Netflix released the first four episodes of Season 4 of the hit regency-era romance \u201cBridgerton\u201d on Jan. 29. Based on a book series of the same name by Julia Quinn, \u201cBridgerton\u201d focuses on the love stories of eight children in the aristocratic Bridgerton family, with each season highlighting a different child. Set in England during the 1800s and the fictionized rule of Queen Charlotte of Mecklenburg-Strelitz, the Bridgertons and other members of the Ton \u2014 the English aristocracy \u2014 must enter society during the matchmaking season and navigate rigid societal expectations in hopes of securing a suitable \u201cmatch.\u201d<\/span><\/p>\n Season 4\u2019s first half focuses on the budding love journey of Benedict Bridgerton (Luke Thompson). Benedict, the second eldest Bridgerton and a notorious \u201crake\u201d who prefers engaging in one-night stands and illustrious affairs over societal functions, attends a costumed masquerade ball held by his mother, Violet Bridgerton (Ruth Gemmell). Drawn in by the enchanting aura of the runaway Lady in Silver \u2014 who, in actuality, is Sophie Baek (Yerin Ha), maidservant and estranged member of the Ton\u2019s Gun family \u2014 Benedict chases after her. The premise of the season is like a fairytale, as Sophie leaves her glove at the masquerade ball, similar to Cinderella losing her slipper.\u00a0<\/span><\/p>\n While \u201cBridgerton\u201d attempts to be exhilarating by using secondary storylines to enhance the show, it loses its grip on viewers by overpopulating episodes with plots that fail to keep viewers engaged. The show does place ample focus on developing Sophie and Benedict\u2019s steamy romance as they go from dance partners to accidentally sharing a room at the Crabtrees\u2019 estate, with Benedict believing she is a maid in distress and not realizing that she is the masked Lady in Silver that he\u2019s been searching for. However, secondary plotlines feel more surface-level and derelict of a serious effort. From Violet\u2019s growing romance with Lord Anderson (Daniel Francis) \u2014 which definitely could have benefited from more depth \u2014 to Eloise Bridgerton\u2019s (Claudia Jessie) desire to seek a life outside of marriage \u2014 who doesn\u2019t want another scene about her disdain for her siblings preparing for marriage \u2014 \u201cBridgerton\u201d Season 4 feels surface-level. It seems more like the show\u2019s producers were trying to fill the space, rather than create a cohesive storyline.<\/span><\/p>\n \u00a0<\/p>\n \u201cBridgerton\u201d also suffers from eyesore costuming and character design that is more reminiscent of a Halloween costume party than anything close to regency fashion and style. Women\u2019s regency-era outfits were known for their high waistlines, classical style and pleasing tones, according to the <\/span>Jane Austen Centre<\/span><\/a>, and while Bridgerton\u2019s costuming does loosely resemble those descriptions, accuracy seems like a suggestion rather than a requirement. In \u201cThe Waltz,\u201d costumes worn by Eloise, Violet and Rosamund and Posy Gun (Isabella Wei, Michelle Mao) stood out negatively for how their oversaturated colors exposed cheaply made material, with other women throughout the series sporting gowns that weren\u2019t tailored properly to fit well with their body types. While the approach \u201cBridgerton\u201d costume designers take to regency-era dress may be beneficial to viewers who desire a modernized retelling of \u201cBridgerton\u2019s\u201d storyline, viewers looking for a historically-accurate version of the novel may be left disappointed.<\/span><\/p>\n Costumes aren\u2019t \u201cBridgerton\u2019s\u201d <\/span>only flaw \u2014 the show also suffers from strange cinematography and character composition choices that leave a lot to be desired. When characters are speaking to each other \u2014 such as with Benedict and Sophie or Penelope Bridgerton (Nicola Coughlan) and Queen Charlotte \u2014 their faces are often not fully shown, with cinematographers opting to feature their side profiles instead. Character makeup and design is also ill-fitting, especially for Alice Mondrich (Emma Naomi), whose smoky eye caused <\/span>outrage on social media<\/span><\/a>.\u00a0<\/span><\/p>\n \u201cBridgerton\u2019s\u201d one redeeming factor comes from the quality of its actors. While Thompson\u2019s acting was often void of emotion and seemed more like an actor going through the motions (see: his monotone \u201cwait!\u201d to Sophie when she escapes from Episode 1\u2019s masquerade ball). Ha\u2019s ability to portray intense emotion during times of distress and introspection make her a standout member of the cast, and redeems some of Thompson\u2019s poor acting. While Araminta Gun (Katie Leung) doesn\u2019t have much screen time throughout the series, her ability to play a conniving stepmother and determined matchmaker are sure to leave a strong impression on audiences.<\/span><\/p>\n \u201cBridgerton\u2019s\u201d first four episodes of Season 4 started off on a shaky note, but the show does manage to keep things moving and set up a somewhat feasible foundation for the last four episodes in the season. Questionable costuming, cinematic choices and an abundance of plot lines are redeemed by the strong quality of the show\u2019s actors, and make \u201cBridgerton\u201d Season 4 decent enough to watch. It\u2019s exciting to see where the show will go next \u2014 and hey, maybe it\u2019ll \u201cbridge\u201d the gap between composition and characters in Part 2.<\/span><\/p>\n RATING: 2\/5<\/strong><\/p>\n<\/p><\/div>\n