Guilty Pleasures and Strong Themes in Netflix’s Bridgerton

As a self-professed period and costume drama addict as well an inappropriately enthusiastic Christmas fan, I was (obviously) elated to discover that my nostalgic post-Christmas blues could be beaten by something new. In previous years, the blues that settled in the days between Christmas and New Year were satiated by Little Women in 2019 and the year before by several well-timed BBC festive dramas. I suppose I was waiting for something big in 2020/2021. 

Period dramas over the last couple of years have certainly lived up to the name of what I personally believed 'defined' what a regency drama really is. With the likes of Victoria, Belgravia, Downton Abbey, War & Peace, Cranford, Poldark all gracing our screens and often coming away with awards. It's funny then, that after watching the first episode of Bridgerton, I came away feeling disappointed. I disliked the unrealistically obtuse and flamboyant style, colours, language and behaviours because they made such traditions that other period dramas had stuck to seem frivolous. To me, initially felt like a childish effort at mimicking those stories captured by more sincere cameras. You could have called me a period drama snob. I frustratingly absorbed how it laughed at the traditional forms of costume drama that endeavour to accurately present as good a depiction as possible of the looks, behaviours, language and attitudes of the day and characters it portrays.  

Some have described Bridgeton as Pride and Prejudice meets Gossip Girl. As a lover of both these shows, I agree. It is the modern replica of both of these stories, and represents many of these themes, again proving how they remain prevalent as issues of society today. 

As I continued to watch however, it became obvious that the disregard for conformity was not only fundamental to the show's uniqueness, but played second best when it came to the storyline, setting these factors aside. It turns out, 8 episodes furled, that they were the perfectly timed escapism for a winter post-Christmas lockdown. As the show goes on, you come to question more and more whether that ‘would really happen’, ‘if they would really say that’, ‘that’s far too casual conversation and attire’. Once you give up analysing though, you really sink into the mood that the show is creating. With Ariana Grande’s ‘thank u, next’ played by an orchestra as the backdrop to one of the evening balls, I came to realise this was an extremely subtle and respectful satire from times and societies that existed 300 years ago. The result? A triumph. Especially as many parts of the plot actually expose the ridiculousness of unquestioned customs and societal norms of the times. The show transports you to another society (one that we can now only ever experience through literature, screen and history) and you can attend upper class parties vicariously through these glittering characters. 

Here are just a few of the strong themes I noticed whilst watching the show, that most definitely has become my lockdown guilty pleasure. 

*****************Spoilers Ahead*************

Marriage 

The caricature of 19th century London exposes how traditions at the time were ludicrous, for instance Porcia Featherington’s discouragement of Penelope wanting to read a book as opposed to eagerly awaiting for suitors to arrive to court her. Rules for certain clothes to wear, proper ways one should speak to or meet with others, the ‘correct’ company, introductions, greetings and, the mothership of what should undoubtedly make any sensible society-goer happy and complete – the right way to go about marriage.

Marriages were deals to be negotiated, by one man and another, often based around societal status or dowry. And always negotiated by the man of the house - be it the father or, in the case of Daphne 9played by Phoebe Dynever) by her brother. By one man and another, often based around societal status or dowry. The need to get daughters married accentuates a certain vulgarity in mothers too, whose desperation to have their debutant daughters wed (like they are commodities to sell) further exemplifies what the ‘right’ way to go about marriage is. Take Portia Featherington (played by Polly Walker) for example, her sole life aim is to get her daughters Penelope, Prudence and Philippa married and she will stop at nothing to ensure this happens and her societal status remains intact. As if having one's children wed is synonymous with peak society status, and qualifying as successful in society/life.  

Ironic then, that if a woman is to show any interest in a man that she does not intend to or even know if she wants to marry and accidentally has ‘relations’ with them, she faces societal ruin if caught. What is interesting about Bridgerton is that despite this, the explicit and frequent sexual scenes show that sexual desire of the times lives in a time capsule, and appear to be no different to sexual desire here in 2021. The difference is that we won’t be facing societal ruin if we do not marry at 16, or (god forbid!) sleep with someone out of wedlock. The only evolution is that of the perception of the societies surrounding them. 

Motherhood

It is also laughable how little the “mamas” ‘prepare’ their daughters for life, as we learn the young ladies’ ignorance to comprehend the ‘marital act’. A sharp irony when you consider how structured and well-prepared for life in society they would have been. Not to mention, skilled in sewing and embroidery, piano forte and the like as so many women of the time would have been. 

Happily Ever Afters

We are all suckers for a princess getting her prince. After 5 episodes we see Daphne Bridgeton get her perfect match, her match for love, however unlike many neat and symmetrical fairytales, their wedding day is not the end of the story. The show goes on to explore and dissect the trials of marriage and follow as the young couple learn many lessons about each other and the compromises and behaviours they must tolerate to coexist. The guilty pleasure of the domestic bliss and freedom of their honeymoon phase in their new castle (palace) is a delight to watch, and yet the growing chasm of (the obvious issue), creeping up on the realities of their relationship seems to be brushed over by the performance of symmetrical domesticity. The inevitable ‘Happily Ever After’ moment is unconventionally, yet rightfully, put on pause until the final episode. We join the Duke and Duchess of Hastings in the realisation that they need to stay together and support each other as they mutually embark upon the future rollercoaster of life. 

How modern music reinforces strong female characters

The juxtaposition of modern vs. regency continues as we encounter multiple occasions of modern music, about modern themes played at formal balls by classical instruments. The aforementioned ‘thank u, next’ by Ariana Grande ties in with the suitors and the disposable nature of these men as commodities, not just women. As well as how modern-day art and modern-day women now exemplify women taking their power back, turning on its head from the submissive females they were forced to be 300 years ago. Giving the female characters power. 

‘Strange’ by Kris Bowers and Hilary Smith being played in the long awaiting, strung-out yet sensitive love scene glides us through this unknown act and behaviours for Daphne as she is taken on her journey of sexual exploration. The Duomo cover of Taylor Swift’s ‘Wildest Dreams’ takes us on the American pop stars teenage romance journey, but in the context of Bridgerton, we watch the young couple get to know and revel in each other. For Daphne, it is a moment of finding strength in who she is and in her relationship with the Duke, as we watch the young couple get to know each other. These parallels remind us of the timelessness of such love stories, and the basis remains the same as we constantly come back to the same giddy exciting teenage hopes - no matter what era. Music and the music chosen plays a significant role, almost of pathetic fallacy as it mirrors the trajectory and moods of the characters and their plot arcs. The last dance depicted at the ball of the final episode depicts a moment of acceptance, love and forgetting of the past and Daphne admits and reassures Simon (The Duke) that she is his, no matter what they may have or may come to disagree on.  

Race 

Some pens have commented that the lack of recognition or acknowledgment about the colours of the characters’ skin is the show not utilising its stage to make a comment about black joy or black love. This is one view however it could also be seen that, on race, the absence of comment is the perfect act of equality. The difference in colours of skin is as significant to the characters success in their stories as a difference of hair colour. Such a stance on racial equality leads us to wonder if our world today would be much more equal place should these accepting attitudes of equality have been adopted in the 19th century. If life in Bridgerton had been real and reminiscent of the times, it could have impacted our 21st century lives and attitudes, and could even have prevented the racism still within our ‘modern’ society. It clearly isn’t right that black actors of 2021 don’t have a part to play in regency dramas. If coloured people are parts of period dramas, then they are often referred to as lower class citizens or slaves. Some regency dramas do spotlight black actors but their stories are those of poverty, slavery and racial abuse. Only referenced once when it was explained by Lady Danbury - a moment I personally felt was unnecessary there is a nod to the strongest characters of the story being thus almost because of their skin colour.  

Growth & Power

This story is laced with many miniature stories of enlightenment, growth and power. Eloise Bridgeton represents the subversive, feminist voice that at the time only existed in those reading the Bronte or Austen and barely ever vocalised. Her itch to be the studious, smart sister as opposed to the parading, romantic presents a stark and refreshing contrast. As well as her differing sisters, we also see contrasting brothers in uniqueness of the other Bridgeton brothers. The classic theme of loving below one’s station such as Anthony Bridgeton’s socially inappropriate love affair with a young opera singer contrasts starkly with Colin Bridgeton’s gentlemanly right doings.

Symbolism In Names

The show uses its choice of names well. Contrary to the symmetrical, aesthetically pleasing ‘Bridgerton’ family the show presents the Featherington household mirroring them on the other side of the street. Aptly named for their flamboyant feathery and brightly coloured looks as an attempt to draw and sustain the attention from society that they seek. ‘Bridgerton’ as a name is onomatopoeic in its rule abiding neatness and correctness. These two families are connected by strong bonds of teenage angst, female friendships, competitive mothers, equally absent father figures and daughters entering society at the same time at the start of the series. We see that despite their uniform and conforming entrance into society when they are presented to the queen, each of the debutants are unique in their own way. This gives an interesting insight into the uniqueness of each of these young ladies despite their externally conforming aesthetic. 

Women

Lady Whistledown’s pen narrates a gentle hum alongside the story, bubbling beneath the surface comes the inevitable publication reporting on the gossip of the season’s events. Her words enthral society and apparently dictate the happenings of the courtships before they unfurl in reality. We learn her identity at the end and the secrecy of her own agendas (again mirroring the power of the pen also witnessed in Gossip Girl).

It is as ever a refreshing, inspiring and exciting watch to see the trials and successes of these young, fiery, women solving the issues caused by men, whilst they unravel and cause their families turmoil, in the case of Lord Featherington. The women in the show have agency, more than society at the time would have afforded them and in an Atonement-esque way, their characters are given a second chance at independence. Such powerful characters made it so easy and enjoyable for a modern audience to watch. 

Royalty is depicted as in equal measure close to home and also a distant aspirational wonder. Yet as the series progresses, we see humanity in the Queen as we discover the fragility of the state of her marriage, hinging on her husband’s sanity. This show can be described as Pride and Prejudice, meets Fifty Shades Of Grey, meets Gossip Girl. It paints a gloriously detailed and entertaining picture of society and at the same time as this gossipy silliness, addresses some more poignant themes of equality, feminism, and prejudice hidden behind a mask of frivolity. 

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It is safe to say (and is probably evident) that I found there to be many, many topics and avenues to discuss and explore as a result of watching the series. Thank goodness for the confirmed rumours of the impending Season 2. I’ve also already got the book that the series is based on by Julia Quinn on its way to me in the post. The show will now comfortably sit alongside the virtual bookshelf (alongside the book on my actual bookshelf) of a series to be rewatched over and over on many future rainy Sunday afternoons.