From the Show
“It’s kind of funny,” she tells E! News. “People saying, ‘How are you feeling?’ and I’m just like…every day something new and amazing happens and I just am smiling so hard that I just break out into spontaneous laughter. It’s insane and wonderful.”
January 28, 2021
Thank you, everybody! Thank you thank you thank you!
January 21, 2021
It’s official! Netflix has renewed BRIDGERTON for a second season!
It’s thrilling! So many new-to-JQ readers put three books: The Duke and I, The Viscount Who Loved Me, and Romancing Mister Bridgerton on the New York Times bestseller list — with The Duke and I holding the top slot for three weeks running! And ten — TEN! — titles on the USA Today list. That’s an exciting lot of new Bridgerton readers. How long until they discover the prequels? The romance of Violet & Edmund’s generation await readers with the Rokesbys…
It’s fun! With all the Bridgerton love going around, JQ is on Cloud Nine!
JQ is interviewed by Alison Flood and talks about the Bridgerton show, the cast, THAT scene, and more. Here’s an excerpt:
The show switches the race of some of Quinn’s key characters, who are white on the page: the duke is played by Regé-Jean Page, while Adjoa Andoh is the magnificently acerbic dowager Lady Danbury. “I think it’s wonderful and joyous,” says Quinn. “Previously, I’ve gotten dinged by the historical accuracy police. So in some ways, I was fearful – if you do that, are you denying real things that happened? But you know what? This is already romantic fantasy, and I think it’s more important to show that as many people as possible deserve this type of happiness and dignity. So I think they made the absolutely right choice, bringing in all this inclusivity.”
The Washington Post
Written by author Vanessa Riley.
“Race is celebrated. Regé-Jean Page, Adjoa Andoh and Golda Rosheuvel play Black characters, not amorphous shape-shifters with tans. “Bridgerton” entwines culture into the story but without the burden of the colonial past. With everything from the solidarity dap, the arm tap between Hastings and Mondrich, to a jeweled Afro-pick comb, Black is on the screen. It’s bright and happy and shiny in a post-racial afterglow.
The duke, the lady and the baby-face queen — these characters’ struggles are not framed by slavery or prejudice. The Duke of Hastings is broken, consumed by a vow made against a horrid father. Lady Danbury’s pain is physical. Her knees aren’t as adept as her meddling. Queen Charlotte seeks excitement to avoid hours of dwelling on her husband’s mental illness. These troubles are universal. They hit at the soul. Viewers of color can feel safe watching the story without waiting for that moment when our breath is punched from our lungs because of an epithet, an othering action or plot point constructed on historical pain, pain that still runs deep.”