Why Is Bridgerton So Addictive?
Jane Austen, Gossip and the Regency Fantasy
When thinking of Netflix’s series Bridgerton, the first thing that comes to mind is how historically inaccurate it is. From manners, diversity in aristocracy, music, clothing, and makeup; in short, the series is known for its anachronisms and modern interpretation of history.
Besides the latter, the series strongly reminds me of something I had seen before: the 1995 television adaptation of Pride and Prejudice, starring Colin Firth as Mr. Darcy, whose appearances on screen caused audible sighs of excitement among the women in my family. In that sense, Bridgerton closely resembles the mid-1990s adaptation of Jane Austen’s Pride and Prejudice. But what do they have in common? And what makes us love Bridgerton and Jane Austen’s writing so much?
What do Bridgerton and Jane Austen have in common?
The series Bridgerton is set between 1813 and 1827, which is known as the Regency era (1811–1820) in British history. The Regency era is in fact a subperiod of the Georgian era that lasted from 1714 to 1830 and was named after the four Georges. Joke aside, after the Hanoverian kings George I, George II, George III, and George IV. In this era Jane Austen was born, to be exact, in 1775 and died in 1817.
The Regency era was known for neoclassical architecture and the beginning of Romanticism in art. As for society, it was characterized by the life of aristocracy high on the hog, elegance, strict social rules, and etiquette, which is seen both in Jane’s novels and in Bridgerton as well.
Besides the period, both the series and the novels picture the life of the high class, the so-called landed gentry. They both explore, with a good sense of humor, the differences and similarities of primarily the higher classes, but also touch on the lower ones. Jane examines and criticizes the nobility; she gives us a clear picture of life that more often consists of an almost carefree existence, family dramas, dances, and visits. On the other hand, Bridgerton does something very similar; however, it also reflects our own issues, worries, and desires that I won’t go into here. Feel free to share them in the comments.
Why do we enjoy watching Bridgerton and reading Jane Austen’s novels?
Except for period and theme, they have something else in common that is visible at first glance - gossip. Gossip has a crucial part in both Netflix’s series and Austen’s novels. In Austen’s work, gossiping is the means of informing people about the outside world and the people in it and the view on marriage market. This refers firstly to women who were limited and bound by society’s expectations. For instance, in Pride and Prejudice, gossip about Mr. Darcy claimed that he was the reason Wickham’s career was ruined; hence, he was considered no good material for marriage. However, Mr. Darcy’s reputation was repaired after the truth was found out.
In Bridgerton, gossiping has a slightly different meaning. It functions almost like today’s mass media. Just like the latter, gossip spreads faster and becomes public, unlike in Jane’s novels where it is spoken in whispers ‘privately’. An example of gossip in the series is Marina Thompson’s pregnancy, which spread like wildfire through Lady Whistledown’s pamphlet and ruined her reputation. Both examples show how gossip functions as a powerful social mechanism that can shape reputation, influence marriage prospects, and control social status.
Furthermore, Gossip is a means of spreading information about somebody or something. In a sense, it is an early acquaintance with a third person through the experience of a second person who is gossiping about that third person. It can be messy, right?
According to psychological research, gossip often emerges from processes of social comparison, through which individuals evaluate status, morality, and reputation within their social group.
Moreover, gossiping can give us a feeling of superiority and self-importance in a group just because one holds some information about someone. It makes us think that we are becoming closer to the person we gossip about, almost intimate; however, these ‘friendships’ are often shallow. Interestingly, if we investigate neuroscience, gossiping is irresistibly appealing to the brain because it activates areas responsible for feelings of reward.
Conclusion
All in all, in both cases gossip operates as an informal social authority that regulates behaviour and reputation within Regency society. While in Austen’s novels gossip circulates through private conversations, in Bridgerton it is transformed into a public medium through Lady Whistledown.
Gossip also creates a sense of connection: it makes people feel informed, involved, and socially relevant. This may partly explain why audiences are so drawn to Bridgerton and Jane Austen’s works, as both provide readers and viewers with the feeling of being included in the intimate lives of others.
Both forms of storytelling can therefore function as a type of escapism into other people’s problems and family dramas. They portray a world that many may never experience but nevertheless find appealing - the privilege of a carefree and lavish lifestyle, presented through an almost aestheticized vision of Regency society.
For a deeper analysis of Bridgerton, look up the articles listed below.
#bridgerton #janeausten #prideandprejudice #ladywhistledown #gossip #regencyera #englishliterature #georgianera #reputation
Sources:
Robina Dunbara, “Gossip in Evolutionary Perspectivem,” Review of General Psychology (2004), Vol. 8, No. 2, 100–110, https://allegatifac.unipv.it/ziorufus/Dunbar%20gossip.pdf
Julena M. Bonner, Rebecca L. Greenbaum, Marcus M. Butts, Gary R. Thurgood, “Behind the Boss’s Back: Understanding the Negative and Positive Emotional and Relational Consequences of Negative Supervisor-Directed Gossip,” Journal of Business Ethics, Vol. 203, 807–826 (2026). https://doi.org/10.1007/s10551-025-06019-4
Jane Austen, Pride and Prejudice, Collins Classics, London, 2010
Jane Austen, Emma, Collins Classics, London, 2010
https://janeaustens.house/jane-austen/essays-on-austen/
Sneha Roy, “The Return of the High Teas and Corset Tops: An Analysis of Bridgerton through the Lens of Adorno’s Culture Industry,” The Center for Political Studies, https://cspsindia.org/the-return-of-the-high-teas-and-corset-tops-an-analysis-of-bridgerton-through-the-lens-of-adornos-culture-industry
Antònia Llull Gayà, “Bridgerton: A Comparative Analysis of Sexuality, Class, and Race from a Gender Perspective in The Duke & I and its Netflix’s Adaptation,” dissertation at the University of the Balearic Islands, 2022 – 2023, https://dspace.uib.es/xmlui/bitstream/handle/11201/167103/Llull_Gaya_Antonia.pdf?sequence=1&isAllowed=y
Shelley Galpin, “It’s a mistake to dismiss Bridgerton as fluffy period drama,” The Conversation, May 17, 2024, https://theconversation.com/its-a-mistake-to-dismiss-bridgerton-as-fluffy-period-drama-229855#:~:text=While%20most%20of%20us%20do%20not%20spend,the%20fear%20of%20ending%20up%20alone%2C%20or
Eric Lumogda Legada, Daniel Sampag Fernando, „Women as a Commodity: An Intersectional Look at the Bridgerton Series,“ International Journal of Philosophy (Volume 14, Issue 1), 30 January 2026, https://www.sciencepublishinggroup.com/article/10.11648/j.ijp.20261401.12
Poulomi Chakrabarti, “What Bridgerton Tells Us about Elites and Status Politics,” Epicenter, Harvard University, November 06, 2023, https://epicenter.wcfia.harvard.edu/blog/what-bridgerton-tells-us-about-elites-and-status-politics