By now, most everyone (who’s interested) has gotten through the first four episodes of Bridgerton’s third season (with the latter half to be released in mid-June). Which is exactly why, among the most talked about moments, a particular carriage ride in the final minutes of episode four, “Old Friends,” has set tongues wagging (no sexual innuendo intended). But perhaps more distracting than the “steamy,” tailored-to-the-Regency-era sex scene is the noticeable string arrangement (courtesy of Archer Marsh) of Pitbull’s “Give Me Everything.”
For those who were hardly expecting that particular “needle drop,” showrunner Jess Brownell explained, “I listened to a lot of slower romantic songs, but none of them felt like they had the right impact and the right build and the right crescendo. And that Pitbull song has so many builds within it that it just, I think, kind of nails the dynamic that’s happening in the scene.” Spoken like someone with true Patrick Bateman musical sensibilities. For, in addition to Ed Sheeran, there’s no doubt in one’s mind that the modern version of Bateman would tout the musical brilliance of Pitbull. Particularly as a finance bro prone to club outings (probably continuing to frequent underground/illegal ones during the lockdowns of the pandemic).
One might argue that 80s Bateman could also easily get on board with string quartet versions of his favorite hits from that era, especially Genesis’ “Follow You Follow Me” (the book version of Bateman was much more interested in talking about Genesis and Phil Collins than Huey Lewis and the News). If presented as a bro of the 2010s, Bateman would have an effortless discourse to provide about the lyrical and musical merits of Pitbull, particularly his breakthrough album, Planet Pit (his sixth, released in 2011). Although it spawned a number of hits (as Bateman would be sure to inform you), “Give Me Everything” was the obvious standout, not to mention his first ever single to chart at number one on the Billboard Hot 100 (where, granted, it only had the stamina to remain for one week before being knocked off by LMFAO’s “Party Rock Anthem”).
Thus, Colin Bridgerton (Luke Newton), channels some major Bateman energy (not just because he’s rich and white) as Pitbull provides the soundtrack to his finger-banging session with Pen (Nicola Coughlan)—because viewers know damn well that wouldn’t have been her pick for a semi-consummation of their romance. In truth, one sees Penelope as more of a Billie Eilish type, but the string arrangement of “Happier Than Ever” was already played in episode three, “Forces of Nature,” when she’s on the dance floor with Lord Debling (Sam Phillips). That is, after taking his hand when he asks for it instead of listening to what Colin might be about burst forth with. For his pent-up sexual ardor for her has been bubbling to the surface ever since she asked him for a “pity kiss” during the conclusion of episode two, “How Bright the Moon.” And it is at the beginning of the following episode, “Forces of Nature,” that we see the same scene play out in a more “fantasy-like” way, with the intended assumption meant to be that Penelope is the one having a wet dream about it. But no, as viewers soon find out, it’s Colin that can’t stop having certain “nocturnal thoughts” (and perhaps emissions) about the kiss. Even though, theoretically, he wasn’t the one who wanted it. Turns out, all he needed was that tactile nudge to realize his long-dormant feelings.
The type of feelings that, per season three’s music supervisor, Justin Kamps, can only truly be captured by pop music. As Kamps himself said, “Pop music can have so much drama and romance. What the show does is heighten these kind[s] of everyday feelings of romance that people have throughout their lives. And it’s fun to hear a song that you’ve had a connection with in your own life transposed into this string quartet version that is playing with and affecting the characters’ lives throughout the show. I just think that’s a really fun juxtaposition for people and combination of bringing their own emotions into the story each season.” In other words, some viewers need just a touch more modernity to be able to relate to this era, not to mention the well-to-do characters who have the increasingly nonexistent luxury of obsessing over love. Or rather, false ideals of it. As Penelope’s mother, Lady Featherington (Polly Walker), tells her, “Oh do not tell me you’re holding out for love. Ugh! This is the very reason why I discouraged you from reading! Love is make-believe. It’s only in your storybooks. Do you know what is romantic? Security!”
Unless, of course, a girl makes the mistake of being courted by Bateman (like Evelyn Richards), who has plenty of “security” to offer in bank account form, but not so much when it comes to physical safety. However, if a girl happens to be a sucker for a guy who gives pseudointellectual discourses about pop music, then Bateman is certainly irresistible. Just as Colin is to many of the women of “the ton” when he returns from his travels suddenly looking more comfortable in his own skin (in short, like more of a fuckboy). And who knows? Maybe part of the reason he does is because he went on an anonymous killing spree while abroad. However, one thing audiences can be sure of is that Colin picked up a few sexual tricks on his travels (repeatedly emphasized by his visits to the brothel—another Bateman-y maneuver—and the threesomes he has while there). Knowledge he seems all too keen to share with Penelope in the back of that carriage. A scene that, when one examines it, possesses all the incongruity of Patrick Bateman boning two sex workers to the tune of Phil Collins’ “Sussudio” while filming it (and also finding plenty of time to stare at himself in the mirror [and flex his arm muscle], just as Gaston from Beauty and the Beast would).
The decision to play “Give Me Everything,” however, was not taken lightly, with the composer of season three’s score, Kris Bowers commenting, “The melody, the way that it was shaped was trying to mirror the push and pull of their relationship, the timidity of whether or not they actually want to move forward with this on either side as they both play with this idea of what it would be like to possibly explore a romantic connection. So the melody has that type of ‘two steps forward, one step back’ kind of feeling to it.” In which case, one tends to wonder why Olivia Rodrigo’s “1 step forward, 3 steps back” wasn’t simply used instead. Not “melodically aligned” with the vision, one supposes. Even if it perhaps wasn’t the best idea to align that vision with someone as, well, rapey as Pitbull. Or at least that’s how he comes across in many of his lyrics. Which, again, would undeniably speak to his appeal to Bateman. Among such lyrics being, “The night is young, and if you shave/I’ll give you some of this mighty tongue” (from one of his first big hits, 2004’s “Culo”),” “I like that when you fight back” (from 2007’s “The Anthem”) and “She say she won’t, but I bet she will (from “Timber” featuring, of all people, Kesha).
Fortunately for Bridgerton “romantics,” no such “untoward” sentiments are present in “Give Me Everything.” Unless one rightfully counts the line, “Think about it, ’cause if you slip/I’m gon’ fall on top of your girl, hahahaha.” Or reads the subtext of what might happen should the “sexy” someone “grabbed” not necessarily want to give everything tonight. Nonetheless, the supposed reflection of Colin and Penelope’s relationship, in addition to the fraught, urgent opportunity presented to them in the carriage, is meant to be “tailor-made” for “Give Me Everything.” After all, Penelope essentially expresses the sentiments of the chorus in Julia Quinn’s Romancing Mr. Bridgerton when it is written: “Tomorrow would be awful, knowing that he would find some other woman with whom to laugh and joke and even marry. But today… Today was hers.” Or tonight, in this scenario. And oh, how they both give almost everything. It’s a wonder Colin doesn’t just outright deliver the lyrics as part of his love soliloquy to her, insisting, “Tonight. I want all of you tonight. Give me everything tonight. For all we know, we might not get tomorrow. Let’s do it tonight.” Cries of the world’s imminent demise is, indeed, perfect for “virtue-shattering.”
As for Pitbull’s reaction to the unexpected, Bateman-esque song choice, well, he responded with something Bret Easton Ellis himself could have penned from the perspective of Bateman: “This again shows the world how music is the international language that transcends over boundaries[,] more so how a hit song can remain timeless.” And with that, “Give Me Everything” was, thanks to Bridgerton, declared timeless. Though definitely not as timeless as, say, “Hip to Be Square.”
