Bridgerton Season 4, Episode 5, “Yes or No,” answers questions with resounding and (eventually) romantic answers. This episode, written by Lauren Gamble and directed by Gia-Rayne B. Harris, dials up the undeniable tension brought on by the unavoidable obstacles of Benedict and Sophie’s class difference. Relatedly, “Yes or No” thoughtfully navigates the broader context and fallout of Benedict’s offer that Sophie be his mistress. The episode’s pacing complements that process. It also helps that Bridgerton knows how to use a general sense of uncertainty to the characters’ advantage.
There’s a palpable stress in the ton’s air now; it sticks to the characters. It’s what inspires Francesca and Violet to be a bit bolder – for better and worse. Notably, those actions give “Yes or No” (and the episodes that follow) the chance to explore stories that the first four episodes mainly introduce. Namely, this episode is the tip of the iceberg with the Lady Whistledown storyline. Most stunningly, Bridgerton unpacks how truly complicated it is that Benedict and Sophie are still drawn to one another. As the season embarks on its final four episodes, the leads remain the paramount focus.
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Benedict and Sophie Lean on Friends
In the wake of Benedict’s offer, Bridgerton values both leads. At the start, Sophie and Benedict’s independent scenes fade into each other. The edit creatively ties the characters and the narrative together without them sharing the screen.
Thankfully, Sophie has Alfie to bounce her thoughts off regarding the offer. It’s a delight to see this scene-stealing character after Bridgerton Season 4, Episode 2, “Time Transfixed.” It’s also deeply relatable that Alfie likes to imagine a life with Benedict Bridgerton. Most importantly, Bridgerton positions Alfie as a safe place for Sophie to externalize her inner dialogue, to weigh the pros and cons of becoming a gentleman’s mistress. It’s functional that Alfie gets lost in the comfortable luxuries of being a mistress, and Sophie is the one to ground him with the reminder that her existence stands in conflict with that fantasy.
The dynamic between Benedict and Will isn’t as storied, though they share a few scenes over the years – more this season than ever. Regardless, Will remains one of the best supporting characters on this show. He says precisely what Benedict needs to hear in a way that Benedict starts to understand. A mistress is a tolerated, if not encouraged, resolution for him. In the simplest terms, it’s a societal loophole that favors men. For Sophie and other women, it’s an option that encourages secrecy and scrutiny. Luke Thompson is such a skilled actor that the spark in Benedict’s mind that maybe he needs to think differently, if not just more and more deeply about all of this, is visible in his eyes.
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Benophie in the Fallout of the Offer
The offer may be honest, given their options, but it’s not as romantic as Benedict thinks. It’s a resolution that isn’t all that considerate of her feelings, and Benedict sits with that in “Yes or No.” It tests his emotional intelligence. That’s an exciting journey for a romantic lead, especially a male one in the Regency era. Benedict’s connection to the arts and his “free spirit” mean he isoften viewed as a more emotionally available Bridgerton sibling. This season healthily questions that and forces Benedict – the same Benedict who can recite poetry with conviction from memory – to reacquaint himself with romance.
During that self-reflection, Bridgerton’s iteration of the character (broadly) reconnects with his book counterpart by using Eloise’s search for Hyacinth’s feather to see Sophie in town. Admittedly, that grasping-at-straws attempt to see her is harmless and far less concerning than some of Benedict’s tactics in the book. Any stolen-breath romantics quickly dissolve, though. Sophie spends most of the sequence keeping her distance and avoiding eye contact. She’s acutely aware that any perceived attachment between them could jeopardize her position, not necessarily his at this point.
Sophie’s resounding “no” comes with a reminder that Sophie is still (and understandably) holding her identity as an illegitimate child of a nobleman close to her chest. Therefore, Benedict takes this rejection as a confirmation that he’s unworthy of love. It’s written on his face. Benedict’s sensitivity towards asking her to be his mistress, though, progresses by the time they meet in his study over paintings of the Lady in Silver. Yerin Ha’s delivery of that monologue – one of the most pivotal so far – sticks in one’s mind. It is filled with piercing lines about Sophie’s experience that visibly affect Benedict.
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Can Whistledown Turn a New Page?
All the while, “Yes or No” continues the season’s streamlined storytelling with Penelope’s conflict with Lady Whistledown gaining more prominence. For Penelope, this storyline becomes meatier when it pivots from Hiscox to Virginia. However, in Hiscox, Benedict can see the miserable other side to what is perceived to be a positive relationship with a mistress. Bridgerton framing Hiscox in that mirror is an incredible composition. It’s a reflection of himself that Benedict doesn’t want to see. So, that exchange doubles as a wake-up call ahead of that scene with Sophie in the study.
Equally, Virginia holds a mirror up to Penelope, who is still coming to terms with the power that she has as Whistledown. Virginia plainly states that Whistledown’s quill is double-edged: “But it is your quill that has ruined me.” So, in the face of Queen Charlotte rejecting Penelope’s request to end the column, it’s exciting that Penelope seems interested in its evolution. This process has been in motion for a while – Penelope is no longer naming people. But, as Virginia proves, that’s not enough. Society is astute and ruthless. It’s better that Penelope uses the power of her pen to question society itself: “This author wonders if perhaps the desire is not the problem, but the world itself.”
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Gregory and Hyacinth Nearly Enter Society
Hyacinth’s recital is an incredible addition to the season and a perfect backdrop for “Yes or No.” It’s a twist on the usual balls and a believable reason to have so many characters in the same room. Pairing the dance with a cover of Charli XCX’s “360” captures the youth of it all. Like for the younger people, it’s a preliminary way for Alice to try out her new position in society and forge her own path. Similarly, it’s a low-stakes setting to test the reality of Violet and Marcus’s relationship. It’s also an obnoxious place for Eloise to be, so Bridgerton doesn’t resolve that conflict between her and Hycanith too quickly.
As for Hyacinth, it’s realistic that the night doesn’t meet her sky-high expectations, becoming the first domino to fall for her. Relatedly, it’s so easy to miss Anthony in a time like this for Hyacinth, but Benedict is such an excellent chaperon for her in his own right. He gets a smile back on her face when she needs it. Plus, Anthony’s presence is felt when Colin passes on his elder brother’s advice, “You tell her your own feelings,” to Gregory – and Benedict. Predictably, for those who have read the books, Gregory falls in love fast.
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Francesca and Michaela’s Chemistry Test
“Yes or No” finds Francesca amid a triangle where John is between her and Michaela. The episode realistically makes a mundane problem into a much bigger indicator of the tension brewing. That rocky foundation cracks more when Francesca brings Michaela unwanted suitors. All of which reflects that Francesca and Michala don’t know each other that well. And it doesn’t seem that Francesca is all that interested in trying, which stems from Scotland. Michaela wasn’t that present, and when she was, chaos ensued. So, their dynamic isn’t the best post-their tongue-tied (on Francesca’s part) meet-cute.
It’s equally relevant for “Yes or No” to showcase that John and Michaela are cousins who are as close as best friends. Michaela pulls a new side out of John that really opens him up. Victor Alli and Masali Baduza’s chemistry represents that shared history, making it believable in a few scenes. It’s far more convincing than John’s supposedly stressful Parliament seat that has no screentime. Then again, its main purpose is to brush aside any health concerns that ring alarm bells for book readers – myself included.
This storyline’s peak comes in Francesca and Michaela’s pivotal and well-written confrontation. Its range is impressive and necessary; it covers so much ground. From Michaela’s admission that she knows her favorite person is “secure” with Francesca to Francesca admitting her jealousy of Michaela’s chaos, it’s an honest breakthrough. Because of the journey both characters go on in this scene, it’s also a display of Hannah Dodd and Baduza’s chemistry. For that point and their characters, there’s no better note to end on than a cover of Billie Eilish’s “Birds of a Feather.”
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Benedict Chooses to Stay with Sophie
No scene is more pivotal than the leads’ love confessions. Bridgerton builds anticipation with Benedict telling Sophie, “No. I found it.” Thompson infuses emotion into his line delivery, as always. There’s plenty of content in those few words, as there is in Benedict’s reaction to Violet picking lent off of Marcus’ shoulder (Classic!). Again, it’s thrilling to see different aspects of Benedict’s character – he contains multitudes! It’s like his heart is gradually cracking open with, “No, I am not going anywhere. Not this time. I am here for you.”
He can’t know how significant that dedication is; he doesn’t know Sophie’s reality yet. Sophie’s not in a place to receive this love or understand herself as worthy of it. She tries to claw him back from saying those three words. It’s heartbreaking that she believes that his feelings will fade. Really, those final eight minutes are worthy of transcription. The dialogue (“But the thought of spending a single day without you torments my soul”) is meaty, romantic, and massive for these characters.
Thompson acts with his voice and his whole body, gesturing to Benedict’s very being that Sophie has forever altered. Benedict, still blinded by unconscious biases, can’t see how right he is when he tells Sophie, “You are the person I have been searching for all my life.” There’s also the sad fact that humor laces Benedict’s voice when he confirms he won’t have to marry. His role as the second son is null and void with an heir. Sophie matches that heartbreaking sentiment with, “You cannot,” to Benedict’s love of her. That line pairs with Benedict saying, “If only you would love me back.” These characters feel so inadequate; they are prepared for rejection. They can’t see they’re enough for each other.
Therefore, it’s imperative that Benedict repeats those three words as many times as he does. It feels very akin to Matthew Macfadyen’s Mr. Darcy breathlessly confessing his love to Elizabeth in Pride & Prejudice (2005). Moreso, Sophie needs to hear it. Thompson throwing his arms out at the final “I love you” makes the moment all the more tender and vulnerable. Benedict bears his entire soul to Sophie, and she reciprocates his love. There’s a hesitation in their kiss before they realize this isn’t it; it’s more (and, for what it’s worth, Bridgerton understands that asking for consent is sexy), like Benedict and Sophie deserve.
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