#it's like how you can watch bridgerton and tell it's american and not actual regency lit from the dialogue

[literallybyronic]

da:tv gameplay reveal thoughts (SPOILERS BELOW)

so. combat is basically ME, voice acting was pretty good though I'm iffy on Neve (personal preference but she sounded a bit stilted) and there were a few lines that were giving a little "what's a paladin" but it could have been worse. i still don't like the figure proportions, it looks too ValorApexWatchy, but it's not as bad without the exaggerated animation and camera work of the initial trailer. I also wish they'd showed combat when you have more than one ability. the PC was a rogue and you have a bow with recharging-over-time quiver plus dual wielded sword/dagger that you can switch between. looks like you can either hotbutton your abilities or select them from the pause wheel along with companion stuff. 3 potions, but there are breakable vases that drop them. overall more action-adventure than i really wanted but not unplayable. environment and setpieces look great. convo wheel is the same as DA:I, with stoic, comedic, etc choices, but seems like fewer options per choice. that could be contextual though. facial animations are quite good. the character design is really what's bugging me out of anything. it just seems wildly inconsistent in how cartoonish it looks. varric looks amazing (except for the dark hair which is weird), but solas looks spot on in some scenes and super stylized in others. idk. it looks not as good as i hoped but not as bad as i feared. i'll still play it. it just feels like a lot of the design and mechanical choices are derivative. the dialogue was also a little terse? but it was a big dramatic scene where the characters are rushing around so that could be why, but it just sounded... idk, perfunctory? varric still has his little quips but aside from that the dialogue was just a little... artless. but yeah, it wasn't nearly as bad as the character reveal trailer made it seem.

[valiantstarlights]

[Dreamling Week Day 5: Jealousy] The Feeling of Freedom

This is from my Dreamling Hamilton AU where Hob lost his memory during the American Revolutionary War and now goes by Captain Gideon "Leon" Roberts.

You don't need to read the story in AO3 to understand what's going on. 😊 Just imagine it's a Regency AU but Hamilton is in it.

CW: period-typical homophobia because this is set in 1789 Albany, New York.

(Because I fucking love Bridgerton's idea of playing modern songs as orchestral music during balls, this piano cover of Only Love Can Hurt Like This by Paloma Faith is the song I imagined Dream and Hob danced to, but at 75% speed. Please listen to it! It's very lovely, and the song's lyrics are highkey dreamling vibes. 🖤)

"May I have this dance?"

Dream's head snaps towards Colonel Hamilton, who has jokingly (and with an unnecessary gentlemanly flourish), held his hand out to Captain Roberts.

"No, Alex," Captain Roberts replies, amused at his friend's antics but keeping his hands firmly behind his back. "Go dance with Mrs. Hamilton. I have no intention of having my feet be stepped on tonight."

"Slander!" Colonel Hamilton exclaims, eyes bright and merry and not offended at all. "You forget, my dear Leon, that I was one of the people who taught you how to dance."

"And you forget that it was Monsieur Lafayette who actually put me through my paces while you and Laurens danced like a couple of attendees at a bacchanalia."

"Oh, come now, it's a slow song they're playing next," Colonel Hamilton wheedles. "And yes, I have asked the lovely Ms. Jessamy to tell me the order of the songs to be performed so that I may know when to ask you for a dance, for I know you dislike fast-paced music with a passion. You're welcome. Now dance with me to gentle the sting of your cruel words."

Dream takes this as an opportunity to smoothly insert himself into the conversation. And as the party's host, he can do whatever he damn well please and Colonel Hamilton will just have to grit his teeth and deal with it.

"Ah, Captain Roberts, there you are," he says, and steps next to Leon. "Excuse me, Colonel Hamilton. If I might steal the good captain away? He has promised to dance the next song with me."

Captain Roberts hides his surprise well, but Colonel Hamilton's brows shoot up to his forehead as he looks between Dream and Captain Roberts. "Really."

"Yes," Dream says simply, then holds out a gloved hand for Captain Roberts to take. "Shall we take our places, Captain? The song is about to start."

"O-oh, yes. Yes, of course," Captain Roberts says. He takes Dream's hand and allows him to lead them both to the dance floor, Colonel Hamilton following them with his gaze.

There are other couples already on the dance floor, most of them ladies who are laughing gaily with their friends at the opportunity to be able to dance with one another at a formal ball. Dream knows from their daydreams which ones actually have romantic feelings for each other.

He is glad to be able to provide this chance for them.

"When exactly did you ask me to dance, Mr. Murphy?" Captain Roberts asks when they were out of earshot from the colonel. He doesn't sound angry at Dream for being presumptuous, at least. Just confused. "Have I missed a social contract entirely? Again?"

"No," Dream says, keeping his voice low in case anyone is eavesdropping. "I was only trying to remove you from your conversation with Colonel Hamilton. I couldn't help but notice that you looked uncomfortable."

His body language certainly implied as much, though Dream does not divulge the entire reason for his interrupting the conversation, which is that he doesn't want Captain Roberts to dance with another man. Even if that man were his friend, Colonel Hamilton.

Especially if that man were his friend, Colonel Hamilton.

"Ah." Captain Roberts glances to the side where Colonel Hamilton is still watching them curiously. He shuffles his feet a little. Then, catching himself doing it, stops entirely. "It's not that I am uncomfortable with him. He is my friend, after all. It is only..." He sighs and lowers his voice. "I do not want to dance with him. If I were to do so, I am afraid it will only dredge up old memories that have grown more painful with time. We...had a mutual friend, back in the war. Alex always used to dance with him."

In his mind, Captain Roberts is remembering a young man laughing together with Colonel Hamilton, their heads bent together as they danced near a bonfire, fingers intertwined and eyes speaking volumes of their regard for each other.

Dream recognizes the man as Lieutenant Colonel John Laurens. He had often dreamed about abolishing slavery and growing old with a red-haired man. He has been in his sister's realm for seven years now.

Through Captain Roberts's memories, Dream also sees Colonel Hamilton's devastated features when he received the letter from John Laurens's father, informing them of John's death.

He sees how Captain Roberts, along with Mrs. Hamilton and the Hamilton children, slowly but surely coaxed Colonel Hamilton back to living his life to the fullest.

Alexander Hamilton may never be the same again after John Laurens's death, but he would have been in a worse state had Captain Roberts, their mutual friend from the war, not been there to help him recover.

It is exactly what Hob would have done.

And while the man in front of Dream might be calling himself Captain Roberts now due to his memory loss, in Dream's eyes, he will always be his beloved Hob Gadling.

"I see," Dream says. He spends a moment wondering if he was in the wrong about interrupting the two men's conversation the way he did, now knowing about Colonel Hamilton's regard for the late lieutenant colonel, but decides that he does not regret his action at all, not when it gave him this opportunity to dance with Captain Roberts. "I hope Colonel Hamilton knows what a good friend you are to him."

The captain chuckles and tugs at his left ear. A gesture that is becoming beloved to Dream, as it indicates the man's shy pleasure. "I tend to remind him when he has passed the three-hour mark talking about the Constitution."

"Three?" Dream repeats, teasingly. "Then you must have more patience than the rest of New York's politicians put together."

Captain Roberts laughs, but does not refute the claim. It brings Dream joy to see the man at ease in his presence, though he notes that he still looks a little uncomfortable, glancing this way and that.

And in his mind, Dream sees exactly what he's worrying about. Countless, faceless, well-dressed people whispering about him, eyeing him with disgust, spitting at the face of his happiness.

That will not do.

Dream takes Captain Roberts's hand on his own again until the man looks up at him.

"Do not think of them," Dream says. "While we dance, look only at me and forget the rest of the world."

It is a bold statement to make, but Captain Roberts nods, and flushes prettily, eyes on Dream's, pupils dilating. "I...yes, of course. As you say, Mr. Murphy."

The image in his mind changes as he speaks. He is now thinking about the warmth of Dream's hand in his, and how close the two of them will be, while dancing. He imagines his hand on Dream's shoulder, and Dream's hand on his lower back, their breaths mingling, and feeling Dream's exhale on his lips.

He is almost shivering in want.

Dream pulls him closer and makes his daydreams a reality as the music starts.

--

After, when the last of the musical notes have faded and the people have started to clap for the musicians, Captain Roberts looks pleasantly dazed, and his cheeks are flushed with exertion and pleasure both.

Dream has yet to let go of him. He does not want to. Not yet, at least. And as the party's host, he can do whatever he damn well please and everyone will just have to deal with it or leave. The front door is unlocked. They are free to remove themselves from Dream's presence whenever they wish.

As long as Captain Roberts stays, Dream does not care about anyone else. Jessamy, Lucienne, and the others will deal with the other guests for him.

"Ah, Mr. Murphy," Colonel Hamilton says, walking up to them now that the song is over. "May I steal Leon away?"

"I'm afraid not, Colonel Hamilton," Dream replies smoothly and genially, unwilling to relinquish Captain Roberts's hand just yet. And for his part, the captain looks content to be where he is, holding Dream's hand, also unwilling to let go. "You see, Captain Roberts has allowed me the pleasure of having his next two dances, which are the last of the evening. I believe he is effectively mine for the rest of the night."

[tabloidtoc]

Entertainment Weekly, December

Cover: Wandavision -- Elizabeth Olsen as Wanda Maximoff and Paul Bettany as Vision 

Page 1: Contents, Melissa Gilbert on the Little House on the Prairie Set in 1977 

Page 3: Sound Bites -- special holiday edition 

Page 4: Editor’s Note 

Page 6: The Must List -- Between the World and Me 

Page 8: The Orchard by David Hopen, Freaky 

Page 9: Chris Stapleton -- Starting Over 

Page 11: A Sky Beyond the Storm by Sabaa Tahir, Let Them All Talk 

Page 12: Batman/Catwoman 

Page 13: Nomadland 

Page 14: Soul, December Games -- Marvel’s Spider-man: Miles Morales, Star Wars: Tales from the Galaxy’s Edge, Immortals Fenyx Rising 

Page 16: My Must List -- Kenan Thompson 

Page 19: First Take -- Bob Odenkirk in Nobody -- the Better Call Saul star plays an unlikely action here complete with a bloody good makeover in this thriller about a family man who decides to seek revenge after a break-in 

Page 21: Pedro Pascal and Christian Slater -- We Can Be Heroes 

Page 22: Cover Story -- Wandavision a wonderfully weird send-up of sitcoms of the past is Marvel’s key to the future 

Page 30: Untold Stories: Holiday Movies Edition -- an oral history of The Family Stone -- Thomas Bezucha, Diane Keaton, Sarah Jessica Parker, Luke Wilson, Elizabeth Reaser, Dermot Mulroney, Tyrone Giordano, Brian White, Craig T. Nelson, Claire Danes

Page 36: Making the Scene -- The Muppet Christmas Carol -- fans of the Muppets’ 1992 take on Scrooge know a key scene is missing from the DVD version and it’s now the most beloved number ever left on the cutting-room floor, Closet Confidential -- Bridget Jones’ Diary -- Colin Firth and director Sharon Maguire reveal the secrets behind Darcy’s ugly sweater 

Page 37: The Merriest Movies Years Ever -- Jeremy Arnold the author of the TCM book Christmas in the Movies: 30 Classics to Celebrate the Season reveals why 1947 and 2003 were prime years for yuletide films 

Page 38: Role Call -- Mary Steenburgen -- the Oscar winner is a holiday movie MVP and here we look back at the roles that put the Mary in Christmas 

Page 39: Behind the Music -- The Preacher’s Wife -- Whitney Houston’s rousing 1996 film boasts one of the all-time great Christmas movie soundtracks and producer Mervyn Warren tells how it came together 

Page 40: Investigation: Is Die Hard a Christmas movie? It’s the debate that won’t die: does Bruce Willis’ 1988 action classic also qualify as a Christmas classic? With the help of some Die Hard alums we’re ready to settle this once and for all -- Bonnie Bedelia, Reginald VelJohnson, Dermot Mulroney, Zooey Deschanel, Mean Girls -- Christmas got a bit risque in the teen film’s memorial Jingle Bell Rock talent-show performance 

Page 41: 4 Things You Didn’t Know About Love Actually -- we actually unearthed some new tidbits from writer-director Richard Curtis about the much-discussed much-beloved Christmas rom-com 

Page 43: 3 secrets from Rudolph the Red-Nosed Reindeer -- it’s aired every year since 1964 but there are still some things you don’t know about the stop-motion Christmas special, 5-minute oral history -- Elf -- you’d better scurry for the story behind the film’s Baby It’s Cold Outside shower scene by Zooey Deschanel 

Page 44: Shondaland makes its Netflix debut December 25 with the swoony Bridgerton a Regency-era drama inspired by a series of romance novels 

Page 48: The Kane maker -- David Fincher and an all-star cast inhabit Old Hollywood for Netflix’s Manx the riveting behind-the-scenes story of Citizen Kane 

Page 52: In an era of rampant reboots it’s been awfully quiet on the Prairie so EW investigates why it’s taken so long for Hollywood to return to Laura Ingalls Wilder’s beloved town on Walnut Grove in Little House on the Prairie 

Page 57: 2020 Gift Guide 

Page 66: News + Reviews  -- It has spurred sales and served as a balm for concert-starved fans but the best by-product of Verzuz is its celebration of Black excellence 

Page 70: Movies -- from modernized classics to fresh newcomers the Hollywood musical is back in style with a new inclusive look 

Page 73: Indie’s New Queen -- with another major and wild big-screen performance in Black Bear Aubrey Plaza is emerging as an art-house icon 

Page 74: Meet Your Maker -- Alan Ball -- the Oscar and Emmy winner behind American Beauty and Six Feet Under and True Blood brings his most personal project to the screen: the road movie Uncle Frank and here Ball shares his iconic cinematic and literary inspirations 

Page 76: Comedy of My Life: Melissa McCarthy -- the Oscar nominee and Emmy winner flaunts some Superintelligence in her fourth movie directed by husband Ben Falcone 

Page 78: The Shot -- Silver Linings Playbook -- inside the creation of a classic scene 

Page 80: TV -- after years as the grounding force on The Big Bang Theory Kaley Cuoco is now flying high as The Flight Attendant at the center of a juicy murder mystery 

Page 82: Class is back in session on Peacock where Saved By the Bell revival debuts 

Page 83: The Crown 

Page 84: Small Axe 

Page 85: Q+A with Bryan Cranston -- in the limited series Your Honor the Emmy winner is breaking bad again starring as a judge whose son is involved in a hit-and-run 

Page 86: Unwrapping Christmas TV movies -- wisdom gleaned from a flurry of winters in Tinseltown 

Page 87: Role Call -- William H. Macy -- as he heads into the 11th and final season of Shameless he looks back on his most iconic projects, epic sci-fi series The Expanse is back with more cosmic chaos in season 5 

Page 89: What to Watch 

Page 96: Music -- Angus Young and Brian Johnson explain how AC/DC are back on track with a new album that honors late bandmate and brother Malcolm Young 

Page 98: Sam Smith 

Page 99: Q+A with legendary P-Funk bassist Bootsy Collins sheds light on his new album and his enormous collection of top hats 

Page 101: The Playback -- Joni Mitchell Archives: Vol. 1: The Early Years -- before she became an icon Mitchell was performing at local radio stations and recording homemade demos 

Page 102: A Band You Need to Know -- Sault -- the mysterious U.K. group has dropped two timely album-of-the-year contenders, Stupid Questions with Josh Groban -- the multiplatinum-selling golden-voiced baritone returns with Harmony but can he sing his way out of this comedic jam

Page 103: Epitaph -- Eddie Van Halen 

Page 104: Books -- Ernest Cline returns with Ready Player Two the sequel to his 2011 blockbuster and 2020′s most secretive novel 

Page 106: Comedians Rachel Bloom and Michelle Buteau have new memoirs but first they chat about bullying and Dick Jones and how Julia Roberts likes her eggs 

Page 107: High Anxiety with Cazzie David -- the writer and daughter of OG angster Larry David broadcasts her own neuroses in the essay collection No One Asked for This and here shares her deepest fears 

Page 108: The weirdest year in publishing history wraps up with an all-virtual literary awards season and here we break down the titles with their eyes on the prize 

Page 110: Screenwriter and director ad novelist John Ridley offers an alternative perspective in The Other History of the DC Universe 

Page 112: The Bullseye

[sciencespies]

What 'Bridgerton' Gets Wrong About Corsets

https://sciencespies.com/history/what-bridgerton-gets-wrong-about-corsets/

What 'Bridgerton' Gets Wrong About Corsets

In the opening scene of the steamy Netflix period drama “Bridgerton,” Prudence Featherington, one of the eligible daughters of the social-climbing Lady Featherington, is dressing to be presented to the queen of England. Prudence doubles over, gasping for breath, as a maid yanks the laces of her corset tighter.

“I was able to squeeze my waist into the size of an orange-and-a-half when I was Prudence’s age,” Lady Featherington says.

Many movies, historical as well as fantastical, have a similar scene. Think of Gone With the Wind’s Scarlett O’Hara death-gripping a bedpost; Elizabeth Swann in Pirates of the Caribbean laced so tightly into her corset that she can barely breathe; Titanic’s Rose in a nearly identical scene; Emma Watson, playing Belle in Disney’s live-action remake of Beauty and the Beast, declaring that her character is too independent to wear a corset.

One other element shared by some of these scenes, among many others? None of the characters suffering through the pain have control over their own lives; in each scene, an authority figure (Prudence’s and Rose’s mothers, Elizabeth’s father) tells them what they must do. It’s a pretty on-the-nose metaphor, says Alden O’Brien, the curator of costume and textiles at the Daughters of the American Revolution Museum in Washington, D.C.

“To have a scene in which they’re saying, ‘tighter, tighter,’ it’s obviously a stand-in for … women’s restricted roles in society,” O’Brien says.

The trouble is that nearly all of these depictions are exaggerated, or just plain wrong. This is not to say “Bridgerton” showrunner Shonda Rhimes erred in her portrayal of women’s rights during the early 19th-century Regency era—they were indeed severely restricted, but their undergarments weren’t to blame.

“It’s less about the corset and more about the psychology of the scene,” says Kass McGann, a clothing historian who has consulted for museums, TV shows and theater productions around the world and who founded and owns the blog/historical costuming shop Reconstructing History, in an email.

Over four centuries of uncountable changes in fashion, women’s undergarments went through wide variations in name, style and shape. But for those whose understanding of costume dramas comes solely from shows and movies like “Bridgerton,” these different garments are all just lumped together erroneously as corsets.

If one does define a corset as “a structured undergarment for a woman’s torso,” says Hilary Davidson, a dress historian and the author of Dress in the Age of Jane Austen, the first corsets appeared in the 16th century in response to women’s fashion becoming stiffer and more “geometric.” The corset, stiffened with whalebone, reeds or even sometimes wood, did somewhat shape women’s bodies into the inverted cone shape that was in fashion, but women weren’t necessarily pulling their corsets tight enough to achieve that shape. Instead, they used pads or hoops to give themselves a wider shape below the waist (kind of like Elizabethan-era booty pads), which, in turn, made the waist look narrower.

Silk stays and busk made in the Netherlands between 1660 and 1680

(© Victoria and Albert Museum, London)

Quilted silk jumps made in England around 1745

(© Victoria and Albert Museum, London)

This shape more or less persisted until the Regency era of the early 1800s, when there was “all sorts of invention and change and messing about” with fashion, Davidson says. During that 20-year period, women had options: They could wear stays, boned, structured garments that most resemble today’s conception of a corset; jumps, very soft, quilted, but still supportive undergarments; or corsets, which were somewhere in between. O’Brien says the corsets of the Regency period were made of soft cotton (“imagine blue jeans, and turn them white”) with stiffer cotton cording for support, and occasionally channels in the back for boning, and a slot in the front for a metal or wooden support called a busk. (Remember, though, these supports were made to fit an individual’s body and would gently hug her curves.) Eventually, the term corset (from the French for “little body”) is the one that won out in English, and the shape gelled into the hourglass shape we think of today..

But all along, these undergarments were just “normal pieces of clothing,” Davidson says. Women would have a range, just like today’s women “have a spectrum of possibilities, from the sports bra to the Wonderbra.” Those simply hanging around the house would wear their more comfortable corsets, while others going to a ball might “wear something that gives a nicer line.” Even working women would wear some sort of laced, supportive garment like these—giving lie to the idea that putting on a corset immediately induced faintness. For Davidson, the myth that women “walked around in these uncomfortable things that they couldn’t take off, because patriarchy,” truly rankles. “And they put up with it for 400 years? Women are not that stupid,” she says.

These garments were comfortable, Davidson adds, not just by the standards of the time—women started wearing some sort of supportive bodiced garment when they were young girls, so they were accustomed to them by adulthood—but by modern standards as well. O’Brien concurs: “To have something that goes further down your bust … I’d really like to have that, because it would do a better job of distributing the support.”

By the Victorian period, after “Bridgerton,” corsets had evolved to a more hourglass shape—the shape many people imagine when they think of an uncomfortable, organ-squishing, body-deforming corset. But again, modern perceptions of the past shape how we think of these undergarments. Davidson says skirts were bigger during this time—“the wider the skirt, the smaller the waist looks.” Museums often display corsets in their collections on mannequins as if their edges meet. In reality, they would likely have been worn with their edges an inch or two apart, or even looser, if a woman chose.

McGann suggests that one of the reasons corsets are associated with pain is because actresses talk about their discomfort wearing an uncomfortable corset for a role. “In many cases, the corsets are not made for the actress but rather a corset in her general size is used for expediency,” McGann says. “This means they are wearing corsets that don’t fit them properly, and when laced tightly, that can hurt!”

So, in the Regency era and in other periods, did women tighten the laces of their corsets beyond what was comfortable—or healthy—in service of achieving a more fashionably narrow waist? Sure, some did, when they had someone to impress (and in fact, Davidson gives the Gone With the Wind corset scene high marks for accuracy, since Scarlett O’Hara is young, unmarried, and trying to make an impression). In “Bridgerton,” social striver Lady Featherington’s insistence on her daughters’ narrow waists similarly seems logical. Except…in the Regency period, where dresses fall from the bust, what would be the point of having a narrow waist? “The whole idea of tightlacing is completely pointless…irrelevant for the fashion,” Davidson says.

“There is no way that period corset is going to [narrow her waist], and it’s not trying to do that,” O’Brien adds.

Davidson has another quibble with the undergarment fashion choices of “Bridgerton” (at least the first episode, which she watched at Smithsonian magazine’s request). Corsets and stays of the Regency period were designed less to create the cleavage that modern audiences find attractive, and more to lift up and separate the breasts like “two round globes,” Davidson says. She finds the corsets in “Bridgerton” too flat in the front.

In an interview with Vogue, “Bridgerton” costume designer Ellen Mirojnick laid out her philosophy on the series’ apparel: “This show is sexy, fun and far more accessible than your average, restrained period drama, and it’s important for the openness of the necklines to reflect that. When you go into a close-up, there’s so much skin. It exudes beauty.” But, Davidson says, “while they sought sexiness and cleavage and maximum exposure, the way they’ve cut the garments actually flattens everyone’s busts. If they’d gone back to the Regency [style of corset] you would have gotten a whole lot more bosom. You would have had boobs for days.”

“Bridgerton” does, however, get a lot right about the status of women in the early-19th century. Marriage was one of the only options for women who didn’t want to reside with their relatives for the rest of their lives, so the series’ focus on making “good matches” in matrimony holds true. Once wed, a married woman legally became her husband’s property. She couldn’t sign contracts or write a will without her husband’s consent.

By the mid-19th century, women had made significant gains in being able to own property or obtain a divorce. It wouldn’t be until 1918 in England or 1920 in the United States, however, that (some) women could vote. Around the same time, corsets were falling out of fashion, and many writers of the time saw a connection between liberation from the corset and women’s liberation.

In “Bridgerton,” Regency-era young women don corsets ahead of their presentation to Queen Charlotte.

(Liam Daniel / Netflix)

O’Brien says that looking back now, that conclusion doesn’t hold up. “You have all these writers saying, ‘Oh, we’re so much more liberated than those dreadful, hypocritical, repressed Victorians, and we’ve thrown away the corset.’ Well, I’m sorry, but if you look at shapewear in the 1920s, they’re doing the exact same thing, which is using undergarments to create the current fashionable shape,” which in the Roaring Twenties meant using “elasticized” girdles and bust-binders to “completely clamp down on a woman’s natural shape.

“Society always has a body ideal that will be impossible for many women to reach, and every woman will choose how far to go in the pursuit of that ideal, and there will always be a few who take it to a life-threatening extreme,” O’Brien adds.

O’Brien and Davidson hope people stop thinking of corsets as oppressive tools of the patriarchy, or as painful reminders of women’s obsession with fashion. That attitude “takes away female agency,” O’Brien says. “We’re allowing fashion’s whims to act upon us, rather than choosing to do something.”

Wearing a corset was “as oppressive as wearing a bra, and who forces people into a bra in the morning?” (Some women in 2021, after months of Zoom meetings and teleworking, may be asking themselves that exact question right now.) “We all make individual choices,” Davidson says, “about how much we modify ourselves and our body to fit within the social groups in which we live.”

It’s easier to think of corsets as “strange and unusual and in the past,” Davidson says. To think of a corset as an oppressive tool of the past patriarchy implies that we modern women are more enlightened. But, Davidson adds, “We don’t wear corsets because we’ve internalized them. You can now wear whatever you like, but why does all the Internet advertising say ‘8 weird tricks to a slim waist’? We do Pilates. Wearing a corset is much less sweat and effort than going to Pilates.”

#History