What are some of the
stereotypical things that you expect
from a historical romance? Of course, a typical historical romance stems from
makes the beautiful gowns, the codified social strata, and – oh boy – the
intense sexually repressed feelings. 

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Period
dramas
or historical romances remind us of the time in which people lived in
constricted boundaries and their love was rifted because of stifled politeness and obscured desire.
It wouldn’t be wrong to claim that both serve as ingredients to a great love
story as it cultivates tension and conflict. But here’s the thing that we’ve
noticed in all period movies/series: people living in the old days were pretty… horny.

See: The five shocking facts of the Series Bridgerton!

Let’s come to
Bridgerton now – it’s the first collaboration between Shonda Rhimes and Netflix, and it‘s outright horny. And let us free
you of any confusion that this is a more decorous and polite horniness that we
saw in Downtown Abbey. In fact, you wouldn’t even find this level of horniness
in The Tudors where the sex between Henry VIII and women turned into a gruesome murder.

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The show has modernized horniness and the only thing left to see was
them sending dick pics to one another which they couldn’t to stay authentic to
the times Bridgerton is based on.

Bridgerton is adapted
from Julia Quinn’s best-selling
novels. It’s a multicultural period drama with a blend of modern sensibilities.
It has all the ingredients needed to complete a historical drama: you’ve got the ball gowns, the
carriages, the tiaras – everything. The series is about a wealthy family who is
obsessed with finding righteous matches in the cut-throat season when everyone
is on the move. And on top of that, there is one mysterious newspaper columnist, (voiced by Julie
Andrews), Lady Whistledown, who reports every scandal in town, completely unabashedly. Of course,
this angle of the story has an intense Gossip Girl vibe.

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In season’s first half, you meet (Phoebe Dynevor) Daphne Bridgerton – she is the eldest
daughter in the family and the only “out” debutante. She builds a flirtatious
relationship with the Duke of Hastings (Rege-Jean Page) as well as an (Freddie Stroma) Austrian Prince. This aspect of the show continues in the first half of
the season quite straightforwardly. In addition to this, her siblings and other
supporting characters add noise in the background. Ultimately, you can say that
that first half of the season is dedicated to Daphne and her relationships.

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But, as soon as the
mid-season arrives, the storytelling diverts attention to the rest of the
siblings of Daphne. This is when the priorities change. However, some viewers might feel
that the last four episodes could’ve been placed in an entirely different
season altogether, even when they’re a natural and gradual first half’s continuation.  

The thing is that many
shows pull this trick where they change the attention of the show mid-season.
The problem isn’t the shift in priorities but the method in which it is done.
You don’t want to be awkward and hinged. And it feels like Bridgerton digs its own grave by following this
path.

Most characters in the
second half are the ones viewers would find no interest in; they were completely unimportant in
the first half so now they serve as mere distraction.

The second half of the
series is focused on Anthony (Jonathan Bailey) who is the selfish brother of
Daphne. He starts a relationship with (Sabrina Bartlett) an opera singer.

The
second half also has a
spotlight
on Colin (Luke Newton),
another brother of Daphne who’s romance doesn’t bloom. And finally, you get to
meet her third brother,
Benedict
(Luke Thompson) who is most likely bisexual.

It’s unfortunate that we weren’t
given much information about these characters, considering how invested we were in
their tracks.  

Eloise (Claudia Jessie)
is Daphne’s headstrong sister who is sweet and a feminist. And look, this is a
track that we’re invested in, and if, the showrunners promise us that the
second season will focus on Eloise and Penelope Featherington’s (Nicole
Coughlan) feminist endeavors, we’re on.

A positive aspect of
the show was the respectful embracement of diversity. The show ignored all the
baseless notions and gave us a black Queen of England who is obsessed with
gossip and her lady companions (who are all women of color). In addition, the Duke of Hastings
is played by a Zimbabwean-British actor. You’ll find several members to be
multi-racial.

As you can tell, the
casting is excellent and you can clearly see that the makers of the show went
ahead with a “why not” approach because they added color to the Regency London
without intending to give explanations.

Some of the tracks of
the show dealt with sexism and power play. But these messages were never in
your face. You will find remarkable social commentary enveloped in these story lines.

Social problems of
the time seem quite relatable in the world today. So if you plan on enjoying
the feast of a show, don’t simply get amazed by the regency fashion and wait to get hooked
on the story lines.

But again, you must
know that social analysis is not the selling point of the show. There will be
moments when you’ll be distracted by the dazzling fashion and occasional but
intense sex scenes.

To conclude it all,
Bridgerton
is a story about rich people dressed in rich clothing experiencing rich people
problems while also being excessively horny.

Have you caught up with
the horniest period drama yet? C’mon it’s under Shonda Rhimes and Netflix’s
partnership so it has to have the X-factor!

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