Ah, the Bridgertons! A family that has danced its way not only into the ballrooms of Regency-era London but also into the hearts of millions of readers and viewers around the globe.
Julia Quinn's beloved series has long been a staple for fans of Regency romance, weaving tales of love, scandal, and high society with a masterful touch.
Then came the Netflix adaptation that brought Jane Austen’s out-of-date world into our living rooms with a bold and contemporary touch.
Chances are that if you are here, you’ve binged the Netflix series (maybe more than once, but who’s counting?), and perhaps you’ve even curled up with Julia Quinn’s delightful romance novels. But have you noticed how the two are like siblings who share a resemblance but have their own unique quirks—much like Gregory and Hyacinth?
Be warned, there will be spoilers for both the books and the show ahead.
That is to say that the series is a vibrant, inclusive reimagining of Quinn's "The Duke and I," proving the power of creative adaptation.
For a deeper dive into the differences between the two mediums, simply continue reading.
The majestic Queen Charlotte (portrayed by Golda Rosheuvel) in Netflix’s adaptation is a striking example of creative liberty.
Her on-screen character, absent from Quinn’s novels, is a vibrant creation by the series' makers. In the books, the story revolves solely around the Bridgerton family and their social circles, without the influence of royal characters. Queen Charlotte's introduction to the series not only adds a regal dimension but also injects a sense of grandeur and political intrigue that the original narrative does not possess.
The incredible popularity of the majestic queen has, of course, led her to have her own spinoff mini-series now. The spinoff delves deeper into the backstory of her character, exploring her relationship with King George and her rise to power.
In the series, Simon Basset, the Duke of Hastings (portrayed by Regé-Jean Page), is shown to overcome his stutter, a challenge that shapes much of his childhood and relationship with his father. In contrast, the book maintains Simon's stutter as a recurring obstacle, emerging especially during moments of intense emotion. This ongoing struggle in the novels adds a layer of depth to his character, making him more relatable and human, rather than just a flawless romantic hero.
One of the notable additions in the Netflix series is Simon’s involvement in boxing, a subplot that is absent in Quinn’s books. His friendship with Will Mondrich (Martins Imhangbe) and the boxing scenes add a raw, physical element to Simon’s character, offering viewers a glimpse into his way of coping with emotional and psychological battles— and his abs.
This addition of this subplot offers a raw and gritty contrast to the opulence and refinement typically associated with Regency-era London. It provides a window into a less glamorous side of the society, one that is more in touch with the struggles and realities of everyday life. Moreover, it adds an element of action and dynamism to the series, giving it a more contemporary feel.
In the series, Anthony Bridgerton, played by Jonathan Bailey, is unaware of the fake courtship between Daphne (Phoebe Dynevor) and Simon. This contrasts with the book, where Anthony is in on the plan from the beginning.
The series uses this lack of knowledge to heighten the drama around Daphne's debut season and to underscore Anthony's role as the overprotective head of the Bridgerton family, often leading to comic misunderstandings and increased tension.
In an interesting twist, Marina Thompson, brought to life by Ruby Barker, is portrayed as a Featherington in the Netflix series, rather than a Bridgerton cousin as in the books.
This change not only alters her familial connections but also significantly modifies her storyline, even allowing her to be courted by a Bridgerton. The series expands her role, weaving her narrative more intricately into the main plot, and adds layers to the Featherington family dynamics, enhancing the drama and complexity of their household.
Perhaps one of the most startling divergences from Julia Quinn’s novels is the early revelation of Lady Whistledown's identity. The mysterious author, whose scandalous column keeps the ton abuzz with gossip and intrigue, is unveiled as Penelope Featherington (portrayed by Nicola Coughlan) much sooner in the series than in the books. This shift significantly alters the narrative and character dynamics throughout the Bridgerton seasons.
In Quinn’s novels, the revelation of Lady Whistledown’s true identity is a carefully guarded secret, not disclosed until much later. This prolongs the suspense and mystery surrounding her character. The Netflix series, however, chooses to unravel this mystery in the first season, lending a different flavor to the story.
This early reveal adds layers of complexity to Penelope’s character and drastically changes her interactions with other key characters, especially Eloise and Colin Bridgerton, and the rest of the Featherington family. Knowing Penelope’s secret, we viewers watch her navigate the waters of high society with a new perspective, understanding the dual life she leads as both a wallflower and the ton's most notorious gossip.
The Netflix adaptation of "Bridgerton" not only introduces characters of varied racial backgrounds but also intelligently weaves this diversity into the script, offering an explanation that is both imaginative and historically intriguing.
The show's creators took a unique approach to explain the racial diversity of its cast within the context of Regency-era England. Rather than ignoring the historical context or simply presenting a colorblind society, they take advantage of the blurry details of Charlotte’s ancestry and offer a narrative twist: the racial integration of London’s high society is attributed to the marriage of King George III to Queen Charlotte, who is portrayed as a woman of mixed race.
In the tv show, it is suggested that Queen Charlotte's heritage influenced the king to elevate people of color to higher ranks, thus integrating them into society. This plot device serves as a clever way to justify the presence of high-ranking Black characters, including the Duke of Hastings, played by Regé-Jean Page, and Lady Danbury, portrayed by Adjoa Andoh. This reimagined history does not claim to be accurate but rather presents an alternative reality where racial barriers are much more permeable than they were in actual history.
By incorporating racial diversity in this manner, "Bridgerton" aligns the romanticized world of Regency-era drama with contemporary conversations about race and representation. The series acknowledges the presence and influence of people of color in history, a fact often overlooked in traditional historical narratives. By extend, it challenges us viewers to reconsider preconceived notions of historical accuracy and representation, prompting us to reevaluate how history is portrayed.
Furthermore, the series introduces several new characters who are not present in Quinn's novels. Characters like Anthony’s opera singer mistress, Siena Rosso (Sabrina Bartlett), Daphne’s shortlived secondary love interest Prince Friederich (Freddie Stroma), and the enigmatic artist Henry Granville (Julian Ovenden) provide new angles and subplots that add depth and diversity to the series and the Bridgertons themselves.
These characters not only offer fresh narratives for Daphne, Antony, and Benedict but also contribute to the relationships and social dynamics in the general universe making the characters seem more like real people with passions, feelings, and desires.
Another difference, particularly evident in the transition from the first book to the first season of the TV show, is the portrayal Antony’s Bridgerton’s love story. In the second book of the series, “The Viscount Who Loved Me”, Antony’s quest for love is central, but in the adaptation his story is adapted in different ways.
In the Netflix series, Anthony Bridgerton (Jonathan Bailey) is depicted with a heightened sense of responsibility, especially in his role as the Viscount following the untimely death of his father, Edmund. The first season of the show delves into Anthony's tumultuous love life, which is not the main focus of the first book. His romantic entanglement with the opera singer Siena (Sabrina Bartlett), is given more prominence, adding layers to his character that were not as deeply explored in the first book.
This deviation from the source material allows the series to explore a more dimensional Anthony.
The series delves into his struggles with the responsibilities as the head of the Bridgerton family—his fears rooted in the tragic loss of his father from a bee sting, and his complex relationship with love and duty. These aspects contribute to a deeper backstory for him, setting the stage for his eventual pursuit of love with Kate Sharma in the second season that mirrors his journey in "The Viscount Who Loved Me."
Well, in our humble opinion, Netflix’s Bridgerton deviates from the books to create a show that resonates with contemporary viewers, offering a fresh perspective on the Regency-era world.
Despite the differences and creative liberties taken by the producers of "Bridgerton" for Netflix, there are several key similarities between the show and Julia Quinn’s original books that keep things authentic.
And so we conclude our delightful delve into the Bridgerton family ever interesting drama. But fear not, dear bookworm; the journey doesn't end here.
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First and foremost, Nina is a reader; she devours literature with gusto, from classic novels to contemporary poetry to graphic novels and everything in between. She believes that within each story, there's a universe waiting to be explored, and loves exploring with company. She's often found sharing her perspective on characters, plot twists, and literary themes with friends. When her friends get tired of listening to her ranting, she writes blog posts sharing her explorations with the other bookworms of the internet. In recent years she has developed an inexplicable addiction to matcha lattes, but has asked us not to talk about that.
