Bridgerton Season 4: A Familiar Yet Enjoyable Return to Regency Romance

Ben Thompson, Culture Editor
4 Min Read
⏱️ 3 min read

The much-anticipated fourth season of *Bridgerton* has arrived, bringing with it the signature blend of romance, intrigue, and high-society drama that has captivated audiences worldwide. This season focuses on Benedict Bridgerton, played by Luke Thompson, as he navigates love, societal expectations, and the complexities of family life, all set against the vibrant backdrop of Regency England. Despite its predictability, this latest chapter manages to charm and entertain, proving that sometimes, familiarity is indeed comforting.

A New Focus on Benedict

As the series shifts its attention from the previously featured Bridgerton siblings, it is Benedict’s turn to take centre stage. The second son of Lady Violet Bridgerton, portrayed by Ruth Gemmell, finds himself the subject of maternal concern as he grapples with his place in the Ton. Lady Violet’s exasperated calls of “Where is Benedict?” set the tone for a season that promises both personal discovery and romantic escapades.

The plot thickens when he encounters a mysterious woman at a masquerade ball. This enigmatic figure, revealed to be Sophie Baek (Yerin Ha), is the daughter of a late lord, now relegated to a life of servitude under her cruel stepmother, Lady Penwood (Katie Leung). As their paths intertwine, the narrative takes on a Cinderella-esque quality, adding a layer of fairy-tale charm to the unfolding drama.

A Recipe for Romance

*Bridgerton* has long been celebrated for its ability to blend classic literature with contemporary sensibilities, and this season is no exception. The recurring theme of reformed rakes finding true love persists, as Benedict grapples with his libertine past and the expectations of a more conventional romantic future.

The show’s creators, led by Chris Van Dusen and the ever-influential Shonda Rhimes, have perfected the art of crafting a Regency romance that feels both timeless and thoroughly modern. Each episode is a visual feast, drenched in saturated colours and detailed costumes, while the characters navigate a world that, while rooted in history, is undeniably influenced by current trends in storytelling.

Despite the occasional criticisms of predictability and formula, the chemistry between Thompson and Ha shines. Their budding romance, while less scandalous than previous seasons, captures the essence of longing and connection, with Benedict’s declaration to Sophie, “You are not like the other young ladies,” encapsulating the essence of their relationship.

The Appeal of Fantasy

One of the most striking aspects of *Bridgerton* is its unabashed embrace of fantasy. The series revels in its portrayal of the British aristocracy, filtered through the lens of American producers with an Anglophile’s obsession with class and propriety. This season feels particularly emblematic of its American roots, with its polished narratives and idealised visions of Regency life.

Yet, therein lies its charm. The show has successfully carved out a niche as one of Netflix’s key pieces of original content, particularly following the conclusion of *Stranger Things*. With its blend of scandal, romance, and opulence, *Bridgerton* offers an escape into a world that is, while fantastical, undeniably alluring.

Why it Matters

The return of *Bridgerton* reflects not just a continuation of a beloved series but also highlights a broader cultural fascination with historical romance, particularly in an age where viewers seek both escapism and connection. As it taps into timeless themes of love and societal expectations, the show remains a testament to the enduring allure of romance, even when wrapped in the trappings of historical fantasy. In a world that often feels chaotic, *Bridgerton* provides a delightful respite—one where love conquers all, even when dressed in regency attire.

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Ben Thompson is a cultural commentator and arts journalist who has written extensively on film, television, music, and the creative industries. With a background in film studies from Bristol University, he spent five years as a culture writer at The Guardian before joining The Update Desk. He hosts a popular podcast exploring the intersection of art and society.
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