Netflix's Bridgerton is set in early 19th century London. The costumes, traditions, and manner of speaking reflect the times. However, fans who were really paying attention will have noticed that the classical violin music playing in the background might have sounded a little familiar.
Throughout the series, there are several instrumental covers of popular modern songs tucked into the episodes. Surprisingly the songs chosen lend themselves well to string quartets and don't seem out of place in 1813. Listen hard for these six covers in Bridgerton.
Thank You, Next - Ariana Grande
In the first episode, Daphne attends her first ball after officially entering society. Over the scene of eligible young men and women, Ariana Grande's "Thank You, Next" is played by The Vitamin String Quartet. The song subtly reflects Anthony's judgemental and strict attitude during the ball. He is taking his role as Daphne's chaperone extremely seriously, and no matter what man sets his eyes on her that evening, Anthony (in a manner of speaking) tells them, thank you, next.
Girls Like You - Maroon 5
Also featured in the first episode is an instrumental version of Maroon 5's "Girls Like You." This song plays the morning after Daphne's first ball, as she eagerly awaits suitors to come calling. However, Daphne is soon disappointed by her mostly empty drawing-room. The scene then cuts to the Featherington home, where it appears Marina has drawn every eligible bachelor in town.
The song captures the longing of these bachelors to spend just a little more time with the women they are courting. The lyrics "spent 24 hours, I need more hours with you" are a perfect example. In the Georgian era, there were very few opportunities for young men and women to spend real time together. Everything had to be supervised and proper, but the song hints at a desire for more time and intimacy.
In My Blood - Shawn Mendes
At the end of the second episode, Daphne and Simon attend a ball together in order to keep up their ruse of courtship. While the pair dance, an instrumental version of Shawn Mendes' "In My Blood" plays. Daphne then assures Simon of her seriousness in finding a husband and having children and a family. The song is poignant, hinting at the complicated feelings that are soon to arise (or perhaps already have) between Daphne and Simon.
Bad Guy - Billie Eilish
In the third episode, Daphne and Simon arrive at another ball together, continuing their ruse of courtship. A string quartet version of Billie Eilish's "bad guy" plays as Simon loudly pretends to be jealous of Lord Weaver asking Daphne for a dance. The song fits in surprisingly well. Maybe Simon is the "bad guy," playing the part of the jealous lover. Or perhaps it's even Daphne, charming so many men through her scheme with Simon.
Strange - Celeste
At the end of the fifth episode, an instrumental version of Celeste's "Strange" plays as Simon and Daphne have sex for the first time on their wedding night. Although the song is modern, it is the only one on this list where even the original version could have been fitting for the scene."Strange" is slow and romantic, the perfect choice for a scene following Daphne and Simon discovering that they both truly want to be together.
The lyrics are also fitting for Daphne and Simon's relationship. They include " isn't it strange how people can change from strangers to friends, friends into lovers, and strangers again." Daphne and Simon formed a real bond of friendship before becoming lovers. The song also foreshadows the pair becoming strangers to each other again. When Daphne discovers that Simon lied about being unable to have children, she tries to force him to impregnate her. The trust between them is lost and nearly destroys their relationship.
Wildest Dreams - Taylor Swift
The final pop song featured on Bridgerton appears in episode six, during a montage of sex between the newly married Daphne and Simon. "Wildest Dreams" is a song that automatically brings to mind fantasies of romance. It is fitting for Daphne's new life, especially because before her marriage her mother kept her in the dark about sex. In her wildest dreams, she could not have imagined the truth of married life.
The song discusses the sexual aspects of romance, describing them as almost forbidden. This is certainly appropriate for Daphne considering until her marriage it would have been catastrophic for her to even kiss a man. Finally, there is a sense of escapism in the song, with lyrics like "He said, "Let's get out of this town. Drive out of the city, away from the crowds."
In this scene, Daphne and Simon have retreated to enjoy their honeymoon at Clyvedon Castle. There is no one there to bother or interrupt them and they almost seem to be living in fantasy land. Unfortunately, however, the pair must eventually return to reality.