Two of Bridgerton’s actors have revealed they broke furniture while filming one of the show’s infamous sex scenes in a stroke of marketing genius , says streaming columnist NICK OVERALL.

Netflix has dropped its newest bunch of Bridgerton episodes, capping off the show’s third season with a characteristically smutty thud.

Quite literally. 

Two of the show’s actors have revealed they broke furniture while filming one of the show’s infamous sex scenes.

This particular one is the longest sex scene in the show’s history, clocking in at six whole minutes.

I think there’s another name for that at this point.

Actress Nicola Coughlan, who plays Penelope Featherington (the most Bridgerton-esque name one could possibly imagine), and Luke Newton who plays Colin Bridgerton, teased the amusing mishap on social media a few weeks back, posing with the broken bed in an Instagram photo. A stroke of marketing genius indeed. 

Bridgerton fans love this stuff and it’s all part of why this racy show races its way to Netflix’s number 1 spot every time new episodes come out.

For those who have no idea what all this guff is about, Bridgerton is a hugely popular series set in the early 1800s amidst the English marriage market. It follows the eight siblings of the Bridgerton family, a well-to-do brood that are out on a quest for love.

But don’t mistake it for a sophisticated period piece.

Bridgerton is a soap opera in regency-era garb, Pride and Prejudice with a bonk quota that seems to increase with each new season.

As is becoming a more common practice with Netflix, the platform splits the seasons of its news shows into two separate halves of episodes, released a few months apart.

Why? To generate two rounds of hype of course.

Bridgerton, one of Netflix’s biggest shows, just got two huge boosts of marketing thanks to this tactic and it’s clearly working.

The series has already been renewed for a fourth season that’s sure to be filled to the brim with all the hair feathers and stairway sex one dost desire.

DISNEY Plus has just released its long awaited new Star Wars spin-off The Acolyte.

This eight-part series is set 100 years before the events of the prequel trilogy, so even, longer, longer ago in a galaxy far, far away.

It follows two Jedi and their investigation into a series of sinister crimes in the High Republic, an era where the space wizards were at their peak of power. What this master and their padawan discover though will change the way they understand the universe around them entirely.

Despite a promising premise and a reported quarter of a billion dollar budget, the Acolyte has launched to less than favorable reviews.

On imdb, where users can rate television shows out of 10 stars, it’s currently sitting at a paltry 3.6.

One of these reviews even goes as far as to say: “Jar Jar Binks was a museum masterpiece next to this”. Binks, of course, being the loathed CGI alien sidekick in 1999’s prequel Star Wars film The Phantom Menace.

These opinions from general audiences sit in sharp contrast to the reviews from critics, who have labeled The Acolyte a bold new take in the saga.

So who’s right?

Well it may not come as a surprise to some that The Acolyte has infused identity politics into Star Wars more than ever before, a factor that will always split audiences apart.

More than that though, this seems like a textbook case of franchise fatigue.

It’s been happening with Disney’s other mega franchise Marvel, with producers recently conceding that they should listen to the fans and make less movies and TV shows.

Disney CEO Bob Iger this year said the aim is to reduce quantity and focus on quality by “slowly decreasing volume”.

It sounds like it’s high time they did the same for Star Wars.

Nobody hates Star Wars fans as much as Star Wars fans, after all.

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