Benedict Bridgerton's Queer Identity: A Deep Dive into Historical Accuracy
When Lady Bridgerton embarked on her frantic search for Benedict at the outset of Netflix's Regency romp's fourth season, audiences anticipated finding him in a state of disarray: hungover, in bed, accompanied by one or more individuals. True to form, Luke Thompson's character appeared with a mischievous grin, attempting to placate his mother over her eligible bachelor son's chaotic lifestyle. This portrayal, however, sparked discussions among viewers and experts alike.
The 'Messy Bisexual' Trope and Its Implications
The show's third season confirmed Benedict as the first queer Bridgerton, addressing earlier gaps in representation. Yet, his depiction as a 'messy bisexual' during a promiscuous 'chaos era' raised concerns. Dr. Helen Bowes-Catton, a Senior Lecturer at the Open University and editor of the Routledge International Handbook of Bisexuality, expressed caution. She noted that Benedict's bisexuality seemed tied to his rebellious rakishness rather than being incidental, hoping it wouldn't lead to an 'it's just a phase' resolution—a relief, as it did not.
While the 'debauched bisexual' character might elicit eye rolls from informed viewers, Dr. Julia Shaw, author of Bi: The Hidden Culture, History and Science of Bisexuality, emphasized the realism of Benedict's behavior in various brothels, clubs, and bars. She pointed out that his interactions in these spaces, where queerness is implied through glances and subtle exchanges, align with traditions in queer cinema. 'Men exchanging glances is a real theme throughout the show,' Dr. Shaw explained, 'and that's very much in the tradition of queer cinema, to have the queerness lurking in the in-between moments.'
Historical Context and Modern Interpretations
Benedict's eventual relationship with Sophie is highlighted as period-accurate for a bisexual man in the 1800s. Dr. Shaw elaborated, 'Historically, there were probably quite a lot of bi men who were getting married to women because of compulsory monogamy and compulsory heterosexuality.' This aspect adds depth to the show's blend of historical elements with progressive twists, such as introducing characters of color into a traditionally white genre.
Despite these innovations, the show's limited LGBTQ+ representation remains a point of contention. Dr. Bowes-Catton described it as a 'frustrating' element, constrained by the Regency romance genre. 'I would like to see Bridgerton become a bit more radical,' she said, 'but I'm not sure to what extent it's possible to do that and still be a Regency romance.'
Navigating Queerness in a Heteronormative World
The cliffhanger involving Benedict's offer from a gentleman sparked fan despair, but Dr. Shaw framed it as an expression of his queerness, destabilizing gender norms. 'If we think about that in modern terms,' she said, 'basically he's saying, I don't want a traditional relationship with you, but you're important to me, and I do love you.' This nuanced approach continued as Benedict settled down with Sophie, with experts affirming that a heterosexual-presenting relationship with a queer person remains inherently queer.
Showrunner Jess Brownell reassured fans that Benedict's queerness 'will always be a piece of his identity,' emphasizing the importance of representing bisexual men in such relationships. Dr. Shaw added that this portrayal helps counteract stereotypes, showing that bi men aren't 'gay men in disguise.'
Future Prospects and Broader Representation
Looking ahead, the show has opportunities to expand non-heterosexual storylines, such as with Francesca's potential 'quiet bisexual' arc or Eloise's exploration of asexual or aromantic identities. Dr. Bowes-Catton cautioned against placing all expectations on Benedict, noting, 'We can't put it all on poor Benedict. He's got enough going on.'
In summary, Benedict Bridgerton's bisexuality serves as a tribute to historical realities while pushing boundaries in modern storytelling. By blending accuracy with progressive elements, the show offers a compelling, if sometimes constrained, portrayal of queer identity in a Regency setting.
