Has it really been more than two long, arduous years since the second season of everyone’s favourite steamy Regency romance graced our Netflix queues? By now, fans are well acquainted with the scandal, seduction, and salacious court gossip that are the motor that runs Bridgerton’s engine, and they will not be disappointed to know that the opening volume of the third season serves up more of the same, but with a divergently complex leading lady at its centre.
Nicola Coughlan’s masterful portrayal of Penelope, who has thus far weaponised her wit and way with words to keep a cruel world at bay, elevates the script from a regular romance plot. In this season, she allows her mask to slip, revealing the lovelorn woman that lies beneath. There is an inherent vulnerability that is part and parcel of revealing romantic feelings to someone who you’re afraid will always see you as a friend, and Coughlan is pitch perfect in every scene—the audience has no choice but to feel every skipped beat in Penelope’s heart as she navigates a romance that is rife with uncertainty and Shakespearean misunderstanding. The subversiveness of having Penelope ask to be kissed rather than wait for it to happen is not lost on the audience, and the show does well to grant its most rebellious female character the kind of agency that was impossible for a woman of that period to have.
The big issue
But perhaps the most radical aspect of this season of Bridgerton, which drew a lot of press during its debut season for its race-blind and historically inaccurate casting, is the fact that it goes somewhere that no Regency romance has dared go before—to a world where one does not have to have a waifish figure to be deserving of love. On TV or films, and in pop culture in general, plus-sized women are relegated to supporting roles—portraying the token friend or sidekick or that goofy klutz added for comic relief, not Rubenesque figures who control the narrative. It is hard to look across the cannon of 19th-century romance and point to one other instance where a woman of Coughlan’s proportions has been crowned the romantic lead, and it cannot be overstated how long overdue this development has been—especially in light of the fact that most women’s bodies in Regency-era England were more likely to resemble Coughlan’s than that of Keira Knightley.