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When I first saw the trailer for Bridgerton, I became immediately hooked: luscious costuming, modern humor, and dramatic romance? Count me in. The combination has proven successful with shows like Outlander and The Great. However, once I dove into the series, I realized— “this is exactly Gossip Girl, but set in the Georgian era and with Julie Andrews.” Which, I admit, was a little jarring, and I daresay off-putting at first. Once I got past the out of place orchestral performances of Ariana Grande and Maroon 5 and started focusing more on the nuances, however, I had a lot of fun.
Bridgerton tells a complex and timeless coming of age story of the balance involved in friendship, family, and love while growing up. Although it shines in many lights, the show suffers from trying to jam too much from the novel series it’s based on into just eight episodes, which also calls into question the intention of more seasons.
The Hits
Whistledown’s narration is actually a fitting format for the fragile ecosystem of high-society life in this era. Thinking back to the previous parallel, gossip, in any period, has proven to be a dangerous beast to the interlocking images of self-worth and identity. In Bridgerton, women’s livelihood depends on a “season” while the men’s hinges on lineage pressures.
We see things from three main perspectives: Eloise: the plucky feminist, Daphne: the romantic, and Marina: the cautionary tale. I wish the show had given Marina more time because, of the three, hers is a story we don’t get to see fleshed out often enough in period dramas. Especially here, in a show centering on the theme of choice. However, I really appreciate that the show allows these three characters to be more than their archetypes. Whether you do all the “right” or “wrong” things, there can still be a happy end if you allow it.
The Biggest Hit: Empathy Conquers All
Furthermore, the writing in the show exceptionally grants empathy for almost every character. Whether it be a contemporary scintillating soap (of which producer Shonda Rhimes has proven to be a master of) or a period piece, there is usually the indulgence of black/white morality in there somewhere to guide our protagonists. Too often, we’re shown desire as wicked, and youth and innocence is a gem to be defiled. This could be why so many classic works of literature end with characters getting together and nothing further.
Bridgerton lets its characters be human. Even past the courting phase. It shows every relationship level, be it relative, friend, or romantic, at every stage of healthy and unhealthy and complicated. It should be celebrated that although it could have easily been done, no one was villainized entirely (except for Simon’s father, we’ll say).
The Misses
For as much as I applaud Bridgerton‘s portrayal and complex discussions of women’s rights, I have to admit there’s a bit of a double standard present. The show provides a myriad of strong female leads fighting for independence in a system not made for them. I love a strong female lead, and I love those storylines, but Bridgerton tried to show a similar thread with Colin and Anthony without giving them enough screen time for viewers to become fully invested. If this is a story about choice, I want to see and understand the consequences of choice and obligation from every angle. Mainly when it seems targeted towards young, ill-equipped characters.
For example, Colin embarks on a journey of being “the second son” that we get peeks into but ultimately have no bearing on the main story at hand, leaving me wondering why it’s shown at all then. It comes off feeling like the writers wanted to show us their inclusion of LGBTQ characters to score points with modern audiences without actually involving them. Similarly, he and his brother both have relationships with “working women,” and although that dynamic is interesting, we don’t see enough of it to understand why it matters.
One of the strangest cases of this editing was the whiplash-inducing explanation of racial equality in the show’s universe. This could have been a huge opportunity and interesting plotline to explore, but instead, only two lines address the subject. Which again, like their use of pop songs, is more distracting than it is intriguing. I’d argue that they could have just left the discussion out altogether if it wasn’t going to play a role, as I don’t think anyone went into Bridgerton for historical accuracy.
The Biggest Miss: The Difference Between Can’t And Won’t
The show spends a lot, and by that, I mean most of its time, on a storyline about consent. Simon and Daphne’s whole story originates with the desire to preserve her reputation after another suitor’s attempted assault and his anxieties about being set up due to the pressures of his title as Duke. The composition of their dynamic is a plot device used a thousand times over in period dramas because it’s a terrifying notion to modern audiences— but later, Simon is not given that same consideration during an angry sex scene between him and Daphne after he asks her to “wait” and to “stop.” The sad truth is that the viewer’s sympathy is led to be with Daphne, and her anger is justified. Yet, this act invalidates all of the trust and respect of their healthy relationship portrayed thus far.
Yes, Simon should have explained the situation better, and yes, Daphne acknowledges that her sexual ignorance played a part. Still, the show does not give enough space to this scene’s real complexity after they’ve done so much work to get us invested in these characters. Am I saying I don’t feel for Daphne? Not at all—her crying at the opera was one of the most heartbreaking scenes in the series, but I think it would have been more compelling to develop the depth of that conflict much more.
The Questionable Choices
The second half of Bridgerton is where the plot picks up speed. Yet, the end seems to crash into the final episode when they made some interesting choices that make me question whether the series intends to continue. The largest, of course, is the reveal of Whistledown. Gossip Girl drug out the mystery for six seasons, adding to the allure. By exposing Whistledown now, the only place for her storyline to go is getting caught, and what fun is that? Though, admittedly, I’d love to see how they prove me wrong.
Daphne and Simon’s future montage also answers the biggest will they/won’t they conflict between them. My guess is that it’s so the writers can move on and flesh out other characters in the future, but the whole thing feels a little too neatly wrapped.
Yours, Truly
Ultimately, Bridgerton leaves me unsure of how to feel. I want to like it, and mostly I do, but not as the period drama it wants to be. The timing is off for that, with too much focus on the reveals than on tension.
Bridgerton will shock you, it will entertain, but it won’t make you “yearn” the way many fans of the genre love so much. There is build-up in the first four episodes that lead to real, gripping details of a complex narrative, but then we’re rushed into the credits too quickly to enjoy what they built. However, if it does continue, it holds potential. I can’t deny that I will eagerly await the second season’s announcement and may even dive into the source material for further clarification of my grievances. The Netflix exclusive is out now.
