I have been an unabashed, naive lover of romantic comedy for years. Still, I was surprised by how much I learned from numerous interviews of the male lead of the Bridgerton romantic comedy, Rege Jean Page. He has a lot to say about culture, literature, drama, movies—and Bridgerton. So much that I decided a blog was in order. But an analysis, not a review. With the added interview input from Rege, a new video paradigm is both confirmed and enhanced. So, here goes.
First, let’s dispose of the notion from several critics that the Bridgerton series is escapism. Saying a movie is an escape is different than saying it’s escapist. Chris Van Dusen, the writer-producer said the series was a “great escape for the holidays,” not that the series itself is escapist. Calling the series escapist is a sign the critic is either attention seeking or a certified ignoramus. At its core, escapism is the tendency to seek distraction and relief from unpleasant realities, especially by seeking entertainment or engaging in fantasy. Escapist behavior typically involves things like substance abuse, compulsive gambling, reckless driving, or dangerous sports. Generally, they are behaviors that put your health or wellbeing at risk, things you wouldn't normally do, and might regret later. Rather than escapist, in some ways, Bridgerton is, among other things, a social statement. And Rege emphasizes that point.
Romantic comedy, like Bridgerton, is fiction—and all good fiction is rhetorical. Good fiction, like Bridgerton, influences—it persuades and creates. It does things to its audience. The Bridgerton series is a fascinating, and—yes—superb romantic comedy. It’s romantic in the sense that the plot circles around feelings of excitement and mystery in love. It’s comedy in the technical sense: the plot moves along by the wit and wisdom of the characters in the story. In Bridgerton, uniquely, a terrific number of characters move the plot. And it is also fantasy in that it creates images that are on occasion unrealistic or improbable. Images that we might desire in our dreams—what some writers label “magic.” This is the background for Shondaland’s new video paradigm.
By starting out with the notion of fiction, I’m emphasizing my belief that stories have the power to pull people together—or push them apart. Stories can also make relationships possible and even better. The genre of comedy, which Bridgerton is filled with, inevitably forces us to redo our values. Revaluing those underlying assumptions that guide our lives and behaviors, sometimes obviously and other times unconsciously. At least a third of the population is completely unaware of the impact of comedy, unaware of what it’s doing to them. Consequently, when people trust a power person, they can easily put themselves at the mercies of stories, stories that are going to unconsciously impact them. Very clearly, Trump’s stories, even though nutty, crazy and dead wrong, did it to several hundred non-thinking people—largely by mutual osmosis. Fiction can pull readers out of their heads. And we suffered on January 6 as a result.
So, in the following, I’ll analyze Bridgerton and call your attention to a number of important issues in the series, indicating that Shonda Rhimes’ Bridgerton is actually a new video paradigm.
Rege Jean Page
One of the things that caught my eye in the first episode was the fierce intelligence of the male lead, Rege Jean Page. As an exec coach, I’m always assessing the intelligence and abilities of a client. After more than fifty-years of assessing intelligence, these antennae are always up. Of course, a player can just be using the script he was given. But in this instance the actor’s verbal ability, accenting language, inserting verbal commas, subtle nonverbals, pauses, the ability to reflect feelings on the end of his consonants, the slight pause before punching the most important word in a sentence, the language not only with a glance, but evoking communication with his positioning, dance, hands, a simple ice-cream spoon (that hit Twitter and the internet like a bomb) and even a wine glass, all scream a rare dramatic intelligence. He’s Simon Bassett, Duke of Hastings and very much the societal heartthrob. “Darcy as a 21st century fuck-boy” is Page’s immortal description. Such dramatic intelligence focuses attention perfectly on his characterizations, suggesting there must be more to life, reshaping sensibilities and offering triumph over the challenges we inevitably face. His Bridgerton persona is so well developed, not just with his love partner, that what is offered through his dramatic intelligence drives the immense viewership of this Netflix blockbuster...