Growing Up Bridgerton: Hannah Dodd, Claudia Jessie, Ruth Gemmell & Luke Thompson

Not in Birmingham. Hey, listen. You all right. That's without, and that goes without saying. Dear East gentle reader, welcome back to the Bridget and podcast. On Lady Alice and Hammond, you're host for the event of the season.

This is the podcast where I sit down for hi-t and bombons with the stars of Bridgetton. Plus a few of the talented individuals who bring the taunt

to life. But first, a spoiler warning.

We are going to be doing a deep dive on the new season of Bridgetton. So, if you haven't already seen the first four episodes of Season 4 and Netflix,

“you better do it now. If you watch it, great isn't it?”

It's a family affair today as our be hostie members of Mae Fair's most respectable family, the Bridgetons. We have Hannah Dart and Claudia Jessie, aka sisters Francesca and Eloise. I'll be chatting about avoiding suitors and keeping your biscuits warm. You know what I mean? Then we have a fan, Bavra, Mama, Bridgetton herself, Ruth Gamble.

Yes, Lady Violet, we'll be joining us with Luke Thompson, who plays her wayward son, Benedict. For a lovely chat and probably a bit of family therapy to be honest with you. Now, let's hop off the shelf and have a good old Natty Bridgeton sisters Hannah Dart, and Claudia Jessie.

Hannah, Claudia, welcome to Bridgeton. Look at this. Isn't it beautiful? It's so beautiful. Look at the moving mysterious. It's everything. Well, welcome. I hope you feel at home. Really? So, part one, girls. Let's get into this.

You're both a kind of outsider's in the family a little bit. But where are we finding you both now? Do you still both love each other?

“Imagine that's how we started the season. I know.”

Oh, well, I don't know. You might be sick of Eloise, because she's sort of gay-crashed. You're a honeymoon, really. Absolutely not. We've seen us coming out of that carriage together. Yeah, she's buzzing to get home. We've just come back from Scotland. Yes, and apparently, Eloise is done. She's done for it.

She's not feeling it, is she? No, I don't know that Scotland went as planned as to plan as we were hoping for, but I'm not sick of you at all. That's good. That's good. I think they're ready to be home. I think both of them want to be home a little bit.

Yeah, yeah. Scotland was crowded and also empty all at the same time. Yeah, too much for you, too little for us. Exactly. But yeah, they're on good terms, of course. That's good. Yeah, it's lovely. But obviously, a lot of pressure to produce an air at the moment. I mean, how did you deal with that situation?

She was under a lot of pressure last season with the ton and trying to meet a husband and then trusting her gut and going with the husband that she actually wants. And then now, she's got new pressure with trying to produce an air.

“I think like every stage of life for a woman in this era in every era is stressful.”

And there's a lot of pressure. I know. And I think with that pressure that she's putting on herself, it doesn't help things either. But also, she's got no information. So she's running around town, lesser trying to work out what it is that she's meant to be doing, which is really cute. She's very anxious, is it sure? She's a little bit anxious, yeah. Why about you, too, in general? Do you love working with each other now?

Oh, yeah. Is it just like being at home? I got the gig nearly seven years ago,

like, which is mad to think. And as soon as we're back on set, it's as bonkers as always.

For example, at the drawing room scenes, when we're in the like Bridget and living room, or whatever, that's when we all go nuts. By like 11, 15, we're shattered because we've just been laughing. It's so much been badly paved and stuff. But it's where I feel my happiest is on the Bridget and set. Are you serious? Not in Birmingham. Hey, listen. You all right. That's without, and that goes without saying. Workwise. I just found out that we've got the same wax

because it's the same wax in place. Big shout out to Vanessa on the way. Take care of me in Allison. You know, everybody. Let's talk. I don't know why I've gone to this subject, but let's talk about the pinnacle. Like literally, whilst we're down there, whilst we're down there, let's talk about the pinnacle because honestly, that makes some comedy, but also vulnerability. It's such a lovely, it's so wonderful. And when

Nicolas explains it, I know. It's just brilliant. I mean, thank goodness she does because

Ruth is useless. You haven't never been good at telling the girls or not. I've been brilliant in

that department. Was it nice that exploring that side of her though? I just really feel for her in the sense that, like, how was she meant to find this out? Especially when they are two introverts, so then it's not a conversation that John and Fran are having. And if she's not had this information, where else is she going to go to get it? I don't know. I don't know. The women in her life. So it is so nice to see her. I mean, first of all, obviously, she does try

mum. But the fact that she can actually rely on Penelope, you're to give her the actual

we're like, "Oh, wait a minute." Yeah, there I have to see the conversation. I'm like, "No, okay,

“great." Yeah, Eloise, how do you think Eloise about Seema's sister with her best day?”

Eloise is, like, so determined to sort of pave her own way. But then I think she's so, so many roadblocks at all the time, whether it's like realising that she might make a decision for herself. I mean, oh, I'm going to try and be on the shelf, for example, and then sees why that's going to be so difficult, or I'm going to try and just live independently and then sees all of the people around her sort of falling in love. And I just think she just needs to find a way of it

becoming like a happy medium for her, I think. And it's great. I feel like Eloise learns something huge every season. And it's the age that you would, I guess. She's, you know, so young. I mean, even higher since she's out of it, he's well, don't you mean? Yeah, she can't get enough of this stuff. She wants all parts of it. She's surrounded by marriage. Everyone's like, yeah, yeah, yeah, and no, and she's

like, "No, it's all the single ladies." How much do you think Eloise has grown throughout the seasons?

I'd say a great amount, and that's a lot through the friendship she has with Penelope. There's something about your family. They know you so well, and there's sort of, there's the unconditional

“stuff she has with her siblings and mum. But I've said before, like, I think there's a bit of”

a loveable, like, I roll with the family with Eloise, like Eloise doing a thing again. But I think with the friendship she has with Penelope and their breakup, you know, in previous seasons. Like, I think that's where she got to do a lot of her growth, really. Because I think they kind of, I think Penelope and Eloise found out who they were a little bit more apart, actually. But they're still loads more for her to do. But it's lovely that each time it's from another person is taught

or something. I think she learns those from Fran. I think she learns from Heisen, the Penelope, I hope it works out perfectly, and in the way that Eloise wants it too. How much fun do you have with that Nicola? Oh yeah. It doesn't have fun with Nicola. With that Nicola. Do you know we've got the same hairdressers? Well, technically so domain new. Obviously we're all the same people. Don't be asking Vanessa any questions about me. Well, she's

like, don't we go? Don't you not say it? I'm not having any of that. Can I just say that lovely sibling heart to heart that you have on the swing with your brother? Such a beautiful sweet moment with the clubhouse. Yeah. Me and Luke voice looked forward to those scenes. I thought they reoccurred in every season. But I think there's room for that to be a bit of a shift as well and this season. I think it's a safe place for Eloise. I think she probably just goes out there to

think. It's a really romantic way of showing that connection. Spiritful. Yeah, do you love those scenes? Me too. Me too. And obviously, Michaela, she comes into the scene. You're an upgrade. I know. I know.

“Well, she always kind of like messes things up a little bit, doesn't she? But in the best way possible.”

I think she's just like a tornado of energy that like definitely does something to Francesco and I think she finds her quite a confronting presence. Yeah. Because any room that you could possibly grow friends at some point? Like, so is there any room for her? I mean, we've not got a very big house. I don't want to arrive. No, I just say. No, I think they need to work. I think they're very different people. And I think Francesco kind of, she's got a lot on her plate at the moment. She needs to work

it three methodically. And, yeah, Michaela's an energy that kind of messes everything up. And I think she just needs to, she wants to feel like she's doing things right. And she's the complete opposite. She wants to see Francesco go about uncomfortable and just having fun. And that's like the opposite of who she is. It's so good to have you back, girls. Hey, honestly. It's nice to have

your outfits back on. Oh, yeah, I love them. John glazer is one of the most incredible

costume designers ever. One of the reasons I'll say he's particularly beautiful as well. It's because everybody that works for him loves working for him. And I think that says so much. Like, they just love working for him. So true. Imagine that, like, just adoring your boss that much. He is incredible. They're not stressful. They're not like intense. He's really like fluid with everything. He's just a, he's a very funny man. The whole team are beautiful. And they are like

tailor made to us throughout the season, right? So the comfort. Yeah, exactly. They are really - Yeah, if you hear, they are. - They are. - They are. - They are. - They are. - You're really good at that. - Yeah, you're really good at that.

- She's really good. - She'll like lift her arms immediately to be like, "I can't lift him, go on this point, I'll forget." And then I'll get you something. - I'm like, "I can't, she's my company." I don't know what I do in the fitting though. It's like, I see, my conscious is going to be like, "Lunging in every single day." (laughing)

- I'll be like, "I'm all in the chair, it's just that I'll probably be fine." - Yeah, Bridget and sort of is the costume. They are the costumes as well. Like, they make the world. - They don't say everything. - Yeah, everything. - The set aside, the hair and makeup, like, all of that.

They do so much the work for us. It's a real magic place to be. - In fact, goodness, they do it because I'm very happy you guys are back.

- Thank you so much. - Thank you. - Thank you, Alison. - Penelope, I beg you. No similarities, no analogies, no sentimentality. He's, I just need artists. - Very well.

“- I was so excited to chat to Hannah and Claudia, weren't they a treat?”

So we've met the sisters, let's meet the matriarch behind them. Ruth Gimmel, who plays Lady Violet, who is not just a fan-favorite. She's one of my favorites, too. She wears many hats, mother, grandmother, respectable society lady, and steamy little tea pot.

I sat down with her and Luke Thompson, who plays us some Benedict to talk Bridget and family dynamics. - I'm going to date. - Hello, mother. - You are two hours late, yet again. You weren't meant to sharpen around her, are you?

- I have been here, perhaps you did not recognise me in my mask. - You know, I do not believe that we are serving gin this evening and yet I can smell it all over you. - Ruth, Luke, it's so lovely to have you on my podcast. - It's lovely to be here. - It's nice to be here.

- I would have been in the Bridget and... - I know, I know, I really like it.

- It was nice, doesn't it? - It's nice of a second time.

It doesn't lose its glow, doesn't it? - It's a good move. - You're with your mom now. - Yeah. - This lovely relationship. - No. - What a wonder to see you and your relationship change. First of all, Ruth, what is it like seeing Luke?

Luke takes center stage. - It's fantastic. He's lovely to work with. - It's a real joy. - Although I say that. - I say that. - He makes the corpse. - He makes the corpse. - Do you make the corpse? - You do make the corpse.

(laughing) - No, no, no. - Well, we're a bad combo. - Yeah, we are really happy. - Sometimes we can't look at each other.

“- Yes. - There was the worst thing he's done, Ruth.”

(laughing) - Come on, you can offload here. There was a scene that actually had nothing to do with us other than we just had to look and we couldn't look at each other.

- And the camera, you know, was fine for the first few shots

and the camera got closer and closer. - And we got more hysterical. - And we got more hysterical. - Absolutely dreadful. - And you can tell when the crew are a bit like, come on, guys. But it's just when it's in you, when the demons in you,

you can't-- - It's 'cause you're not supposed to do it. - Exactly, when you're not supposed to do it. - It's funny, it's the worst. - You've had moments like that. - A few. - Yeah. (laughing) - You're not doing what you might have been privy to it.

Some of my best bits are the words for me anyway. Let's get into this because it is such a beautiful relationship. However, Violet is not very happy and we've been a Dix extra curricular activity. - No. - Going on in the Bachelor Pad.

How did you react when she was in the Bachelor Pad? - I think she was expecting a bit of mess. I think she was quite shocked.

“And I think discovering the women there was kind of really--”

that was a step too far, really. Yeah, he's disappointed her quite a lot at the moment, because you've taken the reins, you've taken the reins from Anthony, and you're not turning up, or you turn up drunk, or you don't go to school, or late, and no.

- And late is interesting, right, because you always wonder

when someone's being late if it's deliberate. They can sort of say, "Oh, sorry, I-- - It's deliberate." - But it's deliberate. - It's deliberate, yeah. So, what do you think Violet truly truly wants from? - To settle down, he needs to take responsibility.

I kind of want that for all my kids, really. I'm really quite an overbearing mother. - I am. - I am. Do you think Benedict wants the same for himself? - I think he's trying to reconcile what settling down

or the idea of, I think in his head, he hears settling down and because he values his freedom so highly, I think he sees it as something boring, or something that will restrict him. And actually, in a strange kind of way, freedom, after a while, kind of restricts you,

because you can become a bit of a cage. You get a bit lost in just sort of trying to constantly, just find new stuff. And actually, there's huge excitement and value in settling down or choosing someone and committing someone.

But I think Benedict has to work that out for himself. It's one of the things that mums know, I think. And mums can say again and again, but she's using the words that don't quite square with his idea. - No. - Yeah. - Yeah.

- Yeah, it takes a while. - But your relationship definitely takes a little shift when the woman in silver comes along. - Yeah. - How does it change your relationship? - After I've had a conversation with Penelope,

and I understand that she's writing about Benedict. I think I kind of like that scene where she's kind of runs rings around you. It's good fun and it's kind of nice then, because finally, you see that I can't be at use.

- Yeah, and there's that lovely moment sort of thread in through with Eloise on the swings where the final thing Benedict says is, "Oh, our mother may surprise you." - Yeah. - And I love that, because I think it is. It's like he's seen, he's like, "Oh, yeah, I can see

that there's something value here." Obviously, it's lined up with the fact that he has met this mysterious lady. - Yeah. - But it's quite secretive, Benedict. So it takes a while to give in.

- To give in. - To give in. - But when he does, I think he, yeah, you know, he's willing to give it a go and see if you can be a views. - Yeah. - It can be a views. - But you can see how much they truly love each other.

called Sophie. - Yes.

- And straight away, there's been a bit of gossip going on

so you're like, "Jubious." But as soon as he says, "Look, she saved my life." - Mm. - You're in. - Absolutely. - And you love in that much, like, "Oh, that's set "the stranger." - Yeah.

- And I trust him implicitly. I might be irritated by him. I'm irritated by all the children, but I love them equally. And you wonder some of their love life, don't you? - Yeah, you get it. - Yeah, you get where they're at.

- I'm a step ahead of most of them, aren't I? - Oh, which I was like that in life. - I really do. - Well, it's instinct, isn't it? She just has an instinct, doesn't it?

Like, like, a lot of mums do, I think, they just know, somewhere.

“- Ruth, why do you think Violet's hate such a shine to Sophie?”

What is it? - I think she's intrigued by her. I think she's surprised, but, you know, this woman is, is educated in a way that staff wouldn't have been then.

And I think she's intrigued by that. I think they have a conversation and she finds out that she doesn't have her parents anymore. And I think that means something to her. And I see somebody who's hardworking

and somebody who saved my son's life. And I grow very fond of her. So it's kind of a very tentative. As soon as I realise there's some kind of spark between the two of you, it's something I have to stop

because you can ruin, really. - Well, so interesting is that Benedict is not scared to tell his mom about herself. He's not scared of her at all, is he? - Wow, I don't know.

- It's funny, look, I think he holds things back from her, but I think she's the person that's very difficult for him to really get angry. Like, you know, I think that whole family has been knit by the dad dying.

- Yeah. - And so, you know, Benedict has seen his mom more and all of them more and so, you know, they are a family so close and so united, I think, because of great victory.

They've held each other very tightly, growing up.

And the problem is when you fall in love,

you're falling in love or falling for someone is a little door outside of that family unit. You never really leave it, but, you know, you know, it's a new part and so it's doubly hard if the family unit is knit by that memory

of something horrible happening. And that's also, you know, sadly that's Benedict's example of like a loving relationship is his mom losing everything.

“So you can see why it takes him a while to really open up, I think.”

- Maybe that's the reason why he struggles with it. - Yeah. - Is the death of his father? - Definitely, I think that's definitely a part of that. - I'm getting into my act of my life.

- Yeah, yeah, yeah, yeah, yeah. - When you're preparing for these roles out, how much work, before and do you put into it? Do you have a little notebook, how does it work? - Right at the very beginning, I read all the books

and I used to go back to them, but I think the scripts quite often now take a slightly different path. So I thought to just go, - There's a lot of what? - Yeah, exactly, you kind of leave them behind,

but I did write down from every single book, I wrote things down about how you all talked about me or how I talked about you lot, or you so that I had some kind of reference, even if they made no sense and quite often some script will come along

and not make no sense whatsoever, but it helped me to kind of gear into it. - Yeah, you go back to it and just have a look. - Yeah, we started this in 2019. - Yeah, so that's all ready there.

- That's all ready there. - The key street there, are you ready? - Yeah, the reason he's trying to... - 'Cause if you're doing a play, I guess, or something,

“and I like that, you have to create all this street,”

but here with a long form TV thing, there's this huge, I mean, there is already a backstory, the backstory is the story. - It's us. - Yeah, and then you've got the other backstory,

if the fact that the cast, in real life, you're making a bond there, isn't it? - Yeah, yeah, you've got to be family already. - In another way. - Yeah, that's right. - So lovely.

- Yeah. - What do you think Violet would have said, is she knew that a Benedict had a Sophie to be a mystery? - She'd be pulled.

- What do you think? - Yeah. - Yeah. - Yeah, I said that like your mum. - Yeah.

- But really, and truly, Benedict, he only ever saw that as the only way, because he couldn't say that another way. - You know what, you're a real Benedict champion. I've spoken to many journalists,

and a lot of people are pulled by Benedict's. But I feel like you're really in his corner, and I really appreciate it. - With every person, there's got to see the positives in them as well.

- Yeah. - You know what I mean? - Yeah. - And see where they're coming from. - Yes.

- So he does do some dick moves. - Yeah. - But, you know, you've got to come in. - Right. - You know, you understand, you didn't see another way out.

- No, I think it's his idea, I think of a really good offer. And I think it's his idea of it. - It's real in her. - It's real in her. - Yes, but it's also striking, because it's sort of so,

we've seen this very soft, relaxed, easy side of Benedict. And actually, at his center, he is very anxious about love. The fact that he's like, okay, well you can be my mistress and then I'll be in society, feels very sort of like,

always say he looks a bit like a sort of traditional man

turned inside out, like all the soft stuff is outside. - Yeah. - And that actually, the slightly more controlled side is very well hidden. It's a solution that will work for him though.

Sophie hasn't told him that she's holding back as well,

'cause she hasn't told him that she's the lady in silver. - I know, I know. - So we're both being a being. - Why did he not recognize him? - Yeah.

- I know, it's only the man. - I know. - You was dreaming about the mouth the whole time. - And we're all a bit dreaming, in the tone of, they're all a bit dim.

I mean, you know, so we're all a bit surprised or I'm gonna take the mask off and it's a bit like. (laughing) - But you know, we cannot, I also think, I wanna sort of more metaphorical level.

I do think we can't, everyone is blind up to a point. Everyone has huge blind spots. You know, we all have that friend that we, or friends, or even ourselves that we look at

and there's a part of us that we just don't see

and we don't understand that that can last for years. - Yeah. - Right, let's talk about Lord Anderson, and this, you're taking things very slow at the moment and I absolutely love it.

How does Violet navigate this with, obviously, the death of Edmund?

“How does she navigate this new relationship in her life?”

- I think she thinks she's being really discreet. (laughing) - But a bit of a sledgehammer really, isn't it? There's a moment between her and Mrs. Wilson because she can't actually talk about sex.

So, you know, she was slightly better with Francesca but not much better than she was with Daphne. So, when she talks to Mrs. Wilson, she can be described it in terms of someone coming around for tea. So, I think that thing that Mrs. Wilson says

she says everyone deserves tea. - And I, you know, that's an even site about you as a character, Violet, as a woman. The fact that I can't talk about it would cover for her. - Do you know what I know?

that she was so lovely. I hope she's not sitting outside the door. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might have been. She might

- You're going to make a t-shirt with that and maybe I have the t-shirt. - There's another one, funny one where you go, I have a friend. - I know. I'm a friend. - It's not bit Lou. - Wait, it's high-since recycling up for it, no. - Maybe we. - I'm introducing that. - Yeah, but to the kids that, you know, that, you know, I have a friend.

- And do the children the kids the kids know don't know? - No, they haven't a clue. - No, I don't think I don't know. - They're not really interested.

“- But when you did nose deep down, these moms have in a little bit on the side, don't you?”

- I'm not as discreet as I think. - I think I am. - Yeah, and I think particularly kids who are busy discovering their own, love lives, it's almost like they can't, it's almost like they have the factor. You know, it's why they can be a bit funny about parents, you know, like having sex with all of that. I think it is just, you're like, I can't think about that, because I have to focus on me.

- Yeah. - You know, it's so loud. - I'm so glad that she's actually giving herself this joy.

- Yeah. - She's always concentrating on someone else. - Yeah, the great.

- This is to her time, isn't it? - Yeah. - There's a great line in part one. Reality is where love grows. How does this shape benefit it? - It's the beginning of him learning that lesson, I think. I think he would eventually, further down the line,

might we're taught to violet that actually fantasy is also. Like it's the combination, I think, of, for Benedict, I think, his way of loving, I think, there's, yes, reality. And actually what happens at the end of episode four is his version of, like, "Okay, I'm going to be realistic about this."

But I think what he realizes is he also has to be true to the part of him that is a bit pure and a bit more fantastical about all those things. And I think there's this really good tagline, which just told me the showrunner, which is between reality and fantasy. True love and beats in the middle is the meeting point of reality in fantasy. The fantasy part is not just the honeymoon period.

You need a bit of innocence and a bit of magic occasionally to get you through the heart that. What do you think Ruth?

“I think that's true. I think that's a really lovely line that I'd suggest.”

I know. Yeah. But it is, I mean, it is effectively that is the story because Sophie is more realistic and Benedict is more of a fantasist. So it is, that's their story.

And that fair story. It's a true love, neat. It's a lot in the middle. It has to be a bit of both. Which I'm sure, Violet agrees with.

But he hears reality and he's like, "Yes, there is something to be said about that." But then his version of being realistic is doing what he does at the end of four. And that doesn't go so well. No, it doesn't.

Until. Yeah. Tell me about the scenes where you're all together. The group scenes have those dynamics changed over the seasons. Not much.

No. I don't know. I think Ruth find them really irritating because we just asked about. Yeah. We really do.

There's a lot of laughter. Yeah. But that was true since day one. Yeah. It hasn't.

It hasn't. No, not at all. I love it. And look, did your brothers Jonathan and Luke give you any advice on taking the lead role? I know that had I wanted advice and had wanted to go to them.

Yeah. Absolutely, gentlemen. Knowing that that was the case. Maybe it made it easier for me to just slightly go to alone. But I think the reason why I wanted to go at alone a bit is that I think having watched

them over the last few seasons like it's such an individual. It's so different for everyone.

Yeah.

Are so different depending on the actor and different actors will find different things difficult.

So find difficult. Um, I think I found. Did you eat well? Oh, did you exercise? Yeah.

Yeah, I did all of those things. I think water. Yeah, I think you know what it is. I think I got frustrated. Like sometimes I think when your mind is really working, but your body is giving up.

There was one point where I got the flu. No. And I remember lying at home furious because I was like, I'm holding everything up. It's so annoying.

And also just wanting to, you know, get on with it. Like, you know, the shoot has a problem. And you need your voice. Yeah.

Being in a leading position like that, you, you actually get so much energy.

You feed off everyone else and everyone's available to you because you're in and out. You know, you're in there every day. Yeah. So it's not a question of mental energy.

“It was just, and so that's why it was so annoying when my physically.”

Yeah. When my body just gave up. What about you? You were doing drinking any water. No.

Well, because you're in this corset going to the toilet. It's a fucking nightmare. Honestly, it's a real, so then you stop drinking. So then you give yourself some kind of infection. And then by the time you go home, you're naked.

You don't bother exercising. So come at the end of the year, the end of the season. I put on so much weight. Yeah. My teeth are up here.

I know you're cold. This is, honestly. It's a nightmare.

Everything gets just shoved up to the door.

So disaster. So just out of interest. Do you think Violet thrives off her children's love lives? Or do you think she just gets sick of it? I think there's a bit of both.

I think she's a bit of a gossip. Before she knew Lady Russell down was Penalty.

“I think she found it an irritant and a bit of manner from heaven.”

Because it's the ton. I think those children irritate her. And she loves them equally. I really do. Yeah.

And what do you think? Do you think you're loved equally as a child of the British? Oh, household. Yeah. Oh, good.

Yeah. Yeah. Yeah. I think Benedict's problem that, as she, I think, is mentioned in the book, is the idea of, you know, he's the man who likes to feel a little less of a British than a little bit more of himself.

Yeah. A bit more himself. And so I think through who you are, like Violet represents that family. So it's trying to put a distance. But you know, that doesn't mean sort of cutting off.

But it means trying to sort of work out who he is and how he is. Yeah, and independence whilst also not wanting to abandon his family. Well, his mom or you know. Yeah.

“I think it's, you know, universal stuff, right?”

Everyone knows what that's like. I just say I am loving part one. Good. Absolutely loving it. Thank you so much for coming to talk to me.

Thank you. Real pleasure. We're going to have another session. Yeah. Without a doubt.

And maybe another session with you who knows. And that kind of session. Yeah. Or maybe. Thank you so much for joining our podcast.

Thank you. Well, I see it. That's our show. A big thanks to my wonderful guest, Hannah Dodd and Claudia Jessie. Luke Thompson and the wonderful Ruth Gamel.

Now, Ruth will be back next episode with her man, Lord Anderson. Play by Daniel Francis. I've got so much I want to ask them. Just hope our chat's not too rude to broadcast. We're also having a year in hardback joined by her wicked,

stepmother Katie Lyong. Don't worry. She's lovely in real life. Remember, if you don't want to miss an episode, make sure you follow along on Spotify, Apple,

or wherever you get your podcasts. Follow Shunderland and Bridgeton on your socials and don't forget, part two of Bridgeton is coming to you on February the 26th. But until then, why not head back to Netflix

and rewatch all a part one? And so we meet again, this is Lady Allison Hammond, wishing you, dearest, gentle reader, a fond goodbye. Ta-da!