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Netflix’s Bridgerton has cemented its position over the last three seasons as a classic period drama with grandiose balls, lavish costumes, magnificent sets and frothy romances involving gorgeous ladies and dashing men. Season 4 sees the Shondaland show latching on to these tenets ever so firmly, and yet fumbling slightly in a couple of places.
No longer just grand balls and beautiful bonneted people dancing in candlelight
Based on An Offer From a Gentleman, the third book in writer Julia Quinn’s eponymous novel series, Bridgerton Season 4 opens with a masquerade that introduces this season’s lead couple — Luke Thompson’s Benedict Bridgerton and Yerin Ha’s Sophie Baek. In terms of storyline, there is not much surprise. The makers had already made it clear that the season would be a retelling of the classic Cinderella tale. Benedict, after all his debauchery, falls head over heels for a woman who has been deprived of her birth rights by a cruel stepmother (Katie Leung) following her father’s death. To fit the bill, there are also two stepsisters (Michelle Mao and Isabella Wei), though distinctly different from each other.
However, it is more than just ballroom romance that catches the eye. We are treated to plusher costumes and even grander sets minutes into the first episode The Waltz. The gowns are more extravagant and the masks are nothing short of works of art. From Greek gods to Egyptian royal drapery, the characters waltz about in a wide range of costumes, and it almost feels like a Halloween party, albeit in a Regency-era setting. In fact, if one pays enough attention, Benedict’s entry scene features a lady standing in what appears to be a lehenga-inspired, heavily embroidered red ensemble, complete with a maang tikka.
A wonderful exploration of sexuality and desire
Many might argue that Bridgerton, as a period drama, is historically inaccurate because 19th-century English society was never racially inclusive, while the series subverts racial barriers entirely. However, the show has once again proven that it is inclusive in more ways than one. Remember Ruth Gemmell’s Violet Bridgerton confessing to Lady Danbury (Adjoa Andoh) last season that her garden is in bloom? Season 4 beautifully explores desire across ages and shows how, even after enormous loss, time can heal and a spark can be rediscovered. After all, “life is meant to be lived”, and all a fire needs is “kindling”.
Intimacy is not just a cherry atop a glazed confectionery for Bridgerton. The show meticulously explores sexual orientation, upholding the fluidity of sexuality and how it cannot be jammed into a few fixed boxes. Considerable importance is also given to women’s desire, albeit touched upon with subtle humour, reminiscent of Lady Featherington (Polly Walker) discussing marital bliss with her daughters last season.
There are more relationships to be found beyond the marriage market
Bridgerton is a show about love, different kinds of love. And while passion is an integral part of its narrative, it is not the be-all and end-all. Season 4 offers a nuanced take on friendship, raising important questions likely to be addressed in the next part, which premieres on the streamer on February 26.
Is Lady Danbury going to leave Queen Charlotte (Golda Rosheuvel)? With Penelope (Nicola Coughlan) married and Eloise (Claudia Jessie) vowing to remain a spinster, are there finally areas of life where the two fail to reconnect and cannot speak as freely as they have been used to since childhood? Why does Francesca Bridgerton (Hannah Dodd) turn pale after encountering John Kilmartin’s (Victor Alli) cousin (Masali Baduza)? Is a beautiful friendship blossoming between Francesca and Penelope?
However, there are relationships that seem to be withering too — and some that are yet to reach their pinnacle.
What happened to character development?
After narrowly escaping a scam in Season 2 and almost crushing Penelope’s soul before her marriage to Colin Bridgerton (Luke Newton) in Season 3, one would hope that Lady Featherington has undergone a change of character in Season 4, especially after showing signs of redemption last season. However, her treatment of the loyal housekeeper, Mrs Varley (Lorraine Ashbourne), is disappointing and serves as a springboard for conflict that is sure to unfold in the next part. Similarly, Philippa Featherington (Harriet Cains) seems to have fallen flat, with no trace of character development whatsoever.
The absence of Kanthony
While the lead couple of the last season, Colin and Penelope Bridgerton, continue their steamy love story, two fan-favourite characters are sadly missing. There is no sign of Kate Bridgerton (Simone Ashley) or Viscount Anthony Bridgerton (Jonathan Bailey). Nor is there any appearance by Daphne (Phoebe Dynevor), apart from a fleeting mention.
