Season 3 of Netflix’s global hit ‘Bridgerton’ contains several side plots that feature alongside the it-couple, Penelope Featherington and Colin Bridgerton. It is also a season that introduced several new types of representation into the show: deaf/hard of hearing characters and the use of British Sign Language, wheelchair users, and further plus-size women.
Set in 19th-century England amid the Regency era, the show is not particularly renowned for its historical accuracy. The costumes, notably the use of corsets with empire waist dresses, Cressida Cowper’s abominable sleeves, and Queen Charlotte’s elaborate hairstyles, have been at the centre of many a debate regarding whether this is a show for critical history fanatics.
The acceptance of people of colour in high society is another aspect that was not accurate to the historical environment of the 1800s. While there are certainly issues in the way the complexities of racism have been brushed over, the leap that the team behind Bridgerton took in heightening the much-needed representation is commendable. The nods to Indian culture in Kate Sharma’s outfits and the traditions she carries in season 2 have been some of my favourite aspects of the show.
Queer representation in Bridgerton, however, is lacking. The reactions to both the content and ending of season 3 have been incredibly revealing about the feelings towards LGBTQ+ romances in this show. Below are just snippets of the thousands of word-for-word comments on ‘bridgertonnetflix’s’ Instagram post (June 13th, 2024):
‘Not everything has to be gay.’
‘We have had lots of LGBTQ representation in this show already.’
‘We are readers frustrated with this grotesque change.’
‘Very sorry for Benedict and Francesca. Their storylines were simply ruined. I’m not a homophobe, at all, but what was done to these two characters, in my opinion, is too much.’
‘You guys could have made OC and side characters queer.’
‘We loved the LGBT characters like in Queen Charlotte, but the main characters and their stories shouldn’t have been touched.’
Reynolds and Brimsley are the servants of the royal household, and the singular queer representation of the Bridgerton franchise appearing in ‘Queen Charlotte: A Bridgerton Story’. Their subplot was both emotional and painfully realistic for a gay couple of the 19th century. The singularity in their canon queerness, alongside their lack of involvement in the central show, is what makes several of the above comments interesting.
Following facts alone, there is not ‘lots of LGBTQ representation in this show already’. The only other possible ‘representation’ would be fan interpretations from seasons 1 and 2 of (commonly) Eloise and Benedict as homosexual. The impressions received from these comments are a condemnation of any central homosexual love story, with viewers wanting Bridgerton to leave their main characters straight.
Season 3 develops the implications of queerness within Benedict Bridgerton further, exploring elements of polyamory in the process. His sexual relationship with Tilley Arnold and Paul was a side story heavily present in the second half, released on June 13th, delving into Benedict’s desire for freedom and feelings of having too much love in his heart for a singular person.
While it is unclear if these emotions will be transferred into the season that focuses on his own love story, they were an unusual addition to the Bridgerton world, which provoked strong reactions from audiences who felt as though Benedict’s character had been punished and ruined.
A popular opinion amongst fans was that of a potential relationship between Eloise Bridgerton and Cressida Cowper. The blossoming friendship in episodes 1-4 had many viewers on edge, waiting to see if Bridgerton would provide some sapphic representation. I was not personally a massive fan of their dynamic, but I was still interested in this possibility and, if it came to fruition, how a lesbian couple would be treated in the Bridgerton universe. Despite the underlying tension between the pair, the turn that their relationship took in the second half of the season ruled out any hope for Cressida and Eloise.
The real kicker of the show that has viewers rioting in the comment section of almost any post related to this new season must be the story of Francesca Bridgerton.
A fast favourite of mine, Francesca’s story began in season 3. The quieter and much more reserved Bridgerton was named the diamond of the season and found love with John Stirling, Earl of Kilmartin. The softness and ease of their love is unlike any of the previous stars of the show, all of whom were depicted as passionate, burning with desire for one another.
As fans of the books will know, John is not Francesca’s ‘endgame’, as he passes away tragically and suddenly after 2 years, leaving Francesca a widow. The intense, tumultuous love story that Violet Bridgerton so clearly desired for her daughter is between Francesca and Michael Stirling, John’s cousin and unwilling heir to his title and estate.
Episode 8 of season 3 prepares viewers to say their goodbyes to Francesca and John as they retreat to the family estate in Scotland. At the Dankworth-Finch ball, Eloise asks if she may accompany them, closely followed by John introducing his cousin to the screens.
A Michaela Stirling appears on screen, flustering the typically composed Francesca Bridgerton, just as a ‘Michael’ would have.
The drastic decision to gender-swap the heartthrob of Julia Quinn’s ‘When He Was Wicked’ has come as a shock to fans. Within hours, I have seen hundreds of commenters claiming not to be homophobic, before absolutely slating the show, its writers, and any possibility for this sapphic romance.
There are some legitimate concerns, namely how Francesca’s struggles with infertility will be dealt with if she falls in love with a woman, though the majority are ignorant and filled with homophobia. Viewers have rushed to comment on Michaela Stirling’s actress, Masali Baduza’s Instagram, claiming she could never be their Michael and wishing her luck on securing the show’s cancellation.
The dilemma that Bridgerton’s showrunners are likely facing is how to approach LGBTQ+ relationships in the 1800s, especially as people still struggle to tolerate them in 2025. The limited representation that the series has had thus far has been tasteful and thought through, though it will be interesting to see the journey of a main couple and the necessary adaptations made to Francesca Bridgerton’s book for this to be possible.
While LGBTQ+ media has been increasing at a steady pace in recent years, producing good quality shows, books, and movies, lesbians and any WLW have been starved of representation that prioritises them and their chance at a happy ending.
I hope, for my sake and that of the viewers who would enjoy the chance for a sapphic-led season, that Bridgerton doesn’t cower from their decisions and embraces the (belated) queer representation the show may begin to offer through Michaela and Francesca.