If I can count on one Regency period piece that may not deliver in the historical accuracy department but makes up for it with drama and sexual tension, it’s “Bridgerton.”
I remember coming across the show around the time I was writing a history paper on Jane Austen. From season one, I’ve been enchanted by this Regency romance and the story of the noble Bridgerton family. Each season follows a specific Bridgerton sibling and their romantic escapes – season one with Daphne, season two with Anthony, season three with Colin, and most recently, season four with Benedict.
One of the most notable aspects of the show is the diverse casting. I know, for many people, this is historically problematic (even though people of color did exist in England during the time), but how could I be mad at seeing women of color in the most refined ball gowns this side of the ton? It’s just refreshing to see people of color in the show be leads and have their own romantic storylines.
Season four follows Benedict, the second-oldest Bridgerton sibling, and his rakish lifestyle, while his mother, Violet, wants him to finally settle down. During a masquerade ball, he falls for a mysterious lady in silver, but she slips away by the stroke of midnight.
Yes, before you ask, this is a Cinderella story. It turns out that this lady in silver is a maid named Sophie Baek who, with the help of her servant friends, sneaks into the Bridgerton ball.
Sophie is the illegitimate daughter, or ward, of the late Lord Penwood; after his death, her stepmother, Araminta, forces Sophie into servitude. Araminta is such a deliciously wicked stepmother, with how poised and calculated she is despite her cruelty towards Sophie; even the other elite women dislike her! While her one daughter, Rosamund, also partakes in bullying Sophie, her other daughter, Posey, is much kinder and more sympathetic to Sophie, even helping her during two different plights. Nonetheless, Sophie is trapped as a maid with dreams of attending balls. Her encounter with Benedict becomes the romantic catalyst for the season.
However, here’s the catch: when Sophie finally meets Benedict again, he is completely unaware that he’s the lady in silver that he’s been pining for. And when I say pining, I’m talking dedicating sketches and portraits to her, interviewing the ladies who attended the ball, and driving Violet insane in the process. Yet, this lady in silver fantasy slips away as he slowly falls in love with Sophie after caring for him when he falls ill. The two retreat to a cottage (Benedict literally calls it the “My Cottage” cottage) and bond immensely despite their differences in social status.
Sophie and Benedict quickly became one of my favorite pairings in the entire show, even rivaling Anthony and Kate. Their yearning for one another is incredibly palpable, and I don’t think it gets more romantic than Benedict’s love confession to her: “You have taken possession of me. Shot me back to life. Turned me from someone who cannot sit still for a moment to one who wishes to be in one single place. Beside you.” That is a Mr. Darcy-esque confession if I’ve ever heard one!
Not only does Sophie’s diligence match Benedict’s more lighthearted, hopeless romantic demeanor, but I like how Sophie sets boundaries with him and is stern when she needs to be (please don’t get me started on the “Be my mistress” line). I’ve also grown to fully love Benedict as a character as well; yes, he’s not as whimsical or overly silly as he was in previous seasons, but I think character growth and maturity were what his season needed. Enough time has passed for me to say that he is, hands down, my favorite Bridgerton brother.
I also loved seeing how, despite their social standings, they’ve both felt like outcasts within their own families: Sophie being an illegitimate daughter/maid and Benedict being bisexual and having to hide his queerness. I’m so glad the writers included a short, yet intimate coming-out scene for him to connect to Sophie.
Besides the central romance, this season actually delivers on cohesive sideplots that feel tonally relevant, something that season three lacked in my opinion. The Queen Charlotte/Lady Danbury subplot had me nearly in tears and was one of the few times that we see the usually cutthroat, scathing queen in an emotionally vulnerable position and express her loneliness upon Lady Danbury wanting to visit Sierra Leone, her ancestral home. Best believe, I teared up when she worried about her husband, King George, dying and her being all alone.
Another subplot that frankly deserved more attention was the “maid wars,” where elite families were feverishly recruiting more and more servants. I wish there were more commentary on servitude during this era, but I think it was interesting seeing how it was interwoven into Sophie’s story.
Speaking of Sophie, I really wish the writers had leaned into her Korean heritage more. This is a problem I have with the show sometimes, where you’ll have an ethnic character like Sophie or Kate, but their heritage isn’t really expanded upon besides a few mentions. It didn’t hinder her character for me, but I think seeing her speak Korean or embrace some type of Korean fashion would’ve been nice.
Honestly, though, I’m just glad that “Bridgerton” recuperated from the pitfalls of season three because I think season four is among the best. The writing can be flawed, and the Cinderella cliche isn’t that integral besides giving us a yearning Benedict Bridgerton, but I was floored by the acting and the plot direction. I also have to give it bonus points for having disability representation through characters like Francesca and Hazel. What makes the season work exceptionally well is the fact that it has the yearning components of season two mixed with the emotional gravity of the “Queen Charlotte: A Bridgerton Story” series. If you’re a former “Bridgerton” fan and want to get back into the series, I promise you that season 4 is completely worth watching!
