The premiere season of Bridgerton was quite the triumph. It introduced viewers to the scandalous and seductive world of Regency London, made Regé-Jean Page an overnight sensation, and cemented Netflix’s decision to poach Shonda Rhimes from ABC as a good business strategy. So, does Bridgerton Season 2 live up to the hype of its predecessor? Like the love match of Simon and Daphne, the answer is complicated.
Newcomers Simone Ashley and Charithra Chandran are lovely additions to the period drama. The costumes, music, and set pieces are as glamorous as ever, but Bridgerton’s sophomore season falters with its confusing take on race and its notable decrease of sexual proclivities among the ton.
While Season 1 ends with the birth of the Duke and Duchess of Hastings’ first child, Season 2 opens with new beginnings—and scandals. This season follows the oldest Bridgerton sibling and viscount, Lord Anthony Bridgerton (Jonathan Bailey), as he searches for a worthy wife to carry his family’s name. Luckily for him, Kate (Ashley) and her darling younger sister Edwina (Chandran) arrive from India to shake up London’s high society. Though Kate is content with being an old maid at the tender age of “six and twenty,” her goal is to find a love match for her sister Edwina.
However, when she discovers that the viscount is only looking for a wife out of family duty, the overly protective sister does everything to prevent Anthony from courting Edwina. But over time, Anthony and Kate realize they have more in common than they think, which in effect, makes their situation messier—or, in the eyes of gossip writer Lady Whistledown, juicier.
Meanwhile, the Featherington women are scheming to restore their fortune after the death of their patriarch. Penelope (Nicola Coughlan), the youngest Featherington daughter, continues to secretly write about the lords and ladies of London with equal amount wit and bite as Lady Whistledown (narration by Julie Andrews), much to the chagrin of Queen Charlotte (Golda Rosheuvel). And a mysterious new figure entangles himself with one of London’s most notable families. What a scandalous season indeed!
One of the biggest highlights of Season 2 is Ashley and Chandran’s portrayal of Kate and Edwina. The former Sex Education actor plays the formidable Kate with bombastic intensity. Watching her character interact with the uptight Anthony is thrilling, especially when they quarrel or challenge each other to an impromptu horse race.
Chandran holds her own as the soft-spoken Edwina as well. The performer lights up every scene with her charm and winning smile. And though the courtship of Anthony and Edwina is a catnip for Lady Whistledown’s newsletter, the true love story is between the two sisters. Kate’s love for Edwina is so strong that she will sacrifice her happiness to protect her sister. The two actors also sell the sisterly bond well, particularly when Edwina asks Kate for advice on the matters of love.
As with the previous season of Bridgerton, the costumes and set pieces are positively stunning. Netflix certainly gave Shondaland a more significant budget considering the first episode features 146 costumes alone. The drama also films some of its scenes on location in England. Notable sites include the Syon Park Conservatory, Hampton Court Palace, and the Royal County of Berkshire Polo Club.
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Interestingly, the music plays a more critical role in the story’s progression this season. Music supervisor Justin Kamps shows this brilliantly during Lady Danbury’s soiree in Episode 1, “Capital R Rake.” As the ladies and gentlemen dance on the ballroom floor, a classical rendition of Madonna’s “Material Girl” plays in the background. This song is significant because it symbolizes the debutantes’ desire to find a wealthy husband with good breeding. Sure, this utilization of music may be a bit didactic, but it works.
However, the series continues to bungle its take on race in Regency London. Though it is great to see people of South Asian descent intermingle with the rich and fabulous, it is hard to believe that wealthy white Londoners will immediately welcome people who do not look like them into their exclusive world. And it seems disingenuous for the series to ignore the effects of colonization, genocide, and slavery on marginalized groups, even if the drama takes place in an alternate universe.
Granted, the series’ exploration of women’s rights and class does hit the mark, albeit a tiny one. For example, Eloise (Claudia Jessie), the unruliest sibling out of the Bridgerton bunch, continues to blossom as she slowly moves away from her investigation on the identity of Lady Whistledown to becoming a more independent young lady.
Along with Bridgerton’s unusual take on race, this season has lost a bit of its sex appeal. Yes, there are some tastefully crafted sex scenes that viewers will find titillating, but not as many as in Season 1. Perhaps the series’ showrunner Chris Van Dusen is afraid to lean into these scenes due to the controversial rape scene from the last season. Or maybe he wants to pivot the drama by focusing more on story and character—as much as the debauched party in Season 1’s “The Duke and I” is entertaining to watch, this scene bogs down the main storyline.
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By streamlining the plot in Season 2, viewers will have the opportunity to savor the love triangle between the three leads. However, reducing the spicier elements may disappoint some fans considering Bridgerton’s main selling point, at least in Season 1, is sex. Nonetheless, there are still plenty of moments for fans to enjoy, such as Anthony and Kate’s moving and sensual ballroom dance in Episode 4’s “Victory.”
Bridgerton Season 2 may not live up to the success of its premiere season, but it is still a fun show to watch. The frothy period drama struggles in some areas, particularly with its handling of race, but its new cast members and high production values make up for it. It is safe to say that this season, which is full of scandals and delights, will undoubtedly entertain viewers.
All episodes for Bridgerton Season 2 will be available on Netflix starting Friday, March 25.
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