WEBVTT - Bonus: Loutish Lingo and a Group Goodbye

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<v Speaker 1>I know some very vulgar phrases, but I'm not going

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<v Speaker 1>to share them on the podcast. But sometimes if you

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<v Speaker 1>hear someone giggling quietly in the back corner of sets,

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<v Speaker 1>it might be because I shared one of my secret

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<v Speaker 1>phrases from the eighteenth or early nineteenth century got someone

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<v Speaker 1>trying to guess what it meant. Welcome to Bridgerton the

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<v Speaker 1>Official Podcast. I'm Gabby Collins, I'm Hannah Craith, I'm Annabelhood,

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<v Speaker 1>I'm just Brownell. And we're here too. As Agua would say,

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<v Speaker 1>salute you as we better do so. On this episode,

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<v Speaker 1>we're just wrapping up the season, and one of my

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<v Speaker 1>favorite things to do with you three was talk about

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<v Speaker 1>all the research that you did, and I felt like

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<v Speaker 1>I got to learn a whole lot more about the

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<v Speaker 1>spirit behind Bridgerton and of course your daily process. So

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<v Speaker 1>I thought it would be fun to just kind of

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<v Speaker 1>talk about some of the lingo and all of the

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<v Speaker 1>beautiful language that you used in Bridgerton with just some

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<v Speaker 1>fun Regency slang that was used throughout the show. What

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<v Speaker 1>was the best Regency insult? I don't know who wrote it,

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<v Speaker 1>but the writer in season one it might have been

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<v Speaker 1>Chris who wrote Rince Featherington saying to Philippa Dunderhead, I

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<v Speaker 1>thought that was a pretty good one. Yeah, I think

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<v Speaker 1>the Featherington's have some of the best lines, don't they sometimes. Yeah, Yeah,

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<v Speaker 1>Philippa Imprudence whenever they're on screen or even like behind

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<v Speaker 1>the scenes are just a double act. They are hilarious.

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<v Speaker 1>You know. One of my favorite kind of Regency slang phrases.

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<v Speaker 1>It might even be in the scripts, maybe get it

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<v Speaker 1>into feature scripts, and it's just blast your eyes and

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<v Speaker 1>it just means, you know, a way of saying I

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<v Speaker 1>hate you, go wait or something ruder. I like a

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<v Speaker 1>good old old draft. We were all kind of struggling

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<v Speaker 1>to BVS. Like, I know, if I could see this,

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<v Speaker 1>I don't think we've dropped an F word at all.

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<v Speaker 1>I would love to do once in a while. I

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<v Speaker 1>don't actually think it's right for the show, but you're writing,

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<v Speaker 1>it's just so a nice F word really communicates what

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<v Speaker 1>you're trying to say. But also even religious oaths back then,

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<v Speaker 1>like you couldn't say God, damn or damn you or

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<v Speaker 1>anything like that. That was as bad as saying the

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<v Speaker 1>F word today. So yeah, even even they were very

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<v Speaker 1>guarded in their swear words. I think, yeah, well that

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<v Speaker 1>you do find the F word you used quite a

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<v Speaker 1>lot in lots of historical contexts. Kind of depends on

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<v Speaker 1>which which sources you go to. You not in Jane

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<v Speaker 1>Austen so much, admittedly, but in some other places. There's

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<v Speaker 1>definitely a Bordier Richer terminology that we could draw and

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<v Speaker 1>if we wanted to. But I think, you know, we're

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<v Speaker 1>not We're not impolite in British to no, we we're

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<v Speaker 1>not really sweary or rude. So the closest moment though

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<v Speaker 1>that that happens is when Daphne punches Nigel. When I

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<v Speaker 1>read that script, that was almost like a f you

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<v Speaker 1>kind of like expression. It was like I'm here and

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<v Speaker 1>I'm meant to behave in a particular way and then

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<v Speaker 1>I'm just gonna deck him. And I always remember reading

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<v Speaker 1>that bit like when I first got the script through

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<v Speaker 1>before we started season one, and also talking about it

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<v Speaker 1>in the rehearsal room with Phoebe, and just how much

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<v Speaker 1>I liked it, Like, although it feels like a kind

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<v Speaker 1>of break from convention, it also just captured something this

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<v Speaker 1>kind of frustration and just this need to whack him.

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<v Speaker 1>So that, you know, that was the kind of the

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<v Speaker 1>closest to a slang moment in some ways, wasn't it,

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<v Speaker 1>nabel didn't you mention? There was some sort of document

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<v Speaker 1>like a list of customers or something like that. So

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<v Speaker 1>the writers had this document that was done up that

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<v Speaker 1>had a few of the rules for language in terms

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<v Speaker 1>of the dialogue and stuff or shall verse will and

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<v Speaker 1>things like that, not using contractions, can't they don't say,

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<v Speaker 1>can't they they cannot or even I beg your pardon,

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<v Speaker 1>swap for forgive me and it's not, don't it do

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<v Speaker 1>not and things like that. And then in the depth

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<v Speaker 1>of this very long document there's also rules for swing

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<v Speaker 1>and rules for using the F word and things like that,

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<v Speaker 1>which I thought was really funny. And we've we've not

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<v Speaker 1>gone there. I just googled it myself trying to remember

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<v Speaker 1>some of the swear words. Strumpet. That's a fun one.

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<v Speaker 1>And it has me thinking about how funny your job is, Annabelle,

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<v Speaker 1>as a researcher, just googling ways for us to be,

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<v Speaker 1>you know, obscene. I remember when I was researcher on scandal,

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<v Speaker 1>I often would like have to google how to build

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<v Speaker 1>a bomb at an airport or something, and I thought like, oh,

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<v Speaker 1>I'm surely on you know, some kind of do not

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<v Speaker 1>fly list now, So I hope there's some equivalent of

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<v Speaker 1>that for you. How does anyone even know how these

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<v Speaker 1>phrases evolve? How does one even begin to research these

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<v Speaker 1>colloquialisms and slang? Hannah, can you tell us about some

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<v Speaker 1>of the origins. If you're a historian and you want

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<v Speaker 1>to go about it, you're in luck because in the

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<v Speaker 1>early nineteenth century there are a lot of dictionaries. You

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<v Speaker 1>have to emergence of dictionaries of slang, so compellations of

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<v Speaker 1>colloquialisms of everyday language, as people became really interested in

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<v Speaker 1>kind of trying to collate and collect how people spoke

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<v Speaker 1>in an ordinary way, so you've got your kind of

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<v Speaker 1>reference library that you can use. But then also novels

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<v Speaker 1>from the time. I mean, Georget Hare was a sort

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<v Speaker 1>of famous user and creator of regency slang, so she

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<v Speaker 1>both researched the language very carefully, but also introduced some

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<v Speaker 1>of her own phrases. But the Regency romance novels use

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<v Speaker 1>a lot of regency language to give it a kind

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<v Speaker 1>of feel of the period, and Georget just keeps on

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<v Speaker 1>coming up. And would you say she's also known for

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<v Speaker 1>creating a lot of the slang that we might recognize. Yeah, definitely,

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<v Speaker 1>because that was one of her kind of traits in

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<v Speaker 1>her writing, and it carries through to regency romance novels today.

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<v Speaker 1>As part of the genre is that language, but a

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<v Speaker 1>lot of it comes, some of it from the regency,

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<v Speaker 1>but also some of it from georget Hare herself, because

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<v Speaker 1>she created phrases and planted them in her books because

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<v Speaker 1>she got fed up with people copying her work, so

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<v Speaker 1>she sort of constructed some of her own terms and

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<v Speaker 1>phrases that had the regency sound to them, and then

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<v Speaker 1>if they popped up in other people's work, she realized

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<v Speaker 1>that she was being plagiarized. So there was a bit

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<v Speaker 1>of wordplay going on. So if you've got some time

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<v Speaker 1>on your hands, watched the Waiting for season two, you

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<v Speaker 1>can read georget Hair and find out which are the

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<v Speaker 1>real regency phrases and which are the ones of her

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<v Speaker 1>own eventution, it will take a while. So there's this

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<v Speaker 1>wonderful presenter here in English or Susie Dent who does

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<v Speaker 1>dictionary corner and countdown, and I you know, I'm a

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<v Speaker 1>great fan of Susie, and now I feel a little

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<v Speaker 1>bit like Susi Dent. I'm having like a Susi Dent

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<v Speaker 1>a moment when we talk about the origins of terms.

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<v Speaker 1>So Susie, if you're listening, drop me a little message.

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<v Speaker 1>I love you. Hannah's work corners it like that. Yeah,

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<v Speaker 1>Hannah's hisstory corner. But we can have the extra edition,

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<v Speaker 1>which is for the you know, the later night audience.

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<v Speaker 1>So I know some very vulgar phrases, but I'm not

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<v Speaker 1>going to share them on the podcast. I could put

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<v Speaker 1>them into the chat and see if you can guess

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<v Speaker 1>what they are. But sometimes if you hear someone giggling

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<v Speaker 1>quietly in the back corner of sets, it might be

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<v Speaker 1>because I shared one of my secret very course phrases

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<v Speaker 1>from the eighteenth or early nineteenth century, got someone trying

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<v Speaker 1>to guess what it meant. But they are really they

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<v Speaker 1>are really quite quite bad. So I didn't. I just

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<v Speaker 1>I'm not going to share them. Sorry, you have to

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<v Speaker 1>ask me in person. Oh, I'm going to come find

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<v Speaker 1>you next time you're on set. Yeah, yeah, that's that'd

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<v Speaker 1>be good. We'll be right back after a work from

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<v Speaker 1>our sponsor. Welcome back, to the season finale of bridgeton

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<v Speaker 1>the official podcast, I'm Garby Collins and I'm sitting here

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<v Speaker 1>with Annabelle Hood, Jess Brownell, and doctor Hannah Gregg. We've

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<v Speaker 1>been talking about some of the Regency slang and lingo,

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<v Speaker 1>and we pulled some other favorites. So I'm going to

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<v Speaker 1>quiz you and see how well you remember some of

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<v Speaker 1>these pieces of Regency language that showed up either in

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<v Speaker 1>our conversations or in the actual show. Do we get

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<v Speaker 1>a prize at the end of this, so it's really

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<v Speaker 1>no ifacking gabulous makes me do like pop quiz, don't

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<v Speaker 1>I know? I have a thing for bob quizzes. I

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<v Speaker 1>have a problem. What is a rake of a manhole?

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<v Speaker 1>I'd say regency f boy, I would say a philanderer,

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<v Speaker 1>a Philander kind of going polight there, Flander. Those are

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<v Speaker 1>all right, all of the above, all of the above,

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<v Speaker 1>Ding ding ding ding. What about by blow? I believe

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<v Speaker 1>a bye blow is a child created from out of marriage.

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<v Speaker 1>I think it can be in an illegitimate child. So

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<v Speaker 1>I did have a quick check on that in the

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<v Speaker 1>Oxford English Dictionary, which is one of my main resources

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<v Speaker 1>for the origins of language, because it always shows first

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<v Speaker 1>use of words, and by blow is actually something like

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<v Speaker 1>we often talk about blow by blow now as a

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<v Speaker 1>kind of blow by blow account, you know, step by

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<v Speaker 1>step account, and it seems to have come from a

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<v Speaker 1>sword of fighting reference. It's like blow by blow. And

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<v Speaker 1>then a bye blow is a side swipe to attack

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<v Speaker 1>someone from the side. And so this then links to

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<v Speaker 1>the idea of illegitimacy and that they are born through

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<v Speaker 1>a kind of side action, like a kind of slightly

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<v Speaker 1>off off the path, so they're not a legitimate offspring.

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<v Speaker 1>Oh wow, that's so juicy. We got a little bit

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<v Speaker 1>of etemology, linguistics history. Moving on to dickt in the NAB.

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<v Speaker 1>I don't know what that one is. I don't know.

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<v Speaker 1>It's it's like mental, like that crazy in the head. Yeah,

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<v Speaker 1>nab meant head at the time, to be dicked in.

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<v Speaker 1>I don't know how that means crazy, but that is

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<v Speaker 1>what it meant. I know for sure. What to become

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<v Speaker 1>a tenant for a life means jackled for life like shackled.

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<v Speaker 1>I wonder if it's one that georget Haya created in

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<v Speaker 1>her novels or whether it has a regency like a

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<v Speaker 1>real agency root I'm going to go and find out

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<v Speaker 1>later the cut direct, the cut direct. We have Violet

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<v Speaker 1>bridgertin giving Lady Featherington the cut direct in season one

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<v Speaker 1>after the whole callin Marina business goes down. I remember

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<v Speaker 1>we were talking about it quite a lot in the

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<v Speaker 1>room and how vicious that is, you know, to just

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<v Speaker 1>be fought out ignored like that. And then that night

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<v Speaker 1>I was on the lot where we were, you know,

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<v Speaker 1>the studio lot where we were writing, and I was

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<v Speaker 1>waiting for my car from Ballet and this man walked

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<v Speaker 1>in for a screening and I asked him, Oh, what's screening?

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<v Speaker 1>And he looked at me and he ignored me, and

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<v Speaker 1>he kept walking, and I thought, oh, I just got

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<v Speaker 1>the cut direct. And I was kind of thrilled. It

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<v Speaker 1>really hurt, though I understood that's a really good one. Jesse.

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<v Speaker 1>You also mentioned before that you have a technique for

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<v Speaker 1>blazing through writing while also maintaining whatever energy you've got

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<v Speaker 1>while not knowing the right words. Can you tell us

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<v Speaker 1>about that, Yes, yes, yes. Occasionally when we're writing the script,

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<v Speaker 1>if we're talking about a scene in the room and

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<v Speaker 1>we understand the emotional and the character context for the scene,

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<v Speaker 1>but not the exact regency specifics. We might just put

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<v Speaker 1>like Regency Regency or Annabelle TBD because we expect that

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<v Speaker 1>you know, Annabelle or doctor Hannah will help us figure

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<v Speaker 1>it out. I write the scene like it's a modern

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<v Speaker 1>day scene, and I write, you know, the colloquialisms that

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<v Speaker 1>are anachronistic, and then I just go back and I

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<v Speaker 1>do a research pass on it or a Regency Regency

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<v Speaker 1>pass on it. Basically it's too hard to get a

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<v Speaker 1>perfect you know, in terms of the period the first

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<v Speaker 1>time through. One of the things that makes the Bridgeton

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<v Speaker 1>scripts so distinctive, I think it is probably not what

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<v Speaker 1>the view is will hear because it's in this stage

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<v Speaker 1>direction too, that kind of, you know, the way the

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<v Speaker 1>world is brought to life by the Bridgeton script's very

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<v Speaker 1>distinctive style of fighting stage directions. And I remember reading,

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<v Speaker 1>you know, the season one scripts and sometimes just laughing

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<v Speaker 1>out loud and just feeling like such warmth towards the

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<v Speaker 1>writers because if all of the energy that was coming

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<v Speaker 1>through those directions. And so there was one stage direction

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<v Speaker 1>from season one where we must be going to the

0:12:05.920 --> 0:12:09.440
<v Speaker 1>Hastings House and you write, mister Darcy can f right

0:12:09.520 --> 0:12:12.800
<v Speaker 1>off because the house was so much so much grands

0:12:12.840 --> 0:12:14.920
<v Speaker 1>are so much bigger, and I was like, yeah, that's

0:12:14.920 --> 0:12:17.800
<v Speaker 1>just absolutely right, that's like perfect. It's so beyond the

0:12:17.920 --> 0:12:21.400
<v Speaker 1>world of the Darcy pride and prejudice sort of world.

0:12:21.720 --> 0:12:24.520
<v Speaker 1>Mister Darcy can't f right off because this is another

0:12:24.920 --> 0:12:28.160
<v Speaker 1>layer of kind of that should a glamor and wealth

0:12:28.280 --> 0:12:31.160
<v Speaker 1>and excitement. I loved all of those bits, and that's

0:12:31.200 --> 0:12:33.079
<v Speaker 1>from you know, Chris Vanders and start of that in

0:12:33.160 --> 0:12:35.640
<v Speaker 1>the pilot, those action lines that have a lot of

0:12:35.920 --> 0:12:38.800
<v Speaker 1>modern day sayings in them. But when I think about it,

0:12:38.920 --> 0:12:41.679
<v Speaker 1>it really is a Shonda Rhimes thing too, you know,

0:12:41.880 --> 0:12:44.040
<v Speaker 1>all the way back to Scandal, like those action lines,

0:12:44.240 --> 0:12:47.600
<v Speaker 1>and that's Shonda's voice. It's rich with references and pop

0:12:47.679 --> 0:12:51.280
<v Speaker 1>culture moments and you know, comparisons. So so yeah, we

0:12:51.400 --> 0:12:55.000
<v Speaker 1>love to throw in you know, modern day slang. And

0:12:55.040 --> 0:12:57.000
<v Speaker 1>actually there should be like an audiobook of it with

0:12:57.240 --> 0:12:59.760
<v Speaker 1>either Chris or Betsy Bears reading out the stage directions

0:12:59.840 --> 0:13:02.599
<v Speaker 1>as well, because there's just a wonderful character to it,

0:13:02.840 --> 0:13:05.000
<v Speaker 1>its own character. Hasn't it really in there? And of

0:13:05.040 --> 0:13:07.000
<v Speaker 1>course it is on screen when you see it, because

0:13:07.040 --> 0:13:09.839
<v Speaker 1>it dictates how everyone approaches the script, which is the

0:13:09.880 --> 0:13:13.440
<v Speaker 1>blueprint for the whole production. Yeah, Betsy Beers classically reads

0:13:13.480 --> 0:13:16.400
<v Speaker 1>the stage directions that most of our readthroughs for many

0:13:16.440 --> 0:13:19.719
<v Speaker 1>of our shows, and she just goes for it. It's

0:13:19.800 --> 0:13:22.439
<v Speaker 1>so fun to listen to her read the stage directions

0:13:22.679 --> 0:13:25.880
<v Speaker 1>because you know she'll be like and then Daphne comes

0:13:25.920 --> 0:13:32.760
<v Speaker 1>in and she's feeling hot. Ab I don't know it's

0:13:32.800 --> 0:13:34.360
<v Speaker 1>the words or the page for me as well. I

0:13:34.480 --> 0:13:36.120
<v Speaker 1>just see you. I could just spend the lecture, theater

0:13:36.240 --> 0:13:38.320
<v Speaker 1>and the library, and I always feels like a treat

0:13:38.400 --> 0:13:42.280
<v Speaker 1>to see an actors speak words that I would recognize

0:13:42.559 --> 0:13:45.920
<v Speaker 1>from a historical document. There's something kind of magical about it,

0:13:46.000 --> 0:13:48.800
<v Speaker 1>because otherwise it just lives in my head. I'm probably

0:13:48.800 --> 0:13:51.360
<v Speaker 1>a broken record at this point. But I grew up

0:13:51.400 --> 0:13:56.640
<v Speaker 1>on Austin and I streamed those mini series and films

0:13:56.800 --> 0:13:59.880
<v Speaker 1>into my eyeballs, and so season one when I showed up,

0:14:00.200 --> 0:14:02.240
<v Speaker 1>and then to just walk into a ballroom and see

0:14:02.320 --> 0:14:05.559
<v Speaker 1>everyone dressed in regency costumes and to see everything that

0:14:05.640 --> 0:14:08.520
<v Speaker 1>Will the production design and did was just like this

0:14:08.960 --> 0:14:11.360
<v Speaker 1>dream come true, even though I was not a part

0:14:11.400 --> 0:14:13.280
<v Speaker 1>of it. I was not on camera or anything. I

0:14:13.440 --> 0:14:16.000
<v Speaker 1>wasn't in costume. Just to see it all around me

0:14:16.559 --> 0:14:19.480
<v Speaker 1>was amazing and even like today, it hasn't worn off

0:14:19.680 --> 0:14:22.000
<v Speaker 1>just stepping on to set every day, so it's like

0:14:22.080 --> 0:14:26.120
<v Speaker 1>a dream. And yes, seeing how just the amount of

0:14:26.280 --> 0:14:29.320
<v Speaker 1>effort that goes into just a production design and like

0:14:29.440 --> 0:14:33.240
<v Speaker 1>all the hard work that goes into into filming even

0:14:33.320 --> 0:14:37.120
<v Speaker 1>just a minute of screen time, it's just so so

0:14:37.320 --> 0:14:40.480
<v Speaker 1>many hours of work. That's what That's what blows me

0:14:40.520 --> 0:14:44.760
<v Speaker 1>away every single day. I just want to say thank

0:14:44.800 --> 0:14:47.120
<v Speaker 1>you to the three of you, and especially to you Gabby.

0:14:47.200 --> 0:14:50.600
<v Speaker 1>You know, there's such a law between season one in

0:14:50.760 --> 0:14:54.400
<v Speaker 1>season two, there's this big gap and to come back

0:14:54.640 --> 0:14:58.160
<v Speaker 1>for this podcast and you know, try to put myself

0:14:58.280 --> 0:15:00.840
<v Speaker 1>back in the writer's room in season one and think

0:15:00.880 --> 0:15:04.760
<v Speaker 1>about all the decisions we made and you know, remember

0:15:04.880 --> 0:15:08.640
<v Speaker 1>those like initial feelings of working on this show when

0:15:08.720 --> 0:15:12.680
<v Speaker 1>it was just a spark and Chris Vanduzen and Shanda

0:15:12.720 --> 0:15:16.160
<v Speaker 1>and Betsy's eye to talk about the beginning of it.

0:15:16.320 --> 0:15:19.360
<v Speaker 1>When here we are, you know, a couple of years later,

0:15:19.560 --> 0:15:22.120
<v Speaker 1>and it's doing as well as it's doing and being

0:15:22.360 --> 0:15:25.840
<v Speaker 1>so well received, and you know, continuing now into seasons

0:15:25.880 --> 0:15:29.800
<v Speaker 1>three and four, it's incredibly exciting and was just so

0:15:30.080 --> 0:15:33.400
<v Speaker 1>wonderful to revisit the inception of it all. So thank

0:15:33.480 --> 0:15:36.720
<v Speaker 1>you for the opportunity, Hannah, Annabelle Jess. Thank you. It's

0:15:36.720 --> 0:15:39.680
<v Speaker 1>been such a great opportunity to get to meet you,

0:15:40.040 --> 0:15:43.080
<v Speaker 1>to get to know you better, to go behind the

0:15:43.160 --> 0:15:46.440
<v Speaker 1>scenes of Bridgerton, and it's just been really great listeners

0:15:46.680 --> 0:15:49.640
<v Speaker 1>to just take you inside of Shanda Land. That has

0:15:49.680 --> 0:15:53.320
<v Speaker 1>been great fun and we look forward to doing more

0:15:53.400 --> 0:15:56.280
<v Speaker 1>of it. So just keep your ears to the feeds

0:15:56.640 --> 0:15:59.920
<v Speaker 1>and we will get together again soon. So take care,

0:16:00.320 --> 0:16:04.280
<v Speaker 1>be well and go back and watch Bridgeton again on Netflix.

0:16:04.400 --> 0:16:07.840
<v Speaker 1>You know you want to. Thanks again for going behind

0:16:07.880 --> 0:16:12.040
<v Speaker 1>the scenes with us. Until next time. Bridgeton the Official

0:16:12.120 --> 0:16:15.760
<v Speaker 1>Podcast was executive produced by Lauren Homan, Sandy Bailey, Holly

0:16:15.840 --> 0:16:19.360
<v Speaker 1>Fry and me Gabby Collins. Our producer is Chris Vanduson

0:16:19.400 --> 0:16:22.560
<v Speaker 1>and our producer editor is Vincent to Johnny, thanks for listening.

0:16:23.040 --> 0:16:26.280
<v Speaker 1>Bridgeton the Official Podcast is a production of Shondaland Audio

0:16:26.440 --> 0:16:31.080
<v Speaker 1>in partnership with iHeartRadio. For more podcasts from Shondaland Audio,

0:16:31.560 --> 0:16:35.400
<v Speaker 1>visit the iHeartRadio app, Apple Podcasts, or anywhere you subscribe

0:16:35.440 --> 0:16:36.400
<v Speaker 1>to your favorite shows,