The fourth season of Netflix’s hit period drama “Bridgerton” shifts its focus from aristocratic courtships within the upper class to a romance that directly challenges the rigid social hierarchy at the heart of Regency-era society.
The first half of the season, which premiered this week, centers on Benedict Bridgerton, the family’s second son, portrayed by Luke Thompson. Known in earlier seasons as a free-spirited artist resistant to convention, Benedict becomes the central figure in a storyline that explores class boundaries, personal freedom and the limits imposed by social order.
The season is based on the novels by Julia Quinn and marks a departure from earlier romantic arcs that paired members of the nobility with one another. Previous seasons followed Daphne Bridgerton and Simon Basset, Anthony Bridgerton and Kate Sharma, and Colin Bridgerton and Penelope Featherington, each within the confines of aristocratic society.
In the new season, Benedict falls in love with Sophie Beck, played by Yerin Ha, a servant whose position places her firmly outside the social elite. Their relationship draws heavily on elements of the Cinderella fairy tale. Sophie, the daughter of a nobleman who was later reduced to servitude, sneaks into a masquerade ball hosted by the Bridgerton family, captures Benedict’s attention and disappears before revealing her identity, leaving behind a single white glove.
Unlike traditional fairy-tale narratives, the series emphasizes Sophie’s refusal to be rescued by status alone. The story frames the relationship as a joint challenge to entrenched class divisions rather than a simple romantic escape from poverty.
The season also expands its scope through multiple secondary storylines. These include a deeper exploration of Queen Charlotte’s relationship with Lady Danbury, portrayed by Golda Rosheuvel and Adjoa Andoh, as well as a romantic arc involving Violet Bridgerton and Lord Marcus Anderson. Additional plotlines touch on themes of female desire and social expectations.
By placing Sophie largely in the servants’ quarters, the series offers a broader view of Regency-era life, echoing elements seen in period dramas that focus on both the ruling class and those who serve them. The contrast highlights the strict boundaries separating the two worlds.
The season is being released in two parts, with four episodes currently available and the remaining episodes scheduled to premiere later this month.
While the romantic tone remains consistent with earlier seasons, the shift in focus introduces a more explicit examination of class inequality and social mobility. The series raises questions about whether love can overcome structural barriers or whether individuals must ultimately conform to the system they inhabit.
“Bridgerton,” produced by Shondaland and created by Chris Van Dusen, remains one of Netflix’s most-watched original series. The latest season continues its blend of romance, spectacle and modern themes presented through a historical lens, while signaling a broader narrative ambition than in previous installments.