Many viewers may argue that Bridgerton offers a rather rose-tinted view of reality, and while the previous instalments of the hit Netflix period drama had largely focussed on romance, love, pleasure and happy endings, Season 4 Part II strikes a different chord in the sense that it highlights other profound emotions — the inexplicable grief that envelops us when we unexpectedly lose a loved one, or the heaviness that surrounds us when some of our most cherished connections end. But, it is not just the nuanced emotional stance that makes Season 4 Part II of the Shondaland show worth watching.
First and foremost, the return of Kanthony
Well, this does not really count as a spoiler because the teaser had made it sufficiently clear that Viscount Anthony Bridgerton (Jonathan Bailey) and his beloved wife Viscountess Kate Bridgerton (Simone Ashley) were returning to London from India with their son Edmund, the new heir of the Bridgerton line. As always, the couple has a striking screen presence and their integration into the main storyline of the season is as seamless as ever. Neither Kate’s presence, brief as it may be, nor Anthony’s position as the head of the Bridgerton family feels forced or superfluous.
New chapters for old characters
A character whom we did not quite expect to return after the events of the last season is back. And it seems this person, though not startlingly reformed, is in the pink of health and fortune. Further, Violet Bridgerton (Ruth Gemmell) has begun to see beyond her blooming garden as she reconnects with her wild and carefree younger self. And just like sexuality and desire, youth plays a crucial role in the latest instalment of Bridgerton.
The youngest Bridgertons, Hyacinth (Florence Hunt) and Gregory (Will Tilston), learn some very significant lessons about love — lessons that neither Hyacinth’s finishing classes nor Gregory’s elite Eton lectures can ever provide them with. And with speculation building that the next season might be about Eloise Bridgerton (Claudia Jessie), we see her perspective on love and marriage changing.
But, it is not just Eloise who shows growth in the Season 4 finale. Her majesty, Queen Charlotte (Golda Rosheuvel), evolves in a way that is both graceful and overwhelming. So does Francesca Bridgerton (Hannah Dodd). In fact, it is quite difficult to hold back the tears this season. Even Lady Featherington (Polly Walker) is going to elicit tears in a most heartwarming reunion scene.
Change, however, is not limited to the characters. So many connections change as the season progresses. And all these changes significantly contribute to the overall storyline of the season.
The plot is a tightly knit one with its fair share of intrigue, and unexpected twists and turns, so that even a supporting character like Michaela Stirling (Masali Baduza), quite unlikeable in the beginning, emerges as a woman you cannot reduce to a few adjectives by the time the credits roll.
Benophie: A well-rounded love story
But, if we are talking of change, the one character who has undergone the most ‘honourable’ transformation is Benedict Bridgerton (Luke Thompson), the hero of the season in more ways than one.
It is no longer the Benedict who was guided by reckless passion in his relationship with Lady Tilley Arnold (Hannah New) and her dear friend Paul Suarez (Lucas Aurelio) in Season 3, nor is it the Benedict who whispered those three awful words to Sophie Baek (Yerin Ha) at the end of Season 4 Part I.
This Benedict is a man remodelled by love — love that is unwavering, certain, unconditional and unheeding of all social constraints, an all-empowering love. And truly, his love conquers all.
Sophie goes toe-to-toe with Benedict when it comes to love, consistency, courage and commitment. And despite her several detours from the Bridgerton house, including one to a prison, she ultimately wins over the three doyens of society — Violet Bridgerton, Queen Charlotte and Lady Danbury (Adjoa Andoh).
Lady Whistledown, why?
Penelope Bridgerton (Nicola Coughlan) compromising the autonomy of her quill to gratify the demands of the ’ton was quite disheartening in Season 4 Part I.
Yet, fans of the Regency-era drama had desperately hoped that Lady Whistledown would recover her creative agency in Part II. But, that did not happen.
What happened instead seems to have laced this stunning, charming literary persona with unnecessary mystery and drama. It diverts attention from her real role as a gossip writer of the ton, a woman who does not merely see but observes, a woman who is not simply told a story but who can write one for herself and for all the members of a society which sees women as little more than drawing room embellishments. All we can now hope for is that the makers justify this cliffhanger to be more than just a cliffhanger next season.
