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Will the disappointment that awaits addicts to the escapades of the Bridgerton family be alleviated by the discovery of the adventures of the Knight of the Moon or by the escapades of the spies of Slow Horses ? This is the whole point of the episode of the week.

“The Bridgerton Chronicle”, season 2: double dose of whipped cream

We would probably have welcomed the release of Bridgerton season 2 differently if it did not coincide with the end of the most important series festival in the world, which closed its doors on Friday March 25. Moreover, the first episodes of the season were screened in preview to the Lille festival-goers of Séries Mania, who must have found this sequel to the adventures of the Bridgerton heirs, taken from the books for “young people” by Julia Quinn, very bland. As much as the first season, with its surly young flower girls, its “colorblind” casting and its progressive biases, made the series swing in costume, this season 2 could already be one too many.

Frozen in decorum, finery, British accent and outdated expressions, the series reveals too quickly (but at length: several episodes exceed 60 minutes) its thin program: basically, capitalize on the success of the first season and iron pretty much the same dishes. Unable to count on Regé-Jean Page to bring the Simon Bassett/Daphne Bridgerton (Phoebe Dynevor) couple back to life on screen, the series shifts its focus to Anthony, the elder brother to marry, and Eloise (delicious Claudia Jessie), the youngest who enters the world. Without forgetting the young Penelope, secret author of the scandalous social column signed Lady Whistledown. Only the most addicted to Bridgerton will find in this reunion with the characters reason enough to “binge” season 2. The others will consider, no doubt rightly, that life is short. Audrey Fournier

The Bridgerton Chronicle, series created by Shonda Rhimes and Chris Van Dusen. With Phoebe Dynevor, Nicola Coughlan, Claudia Jessie, Julie Andrews, Jonathan Bailey (UK, 2022, approx. 8 x 55-70 min). On demand on Netflix.

“Infiniti”: astral drama

In the wake of a salvo of feature films, most of them fairly successful, with space travel and the conquest of distant lands as their backdrop, Canal+’s ambitious original creation once again proves the extent to which this narrative material is fruitful. One foot in France, the other in Kazakhstan, Infiniti opens with a violent accident at the International Space Station (ISS), which we do not know if it is of human or technical origin. When communication with the station is broken, a Kazakh policeman discovers in Baikonur, near a Russian space base about to be closed, a decapitated corpse covered with wax. The identity of the body seems to say something about the events that happened on the ISS. To find out the meaning, the policeman calls on a French astronaut (Céline Salette), dismissed at the last moment from the mission in which her colleagues probably perished.

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