Bridgerton Still Has a Diversity Problem

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Bridgerton Still Has a Diversity Problem
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It’s a neutral-neutral racial positioning in an era of “representation matters,” in which feeling seen is only connected with aesthetics

Photo: Netflix “Do you even know all the ways a lady can be seduced? The things I could teach you.” This line, delivered by Anthony Bridgerton to his love interest, Kate Sharma, has in recent days sent almost every woman I knew into an absolute tizzy.

As in its previous season, Bridgerton’s second run is fulfilling its romantic promise, and while it is delightful to watch women revel in these auditory thirst traps, it is the “feeling seen” part that deserves a closer look. As the new season welcomes characters from India into the Regency world, Kate’s presence serves dual roles: She is the general romance audience’s lusty liaison to Anthony, as well as the proxy by which South Asian women can participate in the Bridgerton world.

But in actual fact, Bridgerton’s casting practices fall more closely in line with that of colorblind casting, in which race is not written into the roles for which actors audition. The theory goes that the “best” person for the role will be selected based on their interpretation of the character. On its surface, this is an ideal practice for an industry still dominated by white decision-makers, but the problem is what happens after the person of color books the role.

But it’s not, not really, especially since choices like these result in stereotypical pitfalls. Take, for example, season one’s Duke of Hastings, played by Black actor Regé-Jean Page. Hastings’s intentional lack of cultural specificity made it so that his persona as a cad devolved into a simple trope.

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