The one character that outright critiques the practice still ends up revolving around a guy that "she chose" but is lower class. Why did she need a man?
Not only that but the show is all about 15yos marrying 20 something dudes? Just creepy.
On the other hand I thought sex education was great with how it deals with social issues surrounding sex. I do enjoy the aesthetics of it, never really found it weird but its definitely an "american 80s" aesthetic, though that is also how young people are dressing, at least over here.
Personally I dont see an issue with exploring social questions at all, but it does most of the time a superficial analysis just ends up ignoring too many things to be of any use and ends up simply as a performative action. I think this is the case for Bridgerton but not Sex Education.
In any case, what angers me with Netflix is the way they cancel shows without giving them a way to wrap up their stories in a final season. Sure, if you have 2 seasons and you were planning 5 it might be difficult to wrap everything on a third season but it is surely better than simply leaving the story open.
Yes, like most American content sources, the content tends to be flavored by American culture.
> As far as politics goes Bridgerton is probably the best example which has American racial and gender politics bolted onto some weird fairy tale version of the British aristocracy in the worst way imaginable.
I would say it has fairy tale versions of racial and gender politics (which are not, insofar as they connect with real world versions, any less connected to British than American ones) bolted on to a weird fairy tale version of early 19th Century British aristocracy; it's very American, but less in the politics than the style of romance story for which the setting provides the context.
I mean how do you say any of this is American politics and not British/Western European politics? Racial inequality, women's rights, and class structures are not just American things.
I think your mistake is reading Bridgerton as utopian political fiction and not a romance film with a fantasy drawn around combining exaggeration of a few specific facts of Regency England with a couple things drawn from modern Western race and gender politics is the context and engine of conflict.
> There's no classism or anything structural in that show
There is fairly intense classism in the show.
> In that sense it's no different than Hamilton, where you had, ironically enough, an almost all POC cast represent not a single POC character.
Minor nitpick: Hamilton, in fact, has a single explicitly-named on-stage POC character, though the part has no lines.
Major nitpick: you...did not understand a few layers of metaphor in Hamilton.
> superficial diversity in place of actually talking about race, class, and so on.
Hamilton rather directly talks about race, class, “and so on”.
You write this as if the same questions of racial and gender politics are not also significant in other parts of (a) the anglosphere (b) western europe.
As far as politics goes Bridgerton is probably the best example which has American racial and gender politics bolted onto some weird fairy tale version of the British aristocracy in the worst way imaginable.
edit: another thing I just remembered, Netflix removed what is probably the best episode of Community from its catalog because of a blackface character, despite the fact that the character is explicitly used to address racism in the fantasy genre.