 😉)

Then we have Colin's dream. And in the dream, the moment his and Penelope's lips meet, we hear that theme again. But hark! Something's different...

It's subtle, but this repetition of the theme is a half-step higher than the previous iteration. Instead of being in D-flat Major, we're in D Major. I think this is cool for two reasons.

First, it sets the dream scene apart from the real kiss scene in a psychological way—by giving it a slightly higher musical tonality, it has a slightly higher emotional tone. There's a little less uncertainty, a little more freedom.

Which brings me to the second cool thing, which is that, historically, D Major was regarded as the key of triumph and victory. Composers liked to set marches in D Major. The "Hallelujah" chorus from Handel's Messiah is in D Major.

And what could be more triumphant than marching into your crush's firelit garden, brazenly confessing your feelings, and having those feelings returned in a passionate kiss? You can even hear in this variation of the Polin theme that the tempo is a bit more expansive. It feels more like a confident stride with your head held high than the previous iteration, which is just a touch more frantic.

Then Colin wakes up. His world has been rocked. The next time he and Penelope see each other is in the willow scene, and just before they duck under the willow tree's cover, we hear a third variant of the Polin theme (thank you to @i-know-the-endss for pointing this out!!)...

Two things that I think are interesting about this return of the theme are 1) we're still in D Major, and 2) the end of this variation, unlike the previous variations, actually resolves down to the tonic of the key (which in this instance is a D)!

What does this mean? Personally, I think it's a fun little tease. We're hearing the tune the same way it appeared in Colin's dream... Will this first real-life meeting between Colin and Penelope since the dream play out the same way? The phrase grounds us on a D at the end rather than leaving us suspended on the note above with a desperate need to resolve that tension. Does that mean we'll see a resolution to the tension in Colin and Penelope's relationship?

And of course we do not, which is why it's a tease, but I love that the music builds the excitement at seeing Colin and Penelope interact for the first time since their kiss—for the first time since Colin's newfound emotional conflict—in this way. Like dangling a little carrot for us and then yanking it away.

Finally, later in that same episode, we hear the theme one more time at the first party Penelope attends since her self-flagellation in Whistledown.

This time, however, we're back in D-flat Major. Back to the reality of the first kiss, where things were uncertain and unsteady, instead of in the hopeful triumph of Colin's dream.

This is also the shortest iteration of the theme we hear. It abruptly ends partway through the first phrase. In this case, we are left dangling on an F, which is the third note of a D-flat Major scale. Because we are not yet "home" on the third, we still feel a lack of resolution here. However, unlike the very first iteration of this phrase, where we traveled down to the second note of the D-flat Major scale and were left with a desperate feeling of wanting to resolve just one more note down to the tonic, the third note of the scale lacks the same urgency and sense of direction. We are unresolved, but without knowing exactly where we want or need to go in order to achieve that resolution.

I think this is a great bit of musical storytelling, as well. At this point in Penelope's arc, she just wants to move on and find a suitor, and she still does not believe Colin could ever fill that role. Later in that party scene, she makes a connection with Lord Debling, and her objective for a husband is renewed. Colin, on the other hand, is starting to pine for Penelope something fierce, but he's still battling with himself about who he is and what he really wants. The outcome that will bring them both happiness, while obvious to us viewers, is not clear to either Colin or Penelope. Thus, a dangling F in a D-flat Major key without a clear path home.

A couple more notes (ba-dum-tss) about this theme... I speculate in the musical transcription at the top that the first occurrence of this theme is in 12/8 time. This is because the strings that are running underneath the main theme have a dance-y triplet-like quality to them which made me feel like each beat of the theme is actually a quick three-count. I bring this up because the first movement of Beethoven's Appassionata, which Francesca indicates is a particular favorite of hers in her conversation with Lord Petri in ep2, is also in 12/8 time. Not only that, but the second movement of the Appassionata is in D-flat Major, the same key I postulate we're in for the first occurrence of Polin's theme. Nothing profound here...I just think it's neat.

And to anyone who read all this, know that I appreciate you deeply!! And I'd love to know what you think. <3

I wrote a part 2! | and a part 3!

[abitcaughtinthemiddle]

Bridgerton Parallels & Secrets

I’m doing a full series Bridgerton rewatch and I’ve discovered another season 1 parallel in season 3 that I have not seen talked about online.

In S1 E7, Daphne comes home after Marina’s pregnancy is revealed to support Colin and she takes him aside. She tells Colin that he should be lucky he learned of Marina’s secret before his wedding day (obviously this is about her marriage with Simon but it’s interesting how this comes back later).

Jump to season 3 and Colin learns of Penelope’s secret (her identity as Whistledown). And when does he learn of this? Before his wedding day.

In S3 E7, we see Kate offering marriage advice to Colin, saying that everyone has secrets. Here we get confirmation that Colin’s love for Penelope remains even through this conflict. He marries her the next day knowing her secret and accepting her still.

The difference this time with Colin is that his love for Penelope is true and deep, rather than a fleeting fancy. This secret Penelope held from him meant a great deal (due to his love of her and disdain for Whistledown) and yet he still chose to marry her.

And while Colin said he would have married Marina had he known of her pregnancy, the result would have been a loveless marriage and a strained relationship with his family due to their elopement.

Whereas, his marriage with Penelope would still be one of love (their confrontation the night before the wedding confirmed for Colin that Penelope believes she loves him) - regardless of their current conflict.

Furthermore, while Marina would have had Colin (or maybe not even told him) keep her secret, Penelope did have every intention of telling Colin about LW (before her conversation with Eloise in E6). And, once her secret was discovered, Penelope could not allow Colin to keep this secret from his family. Because she loves him.

Colin would have miserable having to keep such a big secret from his family and that is the biggest difference between Marina and Penelope: Marina would not have cared as much about Colin keeping a big Secret from his family but Penelope would. Because she also loves the Bridgertons.

[antichristsxbox]

Anthony Bridgerton x Reader!Wife (part one)

💟 very nsfw • teasing/drawn-out oral sex/slow sex/dirty lovemaking

Anthony moved his tongue from left to right over your throbbing clit. His fingers spread between your folds to keep you open for him to see where he needs to be. He tasted his way down your clit and through each of your folds individually, and slowly. While he was moving through your slick folds, his finger ran over your entrance and pumped inside of you. A few times in and out, and one more finger was added easily. Anthony moved his mouth back to your clit as his fingers focused on your entrance. You laid back and enjoyed your view. Frantic, slurping, hungry. The fingers inside pressed against your walls firmly and moved quickly. Your clit is eagerly sucked. Fingers curl up and down against your walls. A slow lick up and down, warmth pressed against your entire entrance, fingers curl up and slowly move out. Anthony shoots his tongue up your entrance and moves his fingers to your clit gently. Slow circles made by his fingers are an afterthought to the focus he needs to fuck you with his tongue. So warm, so attentive, yet not deep enough to satisfy fully. But, you would take this for days even if it meant you could not come for the duration of this activity. You could come by just recalling this sight later on. The focus and energy towards your whole womanhood. When it is overstimulating, it is also euphoric, and fleeting. So you can endure a session such as this with your legs propped open all afternoon. Anthony continued fucking you with his tongue for a moment more, before slowly licking back up your folds and up towards your belly button, your nipples; his warm and slick mouth taking in one nipple to contrast the cold of the other. The breeze over his previously licked spaces as he continues to move towards your other breast. Your legs still open and exposed to the cool air. Anthony moves back down in a trail of kisses towards your clit again. He starts with light kisses and works you up to a warm and wet state again, and leaves you saturated as he makes his way towards your breasts again. Your lips collide and you can taste yourself on him. Anthony finds your folds with his fingers, but inserts only one. His longest finger, though, and you can tell. He curls up and pushes deep inside you, and you attempt to clench around him, but you don’t have the girth you need from only one finger. It is becoming a bit frustrating, but you continue to clamp down as Anthony curls up. You ride it out on his hand as his lips crash into yours. It wasn’t incredibly satisfactory as an orgasm overall, and you craved another that would fill you up. You initiated a kiss from Anthony and moved your hand towards his briefs, which were still buckled and tied. He removed his belt and untied the front, and his member sprung to attention without the shorts needing to be pulled down. Anthony rearranged himself on his knees and guided your legs around him. He brushed his tip on your slick, wet entrance and closed his eyes in warm bliss. He moved, just his tip in contact, down from the top of your clit to the bottom of your entrance, and teasing you with only the tip going in, just for him to pop himself out again and make another lap to your clit. Your mouth was being occupied by him, as he darted his tongue in your cheek and occasionally bit your lip. This went on for a minute, until he scooted back from you, his warmth leaving your mouth and his inch or so inserted abruptly leaving you. You were not left alone for long, though, as his tongue quickly darted back inside you, going deeper than his tip previously was. This, combined with his fingers again on your clit, felt enough to thrust more towards Anthony’s face. Your legs were up for a brief moment, and you were going to let them down, but Anthony held your bottom up for himself as he realized he could thrust his tongue harder from this angle. The tongue still did not have the girth you wanted to come around, but it felt nice for your next orgasm, and it was intense warmth that moved quickly in and out of your entrance. — ((part two will be posted right after this))

[penspolin]

Benedict Bridgerton & Freedom: A Character Study

I think many would agree that Benedict Bridgerton's storyline in season 3 so far has been rather stagnant, potentially deja-vu-inducing. Benedict pursuing an unconventional love interest is nothing we have not already seen from the series. But despite the cyclical nature of Ben's plot, it could suggest more about his characterization (more specifically, his subconscious desperation) than what first meets the eye.

Art & Societal Detachment

Much of Benedict's plot in seasons 1 and 2 revolved around his relationship with art. Symbolically, art is a means of escape from the real world, just as it is a means of interpreting that world or one's place within it. Since both Colin and Benedict struggle with society (in similar, yet still different, ways), it only feels right that Colin feels a personal connection with writing while Benedict expresses himself through art.

It goes without saying that Benedict has poured his soul into his artistic pursuits; it is a part of him, and so naturally the revelation that Anthony bought his place in art school is a massive blow to his self-confidence. Colin experiences something similar: it's as if both brothers are struggling with this question of what it means to be themselves, not merely "Bridgertons" (side note, but the series title is interesting to me in that it calls upon the family's reputation, despite that reputation creating conflict in so many of the characters' stories).

Benedict makes several comments throughout the show that serve other characters' plots, but they speak so much to how he sees the world. For example, in S2 he tells Anthony:

"Poetry is the art of revealing precious truth with words."

By suggesting that poetry "reveals" something else, Benedict is implying that the world is made up of concealed truths. In other words, art is a means of seeing the world (and society at large) more clearly. Which brings me to...

Freedom (& Tilley Arnold)

Season 3 Benedict feels purposeless. The promotional material has indicated as much, and we saw it early when his only means of fulfillment (performing Anthony's Viscount duties while he was away on honeymoon) was taken away.

Season 3 Colin rejects society internally but tries to embrace it outwardly. Benedict has played the part himself before, but he's never pretended to enjoy it (see: his dancing at balls this season).

Ben is a rake, but he's not the kind that chases women to build his reputation. Colin was a rake to fit in, but Benedict is a rake because...well, because he wants to be. An important distinction. The similarity with Colin, however, is revealed through a conversation between Benedict and Mondrich.

Benedict views society as a cage outside of marriage. Once one becomes married, they become free. He even uses that word (a season 4 hint, perhaps? Could Ben's next pursuit of 'freedom' be finding the love of his life?).

We know Benedict hates these imposed restrictions. The most fascinating thing is that even when he has lost a huge part of his identity, Ben is still inherently searching for something, someone, to represent that detachment from society that he so craves. It's why he seems so disinterested in courting--why he runs anytime he is forced into the "societal" box. He is subconsciously searching for anything that removes him from this box...and who better than a bold, unconforming widow?

In my eyes, if Benedict falls in love with Tilley Arnold, that ultimately says more about him psychologically than any true bond between them. It is the idea of her that he falls back on so strongly after the blow he's suffered losing his art, the one thing that made him feel whole. She's temporarily filling a void.

Masquerade

Last point--the symbolism of masquerades. It's an interesting contradiction that concealing one's physical identity is actually exposing one's inner identity. That is to say, the writers have a chance to play with these ideas--self-expression, freedom, facades, escapism, etc.--at the masquerade ball (whenever we see it). It's such a poetic representation of what Benedict is searching for. I'd argue it's almost all subconscious at this point. Benedict seemed so sure of himself when he had art, but now the tables have turned on him--he's like Colin in S2: purposeless. The brothers' stories mirror each other, but the resolution of their problems is unique.

Here's hoping the showrunners/writers take advantage of the opportunity to do something more with Benedict's character in the second half of season 3. And fingers crossed this is all gearing up for Benedict as S4's lead. Seeing Colin in the spotlight in S3 presents a nice comparison with Benedict's own struggles.

[sunflowerofchaos]

Okay enough time has passed for me to throw my two cents into the Bridgerton discourse. Many are displeased with the season and part 2 specifically. I have been trying to piece together what my issues were with it and I hope that someone can find this and maybe find something that clicks as to why the season may have been disappointing.

I am a big polin stan. In fact I started watching for and because of them. Totally believed in the supremacy of their story because of their adorable friendship and the long build up ever since the pilot.

I loved part one. That will be controversial but I truly did. Was the pacing a bit off? Yes it was!

But did it give us the romcom atmosphere, the yearning, the love? Yes definitely! I'll even argue that part one, the going from "friendship to love" is done more beautifully in the show than in the book. People said one kiss is all it takes for Colin but that's really not true in the show. If you take account of the history we have because of season 1 and 2 it doesn't feel that way.

And the funny thing is that despite part one having a bunch of side plots, it worked. It was walking on the edge of being too much but it didn't cross the line.

Not yet anyways... so here are my 6 big errors of part 2

Like everyone I was way too hyped after the carriage scene, which leads to..

Error number 1: The break after the carriage scene set the bar too high. The long break filled with press and interviews further hyping up part 2 after that high consequently did damage to the reception of part 2. I believe that almost anything after the carriage would appear as a let down due to the wait. That's kind of unfair to the show I know, but it also makes sense as we, the audience would have abnormally high expectations that are difficult to please.

Part 2 is flawed and there is no arguing that. The beginning of it felt like a let down due to the split right after the carriage scene aka the climax of part 1 (pun intended) but fine objectively speaking episode 5 and 6 are nice. But then comes error number 2, the fact that we have 2 episodes where their love is clouded by the secret of lady whistledown. I feel like that was problematic to the pacing of part 2 (which is a problem in itself). The tension in episode 5 was necessary but also so much. So much that Colin literally questions her feelings. Then episode 6 instead of lifting that cloud sooner, continues to sour the polin scenes until the very end of the episode. The reveal should have been earlier in episode 6, so they have time to properly heal and be happy. (Seperate errors that I will adress)

Error number 3 is how the wedding fell under the dark cloud of the angst. I was wishing it would be the happy wedding of bridgerton and it was happier than Daphne's or Anthony's (not that we saw the real one) but the queen disrupting the wedding felt like another punch. One more time we were close to seeing their happiness but couldn't. (Something we barely get to see at all)

Then error number 4 (my personal enemy). The pacing of the conflict and healing. The way Colin was hurting was amazingly portrayed by Luke and I even understand how Colin wanted to hurt Pen with the entrapment comment and unlike many I won't hate him for it at all. But one thing where the writing really failed me is how polin shared a number of scenes that could've had a bigger role in their healing but ultimately didn't. I will list the scenes and how EVERYTIME we think they are a step closer to healing, they go back to square one and how that effects the scene where they eventually do "heal".

Exhibit A: The modiste scene. Beautiful confrontation and it really set up the possibility of them talking through it more but then it ends abruptly with Colin shutting down (however I'm inclined to give this one some saving grace because at least they talk)

Exhibit B: The wedding. Colin once again gives us hope that perhaps they're closer to making up but when Colin walked away with Pen and they had a second confrontation where she states that she is lady whistledown, I expected Colin to at least accept that statement and not revert back to being in denial about it afterwards and shutting down again. This could've been the scene where Colin starts to accept them as one. (Not to take away from the letters scene but it would have been a great foundation for it)

Exhibit C: The bedroom scene. Ah my personal nominee. This scene could've been so much more and no I don't mean a sexy scene. This scene could've been thee scene where they talk. It would've felt more powerful to have the talk that they have in Bridgerton house in their bedroom instead. I can't stress how it would've fit perfectly and been book compliant. If they had utilized this scene better, then polin being at Fran's wedding the next day would've have felt more emotional and helped convince us of them gradually solving the conflict. Netflix, that wouldn't even take from your running time. Pen could've confronted him there as she did in the book. Colin could've faced his jealousy right then and there instead of having Cressida point it out for him and still not facing it.

Exhibit D: Bridgerton house. Yes they do talk here and you can see that scene as the one where they settle things prior to the ball, BUT one it is too close to the end and it feels cut short which frankly doesn't seem enough for the viewers to believe that they now have joined hands. This scene was personally not enough for me. I think if you expand the conversation it would be much better or again if you put this dialogue in the bedroom scene it would have been powerful and helped the pacing as the bedroom scene was in the first half of the finale and this one way too close to the ball.

You'll see that every scene post reveal is following the same frustrating pattern of them brushing over the problem. You in turn get your hopes up for it to develop further into forgiveness, then voila Colin shuts down and goes back to square one. That was extremely frustrating for me as a viewer as it happened multiple times, especially since it seems ridiculous to leave the conflict in the air till the last 10 minutes when they have had several opportunities to solve it sooner. Colin's peace at the end comes too suddenly as those previous scenes don't see him gradually make peace with the matter but always shutting down and running. Those scenes could have been used to show the steps of him gradually getting over it, forgiving her and facing himself.

Error number 5. The side plots and overall pacing.. As I said part 1 walked the fine line but part 2 crossed it. What do you mean that we get more scenes of secondary characters than polin getting over their conflict and having some time to see their happiness. That messes with the pacing, making part 2 seem to want to cram up as much plot as possible. You have Francesca's love match, Benedict's exploration, Eloise's general conflict and dynamic with Cressida, Cressida's own story, Violet's arc, lady Danbury and her brother's conflict, the Mondrichs arc, the solicitor, queen etc...

This season was simply TOO ambitious for its own good. It tried to do too much. Suddenly it didn't feel like polin season but rather the season to set everything up for the next season and that really hurts as a polin fan.

Finally error number six which is by far the most famous error. The lack of happy polin. As I explained episode 5 and 6 while showed some happiness it didn't feel real because of the secret constantly hanging around. They were happy but you as a viewer might have felt more worried and had a more bittersweet feeling. Especially when you see Colin get more and more anxious and insecure during those episodes. Then episode 7 and 8 sees them miserable most of the time. That sucks even though it is necessary it still sucks. Sucks because after all that put together we don't get to see it pay off. 4 episodes of angst and they give you one scene that suddenly heals it, 10 seconds sexy scene and an epilogue scene where they suddenly have a baby. It is simply not enough to balance out the dark vibe of the entirety of part 2. That is why thousands of people are hanging onto the petition to release the deleted scenes. So we can finally see the pay off of the angst and can properly balance out the emotions that came with it and move on.

Not to mention the absolutely wasted confession of Colin Bridgerton.. when he said I love you at the end of episode 8 I was already thinking "with everything that you are, everything you have been and everything you hope to be????!!!" But then he didn't say it and I was confused as to why they would possibly not use THEE love confession??? Since that's Bridgertons thing??? Having incredible confessions... And it's not like it didn't fit in fact it would have fit so well. At this point if you squint you might imagine hearing luke continuing the line for God's sake. That remains a mystery that makes no sense to me.

So by now I don't think anyone got that far and I can't complain because I wrote this for me. To structure my thoughts and make peace with it. And so to sum up these errors: the split, the structure of episode 5/6, the wedding sadness, the way the conflict/healing was handled, the pacing with the side plots and the lack of happiness to counteract the angst. I will revisit part 1 happily and just stop after the mirror lol. I will look forward to seeing polin happy in 2 years I guess.. and I do believe that when season 4 comes out and they're happy and are hanging around we will accept season 3 way more and come to hopefully love it.

[dusty-daydreams]

Genuinely do not understand how people can just say Penelope is this girlboss who is owning half the Ton when she's fueling and perpetuating the very culture that she is a victim of herself. Which to me implies that she condones and approves of that culture in some way, even the parts of that culture that hate her and her family. Like Penelope has some serious self-hatred that she needs to deal with, and LW is a big part of that.

Chef’s kiss anon!

Penelope’s actions are not feminist. It is not feminist for one individual noble entitled woman to make money off exploiting the systems that oppress women.

An individual woman succeeding does not a feminist action make.

Margaret Thatcher was the first female prime minister of the UK, ergo a successful woman, and she despised being thought out of as a feminist, and enacted a political agenda that halted political progression for a variety of oppressed groups.

As for Penelope believing in the oppressive lies of her society, I definitely agree. She loves the romance of it all, which is her perogative but she is brutal to people that step out of the social status quo.

She might justify it to herself as having selfish motivations, of wanting to protect Colin from Marina’s lies and wanting to protect Eloise from the Queen, but it hasn’t escaped my notice that the two big scandals that break at the end of the first two seasons were first, that a woman stepped out of line by getting pregnant out of wedlock, and that a woman stepped out of line by visiting political thinkers (or radicals as LW brands them) unchaperoned.

Then there is the fact that Penelope is discouraging Eloise from visiting her political lower class friends before it even becomes a thing she might write about. Even Penelope in her Penelope persona is disapproving of Eloise actively living the alternate life she has been talking about.

The ways in which Penelope is LW and LW is Penelope is super messy and layered, and I really hope the show doesn’t chicken out in engaging in the ways in which Penelope is a nasty person actually.

[rainbow-sunshine-unicorn]

“Please do not make me love you more, I do not think I could bear it”

I talk a lot about Anthony being smitten (because he absolutely very much is) but I don’t think I’ve mentioned enough about how much I love the pure adoration in Kate’s eyes every time she looks at Anthony. Her entire face lights up every single time she’s looking at him, with her eyes sparkling, and a smile wide enough to make your cheeks hurt just from looking at her

THAT IS A WOMAN UTTERLY IN LOVE, YOUR HONOUR

She really said, “There will not be a day where you do not vex me” when Anthony asked her to marry him, and it turns out all she’s truly vexed by is how much she loves him

[waltricia]

Regardless of whether anyone actually reads this, I need to show appreciation for the writing, blocking, and editing of the last scene of 3x03, “Forces of Nature.���

Recently, I noticed that the LW line “this author is captivated” was very specifically placed over a shot of Colin and I knew it was intentionally done to convey the double meaning of the narration being about her and him.

Since then, I’ve realized that the same thing is happening throughout that entire LW narration. And it is fucking BRILLIANT.

So, first of all, this is the transcript of the narration:

“This author believes that all of man’s greatest inventions are nothing more than a distraction from what is most natural to us. Our instincts. The innate animal impulse that is inside even the most sophisticated of us. For when all is said and done, our nature will always win out. It seems Lord Debling’s instinct has led this man of nature to the most surprising pick of the season in Miss Penelope Featherington. Suffice it to say, this author is captivated. For in the battle between man and nature, it is quite clear that the battle is in fact between man and himself.”

Now I’m going to break it down with captioned stills so that you can see which words line up with which frames and I’ll explain what I believe it all means.

“This author” - When it’s first said, it’s on Pen. The second time it’s on Colin. I think there are several meanings here. Firstly, she’s Whistledown and she’s published. He will be, assuming he publishes his travel journals or whatever. Secondly, I think it highlights how they will be united, in the Whistledown storyline along with everything else. There’s a third meaning, but I’m going to get back to it later, once we get to the second use of “this author.”

This is the Innovations Ball, so on the surface, LW is speaking about man-made technology versus the natural world. But with the introduction of “man,” the shot immediately cuts to Colin, so the second layer of the narration is about him. All of Colin’s invented personality traits are a cover, hiding his true self- his sensitivity and his feelings for Pen. Obviously, this echoes what she wrote about him in 3x01, but it’s different. The context is the same, but this time, she’s not speaking directly about him, and really, she may very well not be thinking about him at all in writing it. After all, she still doesn’t know about his feelings for her. But we know. And the feeling of what she’s saying this time is less jarring; more, fittingly, natural. Because he’s starting to confront all of it as well.

In this shot, Colin has been walking across the room to get to Pen. There were people on his right, obstructing his view of her, but as LW says “natural,” Colin passes those people and, though we cannot yet see Pen, we can tell from Colin’s face that he finally clearly can. She is what is most natural to him.

He comes up to her and says that he has a question for her. The narration starts again. But on this shot, it’s only the one word, “our.” Aside from this just being romantic, I think it highlights that the narration is about both of them. But I also think that it’s not just about them. It feels to me as if, metaphorically, it’s written by both of them. Hence, my emphasis on the importance of “this author.”

We cut to our first close-up of Colin in this particular intimate sequence of close-ups. And we’re really in his perspective now, as he’s struggling to manage his feelings.

Again, he had been masking, trying to be like the other “sophisticated” gentlemen.

But a shift is occurring within him.

And this where I really hope there is at least one other person out there paying attention because all of the elements are coming together to tell us something incredible here. We have our beloved Julie Andrews delivering the line with a profound heaviness. We have Kris Bowers’ “Call Me Simon” coming to a close, sounding like a clock striking midnight. And we have the decisive sentiment of the words themselves. I'm convinced that the words “done” and “win out” being said on Pen speak to the finality of Colin’s feelings. If there was uncertainty before, it is gone now and there is no turning back. He is in love with Pen.

But before Colin can say anything else, Debling steps in and takes Pen away to dance.

Side note: Amazingly, I can back up my theory with this shot and another one of my theories:

I had said, when the trailer came out, that when true red shows up behind Colin, that indicates his love for Pen. This is the first time we see that happen.

But anyway, back to Whistledown…

Debling is the literal “man of nature,” while Colin is the metaphoric “man of nature.” Both have picked Pen.

We’ve finally come to the second “this author” and here’s the third thing I wanted to say about it: Possibly my favorite thing about this sequence, is that it acts as a vehicle for the representation of the Polin role reversal. From one end of the Whistledown narration to the other, Pen and Colin literally and metaphorically switch places, seamlessly. They exchange their physical places in the room. She’s the wallflower, then he’s the wallflower. She’s the author, then he’s the author. In a metaphorical sense, they’re both writing this Whistledown piece. This whole sequence serves to show us how Colin and Pen have really been equal this whole time. They’re just star-crossed. It’s like what Luke has been saying in interviews, Colin and Pen keep missing each other. They have brief moments where they eclipse each other and then they slip right past until the next time they orbit around to each other again.

Ok, here’s the final stretch, and it is a fucking fascinating maneuver:

The battle isn’t between Colin and Debling. In fact, Debling doesn’t signify at all here. I’d say there are actually three other battles being referenced: Colin and himself, Pen and herself, and Colin and Pen. The first “man” of that sentence is said on Colin, while “nature” is said on Pen. So in the battle between Colin and Pen- for there is a battle, as Cressida will mention in 3x04 when she says “Eros and Psyche, battling it out”, and also there will be more blatant battling in part 2- the real battles Colin and Pen are facing are the ones within themselves.

Of course I’ve already written about Colin’s battle with himself.

The reference to Pen’s battle with herself is particularly interesting to me. At first, I didn’t see it and I didn’t understand why that bit of the narration was spoken over the Pen and Debling dance instead of over Colin. Then I realized that the second “man” of that sentence is said directly on top of this shot where, again, it’s not about Debling; it’s her face we’re seeing. Then, Debling spins her and the “himself” is on Pen too. And I know I’m right about this because the shot was in the trailer and I watched it so many times. And I noticed that Sam Phillips is very specifically looking away from the camera in this moment. I figured it was because we had to know that the moment was about her. And I was right.

Pen’s journey is her reconciliation with herself. Colin and Pen really have the same inner battles. They both need to drop their masks. That’s why the mirror scene is going to be so important- it’s about exposing and embracing the bare parts of both of them. They are already equal and united. They just need to see it.

Ok that’s it. I’m done. I got it out. And I literally can’t add any more images to this post. To anyone who will have read this fuckin novel I just wrote, thanks for sticking around. These ballroom sequences are particularly difficult for the cast and crew to do, and there is obviously so much complexity in this one, so I feel like it should all be acknowledged. Someone has to acknowledge it, and if that has to be me, I will gladly continue using up my Friday afternoons to do so.

To the cast and crew, to the captain of the season 3 ship, Jess Brownell, to the director, Andrew Ahn, and writer, Eli Wilson Pelton, to everyone’s favorite choreographer/movement director, Jack Murphy, to Luke, Nic, and Julie fuckin Andrews, I see you and I love you. Please keep doing what you’re doing. It’s all worth it. ♥️

[sophiebaek]

An over-analysis of the Yerin Ha as Sophie Baek announcement video

Because I literally can't be chill about the official announcement and love being delusional, here's me reading into everything!

Fitting for our first shot being of Yerin walking and stepping into her role as leading lady

Very similar to how we will see Sophie entering the masquerade ball

The silver shoe is a direct reference to The Lady in Silver and also feels very Cinderella

I've already seen people complain about the nails and chill. Clearly this is not Yerin in costume as Sophie. I think production has heard the criticism loud and clear about the s3 styling; there is a whole new makeup and wardrobe team for s4 (which is good in sense that it'll be different from past seasons but also that they're getting a team that knows how to do make up on Yerin. I've had my make up done in western styles and it just does not suit my face and features.)

ANYWAYS my point are the rings :)

We see two silver rings that represent Yerin playing essentially two different characters (The Lady in Silver & Sophie Baek), but long story short it's really just one person

Yerin looks through clothes and stops at a silver dress and gloves; representing the one she will wear to the ball (But obviously not this one in the video)

She also holds the gloves themselves as they are the object that Benedict uses the find her and is the catalyst to aofag pt 2 in the book.

The glove part is also one of my most favorite moment of the ball bc 👀

Just like Benedict, we don't fully see her face at first

A reference to the mystery of Sophie/LIS and our long awaited anticipation of seeing her on screen

As we finally get to see Yerin's face, we see she's in pink

Now as an individual who's degree made her take color theory I love color symbolism

Pink is a delicate color with white but it also has the boldness and power of red

It's a color that's feminine, romantic, and tender

Pink also is associated with healing

I love that they chose to introduce us to Sophie/Yerin in pink because the color represents everything Sophie is and what's important about her character

Lastly I noticed this sparkly beading on her sweater that's hidden under Yerin's hair...

This could be another nod hinting that Sophie is the Lady in Silver

One thing I observed is a good amount of people did not know who Sophie was.

This announcement was made because filming will be starting this month and the paps will for sure be there, but also it's for fans who've been waiting years for sophie (book fans mostly)

The caption to this video only list Yerin as Sophie

Fans who go in with no prior knowledge do not know Sophie = Lady in Silver and I think the show is making a point on keeping it a mystery even though we'll probably know she is the LIS in ep 1

Welcome Yerin Ha and Sophie Baek 🤍

You are already so loved and thank you for representing us Asian girlies xx

[wallflowers-in-the-wind]

Eloise and Benedict bonding as sibling while sitting on the swings will always be one of my favorite Bridgerton moments.

Having a sibling you can rely on and confide in is rare for many of us but for those who do have that it’s a wonderful thing.

[myargalargan]

A musical Polinalysis part 2

So I spent hours yesterday writing an analysis on the music we hear when Colin and Penelope first kiss, only to realize a couple hours later that...the kiss isn't the first time we hear that theme!! So of course I had to keep writing about it, because I just think this is so cool...

Alright, check this out... The very first time we hear the theme is the very first time Penelope sees Colin at the beginning of the season. We've just seen Colin flirting with that gaggle of ladies; he approaches his family, and as soon as Pen catches sight of him, we hear this:

But wait. I'm going to back up a sec, because in my last post, I said this was Polin's theme:

Pretty different, huh? So what's going on here?

Well, in the first transcription above, I have us in G Major, starting our theme with the familiar intervals of the fifth note of the key going up to the tonic, or first, note of the key, and then up to the second note (in this case, from D to G to A) and so on for the next few notes. Everything sounds normal here except that we're in a different key (G Major for the first sound clip, D-flat Major for the second one).

But then what happens halfway through with all those # marks? These accidentals are called sharps, and they indicate chromaticisms in the key, or notes that don't naturally occur in the key that we're in. Another way to write this so that the notes do naturally occur in the key (it sounds the same as the first transcription above, it's just expressed with a different key signature) is this...

The part I've circled in red indicates a key change. At the beginning, we're in G Major. Halfway through, we move into g minor. These keys are related in that their scales start on the same note—the tonic of both keys is the note G. However, the scales themselves do not sound the same—these keys do not contain the same notes. Here is a G Major scale:

And here is a g minor scale:

Notice that the g minor scale sounds a little darker, spookier, maybe more intense. This is the typical quality of minor scales in general—they tend to have a sadder sound.

So, okay, that was a lot of music theory, but what does this all mean for our Polin theme? I think it's so compelling that the first time we hear this theme, we have a key change halfway through from major to minor—from a relatively bright, happy sound to a more intense, morose sound. This is the first time we see Colin and Penelope occupying the same space this season, the first time Penelope sees Colin after his return (and it's honestly unclear to me whether Colin sees Penelope, as well...he looks in her direction but doesn't seem to recognize that she's there?). And the first statement we get of the music that is going to represent them throughout the next few episodes has a dramatic twist halfway through! Much like their relationship? Much like season 3 itself?? I think this speaks of conflict and intrigue to come—for these first four episodes and the season overall.

But that's not all! At the end of this episode, we have Colin and Penelope making their arrangement for Colin to help Penelope find a husband. And as they shake hands and share meaningful looks, just before Lady Whistledown's narration starts the close-out of the episode, this is what plays in the background:

Unlike the very first statement of the theme, this one does not start in a major key and then modulate to a minor key—it is fully minor from the beginning (the key of f-sharp minor is my guess).

Knowing what we know about minor keys having a sadder, more intense sound, this statement of the theme is clearly meant to convey conflict. There are two big conflicts being set up in this moment between Colin and Penelope: 1) the arc for the first half of the season, of Colin trying to help Penelope find a husband and oops falling in love with her instead, and 2) the arc that we'll be seeing in the second half of the season, of Penelope's secret identity and what that means for her and Colin's relationship. The music is telling us, as Colin and Penelope grasp hands, that we need to be wary.

There is one more iteration of this theme that I want to talk about, and it occurs during the scene when Penelope meets Colin at Bridgerton house for one of their lessons (the scene that is infamous for Colin putting his hand on Pen's back Colin what are you doiiiiiing we are so scandalized!! *gasp*).

The moment Colin greets Penelope in the entryway, we hear this very softly in the background:

This abbreviated theme repeats several time throughout the above scene, and it builds as it's repeated. First there's a couple measures of the theme, then a couple measures without, then the theme is stated again, followed by another couple measures without, and then we get three statements of the theme one right after another in different instruments, until Colin and Penelope make it to the drawing room.

In sharp contrast to the intense, doomsday-foretelling version of the theme we got at the end of ep1, this version is light and playful. We're back in a major key—and in fact, we seem to be in A Major, which is the relative major of f-sharp minor (the key we were in at the end of ep1). That is to say, f-sharp minor and A Major share a key signature—they contain the same notes—but since the A Major scale starts on an A rather than an F-sharp, it has a brighter, cheerier sound.

So here's what I think is happening with all this musical storytelling. In the beginning of the first episode, we get our first statement of Polin's theme, starting in a pleasant major key sound and turning sharply into a darker minor key sound halfway through. This foreshadows Polin's narrative arc, and the idea of more drama to come in the second half of the season, just as Colin and Penelope think they've found their happiness.

Then at the end of the first episode, we get a statement of Polin's theme entirely in a minor key—a callback to the second half of the first instance of their theme at the beginning of the episode, and another moment of foreshadowing which sets us up for the main conflicts we will see this season and in Polin's relationship. Episode one is all about setting the stage for the rest of what's to come.

Then at the beginning of ep2, when we hear the theme again, it's like we're being oriented back towards the first half of the iteration that we heard at the beginning of ep1. It's saying, "Okay, the music in ep1 told you to expect both joy and danger, and now here we are at the joy part." We're having fun right now. The romantic tension is still fairly breezy at this point. We haven't yet gotten into the gut-wrenching angst of watching the best friend we accidentally fell in love with about to get engaged to another man.

At the same time, the build-up of the theme the way we hear it in the scene at Bridgerton house—the way we get multiple statements of only the first couple measures—also creates some tension. The theme keeps getting cut off partway through, so naturally we want to hear more; we want to hear it keep going all the way to resolution. Keep in mind, up to this point, we have not yet (I don't think, anyway...) heard the theme all the way to resolution in a major key. So far, we've heard the theme: 1) start in a major key and end in a minor key, 2) start and end in a minor key, and 3) start in a major key but not end at all. And when do we finally, finally get to hear the theme all the way through in a major key, without all the twists and interruptions that we've experienced previously?

Polin's first kiss.

And it's beautiful, and soaring, and feels something like catharsis...

But of course, even hearing their theme all the way through leaves us wanting more, because at that moment, their arc is still just beginning.

analysis part 1 | analysis part 3

[bitchcakegreen]

Not to fight…but Colin didn’t love Mariana. He loved the idea of Mariana. He believed himself in love, but once he was away from the situation he understand what he felt wasn’t love.

Mariana was a novelty in the Ton. That’s why she had many callers. She chose Colin because he was young & handsome & easily led.

This is what caused a shift in Colin & made him “harden himself” as he says to Cressida.

It wasn’t until he understood his feelings for Pen did the blinders fully come off.