Bridgerton Season 3: All That Glitters Isn’t Gold
Written by Amani Rizwan
Thumbnail & Banner Photo by Liam Daniels/Netflix
Warning: This article contains spoilers for Bridgerton season 3
Long story short, Bridgerton missed almost every shot it tried to make this season. The latest addition to Netflix’s most beloved show attempts to weave a tale of love, identity, and scandal, but falls short of the high bar set by its predecessors. Centred on the long-awaited romance between Penelope Featherington (Nicola Coughlan) and Colin Bridgerton (Luke Newton), the newest entry to the Bridgerton story definitely delivers the opulent settings and juicy drama fans were craving, but that’s just about the extent of it. It lacks the emotional depth, deep yearning, and narrative cohesion that have made the last two seasons so compelling.
In this season, Penelope, long relegated to the role of a wallflower, finally steps into the spotlight. Her transformation from a shy, overlooked girl into a confident young woman is compelling, driven by her unrequited love for her long-time friend Colin, and her secret identity as Lady Whistledown, the town's infamous gossip columnist. Coughlan, alongside her historically (in)accurate acrylic nails and lashes, shines in her portrayal, bringing nuance and depth to Penelope's journey from the shadows to the centre of the ‘Ton's insatiable intrigue.
However, while Penelope's storyline is richly developed with her friendships and internal struggles, Colin's character leaves much to be desired. Unlike the previous Bridgerton leads, Colin's arc feels somewhat lacklustre, which is funny considering that he’s just come back from a supposedly life-changing trip to Europe. This season, he wears billowy coats and unbuttoned shirts meant to portray his Mr Darcy-esque masculine angst, but his character is unpersuasive at best, and completely laughable at worst. In short, Colin Bridgerton is boring this season. Without money or class concerns, tragedy, ambition, illness, or even a hobby he’s devoted to, Colin has no obstacles in the beginning. None. He’s the most desired bachelor of the season, who’s come from the most functional family in the ‘Ton, so when Penelope’s real identity is revealed, Colin’s anguish and sadness should’ve felt far more pronounced than it did.
When two leads clash, viewers should be able to sympathise with both parties, and whilst Penelope’s guilt and shame are fully fleshed out, Colin’s reaction feels childish at best. Gone are his sanctimonious claims of concern for his family’s reputation or the ‘Ton’s dignity; instead, he’s just embarrassed that his fiancée is a better writer than him. The show attempts to remedy all the angst with the small smile Colin gives Penelope as she walks down the aisle at their wedding, but to me, it just created more confusion. It certainly didn’t help that Colin remained upset for the rest of the show, until the very end when Penelope publicly revealed herself as Lady Whistledown. After that, it’s all sunshine and rainbows — #Polin has a baby, Colin publishes his book, and they all live happily ever after.
Aside from the main romance, there is far too much going on this season, with Benedict’s strange ménage à trois, Francesca’s courtship with Lord Kilmartin, that balloon scene, and the entirety of the Mondrich family subplot. It’s almost as if the writers were more concerned with the drama and “binge-ability” of the show than they were with the actual characters’ feelings; viewers are robbed of all the quiet, understated moments that previously gave the show its edge. Nonetheless, there were moments when the show felt more like itself or even better. For example, the portrayal of the female relationships this season is heartwarming, whether it’s Violet Bridgerton and Lady Danbury or Eloise’s newfound friendship with Cressida Cowper. The Feathrington women also had a surprisingly complex arc, giving Portia Feathrington a much-needed comeback from the stereotypical “evil mother” trope. Though her attitude isn’t perfect, Portia’s determination and love for her daughters is admirable. And the juxtaposition of the Bridgerton women vs the Cowpers vs the Feathringtons highlighted the nuanced family dynamics that exist outside of the lavish balls and parties.
Speaking of, one can’t think of Bridgerton without thinking of its flamboyant sets and costumes. While historical accuracy is essential in period dramas, one can’t deny just how creative the costumes were this season! The cuts and patterns felt too modern at times, but Penelope's makeover and Cressida’s larger-than-life hair accessories added a lot of depth to each character, making the costumes an integral part of the series’ charm and appeal. Moreover, the set design and lighting were crafted with meticulous attention to detail, and perfectly captured the elegance of Regency-era London. Put all together, these elements combined to create a rich, lush backdrop to the otherwise messy plot.
By the end of the season, the overall sentiment is, “This is so underwhelming, but when does the next season come out?” While Bridgerton retained its signature blend of romance and scandal, some of the magic appears to be fading this season. The colours of the costumes got brighter, and the emotions got more and more muted. Nevertheless, the series' ability to adapt and reinvent beloved moments from Julia Quinn's novels ensures that it remains a captivating watch. If season 2 is the equivalent of the infamous “Mr Darcy Hand Flex” - evoking a deep-seated longing and passion, then season 3 is more akin to Mr Collins - attempting charm but falling short. Despite all its flaws, there’s no doubt that the allure of Bridgerton remains, and this latest season promises enough intrigue and drama to keep viewers coming back for seconds.