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���������� Boulder scholar Nicole Mansfield Wright notes that��Bridgerton demonstrates how fantasy can illuminate real history

With part two of �������岵����ٴDz�’s week, fans are once again swooning over romantic duels, dramatic ballroom vistas and whispered scandals.

But beneath the spectacle, many viewers wonder how much of the world on-screen comes from real history and how much is dressed up in empire waistlines for our streaming pleasure?

For Nicole Mansfield Wright, an associate professor of English at the University of Colorado Boulder, that question is more than an idle inquiry. A scholar of British literature from the “long 18th century” (roughly 1688 to the 1830s), she specializes in understanding how literature and other imaginative media can help people either reinforce or question their beliefs about society.

Nicole Mansfield Wright, a ���������� Boulder associate professor of English, is the author of Defending Privilege: Rights, Status, and Legal Peril in the British Novel.

Her verdict on Bridgerton?

“Bridgerton is a ‘Disney-fied’ version of history. Historical accuracy isn’t the point of the show—it’s escapist by design. Yet, its packaging as an escapist diversion makes its moments of tacit political critique all the more potent,” Wright says.

The real Regency

The British Regency era in which Bridgerton is set was a time of both grandeur and unrest.

“For Britain, the Regency period was an era of rejuvenation: the Prince Regent took the place of his father, King George III, who was no longer fit to govern,” Wright explains. “Great Britain was ascendant after Napoleon was vanquished. With its military might, it continued to expand its empire as a world power.”

However, it also was a time of deep inequality.

“Much like today, there was increasing resentment over inequality. The most elevated members of society reveled in opulence and conspicuous consumption, which was made possible by the desperate poverty and deprivation of rights for others,” Wright says.

Pressure for reform was growing. Labor movements gained traction. Most concerning, although the transatlantic slave trade had been abolished in 1808, was slavery’s persistence in the British colonies.

What the show gets right

�������岵����ٴDz�’s aim isn’t to capture gritty realism, but within its stylized depiction of the Regency era, it occasionally lands close to emotional truths about the period.

“Some of the portrayals of gender dynamics are among the most faithful elements of the series,” Wright says.

She points to a moment when Lady Featherington and her daughters wait in silence for suitors who never come. (When some young men finally arrive, they are calling on the girls’ cousin instead.)

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“In its representations of race, the series indulges in fantasy. At a time when diversity is decried as ‘woke’ and the numbers of students of color are plummeting at some colleges, Bridgerton dares to persist in envisioning a thoroughly integrated world,” says Nicole Mansfield Wright, a ���������� Boulder associate professor of English. (Photo: Liam Daniel/Netflix)

“The bright chatter that pervades the rest of the episode lapses into heavy silence; and the composition of the shots seems cramped and restrictive, as opposed to the joyous ballroom panoramas from earlier in the episode,” Wright notes.

“At such points, the series suggests, the mothers’ concern is not trivial. The mothers want the best for their daughters. Marrying well—or marrying at all—could mean the difference between comfort and constant struggle.”

Even seemingly small moments, like when a young woman is told to stop reading because it will “confuse your thoughts,” have historic precedent.

“It reflects actual 18th-century hostility to women’s supposed susceptibility to being misled by fiction,” Wright adds.

But what about the fashion?

Bridgerton has been praised for its stunning on-screen visuals and lavish costumes. Wright says that, although most of the colors and costumes are chosen for their “pop” on screen, and a number of styles are taken from other eras, some elements are faithful to Regency history.

“Some looks, including empire waists, align more with the styles of the era.”

The fantasy behind �������岵����ٴDz�’s world

The show’s multiracial aristocracy, egalitarian romances and modern slang might be a far cry from what history buffs hope for in a period piece. However, Wright sees them as deliberate choices that add meaning to the story being told.

“In its representations of race, the series indulges in fantasy,” she says. “At a time when diversity is decried as ‘woke’ and the numbers of students of color are plummeting at some colleges, Bridgerton dares to persist in envisioning a thoroughly integrated world.”

She points to how the show “defamiliarizes” issues of race and often gender. In presenting them this way, it allows viewers to think more critically by decoupling them from today’s headlines.

“The first season of Bridgerton aired in 2021, at the dawn of a different federal administration. For the primary demographic the show reaches—young women—the national mood was hopeful,” Wright says.

“Now, watching the show feels different in an era when Black history is being erased and the lives of people of color are at risk.”

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“I’m in favor of showcasing history and literature via pop culture. To make a case for why our research matters, a key step is convincing non-academic audiences to care about our research and the history.”” says ���������� Boulder scholar Nicole Mansfield Wright. (Photo: Liam Daniel/Netflix)

In this light, �������岵����ٴDz�’s��cultural impact isn’t thanks to perfect authenticity. Rather, mingling with the show’s entertainment value is an imagining of the kind of harmonious world that could have existed at the time and, albeit with much fewer corsets, still could today.

Pop culture as a gateway to scholarship

Despite its liberties with historical accuracy, Wright believes Bridgerton and other popular period dramas can serve as important entry points to a deeper understanding of history.

“I’m in favor of showcasing history and literature via pop culture,” she says. “To make a case for why our research matters, a key step is convincing non-academic audiences to care about our research and the history.”

She’s not alone in this belief.

“Bridgerton can be a gateway for students to become more interested in historical scholarship. I just heard this yesterday when I attended a webinar on ‘Teaching the 18th-Century Beyond the Academy’ by the American Society for Eighteenth-Century Studies,” she says.

Scholars at the event shared how even loosely accurate portrayals like Bridgerton can open doors for rich classroom discussions. In modern academia, where curriculum cuts and attacks on the humanities are becoming more common, those conversations matter more than ever.

Stories still untold

When asked if she could suggest a future Bridgerton subplot, Wright’s mind didn’t venture to more galas or scandalous letters. She’d like the show to dig into one of the Regency’s darker truths: military impressment, which had ramped up from earlier times.

“This was a violent Regency-era military recruitment method. Men were ‘pressed’ into service, or forced to join the British Royal Navy, through physical attacks and intimidation,” she says. “Focusing on impressment would be a good way to explore more intensively the valuation of self-determination vs. the (supposed) greater good that’s at play even in some of �������岵����ٴDz�’s frothier storylines.

“As a bonus, seafaring vignettes would be a refreshing change of scene and would furnish some large-scale vistas of the kind that make the show a feast for the eye.”

As Wright sees it, whether in �������岵����ٴDz�’s ballrooms or a future epic on the high seas, popular storytelling doesn’t have to choose between fantasy and critique. In fact, when done well, she says, the fantasy itself can be the critique.��

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