When Luke Thompson draws parallels between “Bridgerton” and Shakespeare, he expects skepticism.
But the British actor isn’t backing down from his comparison.
After performing the Bard’s works for over a decade and now leading Netflix’s romance juggernaut, Thompson sees striking similarities between the two seemingly different worlds.
His argument? Both use historical settings to tackle modern themes, and both were designed to captivate mass audiences.
The Populist Shakespeare Nobody Remembers
Thompson, 37, made his case during a recent London interview, pointing out that contemporary audiences often miss a crucial fact about Shakespeare.
In its essence, ‘Bridgerton’ has a very Shakespearean sensibility.
The actor explained that Shakespeare’s writing was “much more populist, as well as accessible” during its time than modern theatergoers realize. Just like “Bridgerton’s” string quartets reimagine pop hits for Regency-era ballrooms, Shakespeare crafted entertainment that resonated with everyday people, not just elite scholars.
Both storytelling traditions employ heightened reality wrapped in period costumes. Shakespeare set plays like “A Midsummer Night’s Dream” in ancient Athens to explore issues relevant to Elizabethan England. “Bridgerton” uses Britain’s Regency period to examine contemporary concerns about class, identity, and belonging.
Benedict’s Shakespearean Season
The upcoming fourth season, arriving on Netflix January 29, seems to validate Thompson’s thesis.
His character Benedict Bridgerton takes center stage in a romance that feels lifted straight from Shakespeare’s playbook. Benedict falls for a maid masquerading as nobility at an enchanting masked ball—mistaken identity being one of the Bard’s favorite dramatic devices.
That comedy of meeting in disguise is very Shakespeare.
The plot echoes themes from “Twelfth Night,” “As You Like It,” and “The Merchant of Venice,” where characters adopt false identities to navigate rigid social hierarchies.
From Stage Veteran to Screen Sensation
Thompson’s journey to leading “Bridgerton” represents an unusual trajectory in today’s entertainment landscape.
When cast in 2019, playing Benedict marked one of his “first proper screen roles” after years dominating British stages. His theatrical background brings depth to Benedict’s character—the charming second son who serves as emotional support for his siblings while searching for his own purpose.
Fans have long championed Benedict as a favorite, drawn to his artistic sensibility and role as mediator between serious older brother Anthony (Jonathan Bailey) and feminist-minded younger sister Eloise.
Why Literary Comparisons Matter
Thompson’s willingness to connect high culture with popular entertainment reveals something important about both.
Dismissing “Bridgerton” as mere escapism ignores how the show tackles weighty subjects: racial integration, female autonomy, queer identity, and class mobility. Shakespeare addressed similarly complex themes through accessible storytelling that appealed across social strata.
The actor’s curiosity about finding common ground between seemingly disparate art forms demonstrates intellectual generosity rather than pretension. He’s not claiming “Bridgerton” matches Shakespeare’s literary genius—he’s recognizing shared storytelling DNA.
What Makes Benedict Different
As Benedict moves from supporting player to romantic lead, Thompson brings theatrical training to a character wrestling with identity and expectations.
Benedict has always existed in the margins—too unconventional for societal norms, yet too privileged to fully reject them. His artistic pursuits and emotional intelligence set him apart from typical Regency-era heroes.
This season’s masked ball romance offers Benedict opportunity to explore authentic connection beyond superficial social markers. When identities blur behind masks, genuine compatibility emerges.
The Broader Cultural Conversation
Thompson’s Shakespeare comparison opens larger questions about how we value entertainment.
Popular culture often receives dismissive treatment compared to “serious” art, despite serving similar functions: processing social change, providing emotional catharsis, and building community through shared stories.
“Bridgerton” reaches millions globally, sparking conversations about representation and romance. Shakespeare’s plays drew massive crowds to the Globe Theatre, making complex ideas accessible through compelling drama.
Both created cultural phenomena by understanding what audiences craved—not just escapism, but meaningful reflection wrapped in entertainment.
Thompson’s perspective suggests we might benefit from less gatekeeping and more curiosity about connections between past and present storytelling traditions.