Bridgerton - Season 4 part 1 (2026) TV Series Review: The Lady in Silver Steals the Show in a Swoony Return to Form for Netflix’s Premiere Regency Drama

​

After three seasons of watching his siblings find their matches, the spotlight has finally shifted to the Bridgerton family’s most charmingly aimless member. Bridgerton Season 4, Part 1, arrived on Netflix on January 29, 2026, marking a significant milestone for the series as it adapts Julia Quinn’s fan-favorite novel, An Offer From a Gentleman. Produced by Shondaland and guided by showrunners Chris Van Dusen and Jess Brownell, this four-episode volume refocuses the narrative on Benedict Bridgerton, played with a newfound depth by Luke Thompson. Joining him is newcomer Yerin Ha as Sophie Baek, the woman destined to upend his world. The ensemble remains as sprawling as ever, featuring Nicola Coughlan, Luke Newton, Golda Rosheuvel, Ruth Gemmell, and a deliciously frosty Katie Leung as the season's primary antagonist.

This debut volume of the fourth season feels like a necessary recalibration for the franchise. After a third season that some felt lacked the scorching intensity of the early years, the introduction of a Cinderella-inspired romance provides exactly the kind of narrative momentum the show needed. By splitting the season into two parts, with the final four episodes slated for late February, Netflix is clearly betting on the "Benophie" pairing to sustain the cultural conversation. The stakes feel higher this time because the show is finally venturing beyond the gilded gates of Mayfair to look at the people who actually keep the Regency fantasy running.

Narrative Arc and Pacing: A Glass Slipper and a Grimy Apron

The storytelling arc of this first volume is built on the classic pillars of fairy tale romance, but it is executed with a sophisticated modern twist. We begin at a lavish masquerade ball hosted by Violet Bridgerton, an event designed to finally pin down her elusive second son. The meeting between Benedict and the "Lady in Silver" is a masterpiece of Regency meet-cutes, relying on anonymity and instant connection rather than social standing. However, once the clock strikes midnight and the silver gown is traded for a maid’s apron, the season dives into a compelling "upstairs/downstairs" dynamic that the series has previously only hinted at.

The pacing is notably tight, largely because the first four episodes are focused on the initial spark and the subsequent, frantic search for a ghost. Unlike previous seasons that sometimes meandered through repetitive ballroom chatter, Season 4 uses its 60-minute episodes to build a genuine sense of yearning. There is a specific focus on the class divide that feels more grounded than the show's usual escapism. We see Sophie’s life under the thumb of her stepmother, Lady Araminta Gun, which provides a stark, gritty contrast to the Bridgerton family’s idyllic home life. While the "search for the mystery woman" could have easily felt like a filler plot, the show weaves in Benedict’s personal growth so that his obsession feels like a search for his own identity as much as it is for a bride.

Character Evolution and Performances: Second Sons and Secret Servants

The true triumph of this volume is the transformation of Benedict Bridgerton. For years, he has been the resident bohemian, the "bisexual failed artist" who floated through B-plots and C-stories without much direction. In Season 4, Luke Thompson finally gets to lean into leading man territory, shedding the rakish exterior to reveal a man who is sensitive, vulnerable, and somewhat oblivious to the privilege he carries. Thompson’s performance is at its peak when he is allowed to be a romantic hero, particularly in the more intimate moments that echo the intensity of Season 2.

Opposite him, Yerin Ha is a revelation. As Sophie Baek, she manages to be luminous even when covered in soot. Ha portrays Sophie with a mix of cynical realism and quiet hope that makes her feel like the most relatable protagonist the show has ever had. She isn't just a victim of her circumstances; she is a woman who knows exactly how the world works and how much she has to lose by falling for a Bridgerton. The chemistry between Thompson and Ha is palpable, especially in Episode 3, where the two are forced into close quarters at a summer home. Their banter is sharp and their physical tension is high, successfully bridging the gap between a rom-com and a steamy drama.

The supporting cast also gets their moments to shine. Katie Leung is a standout as Lady Araminta, providing a version of the "evil stepmother" that is layered with grief and bitterness rather than being a cartoonish villain. Meanwhile, the subplots involving Penelope and Queen Charlotte’s evolving friendship add a layer of political intrigue that keeps the world of Mayfair feeling lived-in and complex.

Direction and Production Value: Silver Gowns and Servant Quarters

Visually, Bridgerton remains the gold standard for period fantasy. The masquerade ball in the premiere is a technical marvel, with costume designer John Glaser deserving immense credit for the iconic silver gown that haunts Benedict’s dreams. The use of masks allows for a different kind of visual storytelling, focusing the camera on eyes and lips to heighten the sense of mystery. The color palette of the show has also shifted slightly to accommodate the "downstairs" perspective, using more muted, earthy tones in the servant quarters to emphasize the divide from the vibrant, pastel world of the ton.

The direction remains consistent across the four episodes, maintaining that signature Shondaland "slickness." However, the show takes its most creative risks during the action sequences and the more clandestine romantic encounters. A scene involving Benedict and a lake is beautifully shot, serving as a visual parallel to the high-romance beats of previous seasons while still feeling fresh. The world-building execution is also more ambitious this year, as the production design team has clearly spent more time developing the back alleys and service entrances of London, making the fantasy feel more complete.

Trailer Bridgerton - Season 4 part 1 (2026) TV Series

Soundscape and Atmosphere: String Covers and Secret Whispers

The atmosphere of Bridgerton is inseparable from its music, and Season 4 Part 1 continues the tradition of using the Vitamin String Quartet to reinterpret contemporary hits. These covers remain a highlight, providing a playful bridge between the 19th-century setting and modern sensibilities. The score by Kris Bowers is particularly effective this season, using lighter, more tinkling motifs for the "Cinderella" moments and deeper, more cello-heavy arrangements for the scenes exploring Sophie’s hardship.

The sound design also plays a subtle but important role in building the mood. In the scenes where Benedict is searching for the Lady in Silver, the ambient noise of the city feels more frantic and overwhelming, reflecting his internal state. Conversely, the scenes in the garden or the country home are filled with a lush, quiet intimacy that allows the dialogue and the chemistry between the leads to take center stage. The opening credits remain a familiar and comforting portal into this world, but the overall soundscape feels slightly more mature, matching the themes of identity and class that define the season.

Strengths and Weaknesses

What works well:

• The Lead Chemistry: Luke Thompson and Yerin Ha are a magnetic pairing who successfully carry the weight of the season.
• Expanded World-Building: Focusing on the working class provides a much-needed fresh perspective and higher emotional stakes.
• Standout Villainy: Katie Leung brings a chilling, complex energy to the role of Araminta, making her a formidable obstacle.
• Intimate Stakes: By taking the leads away from the crowded ballrooms for a time, the show allows their relationship to feel more personal and earned.
• The Lady in Silver Reveal: The masquerade ball is arguably the most visually stunning sequence the show has ever produced.

What doesn't work:

• Unwieldy Ensemble: With so many siblings and side characters, some figures like the Mondriches or the younger Bridgertons feel like they are just taking up space.
• Pacing of the Search: Benedict’s inability to recognize Sophie can occasionally feel like a stretch, even by the standards of a fairy tale.
• Underdeveloped Stepsisters: While Araminta is great, Sophie’s stepsisters feel a bit one-note in this first volume compared to the rest of the cast.
• Subplot Bloat: The drama surrounding the future of Lady Whistledown occasionally distracts from the central romance.

Final Verdict: A Regency Romance Reborn

Rating: 4/5 stars

Bridgerton Season 4 Part 1 is a triumphant return to form that reminds us why we fell in love with this series in the first place. It justifies the time investment by delivering a romance that feels both grand and deeply personal. While the show still struggles with its massive ensemble, the focus on Benedict and Sophie is so strong that the minor flaws are easy to overlook. The transition from a "rake" to a romantic hero is handled with grace, and the introduction of a lead from outside the ton breathes new life into the franchise's established tropes.

Fans of the books will be pleased with the "thoughtful tweaks" made to the source material, while casual viewers will be swept up in the undeniable chemistry of the new leads. This is a season for the enthusiasts who care about character arcs and the slow-burn tension of a well-executed romance. If you’ve felt that the show was losing its spark, Part 1 is the perfect excuse to dive back in. It leaves things on a tantalizing note that will make the wait for Part 2 feel quite long indeed.

Watch.

Who should binge-watch it: Anyone who misses the high-intensity yearning of the Kate and Anthony era or fans of classic fairy tales who want to see a more realistic exploration of class and identity within that framework.

Who might find it frustrating: Viewers who are tired of the "will-they-won't-they" tropes or those who find the large number of subplots to be a distraction from the main narrative.