MYSTERIOUS BENEDICT SOCIETY: simply the *best* show that everyone is sleeping on. It's sharp, charming and kind without being saccharine.
Has its own inimitable sense of humor: a sailor just introduced himself as "Officer Zhao, but my nom d'océan is Cannonball."
A lot of stories about gifted kids - A Series of Unfortunate Events, for instance - tend to act as if being well-read makes you morally superior. This show, on the other hand, sees this more in a "to whom much has been given, much is expected" sort of way.
Plus, there's just a sense that you absolutely *should* want to be well-rounded (that is, know everything about boats, dictionaries, falconry, and obscure codes) just because it makes you interesting. Even the villains provide their hostages with bespoke hors d'oeuvres.
Season 2 has turned the villain into a self-help author, which is a hilarious and perfect conceit. All the character arcs also seem to be about interrogating buzzword concepts, like boundaries and communication. This is a really smart show.
Kate: "What happened to your parents?"
Constance: "They were eaten by polar bears and clowns. The sound was awful."
Kate: "You make it hard to try."
Constance: "Bonding is needy."
• • •
Missing some Tweet in this thread? You can try to
force a refresh
Presentism has really started to colonize every "historical" adaptation lately - Bridgerton accelerated the effect but didn't start it. Do modern audiences really have no stomach for faithful language/behavior or is it just that producers don't know how to create it?
My suspicion is that with the older generation of Shakespeareans fading away, thus fades a more conservative temperament in adapting classic works as well.
I mean conservative as regards to art - interestingly the attitude doesn't match a person's politics in my experience. Michael Jayston (86yo, RSC alum) is a self-described socialist but when I talked to him, he expressed admiration for classical acting and I bet he'd hate this.