Review
Culture
Film & TV
6 min read

When a wallflower blossoms

Unpicking Bridgerton’s complex coding.

Bex is a freelance journalist and consultant who writes about culture, the church, and both government and governance.

A young lady in Regency dress, holds a fan while looking around a garden.
Lady Penelope Featherington, played by Nicola Coughlan.
Shondaland.

Dearest gentle reader, are there any among us who do not love that most marvellous of transformations, a makeover? Something about a new dress, a new hairstyle, even a new lipstick, somehow has the power to make you feel full of potential. Maybe today will be different. Maybe today I won’t stand on the sidelines.  Maybe today, I will be different. A lipstick isn’t going to dramatically change how you look of course – the power is in how it makes you feel.  But what do you do when how you feel inside seems so different to how you behave on the outside? When you know that you can be witty, and funny, and charming, but somehow what comes out is shy silence, or worse, utter waffle?  

And so, in series three of Bridgerton, the hugely popular Netflix show from Shondaland that brings together regency romance, pop-anthem string covers, colourblind casting and some very modern sensibilities – we see Penelope Featherington, to-date the wallflower of the show, step out from the shadows. She has given herself the most modern of regency style transformations. Her clear instructions to the modiste about her new colour-scheme, her hair, how she wants to present, brook no argument.  And she pulls it off with aplomb – the gasps as she descends the inevitable staircase, looking stunning as the strings belt out a-b-c-d-e-f-u, are gratifying. It is hard not to be thrilled for her at the response elicited – the garish citrus florals are gone, and in their place is a new, soft, romantic look, complete with Rita Hayworth hair. She is owning it, finally full of confidence, and it’s fabulous. Our fan-favourite sidekick has become a compelling heroine in her own right.   

This third series is full of romance, but also relationships.  It is only in figuring out who we are, that we can best relate to others. 

But this isn’t the end. This story is just getting started. She might look fabulous, but as Pen tries to launch herself at the town's marriage mart (third time lucky?!) she anxiously fluffs it on an epic scale. And she knows it. Flinging herself onto her bed, she throws down her fan in despair; ‘deep inside, I know I can be clever and amusing but somehow my character gets lost between my heart and sometimes I find myself saying the wrong thing, or more likely, nothing at all’ she explains subsequently. Her work is thriving – as gossip columnist Whistledown she is the talk of the town, making money, with a pen that gives her a power she never dreamed possible as she shares all of Mayfair’s secrets. But her personal life is a mess. On paper she is nailing it; in person she is a disaster.    

Charm school isn’t a new concept in a romcom, but nonetheless upon Pen pouring her heart out to long-time crush Colin Bridgerton, he decides to offer a My Fair Lady approach, promising that he has picked up plenty of tips in Paris that he can share. This won’t go exactly according to plan, and the judgement of the town comes down on poor Penelope again, but this series she isn’t going to retreat in shame or fear; the Whistledown in her isn’t prepared to let her go back to just being an accepting wallflower. This series the colours are brighter, the wigs are that much higher, the ballgowns are even more brilliant, and this time, Pen is going to get herself a husband, despite the assumptions and agendas of her truly awful family. And we are here for it - 3.6 million UK-based viewers watched the season 3 premier within a week of release, outperforming the season 2 opener. 'Polin', as fans have named the burgeoning romance between Pen and the newly-buffed up Mr Bridgerton, is perfect for binging.  

If the first series of Bridgerton was all about the steamy sex, the second series seemed like it was all about longing and yearning for what couldn’t be, then this third series is full of romance, but also relationships. It is only in figuring out who we are, that we can best relate to others. That might be with potential partners, as Pen rejoices as she finally pulls off a successful interlude with a suitor she concedes – ‘I was feeling so low, in fact it somehow allowed me to stop caring so much about how I was perceived and … I was simply myself’.   

God knows us inside and out.  He can discern our thoughts from far further away than across a crowded ballroom. 

Being confident in who we are is appealing, even in the Bridgerton world, and Lord Debling (her paramour of the moment) acknowledges ‘I want to be with someone who knows who they are and embraces their own peculiarity as I do’.  This isn’t purely about who we are on the outside, or on image, but about identity.  And how we make that identity authentic, even when we act differently depending on who we are with. Nicola Coughlan who plays Penelope calls this code switching and notes Pen is ‘code switching a little more than most people do’ as she juggles her public role as a debutante with her private role as Whistledown.  Maybe we aren’t exactly the same at work as we are with friends, or with our grandma as we are with our partner, but does this make each aspect less authentic? 

We may try to choose which aspects we present to our peers or even our partners, but none of those different parts of us can be hidden from God. Terrifying though this might sometimes seem, because as humans we are prone to anxiety and awkward mistakes, God knows us inside and out.  He can discern our thoughts from far further away than across a crowded ballroom, and yet he knows how many hairs are on our head (however high it is styled!) – and yet he loves us so much.  He already knows the parts of ourselves that we chose to show, and those we try to hide from the rest of the world.  As author Philip Yancey wrote ‘There is nothing we can do to make God love us more and there is nothing we can do to make God love us less.’  

People, however, are easier to keep secrets from.  Pen is still hiding the secret of her alter ego from almost all her friends and family.  It’s a secret that has already ruined her relationship with BFF Eloise.  Showrunner Jess Brownell has described the will they/won’t they of the wreckage of their friendship as the ‘secondary love story of the season’ noting that like any relationship, friendships just aren’t linear.  Nor do all relationships develop in the same way – this series we have seen Mama Bridgerton have her own meet-cute to a Sia soundtrack, and Francesca Bridgerton has herself a very reserved romance incorporating silence and sheet music.  This has led to discussions online about whether Fran’s character is on the autistic spectrum due to her introvert nature and rich internal world.  Love can come in all shapes and sizes here in the Bridgerton universe – literally as well as figuratively.  This reality has room for everyone.  But it remains to be seen if Pen and Colin can have a future in a world where both her identities are revealed; he has sworn to ruin Whistledown…  when he discovers the truth, will he want to marry his former wallflower?   

 

Bridgerton series 3 part 2 will be released on 13 June.     

Article
Character
Culture
Film & TV
5 min read

Deceit is integral to success in Destination X

Travel and trickery make for a miserable journey
A composite images show a map of Europe with Destination X contestants pictures above.
BBC.

Like me, you may have recently been watching Destination X, where 13 contestants compete to win £100,000 by guessing where the coach they are travelling on has stopped. Blocked from seeing out of the windows and given just a few clues to their locations, the contestants have to work out where they are. Similar to Traitors, it tries to give reality TV a respectability while also providing the gossipy drama that underpins the format.  

Opportunities for extra clues are possible, with contestants competing against each other to receive them. Only some of the competitors are allowed to view the extra clues. This secret knowledge quickly causes thirteen pretty nice contestants to mistrust, lie, suspect, accuse, and keep secrets. After three new players are added in, there is a clear divide between the ‘OGs’ and the rest. It reminded me of Lord of the Flies, with alliances, rivalries, and judgements of player’s usefulness taking scarily little time to flourish. 

The breaking of societal expectations to be truthful, reliable, and work for the common good is perhaps the appeal of these shows. The Judeo-Christian Ten Commandments still underpin the Western world, and lying, greed, and selfishness are all still denounced as wrong by mainstream ethics. There is an enormous amount of talk in Destination X, as there is in the Traitors, about ‘playing the game;’ legitimising breaking normal behaviour in order to win the competition. We watch on, enjoying the chance to wonder how we would manage in a world where lying, cheating, and manipulating is expected and encouraged by the rules of the game. 

The thing is, breaking these rules seems to make everybody so miserable. In the first episode, Deborah won a big clue, chose only to share it with one teammate, and was so burdened by the guilty secret that she lost the first location test and left the game immediately. In another episode, some OGs win a challenge and choose to deliberately misinform the others, including the rest of their gang. When the disinformation is revealed, and directly causes the exit of another OG, the sense of guilt as others realise the deception is plain to the viewer. Time after time, players begrudge ‘the game’ for the lies they are telling- but it is their own decision to keep the secrets to themselves. 

Perhaps the most striking thing is how quickly people lose track of the artifice of the game, and how integral to their reality their deceit has become. Towards the end of the series, as the money gets closer, the contestants harden further towards each other, and deception seems to come more easily. Perhaps this is why the guilt makes them miserable- with a little encouragement, their sense of right or wrong has disintegrated into instinct for survival. 

The people that seem to be having the best time on Destination X are Daren and Claire, perhaps the two players who are happy to trust their colleagues the most, and lie to them the least. Both of them do better in the competition than other contestants who embrace a selfish and cynical approach. 

Obviously these shows are games, and the contestants exit to their normal lives and resume being nice people. But they reveal a deeper truth that living cynically does not make a person happy. Although lying, cheating, and making the most of advantages might bring wealth, success, power, fame, and so on, living selfishly only makes a person miserable.  

People who lie or cheat may seem to get ahead, but it only poisons their heart. 

This reveals our design as humans to be communal, selfless beings. Describing the state of humanity before evil entered the world, the first verses of the book of Genesis describe a generous care between the first humans and their world. The very first books of the law in the Old Testament continually exhort God’s people to show love to their neighbour and compassion upon foreigners and the poor. 

Jesus used to have this great phrase for those who would follow his teaching for a selfless life. He said that they would inherit ‘life to the full,’ or ‘life that is truly living.’ It was his conviction that simple acts like telling the truth, desiring others to prosper, and being generous were the way to a content and satisfied life.  

But the kicker in Jesus’ teaching was not just that the person would receive a more satisfied life, but that each act would make the person more Godly. These acts stack together- to make a life of generosity rather than selfishness that nourishes our humanity- but also to form us towards being a better human. It creates a virtuous circle. A good act leads to a purer heart which leads to another good act. St Paul terms this ‘going from glory to glory’ in one of his letters encouraging a congregation to do just so. This circle deepens the contentment in the ‘life that is truly living’ that Jesus promises- living as God created humans to do reaps the relational, communal satisfaction that God intended the human experience to contain. 

It works the other way too. People who lie or cheat may seem to get ahead, but it only poisons their heart. Becoming de-sensitised to their acts, further selfishness follows. Each act separates them further from the human experience they were designed to enjoy, and dissatisfaction follows. Often this is exacerbated by more attempts to cover the feeling with selfish ambition. 

People who treat the real world like competitors treat Destination X, as a game to be won, with prizes that come at the cost of disinheriting others, may find wealth or power. But they will not find the contentment of life to the full that the way of Jesus offers and their humanity craves. 

Whilst we sit at home enjoying players’ ability to break cultural taboos and suffer the emotional consequences, we might reflect that it is better to be content than victorious- and miserable. 

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