With an audience of 82 million member homes in its first 28 days online, Netflix is hailing “Bridgerton” as its biggest debut for an original series on the streaming service, Variety Learned.
In her first interview since being elevated to Netflix’s head of drama development last fall, Jinny Howe – the executive who fueled the Shondaland series – discussed the sassy, hot period romance, as well as several other dramas Netflix currently has in progress.
Much like a couple in an epic romance, Howe’s pairing with “Bridgerton” seemed destined to happen. At the same time that Howe joined Netflix in early 2018 to oversee dramas for serial characters, Shondaland had already endeavored to adapt Julia Quinn’s novels as his first project under Shonda Rhimes’ general agreement with the streamer, with Chris Van Dusen as a showrunner. And it happened that when Netflix asked Howe, in an interview, what she would pursue if she could do anything, her answer was: a Regency romance show.
Romance, often defamed and ridiculed, is Howe’s favorite genre as a consumer. And the success of “Bridgerton” can give the category a certain extra decorum among its peers: the streamer also shared that the series is the most watched program in 83 countries, including the United States, United Kingdom, Brazil, France and South Africa The program is on the list of the top 10 Netflix in all countries except Japan.
“I wonder if it’s the lens with which we evaluate content in general,” said Howe of the genre, “if we’re really looking through women’s lenses and understanding, yes, it’s romance, but not distilling into something so simple, because there are very complicated female characters at the center of these stories that I think really resonate with fans ”.
The show’s first season explored the debut of an older daughter in the London wedding market, as well as her sexual self-discovery – the latter that thrilled and shocked some viewers who might have expected a more contained story. The second season of “Bridgerton” goes into production this spring.
But Howe is quick to note that Jane Austen, for example, was well ahead of her time in focusing on women who questioned cultural norms and the constraints they faced. And developing the series through female lenses was important for the creators of “Bridgerton”.
“Even the hottest scenes were really choreographed and designed with that in mind – that this is really a feminine and really empowering lens for women,” said Howe. “So, I feel that this was much more of a North star in terms of how we were going to build the narrative.”
Howe took over as vice president of original drama development after a structural reorganization last fall that put Bela Bajaria ahead of Netflix’s global TV operations. The former TV executive, who before Netflix spent 13 years at John Wells Productions, took control of the development of dramas at a time when the service surpassed the mark of 200 million paying subscribers amid an unforgiving scenario straight to the consumer.
Between “Bridgerton” and “Queen’s Gambit,” Howe sees his popularity as proof that period dramas are not limiting – and that the creators in this area seem to be energized.
“It was very exciting to see,” she said. “I have experienced, even just in terms of the material that is coming, that it is an invigorating passion in this area. I like it when we are not limited to following an anticipated pattern or theme, because I think we always see really exciting zags and I think that opens up many different paths in terms of narrative. “
In addition, Howe remains focused on nurturing series that include strong characters that viewers will cheer for, as well as creating a wide spectrum of shows that, echoing what other Netflix executives have said in the past, will bring everyone’s favorite show to the service.
“I am excited about the diversity we have,” she said. “We have a lot of female stories that are coming up too. And I like that we are being bold. Given that we have such a wide playing field, I think we are really going to accept many different types of swings and we are excited to work with new voices and talents, as well as to see what that will be like as well. “
Of the projects she has underway now, Howe is thrilled with the adaptation of Alan Yang and Min Jin Lee from Lee’s acclaimed 2007 novel, “Free Food for Millionaires”, as well as “Kings of America” by Adam McKay. The latter is a limited series starring Amy Adams and centered on three women – a Walmart heiress, an executive and a saleswoman – who filed a class action lawsuit against the United States’ largest retailer. And the next on Shondaland’s list is “Inventing Anna”, the story of con artist Anna Delvey.
Howe is focused on both originals and existing IP-based projects. And, as the streaming market reaches its peak, it has been “really exciting to see the competition heat up a little,” she said.
“It’s great not only for me as a consumer, but I think it’s great for the business as well,” she said. “The market is very competitive and I think we are seeing a lot of really exciting projects that look like really cool changes with people who have never done television before … Because there are so many different platforms to bring your content, it is encouraging a lot of people to play more in this space. “
And while Howe, Van Dusen and the Shondaland team certainly could not have predicted the harsh 2020 that the pandemic would bring, the timing of the “Bridgerton” launch ended up being a welcome balm for viewers in need of escapism.
“I really think I’m seeing a pivot in terms of people who want things to look a little more aspirational and just escape and feel good,” said Howe. “It is difficult to know where we will be in a few years, but I think this will be the trend for a while. I imagine that you will continue to follow this blue sky, a route to feel good. “
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