Bridgerton there is, on the surface, a romantic harmony of pure escapism. Part of the romance of the Regency is that this was the last historical moment that did not occur with the conflict and social conflict of the industrial revolution. It is a “simpler time”, not to mention the Napoleonic wars raging across Europe, and the world of Daphne is just two years away from the Battle of Waterloo, an event that will destroy a generation, just as the World War I a hundred years later. Still, simpler times! Vehicles and candles and balls! Wealthy women like Daphne literally have nothing to do but learn dances, use piano, and threaten a wealthy husband, with the best title, and no grievous corruption or lower-class political power. request change. Simple simple simple!
But Bridgerton Episode 2, written by Janet Lin, begins to drill down beneath the surface of this simplest time. Daphne is a prime example of poise and grace, but she is clearly anxious about what she intends to marry. In contrast, her younger sister Eloise is terrified of marriage – and children seem to be putting it off altogether – seeing it as the end of her personal goals. Eloise, who smokes in the garden, wants to go to university but knows that the world is closed to her and she is very open because of it. (Claudia Jessie is stunned by string and fidgety as Eloise.) She gives Daphne a hard time to throw herself into her debating season, but there is a scene at the end of the episode that clarifies the true fear of Eloise. The two sisters are concerned with the night their mother gave birth to their youngest sister, Hyacinth, which was like a hard delivery. They remind us of Violet’s cracks and the fear of losing their mother, just months after their father died. But where Daphne has embraced this fear and is looking forward to having children of her own, Eloise has an active fear of childbirth. Her obsession with Penelope (aka Marina’s) pregnant “virgin” is less about pranks and more about making sure she, herself, does not “catch” pregnancy.
And there is reason to be afraid, because in this simple time, women often die in childbirth. In fact, Simon’s own mother came to a violent birth. In the opening scene of the section, we see the birth of Simon, how frightening it is to have a father, but also that his mother was left to die in her baby bed while her husband was celebrating her son. . Simon’s father seems to be the worst kind of father, turning his back on his son when Simon is found to have a stutter (despite showing signs of information elsewhere). The duke ignores his son, preferring to think Simon is dead. Join Lady Danbury, who enters to raise and train Simon for his inevitable position in his life. Lady Danbury is one of the most beloved characters of Julia Quinn, the grande goddess of “dragon”, and here Adjoa Andoh perfectly captures the wrath of women who have influenced society and the demons her own personal (give us a prequel about Lady D!). And now we know where Simon’s promise not to marry came from – he vowed to his father not to marry or to have an heir, to end the Hastings title his father was claiming value greater than his son.
But before Simon can worry about breaking his oath to his father, he has enlisted the help of Daphne to swear an oath to Nigel Berbrooke. Anthony has pledged his sister’s hand, and Berbrooke seems to be the worst kind of smug bully. Without Daphne knocking him out at Vauxhall Gardens, Berbrooke is still pushing his suit. But now that she’s – apparently – with a duke on the line, Violet isn’t so worried that Daphne will settle down. Anthony behaves in a way that “knows his father best”, but completely avoids Daphne’s desire, despite her popularity with young London men. This is another one of those dark streams beneath the light surface of historical romance novels – women are completely at the mercy of men in their lives. And the men in Daphne’s life are determined to make matters worse. Simon and Anthony, both wealthy and powerful, use their own route, unwilling to handle a ridiculous handling machine like Berbrooke. So when he puts Daphne back in a corner, it’s up to Violet and the women in Daphne’s life to save her. Do not care! This program is not a complete bummer! Lin happily balances women’s more basic, self-conscious concerns at this time with a savvy gossip plot. Violet devises a whiskey campaign to put Berbrooke into the shadows, freeing Daphne for other lawyers in a very fun and engaging way.
Simon and Daphne’s deceptive romance scheme is a classic hijink rom-com, but this program deepens the world of the Bridgerton, showing us the childhood traumas that shape Daphne and Simon – and Eloise – and the social benefits that Daphne suffers as a prisoner to the will of men in her life. Many thanks to the goddess she has a wise mother, or else Nigel Berbrooke would have been trapped well and in a poor marriage. It’s also a teachable moment for Anthony, who realizes that he has endangered his sister by being so high-handed. Will he be a better brother going forward? One can’t hope, but Anthony wouldn’t be Anthony if it weren’t for at least a little something gloomy and progressive. We can only hope that, because of Daphne, he will not try anything so foolish as to introduce her to Nigel Berbrooke again.
Sarah Marrs is a film reviewer and writer at LaineyGossip.com and co-host of The Hollywood Read podcast. She also has bylines at Pajiba, SYFY Fangrrls, and Consequence of Sound. She can be heard on Twitter @Cinesnark. Sometimes she goes places and does things, although not so much in 2020.
Look Bridgerton Episode 2 (“Shock and Delight”) on Netflix