Dearest gentle reader…

In the words of our dear gossip-monger Lady Whistledown, “Diamonds are not the only gems that sparkle.” On this season of “Bridgerton,” we are given an emerald, in the form of a no-longer-citrus-clad Penelope Featherington. The former wallflower is in full bloom, catching the eyes of both naturalist Lo…

“Selling the O.C.” has always distinguished itself from its older, cooler sister “Selling Sunset” by being slightly worse in almost every respect: the fashion, the characters, the politics, the drama. In season 3, that continues. The “Love Island”-inspired, Shein-designed outfits, the flatly unpleasant people, the thinly veiled bigotries, and the warmed-over storylines make for an uninspiring season. Still worse, the biggest central stories now seem irrelevant, given how many key characters have left the show since this season filmed.

But “Selling the O.C.” does offer one thing “Selling Sunset” does not: sheer villain volume. Everyone who has briefly won our sympathy on this show immediately loses it (except perhaps Brandi, who has effectively sidelined herself from the drama this go-around). The most likable characters onscreen often turn out to have the most heinous politics, and even the more sympathetic figures often have pretty unpleasant vibes themselves. There’s not a Chrishell in this bunch, folks. It’s mean girls and a*****e bros all the way down.

In this episode, we discuss the alarmingly flammable-looking fashion; the abysmal race, class and gender politics; the Alex Hall-Tyler Stanaland will-they-won’t-they flirtation that just won’t end; and the gay panic that appears to have blown up the cast. We hope you enjoy!

Are we in the golden age of friend-group Bravo shows? After doing a major binge of established shows “Summer House,” “Vanderpump Rules,” and new addition “The Valley,” we think that answer is a resounding yes. So naturally, we had to get of back on the Rich Text pod to do a little state of the Bravo union.

All three of the aforementioned shows track th…