Episode Transcript
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Speaker 1 (00:00):
Bridgerton The Official Podcast is a production of Shondaland in
partnership with iHeartRadio. Welcome to Bridgerton the Official Podcast, your
exclusive peak behind the curtain of Shondaaland's Bridgerton series. I'm
your host, Gabrielle Collins. Well, we've made it to the
(00:23):
mid season finale. I hope you're caught up on the
first four episodes and are just as excited as I
am to binge the next four on Netflix when they
premiere next week on June thirteenth. Today we're diving into
episode four, Old Friends. I'm joined by none other than
(00:43):
Luke Newton, who brings Colin to life, and choreographer Jack Murphy.
But first, let's recap. Romance is in the air, and
so is all little Bits Gone obligations. Tired of the
view from her windowsill, Penelope is happy to be with
(01:04):
Lord Devling and his potted plant.
Speaker 2 (01:10):
I have bought you a plant so that you might
continue to enjoy nature for me a windows.
Speaker 1 (01:16):
Thank you. Meanwhile, Benedict calls I'm Lady Tilley, though she's
interested in a bit more than a call. Lady Danbury
is vexed by her Rakish brother's pursuit of Lady Violet Bridgerton,
and Francesca swiftly excuses herself from Lord Sammadani's company to
get into Lord Kilmartin's sheet music. She does not speak
(01:42):
to him.
Speaker 3 (01:44):
I am an awe.
Speaker 1 (01:45):
I thought one how he's wit or banter to dissuade
a suited with simple silence, it's radically more effective.
Speaker 3 (01:51):
Perhaps they are enjoying themselves, but how will they know
each other if they cannot speak?
Speaker 1 (01:58):
But everything comes to a head when call And comes
to his senses, rushing to the Queen's ball to stop
Hien from marrying Lord Devling. Colin finally professes his feelings
for Miss Featherington. They both want to be more than friends,
leading to a climactic carriage ride and this moment.
Speaker 4 (02:19):
You're coming with me?
Speaker 1 (02:21):
What your family will see me?
Speaker 4 (02:24):
For God's sake, Pope Featherington, are you going to marry
me or not?
Speaker 1 (02:32):
It's the moment we've all been longing for. And I'm
so excited to talk about all things pollen with Luke Newton.
Can I just let you know I actually did an audible,
out loud scream at the end, hollering.
Speaker 5 (03:00):
And there's many moments to react to in that last
sort of five minutes of this episode.
Speaker 1 (03:05):
Yeah, it just happened so fast. It hits us so hard,
and it's such a cliffhanger. Yeah, I mean, for you,
what was it like to bring Collin to life and
make it to that moment.
Speaker 5 (03:19):
I feel very lucky that I've had the opportunity to
develop this character over two seasons. It almost feels like
a lot of work that you do as an actor
in your prep, but I've got to actually live the
experience of like sitting in this role, growing up with
him and you know, living through all these wild experiences
that he's had, and then getting to this moment with
(03:39):
Colin and pen it really just felt like, you know,
everything aligned and it was perfect timing. Really, I feel
really lucky that I had the opportunity to develop these
relationships with not only cast members, but also the crew. Heir,
a makeup artist, set design, the costume design. You know,
it created a really safe space for Nicola and I
to explore in seasons, and it just feels really appropriate
(04:01):
that we were really good friends going in to season
three and feels like aligned with the story. It's really
it's been really great.
Speaker 1 (04:08):
And I love that you say that you kind of
grew up with this character. That is so true. We
really do see Colin grow up, and I mean, of
course makes his return right. Was there any special preparation
that you needed to do mentally to get yourself in
the mindset that you have been like globe trotting and
you're coming back with your chest all out. Yeah.
Speaker 5 (04:29):
Yeah, A lot of the work actually was. It was
sort of laid on a plate to me in my
costume fittings, because I would go in before I had
any scripts. Dougie, who was sort of looking after me,
sort of said, there's an influence from Paris here, and
there's an influence from Italy, and there's all these different places.
So I started the cook started turning, and I started
to realize that, Okay, he's had a different traveling experience
(04:52):
that he had in the previous summer.
Speaker 1 (04:54):
Oh that's so interesting.
Speaker 5 (04:56):
Yeah, and then I just I started to do a
lot of research and incorporating that fantasy element that we
have within the show of you know, on a grand tour,
a young man would go and he'd have a chaperone
with him, or that I think they referred to it
as a tutor and they'd be with you the entire
time and keep you in check and make sure you
weren't drinking too much or gambling too much or partying
too much. But I like to imagine that he kind
(05:18):
of went off on his own, maybe ran away from
his tutor, and kind of got to explore the city
as anyone else would that lived in that time. It
was really fun to dive into that and create like
a new version of Colin coming back.
Speaker 3 (05:30):
In season three.
Speaker 5 (05:31):
It was amazing going in and just trying on a
new waistcoat, and it was kind of a personal thing
of I hated having the ties done up so much
in season one and two, so then I remember there, Yeah,
when he said, you know, we're going to explore like
you having it kind of open and you're less worried
about the rules of society now and you're a bit
of a rule breaker, And I was like, I'm so
down for that because that is comfortable on set. It
feels cool, it feels appropriate to the role. So yeah,
(05:54):
I was really happy with those subtle changes.
Speaker 1 (05:57):
You know, I'm really curious if you're castmates were able
to be a part of that process with you, or
when you all arrived on set. Was that really a
first time of seeing you in full costume and being like, oh,
and who do you think you are?
Speaker 4 (06:13):
No?
Speaker 3 (06:14):
Yeah, definitely.
Speaker 5 (06:14):
I think the only person I sent a picture to
was probably Nicola. We would send pictures back and forth
during our fittings, but I think everyone else. I think
the first time the Bridston family saw me was at
the start of season one in my brown coat and
sort of like my traveling outfit. We really sort of
hit the ground running and really portray that he's had
(06:35):
this experience and become a man, and that's you know,
that was my main goal was to come back into
season three and feel like there had been some dramatic
changes he'd grown up.
Speaker 1 (06:43):
In episode four, we also see that this platonic relationship
that you've had with Penelope has flourished and matured to
a whole new level. Could you just tell us a
little bit about working with Nicola and building upon like
you guys are friends in real life too, and just
history of the last few seasons of being friends as
(07:06):
Penelope and cut in.
Speaker 5 (07:08):
Yeah. Absolutely, it feels so appropriate and it feels like
he couldn't have been done any other way other than
us being friends for the last five years now and
working on this show together and like I said, sort
of growing up within the show. It feels like that
had to happen for us to be able to play
this with such authenticity and make it really truthful. And yeah,
(07:30):
I think building that on set relationship between the two
of us, but also so many characters, you really get
a sense of like how people work and you know
what they're going to bring on a day to day basis,
so you know that moment. In particular the end of
episode four, it's nice to see the tables have turned.
I think Colin needed that moment. I think he needed
to see her in a different light, appreciate her, but
(07:50):
also feel slightly out of control. I think that's the
whole part of growing up, is that he feels like
he has everything at his disposal because of the position
he's in in society family. So it's the first time
that we really see him sort of squirm and realize
that he can't have everything he wants, which I think
is healthy.
Speaker 1 (08:07):
Okay, so there's also the doubling of it. Are Yes,
it seems as though Carlin is trying to forget his feelings.
He's well, I don't know. I'm curious if in your mind,
if your inner prep was thinking, ooh, debbling is actually
a good match for a Penelope.
Speaker 5 (08:26):
I think it's really interesting because I think he doesn't
know that he's convinced himself that he's not the right
match for her. But I think, really deep down, when
I break it down, sort of as Lou, he is
a good match for Penelope. It's not maybe not necessarily
the perfect match, which I would describe Colin and penn
as obviously I have to stay loyal to the two
of those. I do think there's an element of you
(08:48):
don't know what you've got till it's gone, as soon
as someone steps into her life that is really kind
and genuine and could be a really good match for her.
I think it's a good realization for him because he
hasn't been child so far coming back into this season,
he's sort of the most eligible bachelor, so to have
a moment of there's a slight threat there, I think
(09:08):
it really sort of dials up the tension, and also
it starts the ticking clock. It means that he's got
to make a move. He's quite sensitive and well thought out,
and I think he takes his time quite often to
put himself out there, so it's quite nice to have
something that sort of gets them going and gets them
fired up. Yeah, I said I would help you find
a husband, but I cannot stand by and which you
(09:28):
make a mistake.
Speaker 3 (09:30):
The only mistake with me ever asking for your help
in the first place.
Speaker 1 (09:34):
The cut in scene. I'm wondering if the cut in
scene for you, if there was anything that you drew
from from your life that helped you kind of like
give us the performance you gave us.
Speaker 5 (09:44):
Yeah, it was really fun to sort of play that
rebellious side. I've been thinking about how all of the siblings,
all of the bridget and siblings, have that rebellious nature,
but they all show it in different in completely different ways.
You know, we do think of Benedict and Eloise as
the rebels of the family, but actually the more subtle
(10:04):
rules of society, like interrupting a dance or being alone
with his intended before marriage, like these are things that
he's willing to sort of step over the line and
break the rules for. I think it comes down to
if there's something that he's like really passionate about, he's
willing to forget about the rules of society and just
go for it and with his wholeheartedly. I loved the
(10:25):
cut in moment. I mean I had one in season
one and then on a different scale in season three
and sort of the stakes are high up.
Speaker 3 (10:32):
That was sort of like.
Speaker 5 (10:33):
The epitome of him feeling like a man and sort
of taking ownership of his life and finding a purpose,
because that's Colin's his whole story is that he lacks
purpose and he can't seem to find anything that he's
really passionate about, and that's why he runs away. So yeah,
that was a really cool element to like jump in
and explore his rebellious nature.
Speaker 1 (10:53):
Yeah, are you rebellious? Luke? Do you think you're rebellious?
Speaker 5 (10:57):
I think actually probably in the same way Colin it
is in the more like subtle ways. Yeah maybe, I
think a lot of the time it would maybe go undetected,
But yeah, I think so in my school days for sure.
Speaker 1 (11:09):
I mean, yeah, we'll be right back after the break.
We're back with more bridgeton the official podcast.
Speaker 4 (11:27):
Feelings like a total inability to stop thinking about you,
about that kiss, Feelings like dreaming of you when I'm asleep,
and in fact, preferring sleep because that is where I
might find you a feeling that it is like torture,
but one which I cannot will not do, not want
(11:48):
to give up.
Speaker 3 (11:51):
Please do not say things you do not mean.
Speaker 1 (11:55):
I do mean it.
Speaker 4 (11:58):
It is everything I have wanted to say.
Speaker 3 (12:01):
To you for weeks.
Speaker 1 (12:05):
T'm mere friends. Yes, I would love if you could
share with us a little bit about building up to
this moment. Yeah, what kind of work did you and
Nicola have to do to bring this to life?
Speaker 5 (12:26):
We definitely had many conversations about the scene. It felt
like there was an added pressure, but in a really
positive way. There was a different level of energy on
set for those sort of iconic moments from the books.
And you know, it was a scene that I didn't
know if it was going to make it into the show.
I knew that fans were really excited and hoped that
(12:47):
it would, so I remember Nicola and I reading it
for the first time and being like, I'm so glad
that it's made it into the show, and then it
was just about breaking it down. It was great to
work with the intimacy coordinator, Lizzie and her team. It
was nice to have sort of a familiar presence. Lizzie
has worked on the show for previous seasons. It was
a real like collaboration, you know, all departments across the board.
(13:08):
It was nice to feel really involved in what felt
authentic and appropriate and true to their love story. You know,
I feel very lucky in that we were trusted in
that and that you know, we've sat in these roles
now for a good four years, so it felt like
our opinion was valued, and it was nice to come
in and sort of share how we thought the scene
might play out and then all work it out together
(13:30):
and we shot it over multiple different days. Nicola and
I always say, there's so many themes that we explore
throughout that one seat. There's comedy, there's passion, there's romance,
it's sexy, it's exposing, it's like honest, and yeah, we
just tackled so much, you know, the space of five minutes.
And it's the vulnerability. I think, you know, this is
(13:50):
the first time we really see Colin sort of stripped
back and see him really vulnerable and open and honest,
and then at first doesn't quite get the reaction he
was expecting, so then he's kind of thrown and then
it all, you know, it all kicks off from there
as we've seen it.
Speaker 1 (14:03):
Yeah, right, I so want to read Collin's journal after
that scene, like what would have written about Yeah.
Speaker 5 (14:09):
I feel like that he couldn't put that in the journal.
That is like immortalized in his brain, Like.
Speaker 1 (14:15):
I love that, love that so much. That is so beautiful.
Nothing is like gratuitous, it's really.
Speaker 5 (14:22):
Yeah, the parts of consent feels so appropriate to their
relationship because they've grown up together and in a way,
she already feels like part of his family and he's
very protective over his family. So it feels really appropriate
that there is that level of consent. We see earlier
on in the season that Colin has sort of had
these wild experiences and goes to brothel houses and he's
(14:43):
had this wild time abroad, and we're very much aware
that Penelope has never been intimate before. So it really
does feel important and it feels like there's a level
of care between the two of them. To me, it
just makes it that more texy because it's just intimate
and compared and that they just really really connect in
that moment.
Speaker 3 (15:03):
So yeah, I think it's it's a beautiful.
Speaker 5 (15:05):
It's beautifully written.
Speaker 1 (15:06):
I'm sure there are lots of viewers who love romance
but are not necessarily the romance book cover type. Right,
there's the moment when you basically proposed to Penelope, but
it's it's not like a traditional proposal. Colin is just like, well,
come on, now, you're about to be my wife, right, Yes.
And for the people who like that kind of that
(15:28):
side of romance, that was such a moment. That's why
I screamed like I was like, no, he didn't just
propose without proposing, but proposed. Yeah, talk about loving the
writing like that was so good.
Speaker 5 (15:40):
I love that moment so much. Just Jess has done
such a brilliant job on bringing this story to life.
Between these two characters, every single scene just feels handcrafted
to every emotion that they would feel. You know, that
moment in particular, the proposal is like funny, it's yeah,
but I think that's beautiful. It's it's the way that
they connect and it's the way that the way that
(16:02):
they communicate with each other. Fans have long awaited that moment,
so I think for Jess to write it in such
a way that isn't the typical regency romantic proposal. I
think was really special, and I think it's a moment
that fans are really good in love and appreciate.
Speaker 1 (16:19):
Is it safe to stay that we should expect some
bumps in the road.
Speaker 3 (16:22):
Oh? Absolutely.
Speaker 5 (16:23):
I think That's what's brilliant about these scripts this year
is that in my head leading up to starting the season,
before I'd read anything, I thought, well, surely this story
is quite simple. I mean, Penelope has always been in
love with Colin, and Colin just needs to see what's
right in front of his eyes and we live happily
ever after. But what Jess has done is just put
there's so many obstacles in the way, and I guess
(16:45):
ultimately the main obstacle is always going to be whistled
down no matter what happens between them, no matter how
honest and open they are with each other, if the
whistledown secret is still kept, then they can't really live
out that happily ever after. So I'm really excited for
all the twisting times that we are in part two.
Speaker 1 (17:06):
We'll be back after the break to talk to one
of the best and brightest minds behind the romantic world
of Bridgerton, choreographer Jack Murphy. Welcome back, now Bridgerton has
its share of showstopper scenes. This episode is no exception,
(17:29):
featuring glittering dresses, studying scenery and oh yeah, a revolving
wig of swans, but one scene takes the cake. A
ballet of the love story of Aeros and Psyche. In
this myth, Aaros aka Cupid is sent on a quest
(17:50):
by the goddess of love. Psyche. A beautiful young woman
has been single way too long, so her family and
Aphrodite have decided it's high time she gets married. Arrows
is told to shoot Psyche with one of his arrows
of love, and in the process accidentally shoots himself, sending
Matchmaker head over heels for the very person he was
(18:14):
meant to marry off sound familiar, cold.
Speaker 3 (18:18):
You're going to prevent things between me and Dublin. Perhaps
that is for the best. What do you mean, n
I can't marry him.
Speaker 1 (18:26):
I know him fine enough.
Speaker 3 (18:28):
I hear he is leaving for three years.
Speaker 4 (18:30):
I know that already, Colin.
Speaker 3 (18:32):
It takes a year alone to get where he's going.
Speaker 5 (18:39):
I do you seem upset?
Speaker 1 (18:40):
Do they not?
Speaker 3 (18:41):
Aeroson Psyche battling it out.
Speaker 1 (18:43):
This performance is as much a performance for the characters
of the ton as it is for us as viewers
here to talk ballet and the Regency era, the language
of choreography, and the ever changing dance of bridgeton Society.
Is Jack Murphy Heller?
Speaker 3 (19:01):
Am I pleased to see and hear you.
Speaker 1 (19:04):
I'm pleased to see you. It's been too long.
Speaker 3 (19:08):
Where was all tea dance? You were coming to London
so I could teach you to dance at a tea
dance at the Savoy.
Speaker 1 (19:16):
Oh my goodness. Season three Jack is beautiful.
Speaker 3 (19:22):
Jess brown or Jesse Brownell. Hasn't she done a wonderful job?
Speaker 1 (19:27):
Yeah? Absolutely, yes she has. I mean, hey, let's start there.
Where did you begin with what she gave you? Where
did you? Where did you dive in? First?
Speaker 3 (19:39):
Well, obviously I had met Jess prior to her becoming showrunner,
so I met her on season two. She came to
the set visit and reassured me that I would be
around on season three, which was a very good piece
of management, very very good piece, indeed. And so Jess
wrote four scripts which I adored. So that's a fantastic
(20:00):
There were so obviously feminine, and they were our knee
and very lyrical. It started with the scripts. It started
with me reading saying, Jess, can we have a conversation please?
I love the Danbury bolln I love all of the
walls in it, but you've got a ballet. So I
(20:22):
jumped straight to I literally jumped in on episode four,
to be honest, because I had to be conscious of
my responsibility to say, they weren't really performing ballet in
London until eighteen thirty five. Where would you like me
to go with style on this? Because I wanted to
know would she liked me to go historical with that?
(20:44):
And we both put our director's hats on rather than
showrunner and choreographer, and spoke about what we would like
the narrative to be, the continuity of the narrative, and
I really got the symbolism of using eros and psych
and I thought that was ingenious. So we spoke about
the direction of it. We spoke about the connections, the
(21:05):
parallel lines between Colin and Penelope and Eros and Psyche.
It was very easy and very thrilling at the same time,
and it was a very liberating chat.
Speaker 1 (21:18):
It seemed more like modern ballet, like what you would
go to the theater to see today, is that accurate?
Speaker 3 (21:27):
Because I was guided by a wonderful showrunner and a writer.
I was basically told go for it, so I went
for it. Interestingly, the ballet the music obviously informed a
great deal of how it would be played out. And
we have this wonderful piece that is incredibly sophisticated and
(21:48):
very difficult because it goes in fours and fives in
terms of bar phrasing, and it also goes in six
eight four six eight fo four six eight fo four.
It's incredibly sophisticated. So the other artists involved, initially the
ballet dancer Max Westwell, who played Eros, and my assistant
(22:08):
Nicole Alphonse. When we went into the space to start
creating it, I directed the movement, so I focused on dimensions.
I focused on tension, and at no time to know
I really have to choreograph, you know when you have dancers,
and there was a lot of talent in our room,
and it was a very non dance experience because we
(22:31):
wanted the narrative to become driven through the emotional line.
So I used dimensions. I never had to say going
to first, I never had to say your cheny's or
anything like that, whatsoever. I was playing. She's completely in
utterly in limbo, she's deflated, she's in the state of
a near death. So I want to see life less.
(22:53):
So I want to see gravity in the body. So
that was the language that was used. We didn't have
to get embroiled with the idea is this modern ballet?
Because actually I didn't want to see a piece of dalet.
I want to see a nonverbal jewelogue.
Speaker 1 (23:10):
Yeah. Yeah, there are lots of parallels between the dance
that we see and our two lead romantic characters this season.
Penelope also has a few parallels to Psyche. She's the
youngest of three daughters, the only one yet to marry.
She's sort of offered up to this first marriage with
Lord Debling. She's open to it, right, but she realizes
(23:34):
on the dance floor that she would never find love
within that union with Lord Debling. What was the conversation
like between you and Jess, you and the actors, you
and the dancers in connecting those dots between this ballet
that they're all looking at and reflecting in real time
before we see all of that play out after this dance, Well.
Speaker 3 (23:56):
I think you need to go back just one step
and that one step would to the Inventor's ball in
episode three, and so the dance I choreographed between Penelope
and Lord Devil, I wanted it to feel like a
wedding dance, So it was already creating in Penelope's head
(24:18):
this idea, this man, this man. So actually it was
the activity that was informing the thought that this is
a marriage proposition. And I wanted and I used a
lot of armography so that he was turning her, twisting her,
and he was turning her world and changing so the
world of dance and their parallel or relationship there, so
(24:40):
that he was doing to her. And even if that's
just happening subconsciously for the character or unconsciously, so that
when we jumped four and we jumped to the ballet,
she begins already to see physically how this man is
lifting and turning woman. So she has that resonance already
(25:04):
that actually, here is my hero after all these tasks,
here's Eros being heroic. But actually within the ballet, he
dismisses her because he played We play with the theme
of trust. So I wanted to kind of use some
homography that had a resonance from the wedding dance, so
(25:24):
she would see it in kind of thing. I'd make
a connection to that move. So I wanted her to
feel whilst watching this is the person who's bringing me
out of the continued the tasks and the effort, the pain,
the effort and the pain being that actually, unlike Eros
and Psyche and Psyche means the soul, she's not looking
(25:45):
into the soul, and she's starting to lend her membership
to her mother, our aphrodite. As far as I'm concerned,
Lady Featherington that actually this is a way out, not
the way out, but a way out, you know, the operatic,
those ones. So the ballet took us to another level.
Speaker 1 (26:04):
I love all that subtext. I could just eat all
of that up.
Speaker 3 (26:08):
Well, then you've got Nicola Cochlin to think that, because
as you know, I absolutely adore her, and she's like,
give me gimbe, gimbee. You love all that subtext because
the brilliance of Nicola realized the subtext of the myth.
Not all I'm doing is interpretating the myth within the
parameters of filming this within a couple of minutes, within Bridgeton.
Speaker 1 (26:29):
Those few minutes, Carrie, so far throughout the rest of
what we see. Can you give us a little bit
more of what that was like on set? Were there
specific moments that really stand out to you? In episode four.
Speaker 3 (26:46):
When we were filming their darts with the dialogue, Yes
see everything all right, Miss Fredington, Everything is wonderful. I'm
glad to hear it. May I ask you a question,
my Lord Anthy, Considering how often you travel, it makes
a great deal of sense to me that you seek
a practical march.
Speaker 2 (27:04):
But do you imagine that with time.
Speaker 4 (27:11):
Love me one day grow?
Speaker 5 (27:15):
I do not know.
Speaker 2 (27:17):
To be honest, my work has such a large portion
of my heart it may be difficult to make more space.
But I am very glad that you are someone who
seems to have such a full life. You look especially
beautiful tonight, Miss Featherington.
Speaker 3 (27:36):
Very challenging, a bit like a Greek myth. Someone's setting
me a task. Here you go, Jack, here's a whole
page dialogue. How do you set a dance to?
Speaker 5 (27:44):
There?
Speaker 3 (27:44):
With two actors that are only available for three sessions?
Speaker 1 (27:46):
And I mean they're just moving, moving, moving, and talking
and it's almost like they're just just gliding.
Speaker 3 (27:53):
They glide. You are right, they are gliding. They are gliding.
In the rehearsal, I was very adamant that it should
all be about the dialogue and that dance should not
get in the way. So again talking history of dance,
the dance I've used and the hold I gave them
was to sure up the actor, not to be aesthetically
(28:16):
pleasing to the viewer, so that when they come into
fault they felt secure in each other's arms. The turns
were all created around them. They're called quarter turns. So
it's just it's a very simple box waltz. And in
choosing that, I have to settle my ego kind of thinking, oh,
people going to think this isn't very fancy, But that's
(28:37):
because I've worked with dialogue for so long, thinking there's
no point being fancy because they won't have the time
to rehearse it. There's no point being fancy because they
won't be able to attach a page of dialogue to
said dance. If I get fancy. The reason it's very
very powerful because again the subtext, because he is really
leading her in that dance fantastically well physically, but she's
(29:00):
not going there. It's only post the dance when he
says you're not being truthful. You're not. If you're going
to be psyche, you have to psyche, I mean the soul.
You have to go into your soul. He's leading her,
She lends her weight to him, she's talking through that dance.
But what is she not saying? What is she not
(29:21):
saying the truth? But he knows the truth. And yet
he embodies the etiqua of leading, the etiqua of taking
care of her throughout that whole dance in public fantastically well,
which it is to be regency mad. And that moment
happens in private when he says, you sit on that
windowsill for a reason.
Speaker 2 (29:43):
Shall we return to our conversations, Fatherington, Why is it
you sit in your drawing room windows.
Speaker 3 (29:48):
Week?
Speaker 2 (29:48):
I have what you search for someone. I thought you
might have had her falling out with mister Bridgeton, But
now I suspect you may have been searching for him
for a very different reason, for the same reason you
prefer your room window and the viewer to faught out
towards the house across the square.
Speaker 1 (30:03):
I don't know what you speak.
Speaker 2 (30:05):
I'm speaking of mister Bridgeton, and the feelings between the
two of you got punch.
Speaker 3 (30:12):
That's why I like that dance because of the quality
of the acting, and my job was to get out
of the way of them, even though the writers have
said they're dancing.
Speaker 1 (30:23):
And then boom, it sort of just explodes on the
dance floor because here comes Colin Bridgerton, and you know,
it's kind of like, what did you just do? And
maybe a little bit like I kind of like what
you're doing.
Speaker 3 (30:35):
Because he interrupts. Yeah, because he interrupted, because his action
is so it's godlike, it's godlike, because it's so wrong.
It's not what you do, right, not what you do.
I mean, it definitely is not what you're doing a
dance at a ball. He does. That's a cut. He
(30:56):
cuts Lord debling, and that's really improper. So again through
the action of him doing that, and she's initially enraged,
but actually, once the breath settles, he did that for you,
my dear. So if you could have read the Signals
of ero A Sopsyche, read this one, because it's pretty
(31:18):
it's pretty strong. This man's bad about you, he's equally
possessed about you. Yeah.
Speaker 1 (31:26):
I love Jack. How you pull the historical nuances and
all of the research that you pour into everything you
do during these balls social dances, and then break it
and then break it into a million pieces, but then
you put it back together so beautifully. I want to
get some final thoughts from you, and they are centered
(31:48):
around let's just talk like one through four, how the
dances and interactions between Penelope and Colin tell us a
little bit about the evolution of their relationship. Actually, Colin
and Penelope haven't have they danced before?
Speaker 3 (32:04):
Colin Penelope dance at the Vauxhall Gardens. That's the very
first dance. When I'm so pleased I don't remember this.
Colin sees crested Kalpa be very mean to Penelope, and
he walks over and since and asks Penelope for douce
and they go onto the floor and they dance a
cheek and they does a very very lively, fun friendly dance.
(32:28):
So that's their very first stance they dance. In season two,
they dance at the ball where we have Wrecking Ball,
and they dance a very They dance a romantic it's
kind of a fusion between a rumber and a chutcha.
It's got some rumble minutes and chut charsady and yes,
they dance in episode they dance in episode four for
(32:51):
a short bit, and I'll just tease you maybe they
dance again.
Speaker 1 (32:59):
Thank you for listening to this episode of Bridgerton the
Official Podcast. Next week, the wait is finally over. The
next four episodes of the Netflix series will be out.
Come rejoice with me on the podcast. I'll be joined
by Claudia Jesse, who plays Elouise Bridgerton, and season three
show runner Jess Brownell to talk all about episode five.
(33:25):
Bridgerton the Official Podcast is produced by Shondaland Audio and
Wonder Media Network. This show is executive produced by Sandy Bailey,
Alex Alcea, Lauren Homan, Jenny Kaplan, and Emily Rudder. Our
producers are Sarah Schleid, Edie Allard, and Carmen Borca Carrio.
This episode is edited by Jenny Kaplan and Emily Rudder.
(33:47):
Our associate producers are Lauren Williams and Akia mcnight and
I am your host, Gabrielle Collins. If you haven't finished
binging Bridgerton, please head to Netflix so you can enjoy
these spoilers with us each week. If you're enjoying this show,
please subscribe, share with your friends, rate, or leave us
a review. For more podcasts from Shondaland Audio, visit the
(34:10):
iHeartRadio app, Apple Podcasts, or wherever you listen to your
favorite shows.