Despite its fresh take on period dramas with its color-blind casting, there is very little that the hit Netflix show does for diversity and representation.
Based on the novels by Julia Quinn, Netflix’s hit TV show Bridgerton came out in 2020 and became an instant hit with its modern spin on a period drama, lavish setting and endearing romance. The show has become not only Netflix’s most watched series, but also boasts a viewership of 82 million within the first month of its release.
One of its main selling points was the colorblind casting of this Regency era show. For instance, the actors playing the Queen of England, the Duke of Hastings and Lady Danbury were all Black. This was refreshing to see in a period drama, given that they often have an all-white cast. More recently, a British actress with Indian heritage, Simone Ashley, has been cast in the show as well, allowing the show to brush up even further on its diversity credentials. But these casting choices are superficial and do little beyond providing the show an alluring facade of diversity.
The creators of the show explain the raceless utopia in the series through a plot point whereby “mad” King George III married the Black Princess Charlotte, and thus established a status quo marked by racial diversity. However, that is all we get as viewers. Nothing is ever mentioned or expanded upon relating to race relations, or tension in what appears to be seamless equality, or the impact of the power that Black people hold in this show. There is so much scope for exploration in a setting such as this, and it seems like a wasted opportunity not to address it beyond a line or two. Not to mention, the focus of the entire show is on the Black upper classes, with one getting nothing but a momentary glimpse of the state of the lower classes. For example, the Duke’s boxer friend Will Mondrich was a sidelined character with no real significance beyond advising the rather hot-headed Duke, and barely furthering the plot.
Moreover, all these characters still exist in an inherently white society and setting. They have all blended and merged into a single category of upper-class society in Britain, which has always been best represented through white elitism. There is no way in which the Queen or the Duke are distinct to their white counterparts in this society; indeed, but for the color of their skin, the characters represent whiteness. The recently cast actress Simone Ashley, who will be playing Kate Sharma, will also doubtlessly behave as a mirror to Daphne Bridgerton by playing the love interest of Daphne’s brother.
It is certainly unique to see a brown girl wearing velvet gloves and a pretty dress in a big palace. However, she’ll just be blending into society, talking, walking and behaving like everyone else around her. She will not stand out, or be different to the elite, white society of the 19th century in any way. And if she’s not different, then what is the point? If the difference isn’t being acknowledged, or revered or appreciated, does the diversity even matter? Beyond the scenic pleasure one gets from seeing people of color in corsets and dashing coats, there doesn’t seem to be any real purpose of having people of color in this show.
Of course, it can be argued that the focus of the show is not on addressing race relations, power structures, or highlighting differences. Its purpose is to show the survival of a romance amidst a uniformly judgmental upper-class society. There is no doubt that the show is entertaining and enjoyable; the modern spin on a historical piece is uplifting, and while the romance is rather clichéd, it is still a good watch. This might compel some to argue that the issue is simply not that deep. It is a romantic period drama, after all, and should be watched in that light only. Still, to treat diversity in such a tokenistic manner is to miss out on nuanced and rewarding character arcs and plot lines. By failing to give a new or interesting take on race relations, role reversals or history, Bridgerton creates a purely fantastical, utopian, race agnostic world, focused on romance. While this is fine, diversity shouldn’t be the selling point of the show if it isn’t being treated with care and purpose.
I’m a brown girl who is a big fan of period dramas. So when it comes to diversity, there is nothing more I’d like to see than non-white actors playing important roles in a more meaningful way than shown in Bridgerton. Unfortunately, this new, race agnostic take on historical pieces, not only misses the opportunity of making powerful points in relation to race and power but also the opportunity to celebrate differences, instead of washing them away into whiteness.
