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Hilariously, her mother congratulates her on "finishing." Even though a man had told her how to touch herself, Daphne takes full ownership of the moment.Īlongside Bridgerton, a number of other costume dramas have also portrayed female masturbation in recent years. Having experienced her very first orgasm, Daphne is relaxed and manages to complete a song she was struggling with. This amusing edit seals the deal for this scene, that ends with the young woman playing the piano the next morning. Unlike other mainstream depictions of masturbation, Bridgerton doesn't shy away from unequivocally focusing on Daphne's body as well as face when she climaxes. The camera follows her every move as she slowly but surely reaches for the centre of her pleasure. She starts by gently touching her body, then hikes up her nightgown. Significantly, the heroine leaves the white rose Simon gave her behind as she follows his advice. Bridgerton presents viewers with the on-the-nose symbology of the candid flower.
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The scene that follows is a defining moment for Daphne. "But especially between your legs," he whispers, causing half the audience's heart rate to accelerate dramatically. "When you are alone, you can touch yourself… anywhere on your body, anywhere that gives you pleasure," Simon tells Daphne. Brimming with anticipation, the exchange lays the groundwork for the second, possibly sexier half of the season. When the Duke realises Daphne has never masturbated, the atmosphere gets tenser. While having a man instructing a woman on how to pleasure herself might seem problematic, the sequence is respectful and sensual. She seeks advice, aware that only a fake suitor would tell her the truth. "I'm laughing at the absurdity of how little mothers tell their daughters," Simon says as they promenade. In 'Art of the Swoon', a steamy, explicit dialogue prompts the young woman's sexual awakening. At least until she strikes a deal with Simon, Duke of Hastings (Regé-Jean Page.) As the pair pretend to court to get their way in the market, Daphne is introduced to the joys of masturbation. Taking care of the flesh tingling under those layers is another matter, one that is hardly ever addressed.īridgerton's protagonist Daphne Bridgerton (Phoebe Dynevor) is no exception. Those same bodies, however, are heavily sexualised, squeezed into diabolical corsets and petticoats designed to appeal to gentlemen.
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Their sexuality constantly policed, they're left in the dark about the way their bodies function.
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While men are free to indulge in affairs, respectable young women are shamed into suppressing their impulses. The unmarried ladies who dare cave to their instincts almost instantly lose their status, falling victims to a system that still regards virginity as the most desirable quality in a woman. Sex – in the form of heteronormative, male-centred "marital relations" – is often hastily reduced to something women will have to endure rather than enjoy. Tragically, they are provided with little to no information about what happens after tying the knot. Young women are pushed by their mamas to secure the best match.
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In Bridgerton, the heroine playing solo turns into a groundbreaking narrative device to expose the hypocrisy of sexual double standards.Ĭreated by Chris Van Dusen, this inclusive, delightfully camp series revolves around the 1800s London marriage market.