When Bridgerton first broke through, it felt subversive. As sex has disappeared from film, Bridgerton featured some of the most intimate and erotic sequences on television. Placing this eroticism in a period drama gave the series a unique link. It immediately felt closer to Weathering Heights or Dangerous Liaisons. Now, after two seasons and a spin-off, the novelty has partially worn off. However, Season 3 of Bridgerton does not falter due to complacency. Rather, Shondaland and the showrunners overload the season. While Nicola Coughlan and Luke Newton finally take the spotlight, their story sags under the weight of carrying more than a half-dozen subplots.
Bridgerton Season 3 Plot
The dual natures of Penelope Featherington (Coughlan) have come to blows. The ton discusses her future as a spinster as she reaches her third season out in society. With few prospects, Penelope seems doomed to support her mother. However, in the evenings, she shines under the pen name Lady Whistleown. After a few missteps, she asks Colin Bridgerton (Newton) for lessons on how to woo a romantic partner. For the first time in her life, Penelope finds interest from men – specifically Colin. However, in order to find love with Colin, she would have to abandon her passion behind the quill.
Bridgerton Season 3 Critique
While there has been considerable buzz around Coughlan and Newton’s showdown, and eventual courtship, Bridgerton severely underserved this story. Coughlan shines throughout most of the season. Her character experiences a massive change over the course of the season, reinventing herself from the wallflower to an active participant in the ton.
Even with Coughlan bringing an earnestness and melancholy to the series, there’s little she can do to overcome questionable writing. For most of Bridgerton‘s latest season, her story revolves around her genuine incompetence at simply speaking to men. We are meant to believe her power as a gossip columnist, yet have no idea how to carry simple conversations. It stretches belief and makes Penelope’s story into a Pygmalion arc.
Meanwhile, Newton seems shockingly dimwitted. He’s asked to carry himself in the vein of Matthew McFadyen’s Mr. Darcy, but Newton does not really look the part. He’s excellent with Coughlan when the two are alone, but he feels mismatched with nearly every other character on screen. Most concerning, his escalating anger comes from nowhere. Newton’s shown incredible poise as a passionate character over the past two seasons, but his frustrations border on a need for anger management. Whether it’s the writing or the direction, Newton pushes the emotions too far, which makes him far less charming than he had been over the first two seasons of Bridgerton.
Another issue plaguing this season is the effort to craft backdoor pilots and overstuff the narrative. While previous seasons focused on a few primary characters, this one reveals entire plotlines for side characters or new Bridgertons we have spent little time developing. Yet, it’s additional stories that feel squeezed out by a lack of real attention to detail.
Benedict (Luke Thompson) finds himself in a complicated relationship with a Lady. Francesca (Hannah Dodd) becomes the latest Bridgerton out in society and must carry the burdens of expectation put upon her. Francesca’s relationships are very much in the interest of the Queen. The Dowenger and Matriarch Violet becomes enamored with a new Lord in the ton. Anthony (Jonathan Bailey) and Kate (Simone Ashley) begin their newlywed life and run the Bridgerton estate. Eloise (Claudia Jessie) must weigh her devotion to her brother and frustrations with Penelope. She does all this while also nurturing a newfound relationship with Cressida Calper (Jessica Madsen), who becomes the talk of the ton for an unexpected reason.
Yet this season also presents an extended look at the Mondrich Family (Martins Imhangbe and Emma Naomi) as they rise into the aristocracy. Their storyline fluctuates between feeling underserved and too prominent in the season’s arc. This surprises, partly because it would make an obvious spin-off, just as the Queen Charlotte series had. However, by seemingly backdooring into the Penelope/Colin love story, Bridgerton cannot provide the space to open genuine conversations about the working class or a family of color being elevated into high society. Naomi and Imhangbe do everything they can to elevate the material, but the writing underwhelms.
Of course, the craft and extravagance can never be questioned. In particular, Season 3 of Bridgerton shines in the costuming, makeup, and hairstyling departments. No one gets more unique looks than Queen Charlotte (Golda Rosheuvel), who gets full dioramas in her hair. Additionally, the distinctive patterns and fabrics on display showcase the exceptional work intricacies of life in the public eye. The production design amazes yet again, and it’s hard to ignore that Bridgerton is one of the most spectacular visual experiences on TV today.
Conclusion
While Bridgerton will continue to thrill many superfans, the result of Season 3 is less exciting than we were hoping. There are elements that certainly rise to the heights of the brilliant Seasons 1 and 2. However, by trying to introduce and shift the narrative around more than a dozen side characters, the central romance of the season feels underbaked. Still, Coughlan is one of Bridgerton’s MVPs again, and the craftwork astonishes once more. Bridgerton can be one of the very best shows on TV, but in this form, it feels as if Shondaland and Netflix simply want to milk every cent out of the property.
Bridgerton Season 3 Part 1 debuts on May 16, 2024. Part 2 will be released on June 13, 2024. We were provided six episodes for review.
6/10
