The Regency era romantic drama’s familiar formulas are revitalized by a Cinderella story and a bewitching lead romance
By NATALIE SALTER—arts@theaggie.org
After a nearly 2-year hiatus, Netflix’s pastel-hued Regency romance series “Bridgerton” has returned for its fourth season. Each season of the show focuses on a different sibling of the titular Bridgerton family and the whirlwind romances they experience, with unique tropes and dynamics each time.
This season, our protagonist is second-son Benedict (Luke Thompson). The Bridgerton brother has many passions — art, parties and romantic escapades — but high society is not one of them. Ever resistant to his mother’s pleas that he settle down and marry for the sake of his family, Benedict’s story begins when he reluctantly attends the first ball of the season, a glittering masquerade hosted by his mother.
Yet at this soirée of disguises and delights, Benedict is unexpectedly taken with a mysterious masked lady dressed in starlight silver. Her wide-eyed amazement with the spectacles that Benedict has long grown weary of, as well as her honest outspokenness, utterly bewitches him. That is, until she suddenly flees at midnight, leaving him with just a silver glove and the memory of her kiss.
Though the lady’s sudden flight befuddles Benedict, it is not without reason. Behind the mask, she is Sophie Baek (Yerin Ha), the neglected maid of the Penwood estate. After becoming the ward of the cruel Lady Araminta’s (Katie Leung) late husband, the masquerade ball gives her a taste of the world she has been longing for her whole life.
Evidently, “Bridgerton Season 4” is a Regency spin on the classic Cinderella story, a storytelling choice that elevates its familiar premise. “Bridgerton” has historically relied upon classic romance tropes — like a fake relationship or enemies-to-lovers — but choosing a fairytale as its base this time around makes it feel especially magical.
Likewise, providing viewers with a downstairs look at the Bridgerton world’s working class proves to be a fantastic decision for the series. Not only does it add a fresh new angle to the fictionalized Regency setting, but it also creates some of the most enjoyable dynamics and scenes of the season.
Sophie herself is an absolute delight, bringing a vibrant presence as the series’ newest leading lady. She is endowed with the familiar attributes of a Cinderella character, such as her curiosity and kind heart, but also possesses a headstrong stubbornness and determination that makes her both inspiring and dynamic.
The forbidden, fairytale love story given to Benedict and Sophie also helps their romantic dynamic shine. Rather than relying on their chemistry alone, the fourth season allows space for each character to yearn deeply for the other. It also explores the class difference between the two, and how their individual dreams clash and intertwine.
“Bridgerton” belongs to the entire titular family and their companions as well, and the season’s subplots also offer engaging emotional stakes. Family matriarch Violet (Ruth Gemmell) struggles with her yearning for a new relationship whilst continuing to mourn her late husband. Meanwhile, the soft-spoken Francesca (Hannah Dodd) struggles with her lack of desire for her husband, and the troublingly strong feelings she has for his cousin Michaela.
The most engaging subplot, however, belongs to two other Bridgertons. Self-proclaimed proud spinster Eloise (Claudia Jessie) clashes with her youngest sister Hyacinth (Florence Hunt), who is impatiently awaiting her debut into society. As her friends and family all marry off and her mother pressures her to pursue a partnership of her own, Eloise grows increasingly frustrated with the social structures around her that expect all women to be wives.
“Bridgerton” grants validity to both sisters’ perspectives, though how it shall be resolved is yet to be seen. In a series where romance is amply represented, however, the season would do well to allow Eloise her freedom. Her desire to remain independent is not a character flaw that needs to be “fixed” — though her respecting her siblings is important, her dreams deserve to be respected as well.
If the season properly fulfills this arc with Eloise, it will continue a trend that has elevated it since its debut. Though “Bridgerton” is set in a pastel picture of Regency era England, with many of its social hierarchies and expectations surrounding marriage reflecting actual history, it also creates a world that is more welcoming than reality through a diverse and dynamic cast.
This Regency era is not only more floral and fantastic than its historical counterpart, but is also one where biases surrounding race, culture, disability and sexuality have largely been erased. This choice allows the personal conflicts and desires of the characters to take the spotlight and provide audiences with ample opportunities to connect with and see themselves in its story.
Indeed, with its glittering fairytale premise, “Bridgerton Season 4” works excellently as a lovely bit of escapism. It’s as romantic as ever, with exquisite (if not fantastical) costuming, a beautiful soundtrack and a quite endearing cast of characters.
The second half of the season debuts on Netflix on Feb. 26, finishing off Benedict and Sophie’s story and potentially setting up whichever Bridgerton sibling will take up the mantle of series’ lead next. Though it’s yet to be seen how the season will tie itself up, one can be assured that, if the first four episodes are any indication, it will be as dazzlingly romantic as ever.
Written by: Natalie Salter—arts@theaggie.org
