Bridgerton returns with a fourth season divided into two parts, the first 4 episodes Thursday 29 January, the last 4 on 26 February when the eyes (and ears) of the Italians will all be bet on Sanremo. The season is dedicated to the character of Benedict and, as it has been said from several parts reading the plot, will have a approach close to the story of Cinderella with the beautiful “principe” in search of his lady met at a dance and that in reality is a maid.
The first four bets (all from an hour approximately) run away as from the consolidated formula of the series. Having to talk about a character coming from the world of servants, in this season the “bass” made noble by Downton Abbey, you take part in the scene and even in Bridgerton the servants begin to have a life besides being only contour.
Benedict, not by his fault, always looks like he is not really the protagonist of the series, he does not have the same charism of Penelope or Antony (and there Jonathan Bailey had his weight). But it’s not all his fault or Luke Thompson who interprets it, as much as a structure of the story that might be to be reviewed. As much as devoting every season to a Bridgerton can be useful also in casting management, probably coming to the fourth season begins to become complex to manage. Especially because to be really interesting are the overall stories of all the characters who are part of the story. From Lady Bridgerton who wants to return to feel a woman in Penelope and Lady Danbury trying to get out of the shadow of Queen Charlotte.
Bridgerton. (L to R) Yerin Ha as Sophie Baek, Luke Thompson as Benedict Bridgerton in episode 404 of Bridgerton. Cr. Liam Daniel/Netflix © 2025
And perhaps even those who take care of the script of the series have a little tired of the formula, since the scenes of Benedict and Sophie together are the weakest in the whole story. Assuming that those who write you do not have a purely romantic spirit or a passion for this kind of stories, but in the moments when the story focuses on Benedict and Sophie the series slows down, it begins to turn on a story that has nothing and that waits only for the moment of the decisive turn. Perhaps it is time that Bridgerton is convinced to become a real, choral TV series, in which to insert the different stories of the various family Bridgerton.
Although in the frame of a TV series patinata, colored and from moment of leisure, as a whole the series works, the characters became part of the serial family, but when he strives to focus attention only on one of them, all magic fades.
L’articolo Bridgerton 4, the review: a more choral formula saves the Netflix series proviene da Dituttounpop.it.
