For three seasons, Bridgerton cut such a dashing, fun and devilishly risqué figure that it could dance around its more obvious flaws. But in season 4, it finally hits the wall.

The once-comfortingly familiar cycle of Regency England balls and promenades aimed at finding romantic matches has grown stale. Even the racier content that helped make the Shonda Rimes-produced Netflix show a phenomenon in 2020 seems obligatory now. One quick close-up of a naked backside is so jarring that it must have been inserted late in the editing process by someone who just saw Heated Rivalry.

That moment arrives late in the batch of four episodes released on Thursday, Jan. 29, in a divided season that resumes Feb. 26. Splitting last season, which finally matched beloved Penelope (Nicola Coughlan), bold author of the Lady Whistledown gossip column, with lifelong crush Colin Bridgerton (Luke Newton), made sense. Season 3’s Episode 4 played as a true cliffhanger, while the final episode of this season’s first half is almost an invitation to stop watching.

A comedown was predictable given Season 4’s focus on Benedict (Luke Thompson). The male sibling between smouldering Anthony and sincere Colin, Benedict tries to come off as bohemian through his artistic pursuits and sexual open-mindedness. Yet he remains just another bored and boring rich guy.

Other characters call Benedict a “rake,” something he is not. But the tried-and-true Bridgerton formula, established in the first season by the delicious Duke of Hastings (Regé Jean-Page), insists on the taming of the scoundrel.

Thompson is likeable enough and becomes more so as the season progresses, and Benedict’s kinder instincts emerge. But there is no intrigue to his character, even after he dons a mask for a costume ball, the first event of the season. When eligible young women grow aflutter in his presence, it speaks more to their desperation and his wealth than to his actual appeal.

Benedict at least shows the good sense to recognise someone who does have real presence when he spots a guest at the masquerade in shimmering silver played by the captivating Yerin Ha (HBO’s Dune Prophecy). Her character, Sophie, is “self-possessed,” the instantly smitten Benedict keenly observes.

Ha exudes inner strength, curiosity and a wariness tinged with hope — all while still behind her silver mask. When Bridgerton follows Sophie home, it stops being a third-string version of itself and turns fascinating, despite the beyond-cliché nature of her eventual storyline.
The show’s aesthetics also continue to sparkle. Bridgerton remains that rare period piece where outfits and furnishings look fresh and modern for their era, instead of like musty museum pieces.

The lovable Coughlan remains a standout as Penelope hides among potted plants to try to glean scoops for her gossip column, after her cover was blown last season. Penelope and determined spinster Eloise Bridgerton (Claudia Jessie) are still besties, but Eloise has evolved little as a character and mostly sits around looking dour.

One could speculate that Eloise’s portrayal is meant to mirror the fate of real Regency-era women who did not want to marry. But this is Bridgerton, it’s not that deep.

Bolu
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Boluwatife Adesina is a media writer and the helmer of the Downtown Review page. He’s probably in a cinema near you.