Bridgerton Season 2’s Creation of a World of Female Fantasy

If you’re a fan of The Princess Diaries 2: Royal Engagement, I guarantee you will love Bridgerton season 2…

Shonda Rhimes was involved with both projects, and they both have:

1. Enemies to Lovers

2. Falling in the water fountain/Falling in mud playing Pall Mall

3. Teaching archery/Teaching shooting

4. Someone opening the door to find them alone together when they’re not meant to be

5. A halted wedding

6. The lovers spending a night outside together

7. Finding a balance between duty and their own happiness

Honestly, I’m sure there’s probably many more parallels that could be made. Either way, they are both perfectly done romances; some may say legendary.

Aside from the wonderful ways in which it compares to The Princess Diaries 2, there is much to love about Bridgerton season 2. It is cyclical and so very evenly matched in terms of its writing of the main romance. Every fine detail from the way in which the pair meet, to the occurrence with the bee (thankfully changed slightly from the book), to the way in which they mirror each other, matches up. Something must also be said for the camerawork, which is also an element that adds to the creation of the atmosphere of the show. At times it is dizzying, just as it needs to be, particularly in the intimate scenes directed by the brilliant Cheryl Dunye. The romance is truly the show’s speciality and its heart. From enemies to lovers, duty to love, an abandoned wedding, our pair both literally and figuratively making a mess of things, a near death experience, a connection over loss — there is so much to this romance.

The casting of the duo is perfection and having any other actors in their roles is unimaginable. The actors are playful with their craft and their chemistry is insane, pushing this romance further into the realm of female fantasy. With their acting, their characters speak to each other through every little movement, facial expression, tone of voice, line delivery — even every breath.

Elements that have been cast off by some as merely historical inaccuracies actually bring the world of the Ton to life. The costumes this season for the Sharma family are particularly beautiful, as they incorporate in their Indian heritage with silk fabrics, gold jewellery but specifically jhumkas, and shawls. The costumes, the make up, the music and the diversity add colour to this world and make the show far more interesting than it would be without. After all, the show does not call for or need historical accuracy; it would simply be boring if it were a historically accurate show. This is a show of romance, of courtship, of gossip, of splendour, and its world building embraces that. It isn’t meant to be reality. It is a creation in the realm of fantasy and specifically female fantasy, so why should racism exist in such a realm? If the romance is the centre of the show, then the fantasy world is what is built around this centre.

Romance novels, chick-flicks, rom coms, have all been put down because they are for a female audience. The period drama’s connection to history, specifically white history, has traditionally elevated it in the eyes of critics, who are mostly white men. What Bridgerton season 2 does here is it takes the period drama and puts it in this realm of female fantasy, but not just for a white female audience. The target audience of what it usually just white women is instead here inclusive of everybody really, but importantly with women of colour who are often alienated from the genre.

The screen being occupied by content which is designed for female pleasure is not the most common. Things like rom-coms and chick flicks, have become less common. Bridgerton season 2 is an indulgence in femininity and romance, which makes it perfect for women, and why it had such a large female viewership. It is not to say that women can’t and don’t enjoy everything else on television — I myself watch far too many television shows. It is that this specifically brings me joy in a way that the other shows don’t; a feminine, human and emotional joy.

The use of the instantly recognisable Bollywood Kabhi Khushi Kabhi Gham title track reworked in the orchestral Bridgerton way is beautiful, but also brings something important to light. The fact that we never see dark skinned South Indians and Tamil people represented anywhere. This is especially true of Bollywood, an industry that is notoriously colourist. So to see that kind of representation is here in Bridgerton is truly a gift. It actually sets an example to Bollywood, which in 2022 is looking very archaic. The pink dresses Kate and Edwina wore at the Bridgerton ball were funnily enough reminiscent of Kareena Kapoor during the song Bole Chudiyan in K3G. Another treasure, but also another reminder of Bollywood’s shortcomings.

The fact that they did use this song is very fitting, as it is played during the haldi ceremony, a wonderful family moment. There are so many other family scenes for both the Bridgerton and Sharma families. There is the scene Kate is putting oil in Edwina’s hair, the scene on the promenade with two families showing their strength after the wedding was called off, and the dance they all do together at the ball when nobody shows up. Family is important to Bridgerton.

The comparisons of Simone Ashley to a Disney princess on Twitter are absolutely right and needed to be made. I also couldn’t help but notice the amount of pink and purple they put Kate in throughout the season, which made me think of Rapunzel from Tangled in particular, and also Barbie movies. I am beyond excited to see what role Ashley will play alongside Halle Bailey in the live action The Little Mermaid, even if it is small.

There really is nothing else like Bridgerton on television right now, and I wish more shows would create their worlds in the realm of female fantasy. I leave you with my new favourite screenshots, as I am always on board with Chai propaganda, which Bridgerton so kindly provided.