(ANSA) - ROME, MARCH 13 - For the costume series, the golden age seems to never end.
Why is the public still passionate about period drama in which marvelous dresses with corsets, laden tables, lavish balls or palace intrigues dominate?
After all, we still seek or believe in fairy tales, even if the chronicles tell us how feuds, betrayals, wars have always been hidden behind smiles (even if pronouncing this word seems a disrespectful acrilege).
To prove it, the success of series such as Bridgerton, among the most viewed on Netflix (fans are inflamed for the second season, arriving from March 25), or sagas like The Crown (coming the fifth season in November).
Also highly anticipated is the film Downton Abbey 2: A New Era: in cinemas from April 28,
Already renewed for a second season, this series is also signed by Sir Julian Fellowes who, after outlining the vices virtues of the English nobility of the early 1900s first (DowntonAbbey) and the first half of the 1800s then (Belgravia), now brings American golden age of the late nineteenth century, right at the center of the conflict between tradition and modernity.
If tradition is embodied by the intransigent and proud heiress Agnes van Rhijn, played by Christine Baranski, backed up by her sister Ada Brook (Cynthia Nixon), modernity has the flashy likeness of the very rich bourgeois couple played by Morgan Spector and Carrie Coon, who have just moved into a brand new and sumptuous palace a few meters from the historic home of the two sisters.
In the middle is the protagonist, who has the face of Louisa Jacobson Gummer, the youngest daughter of Meryl Streep: Marion Brook, the unfortunate granddaughter of Agnes and Ada who will find herself in spite of herself, together with the aspiring writer Peggy Scott (Denée Benton), in the middle of a dispute between the aunts and the new, rampant neighbors.
(HANDLE).