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Multicultural Casting and Racial Identity: Reimagining Regency Society in…

- - - - Andreaa Micu, 'Identity and Lived Experience', in Performance Studies: the basics (Routledge 2022)
        'Issues of authenticity and appropriation get all the more complicated in contemporary society because contemporary capitalism thrives on the commodification of everything material and immaterial, including identities and cultures.' (83)
  - - - Littler and Naidoo, 2004 (330)
        '[W]hilst the British present is now frequently thought of as being multicultural, only too often is the British past, and British heritage, still imagined as being white'
        
        Issue not really adressed, just repanted
  - - - 'Marina Thompson, a Black debutante receives much attention from White male suitors after her first appearance at a Ball during the London season. Her popularity among the White men in London also signifies the existence of a post-racial society in the nineteenth century.' (453)
      - 'A scene occurs where Marina Thompson stands silently in the middle of the Featherington drawing room, under the direction of Lady Featherington, while Lord Rutledge circles Marina Thompson, comments on her physique, and considers whether she will be a good investment (Van Dusen, 2020a). Lord Rutledge even goes as far as to ask Miss Thompson to smile to show him her teeth, a common assessment when purchasing livestock.' (455)
        
        'The scene takes place in 1813. Britain had abolished the slave trade in 1807, though did not abolish the practice of slavery until 1833.'
      - 'In viewing Marina Thompson’s Black body as a possession to have and sexualizing the raced feminine body, the series places Marina Thompson in a clear position of domination. Marina Thompson’s position in this scene is illustrative of a more recently defined controlling image similar to those previously defined by Collins (1986), the “tragic mulatta” representation in popular media' (455)
        'the tragic mulatta has her voice silenced, is representative of an outsider within, and is depicted as problematic and destructive. In Marina Thompson’s case, she is physically silenced in this scene by Lady Featherington. Further, Marina Thompson is a visiting cousin for the Featheringtons and is not of the same social standing in terms of [page 456] class and (important to the audience, only) race. Here, Marina Thompson faces disadvantage as the outsider within. Again, the colorblind casting strategy has failed to create a post-racial, post-feminist utopia and has re-established a racial narrative that places Black women in a position of disadvantage.' (455-6)
      - 'Bridgerton creates a pitfall through interracial relationships where the dark corrupts the light. For instance, Marina Thompson is what would have been called a “ruined” woman as she is with child without a husband or someone to take responsibility for her. In her attempt to create a respectable life, she decides to seduce Colin Bridgerton, the youngest Bridgerton brother, who most deem too young to be considering marriage. She intends to consummate their relationship before their wedding so that he would believe the baby to be his. Further, Penelope Featherington, Marina Thompson’s White cousin, says in episode four that she feels the need to save Colin from marrying the “wrong type of woman” (Van Dusen, 2020a)' (456)