This article is part of\u00a0<\/i>Upstream,<\/i><\/a>\u00a0The Daily Wire\u2019s new home for culture and lifestyle. Real human insight and human stories \u2014 from our featured writers to you.<\/i><\/p>\n ***<\/p>\n Ladies love the 1995 and 2005 film versions of \u201c<\/span>Pride and Prejudice<\/span>.\u201d Their timelessness has inspired a dedicated base of fans who prize the romantic, heartfelt relationships that have the time to build through character development and genuine affection.\u00a0<\/span><\/p>\n Both beloved films had very little kissing and zero sex scenes, as <\/span>pro-life activist Lila Rose recently noted,<\/a><\/span> yet they managed to become wildly popular. The 2005 \u201c<\/span>Pride & Prejudice<\/span>\u201c<\/span><\/i> starring Keira Knightley was a box office success, grossing $121.6 million over a $28 million budget. The 1995 \u201cPride and Prejudice\u201d BBC miniseries starring Colin Firth and Jennifer Ehle drew in about 10-11 million views per episode, selling 12,000 VHS copies within the first two hours of its release.\u00a0<\/span><\/p>\n But Hollywood\u2019s latest attempts to take on 19<\/span>th-<\/span>century romance have repeatedly resulted in historically inaccurate, hypersexualized cinema that fails to hold up against the established classics.<\/span><\/p>\n The smutty Jane Austen knock-off show \u201c<\/span>Bridgerton\u201d<\/span> brags an expensive budget of $7 million per episode, but the sparkle of the show seems to be dwindling. Though the viewer numbers are still high, season 4 streams dropped<\/a> 12% from season 3 as the repetitive \u201cwill-they-won\u2019t-they have sex\u201d plot becomes predictable to audiences.<\/span><\/p>\n \u00a0<\/p>\n Liam Daniel\/Netflix<\/p>\n<\/div>\n In \u201c<\/span>Bridgerton<\/span>,\u201d the highlight of the season is often a dramatic sex scene for the main lovers, reinforcing in women\u2019s minds that satisfying and steamy sex is the reward one should be looking for in a relationship. According to the show, a good love story is all about physicality and satisfying lust. But in faithful Jane Austen adaptations, physical touch is rare.\u00a0<\/span><\/p>\n Romance is Darcy offering his hand as Elizabeth gets into the carriage, palms meeting during a dance, and, ultimately, the good character of Darcy slowly being revealed, leading to a mutual declaration of love after recognizing one another\u2019s character flaws. Physical chemistry means little without the quick-witted interactions, brutal honesty, and the realization that Darcy is willing to go to great lengths to protect Elizabeth (and her family\u2019s) reputation, even after she rejects him.\u00a0<\/span><\/p>\n Mr. Darcy\u2019s hand flex after holding Elizabeth\u2019s hand \ud83e\udd70#PrideandPrejudice<\/a> #JaneAusten<\/a> #romance<\/a> #film<\/a> https:\/\/t.co\/XJfdGi4Vse<\/a> pic.twitter.com\/7FirXtmTqb<\/a><\/p>\n \u2014 Anonymous Galore \/ AG \ud83c\udf3a (@AnonymousGalore) July 23, 2024<\/a><\/p>\n<\/blockquote>\n The works of Jane Austen demonstrate a much deeper sort of love than what is seen on screens today, which is why those renditions have a longevity few modern series will have. While the wave of Austen adaptations produced in the \u201990s and \u201900s evoked the maturation of characters and realistic proprieties of the day, today\u2019s pieces such as \u201c<\/span>Wuthering Heights<\/a>\u201d <\/span>or \u201c<\/span>Bridgerton\u201d <\/span>and its many copycats prioritize graphic sex scenes and flashy costumes over story quality and true romance.<\/span><\/p>\n All of Jane Austen\u2019s heroines have their own flaws, but there is character growth, usually brought about by the love interest of the heroine. Darcy highlights Elizabeth\u2019s wrongful assumptions about him, and Elizabeth reprimands Darcy for his arrogance and pride. Austen understood that real love meant a willingness to call out one another\u2019s misgivings and hold relationships to a higher standard.\u00a0 In the best relationships, both parties are bettered by each other.\u00a0<\/span><\/p>\n In \u201c<\/span>Pride and Prejudice,\u201d <\/span>Austen illustrates not only what good character in a man can look like, but also the type of love interest to avoid. Elizabeth\u2019s younger sister Lydia causes a scandal when she runs away with the deceitful Wickham, thinking marriage will soon follow. How many young women today let themselves follow a man with the promise of a \u201cone day\u201d that is never to come?<\/span><\/p>\n Running off with a man you aren\u2019t married to isn\u2019t the scandal it was in the 1800s, but Austen seems to tell her readers they can hope for better than Wickham. A man may be charming, handsome, and flirtatious, but that\u2019s not what makes him worthy.\u00a0<\/span>A worthy man recognizes his flaws, seeks to redeem broken situations, and protects the dignity and heart of the woman he loves.\u00a0<\/span><\/p>\n In an age where loneliness is on the rise and women are feeling disenchanted by dating and marriage, it\u2019s time to evaluate what expectations are being promoted within our culture that may be leading them to feel unfulfilled or heartbroken.\u00a0<\/span><\/p>\n A \u201c<\/span>Bridgerton\u201d-<\/span>style relationship based on lust will not lead modern women to satisfying romantic relationships. Women need men with good character; they need men like those written by Jane Austen. The more we show healthy relationships in media, the better we are as a culture. Perhaps there\u2019s a chance for life to imitate art?<\/span><\/p>\n ***<\/p>\n Ali Holcomb is the communications adviser at Advancing American Freedom Foundation. Julia Jensen is the communications assistant at Advancing American Freedom Foundation.<\/span><\/i><\/p>\n<\/div>\n![\"\"](\"https:\/\/dw-wp-production.imgix.net\/2026\/05\/BRIDGERTON_406_Unit_11438R-300x200.jpg\")
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