Whether you love it or hate it, you can’t deny that Netflix’s TV adaptation of Julia Quinn’s Bridgerton book series has been the talk of the ton on several occasions, especially with the recent release of its third season.
While the series doesn’t always provide the most historically accurate portrayal of England in the Regency era, I’ve found that this can sometimes work in favor of the plot. So in this post, dear reader, let’s look at some Bridgerton inaccuracies we could arguably forgive — as well as one issue that this author believes should’ve been paid more attention to in the writers’ room.
In favor of the plot
1. Names in Lady Whistledown’s scandal sheets
Scandal sheets did exist during the time of Bridgerton — apparently, even high society back then couldn’t resist slander and rumors! Gossip columns in real life, however, notably didn’t mention the full names of members of the ton due to libel laws. That said, the initials of any subjects of gossip were sometimes included, and anyone who was in the know could easily discern who was being written about.
In Bridgerton, however, Lady Whistledown is not afraid to go ahead and publish the names of everyone who has spurned her. Perhaps libel laws don’t exist in the show’s alternate version of Regency-era England? Regardless, for the sake of moving the plot along, it’s important that Lady Whistledown cuts right to the chase and avoids relying on initials or other vague identifiers when penning her scandal sheets.
For more efficient storytelling, it becomes quickly clear to whom the anonymous gossip columnist is referring. That way, instead of the show turning into an Agatha Christie-inspired mystery where we watch members of the ton spend days — even weeks — debating over the possible subjects of scandal, they can devote their screen time to more entertaining matters.
2. The pairing of a Bridgerton with a prince
While the Bridgerton family never existed in real life, Netflix’s popular series does include several characters based on actual people, such as Prince Friedrich. The royal, who appears in three episodes of Season 1, is portrayed onscreen as the nephew of Queen Charlotte. While visiting London for the season, he gets roped into one of his aunt’s matchmaking schemes.
In real life, Queen Charlotte of Mecklenburg-Strelitz did have a distant nephew known as Prince Friedrich Wilhelm Ludwig of Prussia. However, unlike Bridgerton suggests, Friedrich did not fall for a viscount’s daughter like Daphne Bridgerton. Instead, he purportedly expressed interest in Princess Charlotte of Wales: the daughter of George IV and Caroline of Brunswick (so many royals, so little time). Despite this, he ended up marrying Princess Louise of Anhalt-Bernburg for political reasons.
Although Friedrich’s portrayal in Bridgerton isn’t completely accurate, it’s undeniable that his presence was key to the plot of Season 1. When Simon Basset (aka the Duke of Hastings) notices how much attention Friedrich — a worthy rival — has been paying to Daphne, he takes action and makes his true feelings for her known.
This wouldn’t have been as effective if Friedrich had simply been a regular member of the ton, given that Simon is already a cut above as a duke. It’s unlikely that Queen Charlotte would have encouraged her nephew to court someone who isn’t of royal blood in real life, but thankfully, Bridgerton disregards this minor fact for the sake of the plot.
3. The absence of chaperones
The first season of Bridgerton often highlights the importance of a chaperone whenever single men and women are in each other’s company. These women had to keep their reputations flawless, lest they face persecution from society and lose all hope of securing suitable matches.
However, the third season in particular throws several rules of propriety out the window, with Penelope and Colin meeting often to chat — without any other person in the vicinity!
While this wouldn’t have been allowed in real life, it’s pretty imperative in Season 3 of Bridgerton; after all, you wouldn’t dare to hold a flirting lesson in the presence of a relative or your maid, would you? The private conversations between Penelope and Colin are crucial to progressing Season 3, serving to both deepen their bond and help Colin realize Penelope is indeed the love of his life.
It’s safe to say that historical fiction authors and showrunners need to take some creative license in order to appeal to a contemporary audience, but it can be a fine line to balance. So what about when it doesn’t work?
Against the plot
Despite being one of Netflix’s most popular series of all time, Bridgerton is not immune to heavy criticism. One of the most recent, glaring issues would have to be Season 3’s unforgivable inclusion of just a few too many modern elements.
Given that Bridgerton is set in England in the 1810s, the dialogue of our most esteemed characters should reflect the time period in which they live. However, certain moments have caused this author to raise a perfectly arched eyebrow.
For example, instead of declaring her affection for Colin Bridgerton in a poetic manner, Penelope Featherington resorts to a modern type of confession: “I have feelings for you.” Other characters are not exempt from this — Penelope’s sisters, Prudence and Philippa, often say “pregnant” instead of “with child,” the former being considered much less polite by formal society in the early 1800s.
One could argue that this reflects the crudeness of their characters, but it stands out as just a little too anachronistic in this context. Even Lady Danbury has uttered at least one phrase inspired by popular sayings in this day and age (“Don’t come for my cane,” anyone?). And while these meme-worthy moments can certainly be fun, the repeated usage in Season 3 is more distracting than diverting.
Another major anachronism: eagle-eyed viewers have pointed out that Penelope wears acrylic nails throughout the latest season of Bridgerton. While their origins have been disputed, many historians believe that an American dentist named Dr. Fred Slack created them to fix a broken nail at work in the 1950s — over a century after Bridgerton takes place. In addition to acrylic nails, characters such as Penelope and Francesca Bridgerton can also be seen with more contemporary cosmetic inventions, such as smoky eyeshadow and false eyelashes.
Bridgerton may be historical fiction, but its viewers’ suspension of disbelief can only go so far. When too many modern elements are incorporated into a period drama, this reminds engrossed audience members that they are watching something fictional, which can lead to a jarring experience and create a sense of distance.
These viewers may also end up feeling upset with the series, its showrunners, and its writers, asking questions such as: Did they do enough research for this show? Did they take enough time and effort to work on this season, or is this just lazy writing (or an unfortunate oversight)?
If you have been inspired by Bridgerton and are considering penning your own historical fiction, you have artistic license to add certain details that may not be 100% authentic. However, dear reader, take heed and remember to ensure that any inaccuracies you include will enhance — not detract from — your story. Happy writing!
Savannah Cordova
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