“Bridgerton”3月25日星期五的Netflix上的两项首演，仅仅是3月21日星期几的HBO的第一赛季结局“镀金的年龄。”
这应该减轻一个不能去一个星期的受众，而没有看到在家里休闲的平日晚餐的白色领带的男士。2022年的两个最预期的服装剧中的背对背释放也吸引了不可避免的比较，不幸的是，不赞成“镀金时期”。
这两个节目都在19世纪举行，并且痴迷于社会努力，但“Bridgerton”是繁荣的，浪漫的浪漫在于“镀金时期”是严峻而务实的。“Bridgerton”具有更多样化的主要铸造 - 一种历史不准确的历史不准确性，感觉就像一个更大的进步和包容性，因为这两个都显示了“铅特征是虚构的，并且既不靠近事实也不太接近事实。
“Bridgerton”第二季，提前提供给批评者，在“镀金时代”的哑剧之后，戏剧就像一个活泼的口感清洁剂。Although unintentionally silly at moments and not nearly as sexed up as the first season, which reveled in executive producer Shonda Rhimes’ (“Grey’s Anatomy,” “Scandal”) newfound freedom from network censors, season two still leaves “Gilded Age” in the dust.
We speak specifically of the dust visible in the slivers of sunlight allowed past the heavy drapery in the dreary parlor where widow Agnes van Rhijn (Christine Baranski) sits in sour judgment of her new-money neighbors, robber baron George Russell (Morgan Spector) and his relentless social-climber wife, Bertha (Carrie Coon). The show rarely leaves their block, a brownstone-lined, unreasonably clean avenue that looks like an upscale version of one-horse-town outdoor sets once constructed for movie Westerns. Agnes has been out of her house only a handful of times by our count.
The airlessness of “The Gilded Age” is antithetical to “Bridgerton,” which moves from one large fine English estate to another and from city to country. The interiors and clothes are gorgeous and bright, from the brocade fabric of the Bridgertons’ parlor furniture to the finely embroidered flowers on gentlemen’s vests to the Featherington family’s supposedly tacky pastel dresses, which look good to us.
“Bridgerton”还崇拜露天，为其健康益处和获得花园路径，这些人物的字符串和比喻相互关联。
偶尔的俗气和麦当娜和麦莉斯·赛勒斯的不间断的字符串安排，“Bridgerton”永远不会像“镀金的年龄一样”，系列创造者朱利安Felles'美国的随访“唐顿修道院”。两个演出中，“Bridgerton”看起来像是那个认真的钱。
也不管设置,HBO系列captivates like “Bridgerton” because it is too consumed with its characters’ social pecking order. It forgets the sizzling romance that is, as “Bridgerton” seamstress Genevieve (Kathryn Drysdale) might remark in her fake French accent, these costume dramas’ raison d’etre.
我们才等到现在提到缺乏黑斯廷斯公爵（Regé-jean页面）的“Bridgerton”季节，让你保持迷上。同样因为它结果主要是旁边。
页面的闷烧性质启发了数百万美国人最终从她棚子的墙壁上撕开了基督徒灰色的海报，他揭开了他们的棚子和他们脱掉了。除了他的童年时代，公爵did not want to marry然而不可避免地吸引self-possessed Daphne Bridgerton (Phoebe Dynevor).
Page and Dynevor showed enough chemistry to stave off chuckles when their characters told each other, “I burn for you.” Our reaction was more, “OK, then show, don’t tell.” And did they ever.
但像朱莉娅奎因书一样启发了该系列，“Bridgerton”每个赛季都侧重于一对新夫妇的弧度。所以页面是一个又一完成的，但Dynevor确实回来了，她的黑士队现在的公爵夫人现在是赛季的支持人物转移到安东尼（Jonathan Bailey），Viscount和Bossiest Bridgerton Brother。
Much like royal family planners throughout history, “Bridgerton” creator Chris Van Dusen and Shondaland made sure season one had a “spare.” In this instance, a spare smolderer in Anthony, who no doubt tied the duke for “most likely to go shirtless” back at Oxford. Anthony alsodid not want to marry, preferring to “romance” his opera-singer lover against trees and walls.
本赛季虽然，安东尼决心找到一个虚构。
Bailey throws a good look. It’s still only about a quarter as powerful as Page’s. But combining it with the steady, sometimes mocking, sometimes lustful gaze of Simone Ashley (“Sex Education”) — who plays a smart, headstrong woman who, you guessed it, does not want to marry — brings it to a solid 75%.
Ashley’s character, Kate, insists she’s participating in London’s marrying season activities only to help her sister, the more agreeable Edwina (Charithra Chandran), find a match. But Kate locks eyes with Anthony every time they are in a room, or on a path, together.
She’s a lot like Anthony, observes Daphne, who assumes the truth-telling marriage-season adviser role Anthony played to her in season one. The second season either repeats or mirrors other elements of the first, as characters search for spouses, and, more tiresomely, for the true identity of gossip-rag writer Lady Whistledown (still voiced by Julie Andrews). But the romantic storylines here call for more sultry glances than sex scenes.
And we are here for it. Especially after seeing how goofily staged the sexier moments end up being.
These moments are off-the-charts hot, however, compared with what passes for romance in “The Gilded Age,” which forgets that key factor of costumed courtship: hostility. Participants are supposed to either despise each other at first sight or — must we say it? —永远不想结婚。同事必须知道这一点，因为他将玛丽嫁给了“唐顿”，直到她摔倒了马太福。
然而，“镀金时代”之间的中央浪漫浪漫在艾格尼斯的不良侄女，玛丽安（路易莎雅加森）和她的律师诉讼（托马斯·托克莱尔）之间，从几乎立即相互亲切和婚姻谈话开始。总的。
Railroad titan George and his mercenary wife do show some sparks as a devoted couple who maintain a healthy degree of mutual antagonism. Coon, a national treasure since “The Leftovers,” is the reason to watch “The Gilded Age”: Her performance bursts with passion, even if her character’s aims are shallow. Flashbacks to the Russells’ early years in an already ordered second season of the HBO show would be welcome, to learn the origins of their relationship — and of George’s magnificent beard.
This brings us to the only significant hole evident in either show; not Page’s absence, but Maggie Smith’s. Fellowes fails in his obvious attempts to position Baranski’s Agnes as successor to Smith’s dowager countess as provider of sick burns.
“镀金时代”作家对她的管家找到了艾格尼斯的言论，“头部已经卷起了”，这么聪明，他们在它之后题为剧集。但即使在1880年代，它也可能是陈词滥调的。
Clandestine meetings between Bertha’s dishy lady’s maid (Kelley Curran) and Agnes’ secretly gay son (Blake Ritson), who wants the scoop on the Russells’ sheltered daughter (Taissa Farmiga) so he can rope her into marriage and win a fortune, hold acerbic promise at first. Then it becomes clear this duo is a ripoff of Thomas Barrow and O’Brien from “Downton,” and that Fellowes seems compelled to write gay men as diabolical side characters. He’s not much of an advocate for lady’s maids, either.
但是，如果观看期间服装剧中德拉姆斯教导了我们任何东西，那就是血统没有人物的指标。
“Bridgerton”3月25日星期五开始，在Netflix开始季节（TV-MA）可以在Netflix上播放。
“镀金时代”HBO Max上的需求和流媒体上有一季（TV-MA）。