“Dearest Gentle Reader…” AAPI Representation in Netflix’s “Bridgerton”
Like many recent movies and TV shows in Hollywood, Netflix’s “Bridgerton” is recognized as an example of diversity initiatives within the film industry. Although it is historically inaccurate that POC characters stand equal in England’s society, the writers smoothly incorporate different cultures, ethnicities, sexualities, and even disabilities into the show. In addition, the show differs from the original books by emphasizing feminist themes through different storylines of love, friendship, and family. Notable diversity changes include having an Indian female lead in Season 2, a Black male lead in Season 1, and a Black Queen Charlotte to rule over England. Despite these changes, the show portrayed excellent “accuracy” to past English society with the culture, costumes, and makeup that were favorably recognized by the public. Although controversy and discussion persist about “true” diversity representation in Hollywood, “Bridgerton” has positively impacted AAPI audiences with Season 2 and its female lead, Kate.
Kate Sharma, originally Kate Sheffield in the books, arrived in England to find her sister, Edwina Sharma, a love match to marry. Throughout the Season, Indian culture is subtly incorporated to enhance Kate’s character and to create a natural flow of representation. During conversations with each other, Edwina would refer to Kate as “didi” which can be translated into “older sister” in Hindi. Other significant scenes include the traditional Haldi ceremony in which the Sharma’s take part and the iconic jade bangles that Kate wore to Edwina’s wedding. An honorable mention is a beautiful montage of Kate making chai in the countryside, emphasizing her finding peace within her culture.
Kate (right), Edwina (middle), and Mary (left) taking part in the Haldi Ceremony, which is an Indian pre-wedding event.
It is one thing to recognize a culture, but it is another to appreciate and represent it beautifully. AAPI audiences have often failed to see accurate and meaningful representation in media aside from their own. For example, Koreans are often poorly depicted and strongly stereotyped in Hollywood. However, Korean dramas and films have gained significant attention globally for their artistic storytelling. In addition, Bollywood is its own beautiful and impactful industry, but Indian representation is also negatively stereotyped in Hollywood. The efforts from Bridgerton have allowed AAPI audiences to be recognized and represented in non-stereotypical ways. Instead of forcing an Indian female lead onto the audience, Kate was a strong, well-written character who showed how beautiful Indian culture is. Many young girls, particularly of Indian descent, felt “seen” through the show and Kate’s story. Due to the recurrent POC characters in “Bridgerton” society, audiences are even asking for East Asian or Latinx leads for upcoming seasons.
AAPI representation continues to lag in Hollywood. Like many social issues, it is not something that can be fixed overnight or easily changed in an industry that has long been grounded in sexism and racism. Some of the “Bridgerton” audience mention how representation should be created instead of substituted, as voiced in discussions of Disney’s recent Live Action “Ariel.” However, it is narrow-minded to only focus on the negatives, and large media such as “Bridgerton” should be applauded for its excellent work in AAPI representation. As Lady Whistledown’s readers look forward to the next gossip, AAPI audiences anticipate the change in Hollywood and the entertainment industry.